Academy of Music Theatre and Fine Arts

It is known that the enrichment of the vocabulary of a language occurs in various ways. The procedure established by us in this presentation is based on the use of words from within the personal lexical repertoire. Thus, a term already existing in any specialized language can be "borrowed" to be used to name another concept or phenomenon from another domain of human activity, thus amplifying its significant range. The phenomenon in question is widely used especially in the composition of words, as well as in their reuse in creating various expressions with figurative meaning. In the present article, we have limited ourselves specifically to the examination of such complex structures in the composition of which we identify a term from the musical language. To this end, we have also compared their frequency in Italian and Romanian. Broadly speaking, we observe that in the process of lexical-semantic transformations, two different glottis phenomena intersect, namely, word composition and metaphor. However, despite the fact that they are part of different linguistic compartments (lexicology and stylistics), we will note their productive interaction, treating them from the perspective of the onomasiological function of the language. For example, the word music, in addition to its basic meaning, known in musical terminology, extends into a wide range of meanings in different expressions and contexts with reference to states, situations, facts that are prolonged longer than required, creating boredom and monotony. La solita/la stessa musica! - a very frequently encountered expression, especially with reference to political characters and situations. "The players change but the music is always the same." The generic term "note", as a component element in a combination of words of the type "nota stonata" (a note out of tune, wrong in the context of common language), leads to the transformation and amplification of the nominative value of the word itself, generating a more complete meaning, with the meaning of "behavior, gesture or inopportune speech". Thus, the denotation of the word exceeds the denominative limit, conferring the given situation a metaphorical, connotative valence. The lexicon examined in this article focuses on the most frequent lexical units, words and expressions with musical terminology, encountered especially in everyday speech, which can generate both different meanings and a more "colorful" and succinct expression in everyday communication. The results of the research could be applied both from a lexicological and didactic perspective. Finally, we intend to create a small vocabulary of the accumulated terms that could be of interest both theoretically and pragmatically.

Silk painting is a fine art form characterized by the clarity and transparency of colors. The pearlescent effect of natural silk adds value to the created artwork. With the development of fashion art and the crafting of fine clothing, the need arose to create accessories that define the entire outfit. The most expressive accents are textile flowers. Since the Middle Ages, people have invented various ways to transform fabric into unique textile flowers, designed to decorate the costumes of the nobility, attire for special occasions such as weddings, cultural events, floral arrangements, artistic objects etc. Flowers made from natural silk stand out for their delicacy, reflect a sense of luxury, and are in great demand. Fabrics such as organza, taffeta, or satin are used to imitate the look and texture of real petals. To obtain high-quality, durable works that meet all technical and aesthetic requirements, it is necessary to follow a precise working sequence and all the stages of production. To give the fabric the necessary density and to prevent the edges from falling apart during the cutting process, it undergoes a gelatinization process. A solution is prepared from gelatin and warm water in the following proportion: one teaspoon of dry gelatin per 200 ml of warm water. After the gelatin is completely dissolved, the silk is immersed in this liquid. Once dry, the fabric resembles paper in both appearance and texture. The gelatin "bonds" the textile fibers, gives the fabric a glossy finish, and does not create obstacles in the painting process. The working templates are created after real flowers or designed individually, depending on their purpose. The fabric is then cut along the contours of these templates. Additionally, decorative accessories and other auxiliary materials are prepared. During the painting stage, water-based paints are used, known for their fluidity and watercolor effect. The batik technique is applied, along with freehand painting on natural silk. For this process, all the cut details are moistened before applying the pigment in a sequential manner - from light to dark tones. On the wet surface, colors blend easily, creating unique effects and chromatic gradients. After drying, all petals are shaped using special iron tools, heated either electrically or on a gas stove. This process gives form to the flowers and various floral compositions. In conclusion, it should be mentioned that decoration has always played an important role in fashion design, the textile flowers being among the most desired elements. By carefully following all technological stages of silk gelatinization and freehand batik painting, unique flowers and compositions can be created, that are true works of art.

Rap is one of the most influential forms of musical expression of the 21st century, generating intense debates regarding its artistic nature and social impact. This article addresses several issues, such as: "Is rap an authentic form of art, or does it remain marginalized as a subculture associated with violence and nonconformity?", "What are the prejudices of some conservative circles, and what characteristics of rap fuel criticisms and its perception more as an antisocial phenomenon than as an authentic art form?", "What general and stylistic features of rap confirm its artistic dimension, if it is acknowledged as such?". To answer these questions, several texts by rappers from the Republic of Moldova are analyzed from thematic, stylistic, and discourse perspectives. Emerging in the late 1970s in the disadvantaged neighborhoods of New York as an expression of social realities, frustrations, and African-American identity, rap began as part of the hip-hop movement and quickly became a platform for social protest, addressing themes such as racism, poverty, violence, and injustice. In the Republic of Moldova, particularly manifesting in the second decade of the 21st century (with some instances immediately following the declaration of independence), rap addresses a series of issues faced by young people: lack of money, unemployment, emigration as a "salvation", the countercultural paths of youth, the courage to face life's hardships, the harmfulness of the Moldovan political context, the feeling of time, etc. The diversification of rap from hardcore gangstar rap styles to more commercial forms like pop-rap or alternative rap has generated debates regarding the authenticity and artistic value of modern rap, with some considering that it has become overly commercialized, losing its original message. Often criticized for promoting values perceived as negative, such as violence, misogyny, and drug use, and subjected to prejudices, rap continues to be marginalized in some conservative circles that perceive it more as an antisocial phenomenon than as an authentic art form. This is also evidenced by the lack of critical musical and literary studies that would elucidate the issue contained in the theme of this communication. Built on a rapid verbal flow, requiring advanced diction techniques and synchronization with the instrumental, rap lyrics largely stand out through a series of unique stylistic features that contribute to its dynamism and expressiveness, such as: complex rhymes, often internal or multisyllabic, ensuring the text's rhythm; repetitions and memorable refrains as essential elements impacting the audience; omnipresent poetic and linguistic devices (metaphors, comparisons) giving the text a distinct artistic value; wordplays and double meanings through which encoded messages are conveyed; alliterations and assonances as phonetic techniques creating strong rhythmic effects.Evoking a harsh reality, the authenticity of the experiences lived by artists and their communities, aiming to convey a raw and unfiltered message, rap lyrics are also notable for street language, sprinkled with popular expressions, obscene words, and sexual expressions, used either to shock or to exaggeratedly express aspects of urban reality. Although for some this language is merely a form of authentic art, for others it raises moral and educational issues. Ultimately, the way this type of language is perceived depends on the context, the artist's intention, and how listeners choose to interpret the conveyed message. Beyond this, rap is undoubtedly an authentic form of art, characterized by stylistic complexity and an extraordinary capacity to reflect social realities. Although some subgenres have been associated with negative messages, we cannot ignore its artistic dimension and impact on global culture. Thus, rap should be viewed not just as a musical genre, but as an expression of communities, a tool of freedom of expression, and a form of modern poetry adapted to contemporary realities.

The aim of this study is to compare the effect of group music therapy practices on test anxiety and the effectiveness of the music lesson taught in accordance with the united annual lesson plan in high school seniors who are preparing for the university entrance exam. Two months before the exam, 49 students studying in the last year of Osmangazi Anatolian High School in Afyonkarahisar province in the 2022-2023 academic years participated in the research. Students were randomly assigned to “Music Therapy” and “Music Lesson” groups. The music therapy group was included in the group music therapy process for 8 weeks, while the music lesson group took only the elective music course in the curriculum. “Westside Exam Anxiety Scale” was used as a data collection tool in the study, and comparisons between groups were made with independent sample t-test, chi-square analysis and factorial mixed design analysis of variance methods. In addition, semi-structured interviews were conducted with the students and the effect of the music therapy sessions was evaluated with the opinions of the participants. In conclusion; it has been observed that students can control their test anxiety through music therapy practices and strengthen their internal audit-based motivation by developing a foresight through affirmation. Moreover; it was stated by the students in the therapy group that peer interaction, music culture and music-based expression skills improved, and that music therapy sessions had a positive effect on them. It was determined that the students in the Music Lesson group experienced a certain increase in their anxiety levels with the approaching of the exam date, and it was difficult for the students to make sense of the music lesson outputs for the curriculum. In this study, it was determined that goal-oriented music therapy practices performed in the school environment were effective in reducing test anxiety. It is thought that the results of the study will contribute to the national and international literature.

This article compares the preparatory drawings for the illustrations of Miguel de Cervantes Saavedra’s novel Don Quixote de La Mancha by Pavel Șillingovski and Ilie Bogdesco, two famous artists, whose work represents the successive stages in the evolution of graphic during the 20th century. The series of drawings represents different attitudes towards the process of illustrating literary works. In order to achieve the proposed objective, we have resorted to theoretical concepts, present in the science of “art history” and described by the Viennese theorist Walter Koschatzky, as well as the published diary of I. Bogdesco, which complements the artistic creation inherited from the artist. In addition, has been described and analysed, the historiography, including very recent, in which the series of works, proposed for investigation, is published. The sketches for the illustrations allow us to see how the image of the famous hidalgo passes through 20th century art. In addition to this, we also make a brief incursion into the artistic context in which these two personalities worked. Through this modest theoretical approach, we wish to join the series of events and publications commemorating the centenary of the birth of the great graphic artist Ilie Bogdesco.

The appearence and development of the classical dance and, in particular, ballet was influenced by several internal and external factors and, first of all, by the evolution of popular choreographic art, ballet becoming the superior genre of choreographic art. In the present article, the stages of creation of the classical dance are analyzed at length, starting with the 14th century and ending with the contemporary era. The particularities of the development of the classical dance and ballet in the European countries, including the Republic of Moldova, are characterized. The dominant role of the great performers and choreographers in the development of ballet is also appreciated. At the same time, emphasis is placed on approaching ballet as a kind of synthetic choreographic art, which includes dramaturgy, music, choreography, plastic art.

Folklore may be considered the first artistic manifestation of a people. It reflects the way man understood the world and life at different times. Child-lore, as a separate domain of folk creation, is a complex one, and may be approached from different perspectives: functional, structural, or semantic. Due to its rich thematic content, the functions it performs, and its musical-poetic features, the repertoire performed by children has long been an object of interest for researchers from various fields, such as psychologists, educators, sociologists, and musicologists.

Abstract This paper achieves some landmarks regarding the appearance and evolution of engraving in Moldova within the medieval, modern and contemporary art periods and aims to highlight the evolution of engraving and achievements in the art of engraving in the historical territory of Moldova, but also to establish the basic stages of the evolution of engraving and regional interferences in relation to European engraving. If we follow the comparative evolution of the genus in various neighboring regions, we find that each area has its own specificity and particularities. The approach to this issue is related to the general aspects that conditioned the development of religious engraving, but also to the local tradition, which has evolved in close connection with the respective process in European countries.

The instrumental chamber music works by composers from the Republic of Moldova are rich and diverse, both in terms of the musical genres addressed and the instruments required, either for the ensemble or solo parts. The trumpet, an instrument with wide technicalinterpretative and expressive possibilities, offers composers an ample opportunity for harnessing its potential. The two works, which we will analyze from an interpretive point of view – “The Concert Study” for trumpet and piano (in B) by Alexandr Sokireanski (1977) and “Oleandra” for trumpet and piano (in B) by Vladimir Slivinski (1979), are part of the active repertoire of trumpeters and are of interest to researchers. They require certain execution skills and a certain level of handling the instrument, as they contain elements with a high degree of difficulty; we refer here to the rhythmic structure, the complexity of dynamic nuances, technical elements, the change of tempo during the proceeding of the musical discourse, the exploitation of the acute register of the trumpet.

The article outlines approaches and syntheses of high complexity, made within the framework of reference compositional creations by leading composers from Romania and the Republic of Moldova. Among them are Sigismund Toduta, Paul Constantinescu, Vasile Spatarelu, Felicia Donceanu, Viorel Munteanu, Dan Voiculescu, Vladimir Rotaru, Vlad Burlea, etc. The compositional approaches to poetic sources, which fall within the musical trends of the 20th century and are representative of national and universal music, are particularly diverse and original.