|
BULLETIN OF THE TRANSILVANIA UNIVERSITY OF BRASOV • VOL. 13(62) - 2020
Special Issue 2020:
Proceedings of
the 10th International Conference „The Science of Music – Excellence in
Performance” 27.XI – 28.XI 2020, Brasov,
Romania
|
|
|
|
BULLETIN OF THE TRANSILVANIA UNIVERSITY OF BRASOV • VOL. 13(62) - 2020
Special Issue 2020:
Proceedings of
the 10th International Conference „The Science of Music – Excellence in
Performance” 27.XI – 28.XI 2020, Brasov,
Romania
|
|
|
|
|
|
|
condition of canonical art-reception: immobilism in traditional spectatorship, evicted from his part to be played in the poietic of the art-work and convicted to a “dead angle”- aesthetic –perspective ........................................................................................................ |
7 |
|
Belibou, Al.: Tibetan Sacred Dances ....................................................................................................................................................................... |
17 |
|
Bourceanu, M.G.: The directorial conception on operetta „Silvia” by Emmerich Kalman ............................................................................. |
25 |
|
special high performance rank .......................................................................................................................................................................... |
37 |
|
Coroiu, P.M.: Hypostases de la temporalité dans l’oeuvre musicale, dans les concerts d’Aurel Stroe ...................................................... |
49 |
|
Dutica, L,; Stanciu, E.L.: Sound polychromes in the choral creation of the composer Gheorghe Dutica ................................................... |
57 |
|
Fratila, L.: Chopinian Particularities in Piano’s Sonata op. 58 ............................................................................................................................ |
69 |
|
Giol-Calefariu, E.: Vocal technique in the formation stages of the lyric artist ................................................................................................... |
79 |
|
signed by Dan Voiculescu .................................................................................................................................................................................. |
85 |
|
Homone, Al.I.: Musical Education aspects in the contemporary school based on the Theory of Multiple Intelligence ........................... |
93 |
|
Ibanescu, D.C.: Double Concert in F Major by Antonio Soler ............................................................................................................................ |
103 |
|
XVIII-XX centuries ................................................................................................................................................................................................ |
113 |
|
Ichim, T.: Innovative marketing in the performing arts ......................................................................................................................................... |
123 |
|
instruments, in the fanfare ensemble .............................................................................................................................................................. |
131 |
|
Isac, I.: Repetitive Minimalism in the Work of Philip Glass. Composition Techniques ................................................................................. |
141 |
|
Isac, I.; Isac, V.; Filip, I.C.: The Sound of the Stradivari Violin – between Tradition and Modernism ........................................................... |
149 |
|
Karacsony, N.: Art-Nouveau and the Portrait of the Fin de Siecle Woman in Jules Massenet’s Cleopatre .............................................. |
155 |
|
Lazar, Zs.; Filip, I.C.: Georg Ruzitska: Introduction et Variations brillantes sur un thème hongrois, op. 14 ............................................ |
167 |
|
rhetorical analysis ................................................................................................................................................................................................ |
175 |
|
Maftei, M.E.: La gestuelle dans les opéras de Lully. Le cas de la plainte d'Armide ....................................................................................... |
183 |
|
Musicking Shapes ................................................................................................................................................................................................ |
191 |
|
Manailescu, S.; Oarcea, I.: Theme and Performance in “Symphony No. 5” by Philip Glass ........................................................................ |
203 |
|
Mihailescu, M.: The method in musical interpretation ......................................................................................................................................... |
215 |
|
Oarcea, I.: Le Theatre Jorat du Mezieres, Suisse, et l’histoire d’un chef-d’oeuvre musical, Le Roi David d’Arthur Honegger ............... |
221 |
|
Plian, Al.: The Eighth Echos reflected in the „doxastika” sticheras from Dimitrie Suceveanu’s „Idiomelar” ............................................. |
231 |
|
Preda-Ulita, A.: The Prolongation in the Music of Ravel ....................................................................................................................................... |
241 |
|
Ropotan, R.M.; Pepelea, R.: Syncretic Art in the Musical Language of the Opus 27 by Eugene Ysaye ................................................. |
249 |
|
257 |
|
|
Santos, M.: Teaching voice online: reflection and a practical advice .............................................................................................................. |
267 |
|
Szalay, Z.: “From Pure Source Only” – Collection of Hungarian Folk Songs Project .................................................................................... |
277 |
|
Szocs, B.: The parallelism between Linguistics and Music – Noam Chomsky and Heinrich Schenker .................................................... |
287 |
|
Szucs-Blanaru, A.: Le jeu avec les couleurs du piano. Quelques exemples dans Jatekok (Jeux) de Gyorgy Kurtag ........................... |
295 |
|
Suteu, L.C.: The psychology of music creation ..................................................................................................................................................... |
305 |
|
Tabacaru, R.: Drama-Music Communication in Opera Performance ............................................................................................................. |
313 |
|
Vari, O.R., Dragulin, S.: The appropriation of the necessary technique in singing performance ............................................................... |
321 |
|
|
|
|
Authors Index. ............................................................................................................................................................................................................ |
331 |
|
|
|
|
|
|
