REVIEW OF ARTISTIC EDUCATION
PART I Comunication and information technologies in the field of artistic education
1. ABOUT AUDITIVE FACTOR IN MUSIC / Ion Gagim/Professor PhD/ State University „Alecu Russo” from Balti, Republic of Moldavia
Abstract: The article, structured from two parts, scientific-theoretical and practical-applicative describes the auditive factor of music. The question isn’t about “ear for music”, about “musical perception” or about “listening to music” in a traditional treatment of the given concept. These questions have been investigated widely and it has been written much about their role in musical activity. The author suggests a broader approach to the subject: treating fundamental factor in the auditory sense and defining the art of music, under its general aspects of cultural, philosophical, spiritual, psychological and derived from them and together with them in terms of specific-musicology. In the second part of the article the author presents a possible technology of forming listening and hearing competence, of understanding of an abscons message and of a musical creation, based on the principle of „interiorization of music”, formulated and elaborated by the author. As a result of the listener’s conceptualization of the problem and the practical work of growing competence mentioned above, a "new" musical hearing is formed, a new vision about music and about personal relationship with it, a new understanding of what we understand of this enigmatic art, the ultimate goal is building according to its sublime laws.
Key words: musical hearing, psychology of musical hearing, sound phylosophy, music Listener, music listening, phenomenology of music listening, principle of interiorization of music, music listening technology.
2. THE MECHANISM OF ARTISTIC COGNITION IN TEACHING MUSIC / Viorica Crisciuc / Lecturer Doctoral Candidate/ State University „Alecu Russo” from Balti , Republic of Moldavia
Abstract : The mechanism of artistic knowledge is the main one in the process of teaching music. Consisting of the traditional structural elements of general pedagogy and music pedagogy, on the basis of the perceptive-aperceptive biphasic concept, the elements of this mechanism are differently restructured during musical-didactic activities in relation to music knowledge levels.
Key words: mechanism of artistic cognition, perceptive phase, aperceptive phase, music knowledge, musical-didactic activities.
3. THE IMAGE AS FORM OF CREATION / Ecaterina Tosa / Lecturer PhD/ University of Arts and Design from Cluj Napoca of Romania
Abstract: The Image, as a source of communication is the materialization of cognitive experiences which organize the accumulated visual information and facilitate the valued aesthetic references. The Image, as well as a visual-mental scheme facilitates the understanding of the connexions between perceptual information and the reproduction. However, to recognize an artistic motif or another one doesn’t exactly mean to understand the message of the picture, wherein could have a significance related to both the context and receiver’s knowledge. Knowing the principles of discovery methods of the visual message, one could rise the question: „Does our interpretation match the author’s true intentions?”
Key words: The image in Art is a form of creation, study, discovery, knowledge and communication.
4. THE DIALOG PROVIDED BY THE PHISICAL EDUCATION BETWEEN ARTISTIC MAJORS IN THE UNIVERSITY OF ARTS “GEORGE ENESCU” FROM IASI / Ana Cristina Lese/Lecturer PhD/“George Enescu” University of Arts from Iasi of Romania
Abstract: The stimulation of the psychophysical skills, practicing phyisical exercices in an organized setting has proved to be the antidote of the confused artistic expression, smothered by the avalanche of quotidian attitudes. Physical education mediates in our Institution by creating possibilities of physical races between students with different artistic majors, offering them the opportunity to know themselves in different situations.
Key words: psychomotric activity, physical exercices, creativity, art stimulation.
PART II Art pedagogy in comparative approaches
1. PEDAGOGICAL PRINCIPLES OF ITALIAN INSTRUMENTAL DIDACTICS / Alessandra Padula/ Professor,Conservatorio “G. Verdi” from Milan/Università degli Studi from L’Aquila of Italy
Abstract: Learning to play a musical instruments has relevant “strictly disciplinary” goals, as fluency, strength and independence of the fingers, correct phrasing, stylistically appropriate execution of ornaments, etc. However, pupils who play a musical instrument can also reach or optimize fundamental perceptive, cognitive, and motor capabilities. They can enhance their ability to join other pupils, raising self-esteem and self-control, and developing a sense of belonging. They can train memory, develop creativity, and enhance their own expressive and organizational capabilities. Moreover, in playing a musical instrument they can get key competences for lifelong learning, and get possession of a fundamental part of Europe’s rich cultural heritage.The paper outlines the courses offered by Italian public schools in the instrumental field, and cites the works of many Italian composers included in the syllabi of music schools and Conservatories. The pedagogical principles on which these pieces are based are related to the thought of some important pedagogues and psychologists, such as Pestalozzi, Montessori and Gardner.
Key words: music schools, musical instrument, cultural heritage, musical-didactic activities.
2. FORMATION OF INTERPRETATION COMPETENCE OF THE MUSICAL IMAGE AT MUSIC TEACHER / Lilia Granetkaia/ Senior Lecturer PhD/State University „Alecu Russo” from Balti/ Republic of Moldavia
Abstract: There is a growing interest in the concept of “competence” in various areas of education, training and professional development. Competences are commonly assumed to represent more than the levels of knowledge and skills and to account for the effective application of available knowledge and skills in a specific context. The article deals with one of the actual problems of musical education at university level – the formation of music teacher especially the formation of interpretative competence of musical image (CIIM).
Key words: interpretative analyses, competence of interpreting musical image, piano formation, artistic image, interpretative image, musical image.
3. THE HlSTORY OF MUSIC AND TEACHING IT IN THE UNIVERSITIES / Ramona Preja / Lecturer PhD, University of Arts from Targu-Mures of Romania
Abstrac: The solid and consistent study of the history of music helps any practitioner to understand the process of forming art and to know the stylistic peculiarities of each period and the causes that led to its existence. Optimizing the educa?ional process in the current university teaching system, implies that the teacher has to be familiar with the epistemological characteristics of the history of music and the teaching requirements (methodology, projective and actual accomplishments).
Key words : history, music, teacher, method, didactic.
4. IMPLICATIONS OF HEMISPHERICITY ON THE MUSICAL FIELD / Dorina Iusca/ Lecturer PhD /Department for Teachers Education „George Enescu” University of Arts from Iasi of Romania
Abstract: Identifying the neuro-psychological aspects of music performance represents one of the biggest challenges addressed to the 21-st century researchers. The sensorial, perceptual, psycho-motrical, cognitive and socio-emotional complexity of music performance continues to impress neuroscientists who discover new information every day. The study approaches the concept of hemisphericity and discusses its implications on the professional activity of classical music performers.
Key words: hemisphericity, music performance, neuro-psychological factors
5. THE CONTRIBUTION OF ART TO THE ECOLOGICAL BUILDING UP OF THE PUPILS’ PERSONALITY / Viorica – Torii Caciuc/ Assistant Doctoral Candidate/ Department for Teachers Education, „Dunarea de Jos” University from Galati of Romania
Abstract: This work studies the reflection of ethical relations between the interests of human –beings and of non-human beings in art. It includes an artistic-pedagogical analysis of the inherent value of nature, emphasized by properties like the aesthetic, that of being natural beings and on the same time the impact that works of art have on the building up of the ecologic conscience and behaviour of the young generations.
Key words: artistic works, ecological education, environment, ecological ethics, pupils.
