Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts

Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://webbut.unitbv.ro/index.php/Series_VIII <h2>Journal description</h2> The journal is placed under the academic cover of the Faculty of Music from Transilvania University of Brașov, Romania, and it is an international academic publication, in which articles are published in languages of international circulation: English, and French. The high academic level of the journal is ensured by double-blind peer-review evaluation by two renowned specialists in the field, from the country and/or abroad. The Journal is indexed in EBSCO Publishing DataBase (<a href="http://webbut.unitbv.ro/public/site/documents/admin/a9h-subject.xls">http://www.ebscohost.com/titleLists/a9h-subject.xls</a>), from 2009, CEEOL (<a href="http://www.ceeol.com/search/journal-detail?id=898">http://www.ceeol.com/search/journal-detail?id=898</a>), from 2011, Crossref (<a href="https://search.crossref.org/">https://search.crossref.org</a>), from January 2019 and is accredited by the Romanian National Council of Scientific Research (CNCS) in the <a href="https://uefiscdi.gov.ro/userfiles/file/IC6%202011/Reviste%20romanesti%20recunoscute%20de%20CNCSIS-%20categoria%20B_plus.pdf">category B+</a> of the scientific magazine. Publication in the journal is free for all authors. Open access (OA) articles are published under Creative Commonslicences (CC BY). These provide an industry-standard framework to support easy re-use of open-access material. <h2>Aim and Scope</h2> The main purpose of this journal is to present the most recent findings in music studies, directed at increasing the understanding of how music is perceived, generated, and represented. The journal invites established researchers, specialists in the music field, as well as young researchers, to take part in the construction of a space for debate in the humanities, to engage in an interdisciplinary dialogue within the music-related domains of empirical musicology, psychology, sociology, cognitive science, artificial intelligence. The journal presents academic perspectives that investigate a variety of challenges in the following fields: <ul> <li>Musicology</li> <li>Music Education</li> <li>Performing Arts</li> <li>Ethnomusicology</li> <li>Anthropology</li> <li>Music Therapy</li> </ul> <a href="http://webbut.unitbv.ro/index.php/Series_VIII/about" target="_blank" rel="noopener">Read more</a> Old Site Use this <a title="Series_VIII" href="http://webbut2.unitbv.ro/Bulletin/Series%20VIII/Series%20VIII.html" target="_blank" rel="noopener">LINK </a>to access the content of the old Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts journal site! Transilvania University Press en-US Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts 2344-200X Parmenides-Plato: (Musical) Ontology https://webbut.unitbv.ro/index.php/Series_VIII/article/view/8301 Aurel Stroe is one of the few Romanian composers after Enescu who was privileged to extract the essence of his sonorous universe from extended cultural areas, which in fact feed the highest quality ethos. Parmenides was considered by some researchers as the first great idealist, being the first to distinguish between the material and the immaterial, specifying the fact that reality cannot be known only through the senses: this leads to the central concept of BEING, seen as immutable, eternal, unique, homogeneous and indivisible reality. Aurel Stroe insisted in his lectures and courses on the ontological identity of the work of art, being one of the few composers who discuss its being. Petruța-Maria Coroiu Copyright (c) 2024 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ 2024-10-09 2024-10-09 7 14 10.31926/but.pa.2024.17.66.1.1 Narrative elements in “Piano Sonata no. 1, op. 11”, by Robert Schumann https://webbut.unitbv.ro/index.php/Series_VIII/article/view/8302 Robert Schumann was an early and significant advocate of a change in musical narrative techniques. Additionally, he presents an instance that is historically specific, demonstrating the interconnectedness of verbal narrative and narrative aspects in instrumental music that lacks text. He frequently described his preferred music using novelistic language and openly admitted that he derived inspiration for his compositions from the techniques employed by his favorite novelists. The shifts in mood, unexpected harmonic changes, and intricate textures all contribute to a sense of inner narrative, as if the music is expressing an unfolding drama or an introspective journey. Schumann was fond of embedding symbolic meanings and codes within his music. D. Ichim B. Szocs S. Dragulin Copyright (c) 2024 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ 2024-10-09 2024-10-09 15 24 10.31926/but.pa.2024.17.66.1.2 Sonic emotion: variability of perception based on context and state https://webbut.unitbv.ro/index.php/Series_VIII/article/view/8303 The study explored the momentary emotional disposition of 71 subjects (average age 23.2 years) by exposing them to six songs from different eras. Participants were asked to describe the emotions or feelings evoked by each song immediately after listening. This process was repeated after a 4-month interval, using the same songs in the same order to assess changes in emotional perception. Results indicated that in more than half of the cases, subjects provided different responses in the two stages of the study. This phenomenon suggests that emotional reactions to the respective songs were significantly influenced by the subjects' mood at the time of listening. A. Oltean R. Popescu Copyright (c) 2024 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ 2024-10-09 2024-10-09 25 32 10.31926/but.pa.2024.17.66.1.3 Particularities of Chopin’s use of sustaining pedal https://webbut.unitbv.ro/index.php/Series_VIII/article/view/8304 More than other composers, Frederic Chopin made use of careful sustaining pedal notation throughout his creations. One of the problems arising from what the interpretation of his music is concerned is the correct pedalling, often lightly regarded by many pianists, who use the pedal exaggeratedly, thus changing the expression of Chopin’s music. The large number of alterations that were made to his manuscripts prove the importance of the pedal for Chopin, although his notations are not always respected by the companies publishing his scores. This article intends to draw attention to the importance of the interpretation of his scores following the pedal notations made by Chopin and offers comparative examples for a better understanding of pedalling, to acquire the closest possible interpretation to the Chopin’s style. Lioara Popa Copyright (c) 2024 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ 2024-10-09 2024-10-09 33 40 10.31926/but.pa.2024.17.66.1.4 An analytical look at some Romanian choral works from the First half of the XXth century https://webbut.unitbv.ro/index.php/Series_VIII/article/view/8305 Choral music at the end of the 19th century and the beginning of the 20th century is rooted in the folk art of Romanians, an art preserved to this day in the monodic form of folk songs, peasant dances, and church melodies. Modal melodies, whether chromatic or diatonic, modal harmony and polyphony, particularly attractive heterophony, and the intense variety of timbre and rhythm are expressive means through which the choral music of this period enriches the national treasure. Music has the immense quality of being able to „absorb” the specific sensitivities of each nation, and the composers of the first half of the 20th century in Romanian choral music constitute landmarks in the national musical universe. Both their cultivated works and their folk arrangements are musical jewels of value that must be promoted. R. Preja E.-A. Moldovan Copyright (c) 2024 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ 2024-10-09 2024-10-09 41 56 10.31926/but.pa.2024.17.66.1.5 Enhancing performance through Raga understanding: Insights into L. Subramaniam’s „Fantasy on Vedic Chants” https://webbut.unitbv.ro/index.php/Series_VIII/article/view/8306 "Fantasy on Vedic Chants," a seminal work by L. Subramaniam, presents a unique fusion of Carnatic music and Western orchestration. Premiered at Lincoln Center in 1985, this composition integrates Vedic chants into a Western-style violin concerto, exemplifying a significant cultural and musical convergence. The concerto is structured in three movements, each reflecting different emotional aspects of the Carnatic raga system. This article highlights the piece’s use of modal approaches and its impact on the performance. Through its integration of Vedic motifs and its exploration of spiritual and musical wisdom, "Fantasy on Vedic Chants" stands as a testament to Subramaniam's artistic vision and his contribution to global music heritage. M. Suciu S. Dragulin Copyright (c) 2024 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ 2024-10-09 2024-10-09 57 66 10.31926/but.pa.2024.17.66.1.6 Self-quotation in Personal Creation. The Journey from Musical Self-Portrait to #Selfie https://webbut.unitbv.ro/index.php/Series_VIII/article/view/8307 Music composition is an art that allows the creator to encapsulate her/his personality and conceptions in an abstract manner, as well as to mirror his whole being into the music, like in a self-portrait. A single musical theme may be both the key to the evolution of the compositional techniques and a witness to the inner self transformations that occur during one’s life. This study follows a theme and some of its iterations in other personal works over the last 25 years in order to capture the relation between life, creation and compositional traits, using the concepts of time and memory to explain the evolution of my own musical language. Sabina Ulubeanu Copyright (c) 2024 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts 2024-10-09 2024-10-09 67 76 10.31926/but.pa.2024.17.66.1.7 “I Am the True Vine” by Arvo Part. The stylistic and interpretative analysis. Conductor’s perspective https://webbut.unitbv.ro/index.php/Series_VIII/article/view/8308 In Arvo Pärt's creation the piece “I Am the true vine” occupies a special place, being one of the few works after 1976 that belongs only peripherally to the tintinnabuli style. The use of a minimum number of elements is reflected both in melody and harmony and in rhythm, agogics, and dynamics. In keeping with the tintinnabuli style, the melodic material is eminently diatonic and the gait of the voices is mostly gradual. Pärt uses a medieval composition technique known as hocket for voice leading, where the text is divided between the upper voices, moving alternately from one voice to another. Some of the stylistic and interpretative aspects are the homogeneity and clarity of pronunciation, the degree of opening or closing of the vowels, and the intonational accuracy - - an essential aspect in tintinnabuli a cappella music. Dragos-Mihai Cohal Copyright (c) 2024 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ 2024-10-09 2024-10-09 77 100 10.31926/but.pa.2024.17.66.1.8