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The present article is meant to pay homage and gratitude of the memory to the great Teacher, Mentor, Supervisor, Scholar in musicology of the Republic of Moldova, who had been educated and had also conveyed to his followers the distinguished traditions of the Conservatoires from Chisinau and Moscow. The author speaks about his teaching style, scientific and administrative work. He was severe to students, solicitous to post-graduate students, tactful to subordinates, an indefatigable toiler in every field offered by his profession, that was deeply marked by his presence. The influence of his way of working with his disciples, performers or musicologists, teachers or research scientists is also discussed in this article.

This paper tries to synthesize the history of economic thinking regarding the correlation between culture and the economic development during the last centuries. The use of culture to explain the economic performance has not been popular among social science researchers in recent decades. Most economic models are based on the idea that people are essentially rational beings and make decisions in their own interest. What people choose to do depends on their beliefs. But culture can give rise to a set of rational beliefs. In economic history, some economists have questioned the classic concept of the „rational economic man” mentioning the increasing role of non-economic behavior in modern economies. These two positions can be reconciled if we reduce the social norms that govern entire societies based on the actions of individuals who look out for their own interests. Regardless of which models of economic thinking a historical retrospective is based on, an important conclusion is that throughout history, social and cultural factors have been among the important catalysts of the economic life. In the paper, it is argued that some factors such as European culture and European political traditions, etc., have an essential contribution to the economic success of those countries that follow them.

Since its first issue, of January 1, 1936, the „Însemnări ieșene” [„Notes from Jassy”] Magazine (1936-1940) has emphasized the orientation of „a group of intellectuals” that aimed to continue the tradition of the literary, cultural and scientific circles from Moldavia, with a focus on a series of ideas related to „national specificity”, „popular language”, „cultural unification”. For almost five years, the magazine polarized intellectuals from all over Moldavia and had an intense program of dissemination of the Romanian culture through the organization of itinerant conferences in the cities of Jassy, Tighina, Kishinev, Soroca and Balti. The September 1, 1940 issue of the magazine was dedicated to Bessarabia and Bukovina and was remarkable for its spiritual Romanian essence. The present paper dwells on the importance of this special issue of the magazine, which deals with a number of representative topics announced by the article titles such as: „Basarabia până la 1812” [„Bessarabia until 1812”], „Viața românească în Basarabia (1812-1918”) [„Romanian Life in Bessarabia (1812-1918)”], „Mărturii moldovenești la Nistru” [„Moldavian Testimonies on the Dniester River”], „Basarabia – provincie istorică rusească?” [„Bessarabia–Russian Historical Province?”], „Universitatea din Cernăuți” [„The University of Chernivtsi”], „A doua pierdere a Bucovinei și Basarabiei” [„The Second Loss of Bukovina and Bessarabia”], „Iar vremuri de bejanie”, [„New Times of Turmoil”], „Și totuși, nu deznădăjduim!” [„And Yet, We Do Not Despair!”] and many more. This unique issue was illustrated with numerous images from Bessarabia and Northern Bukovina, as well as with portraits of cultural personalities born in the Romanian land between the Prut and Dniester rivers, all meant to discuss and emphasize the national identity of Romanians through culture.

This article examines the importance of knowing the diversity of plastic forms in ceramics. The paper shows the value of studying ceramics through the diversity of its forms in higher artistic education. The teaching impact of the study is to update the course of ceramics. The paper describes the technology of modelling plastic forms which is an important factor in the process of studying and training the students` modelling skills.

The relevance of the paper is in the target setting of the early vocal creative work of Gustav Mahler, an outstanding Austrian composer – the Cycle of Songs to Josephine Poisl, Fourteen Songs and Romances from Youth, Songs of a Wayfarer. This study is focused on exploring the early chamber-vocal cycles of G. Mahler in terms of style and musical theme features. The said topic has not yet been an object of a separate study. It was partly covered by such musicologists as I. Barsova, I. Leopa, D. Mitchell, Z. Roman, who studied the genesis and interaction issues of the word and music in the above-mentioned chamber-vocal cycles by G. Mahler. The research methodology is based on biographical, historical-cultural, system-analytical and comparative methods.

The paper presents the results of the application of interactive teaching strategies in theoretical professional training in higher education in artistic disciplines with theoretical dominance, and in the technical ones. The interactive methods included in the study were applied in teaching activities both traditional „face to face” and remote – using the tools and techniques of „e-learning” through the „Moodle UTM” platform as well as a mixed form of organizing the teaching process. The efficiency of the application of interactive strategies is confirmed and estimated by quantifiable indicators, such as: attendance at current and final evaluations, final average mark of separate academic groups, the disciplines passing rate, number of research papers with participation in local and international scientific events and projects.

The present paper is intended for the students of the Decorative Art speciality, the discipline - Artistic Processing of Metal and Jewelry. In order to make an ornament, it is necessary to know the materials, tools and the execution stages, which will allow you to manually make in material a model of an ornament with a unique contemporary design. The concept of contemporary jewelry design is the foundation to the finished product.

This paper presents the assessment of the state of anxiety of vocalist students. Each individual has his own optimal or desired level of useful anxiety. Assessing the personal condition is an essential component of self-control and self-education. In order to differentiate the measurement of anxiety,both as a personality trait and as a state that reflects the current situation, the Spielberger-Khanin test was applied. It is a technique proposed by Ch. D. Spielberger and adapted into Russian by Yu. L. Khanin. This test helps to determine the anxiety within the personality structure.

The paper considers the methodologic problems of an all-round analysis of the image of an opera character as the object of compositional interpretation. For the first time in musicology there are examined the means of expression of a given character created by the librettist and composer — the authors of the opera. The author presents the main directions of this analysis that give the possibility to present the artistic image of the opera character in the most complex form. The main principles of the paper are illustrated by examples taken from world opera literature.

Paul Constantinescu had close ties with musicians from Bassarabia and Bucovina from a young age. In 1936 he published in Cernăuţi the work” Costea”, on lyrics by George Coşbuc, with the support of his friends Liviu Rusu and Paul Streinul, at the Mitropolitan Silvestru’s Priningt House. In the same year, the second performance of the” Liturghia în stil psaltic” („Liturgy in Psaltic Style”) also took place in Cernăuţi, and in 1939 the first performance of the Sinfonietta was held in the same city. This paper brings to the fore two works composed by Paul Constantinescu in 1941, the year when Marshal Ion Antonescu signed the June 22nd decree that marked Romania’s entry into the war. Animated by strong patriotic emotions, the composer wrote, in a few days, two works: the cantata „Moartea eroului” (Death of the Hero) and the symphonic poem” Cântarea Basarabiei”(Singing to Bassarabia). If during the communist regime, the two works were kept well hidden in the archives of the Romanian Union of Composers and Musicologists, they were recovered for the cultural circuit after the events of 1989. „Cântarea Basarabiei” was published in the year of the Great Union Centenary at the Music Publishing House in Romania.

Th e article is dedicated to the analysis of some lieds and choral works written by the composer from Iaşi Vasile Spătărelu on the lyrics of the poet Nichita Stănescu. Th e lieds Short Ballad, Game with Planes and Evening Game, taken from the poet’s debut volume, Meaning of Love, and the choral miniature To... are analyzed in this paper. Th e author focuses on the musical-stylistic language, the compositional aspect and other aspects related to the conceptualization and transposition into music of Stanescu’s works. Th e conclusions refer to the versatility and originality of the compositional approaches that capture the philosophical, deeply lyrical contents of Stanescu’s verb.

The article is focused on a remarkable musical collection of Romanian folklore from Bessarabia, collected and transcribed by Gleb Tchaikovschy-Mereshanu — university professor, ethnomusicologist, musicologist, a remarkable personality of the national culture. The author of the article focused especially on the melodies collected in the villages situated on both sides of the River Dniester, attributed to the lyrical vocal genre of the proper song that was a novelty at the time of the publication. The scientific principles of transcribing and classification and their impact on the future scientific papers were also analyzed in the article. In order to emphasize the importance of the analyzed collection, the author presented a brief overview of some other musical folklore collections, which include melodies from the Dniester area, published since the beginning of the interwar period. The author remarks that the analyzed collection “Doine, cantece jocuri” by Gleb Ciaicovschi Meresanu was a scientific milestone, which conditioned the publication of new folklore collections of high scientific value.

The article is focused on a remarkable musical collection of Romanian folklore from Bessarabia, collected and transcribed by Gleb Tchaikovschy-Mereshanu — university professor, ethnomusicologist, musicologist, a remarkable personality of the national culture. The author of the article focused especially on the melodies collected in the villages situated on both sides of the River Dniester, attributed to the lyrical vocal genre of the proper song that was a novelty at the time of the publication. The scientific principles of transcribing and classification and their impact on the future scientific papers were also analyzed in the article. In order to emphasize the importance of the analyzed collection, the author presented a brief overview of some other musical folklore collections, which include melodies from the Dniester area, published since the beginning of the interwar period. The author remarks that the analyzed collection “Doine, cantece jocuri” by Gleb Ciaicovschi Meresanu was a scientific milestone, which conditioned the publication of new folklore collections of high scientific value.

The change in the values of our society, which has a long temporal span, with tensions and contradictions within its own internal reality, with confrontations between two worlds - an outdated one, denied by the process of change, another one- new, under construction, leads to the loss of some values and taking over others. Hence, the inevitable coexistence of old and new values, the coexistence of axiological senses and contrasts with different effects influence the self-consciousness and its involvement in the value system of the personality of young people, provoking the necessity of new investigations. This paper focuses on the value orientations and the values of young people. The possible existence of a crisis of educational values can be announced by lowering the interest of young people and of society, in general, in school, by lowering the prestige of the diplomas that the school institution offers to the graduates, by decreasing the prestige of the teaching profession, by the impartiality of the school achievements and the socio-professional ones.

The article is devoted to the manifestation of one of the most popular trends in modern musical culture in the vocal duet of the style of classical crossover. The subject of the study was the famous Barcelona duet performed by the world pop star Freddie Mercury and the queen of the opera stage Montserrat Caballé. The paper examines the poetic content, the musical language and composition of the song, as well as the nature of the dialogical interaction of the duet participants

The article below investigates the areas of influence of traditional creativity on contemporary art. Based on the examples of the jianzhi paper cutting technique, it is demonstrated how traditional themes and techniques can be applied in the creation of contemporary artists. Among them is Li Bao Yi, a well-known Japanese painter, who creates her conceptual works focused on the theme of the interaction between nature, technology and the modern aspect of urbanization.

In the content of the present paper, I propose discussing two important coordinates of training future actors for the cultural life. In the theatre schools, emphasis is laid on the artistic dimension of training actors and less on awakening their awareness of their mission in society. I do consider that the theatre is an art with a real therapeutic value that could be activated by an interdisciplinary approach to the way in which the training of the future artists is thought. We mean the importance of the introduction of classes in psychology, personal improvement; sociology and anthropology that could help young people go deeper into the area of understanding the human being represented by the spectator. A multidimensional approach to their future profession would help the students both in their personal development but also in finding the resources for their emotional balance, after they exit from their roles.

This paper examines the role of cultural opportunities of the urban environment in the formation of aesthetic orientations of the population. The article gives a brief analysis of the situation that has developed in recent years in the field of aesthetic education of the population both in the capital and in the small towns of the republic. As an example, emphasis is laid on the education of student youth, from the point of view of the perspective of their social role as intellectuals - spiritual carriers of aesthetic values. The author considers the possibility of applying forms, methods, means of aesthetic education in an urban environment and draws attention to the need for a differentiated approach to various groups of the population on this issue. In particular, the possibility of using educational measures depending on age categories and youth subcultures is considered. The work emphasizes the importance of taking into account the means of modern mass media communication, as well as the inalienable unity of classical and mass art which are designed to form aesthetic values and knowledge in modern man.

The article highlights the significance of the scientific works carried out by the Moldovan pianists under the guidance of graduates of foreign musical colleges and reveals different facets and aspects of piano music in the cultural life of the Republic of Moldova. It presents a panorama of historical and theoretical materials exposed in the theses and monographs of A. Miroshnikov, I. Milutina, L. Ryaboshapka, E. Kishka, E. Gupalova, R. Roman, I. Hatipova, Yu. Troyan, T. Melnik and the author of this paper. The above-mentioned works are viewed from the standpoint of the interpretation of the traditions of Russian musical science.

Under the circumstances when the criteria that divide art into certain domains are less and less definite, there appears the necessity of reactualizing the notions of contemporaneity, innovation, this fact being a natural process for choreographic art as well. The author examines the practice of using household goods (objects) in choreographic art and their role and functions in forming modern choreographic compositions. The paper presents an evolution of the artistic discourse and analyses the correlation of traditional and innovative tendencies which help ballet masters to create artistic images in dance using household objects.

The article provides a competent analysis of the optimization of the cooperation between students and the intercultural environment. In particular, different dynamic subcultural forms of mixed types are described. The author defines the content of the transcultural environment as a macrocultural space, which determines different variants of cultural contexts, and generalizes the directions of forming the students’ intercultural competency in the process of studying professional and special disciplines. There are suggested five main models of constructing the content of intercultural education in different countries of the world based on the dialogue of cultures: partial, modular, monosubjective, complex and complementary. The paper presents the results of the summative assessment of the theoretical and practical aspects of intercultural competency of students of higher artistic educational institutions, which was carried out for over six years at the Borys Grinchenko University of Kyiv and the State institution ”Ushynsky South-Ukrainian National Pedagogical University”. The respondents were Ukrainian and Chinese students of musical specialities.

The pedagogical activities of three Italian vocal teachers – Domenico Delfino, Federico Bugamelli and Ettore Gandolfi in Ukraine have been investigated in the present paper. After finishing their professional career, each of them was invited to teach solo singing at the newly founded music institutions in Kyiv, Odessa, and Kharkov at the beginning of twentieth century. Effective teaching methods, used by the Italian teachers, allowed each of them to gain fame and create their own vocal school in Ukraine. They trained a generation of gifted opera and concert singers who shone on the main stages of the former USSR, and some of them, having completed their stage performances, while teaching in conservatories, effectively introduced and supplemented their Italian professors’ vocal training methods. Thus, the achievements of the Italian school of classical singing became the basis of the Ukrainian vocal school.

The present scientific approach has focused on studying the specialized normative framework that provides for the ways of safeguarding the cultural heritage and sanctioning the people who do not respect them. The author of the paper carried out a research of the administrative systems of some European states and a comparative analysis of the modalities of the application of sanctions by the public authorities of these European states for the persons who intentionally or by imprudece damage or destroy objects of national cultural heritage. The investigation allowed us to note that the damage done to the state as a result of the destruction of the cultural heritage objects, as a rule, is much more considerable than the size of some sanctions provided in the laws of the studied countries.

The present paper aims to present the role of rhythm and its modelling aspects in the student actor education, based on practical and theoretical research in the field of theatre and pedagogy. After analyzing the actual situation of performances in which the balance between the text and movement was overturned, the birth of an essential factor for training an actor is triggered: he must acquire a body of theoretical, but especially practical knowledge, regarding the rhythmic language that plays an important role in building a character.

In this paper we propose discussing the issue of preserving the monumental artwork, namely the Arta mosaic panel (Art attributes), made by Mihai Burea (1972), on the facade of building No.7, from Kiev Street, Chisinau (the former Trade Union Palace, Râşcani district). The purpose of the research is the study of dismantling, preserving / conserving the mosaic panel in the national patrimony. This description of the process of dismantling and preserving / conserving the mosaic panel will serve as a practical example and methodical guide for studying mosaic techniques and technology.

The present paper aims to present the role of stage movement in the student-actor education in the animation theatre based on practical and theoretical research in the field of theatre and pedagogy. After analyzing the puppet student’s training process where he is behind the screen and the working tool is the puppet that he is animating, I realized that an extremely important part in the formation of the puppet actor deserves special attention. This is the title of „The Importance of the Stage Movement in the Animation Theatre”, where the physical training of the actor plays an extremely important role as well as stage speaking, rhythmic, singing, etc.

This paper is devoted to the collection of choirs by Constantin Rusnac, a prominent musical figure and composer from the Republic of Moldova. Ranked as a result of many years of creative efforts in this genre and published in 2013 in Chisinau, this collection under one cover combines two different sets of choral miniatures — a cappella or with piano accompaniment. One of them — „Luminati-va (Enlighten Your)”, has included 17 works for mixed and homogeneous choir, the other section — „Ghiocelul (The Snowdrop)”, which has embraced 24 miniatures — significantly expands and enriches the repertoire of music for the children’s choir. Within each of these groups there are samples of different genres and musical language that are of interest not only to the choir conductors who select material for their own concert programs, but also for musicologists.

This paper is dedicated to the problem of developing expressivity in the process of studying sports dances (Latin American program). Particular attention is paid to the means of studying expressiveness through which the dancers express both their external, inner and moral state. This article focuses on the subject: how expressive means develop and form a performance dancer, a leader who tends to become a champion.

This paper continues the author’s earlier study of the Composer and Folklore problem from the stylistic point of view. It is noted that in academic music, where the attention is focused not only on the speech or text characteristics, but primarily on the linguistic and stylistic material of folklore, the appeal to folk sources leads to the emergence of a number of stylistic factors, both, in the formation of the national style, and in the field of ethnic culture as a whole and integral stable system. The research points to the role of folklore as the genetic code of ethnic culture, as well as to other factors acting at on the level ,of musical discourse and musical language, contributing to the formation of „language flexibility” (A. Kolmogorov) and, as a result, „flexibility of style”.

The semantic universality of the space category and its relationship with the extra musical experience of the person provides composers an opportunity to model various forms of public relations in music. Being guided by E. Hall’s theory and the four models of communicative space identified by him – intimate, personal, social and public – we make an attempt to define the specific features of these spatial models in music. In this paper, the principles of E. Hall’s theory are for the first time projected on music. The research methods include hermeneutics, inter-disciplinary approach and musicological analysis. The research of the samples of instrumental music written by Scarlatti, Mozart, Beethoven, Chopin and Liszt showed the specific features of the intimate space model as the basic isolation of its structure, hierarchy and a special toponymy of the man’s inner world including the invariant steady presence of certain subjects and objects. The research of other spatial models in music shows prospects of conceiving the evolution of music as a special spatial form of reflecting the patterns of public consciousness and society arrangement.

Self-esteem is a complex concept and represents one of the basic elements of forming a tolerant and harmonious personality in relations with other people. This paper presents the elements of stability of self-esteem in a situation of economic crisis. Social, economic conflicts, financial frustrations imposed on us by an economically instable situation, can affect the self-esteem of individuals. There are situations when self-esteem is badly affected. In our work we try to understand the psychological sources of low self-esteem and its consequences in personality development. We will also analyse the ways in which low self-esteem can be metamorphosed in positive, optimistic self-esteem.

Contemporary society is marked by active interaction between technology, science and art, which are put at the service of civilization, demonstrating that the expression of creativity depends mostly on education. To meet these requirements, it is necessary to educate professionals with a developed visual perception, high creative potential and rich culture. This paper is meant to highlight the students` visual perception through a methodology based on monumental principles, to set conceptual references, to formulate the criteria, indicators, descriptors and values of artistic visual perception, to establish the evolution aspects of visual perception from the psychological, methodological and artistic point of view, regarding the perception of the mural painting.

The paper is devoted to the evolution of the solo concerto for violin and orchestra genre in the European music since its origination till the present time. Tracing the genre development trends in almost all European countries, the author comes to the conclusion of the existence of certain regularities in the violin concerto development that are common for various national musical cultures. It enables us to reveal both individual genre peculiarities of the violin concerto and the specific features of the national cultures. Particular attention is paid to the development of the violin concerto in Ukraine.

In the article there is an integral analysis of the orchestral composition Christmas Night written by Vladimir Ciolac. Over the centuries, the historical event linked to the Birth of the Savior finds an extremely varied and diverse reflection in universal musical art. This subject is represented by a very broad genre diversity, being approached in both church music and secular music. The name of the piece reveals the content of the paper and suggests that it is an original carol. The composer uses the theme of the Birth of the Savior — an event of major significance in the life of mankind, creating a contemporary carol from the point of view of the treatment of the musical discourse.

This paper presents a research into the portrait genre from the axiological perspective and its redefi nition in cinematography. In each of the art domains, there is a way to render the physical aspect and the interior world of any individual from diff erent perspectives – literal portrait, painted portrait, carved portrait and portrait in photography. Th e defi ning aspects of these portraits, which are created through the masters` artistic imagination, infl uenced directly or indirectly the creation and development of the portrait in cinematography. The portrait in cinematography is getting “mature” in the branches of art and is easily combining the experiences gained throughout history. Th e fi lm-portrait itself shows the audience a diff erent form of art. It is obvious that we cannot diminish the value of portraits from other branches of art. However, cinematography has its advantages, of which the main one is that it combines all elements in one body: the image, the word and music.

The present paper introduces in scientific use the technical peculiarities of coloured (stained) glass window art, presenting diff erent types of its production, methods of artistic glass processing etc. Emphasis is laid on the artistic peculiarities of the coloured glass window as against the architectural space. The author presents historical data concerning the evolution of this art in the context of universal culture. Special attention is given to the commissioned works by foreign artists for our national space.

The paper is devoted to a work by one of the leading representatives of the Odessa school of composers who has acquired world renown. Th e analysis of the Triptych reveals its concept and specifi c features of the musical language. Th e traditional and novel style features, intertwining in the composition, create an organic synthesis peculiar of the composer`s whole chamber and instrumental creation.

The present paper is dedicated to revealing some stylistic and genre peculiarities characteristic of the opera creations written by composers from Moldova. The author considers it to be necessary to bring out, at the beginning, some important historical events that marked the destiny of culture of the space between the Dniester and the Prut, events that contributed to the foundation of an opera theatre and a national music school. The proceedings of valorising folklore, the utilized musical language and the composition thinking of the opera creations from Moldova are identiied in the article starting with 1924 (on the debut of the first opera) and up to 2004 (the last „word” said in this genre).

This article is dedicated to the life and creation of the famous pianist Antonina Stadnytski. On the basis of archival mate­rials and documents, for the first time, this paper analyzes the facts connected with her student years and her Saint-Petersburg period of life. In the context of the musical culture of Bessarabia of the interwar period, the author analyzes Stadnytska’s role as the founder of the Moldavan piano school.

In the present paper there is an excursion into the history of the bagatelle genre. Initially conceived as a piece of minor importance, with a moderate instrumental-technical aspect that belongs to „easy” pieces for interpretation, the bagatelle dur­ing its evolution, obtained a status of an aphoristic musical genre in which a profound ideative content is essentially conveyed in a laconic, concentrated form. Further are analyzed five Bagatelles for piano written by composer Nicolae Ciolac. The author considers the thematic and architectural problems of the opus, as well as some speciic interpretative peculiarities. In conclu­sion it is affirmed that the analyzed bagatelles represent s group of pieces novel for Moldovan composition that has at its base a logic characteristic of the miniature genre.

This paper considers V. Axionov’s long-term perspective ideas about the style of musical works and the possibility of using the given ideas in the analysis of ballet productions. In the article there are examples about the interconnection between the music style and the stage treatment of the performance in the ballets „Old Story” by V. Poleakov, produced by Iu. Sidorenko and „Cross-roads” by V. Zagorsky, staged by C. Rusu.

The paper deals with the orchestra style of a little studied but very interesting opera by Rimsky-Korsakov „Mlada”. The work was written under the influence of R Wagner’s opera”Ring of the Nibelung” but at the same time contrasting it and preserving its own identity in the field of orchestra writing as well. As a result, the opera’s orchestra style reveals bright novelty features in Russian music, however not breaking away from its traditions but creatively continuing and enriching them.

The paper points out the reflectoin of the image of the Holly Mother of the Lord as a semantic reference in V. Ciolac’s work „Stabat Mater”. The conceptual approach of the medieval poem is in keeping with the dimensions of what is known as the conception of the new time that treats the canonic text in the emotional-psychological spirit. The work is analysed from the point of view of the semantic aspect, in this sense outlining the picture of the Mother’s sufferings for her Son.

The present paper is dedicated to the memory of Vladimir Axionov — scientist, university professor, doctor in the study of arts, prime vice rector at the Academy of Musuc, Theatre and Fine Arts. Being a person of comprehensive knowledge, V.Axionov elaborated more than 100 works of great value that contributed to the development of national and universal musical culture. V. Axionov was an outstanding teacher, trainer of scientific researchers, mentor of original talents; he dedicated his vast activity to the professional training of young people involved in the field of artistic education. He was an excellent organizer who ensured a competent and efficient management. V. Axionov was a highly qualified professional who obtained remarkable and valuable results thus becoming a promoter of the scientific truth. He carried out extensive didactic, scientific and educational work; he was and will remain an outstanding personality of national culture.