Pub Date : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.03
Alexandra Marinescu
"Henri Dutilleux was one of the prominent figures of European composition, especially in the second half of the 20th century. A complex personality, he worked throughout his career as a musician in various roles, from pianist, to accompanist, to conductor, to pedagogue, to composer, being one of the main promoters of French culture and beyond. He received numerous awards and recognitions for his entire activity, his reputation not only surpassing the borders of the country, but also the European ones. Although he began composing at a very young age, Dutilleux repeatedly omits to include these works in his catalogue, refusing even to mention them in the section of his interpreted works. Meticulous and extremely pedantic, he always made changes to his works, constantly crystallizing his style both throughout the varied musical experiences in which the musician took part and through the close collaborations he had with instrumental artists whom he consulted regarding timbral possibilities and techniques of the instruments he was writing for. His compositions, although not very numerous, encompass a genuistically vast variety, and an exhaustive stylistic approach. Although he always embraces new compositional techniques, Dutilleux never reaches a rational extremism, keeping in the foreground the idea of meaningful music, and not the other way around. He died on 22nd of May 2013, in Paris, at the age of 97. Keywords: Henri Dutilleux, French composer, 20th century"
{"title":"Homage to Henri Dutilleux","authors":"Alexandra Marinescu","doi":"10.24193/subbmusica.2023.spiss1.03","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.03","url":null,"abstract":"\"Henri Dutilleux was one of the prominent figures of European composition, especially in the second half of the 20th century. A complex personality, he worked throughout his career as a musician in various roles, from pianist, to accompanist, to conductor, to pedagogue, to composer, being one of the main promoters of French culture and beyond. He received numerous awards and recognitions for his entire activity, his reputation not only surpassing the borders of the country, but also the European ones. Although he began composing at a very young age, Dutilleux repeatedly omits to include these works in his catalogue, refusing even to mention them in the section of his interpreted works. Meticulous and extremely pedantic, he always made changes to his works, constantly crystallizing his style both throughout the varied musical experiences in which the musician took part and through the close collaborations he had with instrumental artists whom he consulted regarding timbral possibilities and techniques of the instruments he was writing for. His compositions, although not very numerous, encompass a genuistically vast variety, and an exhaustive stylistic approach. Although he always embraces new compositional techniques, Dutilleux never reaches a rational extremism, keeping in the foreground the idea of meaningful music, and not the other way around. He died on 22nd of May 2013, in Paris, at the age of 97. Keywords: Henri Dutilleux, French composer, 20th century\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48068442","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.11
Dalma-Lidia Toadere
"Over the past decades, an increasing number of opera institutions in various countries have been developing educational programmes aimed at bringing children closer to the opera genre. Although the need for early engagement is recognized, many institutions focus their offerings on adolescents and young people. The educational work of opera houses aimed at children faces greater difficulties than that of orchestras. The need for material resources, work, and energy to put on performances designed specifically for children leads many institutions to offer mainly other types of programmes, such as workshops, guided tours, visits by a singer to schools, creative exploration camps, etc. In terms of repertoire, opera performances offered for children are divided into works composed for children and adaptations for children of famous works from the universal opera repertoire. The present study will examine different approaches and strategies that can contribute to the goal of helping children enter the world of opera. These will be accompanied by examples of programmes presented by several opera houses in Europe, USA, and Canada. We will then present two programmes of our very own design meant for children and offered in Cluj, conceived as a combination of an introduction to the opera genre with excerpts from masterpieces belonging to the opera genre, namely Rossini’s Cenerentola (2014, 2015) at the Romanian National Opera and The Magic Flute (2022) at the Hungarian Opera House. Keywords: children, opera houses, educational programmes "
{"title":"The Magic of Opera. Approaches and Strategies for Familiarizing Children With the Operatic Genre","authors":"Dalma-Lidia Toadere","doi":"10.24193/subbmusica.2023.spiss1.11","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.11","url":null,"abstract":"\"Over the past decades, an increasing number of opera institutions in various countries have been developing educational programmes aimed at bringing children closer to the opera genre. Although the need for early engagement is recognized, many institutions focus their offerings on adolescents and young people. The educational work of opera houses aimed at children faces greater difficulties than that of orchestras. The need for material resources, work, and energy to put on performances designed specifically for children leads many institutions to offer mainly other types of programmes, such as workshops, guided tours, visits by a singer to schools, creative exploration camps, etc. In terms of repertoire, opera performances offered for children are divided into works composed for children and adaptations for children of famous works from the universal opera repertoire. The present study will examine different approaches and strategies that can contribute to the goal of helping children enter the world of opera. These will be accompanied by examples of programmes presented by several opera houses in Europe, USA, and Canada. We will then present two programmes of our very own design meant for children and offered in Cluj, conceived as a combination of an introduction to the opera genre with excerpts from masterpieces belonging to the opera genre, namely Rossini’s Cenerentola (2014, 2015) at the Romanian National Opera and The Magic Flute (2022) at the Hungarian Opera House. Keywords: children, opera houses, educational programmes \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205570","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.04
Svetlana Shchitova, Valentyna BRONDZIA MARTYNYUK
"The article examines the state of modern Ukrainian opera of the 21st century, which reflects European and global trends aimed at updating the genre and searching for new genre models. The authors of the article purposefully chose works by composers of almost all age categories, which are quite different in terms of genre content – interpretation of traditions and innovation – from creative youth to the most famous artists in the whole world (E. Stankovich), and consciously focused attention on examples of modern opera from several regions of Ukraine: Kyiv, Kharkiv, Odessa, Lviv, Dnipro. This work, dedicated to modern Ukrainian opera, combined the efforts of a practicing composer and a musicologist-scientist. After all, the material of research in one of the sections of the article was the parody comic opera by Valentina Martynyuk (Brondzia), as an example of the only opera performance in the Dnieper region. The research methodology is based on historical-typological, genre-stylistic, comparative, and analytical methods. The historical -typological method is related to the problems of the opera genre at the modern stage, which needs updating and radical changes; genre-stylistic, comparative, and analytical methods allow us to draw conclusions about the peculiarities of genre models of modern Ukrainian operas. They reflect Ukrainian national traditions, including authentic music and modern compositional techniques. It is noted that the level of the ratio of traditional and innovative appeal to the opera genre is determined by the individual creative approach of a certain composer and director. Keywords: director, double world, genre, comic, modern opera, project, simultaneous, synthesis."
{"title":"Modern Ukrainian Opera: Varieties of Genres","authors":"Svetlana Shchitova, Valentyna BRONDZIA MARTYNYUK","doi":"10.24193/subbmusica.2023.spiss1.04","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.04","url":null,"abstract":"\"The article examines the state of modern Ukrainian opera of the 21st century, which reflects European and global trends aimed at updating the genre and searching for new genre models. The authors of the article purposefully chose works by composers of almost all age categories, which are quite different in terms of genre content – interpretation of traditions and innovation – from creative youth to the most famous artists in the whole world (E. Stankovich), and consciously focused attention on examples of modern opera from several regions of Ukraine: Kyiv, Kharkiv, Odessa, Lviv, Dnipro. This work, dedicated to modern Ukrainian opera, combined the efforts of a practicing composer and a musicologist-scientist. After all, the material of research in one of the sections of the article was the parody comic opera by Valentina Martynyuk (Brondzia), as an example of the only opera performance in the Dnieper region. The research methodology is based on historical-typological, genre-stylistic, comparative, and analytical methods. The historical -typological method is related to the problems of the opera genre at the modern stage, which needs updating and radical changes; genre-stylistic, comparative, and analytical methods allow us to draw conclusions about the peculiarities of genre models of modern Ukrainian operas. They reflect Ukrainian national traditions, including authentic music and modern compositional techniques. It is noted that the level of the ratio of traditional and innovative appeal to the opera genre is determined by the individual creative approach of a certain composer and director. Keywords: director, double world, genre, comic, modern opera, project, simultaneous, synthesis.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205307","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.06
Orsolya Gyárfás
"The article examines the role and function of the father figure in the libretti of Pietro Metastasio, focusing on the representations of the tyrannous rather than the benevolent father. The bulk of his oeuvre written for the Viennese court, Metastasio’s libretti took an active role in propagating the reigning and intertwining social–political systems of absolutist monarchy and patriarchy. The tyrannous father figure served to heighten the usual tension of the contradictory duties of public and private lives, highlighting the dilemma of how far the paterfamilias should be obeyed and his mistreatment towards his child be suffered, analyzed here through the example of Artabano in Artaserse, also pointing out the differing relationship dynamic and dramatic treatment of father–son and father–daughter relationships. Through Astiage in Ciro riconosciuto, the article examines the role of the tyrant, the political ""bad father"", and how his figure ultimately serves to reinforce the absolutist system and the claim of the divine right of kings. Keywords: opera seria, Metastasio, absolutism, patriarchy, operatic dramaturgy"
{"title":"The Tyrannous Father in Opera Seria","authors":"Orsolya Gyárfás","doi":"10.24193/subbmusica.2023.spiss1.06","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.06","url":null,"abstract":"\"The article examines the role and function of the father figure in the libretti of Pietro Metastasio, focusing on the representations of the tyrannous rather than the benevolent father. The bulk of his oeuvre written for the Viennese court, Metastasio’s libretti took an active role in propagating the reigning and intertwining social–political systems of absolutist monarchy and patriarchy. The tyrannous father figure served to heighten the usual tension of the contradictory duties of public and private lives, highlighting the dilemma of how far the paterfamilias should be obeyed and his mistreatment towards his child be suffered, analyzed here through the example of Artabano in Artaserse, also pointing out the differing relationship dynamic and dramatic treatment of father–son and father–daughter relationships. Through Astiage in Ciro riconosciuto, the article examines the role of the tyrant, the political \"\"bad father\"\", and how his figure ultimately serves to reinforce the absolutist system and the claim of the divine right of kings. Keywords: opera seria, Metastasio, absolutism, patriarchy, operatic dramaturgy\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205449","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.08
Iulia Ursa
"The contemporary performative scene is defined by the interaction of the means of artistic expression, which determines a permanent renewal of the scenic language. This article discusses the multiple stage practices that animate performances in theater and music, in their complementarity or dynamic confrontation. These interactions are presented here from the perspective of the specific musical work of Jean-Jacques Lemêtre, who facilitated a voice and movement rhythm workshop at the Faculty of Theater and Film within Babeș-Bolyai University, in March 2023. Unique figure in the theatrical musical landscape, he has been the musician, composer, luthier, and interpreter of the sound universe of Théâtre du Soleil performances for more than forty years. This work aims to demonstrate that music for theater is a special genre born through the process of organic integration of the theatricality of the stage, by assuming the risk of being contaminated by the impurity generated by the actors' bodies that emit their own sound universe. Music for theater is enriched and energized by these experiences born from the osmosis of sound - enhanced image into organic and fruitful connections. Keywords: music, theater, instruments, training, technique"
“当代表演场景是由艺术表现手段的相互作用来定义的，这决定了景观语言的永久更新。本文探讨了戏剧和音乐中动画表演的多种舞台实践，它们是互补的还是动态对抗的。这些互动在这里是从Jean-Jacques Lemêtre的具体音乐作品的角度来呈现的，他于2023年3月在Babeș-Bolyai大学戏剧和电影学院举办了一个声音和运动节奏研讨会。在戏剧音乐领域，他是音乐家、作曲家、制琴师和th太阳tre du Soleil表演的声音宇宙的诠释者，已有四十多年的历史。本作品旨在证明戏剧音乐是一种特殊的类型，它是在舞台的戏剧性有机融合的过程中诞生的，它冒着被演员身体发出自己的声音宇宙所产生的杂质所污染的风险。戏剧音乐是丰富和充满活力的这些经验诞生从渗透的声音增强图像到有机和富有成效的联系。关键词:音乐，戏剧，乐器，训练，技术
{"title":"Théâtre du Soleil and the Music of Jean-Jacques Lemêtre","authors":"Iulia Ursa","doi":"10.24193/subbmusica.2023.spiss1.08","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.08","url":null,"abstract":"\"The contemporary performative scene is defined by the interaction of the means of artistic expression, which determines a permanent renewal of the scenic language. This article discusses the multiple stage practices that animate performances in theater and music, in their complementarity or dynamic confrontation. These interactions are presented here from the perspective of the specific musical work of Jean-Jacques Lemêtre, who facilitated a voice and movement rhythm workshop at the Faculty of Theater and Film within Babeș-Bolyai University, in March 2023. Unique figure in the theatrical musical landscape, he has been the musician, composer, luthier, and interpreter of the sound universe of Théâtre du Soleil performances for more than forty years. This work aims to demonstrate that music for theater is a special genre born through the process of organic integration of the theatricality of the stage, by assuming the risk of being contaminated by the impurity generated by the actors' bodies that emit their own sound universe. Music for theater is enriched and energized by these experiences born from the osmosis of sound - enhanced image into organic and fruitful connections. Keywords: music, theater, instruments, training, technique\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205509","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.13
Z. Szalay
"Csíkmadaras is in the southern part of the microregion called Felcsík. The latter has always been a preferred area for ethnomusicologists, beginning with Béla Bartók. After I started collecting folk songs in the area in 1993, I set out to make a monograph of vocal songs of Csíkmadaras village. Between 1999 and 2011 I spent 18 days on the field, recording more than 12 and a half hours of vocal folk music. The collection contains 441 distinct melodies, along with variants and those repeated several times, a total of 644 tunes. What surprised me during the processing of the material was the great number of songs from the old strata. Along with the new-style melodies they represent almost 2/5 of the total collection. In comparison, the relatively small number of less valuable songs was below previous expectations. From the result of the collection, it appears that, at the beginning of the XXIst century, in Csíkmadaras there is still very valuable folklore material. Keywords: folk songs, collections, Csíkmadaras, monograph, old strata, new style"
{"title":"Folk Song Collection in Csíkmadaras at the Turn of the 20-21st Century","authors":"Z. Szalay","doi":"10.24193/subbmusica.2023.spiss1.13","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.13","url":null,"abstract":"\"Csíkmadaras is in the southern part of the microregion called Felcsík. The latter has always been a preferred area for ethnomusicologists, beginning with Béla Bartók. After I started collecting folk songs in the area in 1993, I set out to make a monograph of vocal songs of Csíkmadaras village. Between 1999 and 2011 I spent 18 days on the field, recording more than 12 and a half hours of vocal folk music. The collection contains 441 distinct melodies, along with variants and those repeated several times, a total of 644 tunes. What surprised me during the processing of the material was the great number of songs from the old strata. Along with the new-style melodies they represent almost 2/5 of the total collection. In comparison, the relatively small number of less valuable songs was below previous expectations. From the result of the collection, it appears that, at the beginning of the XXIst century, in Csíkmadaras there is still very valuable folklore material. Keywords: folk songs, collections, Csíkmadaras, monograph, old strata, new style\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48020092","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.07
E. Adetu, Petruța-Maria Coroiu
"The opera A Masked Ball’marks the end of the middle period in the work of Giuseppe Verdi and represents an important stage in the musical progress of the composer. It comprises a variety and an orchestral inventiveness much higher than any other of his previous works, and, more than ever, the score is consistent with the dramatical structure of the opera. Compared to some titles from the first period of creation, the outlining of the protagonists is not performed only by means of vocality. The subtlety of the orchestral music rounds off a rich sound picture, in accordance with the requirements of musical dramaturgy. This article addresses the structural, stylistic, and dramaturgical aspects found at the level of the orchestral discourse. Keywords: masked ball, Verdi, expressiveness, musical dramaturgy, orchestral discourse."
{"title":"Verdi’s Opera ‘A Masked Ball’ – The Orchestral Discourse Expressiveness and Dramaturgical Implications in Outlining the Protagonists","authors":"E. Adetu, Petruța-Maria Coroiu","doi":"10.24193/subbmusica.2023.spiss1.07","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.07","url":null,"abstract":"\"The opera A Masked Ball’marks the end of the middle period in the work of Giuseppe Verdi and represents an important stage in the musical progress of the composer. It comprises a variety and an orchestral inventiveness much higher than any other of his previous works, and, more than ever, the score is consistent with the dramatical structure of the opera. Compared to some titles from the first period of creation, the outlining of the protagonists is not performed only by means of vocality. The subtlety of the orchestral music rounds off a rich sound picture, in accordance with the requirements of musical dramaturgy. This article addresses the structural, stylistic, and dramaturgical aspects found at the level of the orchestral discourse. Keywords: masked ball, Verdi, expressiveness, musical dramaturgy, orchestral discourse.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"52 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205494","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.10
Aušra Kardašienė, Diana Strakšienė
"The article analyses and scientifically evaluates the attitude of teachers teaching various school subjects towards the non-formal musical activity groups: the gymnasium choir, ensemble, etc. The main research questions are: What is the attitude of teachers at various school subjects towards the activities of musical groups in the gymnasium? What changes took place after the establishment of musical groups in the gymnasium? The qualitative research was conducted using the interview method. The attitude to musical groups in the gymnasium was reflected by 7 teachers teaching various subjects: three representatives of the administration and four teachers at different school subjects. The data analysis was performed using the qualitative content analysis method. The research results showed that non-formal musical activities carried out in the gymnasium not only marked the uniqueness of the school, shaped the image of the gymnasium but also united and enabled the participants of the educational process to collaborate and naturally work together for a common goal. Keywords: non-formal artistic/musical activity, music education, teachers’ attitude"
{"title":"The Attitude of Teachers of Different Subjects to Manifestation of Non-Formal Musical Activities in the Gymnasium","authors":"Aušra Kardašienė, Diana Strakšienė","doi":"10.24193/subbmusica.2023.spiss1.10","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.10","url":null,"abstract":"\"The article analyses and scientifically evaluates the attitude of teachers teaching various school subjects towards the non-formal musical activity groups: the gymnasium choir, ensemble, etc. The main research questions are: What is the attitude of teachers at various school subjects towards the activities of musical groups in the gymnasium? What changes took place after the establishment of musical groups in the gymnasium? The qualitative research was conducted using the interview method. The attitude to musical groups in the gymnasium was reflected by 7 teachers teaching various subjects: three representatives of the administration and four teachers at different school subjects. The data analysis was performed using the qualitative content analysis method. The research results showed that non-formal musical activities carried out in the gymnasium not only marked the uniqueness of the school, shaped the image of the gymnasium but also united and enabled the participants of the educational process to collaborate and naturally work together for a common goal. Keywords: non-formal artistic/musical activity, music education, teachers’ attitude\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205552","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.15
N. Rusli
"Students with Autism Spectrum Disorder (ASD) may benefit from music education as a potentially effective methodology for improving their verbal and social communication abilities. Therefore, the objective of this research is to evaluate how well music education aids students in their growth of social communication. The focus of the study area is the necessity of integrating music education into all classroom learning activities. This study's methodology involves reviewing a few earlier research projects on the value of music instruction for individuals with autism spectrum disorders. The reviewed studies will be critically analyzed to draw valid conclusions about the effectiveness of music education in improving social communication for autism spectrum disorder students. The study's findings indicate that ASD students have improved their attitudes toward using different music-based teaching techniques. Teachers also reported that students easily grasp the learning process's fundamentals, and that learning becomes more enjoyable. In conclusion, it can be seen that music education in the learning process of ASD students greatly affects the process of social communication. Keywords: music education, social communication, autism spectrum disorder, ASD"
{"title":"The Effectiveness of Music Education in Improving Social Communication for Autism Spectrum Disorder (Asd) Students","authors":"N. Rusli","doi":"10.24193/subbmusica.2023.spiss1.15","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.15","url":null,"abstract":"\"Students with Autism Spectrum Disorder (ASD) may benefit from music education as a potentially effective methodology for improving their verbal and social communication abilities. Therefore, the objective of this research is to evaluate how well music education aids students in their growth of social communication. The focus of the study area is the necessity of integrating music education into all classroom learning activities. This study's methodology involves reviewing a few earlier research projects on the value of music instruction for individuals with autism spectrum disorders. The reviewed studies will be critically analyzed to draw valid conclusions about the effectiveness of music education in improving social communication for autism spectrum disorder students. The study's findings indicate that ASD students have improved their attitudes toward using different music-based teaching techniques. Teachers also reported that students easily grasp the learning process's fundamentals, and that learning becomes more enjoyable. In conclusion, it can be seen that music education in the learning process of ASD students greatly affects the process of social communication. Keywords: music education, social communication, autism spectrum disorder, ASD\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205274","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 : 2023-07-20DOI: 10.24193/subbmusica.2023.spiss1.02
Vesna Ivkov
"The immediate motive to produce this study is the marking of significant anniversaries in the field of ethnomusicology, both in the personal life of famous ethnomusicologist Nice Fracile and in the activities of the Academy of Arts of the University of Novi Sad. By reviewing the moments from the life and professional experience of this ethnomusicologist, an insight and a guide is offered into the possibilities of creativity and advancement of an individual, who has made a significant scientific contribution to local, regional and world ethnomusicology by studying the musical tradition of his community, and later the wider area as well. Keywords: Ethnomusicology, musical folklore, Nice Fracile, Vojvodina."
{"title":"The Contribution of Nice Fracile to the Study of the Musical Folklore of Vojvodina","authors":"Vesna Ivkov","doi":"10.24193/subbmusica.2023.spiss1.02","DOIUrl":"https://doi.org/10.24193/subbmusica.2023.spiss1.02","url":null,"abstract":"\"The immediate motive to produce this study is the marking of significant anniversaries in the field of ethnomusicology, both in the personal life of famous ethnomusicologist Nice Fracile and in the activities of the Academy of Arts of the University of Novi Sad. By reviewing the moments from the life and professional experience of this ethnomusicologist, an insight and a guide is offered into the possibilities of creativity and advancement of an individual, who has made a significant scientific contribution to local, regional and world ethnomusicology by studying the musical tradition of his community, and later the wider area as well. Keywords: Ethnomusicology, musical folklore, Nice Fracile, Vojvodina.\"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"55 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69205261","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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