Editorial: Physical Education among gifted students by Alejandro Prieto-Ayuso, Sebastiaan Willem-Jan Platvoet, Mark de Niet, Álvaro Infantes-Paniagua

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Traditional Language with a Flair for Innovation: Hans Florian Zimmer’s Compositional Process by Gabriele

“…His work defines the characteristics of present-day film music and is regarded as one of the most efficient practices in the field. …”
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THE RHYTHMICALLY, MELODICALLY AND RHYTHMIC-MELODICALLY ANALOGIES IN RICHARD WAGNER’S OPERAS by Gabriela Coca

“… In Richard Wagner’s opera the composer put the rhythm both in the service of the musical dramaturgy and also in the melody, the harmony, the polyphony, the orchestration and the musical form. …”
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Rzecz o potencjale dziecka w aktywnościach muzycznych – refleksje o „ruchu z muzyką” by Ewa Szatan

“…One of the activities is movement with music, in which children realize their musical and movement interpretations. …”
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“THE HUNGARIAN FOLK-SONG … ECHO OF THE ENTIRE HUNGARIAN SOUL” – THOUGHTS UPON A QUOTATION FROM ZOLTÁN KODÁLY by Zoltán SZALAY

“…Zoltán Kodály writes these lines in 1943, after he ascertains that pentatonic tunes constitute the Hungarians most ancient music. Thus the pentatonic scale is very important in Hungarian music in general. …”
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REPETITION AND FANTASY IN SPRING, POEM FOR SOPRANO, CLARINET AND PIANO, BY CARMEN PETRA-BASACOPOL by Şerban MARCU

“… The present study, part of the research grant The artistic and social impact of the contemporary music of the 21st century from the perspective of the relationship composer-performer-audience (project director Assistant Professor Cristian Bence-Muk, D.Mus.) investigates the structural and rhetoric aspects in the poem Spring, for soprano, clarinet and piano, by Carmen Petra-Basacopol, on the verses of poet Mariana Dumitrescu. …”
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CÉSAR FRANCK’S GRANDE PIÈCE SIMPHONIQUE OP. 17 AN ANALYSIS FROM THE PERFORMER’S POINT OF VIEW by Noémi MIKLÓS

“…In order to realize a proper performance of this monumental work it is necessary to run through a series of structural, technical and performance issues which are essential in the process of understanding Franck’s organ music. The following analysis is structured in two main parts: the first part discusses the form of the work emphasising its main structural sections, whilst the second part handles the performance and the technical problems regarding articulation, dynamics, tempo and style. …”
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TEXTURALISM by Andrei C. COZMA

“…The suggested theory of texturalism thus systemizes an important part of the 20th century music in which compositional techniques of other style defining musical practices are grouped together with singular technical features. …”
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GHIDUL IUBITORILOR DE FOLCLOR (THE GUIDE OF THE FOLKLORE LOVERS), 1/2011, PUBLISHING BY ED. LIDANA, SUCEAVA (ISSN: 2284-5593) by Gabriela COCA

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THE EXPRESSIVE POWER OF THE HARMONIC PARAMETER AND OF THE FORM IN THE CYCLE OF LIEDS DIE SCHÖNE MÜLLERIN BY FRANZ SCHUBERT by Gabriela COCA

“… The purpose of this paper consists in the analyze of the unifying correspondences of structural, artistic, and musical content of the cycle of Lied Die Schöne Müllerin by Franz Schubert. …”
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A TESTIMONY TO THE IMMORTALITY OF THE STRING QUARTET GENRE: GLOSSE BY LUCIANO BERIO by Tudor FERARU

“…Glosse, the last of these pieces, is conceived as a series of short musical commentaries on an imaginary quartet. Yet, this work emerges as a very coherent one, leaving a strong impression of continuity, as well as distinctiveness of the individual ideas. …”
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Sztuka mała czy wielka? Refleksje nad twórczością dziecka by Małgorzata Suświłło

“…In the empirical part I present results of the study of plastic and literary art of third-graders (age 9–10), undertaken under infl uence of music. In the study the method of observation and analysis of products were applied. …”
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ANNALYTICAL BENCHMARKS IN THE WORK “ON A SUN DIAL II” FOR CLARINET B FLAT AND RECITER BY PETRU STOIANOV by Cristian BENCE-MUK

“… On a sun dial II by Petru Stoianov, for clarinet and reciter strats from Nichita Stănescu’s verses (like many others of the composer’s opuses) and offers sonorous meditation on the poetic text. From a musical point of view, we distinguish an outlook where musical morphology subordinates its syntax through the supremacy of cellular-motivic thinking, with “parsimony of means”. …”
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THE INGENUITY OF THE TONAL PLAN OF THE DEVELOPMENT SECTIONS OF THE SONATA FORMS OF PIANO SONATAS BY W. A. MOZART by Gabriela COCA

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Cielesność dywergencyjna – komponent integralnej edukacji wychylonej w przyszłość by Katarzyna Krasoń

“…Listening to music (acoustic signs) is in this play transcoded into kinetic-bodily signs. …”
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Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices by Donald Greig

“…Using Neo-Riemannian theory, the potential contribution of which to film-music studies is still only now beginning to be explored, I examine the deployment of specific harmonic strategies that create a link back to earlier Hollywood film-music practices and show how Zimmer represents less an evolution than a continuation of recognisable styles and idioms. …”
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“SONATA FOR CLARINET SOLO” BY TIBERIU OLAH by Răzvan METEA

“…Apparently, Olah led an ordinary life, among us; in fact, music permeated his life as an uninterrupted ostinato, to the point of identification with it, in symbiotic communion. …”
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ALFRED SCHNITTKE’S POLYSTYLISTIC JOURNEY: “THE THIRD STRING QUARTET” by Oana ANDREICA

“…His works often look back at the musical tradition, exploring its potential by means of modern compositional techniques and thus giving it a totally new shape and value. …”
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Making Dementia Matter Through Sound by Marjolein Gysels, Chris Tonelli, Thomas Johannsen

“…Theoretically, the findings have implications for the notion of care and provide support from practice to existing neurological evidence of the significance of music as a fundamental faculty for survival and wellbeing. …”
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BOOK REVIEW: CIPRIAN PORUMBESCU NECUNOSCUT (CIPRIAN PORUMBESCU UNKNOWN), PUBLISHING BY ED. LIDANA, SUCEAVA, 3 EDIŢII, 2011-2013 (ISSN: 2284-712X) by Gabriela COCA

“…These papers are all included, in this presented volume, with other two studies: Ciprian Porumbescu – Friends and his Collaborators of Braşov (author: the regretted musicologist professor Constantin Catrina from the Transylvania University of Braşov) and The Aspects of the Musical Language and of its Architecture in Compositions by Ciprian Porumbescu (author: Ozana Kalmuski-Zarea – from the “Mihail Jora” Philharmonic of Bacău). …”
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