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At the turn of the 21st century, the international art world declared that China was entering into a renaissance of style and theme. The combination of Chinese artist’s new exposure to Western art of the 20th century, as well as recent easing of censorship and the arrival of a new generation of artists inspired an economic force. The art auction market doubled in 2010 over the previous year with about half the art coming from China, making it a popular center for the contemporary art scene.Despite this boom, most of the research on the third wave of contemporary art is stylistic, not thematic. This thematic analysis examines the 25 highest priced sold pieces of art created by Chinese artists from 2000 to 2011 in order to locate the thematic roots of popular Chinese contemporary art. By identifying these themes, we can understand the identity of the contemporary Chinese artist and the contemporary Chinese art consumer. The six themes found in the collection are: restraint, control, exile and alienation, war, destruction and decay, and western organizational culture.
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Rad Kreativni stupanj izgradnje vizuelne slike – umetničkog dela predočava analizu kreativnog čina po stupnjevima izgradnje umetničkog dela vizuelnih umetničkih disciplina. Pretpostavlja nekoliko kategorizovanih stepena ovog procesa: misao, ideju, pred-vizuelizaciju, realizaciju i procenu. Navedena podela svrstava kreativni proces u definisane kategorije. Proces, koji je u svojoj biti senzitivan i interan, nije pogodna materija za ovakvu vrstu klasifikacije. Otud potreba da se kreativan čin raščlani na kognitivno i senzitivno i potom definiše po stupnjevima izgradnje nekog umetničkog dela
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All over the world, the past decades have seen a continuous decrease in the number of the audiences at classical music concerts. It is not only I who has long been occupied with the question of how to make classical music popular with the young generation. The education of the audience has been gaining ground recently in the policies of concert organisers and professional performing ensembles. The aim of innovative experience-based concerts is to complement the musical education of school-age children by familiarising them with the art of listening to music. Presenting the values of classical music, which is the main task of this mission, is in the interest of performers and audiences alike as they are in an interdependent relationship. Examining the habits of listening to music not only as cultural consumption but also as an educational issue, we lay emphasis on the methods of musical education and educating lovers of music. For this purpose, we focus on the development of an adequate receptive attitude and the improvement of receptive competencies. We have studied how the effective presentation of music and educational concerts can complement school-age children’s musical education in an experience-based way and familiarise them with the art of listening to music.
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This article is a case analysis about a young person defined by the psychology and pedagogy as ‘person with learning difficulties’. It presents a new-type approach of ‘skill-developing pedagogy’ (‘developmental pedagogy’) with tools of qualitative research. It is a description of an experiment, where finding the individual ‘motivating-points’ (mainly music) of a secondary school student with intellectual disability, and using a special method with intellectual ‘star-like-excursions’ prove how it is possible to work with success and delight even in fields of mathematics, history, geography, literature. Furthermore, these results are catchable not only in the fields of knowledge(s) and skills but in the changing of the features of the personality as well.
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The music education in medieval Transylvania is directly documented from the 14th century onwards. The most interesting musical codices concerning education are the Gradual from Şumuleu Ciuc (regional provenience, from about 1600, still in use 1680; signature A.V.5.), with mentions about the performance to the pupils, and the Gradual Öreg, a protestant source, printed 1636 in Alba Iulia, which contains didactical melodies with Latin texts, to learn the psalm tones.
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The present study approaches the history of Romanian education in the town of Sebeş – Alba during the first half of the 20th century. The paper considers Nicolae Lupu, a teacher of several schools in town, who contributed to the promotion of cultural and artistic values among the Romanian community in the area. The information referring to the teacher Nicolae Lupu comes mostly from documents found in the funds of the Sebeş Orthodox Parish and Astra from the Alba County Service of the Romanian National Archives. The material was organized chronologically, a process permeated with inherent difficulties due to the lack of information which would allow for the drawing of a complete professional trajectory.
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My communication analyses the relationship of interdependency between ideology and music in Romania. My intention is to discover this relationship in the discourses of the composers’ and music critics through what they understood by national style. We will see how this discourse has been influenced by the political context and modified in relationship with the shifts of the political regimes. Therefore, I will emphasize the discursive forms of the national specificity in music shaped by the apparently contradictory political ideologies. These range from the nationalist ideology that reached its peak in the interwar period to the communist ideology with its specific forms of nationalism. The temporal setting covers a period of almost one century which will allow us to observe the apparition, development and intersection of political ideologies, especially of the nationalism, and their reflection in understating the national style. The national specific discourse is, after all, one of identity perceived in relation to the otherness. The identity discourse fits into the process of the construction of the national identity, which assumes a definition and delimitation from the otherness. Therefore, we will have the national – universal dichotomy, based on the East-West or the Centrum-Periphery relation, and its metamorphoses. Thus, in the pre and the interwar period the emphasis is put on the ethnical element; in the communist period, with the first internationalist phase, the class solidarity replaced the ethnical one and, finally, in the nationalist phase the political strategies appealed to older sensibilities of the autochthonous collective imaginary.
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The Muzica journal – the only one specialized publication from the past century – during the historical decades, it has been submitted for a while to the political influences. Together with the cultural face of the pre-war (1916) and inter-war (1919-1925) periods, the political factor had a major influence of the post-war period (1950-1989). The acronym C-O-S-T characterizes the period in which the communism has transformed Romania into a “terror camp”. Thus, through Conformation the journal adopted the general political orientation, through Opposition it has declared the enmity towards old cosmopolitan influences, through Support promoted new musicians who rose up from the working class and through Transformation accepted the statute of the “new man”. The Muzica journal was – for decades – a cultural-political musical instrument in our country.
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Aspects of Musical Life during Adolf Hitler’s Dictatorship – in the beginning of the 20th century the world witnessed the rise of some of the most prominent dictators and the development of some of the most destructive wars in history. One of the most illustrative examples of totalitarianism in the 20th century is the reign of Adolf Hitler, which had a significant impact on the musical life in Germany. In this research we present some of the most important aspects of the musical contexts during the Nazi regime and the attitudes of some of the most important composers of the time. The Nazi regime systematically purged all influences of Jewish and modern music, promoting only music that was ideologically accepted. To implement these decisions, the Nazi leaders decided to take control of the institutions that included music, from society’s core institution – the family – to music in churches and schools.
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The utility of the sound phenomenon in the twenty-first century in the raw form of sound or as art of music is reflected more and more in the daily activities, as the sound and the word, separately or together, have an increasingly stronger impact over the masses, through the multiple forms in which they are employed. In all historical periods music reflected the mentality of people, but not every musical expression was elevated to the status of art, which is easy to notice if every stylistic stages taken in retrospect, from the Middle Ages to the present day. The stylistic pluralism, which was manifest in the last century in music, reveals the facets of our society and the crossroads of the musical art from the beginning of this century, catching a glimpse upon possible lines of development.
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Forty years ago we were at the beginning of a time when “music industries” were becoming the object of academic and political preoccupation. A fundamental piece of work for the field of philosophy, written by Theodor Adorno and Max Horkheimer, presents the intransigent analysis of ideological cultural trends produced during the Enlightenment and used to educate and control the “mass” social layer. The study is important for the history of cultural management due to the identification of the first acknowledgements of the cultural consumption markets and the commercial connotation associated to music by an aesthetic category named “artistic commodity value”. Although the debate seems pejorative, if we relate it to the contemporary theories and to the applicability that this field enjoys nowadays, it will remain in the exegetes’ conscience as a moment of historical reference. Adorno is the one who introduced the term cultural “industry” into the practice of management.
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This paper pays homage to one of the most important religious singers and music teachers in Braşov, but it is also dedicated to his cultural legacy (little researched and less known at a national level). We hope this will become an essential contribution to the latest effort of emphasizing his personality and the manuscripts preserved in the archive of the Museum of the First Romanian School in Braşov.
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The main idea of the study is hidden in the passion for Gregorian music. Each manuscript is unique and offers hidden clues about the region and the local culture of the area in which the manuscript was conceived. This study proposes an analysis of the Alleluia sequence reflected in the Gradual manuscript form Şumuleu Ciuc - A.V.5. This particular manuscript is devoted to special feasts. For better understanding, the study will offer all the transcriptions of the Alleluia sequences that are specific to the Marian devotion and the feasts that honour the course of her earthly life. The paper has different approaches justified by the need of understanding the impact of the Gregorian chant and the way that it influences musical language in the area of Transylvania.
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This study, after the succinct description of the poetical content of the lyrics that underline the songs cycle A Woman’s Love and Life, op. 42 by Robert Schumann, present in a synthetic table the form structures of the songs. Then there are presented the main tonal characteristics of the songs, the tonal ethos being associated and explained in relation to the dramatically content of the text. After the tonal synthesis, there are extracted and analyzed several interesting chordic solutions realized by Schumann in the songs cycle.
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It is well known the fact that Liszt’s programmatic music does not describe something concrete but rather suggests the feelings triggered by a certain action, theme, landscape or artwork. One of the first statements about Liszt’s intention of writing the Dante Symphony exists in a letter addressed to Richard Wagner, in which the composer confessed: “Like Virgil led Dante, you showed me the way trough the mysterious regions of a lively world of sounds. I say to you wholeheartedly: Tu sei lo mio maestro, e il mio autore – and I dedicate this work to you with all my everlasting love, Weimar – Ostern – 1850. Yours, F. Liszt” In the same letter the author adds, “and if you do not disapprove, I will encrypt your name” . This study aims to reflect the way in which the composer identifies himself with the main character of the Symphony, transcending this journey of creation further than reflected in his other works, in this way transforming the whole opera into an allegoric self portrait. The Symphony presents the protagonist Liszt-Dante starting a fascinating and at the same time terrifying journey through Inferno-Purgatorio and Paradiso, reflecting, probably more than in any other work of his that every note is like a confession of his own personal religious beliefs.
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The ballad of Mason Clement is known since the end of the 16th century. Csaba Szabó composed his work based on the version collected from Vlăhița, Odorhei county. He composed the adaptation of the ballad in 1967 for a mixed choir in four voices, for a children’s choir and for a solo instrument. It was published in the booklet entitled Egyszerű énekek I. (Simple songs I.) in 1968. The tune is repeated twenty-one times by various parts of the mixed choir or by the instrument. Various tempo signs show the limits of the musical parts of uneven length, which are adapted to the lyrics of the ballad.
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Important personality of the musical life in Cluj, composer and professor Adrian Pop (*1951) is the last of Sigismund Toduţă’s disciples, the great mentor of the Cluj School of composition. He continued his studies under the guidance of Cornel Ţăranu, one of the most representative composers of the Romanian Avant-garde, together with Hans-Peter Türk, Ede Terényi, Vasile Herman and others, who were themselves Toduţă’s students. Adrian Pop’s style reflects his preference for the national ethos, specific to the Eastern European composition Schools, protruded by the composition techniques of Western Avant-garde. The complex musical language is the result of long years of study in Romania, with personalities such as Ștefan Niculescu and Aurel Stroe, as well as in European musical centres, with Dieter Salbert (Bayreuth), Ton de Leeuw (Burgas), Joji Yuasa (Amsterdam). The impact of his works on audiences has materialized in national awards from the Composers’ Union (1978, 1980, 1989), the Romanian Academic Society Award (1996) as well as international ones, in Tours (1978), Arezzo (1979), Trento (1982, 1984, 1986), Roodeport – South Africa (1983), Spittal an der Drau (1986). His compositions impress both by their variety and themes, of folkloric inspiration, and by their refined polyphonic or heterophonic writing, as learned from his father, Dorin Pop, an excellent choir conductor and specialist in Renaissance music. Actually, his first successful work, Colinda de pricină (Reason Carol), inspired by the folklore in the Sălaj county and introduced to the audiences by Dorin Pop, conductor of the Cappella Transylvanica choir, was loved by the public even from its first performance and remained in the repertoire of all prestigious choirs ever since. This carol also leaves a mark on his future creations of folkloric inspiration. One of the distinctive aspects of his compositional style is the use of folklore in the form of a quoted song later metamorphosed in an ingenious counterpoint weaving. The subject of the present study is the most recent symphonic opus of composer Adrian Pop, the ballet Triptic (Triptych) (1998, rev. 2013). The work continues the series of symphonic creations, Etos I (1976) – on the theme from Mioriţa, a ballad from Sălaj county and Solstiţiu (Solstice) (1979) – a carol of the Sun “which was sung until recently in Bihor county”, as Adrian Pop says. Triptych reunites three different worlds of the 19th century Transylvania, in the three contrasting movements of the “little suite”: the first part evoques a savage world of fantastic realism, with tragic ending, an aspect which preoccupied the composer at the time, as it is also the subject of his doctoral thesis, Recviemul Românesc (Romanian Requiem) (2001). The second part, an idyllic progress of a couple’s life, is the passage to the whirling twirl of a folk song from Ţara Moţilor (the third part). The melodramatic melody treated heterophonically in the picturesque rhythms of Ardeal folklore and spiced up with specific timbres of the semantron and bells, lead the Triptych and its author, composer Adrian Pop, towards success in concert halls and give the audiences the hope for a new choreographic staging.
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