Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.19
O. Antonova
"Research attention in the article is directed to the initial stage of the formation of the American piano concerto, which is represented by two works of Edward MacDowell. Written during the young composer’s stay in Germany, they are firmly based on the traditions of European music and demonstrate mastery of genre models that had formed in the works by Mendelssohn, Schumann, Liszt, Grieg, Saint-Saëns, as well as MacDowell’s teacher – Joachim Raff. The article analyzes the compositional and thematic organization of Piano Concerto No. 2, traces the figurative and stylistic origins of this music, as well as highlights the ratio of instrumental parts and methods of soloing. It was concluded that, in contrast to the First Concerto, where a generalized virtual model of a romantic concerto acts as a reference point for the composer, in the Second one, there is a tangible desire for an individualized reproduction of the interesting findings of the predecessors and advancement along the path of searching for one’s own approach to the embodiment of the genre. Keywords: musical culture of the USA, Edward MacDowell’s creativity, genre models, instrumental concert, European traditions. "
{"title":"Edward Macdowell’s Piano Concerto No. 2 in the Context of the Establishment of the American Branch of the Genre","authors":"O. Antonova","doi":"10.24193/subbmusica.2023.spiss2.19","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.19","url":null,"abstract":"\"Research attention in the article is directed to the initial stage of the formation of the American piano concerto, which is represented by two works of Edward MacDowell. Written during the young composer’s stay in Germany, they are firmly based on the traditions of European music and demonstrate mastery of genre models that had formed in the works by Mendelssohn, Schumann, Liszt, Grieg, Saint-Saëns, as well as MacDowell’s teacher – Joachim Raff. The article analyzes the compositional and thematic organization of Piano Concerto No. 2, traces the figurative and stylistic origins of this music, as well as highlights the ratio of instrumental parts and methods of soloing. It was concluded that, in contrast to the First Concerto, where a generalized virtual model of a romantic concerto acts as a reference point for the composer, in the Second one, there is a tangible desire for an individualized reproduction of the interesting findings of the predecessors and advancement along the path of searching for one’s own approach to the embodiment of the genre. Keywords: musical culture of the USA, Edward MacDowell’s creativity, genre models, instrumental concert, European traditions. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49267235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.12
V. Zaiets, O. Zaiets
"The essence of this research is to understand the professional and creative specifics of the emotional thinking of a musician-performer. The idea arose from the experience of performing activities, teaching and scientific research in the context of the traditions of performing arts and the theoretical opinion of experts in the field of musicology. The main task consists in substantiating the methodological and theoretical principles, methods of approach to determining the functional features of the emotional tone of a musician-performer as a tool for the formation of professional thinking of a creative personality. In such formulation of the question, it is necessary to proceed from the fact that the problem of human thinking is generally constantly active, meaning that it is in a procedural state as both, an individual person and his/her natural environment, assimilate and generate new emotions (feelings), and, therefore, directly carry out influence on the flow of mental processes. The processuality of this dual dynamic psychological modification is endless, and the disclosure of regularities here also has a timely processual and continuously renewed character. Keywords: feelings, emotions, performance tone, intuition, thinking of a musician-performer."
{"title":"Modifying Processuality of Emotions of a Musician-Performer","authors":"V. Zaiets, O. Zaiets","doi":"10.24193/subbmusica.2023.spiss2.12","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.12","url":null,"abstract":"\"The essence of this research is to understand the professional and creative specifics of the emotional thinking of a musician-performer. The idea arose from the experience of performing activities, teaching and scientific research in the context of the traditions of performing arts and the theoretical opinion of experts in the field of musicology. The main task consists in substantiating the methodological and theoretical principles, methods of approach to determining the functional features of the emotional tone of a musician-performer as a tool for the formation of professional thinking of a creative personality. In such formulation of the question, it is necessary to proceed from the fact that the problem of human thinking is generally constantly active, meaning that it is in a procedural state as both, an individual person and his/her natural environment, assimilate and generate new emotions (feelings), and, therefore, directly carry out influence on the flow of mental processes. The processuality of this dual dynamic psychological modification is endless, and the disclosure of regularities here also has a timely processual and continuously renewed character. Keywords: feelings, emotions, performance tone, intuition, thinking of a musician-performer.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.18
Oksana Aleksandrova, Nataliya Govorukhina
"The article is devoted to a variant method of composing music, which became widespread in the composing practice of the twentieth century and has genetic links with the work of Franz Liszt. The variant method is presented as the basis of the composer’s artistic system, as a property of musical logic and form formation. During the functional and structural analysis of the songs of F. Liszt, their typological similarity is revealed, and a classification based on the variant principle of thematic development is proposed. The characteristic of variant-strophic (“An Edlitam” (S. 333; LW. 74)) and variant-phase (“Gebet” (S. 331; LW. №72)) forms is given. The relationship between monothematism and the variant method of composition is revealed. As a result, the genetic connection between the vocal miniature of F. Liszt and the musical art of the 20th century is substantiated. The variant method is presented as a system-forming method at all levels of musical and poetic composition (motif-composition-image-drama-way of thinking). Keywords: variant method, variant form, vocal creativity, composition, the principle of thematic development."
{"title":"The Variant Method of Composition in the Vocal Works by Franz Liszt","authors":"Oksana Aleksandrova, Nataliya Govorukhina","doi":"10.24193/subbmusica.2023.spiss2.18","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.18","url":null,"abstract":"\"The article is devoted to a variant method of composing music, which became widespread in the composing practice of the twentieth century and has genetic links with the work of Franz Liszt. The variant method is presented as the basis of the composer’s artistic system, as a property of musical logic and form formation. During the functional and structural analysis of the songs of F. Liszt, their typological similarity is revealed, and a classification based on the variant principle of thematic development is proposed. The characteristic of variant-strophic (“An Edlitam” (S. 333; LW. 74)) and variant-phase (“Gebet” (S. 331; LW. №72)) forms is given. The relationship between monothematism and the variant method of composition is revealed. As a result, the genetic connection between the vocal miniature of F. Liszt and the musical art of the 20th century is substantiated. The variant method is presented as a system-forming method at all levels of musical and poetic composition (motif-composition-image-drama-way of thinking). Keywords: variant method, variant form, vocal creativity, composition, the principle of thematic development.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.20
János Zsolt Imre
"The topic of this paper is an analysis of two choral works for organ by Zoltán Gárdonyi. The purpose of this work is to reveal the compositional methods and tools used to create coloristic and fascinating tonal and harmonic movements in those two choral works. Alongside, how he crafts his works based on cantus firmus melodies and creates the organ chorals. Keyword: Gárdonyi Zoltán, coloristic compositional technique, leitmotif-like cell, coloristic harmony, organ choral. "
{"title":"Coloristic Tonal and Harmonic Compositional Techniques in Zoltán Gárdonyi’s Choral Works for Organ","authors":"János Zsolt Imre","doi":"10.24193/subbmusica.2023.spiss2.20","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.20","url":null,"abstract":"\"The topic of this paper is an analysis of two choral works for organ by Zoltán Gárdonyi. The purpose of this work is to reveal the compositional methods and tools used to create coloristic and fascinating tonal and harmonic movements in those two choral works. Alongside, how he crafts his works based on cantus firmus melodies and creates the organ chorals. Keyword: Gárdonyi Zoltán, coloristic compositional technique, leitmotif-like cell, coloristic harmony, organ choral. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.09
Mihaela Itigan, Stela Drăgulin
"Outstanding representative of the classical music composed in the transition period from XVIIIth to XIXth centuries, Ludwig van Beethoven remains memorable in the history of music through the strength, audacity, and remarkable rhetoric of his musical discourse. With the mastery of a demiurge, he coalesces in the texture of his thematic ideas’ heroic, pathetic or pastoral configurations, making the most of the technical-expressive possibilities of the epoch’s instruments into a authentic instrumental-interpretative manner. Advocate of a prevailingly monumental interpretation, Beethoven will perfect his instrumental style through authentic details which are the subject of the varied attack modes, of ornamentation, articulation, pedaling, etc., which are the personalized elements of a challenging technique. Approaching the aspect of Beethoven’s ornamentation, the present article will bring into focus the identification of the dominant ornamental components and their treatment from an interpretative viewpoint with emphasis on the authenticity of the artistic representation. Keywords: Art & Music, piano, Beethoven’s language, ornamentation, interpretation, authenticity"
{"title":"Interpretative Trends of Beethoven’s Ornamentation","authors":"Mihaela Itigan, Stela Drăgulin","doi":"10.24193/subbmusica.2023.spiss2.09","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.09","url":null,"abstract":"\"Outstanding representative of the classical music composed in the transition period from XVIIIth to XIXth centuries, Ludwig van Beethoven remains memorable in the history of music through the strength, audacity, and remarkable rhetoric of his musical discourse. With the mastery of a demiurge, he coalesces in the texture of his thematic ideas’ heroic, pathetic or pastoral configurations, making the most of the technical-expressive possibilities of the epoch’s instruments into a authentic instrumental-interpretative manner. Advocate of a prevailingly monumental interpretation, Beethoven will perfect his instrumental style through authentic details which are the subject of the varied attack modes, of ornamentation, articulation, pedaling, etc., which are the personalized elements of a challenging technique. Approaching the aspect of Beethoven’s ornamentation, the present article will bring into focus the identification of the dominant ornamental components and their treatment from an interpretative viewpoint with emphasis on the authenticity of the artistic representation. Keywords: Art & Music, piano, Beethoven’s language, ornamentation, interpretation, authenticity\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69206918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.01
Miklós Fekete
"The paper examines the style of Sándor Veress in his first compositional period through the dance suite Four Transylvanian Dances, written for string orchestra. Throughout the musical analysis, the paper points out a few compositional principles and techniques, with which the heritage of classical and folk music can be successfully translated into an innovative and progressive contemporary musical language. Keywords: Sándor Veress, style, compositional techniques, analysis, Four Transylvanian Dances."
{"title":"The Musical Style of Sándor Veress’s Four Transylvanian Dances. The Synthesis of ‘Tradition’ and ‘Renewal’","authors":"Miklós Fekete","doi":"10.24193/subbmusica.2023.spiss2.01","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.01","url":null,"abstract":"\"The paper examines the style of Sándor Veress in his first compositional period through the dance suite Four Transylvanian Dances, written for string orchestra. Throughout the musical analysis, the paper points out a few compositional principles and techniques, with which the heritage of classical and folk music can be successfully translated into an innovative and progressive contemporary musical language. Keywords: Sándor Veress, style, compositional techniques, analysis, Four Transylvanian Dances.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69206397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.05
Maria-Roxana Bischin
"We often wonder about piano music. And we're not just wondering because it fascinates us, but because it forces us to ask questions about life and the hidden senses of the sounds. For several times the music fills our lives. But how does it fill it? Many times a poem written by William Sharp or by Michael Shewmaker is a question for me as a philosopher. Furthermore, a composed song for piano by Havasi Balázs, makes us think a lot about a poem, or about anything which fascinates our mind. But despite the mind, there are many perceptions which work together to have a right judgement on the perception of the music. If we want to find how the music fulfills our lives with significances, we have to bring a phenomenological method in understanding these meanings. The phenomenology has an unique answer, because it finds out to answer to how the things (these phenomenological objects) are becoming. In this article we will show how the compositions of Havasi Balázs are up to date through the aesthetic sphere of the phenomenology and how they are entities in the phenomenological field of perception nowadays. For these reasons, it seemed essential to us to offer a phenomenological perspective to the symphonies realised by Havasi Balázs. Keywords: Havasi Balázs, piano, contemporary classic music, phenomenology of sound, perception, conscience."
{"title":"\"[Co]existence as Intersensoriality in the Symphonies of Havasi Balázs \"","authors":"Maria-Roxana Bischin","doi":"10.24193/subbmusica.2023.spiss2.05","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.05","url":null,"abstract":"\"We often wonder about piano music. And we're not just wondering because it fascinates us, but because it forces us to ask questions about life and the hidden senses of the sounds. For several times the music fills our lives. But how does it fill it? Many times a poem written by William Sharp or by Michael Shewmaker is a question for me as a philosopher. Furthermore, a composed song for piano by Havasi Balázs, makes us think a lot about a poem, or about anything which fascinates our mind. But despite the mind, there are many perceptions which work together to have a right judgement on the perception of the music. If we want to find how the music fulfills our lives with significances, we have to bring a phenomenological method in understanding these meanings. The phenomenology has an unique answer, because it finds out to answer to how the things (these phenomenological objects) are becoming. In this article we will show how the compositions of Havasi Balázs are up to date through the aesthetic sphere of the phenomenology and how they are entities in the phenomenological field of perception nowadays. For these reasons, it seemed essential to us to offer a phenomenological perspective to the symphonies realised by Havasi Balázs. Keywords: Havasi Balázs, piano, contemporary classic music, phenomenology of sound, perception, conscience.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.13
Luiza Zan, Stela Drăgulin
"The purpose of this article is to compare the neurophysiological processes of the brain during vocal improvisation and the psychological implications of a spontaneous composition of melody. By taking command of the present, while at the same time bringing forward to the audience an extensive amount of musical knowledge and specific vocal techniques, vocal improvisation is an extensive field of interest for jazz singers and jazz voice educators alike, and its distinct processes are yet to be fully understood and explained. In my years of studying and practicing vocal improvisation, I have sought to understand the balance between these two components – the cognitive and the psychological coordinates of the vocal improvisation and the implications of these coordinates on our everyday life, outside the performing arts frame. The reasons why a singer makes certain musical choices when creating spontaneously, while avoiding others, together with the reasons why improvisation is important in our everyday lives, these reasons make the object of this study. Keywords: vocal improvisation, spontaneous creation, psychological process"
{"title":"Vocal Improvisation – A Cognitive and a Psychological Process","authors":"Luiza Zan, Stela Drăgulin","doi":"10.24193/subbmusica.2023.spiss2.13","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.13","url":null,"abstract":"\"The purpose of this article is to compare the neurophysiological processes of the brain during vocal improvisation and the psychological implications of a spontaneous composition of melody. By taking command of the present, while at the same time bringing forward to the audience an extensive amount of musical knowledge and specific vocal techniques, vocal improvisation is an extensive field of interest for jazz singers and jazz voice educators alike, and its distinct processes are yet to be fully understood and explained. In my years of studying and practicing vocal improvisation, I have sought to understand the balance between these two components – the cognitive and the psychological coordinates of the vocal improvisation and the implications of these coordinates on our everyday life, outside the performing arts frame. The reasons why a singer makes certain musical choices when creating spontaneously, while avoiding others, together with the reasons why improvisation is important in our everyday lives, these reasons make the object of this study. Keywords: vocal improvisation, spontaneous creation, psychological process\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.22
M. Suciu, Stela Drăgulin
"This article examines the phenomenon of interculturality through the lens of the Liang Zhu Concerto for Violin and Orchestra by He Zhanhao and Chen Gang. Interculturality is no longer merely a means of elevating the axiological value of a given context but has become a necessity for authenticating contemporary discourse. The role of interculturality in shaping the expression of creative intentions is amplified, as it attenuates divergences determined by the incongruity of individuals’ backgrounds by comprehensively observing the uniqueness of foreign elements from a familiarity-based perspective. The Liang Zhu Violin Concerto exemplifies the adaptation of East Asian culture to the context of the Western language and means of expression while preserving its Chinese cultural identity. This concerto has significant value and desirability for consumption due to the proportion of originality and familiarity which it upholds and determines its overall appeal. Ultimately, this article aims to explore how the Liang Zhu Violin Concerto achieves originality at a global level while preserving its Chinese cultural identity. Keywords: Interculturality, Liang Zhu, Identity, Imitation."
{"title":"Exploring Chinese Cultural Identity in the Liang Zhu Violin Concerto: An Intercultural Perspective on the Adaptation of Traditional Elements in Western Classical Music Language","authors":"M. Suciu, Stela Drăgulin","doi":"10.24193/subbmusica.2023.spiss2.22","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.22","url":null,"abstract":"\"This article examines the phenomenon of interculturality through the lens of the Liang Zhu Concerto for Violin and Orchestra by He Zhanhao and Chen Gang. Interculturality is no longer merely a means of elevating the axiological value of a given context but has become a necessity for authenticating contemporary discourse. The role of interculturality in shaping the expression of creative intentions is amplified, as it attenuates divergences determined by the incongruity of individuals’ backgrounds by comprehensively observing the uniqueness of foreign elements from a familiarity-based perspective. The Liang Zhu Violin Concerto exemplifies the adaptation of East Asian culture to the context of the Western language and means of expression while preserving its Chinese cultural identity. This concerto has significant value and desirability for consumption due to the proportion of originality and familiarity which it upholds and determines its overall appeal. Ultimately, this article aims to explore how the Liang Zhu Violin Concerto achieves originality at a global level while preserving its Chinese cultural identity. Keywords: Interculturality, Liang Zhu, Identity, Imitation.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69207373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.24193/subbmusica.2023.spiss2.11
Cristina Radu-Giurgiu
"The future belongs to those who will never stop learning - this is a very modern mindset. Learning is a lifelong habit. It is a process, a work in progress for a lifetime. This process can have many stages and I want to explore them in this article, because becoming aware of them we can improve our knowledge and our benefits from learning. This information can be useful in pedagogy but also in the self-control of professionals, because this article is regarding the professional singer’s development, focusing on the breathing technique in singing. The society we live in is an extremely dynamic one, changes are happening faster and faster, and knowledge is a must, a continuous process that does not stop with the completion of studies. Discovering one’s own ignorance can be the start of progress. The most modern learning process admits and embraces the dynamic between learning, unlearning, and relearning - at whatever professional stage we are. The present article is not intended to be a new breathing technique proposal, nor an exposition or a debate of the multiple existing breathing techniques... but to state the main objectives of the optimal breathing of a professional singer and the possible defects that must be corrected. The focus of this article is the availability of learning, experimentation and permanent discovery of one’s own body and mind - corelating them with the functionality of the technique, under the guidance of a teacher or in the individual study of each singer - in short, an invitation to make the rehearsals much more flexibles. Keywords: learning, unlearning, relearning, singing technique, breath"
{"title":"Exploring Learning and Unlearning in Singing Technique (Breath)","authors":"Cristina Radu-Giurgiu","doi":"10.24193/subbmusica.2023.spiss2.11","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss2.11","url":null,"abstract":"\"The future belongs to those who will never stop learning - this is a very modern mindset. Learning is a lifelong habit. It is a process, a work in progress for a lifetime. This process can have many stages and I want to explore them in this article, because becoming aware of them we can improve our knowledge and our benefits from learning. This information can be useful in pedagogy but also in the self-control of professionals, because this article is regarding the professional singer’s development, focusing on the breathing technique in singing. The society we live in is an extremely dynamic one, changes are happening faster and faster, and knowledge is a must, a continuous process that does not stop with the completion of studies. Discovering one’s own ignorance can be the start of progress. The most modern learning process admits and embraces the dynamic between learning, unlearning, and relearning - at whatever professional stage we are. The present article is not intended to be a new breathing technique proposal, nor an exposition or a debate of the multiple existing breathing techniques... but to state the main objectives of the optimal breathing of a professional singer and the possible defects that must be corrected. The focus of this article is the availability of learning, experimentation and permanent discovery of one’s own body and mind - corelating them with the functionality of the technique, under the guidance of a teacher or in the individual study of each singer - in short, an invitation to make the rehearsals much more flexibles. Keywords: learning, unlearning, relearning, singing technique, breath\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47557712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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