REVIEW OF ARTISTIC EDUCATION
Volume 1 / Number 4 / Year 2012
PART III The formation of teachers in the field of artistic education
1. THE WAYS OF INTEGRATION OF THE PROCESS OF MUSIC TEACHER UNIVERSITY FORMATION / Margarita Tetelea/ Associate Professor PhD/ State University „Alecu Russo” from Balti , Republic of Moldavia
Abstract: This research studies the specific issues connected to music teacher competence formation in the current academic musical education. These problems are related to the integral vision of the process of training specialists and are based on encyclopedic dimension, that represent revaluation of all tangential areas of music and music pedagogy in music teacher training.
Key words: music teacher, music education, musical competence, teaching music, encyclopedic dimension, session dimension.
2. TEHNOLOGIES FOR DEVELOPING MUSIC TEACHERS’ VOCAL COMPETENCES / Petr Sikur / Associate Professor / State University „Alecu Russo” from Balti, Republic of Moldavia
Abstract: In this article, the author reveals the causes of difficulties in music teachers’ work, the reasons of frequent voice illnesses and offers a new method of training such specialists.
Key words: The increased voice loading, noise background, the chronometry, voice training, declamation-speaking manner of singing, intonational-speech method.
3. TEACHERS FORMATION FOR MUSICALLY GIFTED PUPILS: REALITY AND DEMANDS / Tatiana Bularga/ Associate Professor PhD/ State University „Alecu Russo” from Balti, Republic of Moldavia
Abstract: The present article treats the essential positions of the university’s conception at formating an afficient teachers for gifted children, who need special attention with a view to achieve their individual potential.
Key words: musically gifted children, gifted children’s needs, musical potential, efficient teacher.
4. EMPATHY FOR MUSIC AS THE ESSENCE OF MUSICAL EDUCATION / Marina Morari/ Associate Professor PhD/ State University „Alecu Russo” from Balti , Republic of Moldavia
Abstract: We can define two levels in musical education: theoretical- informative and applicative- formative. At the theoretical- informative level accumulation of knowledge and development of informative-reproductive abilities and skills take. At the applicative-formative level musical education is achieved by direct contact with works of art. The two levels of implementing artistic education – theoretical- informative and applicative-formative- are in a reciprocal relationship supplementing each other. This means that instruction cannot replace but can only ensure a better interception of music. Meanwhile proper contemplation valorizes the virtues of instruction and ensures the realization of the fundamental purpose of education. The communication between the student and musical art does not depend only on the aesthetic value of music but also on the subject’s creative participation in this communication. A psychic communion between the receiver and the artwork, between the conscious and unconscious structures of the student’s personality and the musical artistic message. The main aim of this dialogue is enriching the receiver’s experience and his becoming more sensitive via emotion and empathy.
The didactic way of learning music must bear the stamp of art music specificity. Affective empathy for music as an exigency of musical education creates the moment of founding music. An empathy that depends on the student’s cognitive experience, on his psychic and psychophisiological state, on the environment in which it is produced appears in the musical act (of listening/interpretatio/creation). We define empathy for music as a flow of states that appear during the musical act (of listening/interpretation/creation). The products of empathy for music are: musical sensitivity, music perception, musical intelligence, motivation, attitudes. Certain changes depending on the student’s psychic functions and forces are produced during the musical act.
Educational valencies of art may be intensified in artistic knowledge that values the empathy and thinking acts that copenetrate, cooperate and complete each other. It is very important to effectively valorize empathy for music during the educational process. Access to the essence of music is facilitated by the convergence of empathy and understanding, of sensitivity and mind, of relish and thinking. The act of musical education cannot be conceived without empathy.
Key words: empathy for music, the act of empathy for music, musical knowledge, products of the act of empathy for music.
5. INITIAL TRAINING ASPECTS OF TEACHER MUSIC EDUCATION / Marina Caliga/Lecturer, Doctoral Candidate/ State University „Alecu Russo” from Balti, Republic of Moldavia
Abstract: The article explores the question about Music Education work by a high-skill school/university teacher at the prezent stage of higher education development. In the context of systemic modernization of higher education, increasing qulitz demands, complexitz of personal and professional development tasks of students the demands on the level of pedagogical culture in the high high-skill school is rising, there is a need for teacher continuous education on a fundamentalyy new basis. The present state of transformation of higher education undertakes a new concept of training teaching staff, with the view to form a high-skill teaching professionals. Experimental observations determined us to analyze technologies and specific contents of this process. The article points out the notion of initial training of the teacher of music which foreseen the wholly approach of teaching activities. It does references to following activities: interpretation (tool,directed,vocal music); listener-communicative (characterization/analyzing of the music, music knowledge and about music).
Key words: Music education, initial training of teacher, process, professional, muzical-teaching activities.
6. HOW CAN TEACHER EDUCATION BRING TO LIFE VYGOTSKY’S IDEAS ON ART AND PSYCHOLOGY / Mihaela Mitescu Lupu/ Lecturer PhD /Department of Teachers Education University of Arts “George Enescu”from Iasi, of Romania / This work has bee supported by CNCSIS-UEFISCSU, project number PNII-RU 21/2010.
Abstract : An analysis employing Vygostky's ideas on art and psychology is presented in this paper. By focusing on the constraints and affordances that teacher education programs present to their participants willing to become art-teachers, possible implications for re-framing teacher education are discussed.
Key words: teachers education, art and psychology.
PART IV Intercultural dimensions of artistic education
1. CHORAL SINGING – A MEANS OF INTERCULTURAL COMMUNICATION / Svetlana Postolachi / Senior Lecturer , State University „Alecu Russo” from Balti , Republic of Moldavia
Abstract: Music is communication through art, representing a means of rendering experiences and feelings, of sewerage of ideas to the others. The desire to communicate, to exchange views and opinions motivates students to work in a choral group. Intercultural communication involves intercultural exchanges focused on the contact with personalities from the sphere of arts: conductors, composers, musical performing . These contacts are able to enrich the repertoire of choral groups, which are designed to enhance the artistic factor. Choral singing is the connection between the art and social life and takes a shape in relation with social and emotional dimensions.
Key words: communication, choral singing, education.
2. ARTISTIC AND CULTURAL SENSITIZATION IN ADULT EDUCATION / Vangelis Karafillidis/ Pianist, Piano Diploma, Macedonian Conservatory, Composer, Composition Diploma, Music College, Physicist, Physics Degree/ „Aristotle” University, Piano Teacher/ State High Music School from Thessalonik of Greece
Abstract.: Adult Education has become one of the most prominent fields of the educational programs all over the world. Second Chance Schools constitute the predominant applied effort of many governments for supporting Lifelong Learning. Adults tend to have different necessities and heterogeneous capabilities in learning. Modern societies require continuously enriched and adaptive training, as well as multidimensional and broadly-based knowledge. Lifelong Learning enhances adults’ personal development, social inclusion and employability. Artistic and Cultural Sensitization plays an important role in Adult Education. This article tries to demonstrate the applied approaches in adult education on artistic and cultural sensitization as well as present the qualitative results and enhancements on adults’ personalities.
Key words: Lifelong Learning; Adult Education; Second Chance School; Culture; Art; Aesthetics; Aesthetics Education; Artistic Sensitization; Cultural Sensitization.
3. ATTRIBUTIONAL STYLE OF STUDENTS FROM ROMANIAN MIGRANT FAMILIES / Nicoleta Laura Popa / Lecturer PhD / Postdoctoral Fellow Romanian Academy from Iasi Branch of Romania
Abstract: The present study focuses on explanatory style among students affected by parental or family migration. The sample includes ninety-two Romanian high-school students left behind by migrant parents, seventy-six migrant students schooled abroad and eighty-two from families with no migration history. The central variable of our study was investigated with an adapted version of Attributional Style Questionnaire (ASQ), and findings indicate some significant effects of parental or family migration on students’ attributions about school success and failure. Results and their implications are discussed against the available literature.
Key words: attributional style, migration, students left behind, migrant students.
PART V
Art as a means for mediation and community actions
1. PREMISES OF DEVELOPING PUPILS MUSIC CULTURE IN THE CONDITIONS OF IMPROVING EXTRACURRICULAR MUSIC ENVIRONMENT / Marina Cosumov/ Doctoral Candidate, State University „Alecu Russo” from Balti, Republic of Moldavia
Abstract: The content of education in postmodernist society is a strategic resource of the human continuous development, in a space and time determined from the historical, cultural, social and economic points of view. The educational reform, based on curricular approach, involves radical reforms inclusively in the field of art education, being “an indispensable premise of forming an educated personality, with high moral and spiritual aspirations” [The Concept of Music Education]. The conceptual improvement of music extracurricular environment will promote the concern for the field of music education in order to assure an efficient continuity by pursuing an evolution and succession of the independent affirmation process from teleological perspective in self-correlation with the music environment existing everywhere.
Key words: continuous music education, extracurricular music environment, music context, independent music cognition.
2. TEACHERS WITH ARTISTIC SPECIALIZATIONS BETWEEN CULTURAL MEDIATION AND INTERCULTURAL EDUCATION / Eugenia Maria Pasca/ Associate Profesor PhD/ Department for Teachers Education, “George Enescu” University of Arts from Iasi of Romania
Abstract: Cultural mediation is a process that aims to restore the links between society and culture, between art and the public, between culture and populations. The role for cultural mediation is to create the conditions of a meeting, of an open dialogue. Cultural mediation represents the staging of the triad made of the public, the work and the mediator. The objectives of cultural mediation, the principles of cultural mediation, the profession of cultural mediator, are just a few of the, until now, undefined aspects by public policy, both educational and cultural, in Romania. What the teacher with artistic specializations needs to know and to accomplish in school, and from what perspective he can have a favourable and efficient intervention in the educational and communal space, these are some issues that we intend to analyze. In this sense it is necessary to adapt the content of the artistic university curriculum, because the educational and cultural policies of the nation must find ways to remain open to change of values in the context of a European integrated market and, at the same time, to sustain the wealth, the vitality and the diversity of one’s own culture. The crisis of the Romanian educational system is obvious and, although it proposes a real intercultural education in an intercultural school by initiatives and programs, it fails to be effective.
Key words: cultural mediation, public policy, intercultural school.
3. ANCIENT GREEK TRAGEDY AND MULTIDIMENSIONAL SOCIETY – FRAGMENTS OF THE LAST FIVE DECADES / Ioana Petcu/ Assistant PhD/“George Enescu” University of Arts from Iasi of Romania
Abstract: How much influence, what poignancy and who much visibility is ancient Greek tragedy has in an era of advanced technologies, globalization and various forms of crisis? To what extent can be justifiable received in the confusing XX and XXI centuries the first playwrights whose name sounds like so far? And finally, if it exists, what is the place of an Aeschylus, Sophocles or Euripides in the mental performance of the multicultural society in which find ourselves? The many different approaches to ancient texts, traditional and experimental alike, from 60s until now, have shown that the worlds that seems to be at a great distance are close and vary alive still. Important names of Romanian or international directors brought in public attention, either probing the social area of making use of identity conflicts, texts from fifth and fourth century BC more or less complete, adding a personal feeling on these interpretations.
Key words: interference, interculturality, education, utilitarianism, tragedy, antiquity.
4. HOW TO READ THE LOUISE BOURGEOIS’ WORK FROM THE PERFORMATIVITY? / Eva Santos Sánchez-Guzmán/ Professor/ University from Murcia of Spain
Abstract: Performances by Louise Bourgeois are scarce yet, the story of her life related through her works and the relationship of the two, as described in the texts, will allow us an overview of her career as a highly subjective performing action. Through her work she gives names to her fears and traumas so to describe her work as autobiographical is to fall short of the meaning her creation. This approach would suppose a reflection through the example of Louise Bourgeois on the question: Is it the subjectivity of the artist which comes out or is represented in the performance or does the performance contribute to shape the artist’s subjectivity?. This I will do through commentary of four works-actions. Les Personages, which followed her from one place to another until finally going on show in the New York Peridot Gallery in 1949 and 50, are a reflection of her abandoning the family home and creating thereby what the psychoanalyst Donald Winnicott called, “transitional objects” pain order to develop her migratory grief.
The Destruction of the Father, may be seen as a cathartic installation in which the self debates in a search for the psychic spaces in which to place her father (she would do the same with her mother in later works), a search for the structures which can house him, and entering “transitional spaces” where new objects are recreated and symbolic killings are played out, with the recognition of her self in her work: “I have no ego, I am my work”. It is a symbolic killing of the enemy, for which she will later have to perform a ceremony of expiation and purification in the style of the rites laid out by Freud in Totem and taboo. We are talking here of the performance Banquet/A fashion show of Body Parts, in 1978, where faced with a similar scenario to that of The Destruction of the Father she invites a series of art critics to try on a latex suit of many bosems, thus mocking the patriarchal society.
There are two possible readings of the great phallic work Fillette (1968-99): a criticism of phallocentrism or a representation of the failure of a mother’s power in the relationship with her father. A failure which she does not wish to repeat and so she dominates it by staging it. When the photographer Mapplethorpe proposes taking her portrait she takes her penis with her , so converting herself into a phallic mother. Bourgeois’s work consciously poses the relationship of the self with the world, a world which goes beyond the world, a world which extends to the reflection of complex human relationships which finally structure our subjectivity.
Key words: performance, subjectivity, transitional objects, fetishist
