<?xml version="1.0" encoding="utf-8"?>
<rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom">
    <channel>
        <title>Review of Artistic Education Feed</title>
        <link>https://reference-global.com/journal/RAE</link>
        <description>Reference Global RSS Feed for Review of Artistic Education</description>
        <lastBuildDate>Sat, 24 Oct 2026 11:30:17 GMT</lastBuildDate>
        <docs>https://validator.w3.org/feed/docs/rss2.html</docs>
        <generator>https://github.com/jpmonette/feed</generator>
        <image>
            <title>Review of Artistic Education Feed</title>
            <url>https://paradigm-files.s3.eu-central-1.amazonaws.com/RAE/cover-image.jpg</url>
            <link>https://reference-global.com/journal/RAE</link>
        </image>
        <copyright>All rights reserved 2026, Sciendo</copyright>
        <atom:link href="https://reference-global.com/2/rss/journal/RAE" rel="self" type="application/rss+xml"/>
        <item>
            <title><![CDATA[3. Artistic Education and Creative Art-Therapy]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0033</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0033</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[As for the phrase “artistic education”, in this paper work, it was used in the way of cultivating individual, authentic artistic talent, of acquiring individual skills, abilities and techniques, with the aim of training artists in different fields of arts, as well as the assimilation of theoretical and practical knowledge from the fields of theory, aesthetics, criticism and history of arts etc., adapted to natural, innate capacities with a view to non-verbal creative expression and development plastic expressiveness. Art education and art therapy have in common the fact that they are forms of applications of art that integrate theories and practices of art pedagogy in a supportive environment: museums, art galleries, ambient art - street or interior - nature, classrooms or creative studios, where artists use the influences offered by the environments specific to the practice of the arts, which by their pluri/inter/trans-disciplinary character, encourage freedom of creation, thought, expression and imagination. Being “postmodernist” in art therapy, as Shirley Riley sees it, assumes a renunciation of programmed knowledge. For the art therapist it is essential to become the “student” of the client and to “learn from each client the meaning of the situation that he brings”. Through “co-constructive” therapy with the client, the art therapist becomes a collaborator in the therapeutic activity. Art therapy, as a component of occupational therapy, aims to correct the consequences of the disease that caused the disability or handicap, the development of adaptive skills, so that a person with a certain degree of incapacity can make the most of his or her remaining potential, in order to recover (both at family and professional level), by integrating into a useful activity at the highest level accessible to him. The therapeutic methods of the current era experiment with ways specific to each art, to achieve interdisciplinary exchanges. They connect to disciplines such as psychology or psychiatry, anthropology, history, religion, to experience the primary therapeutic values of contemporary art.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[9. The Holistic Approach to Music Education Throughout the Life Course: News and Perspectives]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0009</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0009</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[Music, constituting a great phenomenon of the world, represents an inherent element in the daily life of society, in the consciousness and nature of man, because everything is movement, everything is vibration, everything is sound. The relationship “man-music (arts)” places in the foreground the educational function through which it - educates moral feelings, human qualities, cultivates the spiritual sphere of man. Musical education throughout life is presented as a continuous individual process of spiritual self-improvement of the personality through multiple forms of relationship with the art of music. In this context, musical education is significant to perpetuity - lifelong education, on the three dimensions of the human being: biological, intellectual, spiritual, because it is implicitly based on the undulating character of the universe, the cosmos and human existence.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[11. Scores Used in Band Teaching. A Teaching Technique Suited for All Learning Styles]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0011</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0011</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[If studying and teaching classical music relies a lot on the use of scores, the pop-rock-jazz genres have a different approach, from using a large variety of score-types to not using at all. Pupils from secondary schools and high schools practice pop-rock-jazz, either on their own or coordinated by a music teacher, in which case it is fairly expected for them to be familiarized with the types of scores that can be found in these genres. However, many band teachers prefer using demonstration as a method, some of them claiming that the scores limit the creativity. It is true that music notation in these genres is not standardized. In this article, we will cover the most common approaches for integrating music notation in jazz-pop-rock band teaching.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[3. National Theatre Live. The Beginning of a Revolution]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0017</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0017</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[In June 2009 at the initiative of Royal National Theatre in London, National Theatre Live appeared – a revolutionary project through which theatre performances are live streamed. The first one was Phedra69 by Racine. The show was live streamed in 73 movie theatres from Great Britain and in 200 others all over the world. The broadcasting was a great success about which The Guardian wrote: “The main lesson is that a theatre production can be made democratically available to a mass audience without any loss of quality. For generations we have been told that the theatre is elitist. Last night it was shown that a supposedly difficult classical tragedy can speak simultaneously to people across the globe… this is only the beginning of a revolution in making theatre available in ways of which we had never dreamed.”70 For more than 13 years, The National Theatre of London has been live streaming its shows, at the moment having over 5.5 million spectators and being present in over 5000 locations all around the world.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[4. The Inner Mechanism of the Actor in the Vision of Eugenio Barba]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0018</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0018</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[The discoveries he makes in his journey around the world, the admiration for the way Grotowski thinks and for Brecht’s theories, but also the history of the years 1960-1978 stir up Eugenio Barba, causing him to look for new meanings related to this art. After going through a period of disorientation and hearing around him from many people the question: what is the meaning of doing theater today?, he finds the answer: “theatre is an empty and ineffective ritual that we fill with our own why, with our personal necessity”. Barba praises the modesty and strength of the actor who considers himself the servant of the stage and not the “navel of the crowd” that surrounds him. The concepts of yoga lead him to write about the “body-spirit” and how essential it is for a performer to exercise his spirit.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[2. Performance in the Artistic Career Supported by the Practice of Intense Physical Exercises]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0016</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0016</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[Performance in the artistic career is achieved through a continuous process of learning, education and study, supported and enhanced by an unseen, unnoticed, even often ignored factor like sport. Through this study we can demonstrate that the practice of intense specific type of physical exercises or individual sports can influence and support performance in the visual arts field. Our study we have been carrying out in the past 2 years for a number of 350 student artists who practised a type of sport or a physical activity, including physical education courses in their university curriculum, shows that they experienced better artistic performance in a percentage of 60% compared to those students who practiced less physical exercises. It is well known that training, in a variety of forms, allows increasing the mass of specific group of muscles, but also increasing endurance for longer periods of time. Also, regular physical activity causes an increase in the vascular caliber, which will lead to better oxygenation and a better nutrient supply to the brain. The brain is the most glucose-demanding organ in the body and, at the same time, it functions only in aerobic metabolism. Thus, the increase of vascular caliber through regular sports will determine an increased intracranial pressure, respectively a higher oxygen and glucose consumption. Constant practice of physical exercises will significantly reduce the risk of mental illnesses, and will improve memory, by preventing a series of brain disorders.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[1. Formal and Non-Formal Education Through Theatre54]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0015</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0015</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[The Frankfurt Declaration is a UNESCO document that reminds and re-emphasizes the importance of promoting and applying arts education to the curriculum of all member states. In 2019, the World Alliance for Arts Education (WAAE) organized an international conference called Arts Education for everybody? Every student? Everywhere? It opened a discussion on various topics about arts education (e.g., in society, in school reforms, opportunities for the education of pedagogues, interconnection with other fields, its application at different levels of schools, its future, possibilities to spread and communicate it in different countries of the world). The education through theatre also belongs to the field of arts education. The study reflects and maps the topic of formal and non-formal education through theater. It ponders the question What is the status of formal and non-formal education through theater nowadays? It points to interesting and inspiring projects, to institutions dedicated to the education through theatre, to the educational activities of professional cultural institutions, the position of drama education in the school system and beyond it, the education through theater at universities, as part of festivals, etc. It also brings an excursion into the education through theater in abroad, in the Czech Republic and Slovakia.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[13. The Acoustic Analysis of Violins and the Artistic Impressions Evaluated by Musicians]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0013</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0013</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[Violin studies can be classified into two main types: psychoacoustic studies, which are based on the artistic perception of audibility by violinists and vibro-acoustic studies, which are based on the spectral analysis of the vibrations and sounds produced by the instruments. The paper presents the acoustic analysis of violins by means of specialized software, their main acoustic characteristics being extracted in the form of frequency spectrum, spectrograms, specific modes and number of harmonics. These results were compared with the results of the opinion poll among musicians regarding the acoustic qualities of violins, based on musical auditions. The results highlighted the fact that the acoustic analysis technique cannot detect in totality the psycho-acoustic effects of musical sounds, therefore the establishment of the acoustic quality of the instruments on objective foundations, since the personal touch of an instrumental artist aims at the approach and articulation of the musical discourse, in a complex manner, combined with the interpretation of forms and styles.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[7. Musical Education in the Family. Challenges and Fulfillments in the Parent-Teacher Role]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0007</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0007</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[The role of parent is in itself one that provides both challenges and fulfilments. Moreover, it necessarily assumes the exercise of the pedagogical function. The main challenge is the delimitation between the position of a teacher and that of a parent, implicitly that of a student and that of a child. At the same time, the fulfillment that covers both the didactic process and the result, is the ultimate reward and also the motivation for starting another project. The present case study covers a period of approximately two years, involving the teacher-parent (mother) aged approximately 30 years and the student-child (girl) aged 5-7 years. The three completed or ongoing projects aim, on the one hand, at learning the basics of piano and ukulele performance and, on the other hand, at the vocal performance of a pop piece in a festival-competition.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[8. The Dramatic Literary Text as an Art Object in the Process of Teaching/Learning the French Language in the University Context]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0038</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0038</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[The given article focuses on the study of the dramatic literary text as an art object used in the process of the teaching/learning French as a foreign language. The dramatic literary text, being one of the main elements of the dramatic art, which in turn is a syncretic one, requires an integrated approach in the interpretation process, both as a literary product and as a performance.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[5. The Myth of the “Exclusivist” Voice - the Diversity of Sound Aspects. Case Study]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0005</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0005</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[There is always talk about the voice intended exclusively for a certain musical genre. There are singing teachers who systematically refuse to encourage young voices to discover other areas of sound from the perspective of vocal practice. For example, Classical Singing teachers approach the phrase “you can’t” or, worse, “you’re not allowed”, when a student studying Academic Singing wants to discover other musical genres such as Folk Singing, Light Music or Jazz. This obtuseness shown by some teachers leads to the premature inhibition of the singer’s vocal potential in the full period of accumulation, but, above all, leads to the narrowing of horizons and opportunities on the job market of Classical Singing graduates. Such practices should be challenged and dismantled through concrete examples where one and the same voice can interpret a diversity of musical genres, without in any way affecting the artistic act.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[3. Pianist Aurelia Simion - Talent, Creativity, Performance]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0003</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0003</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[Coming from a family of musicians, the descendant of a dynasty that traces its roots back to the 19th century, had Lia Oxinoit as a teacher at the pre-university cycle and Ludmila Vaverco at the Gavriil Musicescu State Conservatory from Chisinau. The artistic career of the pianist Aurelia Simion is impressive, ascending, marked by important professional successes realized in concerts and solo recitals or in collaboration with soloists, teachers, students and pupils, with participation in the Musical Olympics, in national and international competitions as an accompanist, member or president of the juries. It is particularly important to highlight the fact that Aurelia Simion, in her artistic ascent, performed on concert stages in the Romania and abroad (Ukraine, Belgium, Germany, Italy, Switzerland, France, Holland, Austria, Russia etc). Inquisitive spirit, always concerned with learning something new, she also played the harpsichord, celesta, marimbaphone and vibraphone, learned to play the portable organ with pedals, and in the moments when she had to complete the timbral color of the scores as part of the Percussion Ensemble Alternances, led by Constantin Stavrat, played claves, guiro, maracas and other small percussion instruments. Her compositional creation materialized in scores for solo piano, solo instruments with piano accompaniment, arrangements for percussion ensemble. For her academic and artistic achievements, she was awarded numerous awards, medals and diplomas of merit, honor and excellence awarded by various cultural and educational institutions.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[6. New Perspectives in Developing Teachers’ Social-Emotional Skills to Prevent Bullying: The Role of Forum Theatre]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0020</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0020</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[The present study is in line with the concern for the prevention of bullying behaviors, which have been continuously and unprecedentedly expanding at national and European level. In this case, the socio-emotional competence of teachers is important. A solution for training and developing this competence is offered by continuing vocational training programs regulated at national and European level. In line with the recommendations of the Council of Europe (2018), which refer to complementing academic training with social, emotional and arts learning, our approach is intended as a reflection of the importance of an innovative interdisciplinary perspective in developing social-emotional competences in teachers by considering the theatrical technique Theatre Forum for effective bullying prevention. In this respect, we propose some directions for analysis:1). Documentation of the European and national regulatory framework on professional competence training for pre-university teachers;2). Consider the importance of social-emotional competence in teachers in the effort to prevent bullying;3). Inclusion of the Forum Theatre technique in in-service training programmes for teachers in the field of bullying prevention as a way of developing socio-emotional skills.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[4. Didactic Challenges in Teaching Violin Skills, at the Level of Beginner Pupils]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0004</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0004</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[The supporting idea of this work is to facilitate the acquisition and education of some violinist skills at the level of beginner pupils, using their little musical “creations”. The experimental study was implemented by the practicing students, within the activities of the “Pedagogical Practice” discipline.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[4. Implementing the Concept of Artistic Efficiency: Some Sugestions for Teachers]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0034</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0034</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[In efforts to design the implementation process of innovative artistic praxeology we emerged from the assumption that TDA (teacher’s didactic action) and PAA (pupil artistic action) become fundamental values of the integration of theory and praxeology in perspective of an effective education, provided that they be widely used both horizontally and vertically, according to the pentagonal model consisting of principles: proactivity, artistic intro-opening, creation/creativity, of success, re-conceptualizing and instrumented in modern theoretical and methodological perspectives.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[5. A Possible Way of Approaching the Character in the Theater According to the “Role Sheet”]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0019</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0019</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[“Match the deed with the word, and the word with the deed. Take care not to exceed the decency and modesty of nature; because everything that exceeds the measure deviates from the goals of the theater, whose purpose from the very beginning and until today is to present a kind of mirror of nature, to show virtue its true face, pride its icon and every age, every era, the pattern and their seal” (Hamlet’s monologue from the play of the same name by W.Shakespeare).]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[8. The Evolution of Integrated Music Education From the 90’s to the Present]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0008</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0008</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[The article marks the most important aspects of the evolution of Romanian pre-university music education during the last 30 years. The education reform highlighted the positive aspects as well as the shortcomings in the field of music education in the integrated system. An analysis of the current state sheds light on what is valuable in the system and what can be improved so that specialized music education remains a genuine educational and cultural landmark in a constantly changing society.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[6. Stylistic and Technical Orientations in Romanian Creation for Clarinet of the Twentieth Century]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0006</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0006</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[A controversial period in humanity’s evolution is the previous century, the 20th, viewed both from a constructive and a destructive point of view. Technical progress and scientific discoveries led the human dimension towards a huge leap of civilization. But this computerized trajectory holds unlimited possibilities in creating balance or chaos within the human. The multiple effects of modern technology on human life can affect, even completely change, interpersonal communication. In the thinking of Romanian composers, especially in the second half of the 20th century, new concepts and working techniques are designed. Among these, we mention dodecaphonic serialism, integral serialism, heterophony, rhythm with added values, texture, aleatoric, etc., all leading to a totally new, experimental acceptance.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[2. Positive Pedagogy in Art Teacher Training]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0022</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0022</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[The pedagogical conception that each teacher assumes when referring to the teaching profession will guide his strategy for working with students. A teacher equally concerned with forming the competencies inscribed in school programs and helping the full flowering of the personality of the students with whom he works could adopt positive pedagogy as a frame of reference. The present work aims to review the principles of positive pedagogy, to nuance the roots of this paradigm in the light of current research and to bring to the fore its potential in terms of educational strategies that can be successfully adapted in the training of art teachers.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[14. Pablo De Sarasate - Andalusian Romance for Violin and Piano]]></title>
            <link>https://reference-global.com/article/10.2478/rae-2023-0014</link>
            <guid isPermaLink="false">/article/10.2478/rae-2023-0014</guid>
            <pubDate>Thu, 06 Apr 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[Pablo de Sarasate was a famous violinist and composer of Spanish origin. In his creations, Sarasate highlighted to the maximum the technical and interpretative potential of the violin, composing both works for violin and orchestra (including fantasias on operatic themes) and musical miniatures for violin and piano. Sarasate’s musical language is mainly inspired by Spanish folklore.]]></description>
            <category>ARTICLE</category>
        </item>
    </channel>
</rss>