BULLETIN OF THE TRANSILVANIA UNIVERSITY OF BRASOV  VOL. 10 (59) - 2017

Special Issue No. 2 - 2017: Proceedings of the 7th International Conference “The Science of Music – Excellence in Performance”, November 22-25, 2017, Brasov, Romania
SERIES VIII  -  PERFORMING ARTS, ISSN 2344-200X (Print)  ISSN-L 2344-200X (Online), ISSN 2344-2018 (CD-ROM)

 

PERFORMING ARTS

Beldean, L.: Die Darmstadter Internationalen Ferienkurse fur Neue Musik: ein weiter Durchbruch in die Moderne fur die

       rumanische Komponistenschule I ................................................................................................................................................................

7

Belibou, Al.: Musical symbols of the ephemera – eternal dichotomy in the final movement of “Tehillim”by Steve Reich .................

17

Calefariu, E.: Vision and strategy for cultural management ............................................................................................................................

25

Cherciu, Al.: L’opera et l’oratorio europeens dedies a Jeanne d’Arc entre 1938 et 2014. Etude de dramaturgie musicale ..............

31

Chiciudean, I.: “Our Father”, music by Anton Pann. A sacred Concerto work from composer Viorel Munteanu’s view point ............

39

Codreanu, M.C.: L’humour dans les miniatures vocales des compositeurs roumains .............................................................................

47

Coroiu, P.M.: Liviu Danceanu, musicological dimensions of his aesthetics ................................................................................................

55

Dumitriu, L.: New ideas cast in old molds. Structures of musical forms in the “Sinfonia Concertante for Cello and Orchestra,

       op. 125”, by Sergei Prokofiev ...............................................................................................................................................................

61

Hanke, M.E.: The “G. Dima” Philharmonic in Brasov at the service of Creative Education in Music, in the years 1984–88 ...............

93

Ibanescu, C.: Hypostases of the “Spanish Baroque Sonatas” for keyboard instruments .........................................................................

103

Iosif, I.L., Rucsanda, M.D.: Elements of modal composition in Alexandru Pascanu’s Choral “Festum Hibernum” .............................

109

Isac, V.: Spectral thought in the work of composer Octavian Nemesc ..........................................................................................................

117

Itigan, M., Dragulin, S.: Beethoven’s dynamics seen in terms of his “Piano and Violin Sonatas” ............................................................

127

Karacsony, N.: Felicien David – the revealer of musical exoticism in the Romantic Era ..........................................................................

135

Kozlovsky, M.: Case study on the substitution of “Lullabies” with fishing and religious songs among Lipovan Russians in

      Dobruja ...............................................................................................................................................................................................................

143

Manafu, E.M.: Mozart’s “Sonatas for Piano and Violin” in the historical context of the Epoch ...................................................................

151

Mirea, R.: Distinguishing marks of the conductorial art, in Mariana Popescu's volume: “Ion Vanica. The magic of the children's

      choir” ....................................................................................................................................................................................................................

157

Nikolic, M.: Coral theatre in the Programs of the International Festival of Chamber Choirs and Vocal Ensembles in

      Kragujevac (Serbia) – Contributions to defining and structuring the term ...........................................................................................

165

Oarcea, I.: Archaismes by Sigismund Toduta – stylistic interferences, conducting interpretations .........................................................

187

Oncescu, I.E.: Continuo, cadences et point d’orgue dans les“ Concerts pour piano et orchestre” de W. A. Mozart .............................

201

Oprea, G.C.: Transformations of Romanian traditional songs in Constantin Arvinte’s choral creation ...................................................

211

Para, C.: Aspects of vocal and choral harmony from the conductor’s perspective .....................................................................................

219

Pasc, C.M.: Interventional highlights for children with disabilities and their families .................................................................................

231

Paun, F., Pepelea, R.: Texture and dramaturgy in “Recitative and Chorus no. 58”, from Bach’s Matthaus-Passion ...........................

241

Pepelea, D.: Organic structure of the form in the “Second Sonata for Piano and Violin, Op.6”, by George Enescu ...........................

249

Petcu-Catrina, M.: The Romanian lied. The first National Festival of the Romanian lied in Brasov (II) .................................................

257

Predoi, P.E.: Interdisciplinarity; reference to contemporary music pedagogy .............................................................................................

263

Radu, C.I.: The opera orchestra and great conductors in the 20th century ..................................................................................................

269

Savin, C.: The role of Archdeacon Sebastian Barbu-Bucur in the reactivation of the Romanian Religious Musical Education ........

277

Streza, D. Al.: Musical particularities in Paul Constantinescu's “Oratorios” ...................................................................................................

285

Szalay, Z.: Thoughts on the Transylvanian folksong competitions .................................................................................................................

299

Stefanescu, V.: Olivier Messiaen – Dimensions theologiques en hypostases sonores; Symbolisme chretien dans

      les œuvres pour Piano ......................................................................................................................................................................................

307

Suteu, C.: Trends in musician’s psychology .......................................................................................................................................................

315

Varlan, P.M.: Aspekte der ubermaßigen Sekunde im Wohltemperiertem Klavier von J. S. Bach ..........................................................

323

Voda, I.B.: Important aspects in developing the new musical curriculum for the Romanian educational system ...............................

331
Authors Index. ....................................................................................................................................................................................................... 339