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VOL. 5, No.1 - 2019
  • Daniela VITCU, Dean of the Faculty of Arts of the University “Ovidius” from Constanţa, Romania
    FOREWORD
    Dear Authors, esteemed Readers,
    It is with deep satisfaction that I write this Foreword to the 5th volume (No. 1/2019) of the “Învăţământ, Cercetare, Creaţie”, periodical of the Faculty of Arts of the University “Ovidius” from Constanţa, Romania. Edited by Musical Publishing House, Bucharest, our publication, which is Indexed in I.D.B. - CEEOL, appears both in print and online.
    This issue contains the Proceedings of the 10th International Symposium Învăţământ, Cercetare, Creaţie - Education, Research, Creation (I.C.C.), jubilee edition. ...
Articles
  • Loredana ADĂSCĂLIŢEI
    MISS RATCHED - A MONSTER BEHIND A MASK
    The actor goes through a particular method applicable in the construction of the role. Miss Ratched is the antagonist of Ken Kesey's novel, Cuckoo's Nest. While building this character, who on the surface seems to be very composed, powerful and controlled, while on the inside has a chaos roaming around, I have taken into account everything that she hides on the inside, everything hidden behind the mask, everything that turns her into a cruel person. Miss Ratched is the head nurse of the psychiatric clinic Salem State, where she exercises full authority among patients by prescribing their meds and deciding on their privileges, privileges that she is allowed to leave them without in case of misbehavior. ...

  • Ioan ARDELEAN
    THE MUSICAL-DRAMATURGIC ANALYSIS OF AN OPERA, THEORETICAL ASSUMPTIONS OF APPLICATIVE RESEARCH
    The opera stage has the singer as a power centre, he having to display on the stage a superior level of tangible, so as to convince the audience of the reality of his performance. From all the work steps, the one reserved to the dramaturgic and musical study of the opera takes the largest part in the calendar of preparing a show, hence the crucial role of the director in defining the performance, because the actors-singers must be initiated in the specific opera role play, the theatre-musical one. ...

  • Ioan ARDELEAN
    THE ITALIAN VOCAL MUSIC IN THE XVIITH CENTURY
    The XVIIth century was a period of transition towards the virtuosity we shall witness during the XVIIIth century. For a hundred years that precede the great singing epoch, we notice how aria is truly formed, how the recitative shapes up more firmly, becoming more vocal and lyrical. The singer will separate little by little from the composer, virtuosity being his only reason of living. Finally, thing of the greatest importance in the history of singing, in the XVIIth century, the castrati appear, these kings of virtuosity, whose genius will create this special art of the bel canto, which for more than two hundred years raised the Italian school of singing on the first place in the world. ...

  • Nicoleta Mihaela ARDELEAN
    THE COMPOSER GHEORGHE DIMA AND HIS LIEDER CREATION ON MIHAI EMINESCU POETRY
    The end of the XIXth century and the first two decades of the XXth are influenced in Transilvania by the remarkable personality of the composer, conductor, singer, professor, piano player, translator of literary texts, organizer of Romanian musical life from Transylvania, Gheorghe Dima. In the lied creation, Gheorghe Dima has the power to raise suggestions, to stir certain representations, his originality being unquestionable. ...

  • Nicoleta Mihaela ARDELEAN
    THE COMPOSER NICOLAE BRETAN AND HIS CREATION OF LIEDER ON MIHAI EMINESCU POETRY
    Nicolae Bretan, composer who wrote over 230 lieder, ordinary at first sight, without too many moments of virtuosity, but which spread a state of mind dominated by a deep sense of humanism, has been lately rediscovered, by both the critics and especially by the interpreters. His musical language was inspired and sustained by the poems of Mihai Eminescu, Victor Eftimiu and Lucian Blaga, but also by those of Reiner Maria Rilke, Johann Wolfgang von Goethe or Petöffy Sandor. ...

  • Anna BAMPALI
    THE INCORPORATION OF IRREGULAR METERS IN THE ELEMENTARY LEVEL PIANO REPERTOIRE BY 20TH CENTURY GREEK COMPOSERS
    Greek composers have created piano sets of elementary level since the first decades of the 20th century. They include a great number of piano pieces that follow the western compositional techniques of classical harmony or of somehow more contemporary sonorities. These are piano collections and cover a variety of musical elements and musical knowledge. In particular, the use of irregular meters can be very attractive to the students as well as to the piano instructor. ...

  • Andreea BRATU
    SOUND, PIANO TOUCH AND REFINEMENT IN PAVANE OP. 10 FOR PIANO BY GEORGE ENESCU
    Following his musical studies in the Art of Performance (Violin, Piano) and Composition in Paris, the young George Enescu came into contact with the French School and the illustrious composers and teachers. Famous personalities of the early Twentieth Century, such as Jules Massenet, Gabriel Faure and Ambroise Thomas, through pedagogical and especially compositional activity, opened the horizon of new possible stylistic paths in the music to young musicians, among which our compatriot, with this support, seems to have already found a formula of authentic and charming expression. ...

  • Gheorghe CARUȚIU, Daniela ȚURCANU-CARUȚIU
    CONCEPTUALIZATION OF THE LITERARY-PICTORIAL EXPRESSION - IN THE ORIGINAL ART WORKS OF VICTOR BRAUNER
    In the course of this study I have been following the way through the visual- language interact with the literary discourse on the one hand, and on the other hand I showed how important is the knowledge of the all original work of the painter Victor Brauner. For Victor Brauner, the inclination towards reading and writing meant a few precise and important things: maintaining and enhancing the artistic imagination, affirming and clarifying ideas, completing and explaining the plastic works, conceptualizing the pictorial expression. ...

  • Horaţiu CHERECHEŞ
    L'ART CHORÉGRAPHIQUE AU COURS DU XVIIE SIÈCLE
    Le XVIIe siècle est représenté par le style baroque, que l'on retrouve substantiellement dans la danse, la philosophie, la musique, la littérature, la peinture, la sculpture, l'architecture et le théâtre, caractérisé par la richesse des détails qui symbolisent des choses qui peuvent être facilement interprétées et sans ambiguïté. La période baroque est et restera la période la plus représentative de la fondation du ballet dans laquelle la technique de danse s'améliore, devenant un art exigeant au professionnalisme des études plus longues et de la persévérance, renforcée par l'effort représentatif des chorégraphes, danseurs et théoriciens de l'époque. ...

  • Daniela COJAN
    ART THEATER
    By creating the "Art Theater," along with Nemirovici-Dancenko, Stanislavski sought to create a complex realism, a refined and profound psychological realism, preserving the exact historical reconstruction, paying special attention to the execution of the decoration, replacing the painted canvas with practicable, an extremely important place, and carefully guiding the ensemble. The desire to escape the clichés used in the theater of the times made the two associates form this New Theater, a theater that will change the theatrical destiny in Russia, Europe and the United States of America. ...

  • Daniela COJOCARU
    LA MODERNITÉ DES DEUX DANSES POPULAIRES ROUMAINES PAR THEODOR ROGALSKI
    Le langage musical d'une époque, un compositeur ou une œuvre représente un ensemble d'éléments de style et de pensée musicale qui résument des idées, des expériences, tout le contenu de la vie exprimé. Le compositeur roumain Theodor Rogalski est un illustre représentant de la culture musicale roumaine de la première moitié du XIXe siècle. XX. Tout au long de sa création, il reconnaît la sphère musicale roumaine en reprenant des citations mais aussi par la présence de techniques d’écriture faisant référence aux processus de facturation traditionnels. ...

  • Ionuţ DULGHERIU
    THE THEATRE AS AN EXPRESSION OF THE MAN - CAMIL PETRESCU
    Affirming himself in the interwar period and continuing his prosperous career as a playwright, and after the end of the Second World War, Camil Petrescu is a prominent figure on the stage of the Romanian theater. His dramatic contribution is significant, especially if his theatrical and theatrical criticism is also taken into account, being responsible for imposing a new barrier in the Romanian theater, which in his time has successfully become the theater of introspection, lucidity, man simply marked by existential problems. ...

  • Radu-Corneliu FĂGĂRĂŞAN
    NICCOLÒ PORPORA, HIS OPERAS AND DISCIPLES
    Niccolò Porpora was a famous singing teacher and composer with notoriety in the glory age of the castrati singers. He composed 50 operas; applying the formula specific to the baroque era, with simple recitatives and aria da capo, representing the basis of the early 18th century in the Italian opera, which gave many opportunities to the singers to assert themselves and become the true stars on the stages from all over the Europe. ...

  • Ovidiu FELIPOV
    BRÂNCOVENIC STYLE IN THE ROMANIAN RELIGIOUS ARCHITECTURE OF THE 17TH-18 TH CENTURIES
    The issue of our research lies in highlighting religious art during the reign of Constantin Brâncoveanu. The present study aims at an analysis of Brâncoveanu religious architecture in close connection with the socio-political and religious context of the 17th-18th centuries. The historical and artistic researches, presented successively and concurrently, each with the specific route of study, make an objective analysis of the importance of the innovative style in the Romanian creation that has been imposed over the centuries in the national culture. ...

  • Mariana FRĂŢILĂ
    SOUND PICTURES IN THE LIED "LOVER STAR" OF DANIELA COJOCARU
    At the beginning of the XXI-st century, we are witnessing an artistic movement of overwhelming freedom. In all genres of cult music there appear works of great diversity where the composers, far from pursuing a fashion, express themselves in musical languages in accordance with their own artistic vision. The lied Lover star enters into the postmodern artistic trend. Being a contemporary work signed by the composer Daniela Cojocaru, we find on its pages elements of original language, melodic lines sometimes sinuous, complex harmonies, surprising rhythms; all these are merged so that they create true images that best suggest the message of the poetic text proposed by poet Lucia Cicoară Drăgan. ...

  • Cristina GELAN
    SPOLIA AND REUSE PRACTICE
    Spolia appeared for the first time in a Renaissance cultural context and the term refers to fragments of ancient buildings or statues of the ancient world that have been introduced into a new context, a phenomenon that has manifested itself particularly between the third and the seventh centuries. Used either as an economic necessity or as an apotropaic role, or to relate to past or continuity with the present or even as an aesthetic dimension, spolia is a complex phenomenon whose consequences can not remain unnoticed. ...

  • Adrian-Mihai HASNA-PREDA
    THE MUSIC WROTE FOR THE THEATRE SHOW “EMOTICON SKIN”
    One of the main fields of my composition activity is stage music, especially writing incidental music for theater shows. I have written the music for both state theaters and independent projects in the last seven years and this helped me develop my language and my cultural knowledge. All the arts are society’s mirror, but the performing ones are more anchored into it. The theater is, by definition, a performing art that has one of its main the purpose to reflect the world that we live in an either subtle or straightforward way. „Emoticon skin” is a show that puts into a humorous light the „language” of nowadays teenagers with their emoticons and all the abbreviations they use when they type or speak. ...

  • Mădălina Gabriela IONESCU
    "TEARS" THE LIED BY FELICIA DONCEANU
    Considering the complex landscape of Romanian music during the second half of the 20th century, -and the first half od the 21st centuri, and the richment of artistic solution offered by various forms of representative Romanian composers of this period of time, this paper proposes to highlight the artistic portrait of composer Felicia Doncenau, reflected in the vocal-chamber paper „Tears”, a complex portrait painted under the influence of collateral talents in the music field. Although it is a miniaturea paper in its essence, this lied called „Tears” is composed with unique lyrics, it is offering us a sound landscape born from moral criteria, by personal methods and means, crossed by syncretic thinking, assembled in an assumed stylistic freedom. ...

  • Mirela KOZLOVSKY
    ORCID iD icon
    THE DYNAMIC OF A COMMUNITY PRACTICE - THE LULLABY IN THE REPERTOIRE OF THE TURKS OF DOBROGEA
    Dobruja, one of the provinces of Romania, is a good example of multi-ethnic cohabitation. For hundreds of years, it has been the home of peoples which, through their culture, way of life, and tolerance, have yielded the current configuration of the region’s profile. In Turkish families from Dobrogea, particularly those in rural areas, changes have occurred as to the strictness of the life norms observed and passed on along the centuries. Nowadays traditions and mindsets from patriarchal times coexist with more recent, modern ones. The research strategy I opted for in order to complete my enterprise was the directive interview correlated with the audio recording method. The analysis of the lullaby “Dandini, dandini dastana” from the folklore of the Turks of Dobrogea has revealed that it belongs to the old stratum of traditional creations. ...

  • Barney McCULLAGH
    OVID’S POETICS OF DISMEMBERMENT; FASTI 2.73-121
    Our principal focus in this article will be the elucidation of the Arion star myth narrated by Ovid at Fasti 2.73-121. The methodology we adopt is unusual and involves redividing the text and reformulating it in order to access subtextual meanings. In order to contextualise this approach we first consider Tristia 3.9 in detail with special reference to the role of the ‘speculator’ (‘the look-out’). The intention is to reveal the polysemantic flavour of Ovid’s art which uses allegory, intertextuality, and etymological threads, to create a text that resounds with ‘mille sonos’ (‘a thousand sounds’: Fasti 2.119). We hope to persuade readers of Ovid that his grasp of astronomy, particularly the rising and setting of stars, is technically faultless. Any apparent discrepancies are in fact the result of our failure to apply Ovid’s poetics to the task in hand. ...

  • Mihaela MICUŢĂ
    STYLISTIC HIGHLIGHTS OF THE OPERA AND OPERETTA INTERPRETED BY BARITONE OCTAV ENIGĂRESCU
    The baritone Octav Enigărescu, a high-profile artist of the Romanian singing school, occupies one of the first places in the baritones pleiades from the second half of the 20th century, due to his multiple artistic profile, to his versatility. He was an interpreter of opera, of lied, and oratorio, director, professor, actor, manager of the Romanian Opera House in Bucharest, one of the personalities of Romanian lyric art, that contributed to its integration into the international artistic phenomenon. He possessed a rich range of colours and vocal shades, a voice of great ambitus, clear, warm, without strideness, nuanced enough to give the substance of the roles, with a bright, sharp, well-balanced center and a fairly consistent gravity. ...

  • Anca MIHUŢ
    LES FONCTIONS DU CHŒUR DANS LA TRAGÉDIE GRECQUE
    Commençant avec les dytyrambes, quand le choeur était le personnage collectif du drame, et jusqu′à la Nouvelle Comédie, celui-ci est passé par des nombreuses transformations qui reflètent les changements produits dans la société grecque, mais aussi celles d′ordre esthétique. Dans la structure de la tragédie, l′alternance choeur/coryphée – héros, reflète la confrontation entre l′ancienne voix de la Grèce – la voix normative, celle des croyances et des coutumes ancestrales, qui montre à l′héros la voie à suivre – et la voix du personnage tragique qui assume son individualité. ...

  • Ruxandra MIREA
    A COMPARATIVE PERSPECTIVE ON THE EMOTIVITY DEGREE TO THE TWO GENDERS, FEMININE AND MASCULINE
    The musician is by excellence, as demonstrated also by this research, a sensitive person who has the desire and ability to manifest his/her own emotions. His/her distinct and often overwhelming creativity to convey his/her affectivity creates an obvious differentiation between himself/herself and the rest of the world. The musical image has a great power of suggestion, through the sound vibration. The emotional flow transmitted through the created image, builds a bridge between the musician and the receiver, thus the neural pathways activated in the musician’s brain are also activated in the listener's brain. ...

  • Ruxandra MIREA
    THE POWER OF THE WORD IN THE MIRROR OF MUSIC, IN THE WORK "PSALMS", OP. 66 (1992), FOR THE MIXED CHOIR BY CARMEN PETRA BASACOPOL
    Carmen Petra-Basacopol is a composer whose contemporaneity honours us. Born in 1926, in Sibiu, Carmen Petra-Basacopol crosses the entire 20th century and part of the 21st century with a creation open to stylistic and spiritual experiences. The sacred music enriches and personifies the componistic profile of Carmen Petra-Basacopol, her concerns focusing on symphonic music, chamber music - instrumental, vocal and choral. The work Psalms, op. 66 (1992), for the mixed choir, reveals, through a chain of three psalms (22, 129, 46), a thorough and inspired musical science. ...

  • Elena-Mirabela MOROŞANU
    READING CARAGIALE. BETWEEN CONTESTATION AND ACKNOWLEDGEMENT
    An important question is, who Caragiale really was and how can his psychosocial and professional profile be defined? It is rather difficult to identify a certain place, relative to the necessary precepts of the literary movements or the social conventions of his times. The affable Caragiale becomes a misfit who always functioned out of sync with the tendencies of his era and the wishes or decisions of his contemporaries. ...

  • Ioana-Alexandra MUNTEANU
    THE HARVEST SONG IN TRANSYLVANIA, A SPECIFIC SPECIES OF OCCASIONAL LYRICS
    The multitude of spring and summer customs unfolds in close connection with the labour tasks in rural areas. One of these is the harvest custom, practiced in our country ever since ancient times during the various agricultural activities. The practice of this custom is aimed at obtaining richer crops. The geographical area covered by this custom is rather limited to some parts of Transylvania, and more importantly, it appears in the Năsăud area, where there are a number of specific musical productions entitled Harvest Songs, interpreted by women who physically participate in the joint work of harvesting, along the various moments of the ceremony. ...

  • Silvia Sorina MUNTEANU
    CUSTOMS AND TRENDS IN THE PROFESSIONAL PHONATION
    The customs of the pedagogical practice, as well as the professional practice, can be talked about indefinitely and is dependent on the school from which the specialist comes, or his professional experiences. It is important to always keep in mind the principles of professional singing, namely, to be able to sing effortless throughout the vocal score and to keep the voice young and beautiful for at least 25 years. Voice broadcasting is a custom that is often based on subjective information, even though it refers to the way in which sound is produced and should be based on scientific information. Breathing, though, less affected by subjectivism, tends to be caught in the whirl of circumstantial information. ...

  • Manuela OLTEANU
    RÉVEILLEZ LE VIOLON QUI EST EN VOUS!
    Après avoir travaillé sur la valorisation de la voix au collège, voix humaine instrument de musique et outil de communication – le corps étant son écrin, je souhaite communiquer sur la méthode d’apprentissage du violon «Réveillez le violon qui est en vous» ! Mon idée va s’appuyer sur la décentralisation de l’apprentissage de violon, pour permettre à un plus grand nombre d’élèves d’accéder à un enseignement de qualité, dans leur propre École. ...

  • Maria Pia PAGANI
    ELEONORA DUSE AND THE OPEN AIR THEATRES
    The actress Eleonora Duse had a particular attention to the outdoor performance, and a memorable moment in her long career was the juvenile staging of “Romeo and Juliet” in Verona. The impression of the audience and her emotions in the Roman Arena are described in the novel “The Flame of Life” (Il Fuoco), written by Gabriele d’Annunzio. Her artistic dream – shared with the Poet – was the building of an open air theatre in Albano Laziale, on the shores of the Lake: nothing came of this plan, but it would be an educational project aimed to the spiritual development of the people, creating a vital contact between Art and Nature. ...

  • Ioan PANTEA
    GEOMETRY AND COMPOSITION - GOLD SECTION
    The man's concern for beauty and comfort has, in time, highlighted relationships of interdependence between the aesthetics and the functional, causing the emergence of environmental, ambient, habitat and object concepts that today govern many aspects of the everyday life. In composition, the most important concept is the concept of proportion; it refers to the relationship between the visual and the elements. ...

  • Camelia PORUMB
    DESIGN OF LIGHTING TECHNIQUES FOR WORKS OF ART
    This paper introduces a case study regarding exhibition and art gallery lighting techniques. In order to design the lighting system, we used the DIALux program, which allowed for computer simulation so as to get visuals on the setting to be lighted. The advantage of the computer-assisted design lies first of all in the increase of the quantitative and qualitative analysis accuracy of related lighting systems, under fast performance conditions of necessary complicated calculations. ...

  • Geta-Violeta RĂVDAN
    JUDSON DANCE THEATER – A PRECURSOR TO POSTMODERN DANCE
    The Judson Dance Theater represented a strong cooperation within the American choreographic vanguard which was initiated in 1962 by various artists: dancers, directors, musicians and plastic artists. Inspired by the innovative methods of John Cage and Merce Cunningham, these brave artists manifested their creativity through experimental workshops held within a Baptist congregation, the Judson Memorial Church of New York, hence the name the artists picked. ...

  • Laura Sînziana CUCIUC ROMANESCU
    SYMBOLISM AND ARTISTIC REPRESENTATIONS OF GOD MITHRAS IN GREEK-ROMAN WORLD
    Mithra's history is an unique and paradoxical one. Unique because this god was a stranger to the pantheon of the Greeks and Romans, but not to their Indo-European ancestors. Accepting a god of allogeneic appearance, wearing Persian trousers and a phrygian cap, the sons of legendary she-wolf re-established a tradition, at least in part, with an ancient religious hereditary patrimony. But Mithra's cult, as the Latin Occident had received it, also incorporated a part of Greek culture, and even though the god kept the Asian costume, his myth and his symbolic images, he had settled in the syncretic pantheon of the Hellenized Near East. ...

  • Adrian ROŞU
    JACQUES IBERT. QUATRE CHANSONS DE DON QUICHOTTE
    Among the representative names of European composers of the first half of the 20th century, there is the French composer Jacques François Antoine Marie Ibert (1890 – 1962). On the list of his countless creations, covering almost all musical genres, are found the four “Songs of Don Quixote” (Chansons de Don Quichotte): Song of departure (Chanson du départ), Song for Dulcinea (Chanson à Dulcinée), Song of the Duke (Chanson du Duc) and Song of the death of Don Quixote (Chanson de la mort de Don Quichotte). ...

  • Lelia RUS PÎRVAN
    BEAUTY AND PROPORTIONS OF THE FEMALE BODY IN THE ART HISTORY
    In the famous drawing of the man engraved in square and circle, Leonardo da Vinci created the icon image of correspondence between man and universe, based on the "divine proportion". The perfection of the universe has as its symbol the circle, and man, the small universe, enters this circle. The main research of Dürer’s work over the proportions of the human body, without beeing a tribute to Antiquity, it is a glimpse of the fundamental principles of anatomy and, namely, that of harmonizing the parts together. ...

  • Alice Maria SAFTA
    THE PIONEERS OF THE ROMANIAN DRAMATIC TEXTS
    It is important to mention since the very beginning that the dramatic text is in fact a form of written dialogue meant to illustrate an action. Within the written works, one must make the difference between the theatrical and dramatic language. If the theatrical language (typical with theatre performance) is the result of a build-up of sub-systems - decor, music, dance, lights - which create communication at a level of representation by merging together, the dramatic language can function as a literary text. ...

  • Ancuţa Simona SANDU
    THE INFLUENCE OF CHORAL MUSIC REGARDING THE COGNITIVE DEVELOPMENT OF STUDENTS
    The present paper wishes to present the benefits of the interest of students in what concerns choral music and also the means through which the music teachers support and diversify the choral activity in school and in the community. Teachers use basic skills in choral conducting and also pieces of knowledge in order to establish and coordinate a choral assembly. These are concepts which regard personal performance, musical style and also the psychology of children. The musical language is evidently, a progressive habituation, prevailing in it for a certain reason, pleasure and motivation. ...

  • Mirela STÎNGĂ
    L'ART CHORÉGRAPHIQUE À CONSTANTZA. LE RÊVE D'OLEG DANOVSKI. UNE BRÈVE HISTOIRE
    À Constantza, l'idée d'art chorégraphique est liée au nom d'Oleg Danovski (1917-1996). Ballerin et célèbre chorégraphe de l'Opéra National de Bucarest, le rêve d'Oleg Danovski était de créer un théâtre de ballet indépendant qui ne serait plus subordonné à l'Opéra. À Constantza, son rêve a commencé à devenir réalité en 1978 lorsque, avec le soutien du directeur du théâtre „Fantasio“, Aurel Manolache, a été créé l'Ensemble de Ballet Contemporain et Classique „Fantasio“, qui est rapidement devenu célèbre. ...

  • Delia Claudia STOIAN-IRIMIE
    STRUCTURAL FEATURES PRESENT IN LAMENTS FROM BACĂU COUNTY
    Ancient thinking does not consider death as an end of the soul and body, but as a passage followed by another stage of existence. The pathway to heaven begins on earth with the first preparations that are made by the living for the deceased. The funeral repertoire comprises three musical species that have distinctive features both on the functional plane and regarding the themes and style. ...

  • Adela ŢÂRC
    THE ROLE OF THE UNIVERSITY TEACHER IN STIMULATING STUDENT LEARNING MOTIVATION
    Success and failure, respectively, occur today as a reality with significant implications both in the life of the students and in the Romanian university collectivity. Our study aims to find answers to a few questions: why students or graduates of a university can distinguish themselves through their performance and why others fail in this attempt; to what extent the pedagogical factor, the university teacher, determines these performances within the context of the instructive-educational process, through the efficiency of the teacher’s work, the didactic strategies used, the observance of the individual differences, the manner of student assessment etc. ...

  • Iliana VELESCU
    CLASSICAL INFLUENCES IN FREDDIE MERCURY'S MUSIC
    Freddie Mercury's skills as an amazing composer and singer contributed not only to the success of the band but also to the reinventing of rock music in a cultural era marked by the development of many genres and styles. Many of Queen's works are known to a large audience for many generations. Understanding the instruments of creation, the keys and chord progressions, the new techniques of sound processing, the influence of the styles and the essence of a musical composition represents a challenge for any musician, regardless of what kind of music he/she belongs to. ...

  • Octavian Denis VELESCU
    NUMERICAL RELATIONS BETWEEN SOUNDS
    The numbers have been always and are still a fascinating subject. Due to the abstract nature, they have sometimes been associated with mystical elements, but have often contributed to defining more things of an exact value. The first aspect was further reinforced by the fact that certain geometric relationships (such as the square diagonal, the ratio of the length and diameter of the circle or the equal ratio encountered in the pentagram) failed to be defined by whole numbers, keeping the hidden continuum an absolute numerical value. ...

  • Aurel PALADE
    NEW MEDIA AND THE INTERACTION WITH CINEMA (online version only)
    This paper aims at a brief presentation of the phenomenon represented by virtual reality, a phenomenon whose scale and development revolutionized the world of the 21st century. Virtual Reality is a concept that allows, with the help of modern technologies, the creation of an illusory environment in which the user is induced to feel in a real space with which he has the possibility to interact. ...

  • Aurel Palade
    THE CIVIC VALENCES OF THE THEATRICAL PHENOMENON. THE SHOW FOR THE AUDIENCE OR AUDIENCE FOR THE SHOW (online version only)
    The present article is a brief presentation of the way the development of the post - modern society influences the manner in which the performing arts must reference modernitys' contribution to contemporary society. Information overload has cultivated a selective assimilation mechanism in the audience, which theater couldn't ignore, adapting its' means of expression to captivate the spectator. ...

  • Aurel Palade
    THE PECULIARITIES OF EFFECTIVE TEACHING THROUGH THEATER (online version only)
    The paper aims to be an overview of the use of modern technological means in the theatrical, environmental art environment, wich has not been insensitive to new discoveries in visual and auditory communication technology. Although at the beginning of the emergence of the media, theater people were refractory, considering their use to be a dramatic phenomenon to dramatic art, now their use has become a constant. ...

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