2,590 research outputs found
PROGRAMMATIC INDICATIONS ÎN THE MOMENTS, CONCERTO FOR VIOLIN AND SYMPHONY ORCHESTRA BY GHENADIE CIOBANU
No full textIn this article are investigated the relations between the programatic indications, the programatics, the intonational system and architectonics in the Concerto for Violin and Symphony Orchestra „Moments” by Ghenadie Ciobanu. The author analyzes the reference system between the programme indications of psychological nature of the
parts titles on the one hand and the concept, formal construction, the intonational expression and the types of narrative, on the other hand
THE MUSICAL-DRAMATURGIC CONCEPT OF THE MONOOPERA ATEH BY GH. CIOBANU IN CORRELATION WITH THE LITERARY SOURCE
No full textThe article is devoted to the peculiarities of the musical embodiment of the literary source in the mono-opera-ballet „Ateh or the revelations of the Khazar princess” by Gh. Ciobanu, based on three fragments from the lexicon-novel „Dictionary of the Khazars” by M. Pavic, a reference work of art of the end of the 20th century. Following from the genre characteristics of modern mono-operas, on the one hand, and on the exceptional qualities of Ateh’s image in the novel, on the other hand, the author reveals the basic principles of the composer’s approach to the literary text — selectivity, economy of verbal means, simplification of the content plan by eliminating the text with symbolic and mystical components and increasing the role of musical-dramatic means. The author considers various types of semantic relation between the text and music in the mono-opera — convergence (illustration, parallelism, association and others) and divergence of meanings. The author comes to the conclusion that the semantic concepts of the monoopera by Gh. Ciobanu occur at the intersection of the self-reflection principle, on the one hand, on the other hand — of the idea of transformations that moves the musical-dramaturgical process
MUSICAL INTERPRETATION OF THE POETIC SOURCE IN THE RAP POEM FROM THE VOCAL-SYMPHONIC CYCLE FOR BARITONE AND ORCHESTRA APRÈS UNE LECTURE BY GHENADIE CIOBANU
No full textThe author considers the peculiarities of the interpretation of the poetic text in the music of one of the poems of the vocal and symphonic cycle for baritone and orchestra „Après une Lecture” by Ghenadie Ciobanu. The purpose of the article is to reveal the specific features of the musical and poetic synthesis achieved by the composer in the „Rap Poem”: in the description of the genre basis of the poetic and musical works, their figurative content, the correlation of their syntax, the specific musical intonation of the poetic text, the role of the orchestra. The composer’s method of working with a word is evaluated from the novelty standpoint, and the final artistic result is determined from the position of its stylistic affiliation as a musical exemple of the „third direction” in the music of the 20th century
ABOUT THE INTERPRETATION OF THE POETIC SOURCE IN THE VOCAL-SYMPHONIC CYCLE FOR BARITONE AND ORCHESTRA APRÈS UNE LECTURE BY GHENADIE CIOBANU
No full textThe author considers the features of the musical embodiment of the samples of modern Romanian poetry in the vocal-symphonic cycle „Après une Lecture” by Ghenadie Ciobanu. The poems by the Romanian poet Emilian Galaicu-Paun, taken by the composer from the first part of „Quarantine” of the monographic collection “a-z.best” (2012), despite various scales and figurative spheres, are oversaturated by signs and symbols. The postmodern context of the poetic material showing the vibrating meanings of the words, irradiating or resounding with various cultural spaces, needed a polystylistical musical solution for the first verse. In this article, the author applies an intertextual approach to the analysis of the treatment of the poetic source by the composer. Emphasis is laid on the special sensitivity to the meaning of the words, their associativity, overlapping and the paradoxicality of their relations, the free operation with various traditions, the dialogue with the cultures of the past and the present; all these unite the creative methods of the poet and composer
The equation x^py^q=z^r and groups that act freely on \Lambda-trees
No full textLet be a finitely generated group that acts freely on a -tree, where is an ordered abelian group, and let be elements in . We show that if with integers , , , then , and commute
Anamaria Babiaș-Ciobanu, "Jon Fosse and the New Theatre", Cluj Napoca: Școala Ardeleană, 2020, 330 p.
No full textJon Fosse and the New Theatre is the title of an ample research on the Norwegian author, done by PhD student Anamaria Babiaș-Ciobanu (b. 1987). She held her public defence in Philology in 2018, under the supervision of Professor Sanda Tomescu Baciu, at the Faculty of Letters, Babeș-Bolyai University, followed by the publication of the present volume, based on the PhD thesis with the same title. Prior to this she also translated Jon Fosse’s Shadows (Skuggar) into Romanian, under the title Umbre (Casa Cărții de Știință, 2015). Furthermore, Babiaș-Ciobanu has published several corresponding articles in the academic journal Studia Universitatis Babeș-Bolyai Philologia: “A Short Example of Jon Fosse’s Dramaturgy. Play Sov du vesle barnet mitt” (vol. 59, no. 1, pp. 87-99, 214) or ”From Ibsen to Beckett: Aspects of the Human Condition” (vol. 60, no.1, pp. 133-147, 2015). Her MA thesis tackles the theme of the latter article and her BA thesis was focused on Norwegian dramaturgy as well: “Løgn og sannhet i Ibsens Vildanden” (The Concepts of Lie and Truth in Ibsen's The Wild Duck). Thus, Babiaș-Ciobanu has displayed a continuous interest in this field and has extensively contributed to spreading the Fosse’an universe on Romanian soil
Albitization and redistribution of REE and Y in IOCG systems: Insights from Moonta-Wallaroo, Yorke Peninsula, South Australia
No full textAbstract not availableAlkis Kontonikas-Charos, Cristiana L. Ciobanu, Nigel J. Coo
Anamaria Babiaș-Ciobanu, "Jon Fosse and the New Theatre", Cluj Napoca: Școala Ardeleană, 2020, 330 p.
No full textJon Fosse and the New Theatre is the title of an ample research on the Norwegian author, done by PhD student Anamaria Babiaș-Ciobanu (b. 1987). She held her public defence in Philology in 2018, under the supervision of Professor Sanda Tomescu Baciu, at the Faculty of Letters, Babeș-Bolyai University, followed by the publication of the present volume, based on the PhD thesis with the same title. Prior to this she also translated Jon Fosse’s Shadows (Skuggar) into Romanian, under the title Umbre (Casa Cărții de Știință, 2015). Furthermore, Babiaș-Ciobanu has published several corresponding articles in the academic journal Studia Universitatis Babeș-Bolyai Philologia: “A Short Example of Jon Fosse’s Dramaturgy. Play Sov du vesle barnet mitt” (vol. 59, no. 1, pp. 87-99, 214) or ”From Ibsen to Beckett: Aspects of the Human Condition” (vol. 60, no.1, pp. 133-147, 2015). Her MA thesis tackles the theme of the latter article and her BA thesis was focused on Norwegian dramaturgy as well: “Løgn og sannhet i Ibsens Vildanden” (The Concepts of Lie and Truth in Ibsen\u27s The Wild Duck). Thus, Babiaș-Ciobanu has displayed a continuous interest in this field and has extensively contributed to spreading the Fosse’an universe on Romanian soil
Special issue: Telluride and selenide minerals in gold deposits - how and why?
No full textThe original publication can be found at www.springerlink.comC. L. Ciobanu, N. J. Cook and P. G. Spr
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