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Piano pieces by composers from the Republic of Moldova used in the process of teaching in musical institutions

Author: Hatipova Inna
Degree:doctor of history and Theory of Arts, Cultorology
Speciality: 17.00.01 - Audio-visual Arts (with specification: Theatrical Art; Musical Art; Cinematography, TV and other form of Audio-Visual Arts)
Scientific adviser: Svetlana Ţîrcunova
doctor, professor, Academy of Music of the Theatre and Fine Arts
Scientific council:


The thesis was presented on the 30 April, 2009
Approved by NCAA on the 18 June, 2009


Adobe PDF document0.37 Mb / in russian
Adobe PDF document0.32 Mb / in romanian


CZU 786.2:378.978 (478)

Adobe PDF document 2.78 Mb / in russian
167 pages


Musical instruction and education, piano performance, piano playing pedagogy, the concert – pedagogical repertoire, cantilena and virtuoso pieces, miniatures for piano, piano playing techniques, musical thematism, the imaginative – emotional content of music, the modal and rhythmic peculiarities of Moldavian musical folklore, the song and dance genres of Moldavian folklore.


In the present thesis the author considers the works for piano, created by the composers of the Republic of Moldova during a long historical period: from 30’s of the 20th century almost to the present. The focus is on the cantilena and virtuoso pieces of the native composers that firmly entered the pedagogical repertoire of the Piano Department from the Academy of Music and Fine Arts.

These works stand out due to a harmonious combination of a traditional and classic forms and the typical national musical themes, reflecting the peculiarities of the Moldavian instrumental folklore. Under this aspect are analyzed works written by St. Neaga, L. Gurov, A. Stârcea, S. Lobel, V. Zagorskii, V. Rotaru, Gh. Neaga, Z. Tkaci, O. Negruţa, P. Rusu, Gh. Mustea, M. Stârcea, Gh. Ciobanu. The works of the composers mentioned above are characterized from the point of view of their composition and dramaturgy, genre, style and musical language peculiarities. Particular attention is given to the detailed characteristic of the performance and the pedagogical appreciation of these works, the determination of their role in the process of the developing the students’ creative and technical potential.

More than that, the native piano concert – pedagogical repertoire is examined wider in the following concepts:

Moldova and the professional compositional tradition as a whole.

With reference to the composers` works for piano there is an attempt to reveal the specific features of the interpretation, the concrete expression of the national ground of the musical language and to determine its role in the individual character of each play.

The main theoretical principles of the thesis are illustrated by the music examples given in the appendix. There is also the bibliography list.