Series VIII


Csinta, Th., Pepelea, R.: Paul Constantinescu’s Contribution to the Progress of the Romanian Music ......................................	9
Filip, I., Cs., Kovács, G.: Ornaments Described by Jacques Martin Hotteterre and those Used by the Popular Pipe - Players around Odorheiu Secuiesc......................................................................................................................................................	17
Ibănescu, D.C.: Stylistic and Interpretative Aspects in Soler's Sonatas for Keyboard Instruments ...............................................	25
Kristen, A.: Growing Good People....................................................................................................................	31
Pepelea, D., Vardi, A.: Folkloric Language Mirrored in the Romanian Interwar Musical Creation..................................................	35
Pop, C., Martella, A.: The Singing Pedagogue (part. III.) ........................................................................................................................	41
Preda-Ulita, A.: Basic Concepts and Principles in Modern Musical Analysis. A Schenkerian Approach .....................................	47
Ribeiro-Pereira, M.: Hearing (not seeing) is Believing: Schumann’s Lied ‘auf einer Burg’....................................................	53
Rucsanda, M.: The Melancholy Romanian Song – Metaphysical Paradigme of the Romanian Space in Blaga’s Work..........	63
Scurtu, B., Tuţu, C.: Romanian Ochtoechoi and Similarities to Middle Eastern Modes and Practices. A Case Study (part I)..........................................................................................................................................................................................................	69
Speh, A., J., Ahramjian, S. D.: Teaching without a Common Language: Synchronicities between the Pedagogies of Music and Second Language Acquisition ...........................................................................................................................................	77
Tiutiunnik, K.: Babylon, the "Gate of the Gods", in the Symbolic Realm of tre Preghiere di Nabuccodurissor for Guitar...........................................................................................................................................................................................................	83

BULLETIN OF THE TRANSILVANIA UNIVERSITY OF BRASOV • VOL. 4 (53) No.2 - 2011 SERIES VIII - ART • SPORT, ISSN 2066-7728 (Print), ISSN 2066-7736 (CD-ROM) ART STUDIES
Beldean, L., Nagy-Juhasz J.: Spectralism – interface between the creations of Gérard Grisey and Fred Popovici. Interferences, coincidences ...................................................................................................................................................................	9
Bostan, M.C.: George Enescu – In the light of recent documents ........................................................................................................	15
Buga, C.: Lisztian highliths of jeux d’eau by M.Ravel .............................................................................................................................	23
Burgos Bordonau, E., Petrescu, C.: Typology of the musical document: An approach to its study ...............................................	31
Dragulin, S.: Management of musicians’ therapy ....................................................................................................................................	39
Ibanescu, D.C.: The poetics of Soler’s sonata ..........................................................................................................................................	51
Naucef, A.M.: 5 melodies for violin and piano by Sserghei Prokofiev – comparative analyses	57
Pepelea, D.: Rhapsodic character in Sonata for violin and piano by Tudor Ciortea ........................................................................	63
Pepelea, R.: Expressionist tendencies in Paul Constantinescu’s creation .........................................................................................	69
Pop, C., Martella, A.: The singing pedagogue (part III)...........................................................................................................................	75
Rucsanda , M., The archetype–generating element of the folklore creation .....................................................................................	81
Scurtu, B., Tutu, C., Romanian Ochtoechoi and similarities to Middle Eastern modes and practices: a case study (part I) ...	89
Szalay, Z., Historical connections of the figurations phenomenon present in the instrumental folk music in Transylvania	97
Tutu, C., Conductor’s gesture as sign and signification .........................................................................................................................	103
Varlan, P.M., Intonational language features in T. Ciortea’s sinfonietta sylvana ...............................................................................	107