-
Daniela VITCU, Dean of the Faculty of Arts of the University “Ovidius” from Constanţa, RomaniaFOREWORD
This issue contains the Proceedings of the 9th International Symposium “Învăţământ, Cercetare, Creaţie - Education, Research, Creation” (I.C.C.), jubilee edition dedicated to the celebration of two decades of artistic academic education in Constanța.
I.C.C. continues a tradition of bringing together researchers, academics and professionals from all over the world, experts in arts and human sciences.
The symposium particularly encouraged the interaction of researchers and developing academics with the more established academic community in an informal setting to present new and current works. ...
-
Ana-Maria ABRUDAN
CONSUMERISM - A PARADIGM OF CONTEMPORARY DESIGN.
Why did we start the design process with the object and not by looking at the system, first? Can design respond to challenges, or is it a victim of its own success, for serving industry, consumerism and global political agenda? How could design deliver more sustainable production and consumption concepts, together with improvements in the quality of human life and other co-existing life forms? How does the role of the designer evolve, since the expectations grow and take into consideration questions about the faith of the planet? Designers and all those who call their design efforts, need to question their role in the XXI century. ... -
-
Ioan ARDELEAN
THE BEL CANTO PEDAGOGICAL CONCEPTS FROM THE PAST CENTURIES, BASIC PRINCIPLES FOR CONTEMPORARY STUDY
The scientific research of the vocal art is an analytic, critical process of knowledge and has as main purpose to explain, understand, optimize and innovate the instruction and enducation activity, calling first on a theoretical exploration and then on a practical one of the functional and causal relationships among the pedagogical concepts and the artistic act. The scientific research specific to the field, which has become the major concern for some singing pedagogues, for some groups of associated specialists and for specialized institutions,intends to x-ray, know, understand and interpret on one hand the principles formulated by the singing studies in the past centuries and on the other the anatomical, acoustic and sound phenomena united in a cybernetic kind of relationship. ... -
-
Ioan ARDELEAN
OPERA BUFFA, DEFINITION, ORIGINS AND BECOMING UNTIL W.A. MOZART
The comic opera or opera buffa, which could be scarcely found until the beginning of the XVIIIth century inside opera seria, through minor comic characters or between acts, as intermezzi, once with the first representation of the opera La serva padrona, by Giovanni Battista Pergolesi (+1736), which is generally considered to be the first opera buffa, where music and poetry are happily mixed, fully accomplishes the dramatic function and becomes autonomous. At the beginning inspired by archetypal characters from comedia dell’arte, then more independent, with a powerful and sharp sense of sarcasm, drama and pathos, opera buffa becomes known and appreciated. ... -
-
Nicoleta Mihaela ARDELEAN
THE INTERPRETATIVE ANALYSIS OF THE „8 LIEDS FOR A SOPRANO” SERIES BY RADU PALADI, DEDICATED TO THE SOPRANO NICOLETA ARDELEAN
The lied in the Romanian music historiography is considered to have as primary source the traditional folk song, but in its evolution there are known several steps of transformation and decantation. It starts from collecting the folklore , asserting and processing it, then it assimilates the European models, and reaches the level where the aboriginal element is adapted and incorporated into the European miniature vocal norm. The Romanian composers from the second half of the XXth century have enriched the lieds repertoire with new artistic values. Among them we notice Radu Paladi (1928-2013), with a diverse creative activity, characterized by expressiveness and inventiveness. ... -
-
Andreea BRATU
THE PIANIST PERFORMER, NOWADAYS. A CREATIVE PRACTICE OF THE INSTRUMENT RECOMMENDATION
The Pianist Performer, it is a super-computerized humanoid with maximum analytical and psychological capacities, cold and calculated elite, able to play complex musical scores in front of an audience without any technical mistake or the artistic excitement of the individual musicality used to decipher and assimilate the subtle and profound musical context? Today, we are confronted with a strange dichotomy of what in the Golden Age of a past century pianism was a Vocation in itself. ... -
-
Andreea BRATU
CLAUDE DEBUSSY, THE PIANIST-PEDAGOGUE: POSSIBLE SUGGESTIONS FROM THE INSTRUMENTAL PIANO PRACTICE OF HIS TIME
Claude Debussy, one of the creators of a visionary innovative European Musical Language historically assimilated to the Impressionist stream of the late 19th century - the beginning of the 20th century was also a refined and original pianist who through his constant concern to offer interpretations given either through the remaining documents (correspondence, journal, written articles). Information directly shared with the pianists with whom he collaborated, in order to promote a proper – according to his artistic vision- concert performance of his music, he also defines for posterity qualities as a pianist-pedagogue giving straight or allured clues about the particularities of a new, specific performance. ... -
-
Gheorghe CARUŢIU, Daniela ŢURCANU- CARUŢIU
ORGANIZATION METHODS OF THE PLASTIC SPACE. THE COMPOSITION CONCEPT.
This study is focused on the didactic side of visual arts and aims to demonstrate the importance of the in-depth exercise on the compositional-geometrical elements of the visuallanguage, oriented in the area of creativity, in the interdisciplinary directions and the formation of the students from the visual art profile. For this reason it is impetuous to take into account both the theoretical and the applicative content of the disciplines, because the grammatical and artistic technologies work together, ultimately contributing to the acquisition of the artistic expression. ... -
-
Mariana FRĂȚILĂ
STYLISTIC METAMORPHOSES IN THE LIED "THE SMILE" OF DANIELA COJOCARU
Through its artistic expression, music has the gift of transmitting deep feelings and feelings, because by sound combinations of a subtle variety, it can access areas of consciousness that we can not even guess. This lied signed by Daniela Cojocaru on the lyrics of the poet Vasile Nicolescu, in a simple form, fits into the tendencies of the postmodern current, because there are echoes of some language models already accessed and some tendency to look at the local traditions. ... -
-
Geta-Violeta HUNCANU (RĂVDAN)
CHOREOGRAPHER DIRECTORS IN THE REALM OF MUSICALS
The choreography of musicals is in constant relation with the unfolding story, being subordinate to text and music. Gestures, scenic movement and choreography have the purpose of completing the dramatic action, the power to underline essential aspects of the story and can offer new meanings to the spectator. Thus, by desire of achieving complete control upon the realization of musical productions, choreographers such as Gower Champion, Jerome Robbins, Michael Bennett or Bob Fosse have chosen to create their own model of a unitary show, by choosing their own text writers and composers. ... -
-
Mirela KOZLOVSKYTHE FUNCTIONALISM OF MORPHOLOGICAL ELEMENTS IN THE CIPAN AROMANIAN LULLABY “DORNJI SCUMPUL A`LI MANI”
Aromanians, originating in the southern Balkans, constitute a distinct category among the Eastern Latin populations. They are currently found in Greece, Albania, Macedonia, Bulgaria, Romania, Serbia and Croatia. They immigrated into Romania at the end of the First Balkan War (1913) and settled mainly in Dobrogea. Their creative sensitivity has engendered original pieces of art regarded as genuine national treasures. Among Aromanian artistic accomplishments there is the lullaby, a unique folkloric subgenre with particular features and a precise function. ... -
-
Barney McCULLAGH
CROWS AND CORMORANTS: HOMER ODYSSEY 5 AND 12, ARATUS PHAENOMENA 949-953, AND CICERO PROGNOSTICA IV. 8-9
The word in Greek for both crow and cormorant is‘κορώνη’. This sets both Aratus, and Cicero a difficult challenge as they seek to explain how these birds’ behaviour constitutes signs of a change in the weather. How do these authors distinguish between the different meanings of ‘κορώνη’ which also include ‘garland’ ‘culmination of a festival’ even ‘bones in the jaw’? Faced with such diversity, the authors weave a form of literature that is at once chameleonic and kaleidoscopic in movement. ... -
-
Ruxandra MIREA
EMOTIONS AND COGNITION IN THE MUSIC SERVICE
In this scientific paper, we propose an approach necessary for the understanding of the process of musical creation and interpretation, from the perspective of psychology. We believe that music acts directly, consciously or not, on the brain, thoughts and affections, and especially on the spirit of a melomaniac. Achieving vocal, instrumental, conducting performances or performances in the field of musical creation is similar to accessing and amplifying thinking as well as psychic mechanisms such as motivation, affectivity, communication, attention, will to stimulate behaviour and regulate it. ... -