|
|
|
|
Beldean, L.:
Possible Links between The History of Sound and The
Personal History of a Composer
...................................... |
9 |
|
Bostan, M. C.: The
Concertizing Spirit in the European Music in the First Half of the 20th
Century .............................................. |
15 |
|
Demenescu, V. L.: The
Compositional Context in the First Half of the 20th Century from the
Perspective of the
Main
Representatives of the Musical Culture from Banat, the Romanian and European
Musical Culture.............................. |
21 |
|
Filip, I.: On the
Ornamentation of Baroque Music
.................................................................................................................................... |
27 |
|
Maniut,
P. M.: Mathematical Concepts in Aurel Stroe’s
Music
............................................................................................................... |
31 |
|
Niresteanu, L.:
Creativity in the Musical Game – Major Element in the Education of Pupils
.......................................................... |
37 |
|
Pepelea, R.: Paul
Constantinescu – Representative of the Romanian Modern Composition School
.......................................... |
41 |
|
Petrescu, A. R.:
Robert Wilson or Time and
Immovability
.................................................................................................................... |
45 |
|
Petrescu, C. F.:
Sonorous Hypostases for a Tanka Poem
.................................................................................................................... |
49 |
|
Pop, C.: The Singing
Pedagogue (part II), a Parallel between Vocal Therapy Exercises and
Vocalization ............................... |
55 |
|
Rucsanda, M.:
Tradition and Contemporaneity in the Dragaica
.......................................................................................................... |
61 |
|
Tutu,
C.: The Functional Pyramid in Bachian
Music
................................................................................................................................ |
67 |
|
Varlan, P. M.: The
Hexachord and Heptacord Modal System in T. Ciortea’s Piano Compositions
................................................ |
73 |
|
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