rss_2.0Music FeedSciendo RSS Feed for Music Feed national publishing initiatives after 1918<abstract><title style='display:none'>Abstract</title><p>The revival of an independent Polish state in 1918 was conducive not only to the emergence of a new national administration or a sense of national community, but also to the establishment of new entities in science and culture, and, consequently, actions focused on Polishness and promotion of national values. Such new initiatives were based on the activities of scholars, artists and intellectuals, who had existed as a milieu before, but who either operated on a local scale or were entangled in international structures, usually remaining on their peripheries. Projects carried out in new conditions – in the now free country – often with the support of government institutions could promote the national heritage in various forms and on a large scale.</p><p>In addition to research-related objectives, young Polish musicology also sought to popularise and disseminate Poland’s musical heritage in a variety of ways: 1) by publishing, as part as of sheet music series, sources for the study of the history of Polish music; 2) new critical editions of well-known oeuvres; 3) supporting the work of young Polish composers by publishing the scores of their compositions through publishing houses set up especially for the purpose; or 4) creating fora for the exchange of scholarly reflections and presentation of the results of research conducted by a growing number of scholars educated at Polish universities. All this with the slogans of “national pride” and “national duty” the fulfilment of which was to help with catching up and making up for the losses caused by the absence of Poland as a state for over one hundred years.</p><p>This led to initiatives by the newly emerging milieu of Polish musicologists seeking to promote the historical legacy of Polish music as well as the achievements of contemporary composers: the series “Early Polish Music”, a project to publish a complete critical edition of Fryderyk Chopin’s works, series of the Polish Music Publishing Society intended for young composers, or periodicals promoting articles on Polish subjects (<italic>Kwartalnik Muzyczny</italic>, <italic>Muzyka</italic>, <italic>Muzyka Polska</italic>, <italic>Polski Rocznik Muzykologiczny</italic> and others).</p></abstract>ARTICLE2021-10-19T00:00:00.000+00:00Emotional and spiritual intelligence, aesthetical and semantic implications<abstract> <title style='display:none'>Abstract</title> <p>Musical art is built on its semantics, in the absence of semantics – which is the main reason why a composer writes music, why a singer interprets it, but also the most important reason for the music listener as the receiver – music loses its meaning. Musical compositions can be problematic for interpreters and listeners at various levels of human sensitivity, intelligence and semantic ability, which are all fundamentally connected to conveying and receiving a message transmitted through music. These creations have emotional (psychological) implications, but also more profound ones, spiritual (religious), of which we are more aware and which are emphasized if we take into consideration the concepts of EMOTIONAL INTELLIGENCE and SPIRITUAL INTELLIGENCE.</p> </abstract>ARTICLE2021-05-12T00:00:00.000+00:00Interdisciplinary aspects in organizing the Music Education lessons<abstract> <title style='display:none'>Abstract</title> <p>The 21<sup>st</sup> century brings many changes in the education system regarding the teaching-learning-assessment process. Moving the importance from knowledge to the skills gained by the student requires the rethinking of the didactic strategies, and interdisciplinarity wins more and more in front of the monodisciplinary activities. On the other hand, the presence of technology in the traditional space dedicated to learning has led to the creation of new contexts in which the students can acquire new knowledge, develop skills trained in different subjects. The special circumstances in which school has been in 2020 put the importance of technology on a high level in the teaching-learning-assessment process. Online education has brought new challenges, which have added personal concerns for interactive and interdisciplinary activities. Therefore, our paper presents several ways of approaching interdisciplinarity in Music Education lessons, providing solutions validated by the results obtained in activities with students.</p> </abstract>ARTICLE2021-05-12T00:00:00.000+00:00Tradition and Characteristics in the Approach to Psaltic Music Theory in Romania – the 20 Century<abstract> <title style='display:none'>Abstract</title> <p>Throughout the 20<sup>th</sup> century, Byzantine music theory was a constant preoccupation of chanters, teachers and musicians, who contributed to the development of this field and to the publication of a significant number of books in the Romanian language. The paper addresses these theoretical contributions based on several key elements: conception, structure, content, vocabulary, musical exercises and examples, extension, graphic aspect, relevance in the era –, but also in the context of the development of a specialized literature in Romanian. The analysis of these books reveals that everything that was published in Romania in the 20<sup>th</sup> century in the field of psaltic theory remains within the confines of the Byzantine tradition, faithfully passed down to the modern era. At the same time, the changes that the Romanian society went through in the second half of the century influenced the manner of approach to the theoretical notions, which were treated in the light of staff notation and Western music theory. However, over the course of the 20<sup>th</sup> century, successive authors managed to develop a specialized terminology in Romanian and to transmit the notional content specific to the Byzantine tradition.</p> </abstract>ARTICLE2021-05-12T00:00:00.000+00:00 [New histories of Romanian types of music] – The most important editorial publication in the Romanian musicology of recent years<abstract> <title style='display:none'>Abstract</title> <p>The vast work <italic>Noi istorii ale muzicilor românești</italic> [New histories of Romanian types of music]<sup>1</sup> (816 pages), published by Editura Muzicală in 2020 was a project of the Romanian Composers and Musicologists’ Union, represented by composer and university professor Adrian Iorgulescu, a project meant to mark the celebration of a century of activity of the organisation. The two volumes of the <italic>New histories</italic>, coordinated by Valentina Sandu-Dediu and Nicolae Gheorghiță, reflect the fulfilment of a long research project, begun in the 1990s, with a view to reassessing the musical past of Romania, expressing ideas verified in time through repeated analyses. The coordinators’ vision is edified through the following directions: 1. the joining of all musical genres – Byzantine, folkloric, military, academic, jazz, entertainment – and creating a modern perspective on the types of Romanian music; 2. using the tools of modern musicology – interdisciplinary relating, archival and recent bibliography, an objective, critical, accessible style, efficient and orderly elaboration; 3. removing all influences of the communist ideology reflected by the writings about music in the second half of the 20<sup>th</sup> century by assimilating the ideas formulated by historians after 1990; 4. capitalising on foreign authors’ writings about Romania and about Romanian music, but also on last-minute research on international music for the synchronisation with the contemporary manner of historical research.</p> </abstract>ARTICLE2021-05-12T00:00:00.000+00:00Impressions after reading a fascinating book: [Bayreuth – City of Festivals. Romanian presences]<abstract> <title style='display:none'>Abstract</title> <p>Published in 2019 by <italic>Ecou Transilvan</italic> Publishing House, the volume <italic><bold>Bayreuth – Oraș al Festivalurilor. Prezențe românești [Bayreuth – City of Festivals. Romanian Presences]</bold></italic>, signed by the musicologist Gheorghe Mușat has an immeasurable documentary value. From the challenge launched by the title, which is accentuated with the discovery of the differentiated perspectives for approaching the complex issue – <italic><bold>Bayreuther-Festspiele</bold></italic> and <italic><bold>Internationales Jugend Festspieltreffen</bold></italic> – to the precious details regarding the sessions, courses, seminars, concerts, conferences of artists from East and West, who had the extraordinary chance to collaborate in the last decades of the last century. In essence, the book focuses on the generation of musicians confident in the nobility of ideals to perfect themselves in the performing arts, to sing unique pieces from various stylistic repertoires and, especially, to listen, to learn from each other, to communicate at a high level about the multiple manifestation hypostases of the sound phenomenon.</p> </abstract>ARTICLE2021-05-12T00:00:00.000+00:00 or the Contemporary Realism in the Pedagogy of the Future Opera Singer<abstract> <title style='display:none'>Abstract</title> <p>The Romanian opera and operetta repertoire is a constant objective in the Opera Class of the Faculty of Performing, Composition, and Musical Theoretical Studies in “George Enescu” National University of Arts from Iași. The stylistic diversity and the richness of the drama make not only an important instrument for the study out of it, but also a moral debt for the knowledge and transmission of a music whose beauty – once (re)discovered – is a source of enchantment for the artists, as well as for the public. If in the beginning of the professional route singing in the mother tongue facilitates the work and the study of the opera singer, over time this option may enter an ethic of the performer, happily completing his repertoire. Although one of our main goals is to guide the students, future opera singers, to gain and to develop their acting skills so as to be natural and convincing on stage, contemporary realism does not exclude experiments. Having this in mind and in order to make studentsʼ work visible, we made an experimental video document, based on a first selection from our recitals, which is aimed to let the audience take a glance into the intimacy of our class study on Romanian opera and operetta, both from the musical and drama perspective. By changing the original objective – the entire presentation in semester exams of studentsʼ classroom work – the fragmentary nature of the processing gives a certain dynamism to our work. Changing the purpose brings things to a new light, the artistic overbearing the pedagogical, and last but not least, the Romanian music proving that it supports an experimental treatment.</p> </abstract>ARTICLE2021-05-12T00:00:00.000+00:00“Style” or “yphos” in Psaltic Art?<abstract> <title style='display:none'>Abstract</title> <p>The term style is used in the philosophy of culture, in aesthetics, art theory and art criticism, in literary languages, in the plastic and monumental arts, in the way of life and behavior of people to characterize cultures, eras, creative individuals or works, so as we learn from philosophy dictionaries. If in Greek there is this duality of the terms style and yphos, the Romanian language uses only the former, while yphos appears to be used with completely different meanings, over time. Unlike the meanings in Greek, in the current dictionaries of the Romanian language the word yphos has a more pejorative meaning, suffering over time semantic changes. However, it seems that the old meaning of the term yphos reveals much deeper and richer valences than the term style and helps us to understand in a better way the conditions of an authentic musical-spiritual interpretation, in the “right spirit”.</p> </abstract>ARTICLE2021-05-12T00:00:00.000+00:00Aspects related to the interconnection between music and the human brain. Scientific discoveries and contemporary challenges<abstract> <title style='display:none'>Abstract</title> <p>A new scientific discipline, neuromusicology, connects the scientific research of music and that of the nervous system, in particular of the brain. It studies the effects of music on the brain; the present paper relates to this particular field. Initially, the right hemisphere was associated with the process of music reception and it was considered that the activation of the left hemisphere was the responsibility of language. Neuroimaging, however, demonstrates that the elements of musical language activate various brain areas in both hemispheres, simultaneously generating the perception of music and emotions. Research in the field of psychoacoustics has revealed that listening to music triggers the production of neurotransmitters in the body that relieve pain, reduce stress and anxiety. Another effect determined by listening and studying music is the structural changes that occur at brain level due to brain neuroplasticity. Pathological changes at brain level have consequences in perception and influence all human activities. Disease alters the artistic creativity of people suffering from various pathologies, biographies of many artists proving that neurological diseases influenced their artistic activity. Decoding the functioning of the brain in the presence of music and its effects on brain activity make it possible to use music therapy as a complementary method to medical treatment. The harmful effects of the current Covid-19 pandemic on the brain are obvious and are already reported in completed or ongoing research studies. The adoption of music as a therapeutic tool in the current global epidemiological crisis highlights its undeniable qualities in multiple pathologies and updates its mental and somatic benefits, complementary to medicine. All this provides an important drive in the reassessment and reconfiguration of the need to amplify the interference strategies between the field of music and that of medicine, implicitly that of neurology.</p> </abstract>ARTICLE2021-05-12T00:00:00.000+00:00Romanian-Greek manuscript inventory number 27 Anthology – An Account of the activity of the copyist Chiril Monahul from Bisericani Monastery (Neamt County)<abstract> <title style='display:none'>Abstract</title> <p>This paper is a fraction of an ampler project aimed at classifying and studying the entire collection of musical manuscripts from the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina of Iasi. This documentary collection consists of a number of 32 musical manuscripts, in Chrysantine notation mainly originating from the 19<sup>th</sup> century. Manuscript 27 was created in 1846 by Cyril the Monk from the Bisericani Monastery (Neamt county) – he was a psalter, composer and copyist of great talent. He wrote other two manuscripts, ms. inventory numbers 23 and 31/49, which are in the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina of Iasi. His own creation (with the mention “by the writer”) in Ms. 27 contains the first psalm, <italic>Blessed is the man</italic> in the plagal of the 4<sup>th</sup> mode, the troparia <italic>God is with us</italic> in the plagal of the 4th mode, the polyeleos <italic>Good word</italic> in the 4<sup>th</sup> mode legetos, the doxastikon of the Easter, <italic>The day of Ressurection</italic>, the plagal of the 1<sup>st</sup> mode and two heirmoi of the Holy Week. These are chants that are remarkable through their fluidity and expressiveness, as they retain the specific psaltic melodic formulas and reveal a balanced analytical musical writing. The liturgical music in Manuscript 27 consists of various chants, from those performed during the Vespers to the Matin and the Liturgy. Following analysis of the manuscript’s repertoire, I discovered that the main source of Ms. 27 is the first three volumes of the Anthology by Nektarios Frimu, published in Neamț (3<sup>rd</sup> volume, 1840) and Iași (1<sup>st</sup> and 2<sup>nd</sup> volume, 1846). Cyril the Monk, the copyist of Ms. 27, selected works from these sources, and introduced along the self-authored chants mentioned earlier, chants by other lesser-known authors, such as Nechifor (<italic>The Blessings of the Ressurection</italic>, the plagal of 1st mode in Greek) and Calinic (troparia from the chant <italic>Lord is with us</italic>, the plagal of the 4th mode in Romanian and the polyeleos <italic>The Lord’s servants</italic>, the plagal of the 2nd mode, in Greek). Besides, among the chants in Romanian, the manuscript records chants in Greek (by established Greek authors), which are proof of the continuous practice of the Greek chanting in Moldavia, long with that in Romanian, in the period before the Reforms (1863-1864) introduced by Alexandru Ioan Cuza, the ruler of the Romanian Principalities.</p> </abstract>ARTICLE2021-05-12T00:00:00.000+00:00Music in the Polish-Jewish theatre in the first decades of the 20 century in the light of surviving sources<abstract><title style='display:none'>Abstract</title><p>The article presents the few surviving documents concerning the incidental music to Polish-Jewish plays performed on the Polish stages in the first decades of the 20th century (until 1939). This theatre was to constitute a space for the dialogue between the Jewish and Polish communities. The idea of its creators was to reject the existing, usually negative, way of presenting Jews in Polish theatre as well as to show authentic Jewish life — customs, rituals, music and dances — on stage. A breakthrough in both of these areas came with the so-called Jewish plays of Gabriela Zapolska — <italic>Małka Szwarcenkopf</italic> and <italic>Jojne Firułkes</italic>. The idea of the Polish-Jewish theatre was then developed by Marek Arnsztajn (Andrzej Marek). Referring to the surviving sources (scores as well as press reviews and notes in directors’ copies of the scripts), the author analyses music to two performances of <italic>Małka Szwarcenkopf</italic>, and presents the musical appendix to the Polish version of An-ski’s <italic>Dybbuk</italic> published in 1922. The analysis seeks to capture the composers’ specific ideas of Jewish music and to discover the sources of their inspiration. The second objective of the article was to present the cultural background against which the Polish-Jewish theatre evolved.</p></abstract>ARTICLE2021-08-13T00:00:00.000+00:00The Role of Fine Arts Activity in the Development of Artistic Thinking of Schoolchildren<abstract> <title style='display:none'>Abstract</title> <p>This article deals with the development of artistic and imaginative thinking, imagination and the creation of an artistic image in fine arts lessons using a graphic image. An example of a lesson for elementary school students on creating a mysterious tree image is given, which will help the teacher develop the ability of his students to see and creatively realize their ideas.</p> </abstract>ARTICLE2021-06-24T00:00:00.000+00:00Use of Standard/Simplified Graphic Language for Development: A Communication Challenge<abstract> <title style='display:none'>Abstract</title> <p>The decision to use standard, or simplified graphic language for development communication is usually problematic as a result of target audience conditions in developing countries that make presentation of a full range of development messages with uniformity across cultural delineations difficult. A rash decision often result in production of ineffective media with grave consequences for structural and human growth. Therefore, this paper focused on the communication challenge of utilizing standard/simplified graphic language for advancement. It employed a triangulation of the Critical-Historical-Analytic examination, and Content analysis methods. The paper started with the need to make informed decision on the use standard/simplified graphic language appropriate for receivers. Furthermore, it examined the role/activities of communication actors in campaign situation using the Shuttle models. Moreover, it considered target audience conditions with particular attention to illiteracy, and visual perception across cultural boundaries. And it evidenced the deployment of standard/simplified graphic language for campaigns in Africa. The paper found that target audience pretest is the panacea for decisive use of standard/simplified graphic language appropriate for target audience; and ended with the need to adopt participatory communication practices that afford its realization.</p> </abstract>ARTICLE2021-06-24T00:00:00.000+00:00Theoretical Considerations on Skills for Fine Arts<abstract> <title style='display:none'>Abstract</title> <p>Every person has many qualities that help him/her to obtain more or less good results in different fields of activity. Some easily get good results in drawing or gymnastics, others easily learn math or languages. Generally, when a child achieves high performance in a field he/she is said to have skills. Knowing the skills specific to the field, identifying them in the process of guiding the child, their development and refinement are evolutionary aspects to be neglected in educational practice.</p> </abstract>ARTICLE2021-06-24T00:00:00.000+00:00Elements that Contribute to the Efficiency of Communication Between Teacher and Student<abstract> <title style='display:none'>Abstract</title> <p>Communication skills are one of the most important educational elements today. Current education has already included communication competencies as independent objectives in the education of young generations. Communication is a multidisciplinary existential basis and that is why its understanding is not easy, and must be approached scientifically, conceptually and structurally. This paper aims to emphasize the importance of communication in the teaching-learning process and its direct correlation with school success but also with success in life. Teachers need communication more than anyone. Their verbal communication occupies 70% of a class lesson (Haslett, 1987). The appeal to the elements of emotional intelligence, to the motivation / interests of the students, becomes a necessity and at the same time they are constituted as factors that can improve and make efficient the didactic communication. In this paper we will analyze the main functions of teacher-student communication (guidance, information and thought challenge). There are described other elements that can also contribute to better communication in the classroom: active presentation of topics, providing summaries, resumption of main ideas, clarity of presentation (sentence logic, examples and explanations), assessment of comprehension deficiencies and their correction, frequently asked questions. All these aspects have proved, through the studies carried out, that they are positively correlated with the students’ results.</p> <p>The verbal communication of the educator is always accompanied by the elements of non-verbal communication that have an important role in achieving an effective instructive-educational process. In this regard, we can mention a few essential components: posture, gestures, facial expressions, style of dressing, tone of voice, all of which can incite or divert the listener’s attention. Another important element in effectiveness of the didactic communication is the knowledge of the cultural, economic and social environment from which the students come, their specific characteristics. The interaction will be more plausible, accessible to the student, when well known, culturally familiar aspects are inserted in the complex process of teacher-student communication. The integration of cultural diversity in didactic communication has become a stringent requirement of modern education.</p> </abstract>ARTICLE2021-06-24T00:00:00.000+00:00The Education and Social Integration of the Human Individual<abstract> <title style='display:none'>Abstract</title> <p>This paper presents the importance of the action of the educational phenomenon in the formation / development / transformation and social insertion of the human individual. In this sense, we consider the relationship between the development of the human individual (particularly the child) and its formation throughout life. At the same time, within this research approach we will present in detail the role of the schooling stage for becoming a personality able to integrate properly and harmoniously in various environments / social contexts.</p> </abstract>ARTICLE2021-06-24T00:00:00.000+00:00The Humor as a Form of Artistic Expression in Education<abstract> <title style='display:none'>Abstract</title> <p>The relevance of the idea of humor at the social level expresses, from our viewpoint, the need to understand, assume and, why not, use it at the level of social communities. Under these conditions, we consider the usefulness and functionality/applicability of such an idea in educational terms, and in particular, at the level of the class of students. Such an idea is the very idea of humor as it is found in the educational dimension. Moreover, our interest is focused upon seeing and to what extent, the idea of humor can be considered to be an art, if we consider stylized / “aestheticized”, artistic, expressive criteria. That is why, the assumed purpose of this approach that we have achieved consists in an exhaustive analysis of the idea of humor and, implicitly, of the art of humor in education, as well as of the way in which it manifests and it is recognized at the educational level.</p> </abstract>ARTICLE2021-06-24T00:00:00.000+00:00Successful Music Performer’s Personality Traits<abstract> <title style='display:none'>Abstract</title> <p>Music-education practice has revealed the fact that, in order to become a successful music performer, not only certain physical and perceptive attributes (such as the amplitude of open palm, thoracic capacity, rhythmic accuracy, musical hearing), but a series of personality traits related to the complexity of social, cognitive and emotional activities associated to music performance are also needed. Scientific research focused on high quality music performers’ personality traits has been generated by a series of stereotypes that had been developed across time in the musical world. For example, it has often been said (Woody, 1999) that trumpet players are proud, impetuous, detached and dominating, whereas woodwind players are more feminine, more intelligent and shyer. The present study aims to review the most relevant experiments related to the personality profile of the successful music performer. A growing body of research has discovered ten important traits: androgyny, originality, independence, self-motivation, perseverance, sensibility, high capacity of interpersonal communication, extroversion, the need for attention, and trait anxiety. I discuss about a series of educational implications of this personality profile in connection to the development of a successful career in academic music. Discovering and developing these traits early on could be an essential support in creating an exceptional educational path in vocal and instrumental music performance.</p> </abstract>ARTICLE2021-06-24T00:00:00.000+00:00Extracurricular Education And Education In The Republic Of Moldova. Context: Social, Political, Economic, Educational<abstract> <title style='display:none'>Abstract</title> <p>Education in contemporary society is a strategic resource for sustainable human development, in a space and time determined from a historical, political, cultural, socioeconomic point of view, etc. Lifelong learning has become a fundamental requirement of society under these conditions. Learning to learn and wanting to continually improve are requirements of lifelong learning; responding to them, man learns to be receptive to change, able to anticipate and adapt to them, offering himself as a participant in the process of social evolution due to his intellectual and moral autonomy. The design, organization, functioning and development of the education system in the Republic of Moldova aims at the complementary quality of extracurricular education that takes place in educational institutions and aims to develop the cognitive, affective and action potential of children and young people, to respond to their interests and options for free and its ability to provide additional opportunities for information, documentation, communication, development, social inclusion and self-realization.</p> </abstract>ARTICLE2021-06-24T00:00:00.000+00:00Metacognitive Competences and Implicit Theories of Intelligence in Relation with School Achievement<abstract> <title style='display:none'>Abstract</title> <p>This study aims to explore the relation between metacognitive competences, implicit theories of intelligence and school achievement among lower secondary students. The group of participants included 120 students from Iași County, with different socio-economic backgrounds. Participants completed two measures, Metacognitive Awareness Inventory (Schraw &amp; Dennison, 1994) and Implicit Theories of Intelligence Questionnaire (Dweck, 2000). School achievement was defined as annual average grades, and family socio-economic background was self-reported. Students from socio-economic disadvantaged families scored lower for metacognitive competence, and self-reported fixed mindset beliefs, in contrast with students with favourable socio-economic family background. Therewith, metacognitive competences and implicit theories of intelligence are significant predictors of school achievement.</p> </abstract>ARTICLE2021-06-24T00:00:00.000+00:00en-us-1