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Ciobanu G.,Romanian Academy of Sciences | Ungureanu C.,University of the Arts George Enescu of Iasi
Materials Today: Proceedings | Year: 2015

In order to emphasize the links between science and art, we analyze the Renaissance painting of the 15th century known under the name of The Creation of the World and the Expulsion from Paradise. This composition displays not only the artistic qualities, but also a symbolic meaning of the image following the internal geometric structure used by the Italian master when painting this masterpiece. The invisible structure is developed around three circles emphasizing the round halos of the Creator and of the Angel, as well as around the concentric circular universe depicted in the left half of the composition. A precise numerical ratio obtained through the expansion of these three circles reveals both the significance of all the elements distinguished in this wonderful piece of art. © 2015 Elsevier Ltd.


Dutica G.,University of the Arts George Enescu of Iasi
Proceedings of the 11th WSEAS International Conference on Acoustics and Music: Theory and Applications, AMTA '10 | Year: 2010

Generative symmetry is a fundamental issue of the musical language. This paper investigates the polysemy of the palindrome-modal systems, aiming to evidence their matrical-structural and generative-syntactic potential values. The foundation of our argument consists in some representative works by composers Anatol Vieru and Mircea Chiriac, whose conceptual strategies focus on interdeterminism and the fusion of sonorous elements within the macrotemporal binome: syntagmatic-paradigmatic.


Nezelschi C.,University of the Arts George Enescu of Iasi
Proceedings of the 11th WSEAS International Conference on Acoustics and Music: Theory and Applications, AMTA '10 | Year: 2010

We will analyze the relationship between music and abstract mathematics by taking into consideration the statement that "since Boole, mathematics is understood as the creation and study of abstract patterns and structures" [3], statement which belongs to Edward Nelson, professor at the Department of Mathematics of Princeton University.


Danila I.Z.,University of the Arts George Enescu of Iasi
Proceedings of the 11th WSEAS International Conference on Acoustics and Music: Theory and Applications, AMTA '10 | Year: 2010

Within the Rare books section of the Central University Library Mihai Eminescu (BCUME) of Iaşi, there are around 70 musical manuscripts in psaltic and in Byzantine neumatic notation written between the 10th to 20th centuries. They are an important musical documentary resource as they illustrate almost all the stages of Byzantine notation: ecphonetic, medio-Byzantine, neo-Byzantine and Chrysantic. The present paper aims at briefly presenting the basic features of the above mentioned notations, as they can be seen in four valuable manuscripts at the BCUME: Ms. 160, call number IV 39 "Lecţionarul evanghelic of Iaşi / The Iaşi Gospel Lectionary" -9th - 11th century, Ms. IV 34 "Stikhirarion" - 13th century, Ms. I 26 "Anthologion of Iaşi", 1545, and Ms. III 87, "Stikhirarion or Doxastarion" by Petru Lampadarie translated by Ghelasie Basarabeanu in 1840.


Andron D.-B.,University of the Arts George Enescu of Iasi
Proceedings of the 11th WSEAS International Conference on Acoustics and Music: Theory and Applications, AMTA '10 | Year: 2010

The present study is an attempt to demonstrate and stress upon the complexity characterizing the way in which Anatol Vieru - a representative composer for the Romanian musical vanguard - through the organization of the initial available sound material resources on principles of horizontal and/or vertical symmetry (typical to non-gravitational harmony), manages to create in Symphony no. 5 "Peste varfuri", a cycle of 48 Variations reunited under the form of an original chaconne - a true model of the genre, starting from a modal-harmonic algorithm with polychordal structure - with double functionality: that of an unique generative source of the sound matter and also, of a perpetuum obsessively extended throughout the entire variational cycle.


Ialesen L.,University of the Arts George Enescu of Iasi
Proceedings of the 11th WSEAS International Conference on Acoustics and Music: Theory and Applications, AMTA '10 | Year: 2010

By briefly analysing the motifs, we noticed the importance of the process of variation and development undergone by all the sound entities by means of traditional devices consisting of motif expansion or narrowing, segmentation, sequence accumulation underlying the main plot elements and the particularities of the actual evolution of the characters' dramatic art.


Vasiliu L.,University of the Arts George Enescu of Iasi
Proceedings of the 11th WSEAS International Conference on Acoustics and Music: Theory and Applications, AMTA '10 | Year: 2010

This article presents some of the laws of sound matter in temporal organization, which I have discovered in European musical works of the early 20th century - the modern period. The research is novel through a demonstration of new principles of formal structuring, determined by the features of sound systems: tonal, modal, atonal. Alongside tonal functionality - a generally accepted law, now extended to post-romantic works, we propose intervallic functionality and the functionality of colour (of the complex sound).


Maria P.E.,University of the Arts George Enescu of Iasi
Proceedings of the 11th WSEAS International Conference on Acoustics and Music: Theory and Applications, AMTA '10 | Year: 2010

The need for musical education in early ages (school and kindergarten), alongside the other education disciplines, from integrated interdisciplinary perspective, is a contemporary need, because it brings a significant contribution at the children's personality shaping, it brings a plus of efficientness of the educational act. Even from preschool period of time is better that the instruction to be done from the perspective of recognizing the fact that not even one discipline constitutes a close domain, as well of the request to extend and deepens the connections between disciplines. This can be done through interdisciplinary correlation of the activities unfolded in kindergarten and in school, giving them a plus of efficiency. The correlation of the acquired knowledge in different education disciplines constitutes a connection of the specific knowledge of different domains, of whose purpose leads to a unitary system of knowledge, to the general view on world. The selection of the education content is a problem of great didactic responsibility. It has to operate in such way to completely cover the volume, the structure and the nature of the scientific, moral, aesthetic and physical values which make the object of children's informing and forming in accordance with their psycho-physical possibilities.


Filimon R.C.,University of the Arts George Enescu of Iasi
Proceedings of the 11th WSEAS International Conference on Acoustics and Music: Theory and Applications, AMTA '10 | Year: 2010

The present study describes the usage of subliminal music set to incur beneficial effects on the human mind and body through the Binaural Beats and the Hemi-Sync technologies. The Binaural Beats technology was discovered in 1839 by the German physicist Heinrich Wilhelm Dove (1803-1879) and tested on the encephalograph by the American biophysicist Gerald Oster (1918-1993) in 1973 at Mount Sinai School of Medicine in New York. The Binaural Beats uses are carried out by blending them into music or other sounds. This procedure represents a recent discovery in the music therapy field as well as a new brain training technique studied and tested in many research centers and universities.


Nae C.,University of the Arts George Enescu of Iasi
European Journal of Science and Theology | Year: 2013

In this paper I propose an alternative reading of the politically charged artistic activities of the Russian conceptual art group 'Collective Actions', taking into account the structure of the aesthetic experience and the key concept of 'empty action' from the perspective of mystical experience. I suggest that translating the language of apophatic theology into the regime of mundane aesthetic experience via Heidegger's reflections on 'nothingness' is able not only to articulate possible genealogical references still missing in dominant art historical accounts of the group, but also to enrich our understanding of how such participative artistic actions critically worked against the dominant political regime to engender a new mode of subjectivity.

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