Born in Milan, Giovanni Battista Lamperti (the 24th of June 1839 - thelOth of March 1910) was the son of another famous singing teacher, Francesco Lamperti. He wrote a very important treaty for the singing generations to come: Die Technik des Bel Canto, in 1905, translated the same year, in English, by Theodore Baker (the Romanian translation from English and German by Tatiana Penelea and myself is called Metoda in bel canto). The Method proves the fact that he continued his fathers tradition, adding a strong personal touch. Considered to be a very severe teacher, G. B. Lamperti formed highly appreciated singers all over the world, such as Marcella Sembrich (1858-1935), Ernestine Schumann-Heink (1861-1936), Roberto Stagno (1836-1897), David Bispham (1857-1921), Franz Nachbaur (1835-1902) and many others. The XlXth century vocal art treaties, just like the one mentioned above, are extremely important, for the teachers, as well as for the students from the Musical Interpretation-Canto section. ...

Mariee Song, Le jeu, Chanson, Doina sont authentiques genres de musique folklorique roumaine que le compositeur Tudor Ciortea a pris de diverses collections, exploitation creative des elements de valeur archetypes. La Suite pour violon et piano sur des themes populaires dans Bihor en quatre parties revele toute la sensibilite artistique du compositeur, couronne par une technique originale de travail, une technique qui met en evidence en particulier les elements specifiques de l'Ethos roumaine. ...

By using as a starting point the text in verses written by the poet Publius Ovidius Naso, the music of this work attempts to capture, with its specific means, the very special vibration that goes beyond words. This lied, in its simple form, fits into the tendencies of the postmodern current, by turning to established structures and the tendency to recover traditions. The universe of a poem can thus find a correspondence that fulfils and completes the message, with its whole wealth of meanings. ...

Dacoromanians and Tartars have been living side by side in the Dobruja region for centuries, which is why I decided to research the traditional dance creations of the two ethnic groups. My intention, having analysed a selected repertoire, was to point out characteristic elements and find that mutual contaminations, whether favourable or unfavourable, occurred. I chose dance music because it is the most representative category of folklore for any ethnic group seeking to assert its national identity in a multicultural space such as Dobruja. ...

The premise of this article is that one method for establishing the identity of the anonymous addressees of the Tristia, Ovid's first book of letters from exile, is to assume that the author alludes to their names by reference to a famous namesake. This premise is based on the fact that a letter addressed to an individual called Brutus (the overtly-declared recipient of three letters) contains a reference to the famous Marcus Brutus, one of the assassins of Julius Caesar (Ex Ponto 1.1.24). We also explore another method of accessing the identity of these correspondents, namely the possibility that their names are creatively etymologised over the course of the relevant poem. We make the assumption that the anonymous letter Tristia 3.4 is addressed to this same Brutus, on the tentative basis that the intense sympathy shown to Ovid by Brutus in Ex Ponto is reflected in the behaviour of the recipient of Tristia 3.4. It emerges that the poem contains a wealth of highly cryptic allusions to the various meanings borne by the word 'brutus' in Latin. To assist this line of enquiry, we appeal to the meanings of 'CQJUOQ', the Greek equivalent of 'brutus', along with the nuances borne by the adjective 'brut' in Romanian. However there is also a highly iconoclastic aspect to our approach. For reasons that will be explained, we assume the position that Ovid has inserted words intermetrically within his elegiac couplets. These words may be spelt and scanned in a manner to be expected of an auxiliary cavalryman, resident in Tomis, whose first language is Greek, and whose funerary inscription is being composed during the indeterminate period between retirement and death. This is the persona we attribute to the exiled Ovid, who declares that his Latin contains unmetrical solecisms and who also declares that his ideal reader is one who takes his words at face value ('candide lector': Tristia 4.10.132). ...

The cultural act represents, from Lucian Blaga's perspective, the most significant expression of the anxieties of human knowledge around a threshold that was inconceivable, unimportant. Even though any effort toward knowledge is doomed to failure, this unstoppable charge of the spirit towards truth, this continual effort towards an impossible objective is the engine of evolution. The universe of Lucian Blaga's dramaturgy encompasses themes that go beyond the mundane, with the theatre plays created by him aiming for a world other than the real world, his characters being in search of more mysterious answers than the world itself could offer in its timeless. It is about aspiration, the desire for superior access to the essence of the universe, the suggestion of the possibilities of attaining the miraculous but never fully accomplished. ...

The title of this research, Pedagogical and Psychological Implications on Teaching the Inventions at 2 and 3 voices, by J. S. Bach, brings together three areas: music, pedagogy and psychology. We believe that only in the light of these vast areas of knowledge, the pedagogical act can be understood and built beneficially for the education of the young pianist. We have chosen the analysis and the comparative analysis as research method. The direct and palpable means ofpenetrating the music world is the score. Through it, the true meaning of creation is revealed to us. It is the cognitive function that generates musical thinking. What is proper to a musical decipherment that adheres to Bachian stylistics is to stimulate the student's judgment. The teacher's expectation is valid insofar as it leads the student towards the conceptual originality of the studied score. A good communication between teacher and student supports the clear understanding of the message of the score. The goal of unravelling the secrets of Bachian creation is to learn and enlighten the spirit of young pianists. And, a matter researched and understood by us, is the perpetual continuity of J. S. Bach's creation. ...

The use of space as a musical parameter dates from the early period of the Renaissance. This aspect gradually became a very used parameter in building the dramaturgy of various works from the Classical and Romantic periods. After the appearance and development of the electro-acoustic music, the idea of spatialization became a very important aspect of the entire trend. From then, researchers developed various technologies and computer applications with which various installations and pieces were and are created. In Phalaenopsis I for large orchestra I tried to create multiple spatialization effects using different strategies: placing performers offstage, creating various trajectories by creating dialogues between different groups from the ensemble or just working with dynamics. The resulted colors or timbre where improved by the use of different combinations between instruments, by using the organ and of course, by creating a rich acoustic environment. ...