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A Look inside Nathaniel Hawthorne’s Male-Centered Short-Story World
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In the value system of creative Byzantine culture, not only the composition (within the limits of the canons) appears, but also the rewriting – with additions, modifications, embellishments – of songs produced by others. Translating songs from one language into another with the related melodic retouching will also come within the scope of the notion of creative activity. Finally, the one who gives voice to the song, the performer, can intervene creatively in the melodic substance, thus encompassing the work of the hymnologist, of the gifted copyist or, eventually, of the interpreter. It is deduced from this that the notion of paternity is relativized; paternity not being a person’s privilege, nor even of a guild of ecclesiastical musicians; it is distributed unquantifiably between different people and specializations. The auctorial kenosis of Byzantine hymns of praise is in close connection with these phenomena, attitude whose deep conditions are: - humility in front of the one glorifed in the song, also being the source of inspiration – God; - respect for tradition, former teachers and early musicians; - the mechanisms of the composing act, the compositional algorithm; - opacity to artistic originality, care not to fall into the sin of the haughtiness.
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Anton Pann (1794–1797? – 1854) is an important figure in Romanian culture. His multifarious activities – as a church singer, teacher, translator, folk music and literature collector, editor, printer, disseminator of his own work – were only partly researched in the twentieth century, first by literati and folklorists, and during the last decades also by Byzantinologists, who focused on his work as a typographer and editor, as well as on his contributions as a historian, composer and church music theorist. From the various facets of his personality we will try to highlight that of church music teacher, by analysing the didactic fragment from his work entitled Theoretical basis of Church Music or the Melody Grammar (1845). We will place this attempt in the educational context of the Byzantine tradition and of the time, but also in the context of its relevance to modern Romanian and European pedagogy.
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The author of this article examines the multifaceted activities of Mikhail Berezovschi [Berezovsky], Bessarabia’s first professional choral conductor and composer of church and secular choral music, and traces the connections with the musical traditions of the South-Eastern European Orthodox church. The influence of musical traditions developed in Serbian, Bulgarian, Russian, and Ukrainian religious music is significant, therefore, the priest and composer Mikhail Berezovsky, undertakes the reform of Bessarabian church music according with these traditions. It is noted that Berezovsky denied the methods developed by Gavriil Musicescu in the modification of church music in Romania and did not adhere to the Oriental system developed by musician and composer D. Cantemir, that influenced the Romanian sacred music in the Phanariot era. Modern Moldavian composers are following the musical principles and traditions established by Berezovsky that are traced in his sacred and secular compositions. Berezovsky, the educator, established wonderful methods for recruiting members into amateur and professional choirs composed of adults and children. These traditions stood the test of time and are actively explored by the current choir directors who live and work in the Republic of Moldova. The author examines the characteristics of Berezovsky’s sacred compositions and discusses the influence of his musical style on the future composers and on the development of the genre of choral music in the Republic of Moldova from 1990 to 2015.
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This study highlights the Bessarabian spiritual treasure - the carols and other chants practiced during the winter holidays and found in the collections gathered by the eminent Romanian musicologist George Breazul. The author mentions the value of the repertoire contained in Breazul’s fund, gathered to the left of the Prut river, exceptional documents of the ethnic culture of the area, attested in the counties of Bessarabia: Cahul, Cetatea Alba, Chisinau, Hotin, Ismail, Lapusna, Orhei, Soroca before World War II. The materials collected in Transnistria, reported and commented by George Breazul, are of particular significance. As the carols are among the first samples of the Romanian traditional culture, they demonstrate its identity throughout the entire territory populated by Romanians. This finding corroborates once more the idea of the spiritual unity of the inhabitants on both sides of the Prut. The conclusions highlight the fact that the pieces from the mentioned collections represent an important source of scientific valorisation for ethnomusicologists, Byzantinologists, men of letters and theologians, the historians of the national culture who are eager to study, know and promote the valences of the Romanian spirituality on the territory of Bessarabia and Transnistria.
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The present research attempts to shape the evolution of Bessarabian musical culture in the context of the new realities, marked by the Union of Bessarabia with Romania, consecrated on 27 March, 1918. The climate generated by the great event accelerated the process of modernizing society, ensuring qualitative transformations in the fields of education, science and culture. During its historical course, the Bessarabian artistic movement has an ascending evolution, in which the musical art seeks its identity and its way of affirmation. Under the new conditions, the contact of the Bessarabian public with the European sound universe, in general, and with the Romanian one, in particular, is accentuated. In the series of Bessarabian musical culture manifestations, some dominant ones are highlighted: the activities of concerted character, the compositional creation and the musical-artistic education. A special role in the promotion of the national and universal academic music in Bessarabia was played by George Enescu’s tournaments in Chisinau and in the big cities in the region. The actions undertaken during 1918–1940 supported the aesthetic advancement through music of the artistic life in the province, ingraining it with superior professionalism that had strong reverberations on the climate and dynamics of the musical art on the left bank of the Prut river.
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On August 6, 1918, the first opera performance “Faust” by Ch. Gounod was acted in the capital of Bessarabia. The singers and the conductors of that period have transmitted the “secrets” of the musical theater, which are also valid for today’s artists. In particular, we refer to the local interpreters, trying to prove the existence of a link between the artists of yesterday and today. For example, tenor G. Borelli, the interpreter of the main role in “Faust”, was also a canto pedagogue of some well-known soloists of the Opera and Ballet Theater in the 1960s, and today’s well-known tenor, M. Muntean, was the student of another great tenor, N. Diduchenku, who was the disciple in the singing class of legendary L. Lipkovsky. We have also tracked other examples of the vocal field. We have also planned to make a review of the directors’ activity starting from I. Gorsky, from Basarabian Opera and ending with today’s stage directors. We attempted to bring into memory the conductors of the opera as well, ascertaining that the first one was M. Barca, as for A. Samoila, he is considered to be one of the most professional orchestra conductors ever of the Lyric Theater in Chisinau. We also noted the contribution they made to the development of the theater in Chisinau and that of the artists invited especially for certain performances.
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The study reconstitutes a brief creative portrait of the late artist on his 75th anniversary (1943-2006). A remarkable singer, songwriter, lyricist, folklorist, distinguished man of culture, T. Negara was a fervent promoter of neo-traditional music in the repertoire of the popular professional studio orchestra created by conductor Dumitru Blajinu in 1967, institutionalized within Moldovan Television and Radio Broadcasting. Te author attempts to synthesize and value both the published data on the theme and a number of novel archive materials. The exegetic discourse reveals the stages of the professional training of the singer, the sources of inspiration, the features of the vocal art, the style of interpretation, the structure of the repertoire, the genres, the species, the old and the new themes, the mechanism of taking over, adapting and valorizing the oral cultural heritage, in the hegemonic context of the communist power and the transition to democratization and globalization, specific to the seventh - ninth decades of the XX century. Te author aims to systematically build the image of an important actor on the arena of updating, standardization, valorization, media coverage and patrimonialization of the oral musical culture in the Republic of Moldova.
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The present study reveals the emergence of musical phenomenology in the context of the globalization and mutations of the cultural paradigm of the XX–XXI centuries, considering the changes in the Occidental music from Western Europe. In the Republic of Moldova, the fields of applied semiotics or of musical phenomenology represent a new area of investigation. The phenomenological exploration of music is not limited to the aesthetic dimension, involving extensive knowledge and in-depth analysis of the musical act. The present research highlights the necessity of interdisciplinary investigations of this scientific field. The first elaborations in the research of the musical phenomenology are mentioned, pointing out various perspectives of phenomenological research of music, including in the contemporary academic music, with references to electroacoustic music. In the analysis of music as a phenomenon, the vast problematics emerges – in the detachment of a method of characterizing the aesthetic experience, the emotional, temporal, spatial and cultural dimensions of music/art are taken into account. Thereby, the use of the phenomenological approach will provide new perspectives into the investigation of the creation, interpretation and perception of music.
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The purpose of this article is to reveal some features of hip-hop (rap) compositions appeared in the Republic of Moldova during the first two decades of the 21st century. Studying the most representative examples of Moldovan rap, such as “O şosea din Europa” created by Kapushon and Guz, “Laminat” by Mani and others, the author reveals different approaches to the sound part of rap works, offering individual sound concepts. The compositions written by Moldovan rappers translate both universal features of this aesthetic phenomenon and local features that evoke a lively response of the rap followers in Moldova. Besides protest, social criticism and eclectics of rap compositions, one can observe a strong influence of rap aesthetics and style on national pop music. The most representative example is “Carla’s Dream” creation, which demonstrates a successful interaction of poetical and sound discourse of rap with other stylistic sources. In this sense, hits “Anti-CSD” and “Eroina/ Sub pielea mea” are studied.
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The article debates the complex and multidimensional character of the actor’s manifestation in a cinematographic work of neo-romantic lineage in the self-knowledge and revelation area, the most enticing dreams and hopes of the author. Thus, the difficult process of regrouping and alienating the director from his cinematographic alter-ego denotes a typological eloquence in both the revelation and the amazing paradoxes paragraphs. After working with the interdisciplinary valences, the hierarchy of special values of the filmmaker Emil Loteanu becomes clear from the very start. It is highlighted by storing the nostalgia of absolute idealism in the lyrical heroine, while the lyric hero has to cope with the tribulation of unrelenting exams of consciousness. The narcissistic spirit of the Pygmalionic model is implicitly rendered to the female characters in the Loteanian creation; the male ones obtain a more complex structure, which oscillates between the affected parent-child relationship and the tense rivalry between the two artistic egos. In conclusion, the share of Emil Loteanu’s personality is signaled not only in the biographies of the native actors, but also in those of some celebrities from other countries.
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With the invention of moving images, the creators sought to supplement their sound. Before the invention of cinema, E. Reynaud gave performances in the optical theatre, where the moving images were connected to the sound. It was a pre-cinema experience, and it represented the theatre model of the audio-visual show. Attempts to synchronize the dynamic image and the sound were taken by T. Edison, S. Meshes, L. Gaumont, O. Kellum, E. Tigerstedt, J. Engel, G. Phocht and J. Massol. But the systems of these inventors were not perfect. The appearance of the optical sound-of-film systems ”Phonofilm” by Lee de Forest was a step towards the sound film. In 1923, he was acquainted with brothers Fleischer – outstanding American animators. With the participation of H. Riesenfield and E. Fadiman, they formed Red Seal Pictures Corporation and began to shoot ”Ko-Ko Song Car-Tunes”, a series of animated sing-along shorts (featuring the famous ”bouncing ball”).”Sing-along” shorts were produced in order for the audience to sing along their favorite songs before the session, reading the words from the screen. The animated ball bounced on the syllables helping the audience to follow the rhythm of the melody of a song. Films became the prototype for the modern karaoke and music animated show.
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The article highlights the most important stages in the evolution of the Moldovan television, starting with the opening of the station in 1958 up to the present. For six decades, this media has experienced glory and crisis times, facing ideological and social problems. In the 1950s an 1960s, when the Moldavian art and culture entered the Khrushchev thaw period, TVM was at the stage of exploration and the establishment of an audiovisual communication. Since 1970, TVM was subjected to ideological restrictions, becoming primarily a propagandist of the official ideology. Gorbachev’s “Perestroika” changes the TV policy. Taking advantage of liberalization, in 1990, TVM became the National Television, radically changing its conceptual landmarks. In 1994, it returned to the status of state television, which is equivalent to a regression. Globalization and competition with private stations leave their print on the artistic and aesthetic aspects of the programs. Today, in the conditions of performing techniques and technologies, the maximum saturation of the cultural-informational space, the television performance in the Republic of Moldova needs to be reconsidered from the point of view of form and content and adjusted to the requirements of the contemporary consumer.
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The potential for intercultural dialogue of the non-fiction flm (in fact, an important mission of visual anthropology) is quite a significant one, and this dimension can be exploited in many ways, starting from the festival formulas (for example, the highly appreciated cinematographic “feast” ASTRA FILM FEST in Sibiu - an annual international documentary film manifestation and visual anthropology - or the CRONOGRAF International Documentary Film Festival in Chisinau) and up to a less common “cinema of reality” project, in which amateur filmmakers from different cultures of the world (the experimental documentary O zi din viaţă/A Day of Life, 2011) were involved. In the case studies included in this article, we will refer to the documentary Podul de flori/The Flower Bridge (2008) directed by Thomas Ciulei, as well as to the already mentioned non-fiction film O zi din viaţă. These audiovisual products lend themselves to a complex hermeneutical approach, using indispensable filmmaking instruments, but also the anthropological vision.
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The article is an attempt to outline a trend in the contemporary world theatre that shies away from the usual set of main and supporting characters but focuses instead on a Chorus-like type of characters of equal importance whose plight is in the territory of the tragic. Interestingly, the audience in some of these shows is also drawn/made to feel as part of that tragic Chorus. Via the approach of the interpretative analysis several shows are being presented as examples of the trend – all of them created by star names of the current world and European theatre stages. References are also made to theatre waves that are either parallel with or partially coinciding with the tragic-hero-in plural trend.
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The article explores the atricality of the dramaturgic text as a way of typifying the cultural, discursive and artistic processes, the way of artistic and ontological viewing of the creative individuality and as a poetic category. In approaching the theme, we started from the idea that the poetics of a text emphasizes the author’s style, his ontological and artistic vision, as well as the changes of his vision depending on historical, political, cultural, aesthetic, etc contexts of writing texts. From the perspective of historical poetics, different aspects characteristic of Ion Druţă’s style are emphasized in the structuring of the dramaturgic text, especially the realization of the theatricality as a cultural-aesthetic phenomenon (at the level of stage directions, space-temporality, character, atmosphere etc.). The specificity of gender interference in the Drutitian artistic discourse, the intertextuality, the collaboration of the theatrical, narrative, musical, religious codes in the structure of the text, the role of contextualism, the elements of pre-theatre and meta-theatre in emphasizing the theatrical poetics are emphasized.
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In the appreciation of the theatrical performance, researcher Leonid Cemortan relies on the principles of aesthetics as a science of beauty, as a philosophy of beautiful arts, which determines the criteria of value judgment in the artistic sphere, the relationship of the theatrical performances with the reality and the truth. His aesthetic visions on the phenomenon are the key to opening up the significance of the performances. In monographs, theoretical articles, in reviews of performances, L. Cemortan relies on the categories of tragic, comic, dramatic, using the concepts of sublime, ideal, image, truth, realism. The aesthetic visions of L. Cemortan are expressed more broadly in revealing the significance of the performances Sanzeana and Pepelea, Ovidiu by V. Alecsandri, Casa Mare by I. Druta, King Lear by W. Shakespeare; Pasarile tineretei noastre (The birds of our youth) by I. Druta; Auditor (Revizor) by N. Gogol; Solo pentru orologiu (Solo for Horologe) by O. Zagradnic, Azilul de noapte (Night Asylum) by M. Gorki, Ciocarlia (The Lark) by J. Anouilh; Doina by I. Druta; Tata, Abecedarul, Pomul vietii (Daddy, the ABC, The Tree of Life) by D. Matcovschi. L. Cemortan stated that the theater must fulfill an aesthetic mission, spiritually enrich people, contribute to the development of national culture, stimulate social thinking, and thus enhance its social importance.
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The present paper discusses the emergence and evolution of the popular theater performances as ethno-social phenomena for the affirmation of the traditional culture, preserved and promoted in the contemporary world. We find that in the antiquity the practice of folk customs with the implication of ritual masking was motivated by the need of individuals to be transported and disguised with the help of masks in order to induce, on the one hand, the spiritual connection with the divine creatures, with the ancestors of the kin, with the totemic characters of the locality, and on the other hand, pursued the apotropaic prospect of obtaining, by hiding in mythical characters, the real or magical protection against the evil actions of demons, deities or supernatural malignant forces that, in the vision of the people, persecute and counteract human existence. The actor wearing the mask during the primitive era was marked by its sacred value, through which transcendence was made in time and profane space. With the passing of the years, substantial changes occur in the collective mentality of the people, clauses that motivated the gradual evolution of magical transfiguration into the playful one, attested in family and calendar habits, resulting in the desacralisation of the ritual mask.
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The present study aims to highlight aspects related to the preservation and perpetuation of the musical repertoire of the Lipovan Russians of Sarichioi commune. This ethnic group which constitutes a majority in the above-mentioned geographic area has conducted its existence according to immutable norms capable of ensuring the endurance of its identity in an alien environment. During my field research in Sarichioi commune, I noticed that the collective memory of the community retained a substantial musical repertoire, one that comprises both pieces from the native regions of the Lipovan Russians and pieces from their foster-land. The relatively closed nature of the Lipovan Russian community in Sarichioi commune has protected its musical repertoire from the danger of contamination or exposure to influences specific to the oral cultures of the Dobrogea region. I have, however, noted a disturbance which threatens to push this repertoire into the passive memory of this ethnic group or can bring about the disappearance of certain traditional musical categories in the future. The disturbance I am referring to is the decrease in the number of folklore singers in the community. To prevent such situations, it is our duty to collect the pieces that make up the musical heritage of Lipovan Russians and give them their due scientific attention, thus providing a chance to those interested in the future to discover and appreciate it at its true value.
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