Vol 1 Issue 2013

ANTONIN CIOLAN – 130 YEARS FROM HIS BIRTH

11. November, 2013|2013, Vol 1 Issue 2013|No comments

Daniela VLAD

Abstract: The paper aims to contribute to the reconstruction of the historical truth concerning the periods 1922‑1923 and 1944‑1945 of the fabulous artistic and contorted biography of the great conductor Antonin Ciolan, 130 years since his birth. Without claiming an exhaustive summary, there are chronologically diplayed the events related to his formation in Iasi and in Germany, the creation and development of some fundamental institutions for the musical life in Iasi and Cluj, the hectic years of World War I and his activity with “George Enescu” Society and during the Second World War, the indelible mark left in the history of Odessa Opera and injuries caused by the unjust political conviction and the slanderous intrigues of his contemporaries, all in light of the information revealed by the new documentary sources, mainly interviews with his contemporaries and books published after 1990.

Keywordsartistic biography, symphonic society, choral movement, the Philharmonic, conductors school.

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THEATRICALITY AND CORPORALITY IN EUGÈNE IONESCO’S AND SAMUEL BECKETT’S THEATRE

11. November, 2013|2013, Vol 1 Issue 2013|No comments

Tamara CONSTANTINESCU

Abstract: The absurd, as an aesthetical structure, appears only in the twentieth century, but the “absurdity” was used in past works. The absurd theatre was a step taken by the dramatists in order to endow all elements of a presentation with new meanings. Here the players have all the means of theatrical expression – word, music, gestural lines translated in dancing or pantomime. The characters become sometimes sad clowns who improvise, they play different roles, merging in scenic movement from tragic farce the movements specific to a circus show. The fusion between theatre and dance marked a beneficial opening in the presentation world. Grotowski is considered to be one of the forerunners of this type of presentation, understanding that the body and the voice need a permanent training, thus, giving the performer an increased expressiveness of his body and voice, and, at the same time, greater precision and power in the game. The richness of gestural language registers ensures efficient transmission of the message  and a kind of functional transfer from the rhythm of the speech to the one of the body. The fact that contemporary theatre turns to gesture, demonstrates the need for significance, for a dialogue across the barriers of the word. By using gestural language, the theatrical communication can be achieved on a more complex level.

Keywordstheatre of the absurd, Eugène Ionesco,Samuel Beckett, theatricality, corporality.

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VOCAL ACHIEVEMENT, STYLISTIC TECHNIQUE AND DRAMATIC INTERPRETATION

11. November, 2013|2013, Vol 1 Issue 2013|No comments

Florenta MARINESCU

Abstract: Vocal achievement, technique, stylistic and dramatic interpretation represent a mixture of aptitudes and skills absolutely compulsory for a career singer. Under the power of these practical, theoretical and permanent practical exercises, the development of the artistic personality will definitely take place in relation to the performance on stage, by accessing wide repertoires of different difficulties and interpretations. Besides all this there is a strong knowledge of all aspects of voice, diction, style, interpretation, stage presence, emotion and artistic resistance, perfectly harmonized with the musical scores approached and with the large interest of the public in relation to this type of creation.

The professional artist has to complete his becoming aware and responsible, under the supervision of one or more canto masters, on different development stages and according to his age and personal experience. The need for the stage often involves slide‑slips from the canto school and rushing the achievement might alter the expected success. Here is where the specialists in teaching pedagogy came in, the aural‑surgeons or other specialists in the scenic act, such as conductors or stage directors.

Achievement means seriousness and abnegation, it means giving up and enormous sacrifices in comparison to a normal, daily life that everyone can enjoy.

Achievement costs, deforms and isolates. Therefore, the major lyrical performers choose to go abroad, where the lyrical artistic act is paid correctly and offers professional guarantees.

The way in which one chooses his way to the great art proves its value. The artist is analysed according to the number of performances, according to difficulty of the roles played, according to the resistance and according to the interpretative art with the highest vocal potential.

Success basically represents the payment for the great sacrifices to the satisfaction of the public paying the tickets. Besides this, there is no other purpose for achievement.

Keywordsopera interpreter, canto school, vocal achievement, style, elocution, dramatic interpretation, risks, success.

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THE PHENOMENON VOICES OF THE LYRICAL ART – CASTRATED SINGERS

11. November, 2013|2013, Vol 1 Issue 2013|No comments

Radu FĂGĂRĂŞAN

Abstract: The hereby paper contains a display of the castrat singers’ phenomenon in opera. There are described the institutions where these singers used to study; the canto teachers they had; the castration surgery effects; the composers who wrote especially for them; a brief history of world eunuchism; the canto treaties they guided themselves by; the theatres where they developed their careers; their stage debuts; the origin of their pseudonyms.

Keywordsvoice, castrat singers, Farinelli, Caffarelli, opera, Teatro San Carlo.

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THE LIEDER IN THE WORKS BY G. DIMA, T. JARDA, S. TODUŢĂ – THOUGHTS OF A PERFORMER

11. November, 2013|2013, Vol 1 Issue 2013|No comments

Ana RUSU

Abstract: The lied genre opens up a perspective towards a refined form of music, unveiling sincerity and harmony of human feelings through the relationship between the voice and the piano. The voice can utterly disclose its full potential in the lied world. This work is showing up some aspects related to performing some lieder by Cluj composers – Gheorghe Dima, Tudor Jarda and Sigismund Toduţă. We have revealed some easthetic and musical traits of the Romanian lied, emphasizing that the works of Cluj composers should be viewed as a synthesis of three arts: poetry, vocal music and instrumental music, organically tied to each other. An indepth knowledge of these lieder unveils not only their beauty but also determines their particularities while performing them.

KeywordsRomanian lied, singer, pianist, musical and poetical images, vocal expression, artistic message, folkloric interpretation.

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TOSCA – PSYCHOLOGICAL AND STRUCTURAL FEATURES OF THE OPERA

11. November, 2013|2013, Vol 1 Issue 2013|No comments

Doina DIMITRIU

Abstract: Psychological biografies represent the basic element of opera performance creativity specific to the end of the XIXth century, assuring in some way preservation of the mistico‑romantic vision of the artist, as a character reaching loftiness after a terrbile personal suffering.

As in many other domains, the XXth century has recycled the romantic vision, conffering to it a quasi‑innovating, scientifically acceptable image, so that the intrigues of the opera performances involve a succession of archetypal scenes.

To a certain extent, the heroines of Puccini are morally conditioned, up to representing an inferior segment of the social organization in the epoch of the composer; in other  words, the feminine aspects of creator’s projections should disappear, in most situations being obliged to an intense mental stress – in this respect, the interpretations of Mosco Carner are hardly disputable.

Tosca provides an interesting example from all perspectives as, first of all, it includes no stereotype aspect met in other creations of Puccini. The formal theme is based on the fact that it belongs exclusively to an opera vision based on dramaturgy; obtaining of an updated, complete and complex image of the protagonist requires its contextual re‑evaluation, starting from the structural peculiartities of the opera to which they belong.

KeywordsPuccini, Tosca, Carner, psychology, dramaturgy, structure, opera.

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STEPS IN TRAINING TECHNIQUES AND HUMAN VOICE

11. November, 2013|2013, Vol 1 Issue 2013|No comments

Emil PINGHIRIAC

Abstract: My research is dedicated to the Techniques and the steps to follow in the forming process of the human voice, beginning with the legends about the apparition of music. The diatonic system of the Old Greece, the Renaissance that generated the European schools for singing, including the Romanian school are steps in the flowering of the art of singing. It is necessary to point out the recitatives and cantilena that were the foundation stones in the forming of the voices.

KeywordsThe apparition of music, the diatonic system, the flowering, the recitatives and cantilena, the voices.

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OPERA “LA TRAVIATA” BY GIUSEPPE VERDI, VIOLETTA VALERY’S ROLE

11. November, 2013|2013, Vol 1 Issue 2013|No comments

Paula CIOCHINĂ, Al.D. CIOCHINĂ

Abstract: I have described into details the opera “La Traviata” by Giuseppe Verdi, as an example of how an interpreter to approach an opera part. I have also analyzed the evolution of the soprano type of voice and its place in the lyrical performance. The passage from the lyrism of the second act to the dramatism of the third act by using both the declamatory techniques and belcanto.

Keywordsthe interpreter’s place in the lyrical performance , the evolution Violetta Valéry, declamatory techniques and belcanto.

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THE BIOFEEDBACK ROLE IN YOUNG SINGERS’ VOCAL TRAINING

11. November, 2013|2013, Vol 1 Issue 2013|No comments

Paula CIOCHINĂ, Al.D. CIOCHINĂ

Abstract: Biofeedback therapy is a learning process that is based on “operant conditioning” techniques. Aim: To estimate the significance of biofeedback to an accurate and faster control of singing voice emission. Results: Significantly, it was discovered that professional singers active in performing of both classical and music theatre repertoire with regard to the visual‑kinesthetic effect of melodic contour in musical notation as it affect vocal timbre. The results of the study also indicate that the developement of new technology for youth singer vocal training may be useful to these singers.

Keywordsbiofeedback, vocal training, young singer.

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PHONIATRY – HISTORY AND PERSPECTIVE

11. November, 2013|2013, Vol 1 Issue 2013|No comments

Rodica MUREŞAN, M. COSGAREA

Abstract: Phoniatry is a border medical specialty which deals with diseases of the voice, speech, language, hearing and deglutition.

In modern society we can observe an increasing necessity for verbal communication in many professions and thus, the increasing importance of the human voice. This leads to a requirement for a better understanding of the diagnosis and treatment methodology for vocal problems.

The following paper will attempt to explore historical knowledge regarding the human voice and phoniatry, which will present the current status of phoniatry, with emphasis on the ENT Clinic Cluj‑Napoca.

Therefore, we will present modern techniques for voice quality evaluation, focusing on the performer’s voice and modern diagnosis techniques for voice problems.

Considering the close link between phoniatry and vocal therapy, this paper will also investigate the main vocal therapy techniques and the approaches currently in practice.

KeywordsPhoniatry, Stroboscopy, Acoustic analysis, Vocal therapy.

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