SCOALA CU CLASELE I – VIII “SFANTUL ANDREI” SECONDARY SCHOOL “SAINT ANDREW”
BRAILA, ROMANIA

MULTILATERAL PARTENERSHIP
“EUROPEAN MUSICAL PORTOFOLIO”
ROMANIAN MUSICAL PORTOFOLIO

office

VOLUME 2

MARCH 2011

This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

This project
has been funded
with support from
the European Commission

TEACHERS implied in the project:
ROTARU CATALINA
LASAC AURORA
MIHAI ADINA
BABES MARIAN
IRIMIA EMILIA
GEORGESCU ELENA
CHIRILA CONSUELA ELENA

CONTENTS:

MUSICAL EDUCATION - PRIMARY SCHOOL	4
MUSICAL EDUCATION—SECONDARY SCHOOL SECONDARY SCHOOL	21
VALUES AND ATTITUDES	35
SONGS FOR CHILDREN	36
FOLK SONGS	38
ROMANIAN COMPOSER	5
ROMANIAN ANTHEM	43
THE ANTHEM OF COMENIUS	44

MUSICAL EDUCATION PRIMARY SCHOOL

The purpose of music education lies in developing the aesthetic sensibility of students, music and speech perception capacities, through practical activities of singing (vocal and instrumental) and by listening to music.
Musical education at the primary takes place in two phases:
oral intuitive (a prenotation), in which music is learned after hearing only by listening and singing, movement and sound toys rhythmic accompaniment or percussion instruments, and
step notation, the elements of language knowledge and
application of music is
performed on consciously.

CURRICULAR STANDARDS OF PERFORMANCE FOR
PRIMARY EDUCATION

Standards Framework Objectives
Turning a vocal and instrumental music practice of perceived musical language elements:
S1. Collective voice and singing in small groups a repertoire of songs for children consists of 10 songs
S2. Reading and accompanying music of songs with a little problem
S3 Expression through music. Interpretation repertoire in simple arrangements armonico-ringer, with rhythmic accompaniments, vocal-instrumental and vocal form of the game.
S4. Transposition of elements of musical language and their own experiences in body movement (the free, guided, dance)

OBJECTIVES FRAMEWORK

1. Recovery of vocal and instrumental music practice of perceived musical language elements

2. Expression through music.

During the class I - students will be able to:

1. Recovery of vocal and instrumental music
practice of perceived musical language elements

REFERENCE OBJECTIVES	RECOMMEND ACTIVITIES
1.1. to differentiate different auditory sounds from nature and the environment	through play exercise auditory acuity
1.2. to differentiate those sounds sung	Spoken - hearing compared with guesswork games played and spoken sounds;
1.3. to reproduce a repertoire of songs perceived by hearing and observing intonation correct	- Fragmentary and full playing collectively in small groups and individual songs from the repertoire proposed (10-15 songs do1-LA2) - Singing in a group practice skills in an easy position, with correct diction and natural emissions;
1.4. evidenced by body movement ideas of the text content	- Practicing the game of rhythm and movement suggested by the song;

1.5. to differentiate auditory musical sound qualities (intensity, duration, height)	- Comparative hearing and auditory recognition of different intensities of sound (hard-slow); - Comparative hearing (in games) of sounds of different durations, indefinite (long-short); - Reproduction of voice, musical toy - Comparative hearing (games) tones of different heights (high-low) and their association with body movements;

2. Expression through music

REFERENCE OBJECTIVES	RECOMMEND ACTIVITIES
2.1. to interpret songs from the repertoire medium shade	- collective singing in a natural medium shade with emotional involvement; - participation in the celebrations;
2.2. to sing the arrangements simple armonicopolifonice	- alternative group singing, with solist and choir, characters;
2.4. freely and spontaneously to accompany songs	- songs with the accompaniment of his own body (clapping, knees, on the table, feet on floor); - Toy musical accompaniment (drums, wood, bell, tambourine, gong);

2.5. to express feeling in music hearing by creating collective games	- examination of pieces of children's folklore (recordings or live); - examination of pieces of classical music; - free movement; - directed movement; - differential movement groups (characters);
2.6. combinations to spontaneously improvise rhythmic, a kind of folklore children	-creation of a combination of spontaneous rhythmic onomatopoeic syllables in collective creative games - creation of a combination of spontaneous rhythmic onomatopoeic syllables, accompanied by movement.

LEARNING CONTENTS

1. Stamp - sounds from nature and the environment; - vocal-instrumental sounds;
2. Rate - long and short sounds - marking the rhythmic song structures - inner audition; - recognition of auditory rhythmic structures of the songs; - spontaneous collective improvisation.

3. Sorry - treble and bass; - genres: children's folklore.
4. Interpretation - sounds that are heard loud-slow; - armonico-polyphonic processes: alternative groups, soloist, choir; - movement to music (movement, rhythm); - shades (very little, medium); - rhythmic accompaniment with musical toys

During the class II - students will be able to:

1. Recovery of vocal and instrumental music
practice of perceived musical language elements

REFERENCE OBJECTIVES	RECOMMEND ACTIVITIES
1.1. to differentiate between the sound source and direction practice stamps and spatial differentiation of sound hearing acuity sounds;	timbral differentiation auditory acuity practice and spatial sound
1.2. to differentiate the voice sounds instrumental	- Comparative hearing (in games) and sung and spoken sound intuition, issued vocal and instrumental; - Recognition of these sounds in the game;

1.3. to reproduce a repertoire of songs perceived by hearing and observing discipline collectively imposed by the singing	- Fragmentary and full playing collectively in small groups and individual songs from the repertoire proposed respecting the correct intonation; - Practicing skills in community singing synchronized (positions, taking a tone and compliance starting signal, the natural emission, diction, timing);
1.4. by moving elements to highlight the common musical language in song	- Practicing the moves suggested by playing rhythm, meter, text - Examination of different works bill; - Association with the differential motion shades contrasting and vocal timbre, compared with the instrumental;

REFERENCE / OBJECTIVES	RECOMMEND ACTIVITIES
1.6. scales to differentiate the qualities musical sound (intensity, duration)	- Comparative hearings, through games, ringing different intensities (strong, slow); - Issuing voice through games; - Auditory recognition through games, sounds of different intensities (strong, slow); - Comparative hearing, with games, some sounds different durations (long-short); - Reproduction of vocal and musical toy with clapping of onomatopoeia, recitatives - Familiarity with the visual signs of quarter lengths, optimum half and quarter break (percussion exercises); - Comparative hearing, with games, some sounds different heights (high-low);

1.7. to recognize hearing, after the structure and after the rhythmic melody, songs learned	- Marking, by beating, by movements body, with musical toys, the structure rhythm of the song; - Interpretation of the song to audition interior through the game; - Detaching the rhythmic structure of the first verse or marking another verse and its representative; - Identification of songs heard by the structure especially rhythmic verse; - Song after song identifying perceived hearing the first verse.

2. Expression through music

REFERENCE OBJECTIVES	RECOMMEND ACTIVITIES
2.1. to use the proper tone singing collectively, according to content and ideas	- collective singing in the right shade and character content of the song ideas; - appreciation of their contribution to the interpretation collective; - participation in the celebrations;
2.2. to sing the arrangements simple, vocal group singing	- Alternatively, the chain in dialogue from peak to peak;
2.4. to accompany songs, scoring pace and time of measure equal	- accompany one's own body (clapping, knees on the table, chest, feet on floor); - Toy musical accompaniment (drums, wood, Bell, Maracas, triangle, tambourine, gong);

2.6. to express feeling in music hearing, by use specific expression of other disciplines	- examination of related folk art creations winter habits; - examination of pieces of classical music; - movement to music; - oral fantasy story, inspired by the music; - spontaneous dialogue (characters, animals);

LEARNING CONTENT

• singing voice - specific skills singing (natural emission, diction) - collectively singing skills (tone, signal the start, timing).
• Instrumental Song - musical toys; - body percussion; - singing with accompaniment.
• musical language elements 1. Stamp - noise from nature and the environment; - sung-spoken sounds; - vocal-instrumental sounds.

2. Rate - long and short sounds; - marking the rhythmic structures; - marking of time equal measure; - inner audition; - recognition of auditory rhythmic structures of the songs; - spontaneous rhythmic improvisation; - out musical quarters, the optimal half and quarter break.
3. Sorry - high-low sound; - walking track; - the relationship between text and melody; - melodic structures of the songs; - genres: folk habits in winter.
4. Interpretation - armonico-polyphonic processes: alternative groups, soloist, choir, chains, dialogue; - shades: very-slow-medium; - movement to music (movement, rhythm, the time measure, inspired by nature music

During the class III - students will be able to:

1. Recovery of vocal and instrumental music
practice of perceived musical language elements

REFERENCE OBJECTIVES	RECOMMEND ACTIVITIES
to reproduce a repertoire of songs perceived as hearing, accurate intonation and diction	Fragmentary and full play, collectively and individually in small groups, a repertoire of 15-20 songs with between do1-do2; - Practicing skills in community and technical singing voice (natural emission, diction, breathing);
to differentiate between auditory and the sound quality scales music (pitch, velocity, duration and stamp)	- Comparative hearing (in games) of: - Sounds of human voices (adult-child, man- woman); - instruments (piano, violin); - Comparative hearing (in games) the sound of various intensities: strong - medium - slow; - Reproduction of voice / music with toys / with beating of onomatopoeia and recitatives / rhythmic formulas (two-four measures); - Comparative hearing (in games) of intervals: ascending-descending melody of walking up and down

-to identify by listening elements of musical language (Timbre, rhythm, melody)	referral contrasting hues (hard-slow); timbre referral other (vocal-instrumental) referral contrasting tempos (slow-fast); -intuitively recognize music popular music that cultured in the auditions examination of various folk songs: Winter habits, dances (registered or not); examination of works of creative worship.

2. Expression through music

REFERENCE OBJECTIVES	RECOMMEND ACTIVITIES
use of tempo of songs in repertoire, correlating them with content	singing the song ideas with the right tone and tempo, the vocal and vocal-instrumental interpretation of individual and collective
to sing in unison and polyphonic arrangements	voice singing in unison, the two groups (alternating chain, the dialogue), with soloist and choir; group singing (vocal and instrumental), using alternately or simultaneously and melodic instruments chosen percussion;

identify specific songs to be heard ideas of the relationship between content and character of the song setting correspondences between ideas and content song character;	comparison of the repertoire of songs, song choice appropriate for different life events or class school, the favorite; guided dialogue on musical preferences
to describe onomatopoeia their and / or musical sounds literary characters, events so natural.	creating a music game, inspired by the content of ideas character song, or certain elements of language instrumental timbre association with some characters literature, the phenomena of nature etc.

LEARNING CONTENT

Singing voice - specific skills singing (natural emission, diction, proper breathing) - singing skills in community Rate - measure Quarter times, best, half and quarter break, the rhythmic structure Measure 2/4 Sorry The relationship between text and melody (verse and chorus, verse) Construction elements of the song: start, end, repetition Stamp Vocal-instrumental sounds Voice of adult and child, male and female voice Singer and chorus Piano, violin

Musical Genres Occasional folklore genres: wandering star and song. Invoice genre Classical: Waltz, Rhapsody. Interpretation Procedures armonico-ringer: alternative groups, lead singer - chorus chain dialog Song with accompaniment Vocal and instrumental Song Shades: hard - slow - medium Tempo: fast - slow Movement to music: free rhythm, the time measure, inspired by the character of the dance movement of Music

During the class IV - students will be able to:

1. Recovery of vocal and instrumental music
practice of perceived musical language elements

REFERENCE OBJECTIVES	RECOMMEND ACTIVITIES
to reproduce a repertoire of songs after hearing or perceived decoded using an instrument, individually and collective	- Improving the skills of singing voice in community and technical (natural emission, diction, breathing);
to differentiate intuitively in listening, musical language elements, correlating them with those used in the practice of musical scales	-referral (orchestra, choir, piano,violin, flute) with or without accompaniment; -Examination of works performed in contrasting colors (hard-slow); - Examination of works performed in tempos contrasting (slow-fast); - Intuitive binary and ternary meter, two arms (audition); / - Reproduction of voice, the musical toys with beatings hands, of simple rhythms, onomatopoeia and recitatives / rhythmic formulas (two steps) intuitively or rhythmic reading; - Examination of works of different character;

REFERENCE OBJECTIVES	RECOMMEND ACTIVITIES
to play the instrument - blockflöte, xylophone, keyboard (not piano) - or vocal sounds and melodies of different heights (children's folklore)	- Associating the instrument with the sound of hand position (6 sounds: la-sol-fa-mi-re-do); - Playing instrumental songs that have melody sound limits specified, the duration of the quarter, optimal point half and half, the quarter break, the measures of 2 / 4 and 3 / 4;
to differentiate, in the popular music auditions, dance songs in the area and winter-related habits	- Examination of various folk songs: winter customs, dances, song itself. (Registered or not); - Delimitation of specific parts of the area;

to differentiate the bill auditions some educated work	minuet examination of affordable, wide popularity compared with the waltz.
Identify specific area folk instruments;	Popular music's association with certain movements - Examination of works from the creation of literate; - Awareness of musical elements (start, end, repetitions, etc..)

2. Expression through music

REFERENCE OBJECTIVES	RECOMMEND ACTIVITIES
to interpret songs from the repertoire for children, adequate levels of ideas and their character, without reducing the spontaneity and naturalness of the child specific	Collective singing, with appropriate dynamics and tempo; - Selection and motivation of interpreting songs known categories, suggested in the repertory;
to sing polyphonic arrangements armonico-simple	Singing voice, vocal-instrumental and instrumental groups (alternating chain, the dialogue), with soloist and choir
to express their preference for certain songs argued for an interpretation given way to the classroom for a heard some music	Classification comparison subjects and varied interpretation of the repertoire of songs; - Selection of favorite songs; - Choosing songs for the observance of class;

to sing with instrumental accompaniment, or recorded directly	Interpretation of songs to the accompaniment of hand tools of the teacher; - Interpretation of the song with "negative”
to accompany songs, simultaneously marking the rhythm and meter - the association with bodily movements;	Toys with musical accompaniment (drums, wood bell, Maracas, triangle, tambourine, gong, castagneta) - Manufacture of musical toys;
to interpret the songs vocal-instrumental group singing (vocal and instrumental), using especially melodic instrument, alternately and simultaneously;	Interpretation of the accompaniment of vocal and instrumental musical toys; interpretation of selected repertoire for bands music (vocal, instrumental or vocal and instrumental); - Assessment of individual contribution to collective interpretation; -Participation in the celebrations;

REFERENCE OBJECTIVES	RECOMMEND ACTIVITIES
to associate ideas and impressions suggested readings and visual images, music heard - written composition inspired by the content and character lyrics of a song;	Choose a title for your music heard; - Description of a character; - Achieve a visual interpretation of images drawing as aids;

LEARNING CONTENT

Singing voice - Specific skills singing (natural emission, diction, proper breathing) - Singing skills in community Instrumental Song - Musical Toys - Melodic and percussion musical instruments Rate Quarter times, best, half, half-quarter point and break Measure 2 / 4 3 / 4 Sorry Sounds La, Sol, Fa, Mi, Re, Do The relationship between text and melody (verse and chorus, verse) Construction elements of the song: start, end, repetition

Stamp Vocal-instrumental sounds Orchestra and chorus Piano, violin and panpipes Musical Genres Occasional folklore genres: carol Classical music genres invoice: minuet, dance Interpretation Procedures armonico-ringer: solo - choir, chain, dialogue, rhythm accompaniment * Song with accompaniment Vocal and instrumental Song Shades: hard - slowly Tempo: fast - slow Movement to music: free rhythm, the time measure, dance movement

MUSICAL EDUCATION SECONDARY SCHOOL

Complex process unit, held the status, aims at developing musical education of students aesthetic sensibility, the capacity of speech and musical perception, by doing the singing (vocal and instrumental) and listening to music.

GENERAL OBJECTIVES

1. Development of interpretive skills (vocal and instrumental)

2. Developing the capacity to perceive a culture of music and musical.

3. Knowledge and use of elements of musical language

4. Growing sensitivity, imagination and musical creativity and artistic.

During the class V - students will be able to:

1. Development of interpretive skills, vocal and instrumental

Skills specific	Examples of activities
1.1 Vocal Performance, Individual or group of songs in unison or polyphonic arrangements armonico-simple in the way of interpretation and conducting gestures breathing exercises, - broadcast, diction;	-Intonation exercises; - phrasing exercises; - unison voice interpretation - alternative song with accompaniment, in the canon; 2 voices singing voice; / -expressive scales, / - emphasizing the poetic valences the text;
1.2 rhythmic accompaniment of songs	accompanying rhythmic sound objects using body percussion and instruments;
1.3 to use correct instrumental exercises	exercises (setting technique, technique-specific technical tools the handling of keyboard and acoustic emission at different instruments: electronic organ, flute, guitar, block Flotte etc..).

2. Developing the capacity to perceive a culture of music and musical

Skills specific	Examples of activities
2.1 Careful examination of musical works, recognizing the elements of language learned	-recognition of the size and duration of musical sounds; -listening to music; -presenting families of musical instruments; -identification stamp, the tempo and stretch;
2.2 comparing fragments heard, appreciating certain differences or similarities identification of musical works fragment examined;	exercises for identification of musical works fragment heard
2.3 expressing their impressions on the music heard debate on the biography of the great composers;	-training and participation in concerts; -commenting impressions gained from participating in concerts

3. Knowledge and use of elements of musical language

Skills specific	Examples of activities
3.2 identification of the work performed or musically heard reading rhythmic elements;	recognition exercises height and duration of sounds; tempo recognition and stretch; initiating exercises expressiveness musical intervals; analysis of C major and minor ranges; listening to music; Contest: "Admit tool!" identify the structure of songs.

4. Growing sensitivity, imagination and musical
creativity and artistic

Skills specific	Examples of activities
4.1 affective participation in singing	musical performance; musical games;
4.2 rhythm on a theme	intervals using musical improvisation and rhythmic formulas learned; organizing artistic moments, medallions music festivals
4.3 identify a song once echoed	listening to music; participation in musical performances; jingles contests
4.4 representation through movement, line, color, design, content improvisational	movements suggested appropriate music for a song; making drawings representative musical works studied.

LEARNING CONTENT

1. Music Practice Voice Practice: specific singing skills: body posture, breathing, broadcasting, diction, articulation scales ways: individually and collectively in dialogue, and Monod (with accompaniment, in the canon two voices) Instrumental Practice Instrumental technical skills Repertoire of instrumental works
3. Elements of musical culture Facts about musical works addressed: title, composer, author of the text, topics Composer: A. Vivaldi, W.A. Mozart, J. Haydn, L. Beethoven, C. Porumbescu, T. Popovici, DG Kiriac Musical Auditions

2. Elements of language music Song: between sounds and musical notes and do2 do1 (and do 2) and soil (lower octave) and soil 2 (second octave) Musical intervals organization of sound: major and minor tonalities natural Rhythm: durations of sounds and music pauses and the corresponding values (quarter, best, half, whole note, sixteenth) extension point (half, quarter and optimal point) rhythmic combination with durations learned the extent of 2 / 4. 3 / 4, 4 / 4 Tempo: Allegro, Allegretto, moderato, andante Shades: piano, forte, mezzoforte, mezzopiano Stamp voice (voices of children, women, men) and instrument (musical instrument family) Music of the song structure: verse, chorus, melodic line

During the class VI - students will be able to:

1. Development of interpretive skills, vocal and instrumental

Skills specific	Examples of activities
1.1 interpretation of voice, fluent and expressive in unison and in different arrangements armonico-polyphonic songs in different types of music	voice culture exercises (breathing, broadcast, phrasing, diction); Interpretation voice in unison, individual or group; Interpretation voice, two voices (in canon or harmonic)
1.2 enrichment singing voice	instrumental intervention contests of interpretation; instrumental intervention is improvised; instrumental interpretation
1.3 learned vocal music	instrumental technique exercises

2. Developing the capacity to perceive a culture of music and musical

Skills specific	Examples of activities
2.1 Heard with interest of works different musical genres, appreciating expressive language musical elements	listening to music; heard commenting works; heard debates on musical works;
2.2 referral appearance characteristic themes in his music and their hum	competitions for recognition of music themes characteristic; exercises and competitions for recognition of musical works;
2.3 recognition of musical works, identifying the type of music and author identify the type of music;	hearing music radio broadcasts; watching TV shows or music videos;
2.4 expressing musical preferences,	participation in concerts; musical works heard commenting

3. Knowledge and use of elements of musical language

Skills specific	Examples of activities
3.1differentiation of character audition major or minor dramatically learned	listening to music
3.4 identify musical themes heard in the work and analysis of their structure exercises to define the basis for determining the elements of music and its components;	identify musical themes heard in the works.

4. Growing sensitivity, imagination and musical creativity and artistic

Skills specific	Examples of activities
4.1 nuanced singing, interpretation linking the message to be sent	-musical performance; musical exercises and games;
4.2 Diversification and enrichment musical interpretation	- further exercises of the melodic lines - started on a given text; - construction of musical themes from a given reason; - conception of artistic programs;
4.3 referral intervention moments instrumental in a song voice	listening to music; musical games;
4.4 capitalizing musical skills as an interpreter training and supporting	participation in music festivals, parties and musical moments

LEARNING CONTENT

1. Music Practice Voice Practice Specific skills play Monod and singing Repertoire of songs Practical tools: Instrumental technical skills Repertoire of instrumental works
3. Elements of musical culture Representative types of music genres: - popular music: the song itself, the song playing and playing instrumental music Classical clip instrumental suite Rhapsody music creations - entertainment music: waltz, tango, blues, folk music Composers: G.F. Handel, Fr. Schubert, R. Schumann, Fr. Chopin, J. Strauss, G. Bizet, Gheorghe Cucu, Gheorghe Dima, G. Musicescu, G. Enescu Musical Auditions

2. Musical language elements Song: heights, change sounds by signs of alteration - organization of sound: tones G major, E minor, F Major, D minor Rhythm: rhythmic combinations in steps of 2 / 4. 3 / 4, 4 / 4 (update) -syncope
-contretemps Tempo: speed up and slow motion (accelerando and rallentando) Shades: crescendo and descrescendo Stamp: Bands: equal voices and mixed choir instrumental ensembles: Symphony Orchestra music Elements of structure theme tune form mono-, bi-and tripartite

During the class VII - students will be able to:

1. Development of interpretive skills, vocal and instrumental

Skills specific	Examples of activities
1.1 interpretation of songs of different voice types and genres, controlling dynamic changes, timbre and tempo voice culture	- exercises, relaxation, breathing, articulation, intonation, diction / - voice interpretation, individual or group;
1.3 interpretation of musical themes	- access from famous works - interpretation of the famous musical themes;
1.4 Interpretation of instrumental songs using techniques	- instrumental technical exercises; - instrumental interpretation

2. Developing the capacity to perceive a culture of music and musical

Skills specific	Examples of activities
2.1 hearing different musical works, identifying the type and genre of music listening to music;	- listening to music / - preparation and participation in concerts, musicals; - hearing music radio shows, TV viewing and video tapes with recorded music;
2.2. expressions of interest in wealth and variety of folk music Romanian, acknowledging the work heard in specific area	heard the discussion and analysis work;
2.3 notification specified in different types of music (folk, light opera)	-contests "You know what you are listening", "You know the singer"

3. Knowledge and use of elements of musical language

Skills specific	Examples of activities
3.1 knowledge and differentiating elements, components of musical genres	listening to music.

4. Growing sensitivity, imagination and musical creativity and artistic

Skills specific	Examples of activities
4.1 interpretation of sensitivity and expressive songs addressed to interpretation;	- exercises to achieve some variation on a theme;
4.2 contribution in terms of language elements musical expressiveness	- listening to music;
4.3 realization of musical variations, certain rhythmic or melodic themes	-musical exercises of "question-answer";
4.4 discovery of certain forms of rhythmic and instrumental accompaniment	- instrumental accompaniments using stairs of tonality;
4.5 association of perceived musical message visual images	- sketch the scenery and costumes for theatrical genres; - musical works heard commenting or viewed describe details directorial role in increasing order of expressivity; - imagine the physical and moral portrait of a character from a famous opera from musical expression.

LEARNING CONTENT

1. Music Practice Voice Practice: specific skills play Monod song, repertoire of songs Practical tools: instrumental technical skills accompaniment skills repertoire of instrumental works
2. Musical language elements Song: organization tonal sound: tones C Major, A minor, G major, E minor, F Major, D minor (updated) Rhythm: combination of binary and ternary rhythmic patterns expressive role symphony orchestra

3. Elements of musical culture Musical Auditions Musical Genres: Classical music: lied, sonata, concerto, symphony pop music, entertainment music, jazz music Composers: J.S. Bach, J. Haydn, W. A. Mozart L. Beethoven, Fr. Schubert, R. Schumann, Fr. Liszt, FM Bartholdy, J. Brahms, Enescu, M. Jora, P. Constantinescu

During the class VIII - students will be able to:

1. Development of interpretive skills, vocal and instrumental

Skills specific	Examples of activities
1.1 accurate interpretation of a diverse repertoire of songs and themes music	- voice culture exercises; - interpretation of the songs or themes - scales in canon; - harmonic scales;
1.2 instrumental interpretation of a repertoire of songs and jingles in the way of phrasing, nuance, tempo	- technical exercises instrumental; - instrumental interpretation; - interpretation of the song voice;
1.3 accompaniments making simple instrumental songs learned	- instrumental accompaniment.

2. Developing the capacity to perceive a culture of music and musical

Skills specific	Examples of activities
2.1 audition of musical works, identifying certain elements of musical language	- listening to music; - participation in music concerts or other events;
2.2 Recognition of musical works and representative of the universal creation	- Recognition of the examined work; - Gender identification; - Discussing and analyzing the works heard;
2.3 issue of personal aesthetic judgments about musical works heard	- using various resources for a better understanding of hearing musical performances (concert programs, magazines, books, radio, TV).

3. Knowledge and use of elements of musical language

Skills specific	Examples of activities
3.2 analysis of the elements of language learned or heard music from the works	- listening to music;
3.3 distinguishing characteristics of musical genres	- analysis of the works heard.

4. Growing sensitivity, imagination and musical creativity and artistic

Skills specific	Examples of activities
4.1 interpretation addressed expressive music	- performing arts; - contests of interpretation and musical compositions
4.3 creating simple combination of instrumental arrangements to a song once;	- creation of formulas accompaniment; - exercises the conversion of a musical theme; - songs - creation of a specific subject;
4.4 identify relationships between creations from the various arts	- using different kinds of bibliographic sources;

LEARNING CONTENT

1. Music Practice Voice Practice: specific skills play Monod song, repertoire of songs Practical tools: instrumental technical skills accompaniment skills repertoire of instrumental works
2. Musical language elements Song: organization tonal sound: tones C Major, A minor, G major, E minor, F Major, D minor (updated) Rhythm: combination of binary and ternary rhythmic patterns expressive role symphony orchestra

3. Elements of musical culture Musical Auditions Musical Genres: Classical music: lied, sonata, concerto, symphony pop music, entertainment music, jazz music Composers: J.S. Bach, J. Haydn, W. A. Mozart L.v. Beethoven, Fr. Schubert, R. Schumann, Fr. Liszt, FM Bartholdy, J. Brahms, Enescu, M. Jora, P. Constantinescu

VALUES AND ATTITUDES

1. Awareness of music's contribution to the cultural heritage of the world.
2. Self thinking acquired by the reception and interpretation of musical works.
3. Reflective attitude on the value of music at individual to European dimension
4. Willingness to transfer social aesthetic values, such as alternative manifestations of kitch

SONGS FOR CHILDREN

DO e-o doamna cam voinica, RE un rege mustacios, MI o mica turturica, FA un falnic chiparos, SOL un soldatel de treaba, LA un lac netarmuit, SI e ultima silaba Si spre DO iar am pornit

Daca vesel se traieste

If you are cheerful

Daca vesel se traieste fa asa: * Daca vesel se traieste fa asa: * Daca vesel se traieste Unul altuia-i zambeste Daca vesel se traieste fa asa: *
La fiecare strofa, in loc de *: - se bate din palme; - se bate din picioare; -se pocneste din degete; - se fac toate miscarile.

If you are cheerful do as: * If you are happy do as: * If you are happy Smile to the other
If you are happy do as: * In each verse, instead of *: - clap your hands; - stamp your feet; - crack your fingers; - do all the movements.

Do-re-mi-fa-sol-la-si-do, sol-do.

So-do-la-fa-mi-do-re So-do-la-ti-do-re-do.

"Doe", a deer, a female deer, "Ray", a drop of golden sun, "Me", a name I call myself, "Far", a long, long way to run, "Sew", a needle pulling Sew, "La", a note to follow Sew, "Tea", a drink with jam and bread, That will bring us back to doe. Do-re-mi-fa-sol-la-ti-da, so-do.

Melc, melc, codobelc

Snail, snail, codobelc

Melc, melc, codobelc, Scoate coarne boureşti Şi te du la Dunăre, Şi bea apă tulbure; Şi te du la baltă, Şi bea apă caldă; Şi te suie pe copaci, Şi manâncă la gândaci; Şi te suie pe buştean, Şi mănâncă leuştean; Şi te suie pe uluci, Şi mănâncă mere dulci; Şi te suie pe butoi, Şi mănâncă usturoi.

Snail, snail, codobelc, Get ox’s horns And go to the Danube And drink muddy water; And go to the pool, And drink warm water; And climb the trees, And eat the beetles And climb over logs, And eat parsley; And climb up the groove, And eat sweet apples; And climb up the barrel, And eat garlic.

Alunelu, alunelu

Alunelu, alunelu

R: Alunelu, alunelu Hai la joc! Să ne fie, să ne fie Cu noroc! Alunelu, alunelu Hai la joc! Să ne fie, să ne fie Cu noroc! Cine-n horă o să joace Mare, mare se va face Cine n-o juca defel Să rămână mititel. R: Alunelu, alunelu Hai la joc! Să ne fie, să ne fie Cu noroc! Alunelu, alunelu Hai la joc! Să ne fie, să ne fie Cu noroc! Cine-n horă o să joace Mare, mare se va face Cine n-o juca defel Să rămână mititel.

A: Alunelu, alunelu Come to dance! Let’s be, let’s be Lucky! Alunelu, alunelu Come to dance! Let us be, let us be With luck! Who will dance with us Taller, will be Who will not dance at all Tiny will be. A: Alunelu, alunelu Come to dance! Let’s be, let’s be Lucky! Alunelu, alunelu Come to dance! Let’s be, let’s be Lucky!
Who will dance Taller, will be Who will not dance at all Tiny will be.

Periniţa

FOLK SONGS

Periniţa

Toţi românii sar la joc Joacă s-aibe toţi noroc Toţi noroc, toţi noroc Joacă! Joacă! Zi mă! Foaie verde foi ca viţa Joacă bade periniţa Joac-o bade din picioare Că astăzi e sărbătoare Foaie verde foi ca viţa Joacă frate periniţa Joac-o bade tot aşa Asta-i periniţa ta Nu te opri Ţine periniţa Foaie verde foi ca viţa Joacă periniţa Joacă mândro din picioare Că e sărbătoare

All Romanians start to dance They all dance to be lucky
lucky, lucky Dance! Dance!
Sing and sing! Green vine leaf Lad dances Periniţa Stamps it today It’s holiday
Green vine leaf My brother dances Periniţa
Dances it like that That's your Periniţa Do not stop
Go on it It’s your Periniţa Green vine leaf
Dance Periniţa Maid stamps her feet It's holiday

Braşoveanca
wedding dance from Brasov area

Si,trei pasi inainte, si trei inapoi,
Asta-i Brasoveanca, se joaca pe la noi.
Trei pasi inainte, si trei inapoi,
Asta-i Brasoveanca, se joaca pe la noi.
Fata trece stanga, fata trece dreapta,
Fata trece stanga, asta-i Brasoveanca, hei!
(bis strofa)
Uite-asa se pune fata,
Si pe stanga si pe dreapta!
Si-nainte, si-napoi,
C-asa-i hora pe la ei!

And, three steps forward and three back That's Brasoveanca which we dance Three steps forward and three back That's Brasoveanca which we dance The girl goes left than she passes right The girl goes left, that's Brasoveanca, hey! (Bis stanza)
That is how the girl dances Also on the left and right! And forward and back, As we dance!

Braşoveanca
dans de nuntă din zona Braşov

Romanian composer

Romania has a unique culture, which is the product of its geography and of its distinct historical evolution. Like Romanians themselves, it is defined as the meeting point of three regions: Central Europe, Eastern Europe, and the Balkans, but cannot be truly included in any of them. The Romanian identity formed on a substratum of mixed Roman and quite possibly Dacian elements, with numerous other influences.
Romanian culture was developed relatively later (after 18th, 19th siecle) and it was strongly influenced by folklore.
All great Romanian poets and artists was influenced by folklore.

George Enescu

Was a Romanian composer, violonist, pianist, conductor and teacher, proeminent musician of the 20th century, one of the greatest interprets of his time. (known in France as Georges Enesco). Born August 19, 1881, Liveni – Died May 4, 1955, Paris)
He was born in the village of Liveni, Romania and showed musical talent from early in his childhood. His father presents him to the professor and composer Eduard Caudella, who admits him at the Conservatoire from Iasi. At the age of seven, he was guided to follow his studies at the Vienna Conservatoire. Here he studies with great professors and graduating before his 13th birthday, granted the silver medal.
In 1895 he goes to Paris to continue his studies. He studies violin, harmony and composition. Many of Enescu's works were influenced by Romanian folk music, his most popular compositions being the Romanian Rhapsodies (1901 – 1902), the opera Oedipe (1936), and the suites for orchestra. He also wrote five symphonies, a symphonic poem Vox maris, and much chamber music (sonatas for violin and piano, quartets with piano, a dixtuor, a chamber symphony for twelve soloist instruments).
In 1923 he made his debut as a conductor in a concert given by the Philadelphia Orchestra in New York. He also conducted the New York Philharmonic between 1937 and 1938.
He lived in Paris and in Romania, but after War II and the communist occupation of Romania, he remained in Paris.
He was also a noted violin teacher. Yehudi Menuhin, Christian Ferras and Arthur Grumiaux were amongst his pupils. He promoted the contemporary Romanian music, playing works of Constantin Silvestri, Mihail Jora, Ionel Perlea and Martian Negrea.
On his passing in 1955, George Enescu was interred in the Pere Lachaise Cemetery in Paris.
The symphony orchestra of Bucharest is named in his honor.

GEORGE ENESCU

GEORGE ENESCU – THE NATIVE HOUSE LIVENI, DOROHOI

GEORGE ENESCU

References
Axente, Colette, and Ileana Ratiu. 1998. George Enescu: Biografie
documentara, tineretea si afirmarea: 1901-1920. Bucharest: Editura muzicala a U.C.M.R.
Bentoiu, Pascal. 1984. Capodopere enesciene. Bucharest: Editura muzicala a U.C.M.R.
Brediceanu, M. et al. 1997. Celebrating George Enescu: A Symposium. Washington, D.C
Gheorghiu, V. 1944. Un Muzician Genial: George Enescu.
Cophignon, Alain. 2006. Georges Enesco. Bibliothèque des grands compositeurs. Paris: Librairie Arthème Fayard. ISBN 978-2213623214
Cosma, Viorel. 2000. George Enescu: A Tragic Life in Pictures. Bucharest: The Romanian Cultural Foundation Publishing House.
Malcolm, Noel. 1990. George Enescu: His Life and Music, with a preface by Sir Yehudi Menuhin. London: Toccata Press. ISBN 0907689329 (cloth); ISBN 0907689337 (pbk)
Malcolm, Noel. 2001. "Enescu, George." The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
Roth, Henry. 1997. Violin Virtuosos (from Paganini to the 21st Century). ISBN 1-8879395-15-0
Slonimsky, Nicolas (ed.). 2001. "Georges Enesco." Baker's Biographical Dictionary of Musicians. Centennial Edition. New York: Schirmer Books.
Voicana, Mircea, Clemansa Firca, Alfred Hoffman, Elena Zottoviceanu, in collaboration with Myriam Marbe, Stefan Niculescu, and Adrian Ratiu. 1971. George Enescu: Monografie. 2 vols. Bucharest: Editura Academiei Republicii Socialiste România.
Voicana, Mircea (ed.) 1976. Enesciana, I. (in Fr., Ger., and Eng.)

George Enescu

Filarmonica "George Enescu"
Romanian Athenaeum, Bucharest

Queen Elisabeth of Romania with
George Enescu and Dimitrie Dinicu

George Enescu Museum
(Cantacuzino Palace),
Bucharest

Ciprian Porumbescu - was a Romanian composer (October 14, 1853 – July 6, 1883)

He was born in Sipote, Bukovina in the family of a Romanian writer and orthodox priest of Bukovina.
He began studying music at the Suceava and Cernauti, then continued at the Konservatorium fur Musik und darstellende Kunst in Vienna.
He was one of the most famous composers of the time. Among his most popular works are the pieces "Crai nou" (New king), Trei culori and "Balada for violin and piano". In addition, he composed the music for the Albanian national anthem, „Hymni i Flamurit”.
He was imprisoned by the Austrian authorities because of his political activities, and during his imprisonment wrote his greatest pieces.
He died at the age of 29 in Stupca, now renamed Ciprian Porumbescu in his honour.

CIPRIAN PORUMBESCU

Major works

Crai Nou - As a student at the Vienna Musical Conservatory, Porumbescu noted with great interest the success of operettas by Strauss, Suppé and Offenbach. His supreme goal was to replace the frivolity of subject-matter in the fashionable operettas with a plot that revived old Romanian traditions. Among them was Crai Nou (New Moon), in which the new-born moon will fulfill every lover's dreams of happiness (collected and published by Vasile Alecsandri), appeared the most appropriate for the dream-like environment of the local and earnest task he had in mind. The result was Romania's first operetta of the same name.
Ballad for Violin and Orchestra - Finished on October 21, 1880, soon became the best known work by Ciprian Porumbescu, and a reference work in Romanian classical music of the 19th century. In seclusion at Stupca, the composer meditated, drafted and then finished the piece, full of poetry and bitter nostalgia, with light and shade, a mixture of "doina", old dance and song, everything in the environment of serene melancholy.

Ion Ivanovici

Ion Ivanovici (alternatively, Iosif Ivanovici, Josef Ivanovici, baptised as Jovan Ivanović) (1845 – September 28, 1902) was a Romanian military band leader and composer of Serbian origin, best remembered today for his waltz Waves of the Danube.
Ivanovici was born in Timişoara, Habsburg Monarchy. His interest in music began after he learned to play a flute given to him when he was a child. Later, he enrolled in the 6th Army Regiment, where he also learned to play the clarinet. Ivanovici later became a bandmaster, and toured Romania. In 1900, he was appointed the Inspector of Military Music, a position that he held until his death. In his lifetime he composed over 350 dances, and his works were published by over sixty publishing houses throughout the world. In 1889, Ivanovici won the coveted march prize to mark the World Exhibition in Paris. He died in Bucharest.

Ion Ivanovici

References
^ a b c d "Johann Strauss Society: Iosef Ivanovici". Johann Strauss
Society. http://www.johann-strauss.org.uk/composers/index.php3?content=ivanovici. Retrieved 2008-09-30.
^ "IVANOVICI, IOSIF BIOGRAPHY". Naxos. http://www.naxos.com/composerinfo/Iosif_Ivanovici_24525/24525.ht
Biografia lui Iosif Ivanovici pe site-ul casei de discuri Naxos Records
Biografia lui Iosif Ivanovici pe site-ul The Johann Strauss Society of Great Britain m. Retrieved 2009-04-13.

Original Romanian	Literal Translation
Deşteaptă-te, române, din somnul cel de moarte,	Wake up, Romanian, from your deadly sleep
În care te-adânciră barbarii de tirani	Into which you've been sunk by the barbaric tyrants
Acum ori niciodată croieşte-ţi altă soartă,	Now, or never, your fate renew,
La care să se-nchine şi cruzii tăi duşmani.	To which your enemies will bow.
Acum ori niciodată să dăm dovezi în lume	Now or never let's give proof to the world
Că-n aste mâni mai curge un sânge de roman,	That in these veins still flows a Roman blood,
Şi că-n a noastre piepturi păstrăm cu fală-un nume	That in our chests we still maintain our pride in a name
Triumfător în lupte, un nume de Traian.	The victor in his battles, the name of Trajan!
Înalţă-ţi lata frunte şi caută-n giur de tine,	Raise your broad forehead and look around you
Cum stau ca brazi în munte voinici sute de mii;	Like fir trees, hundreds of thousands of heroes are standing firm;
Un glas ei mai aşteaptă şi sar ca lupi în stâne,	A voice they still wait for, to jump like wolves among the sheep,
Bătrâni, bărbaţi, juni, tineri, din munţi şi din câmpii.	Elders, men, youths, boys, from mountains to the plains.
Priviţi, măreţe umbre, Mihai, Ştefan, Corvine,	Watch on, shadows of highnesses, Mihai, Stefan, Corvinus,
Româna naţiune, ai voştri strănepoţi,	The Romanian Nation, your great grandchildren,
Cu braţele armate, cu focul vostru-n vine,	With weapons in their arms, with your fire in their veins,
"Viaţa-n libertate ori moarte" strigă toţi.	"Life in freedom or death!" shout all.
Pre voi vă nimiciră a pizmei răutate	You were vanquished by the evils of your envy
Şi oarba neunire la Milcov şi Carpaţi	And by your blind disunity, at Milcov and the Carpathians
Dar noi, pătrunşi la suflet de sfânta libertate,	But we, whose souls were pierced by holy liberty,
Jurăm că vom da mâna, să fim pururea fraţi.	Swear that for ever in brotherhood will join.
O mamă văduvită de la Mihai cel Mare	A widowed mother from the time of Michael the Great
Pretinde de la fii-şi azi mână d-ajutori,	Claims from her sons today a helping hand,
Şi blastămă cu lacrămi în ochi pe orişicare,	Casting curses, with tears in her eyes, on whosoever,
În astfel de pericul s-ar face vânzători.	In such great peril, a traitor would become.
De fulgere să piară, de trăsnet şi pucioasă,	Of thunder and of brimstone should they perish
Oricare s-ar retrage din gloriosul loc,	Those who flee our glorious endeavor
Când patria sau mama, cu inima duioasă,	When our land or our mother with tears in her heart,
Va cere ca să trecem prin sabie şi foc.	Will ask us to cross through swords and blazing fire.
N-ajunge iataganul barbarei semilune,	Didn't we have enough of the yatagan of the barbaric crescent
A cărui plăgi fatale şi azi le mai simţim;	Whose fatal wounds even today we still feel;
Acum se vâră cnuta în vetrele străbune,	Now the knout is intruding our ancestral homes,
Dar martor ne e Domnul că vii nu o primim.	But we give witness before the Lord that alive, we do not accept it
N-ajunge despotismul cu-ntreaga lui orbie,	Didn't we have enough of the blinded despotism
Al cărui jug de seculi ca vitele-l purtăm;	Whose yoke, like cattle, for centuries we've carried?
Acum se-ncearcă cruzii, cu oarba lor trufie,	Now let the cruel ones try, in their blind arrogance,
Să ne răpească limba, dar morţi numai o dăm.	To take away our language, we'll give it only if we're dead!
Români din patru unghiuri, acum ori niciodată	Romanians from the four corners, now or never
Uniţi-vă în cuget, uniţi-vă-n simţiri.	Unite in thought, unite in feeling
Strigaţi în lumea largă că Dunărea-i furată	Proclaim to the wide world that the Danube is stolen
Prin intrigă şi silă, viclene uneltiri.	Through intrigue and coercion, sly machinations
Preoţi, cu crucea-n frunte căci oastea e creştină,	Priests, lead with your crucifixes! Because our army is Christian,
Deviza-i libertate şi scopul ei preasfânt.	The motto is Liberty and its goal is holy,
Murim mai bine-n luptă, cu glorie deplină,	Better to die in battle, in full glory,
Decât să fim sclavi iarăşi în vechiul nost'pământ.	Than to once again be slaves upon our ancient ground!

ROMANIAN ANTHEM

The anthem of Comenius
With Comenius we set out
Welcome in the word of music
We will cross the sea and mountains
To get to know our cultures
CHORUS:
Let our friendship flourish
Melodic like this song
We will dance
And amuse all around
Dance and sing-because I like it
No note lose
With me dance the whole world
And I call- I love you!
CHORUS:
Let our friendship flourish
Melodic like this song
We will dance
And amuse all around
Happy sun on the meadow For Romania and Spain Italian, Turk and Welsh With Polish dance!

Imnul Comenius
varianta în limba Română
Cu acest proiect Comenius vă urează
Bine aţi venit în lumea muzicii
Veniţi cu noi să cunoaştem tradiţii
De peste mări şi ţări
COR
Lăsaţi prietenia noastră să-nflorească
Melodic precum acest cânt
Vom dansa şi cânta
Iar toată lumea ne va cunoaşte
Dansez şi cânt pentru că-mi place
Nici o notă nu pierd
Cu mine toată lumea dansează
Strigând— te iubesc
COR
Lăsaţi prietenia noastră să-nflorească
Melodic precum acest cânt
Vom dansa şi cânta
Iar toată lumea ne va cunoaşte
Fericit Soarele priveşte
Copii veseli dansând
Din România şi Spania
Italia, Turcia, Polonia.

Pupils conducted by primary teachers-class I A Pupils conducted by primary teacher-class I B
STEP BY STEP
CRAIOVEANU AURELIA RADU IOANA
MĂNCIULESCU CORNELIA

BALTĂ C. IONUŢ-CORNEL
BÂLBÂIE D. ROBERT-FLORINEL
GURGU S. MIHAI-MĂDĂLIN
HURMUZACHE D. ANDREEA
LUNTRARU I. LAURENŢIU
NEGULESCU T. DENIS-MIHĂIŢĂ
PATAP I. ANDREEA-ROXANA
POPA I. MARIUS-DANIEL
RĂDULESCU M. ELENA-LARISA
RUSU M. NICOLA
SPĂLĂŢELU M. LILIANA
STROIE C. CRISTINA-MARIA
TANISLAV T.T. TIBERIU
TOREANU I. CONSTANTIN-ADRIAN
TUDOR V. ANDREEA
TURCU D. MIREL-FLORIN
VELIŞCU V. GEORGE-VALENTIN

ARGHIR T.Z. DENIS-CRISTIAN
BUDACĂ G. DENISA-VALENTINA
BÂLBÂIE A.V. EDUARD-MARIAN
BERCARU C. VALENTIN-ANDREI
CĂLIN R. CRISTIAN-VALENTIN
CIREAŞĂ V. ALEX-GEORGE
CIOBOTARU P. DENNIS-NICOLAS
COJOCARU T.C. MARIA
DAMASCHIN C.G. ALEXANDRU-MIHAI
DUMITRU M. ALIN-GEORGIAN
GĂLBINAŞ M. BIANCA-ŞTEFANIA
GHEORGHE M.C. SABIN-IONUŢ
HANZU S. FLORINEL
IABA S.D. ANDREI-ADELIN
IVAN I. COSMIN-DENIS
LUPAŞCU N. MIHAELA-LORENA
MIHĂLCIOIU C. ANDREEA-RAMONA
NECULAI R. ANDREI-FLORIN
NOVAC C. DENISA-DANIELA
POPESCU V. ALEXANDRU-GABRIEL
POPOACĂ C. ERIKA-IRINA
ROBU F. ANGEL-GABRIEL
TOICĂ I. ADRIAN
TEODORESCU D. CLAUDIA-ANA-MARIA

Pupils conducted by primary teachers-class II A
LEPĂDATU DIDINA
NEGOI GICA

ALEXANDRU G.C. CORINA-GEORGIANA
BIANU C. COSMIN-MARIAN
BOBE V. ANA-MARIA
CIOCÎRLAN A.N. ANDRA-CAMELIA
CÎRTIŢĂ N.D. DRAGOŞ
CULEA D.D. MĂDĂLINA-ALEXIA
DIACĂN G. VLAD-FLORIN
ENCIU N. DIANA-MARIA
IVANOV E. ALEXANDRU
JIPA FLORINELA-ROXANA
LEOPA C.D. COSMIN-LAURENŢIU
MIHAI V. SABINA-GABRIELA
MIHALCEA-LEPĂDATU L.S. DANIEL-MARIAN
MIHALCEA-LEPĂDATU L.S. MĂDĂLINA-VALENTINA
MIHĂILĂ B. CRISTINA-DENISA
NĂSTĂSICĂ M. IONUŢ-ADRIAN
NEGOESCU G. GABRIEL-FLORENTIN
PETRE Ş. ALICE-ANAMARIA
SARCĂ A. IULIAN
VASILACHE C. CĂTĂLIN
ZÎRZAN I.ALEXANDRA

Pupils conducted by primary teacher-class I C
CRAIOVEANU MADALINA

BĂLAŞA C. NICOLAE-ALEXANDRU
BARBU S. ALEXANDRA
CĂLIN D. LUCIAN-GEORGE
COMAN G. LIVIU-GABRIEL
CRISTU D. MARIAN-DORIN
DRAGOMIR M. ALINA-GIANINA
DUMITRU M.I. ALINA-ANDREEA
EFTIMIE G. COSMIN-IONUŢ
GROSU A. ANDREEA-CRISTINA
ICONARU Z. ANA-MARIA-NICOLETA
IONESCU C. BIANCA-MARIANA
LIPAN N.I. VIOREL-COSTEL
MIHĂILĂ I. IONUŢ-VIOREL
MACOVEI G. ANDREEA
MĂNĂILĂ N. MĂDĂLINA
MITU E. ADELIN-CONSTANTIN
MOCANU L.A. GABRIEL-IULIAN
TĂNASE I. MANUELA-ANDREEA
ZEMUŞOARĂ C. LUMINIŢA-ANDREEA

Pupils conducted by primary teacher-class III B
RAICU DORINA

ANDRIAN I. ŞTEFAN
ANTON N. GABRIEL
BACIU M.D. RAMONA-NICOLETA
BARBU D. IUSTIN-GEORGIAN
BENGHEŞ C. ALICE-IONELIA
CIOBANU M. ALINA-GABRIELA
CONSTANTIN C. ANDREI-VALENTIN
CORBU S. IULIA
CROITORU M. ALEXANDRU-GEORGIAN
DECIU M. MIHAELA
GHEORGHE N. ALIN-ŞTEFAN
IVAN D.C. IOANA-GEORGIANA
IVAN D.C. DIANA-ŞTEFANIA
LUPU CLAUDIA
MUSTAFA IONUŢ
ORZAN CĂTĂLINA-IULIANA
ORZAN V. NELU-LEONARD
PARASCHIV M. FLORENTINA-MĂDĂLINA
PRODAN I. ANA
ŞERBĂNESCU M. MARIA-ELENA
STAICU I. ANDREEA-IULIANA

Pupils conducted by primary teachers-class IV –A
COTEŢ GICA
DRĂGAN LUMINIŢA

ALDEA M. MĂDĂLINA SILVIA
ANGHEL I. MIHAI GABRIEL
ACIOBĂNIŢEI ANDREEA-GEORGIANA
BRAZDĂ G. TEODORA
BOBOC A.FLORENTIN-LAURENŢIU
BALABAN P. ANDREEA IULIANA
BERNACIC D.ALEXANDRU-VALENTIN
COTIGĂ S. ANDREI – IONUŢ
CALUDEA C. EDUARD SILVIU
CALU L. MĂDĂLIN-IULIAN
CĂLINOVICI IONELIA
CONSTANTIN A. ANAMARIA-LOREDANA
CEZAR G. ALIN-GEORGIAN
CUŢII T. IONEL
DAMOVICI M. ROBERT-MIHAI
DINU C.M. GEORGIANA-MARIA
EFTIMIE N. ANDREEA-NICOLETA
IVANOV M. LEONARD-FLORIN
IONESCU MARIUS-DANIEL
JIANU R. TEODORA
JILOVEANU I. GEORGE
LAMBRU I. NICOLETA
MIHAI V. MARIAN-DRAGOŞ
NEGULESCU L. NICUŞOR ALEX
OZTURK I. SAHRA
PALTENIE M. ADRIAN-VALENTIN
SBÎRCEA D. DANIELA-MIHAELA
TRUŞCĂ F.LUANA- MARIA-RALUCA
TUREAC A. ANDREEA – MARIANA

Pupils conducted by teacher-class V A
MILEA MARIA

class V I A
MILEA MARIA

ANDRONACHE M.C. SILVIU FLAVIAN
BALTĂ C. ALEXANDRA-NICOLETA
COPILAŞ G.C. ADRIAN
CRISTEA ADELIN-TEODOR
DANĂILA N. FLORINA-GABRIELA
JELĂVEANU V. CRISTINA
MARTINESCU I. ANGELICA-NICOLETA
MIRCEA G. DIANA-MĂDĂLINA
MOLDOVEANU C. ANDREI
MORARU F. MARIA
NEDELCU S. CARMEN-CRISTINA
PARASCHIV M. COSMIN-MIREL
PETCU M. GABRIELA-ANDREEA
POPESCU T. ŞTEFANIA
PREDA I. CARMEN-GABRIELA
RADU G. IONUŢ-ALEXANDRU
ROŞU V. ANA MARIA
TURCU N. IULIA-ALEXANDRA
VOICU I. IULIAN-GABRIEL
ZABULICHE N.D. ALEXANDRU VLADUT

ANGHEL G. ANDREEA GEORGIANA
AVARVAREI M. FLORENTINA SILVIA
BURLACU V. ANDREI DANIEL
BURLACU GR. CRISTIAN
CANEVICI R.G.ANDREIA BIANCA
CIOBANU C.L. ANAMARIA
CÎRSTIAN G. GEORGE SEBASTIAN
CONSTANTIN M. COSMIN
CRĂCIUN L. ADRIAN CLAUDIU
CRISTEA V.M. CORNELIA ELENA
CROITORU G. LUMINIŢA
CULEA N. BIANCA FLORINA
DOBRE G. GABRIEL IULIAN
DRĂGHICI V. ANGHEL VALENTIN
DRĂGHICI N. MIHAELA CĂTĂLINA
ION G. GABRIEL FLORINEL
JUGĂNARU D. CRISTINA SILVIA
LIPAN N. AURORA FLORENTINA
MUŞAT V. COSMIN LEONARD
NIŢU C. LOREDANA ELENA
PAŞCA P. SYLVYA
PÂRLEA N. ANDREEA MĂDĂLINA
RUSU V . GEORGE
SÂRBU V.A. MARIA MIRUNA
STRATULAT G. FELICIA

class VII–B

class V–B
MILEA MARIA
DRĂGAN LUMINIŢA

ARTENIE I. IULIAN-DANIEL
BADIU M. ANDREI
BORDEA C. ANDREEA
TODERIŢA (BALAN ) CRISTINA
BÂRA M. NICOLETA-ROXANA
BUNEA D. DANIEL
CHITUŢĂ C. IULIA-ANAMARIA
DRAGU R. NADIA-CRISTINA
GAVRILĂ C. IONELA-VIVIANA
HLENSCHI I. FLORIAN ŞTEFAN
HOTINEANU MIHAIŢĂ-IONUŢ
LUPU ADI-GEORGIAN
OPREA G. MIHAI-BOGDAN
PETROVICI I. DANIELA
SCARLAT C. MARIA
TUDORACHE G. DIANA-IULIA

ALDEA M. IONUT-FLORIAN
BIBICU N. IONUŢ ŞTEFAN
BRATU V. FLORENTIN SORIN
CIOLAN H.G. MARIANA IULIANA
COCOŞ V. DANIEL MARIAN
COTIGĂ M. GEORGE ALEXANDRU
CĂPĂŢÂNĂ I.G. MARIA GABRIELA
DRAGOMIR DIANA ANAMARIA
DUMBRAVĂ I. NICOLETA VIVIANA
EFTIMIE I. FLORENTINA
MOTOTOLEA V. LAVINIA GABRIELA
PASCU D. ALEXANDRA-NICOLETA
RADION P. MONICA ADRIANA
RAUHMAN R. LUCIANO
ŞIŞU I. LUCIANA CARLA
SURDU F. GABRIEL VIOREL
TIGĂNUŞ V.M. ANDREEA MONICA

Pupils conducted by teacher-class VI–B MILEA MARIA

Pupils conducted by teacher-class V III A
MIHAI ADINA

ARAMĂ G. ANDREI GEORGIAN
BERCĂ I. CĂTĂLIN - ŞTEFAN
CRÎNGAŞU M. TATIANA-IOANA
CRĂCIUN ALEXANDRA
COSTACHE A. ANDREIA SIMONA
COTEŢ V. ANDRADA ELENA
DRAGOMIR M. DRAGOŞ
DAN C. MĂDĂLIN GEORGE
HILOHI T. ANGELIN-CĂTĂLIN
ICHIMESCU C. DIANA-GABRIELA
LĂCĂTUŞU T. GEORGIAN CLAUDIU
MĂLUREANU T. FLORICA
MOCĂNIŢĂ CRISTIAN-IONUŢ
MARIN G. SIMONA GEORGIANA
NEDELCU D. SORINA
OTTI T. LEONARD
PATRICHI V. MĂDĂLINA TEODORA
PETROVICI I. IONEL
RĂŞCHITORU G. ŞTEFAN-ADRIAN
SIGHINAŞ N. ALIN IONUŢ
STANCU C. SAMAR-IONUŢ
TALAZ D. CLAUDIA GABRIELA
TĂNASE M. DRAGOŞ GEORGIAN

AVRAMESCU F. FLORIN
AIRINI D. CRISTINA MĂDĂLINA
BOBOC V. IRINA
CRISTEA D. ANDREI
CIOBANU V. CLAUDIA ALEXANDRA
CHIRIAC N. CĂTĂLIN
CIUPERCĂ G. IONUŢ CRISTIAN
DONE I. ADRIANA SIMONA
ICONARU I.ROXANA ANDREEA
MOISOI M. ANDREEA LAURA
MIRONESCU L. BOGDAN GEORGE
MIHĂILĂ M. MĂDĂLINA BEATRICE
MANEA C. CARMEN GABRIELA
MARTIN D. ANDRA BIANCA
MOCANU N. FLORINELA
MĂNĂILĂ N. DĂNUŢ GEORGIAN
NICOLAE C. SORIN MARIUS
ORZAN V. IULIA TEODORA
PUCHIANU P. MIREL IONUŢ
RUSU N . MIHAELA
TOICĂ I. ŞTEFAN IULIAN

Pupils conducted by teacher-class V III C
ROTARU CATALINA

CANĂ C. CLAUDIU
CÂNEPĂ C. VASILE ADI
DOGARU C. DANIELA
LAZĂR M. BOGDAN IULIAN
MALACU I. ANDREI CRISTIAN
MĂNĂILĂ D. GIORGIANA
MOCA CLAUDIU- DANIEL
MORARU F. ANDREI
PARASCAN F. SORIN NICUŞOR
PREDA A. RĂZVAN
STANCIU D.DANIEL OCTAVIAN
STRATULAT N. ANA
STRATULAT N. MARIA
VIOIU T. ANA MARIA

BÎDÎRÎCĂ V. IONUŢ ALEXANDRU
BULANCEA D. IONUŢ
CORÎE CASANDRA
GHINEA M. GEORGIANA DENISA
GRIGORE F.T. GEORGIANA
LAMBRU I. ADRIAN GEORGIAN
LUPU I. ALEXANDRU GABRIEL
MANEA FLORIN
PAŞCA P. PAUL
ŞERBAN L. COSTIN ALEXANDRU
TUDOR D. IULIAN DUMITREL

Pupils conducted by teacher-class VIII–B
BABES MARIAN