| Laura STAN, Mihai POPEAN - A MATTER OF TASTE: A PRELIMINARY STUDY ON MUSIC AND FOOD CHOICE AMONG STUDENTS | ABSTRACT Food and music are well-known as multi-sensorial experiences that have the ability to change the mood. However, the direction of the change depends on sensory, physiological and psychological mechanisms. The objective of this study was to investigate the relationship between students’ choice in food and music. A survey with 26 items was delivered to students (N=122). Although 81% of the students listen to music daily, most of them (57%) reported that music listening lasts less than 2 hours/day. Outcomes revealed that for 60% of the respondents the second reason to listen music is inspiration during cooking, while 68% reported that music makes food taste better. In contrast, only 16% of respondents prefer quietness during meal time. To the authors’ knowledge, this is the first study that combines food and music relationship in students’ perception and it will bring greater understanding of their attitudes and motivations for food and music choice. Keywords: taste of music, food choice, food and music pairing, survey. |
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| M.A. CHRISTI - TACTILE MUSIC SHEET | ABSTRACT A tactile music sheet renders standard music sheets in bas-relief, so that blind people, too, may accede to the contents thereof, in the immediacy of sighted people. Such rendering system entails customized stylizing (in terms of decisions about sizes, proportions, discriminative resolutions, density of details, choice of extra symbolism…) based on each blind person’s specific literacy, tactile acuity, sensitivity, education, and a number of further similar variables. A theory of the topic would require results of long term experiments. Keywords: cognitive musicology, tactile staves, Braille music, swelling paper, PIAF, 3D score. |
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| Nicoleta-Mihaela ARDELEAN - PSYCHOLOGICAL ASPECTS OF THE MUSICAL-SCENE ANALYSIS OF BEATRICE, THE CHARACTER FROM VINCENZO BELLINI’S BEATRICE DI TENDA | ABSTRACT „In order to convince ourselves of who we are, we must convince other people too. Although questionable in real life, it is a tool in acting. Identity is a construction which helps me determine who is that I when I speak.” (Declan Donnellan, 2006, p. 84-85) In Bellini’s works, for a precise embodiment of the characters, the interpreter is compelled to pay attention to everything that goes around him, to people’s reactions, to the words they utter and to the way crisis moments break. Knowing life and human soul are very important. His characters offer a profound search of human psyche. Ion Radu-Tomșa shows that “personality is the object of many sciences, each approaching it differently. (2008, p. 7) In Pierre Janet’s view psychology is the science of human action, the science of conductor the study of man versus universe and mostly versus other men. Janet introduces in psychology the concept of conduct, which means the entire visible manifestations, oriented towards outside, as well as the entire invisible processes of organizing and regulating it. To be more precise, the conduct is the amount of an individual’s acts, from the most simple to the most complex, purpose oriented and full of meaning. In the French psychologist’s conception the conduct unifies and synchronizes in a unitary whole the behavior and the subjective interior life. In De l'angoisse à l'extase, études sur les croyances et les sentiments he wrote, ”We are compelled to conceive a psychology where the visible action from the outside is the fundamental phenomenon, and the interior thinking is the combination of these exterior actions in reduced and particular forms." (Pierre Janet, 1975, p. 174) Interpreting Bellini’s characters is even more difficult as any attempt to express a cliché or a stereotype, any moment of lack of real assumption of situations and concepts proposed, becomes extremely visible and discordant with the whole which has the precision of a music score. Their actions are triggered by past experiences and traumas, their words are the expression of a process of interior search or they have outbursts determined by the words or actions of those around them. His heroes are profoundly humane, their dramas can be, one way or the other, our dramas, joy and tears are part of life. The musical-dramatic structure of the characters is clear, the musical phrases, the way the characters express themselves, the way they respond to the others, their movement in space, are carefully thought and realized. The character Beatrice, categorized as a heroic tragic type, is complex, difficult to interpret, from the vocal point of view as well as from the scene process. Keywords: musical-scene analysis, music and emotion, creativity, Bellini, Beatrice. |
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| Andrada Lavinia FAUR, Sebastian VAIDA, Adrian Nicolae OPRE - STATE ANXIETY IN MUSICIANS: THE ROLE OF EMOTIONAL SCHEMAS | ABSTRACT The purpose of our study was to investigate the relationship between emotional schemas and musicians’ state anxiety. A number of 134 musicians completed questionnaires of state anxiety (EMAS-S) and emotional schemas (LESS II), while reminding themselves of the way they felt right before an important performance. Results showed significant relationships between the musicians’ state anxiety and 11 of the 14 emotional schemas. The emotional schemas of control and incomprehensibility were highly correlated with musicians’ state anxiety. Keywords: state anxiety in musicians, music performance anxiety, emotional schemas. |
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| Diana SÂRB, Loredana MUNTEAN - MUSIC - SUPPORT FOR NON-NATIVE SPEAKERS OF ROMANIAN LANGUAGE. CASE STUDY | ABSTRACT Multiculturalism is a phenomenon frequently encountered not only in numerous countries, but also in Romania. Cohabitation based on respecting the cultural values of each ethnicity is natural and is the main cause of intercultural exchange, enriching each person involved. Absorption, integration of non-native people in a socio-professional environment is conditioned by communication, a good oral and written expression representing an important element of their lives. This study is supposed to highlight a working method dedicated to learning a new language, learning through music. Our purpose is to expose the current situation of the capability of non-native speakers to express themselves in Romanian, to analyse the results obtained from an educative intervention through Romanian children folklore songs, on a class that has Hungarian as the learning language. We aim to confirm that the results will be represented by a substantial enrichment of children's vocabulary, a better understanding of a read text, and last but not least, an improved ability to express themselves in full sentences, phrases. Keywords: music involvement, case study, non-native speakers, children's songs, musical education. |
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| Liliana MERCIOIU POPA - "PER SE" SOUND | ABSTRACT Many correlations have appeared between music and visual art over the course of time, and not few were those who mastered and practiced both means of expression and founded their creative experience on the said correlations. This study focuses on the visual artists who used such experiences in their work, and also on some cultural contexts in which visual art borrowed some of the cognitive characteristics of music and brought them into its specific field of interest, i.e. the visual language, thus leading to hybrid forms of art, which in time have become new forms of contemporary art, where sound serves as the main operating element. Keywords: visual art, color, painting, harmony, music, sound, vibration, noise. |
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| Maria-Cristina SUBTIRICA - OPERA FOR YOUNG SINGERS BASIC ELEMENTS OF VOCAL TECHNIQUE AND THE RECALIBRATION OF THE TEENAGE VOICE | ABSTRACT Singing is one of the most natural actions any human can take and, as such, the need to find and develop methods to achieve the highest level of performance is, to this day, an ever-growing area of mastery. Opera, being a relatively young art expression, is still finding its own ways of growing and maturing while having to keep up with the technological achievements that can ease the way to an always perfectible performance. The voice, being the key ingredient in Opera, was always a very much disputed topic being exposed to many kinds of preferred techniques and, over time, some of these techniques became obsolete while others are still thriving to this day and some new ones are always found. Before even starting to train the voice to become “Opera ready”, there has to be a calibration, a preparation of the voice where all the possible issues one might encounter when singing are eliminated by adopting a correct technique, adapted to the individual. In order to achieve said correct technique, one can start their vocal training no earlier than their teen years where, with due care and guidance, they will find their “proper voice” who will not only enable them to sing beautifully but will also provide a healthy way of vocalization. Keywords: Singing, vocal training, teenager, musical development, teaching. |
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| Oana Mihaela BĂLAN - MUSIC PERFORMANCE MANAGEMENT AND NEUROBEHAVIORAL THEORIES | ABSTRACT In any field of activity, performance is closely related to the process of building and sustaining a well-ordered learning system, based on effort and consistency. Along with a coherent progress planning strategy, it is useful to know the neuropsychological factors that can influence musical careers. In this context, "performance anxiety" is an already known expression, experienced and managed in various forms by practitioners and carefully analyzed by the recent literature. Trying to expose the physiological structures involved in configuring professional success, researchers have formulated a series of neurobehavioral theories that can support development processes. In this respect, the article presents several methods used in performance anxiety therapies, highlighting the components that interact with the individual’s unconscious in stressful situations, in order to provide an adjustable set of tools for a successful career. Keywords: performance anxiety, neurolinguistic theory, career management, analytical-cognitive therapies. |
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| Mihai POPEAN - TEACHING FOR TRANSFER: IMPROVING BEGINNER STUDENT VIOLA PERFORMANCE BY IMPLEMENTING THE THINK-SET-PLAY SEQUENCE | ABSTRACT Hand-held string pedagogy is fundamentally different from that of other families of instruments due to a high level of complexity with regard to specific instrumental technique, bodily posture, bi-lateral and unilateral asynchronous arm movement in segments, involvement of the upper body in both instrumental technique and holding the instrument, continuously-variable axis of hand movement in tri-dimensional space as well as highly refined motor coordination of fingers needed for mastering skills such as vibrato, microtonal pitch adjustment, shifting, interval adjustment, tuning, tone control and special effects, on short string-lengths. Specific training benefits from critical and strategic thinking and, in turn, further enhances such thinking processes when corroborated with pedagogies centered on teaching for transfer and the development of metacognitive skills, especially in early stages of training. Keywords: Strings, viola, pedagogy, beginner, transfer, metacognition. |
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| Mihai Şerban - UNGUREANU-PAMFIL - TOWARDS A POSSIBLE EPISTEMOLOGY OF MUSIC AN ONTOGENETIC TRAJECTORY THROUGH WHICH A DOCTORAL THESIS CAN PASS | ABSTRACT If we look at a doctoral research with a filter of content and form, we observe two ideational substances. The content (or background) and form (or framework) both represent, as ideational substances, the existential nature of the research. Depending on the points of interest of the valoric density of the work, the content or its form are emphasized in elaboration. The form of the work could follow an epistemological organization of the approach on a pattern resulting from Karl Popper's philosophical study. The 11 stages of a scientific pathway crystallizes its ontogenetic trajectory from the observation of a fact and concludes with the predictability of the hypothesis. As for the content, pertaining to any of the three areas of knowledge, it only remains, if the researcher decides accordingly, only to cling to the protocol of the phases (or stages) of the 11-step framework. Presuming that the examination of an uncertain reality, within the case of the musical, with certain methods of knowledge, the apparent paradox of the science-art-methodology triad would thus verify its authenticity. The focus is turned towards the consciousness of the form (of the framework) and not on the content (of the background) of a research. Keywords: science, music, doctoral thesis, truth, beliefs. |
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