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Studia-Musica-1-2019.Pdf MUSICA 1/2019 STUDIA UNIVERSITATIS BABEŞ-BOLYAI MUSICA 1/2019 JUNE REFEREES: Acad. Dr. István ALMÁSI, Folk Music Scientific Researcher, Cluj-Napoca, Romania, Member of the Hungarian Academy of Arts – Budapest, Hungary Univ. Prof. Dr. István ANGI, Former: “Gh. Dima” Music Academy, Cluj-Napoca, Romania Univ. Prof. Dr. Gabriel BANCIU, “Gh. Dima” Music Academy, Cluj-Napoca, Romania Univ. Prof. Dr. Habil. Stela DRĂGULIN, Transylvania University of Braşov, Romania Univ. Prof. Dr. Habil. Noémi MACZELKA DLA, Pianist, Former Head of the Arts Institute and the Department of Music Education, University of Szeged, “Juhász Gyula” F2aculty of Education, Hungary College Prof. Dr. Péter ORDASI, Former: University of Debrecen, Faculty of Music, Hungary Univ. Prof. Dr. Pavel PUŞCAŞ, “Gh. Dima” Music Academy, Cluj-Napoca, Romania Univ. Prof. Dr. Valentina SANDU-DEDIU, National University of Music, Bucharest, Romania Acad. Univ. Prof. Dr. Eduard TERÉNYI, Composer. Former: “Gh. Dima” Music Academy, Cluj-Napoca, Romania, Member of the Hungarian Academy of Arts – Budapest, Hungary Acad. College Associate Prof. Dr. Péter TÓTH, DLA, University of Szeged, Dean of the Faculty of Musical Arts, Hungary, Member of the Hungarian Academy of Arts – Budapest, Hungary EDITOR-IN-CHIEF: Associate Prof. Dr. Gabriela COCA, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania PERMANENT EDITORIAL BOARD: Associate Prof. Dr. Éva PÉTER, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Lecturer Prof. Dr. Miklós FEKETE, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Lecturer Prof. Dr. Noémi MIKLÓS, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Lecturer Prof. Dr. Emese SÓFALVI, Babeş-Bolyai University, Reformed Theology and Musical Pedagogy Department, Cluj-Napoca, Romania Studia UBB Musica is sponsored by the Faculty of Reformed Theology, Reformed Theology and Musical Pedagogy Department, Babeş-Bolyai University, Cluj-Napoca, Romania Dean: Associate Prof. Dr. Olga LUKÁCS Front cover: GENTILESCHI, Orazio, St Cecilia and an Angel 1618-21, Oil on canvas, 88 x 108 cm National Gallery of Art, Washington Sursa: https://www.wga.hu/index1.html Beginning with 2017, Studia UBB Musica has been selected for coverage in Clarivate Analytics products and services. Studia UBB Musica will be indexed and abstracted in Emerging Sources Citation Index. YEAR (LXIV) 2019 MONTH JUNE ISSUE 1 PUBLISHED ONLINE: 2019-06-20 PUBLISHED PRINT: 2019-06-20 ISSUE DOI:10.24193/subbmusica.2019.1 S T U D I A UNIVERSITATIS BABEŞ-BOLYAI MUSICA 1 STUDIA UBB EDITORIAL OFFICE: B.P. Hasdeu no. 51, 400371 Cluj-Napoca, Romania, Phone + 40 264 405352, [email protected] SUMAR – SOMMAIRE – CONTENTS – INHALT MUSIC PEDAGOGY JUDIT VÁRADI, GÁBOR DRAGONY, The Role of Church Schools in Music Education ..................................................................................... 9 BENCE ASZTALOS, Musical Expression as a Tool of Drama-Based Pedagogy in Brecht/Weill & Eisler’s Learning Plays ............................ 29 ATTILA SMUTA, Pensiveness of Us: What Should We Sing? ................... 39 DIANA STRAKŠIENĖ, RYTIS URNIEŽIUS, Preconditions for Manifestation of Music Teachers’ Professional Types in the Context of Occupational Stress ................................................................................................... 51 MUSIC STYLISTICS TATYANA Y. GORDEEVA, ZAGID R. AZHIMOV, RAUSHANIA R. MIRNAYA, ALFIA RAFISOVNA VOZNESENSKAYA, Ontological and Aesthetic Qualities of a Singing Sound ......................................... 67 ÉVA-ELENA JORDÁN, The Theory and Practice of Operetta Roles ......... 85 LETIȚIA GOIA, OANA MUREȘAN, The Symbol of the Shadow in Verdi’s “Otello” ................................................................................................. 95 ELENA-LAURA GREAVU, ROXANA PEPELEA, Stylistic Aspects Reflected in “Modal Liturgy” by Dan Voiculescu ................................................ 107 KRISZTIÁN KÁLLÓ, John Rutter’s “Requiem” – between Anglican Tradition and French Musical Aesthetics .......................................................... 125 MUSIC THERAPY JÁNOS ZSOLT IMRE, Chamber Music Explorations for Meditation (Part III) ... 151 MUSIC HISTORY LOIS PAULA VĂDUVA, The Ideologization of Music in the Stalinist Era ...... 173 CRISTINA ȘUTEU, Criticism Evolution in Romanian Musical Periodicals: from „Gazeta Teatrului Național” (1835-1836) to „Muzica” (1908 – present) .............................................................................................. 185 STELIAN IONAȘCU, The Odyssey of a Lost and Found Oratorio ........... 207 KRISZTIÁN KÁLLÓ, Sándor Veress: Fading into Oblivion ....................... 227 MUSIC STYLISTICS ZSUZSANNA KÁLLÓ, Puccini’s Verismo and Innovative Style through the Lense of „La Bohème” ................................................................. 239 BOGLÁRKA ESZTER OLÁH, Maurice Ravel between Impressionism, Symbolism and Neoclassicism .......................................................... 261 BIANCA ȚIPLEA TEMEȘ, Dead Draw? An Encounter between Kurtág and Beckett: the Opera „Fin de partie” ............................................... 269 CHURCH MUSIC ÁDÁM MIKE, The History of the Text and Melody of the Gregorian Sequence “Lauda Sion” ..................................................................... 277 DANIEL MOCANU, The Tradition of “Cunțanu” Church Music between the Orality and the Uniformization Trends ......................................... 291 MIHAI BRIE, Missionarische Valenzen der Kirchenmusik von heute (Missionary Aspects in the Church Music of Today) .......................... 315 MUSIC ANALYSES PETRUȚA-MARIA COROIU, Johann Sebastian Bach – The Only Funeral Cantata in his Works: „Gottes Zeit ist die Allerbeste Zeit”, BWV 106 ...... 325 TĺMEA SZILVESZTER, Comparative Analysis of Fryderyk Chopin’s and John Field’s Nocturnes. Part I ............................................................ 331 BOGLÁRKA SZAKÁCS, Béla Bartók: „Concerto for Orchestra”. Elements of Turkish Folklore in the Sources of a Masterpiece .......................... 365 OLGUȚA LUPU, Liviu Glodeanu’s „Mikrokosmos”: An Introduction ......... 377 ATTILA FODOR, Church and School – Birtalan József’s Credo .............. 393 GABRIELA COCA, Ede Terényi: “Play Songs” for Children’s Choir and Percussion Instruments. 1. “Little Suite” – Composition Technique ........ 409 CONTRIBUTORS..................................................................................... 429 SUBSCRIPTION ...................................................................................... 439 AGREEMENT OF CHANGE BETWEEN THE INSTITUTIONS ............... 441 INVITATION FOR PUBLISHING ............................................................. 443 STUDIA UBB MUSICA, LXIV, 1, 2019 (p. 9 – 28) (RECOMMENDED CITATION) DOI:10.24193/subbmusica.2019.1.01 THE ROLE OF CHURCH SCHOOLS IN MUSIC EDUCATION JUDIT VÁRADI1, GÁBOR DRAGONY2 SUMMARY. Our empirical analysis explores a practical question of contemporary music education. We investigate the role of church schools in musical art education by providing a contrast with music education in public schools in Hungary. We establish that the practical approach to teach musical arts through experience is prevalent in both public and church schools. Denominational schools are better equipped with instruments, their music teachers know how to play instruments, and their students sing canons much more frequently. More than 90 percent of church school pupils have attended a live music concert, which can be largely contributed to their institution, the school choir, and their parents. Pupils of public schools frequent concerts, which are usually organised by their school, much less. It can be stated that church schools put a stronger emphasis on musical art education both inside and outside the curriculum. The subject “singing and music” should have a more pronounced place in the curriculum as concert pedagogy does not fulfil its role as experience pedagogy perfectly. Keywords: art education, music education, denominational education, curricular and extracurricular education Introduction Our empirical analysis, which began in 2015, explores a practical question of contemporary music education. In particular, we focus on the methodology of introducing children to music and the extracurricular possibilities offered by live music performances and other cultural events. In recent decades, music education and its effects have been covered by various studies. However, music education and pedagogical practices in 1 Judit Váradi, associate professor, University of Debrecen Faculty of Music E-mail: [email protected] 2 Gábor Dragony, assistant professor, Nyíregyháza Arts High School. E-mail: [email protected] 9 JUDIT VÁRADI, GÁBOR DRAGONY church schools that were reintroduced after the fall of communism have not been investigated. Our study examines this previously ignored topic, namely the role of church schools in musical art education by providing a comparison with music education in non-denominational schools. The role of the Church in education Throughout history, church schools have had an enormous influence on music education. In the Middle Ages, the influence of the Church was significant in all fields of art, which, at the same time, determined the genres and techniques to be used, leaving secular genres in the background.
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