https://webbut.unitbv.ro/index.php/Series_VIII <h2>Journal description</h2> <p>The journal is placed under the academic cover of the Faculty of Music from <em>Transilvania</em> University of Brașov, Romania, and it is an international academic publication, in which articles are published in languages of international circulation: English, and French.</p> <p>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.</p> <p>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 ERIHPLUS from 2024 (<a href="https://kanalregister.hkdir.no/publiseringskanaler/erihplus/periodical/info.action?id=502086" target="_blank" rel="noopener">https://kanalregister.hkdir.no/publiseringskanaler/erihplus/periodical/info.action?id=502086</a>).</p> <p>Publication in the journal is free for all authors. Open-access (OA) articles are published under Creative Commons licenses (CC BY). These provide an industry-standard framework to support easy re-use of open-access material.</p> <h2>Aim and Scope</h2> <p style="text-align: justify;">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.</p> <p style="text-align: justify;">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, and artificial intelligence. The journal presents academic perspectives that investigate a variety of challenges in the following fields:</p> <ul> <li>Musicology</li> <li>Music Education</li> <li>Performing Arts</li> <li>Ethnomusicology</li> <li>Anthropology</li> <li>Music Therapy</li> </ul> <p style="margin: 0cm; margin-bottom: .0001pt; text-align: right;" align="right"><span style="font-family: 'Segoe UI','sans-serif';"><a href="http://webbut.unitbv.ro/index.php/Series_VIII/about" target="_blank" rel="noopener">Read more</a></span></p> en-US editor.but@unitbv.ro (Madalina RUCSANDA, PhD, Assoc. Prof.) biblioteca@unitbv.ro (Corina Monica Pop) Mon, 21 Jul 2025 00:00:00 +0000 OJS 3.3.0.3 http://blogs.law.harvard.edu/tech/rss 60 https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10575 Art inherently involves balancing consumption and creation. Artists continuously absorb and synthesize experiences, emotions, and ideas, yet such creative nourishment can risk becoming excessive, threatening coherence and meaning. This paper explores artistic consumption through three metaphorical analogies: the Spider, symbolizing controlled creativity and structural balance; the Vampire, representing restrained yet potentially contagious creative hunger; and the Black Hole, embodying unchecked ambition leading to destructive excess, yet paradoxically capable of initiating profound artistic transformations. These metaphors elucidate psychological, ethical, and compositional tensions artists face, emphasizing the critical necessity of self-awareness, ethical boundaries, and balance within creative practice. Sebastian Androne-Nakanishi Copyright (c) 2025 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10575 Mon, 21 Jul 2025 00:00:00 +0000 https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10577 The assimilation of different musical practices, idioms or aesthetics, is an expression that explains in detail the origins of some of the fusions of the significant creators of the jazz phenomenon, an active pursuit whose purpose is to create new, musically innovative, hybridized styles. It represents the modern view, a term for which researchers will suggest that it is a suitable description for the evolutionary compositional technique of certain artists adept at experimental practices of fusion of elements, the preferential ability to combine the structure of standard themes in a modern, original manner that takes on new forms, contrary to the traditional ways of tonal jazz. Musicians of the contemporary style articulate stylistically through unequal and variable musical combinations, which do not completely replace the previously known genre terms (jazz, rock, funk), but allow the emergence of other creative styles, which evolve, delight and continuously challenge the characteristics of the preceding categories. Modernism emphasizes the instability of all gender designations and highlights the creative fluidity, the structure of musical practices that gender names try to immortalize in order to give discussions about jazz, music in general a significant new starting point. Issuing the title of a musical genre (modernism) is a way of recognizing its existence and being able to distinguish it from other musical genres or styles. This (name) becomes a point of reference and easily allows the constitution of certain forms of interactive musical communication, control and specialization in the field, elaboration of templates, discussions, essentially a new evolutionary step. Florin Balan Copyright (c) 2025 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10577 Mon, 21 Jul 2025 00:00:00 +0000 https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10583 At the venerable age of 81, the professor and composer Dan Buciu remains the maestro who opened the gates of the musical universe for thousands of young musicians who had the privilege of being his students: beyond the classes of musical culture, a real mentor must open new avenues and let you walk ahead after having instilled in you the strength of their knowledge. A teacher who illuminates is the person attentive to the disciple’s soul, to their vocation, to the requirements of a road that is barely visible at the very beginning, intervening discretely only where their intuition and competence can make a difference in a young artist’s life. ANA LUI MANOLE is his choral masterpiece, which reflects his creative conceptions and highlights the verses of a great Romanian poet. Petruta-Maria Coroiu Copyright (c) 2025 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10583 Mon, 21 Jul 2025 00:00:00 +0000 https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10585 This article analyses Edi for solo clarinet by Toshio Hosokawa, focusing on its unique use of modal structures and contemporary techniques that draw on both neoclassical and folkloric influences. The piece unfolds through interconnected modal zones, each centred on tonal nuclei and enriched by expressive ornaments like vibrato, frullato, and voice integration. These techniques explore the clarinet's full acoustic potential, merging Japanese and Romanian cultural references. Through detailed analysis of tonal shifts and melodic motifs, this study highlights how Edi bridges planetary folklore with a modern aesthetic, creating a nuanced and expressive soundscape. Mihai Pintenaru Copyright (c) 2025 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10585 Mon, 21 Jul 2025 00:00:00 +0000 https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10587 Music has represented throughout history a reflection of the socio-human attitude, so that its evolution has taken the most diverse forms, an expression of social and human requirements. Since ancient times, the artistic phenomenon was presented syncretic, constituting both a visual and auditory stimulus. So, music – after a long period of purging, in which it freed itself from visual expression and reached a pure form of music – it had reached, in the second half of the twentieth century, a time when it tended more and more towards visualization and theatricalization. Its visualization has found a framework of conceptual experimentation by bringing to the stage, as constitutive elements of the concert performance, both the instrumentalist and his instrument, transforming the musical act into a new aesthetic phenomenon - the instrumental theatre. R. Preja, E.-A. Moldovan Copyright (c) 2025 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10587 Mon, 21 Jul 2025 00:00:00 +0000 https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10589 Current ethnomusicological approaches tend to focus on subjects regarding orally transmitted folk knowledge and culture. But another well debated subject is the issue of multiculturalism in traditional societies, especially in geographical areas with a high degree of cultural interference. One such area of traditional multiculturalism is the region of Dobrogea in eastern Romania, and one of the most representative folk instruments of this multicultural heritage is the Dobrudjan Kaval. The Dobrudjan Kaval is a woodwind instrument with a complex history and an important role in traditional society. It is a type of Kaval more similar to Balkan Turkish style kaval, and very different from the Romanian „Caval”. While it played a major role in the folk music of Dobrogea until the end of the XIXth century, the Kaval started to disappear in the XXth century and it survived in only two villages until the XXIst century, in the villages of Izvoarele and Cerna in Tulcea county This article is meant to illustrate the historical and socio-cultural evolution of the Dobrudjan kaval within the context of a multicultural traditional society. The study is based upon ethnomusicological sources, research on the ground and comparisons with different forms of the instrument from other Balkan regions. M.D. Rucsanda, St. Milutinovici Copyright (c) 2025 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10589 Mon, 21 Jul 2025 00:00:00 +0000 https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10591 The terms SACRED and PROFANE, referring to an immense and valuable path in the history of music, are rendered in this paper as defining essential aspects of the art of sound, mainly of the choral one. In order to differentiate the sacred (Christian) music with a religious (Biblical) text and the music without religious content (love, nature, war, or mythology), we will use in turn this sensitive terminology for language diversification purposes. Musicology clearly differentiates in the opuses of composers between the sacred and profane creation. T.A. Soporan Copyright (c) 2025 Bulletin of the Transilvania University of Braşov. Series VIII: Performing Arts https://creativecommons.org/licenses/by/4.0/ https://webbut.unitbv.ro/index.php/Series_VIII/article/view/10591 Mon, 21 Jul 2025 00:00:00 +0000