Volume 64, No. 1, June 2019

Articles

• THE ROLE OF CHURCH SCHOOLS IN MUSIC EDUCATION

  Judit VÁRADI, Gábor DRAGONY

  9-28

  • pdf

• MUSICAL EXPRESSION AS A TOOL OF DRAMA-BASED PEDAGOGY IN BRECHT/WEILL & EISLER’S LEARNING-PLAYS

  Bence ASZTALOS

  29-38

  • pdf

• PENSIVENESS OF US: WHAT SHOULD WE SING?

  Attila SMUTA

  39-49

  • pdf

• PRECONDITIONS FOR MANIFESTATION OF MUSIC TEACHERS’ PROFESSIONAL TYPES IN THE CONTEXT OF OCCUPATIONAL STRESS

  Diana STRAKŠIENĖ, Rytis URNIEŽIUS

  51-66

  • pdf

• ONTOLOGICAL AND AESTHETIC QUALITIES OF A SINGING SOUND

  Tatyana Y. GORDEEVA, Zagid R. AZHIMOV, Raushania R. MIRNAYA, Alfia Rafisovna VOZNESENSKAYA

  67-84

  • pdf

• THE THEORY AND PRACTICE OF OPERETTA ROLES

  Éva-Elena JORDÁN

  85-94

  • pdf

• THE SYMBOL OF THE SHADOW IN VERDI’S OTELLO

  Letiția GOIA, Oana MUREȘAN

  95-105

  • pdf

• STYLISTIC ASPECTS REFLECTED IN MODAL LITURGY BY DAN VOICULESCU

  Elena-Laura GREAVU, Roxana PEPELEA

  107-123

  • pdf

• JOHN RUTTER’S REQUIEM – BETWEEN ANGLICAN TRADITION AND FRENCH MUSICAL AESTHETICS

  Krisztián KÁLLÓ

  125-149

  • pdf

• CHAMBER MUSIC EXPLORATIONS FOR MEDITATION

  János Zsolt IMRE

  151-171

  • pdf

• THE IDEOLOGIZATION OF MUSIC IN THE STALINIST ERA

  Lois Paula VĂDUVA

  173-184

  • pdf

• CRITICISM EVOLUTION IN ROMANIAN MUSICAL PERIODICALS: FROM GAZETA TEATRULUI NAȚIONAL (1835-1836) TO MUZICA (1908–PRESENT)

  Cristina ŞUTEU

  185-206

  • pdf

• THE ODYSSEY OF A LOST AND FOUND ORATORIO

  Stelian IONAȘCU

  207-226

  • pdf

• SÁNDOR VERESS: FADING INTO OBLIVION

  Krisztián KÁLLÓ

  227-238

  • pdf

• PUCCINI’S VERISMO AND INNOVATIVE STYLE THROUGH THE LENSE OF LA BOHÈME

  Zsuzsanna KÁLLÓ

  239-259

  • pdf

• MAURICE RAVEL BETWEEN IMPRESSIONISM, SYMBOLISM AND NEOCLASSICISM

  Boglárka Eszter OLÁH

  261-267

  • pdf

• DEAD DRAW? AN ENCOUNTER BETWEEN KURTÁG AND BECKETT: THE OPERA FIN DE PARTIE

  Bianca ŢIPLEA TEMEŞ

  269-276

  • pdf

• THE HISTORY OF THE TEXT AND MELODY OF THE GREGORIAN SEQUENCE LAUDA SION

  Ádám MIKE

  277-290

  • pdf

• THE TRADITION OF “CUNȚANU” CHURCH MUSIC BETWEEN THE ORALITY AND THE UNIFORMIZATION TRENDS

  Daniel MOCANU

  291-314

  • pdf

• MISSIONARISCHE VALENZEN DER KIRCHENMUSIK VON HEUTE

  Mihai BRIE

  315-324

  • pdf

• JOHANN SEBASTIAN BACH - THE ONLY FUNERALCANTATA IN HIS WORKS: „GOTTES ZEIT IST DIE ALLERBESTE ZEIT”, BWV 106

  Petruța-Maria COROIU

  325-330

  • pdf

• COMPARATIVE ANALYSIS OF FRYDERYK CHOPIN’S AND JOHN FIELD’S NOCTURNES

  Tímea SZILVESZTER

  331-364

  • pdf

• BÉLA BARTÓK: “CONCERTO FOR ORCHESTRA”. ELEMENTS OF TURKISH FOLKLORE IN THE SOURCES OF A MASTERPIECE

  Boglárka SZAKÁCS

  365-376

  • pdf

• LIVIU GLODEANU’S “MIKROKOSMOS”: AN INTRODUCTION

  Olguța LUPU

  377-392

  • pdf

• CHURCH AND SCHOOL – BIRTALAN JÓZSEF’S CREDO

  Attila FODOR

  393-407

  • pdf

• EDE TERÉNYI: PLAY SONGS FOR CHILDREN’S CHOIR AND PERCUSSION INSTRUMENTS. 1. LITTLE SUITE – COMPOSITION TECHNIQUE

  Gabriela COCA

  409-428

  • pdf