Some Aspects of Intercultural Education (through Studying Religious Music) in Multietnic Spaces

By Balaban, Larisa; Stefârta, Adelina | Review of Artistic Education, January 1, 2011 | Go to article overview

Some Aspects of Intercultural Education (through Studying Religious Music) in Multietnic Spaces


Balaban, Larisa, Stefârta, Adelina, Review of Artistic Education


Last years, beside intellectual, moral, professional, esthetic and physic educations we have to develop and educate our students to be sensitive for others (also important) aspect of our life. It this way, we are speaking about educations as are: religious, ecological, economical, sexual, permanent, axiological, intercultural.

The flow of information, the permanent changes in all the spheres of contemporary life lead to the continuing growing of the sociocultural level of the population, to the increase of the need to know the artistic; to stimulation of artistic curiosity and to the process of assimilation of artistic values.

Without doubt, such an active rhythm of life imposes the creation of new education forms, means, methods and modes (ways). The necessity of an adequate aesthetic and artistic education increases considerably. The aesthetic education helps individuals to leam; to percept, to "taste" and to appreciate the authentic values of art and society. The appearance of new genres and forms of art is accompanied by the risk of radical modification of the criteria of aesthetic appreciation. But, in parallel, these changes lead to the intellectualization of art, to the conscious understanding of artistic values and it needs the formation of a new public, which will be able to distinguish the authentic from the fouls, the beauty from the ugly, the moral from the immoral.

One of the most important educations in a multiethnic region (as Republic of Moldova is) is intercultural education. There is a great need to change some basis concepts of education in Republic of Moldova, in contemporary context, for adjusting the actual educational system for successful assimilation and integration of the national and international values, as are classical one (the truth, the beauty, the good) that came from the ancient times, but also "new" values, as are: rights, equality, freedom, fraternity, solidarity, etc.

These days, to be an "European person" means to adopt universal and European values, to make then a part of our personal axiological ideal, that is completely independent of the country where we live. The cultural European (and universal) moles does not have a specific country or specific geographical borders, because these models are adopted also but the citizens of countries as are Australia or Japan. One of the most important idea is to value our culture and to became o part of European and universal complex culture as civilized and equal partners. It is interesting to develop this education while studying religious music.

Mihail Berezovskii, a great moldovan choir conductor and composer, graduated theological seminar in Chisinau as a priest but the whole his life he gave to the music. More that 3o years he was a choir conductor, but he also was teaching in different educational schools in Chisinau. One of the most interesting compositions are Hymns for Liturgical worship in the church.

This very interesting music can be very representative when speaking about the development of musical sensitiveness. What are these components? According to the researches, musical sensitiveness as an esthetical term has components as are:

- the melodic hearing, the harmonic hearing and the sense of rhythm form the basis of musical perceiving, forming the first side of musical sensitiveness. Melodic hearing is the capacity to receive, recognize and reproduce a monophonic melody. The perception of a melody supposes its understanding not as a succession of sounds, but as an expression of a certain integral content. Each melodic line represents an "up" and "down" movement; the sounds also form a great number of intervals. The formation of the melodic hearing as a psychological basis of musical sensitiveness consists in: a) "the learning" of the recognition and reproduction of the movement's direction, i.e. (that is) the melody's movement "up" and "down"; b) "the learning" of the recognition and reproduction of the qualitative relation between sounds, that is - intervals. …

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