Series VIII


Beldean, L.: Phenomenology and Generativism, Systemic Attitudes in Contemporary Composing “Soupir d’un Son I” by Fred Popovici ............................................................................................................................................................................................	9
Bostan, M.C.: Dmitri Sostakovici – Representative of the National Russian Music in the 20th Century. The Opera “Lady Macbeth from Mţensk”, between Tradition and Modernity ..............................................................................................................	17
Coroiu, P. M.: Aspects of Temporality and its Consequences on the Structure of Musical Discourse of Aurel Stroe .................	21
Nauncef, A.M.: Inspiration and Intuition in the Process of Creation .....................................................................................................	27
Lazar, K.: The Message of the Folk Music of the Finno-Ugrian Language Relatives of the Hungarians ......................................	31
Oarcea, I.: Vocal-Symphonic Composition in Choir Workshops..........................................................................................................	37
Pepelea, R.: A Systematic Approach to Modal Thinking of Paul Constantinescu ............................................................................	47
Ribeiro-Pereira, M.: Prolegomena to a Theory of Modulatory Space in Music ..................................................................................	53
Rucsanda, M.: Rustic Entertainment Materialization of the Romanian Stylistic Matrix ....................................................................	65
Szalay, Z.: The Instrumental Folk Music in Sândominic Ciuc, County of Harghita ............................................................................	71
Soreanu, S.-D.: About Artistic Vanguard in Favour of a new Renaissance.........................................................................................	77
Tari, L.: The „Verbunkos”, a Music Genre and Musical Symbol of Hungary ......................................................................................	81
Varlan, P.M.: Modal Configurations in „Concert for Clarinet”, by Tudor Ciortea..................................................................................	87
Buga, C.: „Chants nostalgiques” by Constantin Silvestri – An Oasis of Piano Refinement.............................................................	91

BULLETIN OF THE TRANSILVANIA UNIVERSITY OF BRASOV • VOL. 5 (54) No.2 - 2012 SERIES VIII - ART • SPORT, ISSN 2066-7728 (Print), ISSN 2066-7736 (CD-ROM)

ART STUDIES

Bostan, M. C..: The Concertizing Spirit in the European Music in the first Half of the 20th Century................................................	9
Coroiu, P. M.: Aurel Stroe – Componistic Coordinates ...........................................................................................................................	13
Guţanu, L.: The World of Fairy Tales in the Work of Composer Zlata Tkach .....................................................................................	19
Guţanu, S.: Composers of the Manuscripts found in the Library of the “New Neamţ” Monastery ...................................................	25
Pepelea, D.: Formal Confluences in the Architecture of the “Sonatina for Piano and Violin” by Dinu Lipatti ..............................	31
Pepelea, R.: Modal Chromatism proper to the “Triple Concerto” by Paul Constantinescu .............................................................	37
Vârlan, P.M.: The Emotional Quotient – A Factor of Musical Knowledge .............................................................................................	43
Voicescu, C.G.: Conceptualization of the Instrumental Interpretative Act for performing High-Quality Music ............................	47
Drăgulin, S., Popa, L.: Crystallization of the Sonata Form in Frederic Chopin’s Vision ...................................................................	53
Rucsanda, M.D., Scârneciu, I.: The longing Paradigm in Enescu’s Work ..........................................................................................	67
Buhaiciuc, M.: Science in the Art of Singing ..............................................................................................................................................	73
Buhaiciuc, M.: Tracing Zerlina’s Ancestors ................................................................................................................................................	77