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The problem of the personal cultural identity is presented in relation to the community identity. One of the possible viewpoints of the personality towards the world comes from the consciousness for ethnic belonging. The modem type of culture derives from the past certain values through which it identifies itself and demonstrates its importance. Some of these values refer to the folklore, conceptualized as a cultural heritage, as a record of the cultural memory of ethnic communities, and also as a shared culture reviving a notion for common ethnic belonging. This text presents forms of expressing Bulgarian identity through the language of music, more particularly, through the language of folk music functioning among Bulgarian communities who live in foreign ethnical environments in Hungary and Slovakia. It focuses on forms of attracting and using folk music on holidays and everyday lives by Bulgarians of different age and with different cultural interests, on the time and the reasons for settling down in another country, on specific social and professional environments. Looking at the ways of manifesting and experiencing the Bulgarian roots with our compatriots, the observations argue in terms of a strong presence of Bulgarian musical folklore in their culture.
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This is an attempt, based on the emblematic type of symbol, to interpret the problem of cultural identification of a musical text from an unconventional point of view, where the artistic events are projected in diachronic plan rather than in synchronic one. Such a viewpoint focuses on the question concerning the indications of comparison between the symbol systems of two epochs, being far removed for centuries, even for millennia. This remoteness in time has beyond doubt an impact on the sense of the text, which changes, even transforms accordingly to the historical context. But here is the very risk: to impose strange, but at same time habitual for us, notions to cultures, arranged historically and logically quite differently, for the simple reason that we give them a contemporary meaning, disregarding one of the main conditions of the communication itself communicating just like with different cultures, cultures other than ours. Analyzing the past epochs as differing ones give us the possibility to identify them culturally. At the same time it is a process of our own cultural identification being different from them and an opportunity to look from the side at our place in the history.
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Many politicians and academics consider European identity as rooted in Christian values. Two main questions arise from this assumption: does the refusal of Christian roots undermine the political identity of Europe? do unbelievers miss the understanding of music deeply connected with the Christian message, in this way undermining also the cultural identity of Europe? This study analyzes these themes, focusing in particular on the role music can play, both in the cultural and in the political field, in order to reconcile believers’ and unbelievers’ positions.
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Inaugurated as early as the 18th century (more precisely in 1722), with the birth ofthe journal entitled Critica musica - an important daily newspaper in which various composers of that time commented on their own creations - and continued by the attitude remarks and ideas on the validity of the value judgment of Romantic creators like Robert Schumann, Hector Berlioz, Franz Liszt, Richard Wagner, etc., music criticism developed in the 20th century as a branch of musicology. Being a form of pondering on the complexity ofthe sound phenomenon considered in its three-fold structure – creation-performance-reception – music criticism becomes a valid field when it begins to be practiced in the written press or in all the other media channels, by professional musicians in the true meaning of the word, with solid general-cultural and musicological training, capable of uttering well-substantiated opinions on the meaning or style of a piece of music in first audition, of apprising and judging the performance of an opus in a particular interpretative variant, and of contributing to the education of the audience and to the training of musical tastes in a coherent and responsible manner. Numerous comments, which appeared in English lexicographic volumes (Encyclopedia Britannica, The New Grove Dictionary of Music and Musicians), in various papers in French encyclopedias (Musiques Une Encyclopédie pour le XXI siècle coordinated by J.J. Nattiez, in Paul Griffiths’ work entitled Objectifs et impacts de la critique musicale) or in Romanian references (Muzicologia şi Jurnalismul. Muzica clasică în media românescă de după 1989 coordinated by Prof. Dr. Laura Vasiliu) and more, increasingly contributed to the individual development of this fascinating field. The purpose of our paper is not to achieve an actual history of music criticism, which would only be possible further to thorough research. Relying on the synthesis of relevant chronological and stylistic information related to the object of our research, we will attempt, by the transposition of this phenomenon in the teaching world, to prove the possible evolution of music criticism genres in a natural sequence and relation, from presentation – annotation – essay – review, to interview – opinion piece – column – portrait. In our opinion, this sequence contributes to their clarification, meaning that they may be immediately and professionally applied in music journalism.
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Iulia Bucescu, professor at the University of Arts „George Enescu” Iaşi, was one of the greatest educators of the Romanian musical education field. A remarkable personality of the academic musical life, Iulia Bucescu was renowned especially for her ars docendi, as she served the musical didactic skillfully, with a lot of passion, tenacity and knowledge. She was also a master of musical experiments, thus obtaining exceptional results with her disciples. Her methods, her own system of tools for the formation and improvement of musical skills, her mastership and educational experience find their relevance in the volumes of Music Theory, Solfeggio and Musical Dictation which are to be presented in this scientific paper.
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Theory of universal music learning, according to Gordon, is mostly directed at teachers. The text aims at showing the aspect of the application of E. E. Gordon's theory into early music education teacher's professional training in Kazimierz Wielki University in Bydgoszcz in Poland. The author recognises the importance of shaping research competences of future teachers as they help students use not only practical (pedagogical), but also methodological and empirical work of E.E. Gordon's theory. The text presents also the conclusion from research on the application of E.E. Gordon's Theory of Music Learning, carried out by students of early school and music education in Kazimierz Wielki University in Bydgoszcz in Poland. It is important to emphasise the fact that research has been conducted according to Gordon's procedures. Researching the Gordonian implications in Polish music education refers to its selected elements within the range of application of research problems, theoretical implications and selected diagnostics solutions in early music education (also E.E. Gordon's tools). The main idea of the text revolves around more and more popular aspect of making university and teachers training innovations and relations very practical (in Polish universal music education). Such expectations are taken into consideration in Muzopolis project - described in this text - from its begining has been the field of practical and empirical application of the elements of E.E. Gordon's theory with the use of staff and student team cooperating in the Faculty of Music Pedagogy of the Kazimierz Wielki University in Bydgoszcz environment
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The study presents the research results aimed at the survey of how music and movement stimulation improves the health condition of patient with Parkinson´s disease (PD). It is a chronic, slowly developing neurological disease, which essentially does not shorten the life of the patient but it impairs its quality. Clinical manifestations of the disease are tremor, stiffness, reduced movement, impaired gait, speech disorders, vegetative and mental disorders. Pharmacological therapy can decelerate the disease, but cannot stop it. The research aim of the study is to determine the potency of music and movement stimulation to improve motor abilities of patients with Parkinson's disease. Research sample represent three female patients suffering from PD for 3-5 years with expressed representative symptoms. The research results of qualitative study prove the potency of music and movement stimulation, applied within 10 and 20 days, on reducing the muscle tension, tremor, improvement of self-care, and stabilisation of
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The teaching and the formation of musical knowledge is not only a pedagogical act of knowledge transmission, but also an act of deep experience of music, of sonorous message perception, of investigation and discovery of the truth. Thus in this process the pupil is not only receiver, but also the confirming subject of musical work ─ the one who finds out/discovers/creates the truth, operating the mechanism of musical cognition ─ the comparison, the generalization and the application of musical knowledge. Thus, we anticipated the development of the experiment formation with the elaboration of a model of teaching and formation of musical knowledge to primary school pupils.
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The purpose of communication is to present a system of principles that constitute the high school course Introduction to dynamic musicology - a subject that is taught to future musicians / teachers of music and it is a consideration, a generalization, an actualization of the basic theories of musicology science and their interpretation in the context of the modern paradigm of scientific knowledge, as well as in terms of its active use in musical education and performing practice in the vocational and general music education system with appropriate adaptation. The given principles are formulated and developed by the author as a result of thinking / rethinking the basic traditional positions of musicology focusing on modern views of music as a spiritual phenomenon on topical issues of human initiation of the XXIst century to one of the highest manifestations of culture.
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During the last decades, a growing body of research has focused on the psychological and educational factors affecting the aesthetic reaction to musical stimuli. Many studies have shown that musicians and non-musicians tend to react differently to certain genres of music (country, twentieth century symphonic music, choral music). These significant differences may be due to familiarity with a specific genre, but mostly to the musical practice within a determined musical domain. The present theoretical research concentrates on several key experiments that proved that musical experience is an important factor regarding people’s aesthetic reaction. Educational implications of these findings are discussed in the concluding remarks.
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Complementarity Solfeggio, Music theory, Dictation disciplines - organic integrated to the discipline with methods and techniques - also agist differentiated interdisciplinary structure with decisive role in creating a complex and effective system of elements of stimulation and development of student creativity. The didactic game at solfeggio lesson - comes as a support, which integrates taught content, to develop student creativity.
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The content and structure of the school textbook of Musical Education reveals the Concept of Musical Education in the institutions of general education. A textbook addressed to a child that cannot read, write, calculate, etc. should reunite means specific to the artistic field in the exposure of the content elements: titles, images, figures, texts. The principles of organization and exposure of the content in the textbook page should reflect the children’s psycho-physiological possibilities, the fields of musical education (audition, interpretation, creation, reflection) and the concentric principle of the layout. The article contains the description of some innovative elements in the concept, content and didactic technologies of the musical education textbook for the first grade in the Republic of Moldova.
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The present paper deals with the problem of artistic cognition as a mean of artistic communication. This process is indispensable for decoding and revealing a sense, an image, an artistic content conceived in musical compositions by the composer. In the article are proposed and touched upon different types of musical cognition from the perspective of piano study: scientific, “dilettante” (amateur), artistic and pedagogical cognition. The author highlights the importance of introducing them in the study and the interpretation of musical compositions and solves some educational issues in the classroom of musical instruments. It is also worth mentioning that the artistic cognition is essential in the formation of the interpretative competence of the future music teacher.
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In past centuries, the sonatas for violin and keyboard showed a strong preeminence of one instrument over the other: sometimes the violin was assigned the leading role, and sometimes it was subordinated to the keyboard. Yet Mozart and Beethoven worked out a completely new concept promoting a balanced dialogue between the two instruments. In a similar way, the past decisions of the Court of Justice of the European Union and those of the Constitutional Courts of some Member States could be read as struggling for the competence of being the ultimate source of authority, whereas the most recent ones show an “ongoing conversation” through mutual reception of the respective decisions. This study offers a comparative view between the musical and the legal fields, trying to highlight specific analogies which connect them together.
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The author points out the process of the listener’s intro-opening to the musical art, event which engages all the person’s spiritual resources. It includes the volitive effort, backed by the intellectual component which is in a continuous dynamic growth. In author’s opinion the vocal knowledge of world and the knowledge of one’s own nature should be centered on the action to hear the conscience and to follow it, especially in the artistic field. Key words: conscience, vocal knowledge, performance, artistic intro-opening, intelligence,
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In byzantine music, most chants are based on the prosomoia troparia, which follow the pattern of automela troparia. In the original language in which they were composed, namely in ancient Greek, hymnographers (Saint John Damascene, Saint Romanos the Melodist, Saint Andrew from Crete, and others) managed, with a remarkable ability, to synthesize the dogmatic meanings and to ensure the same prosody structure of the prosomoia, according to the automela model melodies. This explains the fact that, in the process of teaching and learning melodies that draw on the original metric, the text of any troparion would always be sufficient to reproduce exactly the melody of the model, without resorting to musical neumes.The translation of liturgical texts in Romanian could not follow the rhythmic pattern of the original automela. Therefore, the translation of the troparia has led to inaccurate musical execution, the interpreter being forced to improvise, to the detriment of the original musical form. The present study offers a few practical solutions to facilitate the process of learning the automela, starting from a better matching of Romanian texts to the original melodies. Also, it proposes an interdisciplinary vision which consists in using the notions of formal analysis to understand the logic of the melodic discourse, which could facilitate the memorising of automela melodies.
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This article presents the project of regulatory documents for the elaboration of the general curriculum of the artistic education. They propose a system of key-positions, thought in such a way, to settle down the elaboration of effective curricular pieces for the development of children with special artistic potential. The principle of centering the educational process on the child is in the centre of attention of this project, having the aim to develop the musical and artistic potential of each child/pupil. We hope that the elaborations displayed in this article will help teachers to orient themselves in planning and organization of the musical educational process in an effective way on the basis of some new pedagogical visions on the unique personality of each child.
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