Studia Universitatis Babeş-Bolyai
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Interview with Maestro Renato Bruson, Conducted During the Masterclass in Parma (October 25-28, 2024)
Get PDFThis interview with Maestro Renato Bruson was conducted during a masterclass at his house-museum in Parma in October 2024. Bruson, one of the greatest baritones of the 20th century, is celebrated for his expressive singing and deep respect for the interpretative power of the word. Despite humble beginnings and no early access to music education, he rose to international fame with his debut in Verdi’s Il trovatore and later at the Metropolitan Opera. He credits his success to his dedication, seriousness, and his chamber music training under Professor Elena Fava Ceriati, which refined his interpretative sensibility. Bruson emphasized humility, consistency, and the avoidance of shortcuts in a singer’s journey. He warned against the negative influence of the media on young artists and stressed the importance of respecting one’s own vocal limits. For him, vocal technique, emotional depth, and the ability to move the audience are central to true artistry. He does not believe in predefined national schools of singing but sees taste and style as cultural variations. His message to future generations is simple yet powerful: “Study, study, study.
Sound Hypostases of the Prayer of the Heart
Get PDFSong has always accompanied prayer in moments of worship of man throughout time. More precisely, the sound form of prayer has proven to be a necessity of expression, communication and communion with Divinity. The Prayer of the Heart or the Prayer of Jesus Christ is simple, non-canonical, being an exercise of asceticism for Christian believers. Its text is “Lord Jesus Christ, Son of God, have mercy on me, a sinner!”, and its continued repetition responds to the call of the Apostle Paul who urges us in his Epistles: “Pray without ceasing!”. The practice of this prayer is part of the hesychast tradition, it is attested both in the writings of the Holy Fathers and in the practice of some Athonite monks, to this day. The testimonies of the ones who delve into this prayer converge towards the idea of ordering the mind and connecting it with the heart and with Divinity. By transcribing and analyzing the melodic types with which the Prayer of the Heart was clothed sonorously, the work aims to highlight their circulation in the environment of Christians from the Romanian, Russian, Ukrainian and Belarusian churches, as well as the spread, respectively the adaptation of these songs to the musical specificity of Western culture. From modal, monodic songs, processed in rudimentary polyphonies with ison, to tonal songs, harmonized in the manner of the choral, from solo to choral interpretation, or accompanied by the electronic ison, the forms of representation of these prayers are of great variety, underlining the transition from a collective, oral, anonymous creation to that of the cult musical creation represented in this exhibition by two masterpieces by the Romanian composer Paul Constantinescu
“Adagietto” by Gustav Mahler in the Performance Practice of Chinese Conductors: Interpretative Aspects
Get PDFThis article explores the distinctive features of the performance interpretation of Gustav Mahler’s symphonies within the context of contemporary Chinese conducting practice. It identifies the main trends in how Chinese orchestras are engaging with Mahler’s symphonic repertoire, as well as their interpretive strategies. The conducting style of Long Yu is analyzed in comparison with the interpretative tradition of Leonard Bernstein, allowing for a deeper understanding of the differences between Eastern and Western approaches to Mahler’s orchestral dramaturgy. Comparative analysis of tempo-rhythmic development, dynamic balance, and orchestral texture in various conductors’ performances highlights the influence of cultural traditions on interpretative practice. The growing interest in Mahler’s symphonies in China is shown to contribute not only to the expansion of national orchestral repertoires but also to the emergence of new performance standards that integrate European traditions with local stylistic characteristics. The findings make it possible to broaden the musicological panorama of the modern reception of Mahler’s symphonies and contribute to further research into the processes of cultural adaptation of European academic music to the East Asian artistic space
Cognitive, Emotional and Methodological Aspects of Musician-Performer’s Thinking
Get PDFSUMMARY. The way of thinking of a performing musician is a complex and multifaceted process that combines rational, intuitive, and emotional aspects. It not only ensures the effectiveness of performing activities, but also determines the artistic depth and individuality of the interpretation of a musical work. Understanding the specifics of performing thinking is important for the formation of a musician’s professional skills as it is carried out through mental processes, interaction with musical material, interpretation of the composer’s idea and emotional and aesthetic connection with the listening audience. The relevance of the study is based on the need for a comprehensive understanding of these aspects in the context of modern performing practice, which allows not only to deepen the theoretical understanding of the specifics of performing thinking, but also to develop practical recommendations for improving the professional skills of musicians
Infancy: Primordial Trust Versus Primordial Mistrust – Recommending Personalized Music During the Prenatal and Infant Stages of Development
Get PDFThis paper explores the underlying conflict between primordial trust and primordial mistrust, focusing on the role of early attachment in the development of mental health. It combines psychological, developmental and theological perspectives to show how the relationship between infant and caregiver influences later emotional and social functioning. Harlow’s monkey experiments and Bowlby’s attachment theory support the importance of secure attachment. The paper also discusses the role of music and religious rituals, especially baptism, in reinforcing emotional security. Analyzing the effects of prenatal and infant musical stimulation, it concludes that musical experiences and touch can jointly contribute to the development of primordial trust, which can form the basis of psychological resilience in later stages.
 
“Music Therapy Moments”. Personal Experiences on the Path to a Music Therapy Profession. Scientific opportunities
No full textBecoming a music therapist is shaped by family experiences, group experiences, music learning experiences. In music therapy, the experience is processed analytically, in contrast to music education, where the music is professionally performed and received. Music therapy can be an alternative solution to technical and emotional problems in music education. As an interdisciplinary field, music therapy research is extremely difficult. Changes in a targeted area or skill in the core activity are assessed using the measurement tools used in the core activity. In music education, this can be a developmental experiment. We can use self-developed measurement tools (test, questionnaire) to assess changes along the targeted skills. In teacher training, Scientific Student Association, Erasmus mobility programmes, new courses offers the opportunity to learn music therapy methods and conduct research at international level
STYLISTIC-INTERPRETATIVE ASPECTS IN THE MUSICAL REPERTOIRE SPECIFIC TO BAROQUE VOCAL SINGING
Get PDFThese arias, which played an important role in the history of music, leading to the flowering of the Italian bel canto school and vocal virtuosity, occupied a leading place in all the genres of vocal music that were beginning to develop: opera, cantata, oratorio. The characteristic feature of the vocal arias is that they express new, secular, humanistic content, reflecting faith in human strength, love of life, love of nature, etc. as opposed to religious music. The arias, which are analyzed in this work, represent a stage when the exaggerations of vocal virtuosity had not yet left their mark on musical discourse. We will therefore note that between the lyrics and the expressive melodies, full of naturalness and singing ability, there is perfect unity, perfect interweaving, designed to convey the richness and diversity of the content. The soft imagery, the gentleness and at the same time the exaltation of the love verses - echoing the echoes of troubadour poetry with its tendency to idealize women and the feelings of love - give rise to the melodic ardor and sincerity much adored by Gluck. The pathos of the lyrics of Handel’s Let me mourn my cruel fate, and sigh for freedom also permeate the dramatic accents of the melody. Many of the old arias were destined for the opera house, with the representative composers (Alessandro Scarlatti, Paisiello, Caldara, Carissimi, Handel, Gluck and others) being recognized masters of the genre. Even though most of the works for which they were intended have not been performed for centuries, the wonderful arias still delight listeners all over the world today, and the musical education of young singers is inconceivable without their substantial contribution. The performance of ancient arias requires serious vocal technique, finesse and elegance of expression, restrained interpretation, without excesses of intensity, but with intonational precision, especially in the delivery of specific ornaments. Through their high artistic qualities, they contribute to the formation of good taste in music lovers and to the enrichment of their knowledge of the heritage of pre-classical music
THE HERMENEUTIC STUDY OF THE MUSICAL AND POETIC TEXTS IN THE VOCAL MUSIC BY E. CHAUSSON
Get PDFThis study proposes an exploration of the symbolism within the works of Ernest Chausson’s of the vocal music, as an example we choose cycle “Poem of Love and the Sea”, (words by Maurice Bouchor) the application of hermeneutic methodology and analysis of the work’s intonational dramaturgy. The uniqueness of the composer’s conception, combined with the multi-layered structure of the poetic text, drives researchers to interpret the hidden symbolic levels inherent in this vocal cycle. As a result of the analysis, it is concluded that the meaning of “Poème” is grounded in core principles: the duality of the real and the otherworldly, expressed through the embodiment of hidden meanings via symbols; Romanticism and Symbolism, manifested in the observed unity between nature and human, as well as in the mystical visions of the lyrical protagonist.
An analysis of the poetic text reveals Bouchor’s clear inclination toward phonetic play, the understanding of which helps unveil the symbolic essence of the entire work. The interaction of the idealistic with the realistic, the pictorial exterior with the concealed interior, is likewise evident in musical text and is revealed through the dominance of two overarching intonational graphemes. The musical and poetic levels of the vocal cycle are combined thanks to a common symbolic basis, particularly through the use of symbolism of pictorial origin. This symbolism is decoded in the musical text through principles of the painter Gustave Moreau. The fusion of poetic and musical symbolism results in mutual amplification, thereby enriching the symbolic content of the vocal cycle as a synthesis of the arts
THE WAR TOPOS IN IVAN NEBESNYI’S WORKS (ON THE EXAMPLE OF “MESSAGE FROM UKRAINE” AND “…WHILE RECALLING…”)
Get PDFThe works of the Ukrainian composer Ivan Nebesnyi (born in 1971) are well known not only in Ukraine, but also abroad. His works are performed by both domestic and foreign musicians. The composer’s works feature the theme of war. In the symphonic work “Message from Ukraine” (2010, 2014) and the choral cycle “…While Recalling…” (2023), the author illustrated not only his personal reflection but also generalized the traumatic experience of many Ukrainians’ generations. In the choir cycle the author conveyed subtly the state of praying, the secret communication with God, personal and collective asking for help. In “Message from Ukraine” the Ukrainians’ existential worldview during the war is depicted with musical means. Both works were performed at Ukrainian and foreign concert venues
MUSIC AS AN INSTRUMENT OF CULTURAL INFLUENCE IN GLOBAL COMMUNICATIONS
Get PDFThe relevance of the topic is determined by the intensified interest in cultural ways of minimizing tensions in the geopolitical field. The study focuses on the vector of influence of the phenomenon of cultural diplomacy on the formation, development, and strengthening of international relations. A significant part of the article is devoted to the role of musical art in expanding and improving diplomatic cooperation. The study uses analytical and synthetic methods, generalization, comparison, and induction. The article provides a comparative analysis of practical international initiatives in the field of musical diplomacy in selected countries, including Israel and Palestine, the US and Iran, South and North Korea. Critical limiting factors for the development and effectiveness of cultural diplomacy are identified. Key trends in the use of musical art for peace initiatives and the intensification of cultural exchange between countries are determined. Ways to strengthen diplomatic relations and cooperation in the cultural field in the current geopolitical situation are analyzed. The role of cultural diplomacy as a factor in the integration and productive interaction of individual states and their social formations has been proven. The priorities for the promising application of cultural diplomacy, in particular musical art, for resolving existing conflicts and preventing new ones have been substantiated. The significance of innovative models of cultural and artistic interaction in the international arena for enhancing the effectiveness of interregional diplomatic initiatives has been demonstrated. It is proposed that research within the selected subject area should focus on the development and practical testing of new approaches to the development of musical diplomacy