UNIVERSI TATEA DE STA T A.

RUSSO DI N BLI ALEC U RUSSO BLI STATE UNIV ERSI TY BIBLIOTECA TIINIFIC

Ion GAGIM
Biobibliografie

BLI, 2005

CZU O16: [378.4(478) + 78 + 929] = 135.1 = 111 G13

Ion Gagim: biobibliogr. / Univ. de Stat . Alecu Russo; Alct. E. Scurtu; ed. ngr. de E.Harconi; Red. resp. E.Harconi. Bli, 2005. 143 p

Colegiul de redacie:
Alctuitor: Traducere n limba englez: Redactor responsabil: Culegere computerizat: Tehnoredactare computerizat: Elena Scurtu Oxana urcanu Elena Harconi Elena Scurtu Iurie Pogrebneac, Maria Fotes cu

ISBN 9975-931-78-2

Prin perseveren, atingi succesul

J.- C. Johnstone

i urmrete idealul, are obiective clare i transparente.

Comportamentul i aciunile i reflect idealurile i obiectiv ele.

Este pasionat i entuziast.

Posed o armonie interioar care strlucete deasupra anturajului. Cunoate i tie s-i foloseasc forele i slbiciunile. A reuit s-i dezv olte o for de a tri care motiveaz i pune n micare grupul su. tie s ntrein relaii oneste i perene cu anturajul su. tie s-i capitalizeze experienele i emoiile. Am trecut n revist trsturile unei persoane c aris matic e, c are i dezvolt o deosebit deschidere de s pirit, rmnnd mereu modest, discret, neleapt i cumptat. n tot ceea c e propune aceast Biobibliografie, sperm s fie recunosc ut persoana carismatic, Ion Gagim, care mrturisete i despre numele su urmtoarele n spiritual pare a se nscrie i descifrarea numelui de familie al tatlui, Gagim, modificat de la Hagi, care din greac hagios sau francez hagio nseamn sacru, sfnt, divin, iar din turc hagiu - persoan care v iziteaz locurile sfinte Aceasta face s m simt mai stabil n via, s m simt cu nite rdcini, s tiu de unde v in i ce responsabilitate am n aceast via

Primul doc tor habilitat, c reatorul c elei dinti coli de cercetri tiinif ice n educaia muzical din Republic a Moldova. Membrucorespondent al Academiei Internaionale de Studii Pedagogice (Moscova), membru al Uniunii Compozitorilor i Muzicologilor din Moldova, laureat al revistei "Literatura i Arta "(eseuri ), profesor universitar, decanul Facultii Muzic i Pedagogie Muzic al de la Universitatea de Stat "A.Russo" din B li, talentat pedagog, cerc ettor, filosof, autor de manuale i monografii de filos ofie, ps ihologie i educ aie muzic al, Ion Gagim es te contemporanul nostru, cunosc ut n ar i departe de hotarele e i. Ce le mai mari bibliotec i din lume, inc lusiv Biblioteca Congresului (SUA) i dein lucrrile, n care autorul a dorit s demons treze c utarea rspunsurilor la unele ntrebri despre v ia / existen, sensul ei, despre ceea ce caut eu nsumi n aceast lume, despre muzic, despre om n general i despre rolul meu n toat aceast istorie. Pentru profesorul Ion Gagim valoarea suprem n via es te educaia Omului, fapt c e vrea s se realizeze i prin eterna Muzic: Eu tratez muzica nu numai ca ceva plcut i frumos, dar ca pe un fenomen cu o incomparabil ncrctur spiritual, deci, educativ. Muzica este o pedagogie n sine. Bach, Mozart, Beethoven snt nu numai mari muzicieni, dar snt mari pedagogi ai omenirii. Fiind a opta luc rare de acest gen care apare n colec ia Personaliti universitare blene, Bib liografia pers onal, editat de Bib lioteca tiinif ic, este singura n msur s prezinte pers onalitatea c reatoare a autorului, n tiin, art, filos ofie.
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Biobibliografia s e deschide cu Referine despre personalitate i opera profesorului universitar, n care se nscrie i eseul Despre sine mpreun cu revelaiile protagonistului: Sub semnul muzicii. Urmeaz compartimentul Bibliografie, care nregistreaz n ordine cronologic pes te 70 de titlur i, inc lusiv monografiile, dicionarul de pedagogie muzic al, manualele universitare i colare, luc rrile didactic e pentru studeni i profesori, studiile, articolele tiinifice i metodic e. n prezentarea monografiilor se reproduce integral sumarul cu unele fragmente din c arte, iar a dicionarului - studiul introductiv. La Personalia s-au inclus referinele despre om i oper aprute n public aiile timpului. n aces t scop au fos t consultate cataloagele Bib liotecii, coleciile de civa ani ale Bibliografiei M oldovei, public aiile periodice din domeniu, dezvoltndu-se o colaborare fruc tuoas c u ns i autorul. Bib liografia iconografic i ilustraiile crilor s nt ct s e poate de potrivite pentru a inc ita i c aptiva cititorul. Lucrarea mai cuprinde un CV (n care snt c ons emnate momentele s emnific ative din biografia profesorului Ion Gagim) i este nsoit de indice de nume i de titluri. Descrierile bibliografice respect standardele bibliotec onomic e n vigoare. Colecia Personaliti univ ersitare blene are menirea s contribuie la mbogirea cunotinelor despre nivelul de dezvoltare a poporului nostru, a puterii sale de c reaie n divers e domenii, a originalitii gndirii sale, a c onc epiei despre lume, via i educaie. Elena Harconia, direc torul Bibliotecii tiinifice
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Success can be achieved through perseverence

J.C. Johnstone He pursuits the ideal, has clear and transparent objec tives . His behavior and his ac tions reflect his ideals and objectives. He is passionate and enthus ias t. He has an inner environment. He knows to use his powers and weakness. He succeed in developing a forc e to live that motivates his group. He knows to maintain honest and people around him. He knows to accumulate his experiences and emotions. abnegation of the spirit, I have presented in the survey the features of a charismatic pers on who is developing a dis similar remaining always simple, reserved, wise and temperate. In all that this Biob ibliography proposes, we hope, Ion Gagim, the high reputation person, should be recognized , confessing about his name the followingspiritually it seems to be icerted in the decoding of my fathers surname, Gagim ,originated in Hagi, which from Creek , hagious or French hagio means sacred, saint, celestical, and from Turk ish hagiu-the person who v isits the sacred
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harmony whic h sparkles above the

las ting relations with

placesThis makes me feel firm in my life, be deeply rooted, know from where I come and what kind of responsibility in this life I have. Being the first Habilitate Doctor in the field, he was the founder of the first sc ientific school in musical educ ation in the Republic of Moldova. He is the Corresponding member of International Academy of Pedagogic al Studies (Moscow ), Member of the Union of Composers and Musicologists , Laureate of Literatura i Arta newspaper(essays ), Dean of Music al and Musical Pedagogy Faculty of Alec u Russ o State University ,Balti, talented professor, res earcher, philosopher, the author of manuals and monographs in philosophy and music al educ ation. Ion Gagim is our contemporary and well known in our country and abroad. The biggest libraries from the w orld, inclus ively the Library of Congress(USA) keeps his works in which the author wished to demons trate meditation upon answers to some ques tions on life/its being, its sense, about what I am seek ing myself in this life, about music, about man in general, and about my role in all this history. For professor Gagim, the supreme value in life is the Educ ation of Man, fac t that he wants to realize through Eternal Music: I treat music not only as something pleasant and beautiful, but as the phenomenon with incomparable spiritual load ,thus, educative. Music is a pedagogy in itself. Bach, M ozart, Beethoven are not only great musicians, but they are great teachers of humanity.
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Be ing the 8

th

work of this kind, which

appears in collection

University Personalities of Blti, the personal Bibliography, publis hed by the Sc ientific Library, is the only one capable to present the c reated Bib liography authors personality in sc ience, art, philosophy. are starts w ith referenc e about his works and

pers onality, in whic h is included the ess ay: About myself, together with the protagonists revelations: Under the sign of m usic. The next it is Bib liography s ection which rec ords in an chronologic al order over 60 titles, inc lusively monographs, dictionaries of pedagogic al mus ic , university and sc hool manuals, didac tic works for students/professors, studies , sc ientific and methodic articles. In the pres entation of monographs the integral summary is reproduced together with some references from book, and the pres entation of the dictionaries, the introductive study La Personalia is pres ented, in which referenc es about man and works that had been publis hed along the time have been inc luded. On this purpose Library catalogues collec tion for some years of Bibliografia Moldov ei, periodical public ations in the field, have been consulted, developing a fruitful c ollaboration with the author himself. Ic on Bibliography and book illustrations are as much suitable as possible to captivate the reader. The work comprises a CV (in which signific ant moments are from Ion Gagims biography are registered), and is accompanied by name and titles indexes. The Bibliographic description respec t librarians hip standards in forc e. The collec tion University Personalities of Balti has the
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mission to contribute to the enriching the knowledge about the level of development of our nation, of its potential c reation in different fie lds, of its originality in thinking, of worldview, life and educ ation. Elena Harconitsa Director of Sc ientif ic Library

ION GAGIM de la primul ef de grup al noii specializri Pedagogie muzical, la primul doctor habilitat n pedagogie muzical
n anul de studii 1975-1976 la Ins titutul Pedagogic de Stat A.Russo din B li a fost deschis sec ia Pedagogie muzic al, care avea drept scop dominant pregtirea profesorilor de educ aie muzic al pentru c olile Republicii Moldova. Printre s tudenii ns crii la anul I n rezultatu l c oncursului (5 pretendeni la un s ingur loc), ntlnim numele absolventului c olii pedagogice din Clrai Ion Gagim. Tnrul Gagim, din pr imele z ile de s tudenie, s-a impus n faa colegilor i profes orilor ca un student dotat, bine pregtit la muzic i c are avea deja o experien de luc ru c a profes or de muzic. Aces te c aliti au permis decanatului de a- i nc redina tnrului efia primei grupe studene ti la spec ialitatea Pedagogie muzic al. Datorit insis tenei organizatorice, a luc rului de ajutor reciproc, grupa a absolvit c u succ es spec ialitatea nou i n 1980 a stat la baza deschiderii Fac ultii Pedagogie muzic al. nc epnd cu anul III, studentul Ion Gagim s-a inclus ac tiv n lucrul de cercetare tiinif ic, partic ipnd i prezentnd referate la conferine tiinif ice studene ti republic ane i n afara hotarelor rii (Rusia, Ucraina, Letonia, Lituania), fiind menionat cu diplome de gradul I i II.

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Absolventul universitii Ion Gagim n anul 1980 oc up postul de lector la catedra Pregtire metodi i instrumental a c profesorilor de muzic . Talentatul i dotatul pedagog Ion Gagim s-a inc lus ac tiv n ac tivitatea tiinific i metodic a catedrei prin e laborarea de materiale muzic . O etap important n s tabilirea s a ca savant, cercettor n pedagogia muzical au fost studiile de doctorat la Facultatea Pedagogie Muzical a Un iversitii Pedagogic e din Moscova la renumitul s avant, teoretic ian n pedagogia muzical Olga Apraxin, primul doctor habilitat n domeniu n arealul URSS, profesor universitar, autor de manuale muzicale colare i universitare, de materiale preioas e didac tice i artic ole tiinif ic e, c are au stat la baza pregtirii tiinific e a multor generaii de cadre didac tic e universitare internaionale n educ aia muzical a elevilor. Susine rea cu succes a te zei de doctor (candidat n tiine) a marcat nceputul erei de lansare a pedagogului, s avantului i metodis tului Ion Gagim: 3 monografii de pres tigiu (pedagogia muzic ii, psihologia muzicii, filosofia muzicii), unicatul dic ionar de termeni din pedagogia muzic ii, manuale c olare de educ aie muzic al, coautorul Conc epiilor i Curriculumului de educ aie muzic al n Republica Moldova, c lasele I-IX, artic ole tiinifice i tiinific o-metodice n domeniul pregtirii c adrelor didactic e la educaia muzic al i rec ic larea profesorilor colari de

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teze la c onferine naionale i internaionale, public aii n reviste de pres tigiu din ar i de peste hotare. Cercetarea ampl a fundame ntelor psihope dagogice i muzicologice ale e ducaiei muzicale au fost finisate de savant cu susinere a teze i de doctor habilitat n baza lucrrilor publicate n pedagogia muzic ii. Primul doctor habilitat, Ion Gagim, a creat prima coal de c ercetri tiinifice n domeniul educ aiei muzicale din Republic a Moldova.

Conf. univ. Dr. Anton Popov,

(fos tul profesor al dlui Ion Gagim, fost decan al Facultii Muz ic i Pedagogie Muzical)

Ion Gagim
From the first monitor of the groups, of the new specialization Musical Pedagogy to the first habilitate doctor in musical pedagogy.
During the ac ademical year of 1975-1976 a new section Musical Pedagogy was founded at the Teacher Training Institute Alecu Russo from Bli, which mainly aimed at providing instruc tion for the teachers of musical education in the Republic of Moldova. In the list of the s tudents who passed the contest (5
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claimants for one vacant plac e) to be enlisted in the 1 year, we find Ion Gagims name, a graduate of Calarai Pedagogical school. From his first students days young Gagim compelled rec ognition among his colleagues and teac her as a gifted young man ,with a good preparation in the music al domain and who had already taught mus ic at school. These qualities made the administration s taff of the deans office entrust the young man w ith the leadership of the first students group specializ ing in Musical Pedagogy . Due to his organizatoric al insistence, his w ork for mutual help the group graduated successfully from the new specialization. Then in 1980, the group served as a bas ic for opening the faculty of Mus ic al Pedagogy. Begining with the third year of studies, Ion Gagim incorporated himself ac tively in the sc ientific resarch work. Taking part and making presentations at the republic and internation scientific students conferences (in Rus sia, the Cerraic Latvia, Lithuania) having received diplomas of the firs t and the second degrees. In 1980, the young graduate Ion Gagim took the pos ition of a lecturer at the chair Methodological and Instrumental Training for teachers of music. The gifted and talented pedagogue Ion Gagim involved himself ac tively in the s cientific al and methodological work of the chair through the elaboration of scientif ic al methodologic al materials

st

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in the f ie ld of training the teac hing staff in music al education and that of teacher training cours es for sc hool teac hers of mus ic . An important stage in his es tablishment as a sc ientis t researc her in mus ic al pedagogy consisted his doctorate studies at the Faculty of Mus ic al Pedagogy at Mosc ow Pedagogical University, under the leadership of Olga Abraxin, a renown scholar, theoris t in Musical pedagogy. The first habilitate doctor in this domain w ithin the boundaries of the USSR University teacher author of mus ic al textbooks for schools and Universities of prec ious didac tic materials and scientific artic les which lay the basic of scientific al train ing for many generations of international University teacher in the field of Musical Education for pupils. The successful defendence of the Doctorate dissertation (candidate in the scienc es) marked the begining of a new era of Ion Gagims pedagogi al, sc ientif ic al, and methodologic al launching, he c wrote three prestigious monographs (in music al pedagogy , mus ic al psychology, mus ic al philosophy, the unique dictionary terms of Musical Pedagogy, school textbooks for Mus ic al education. He is also the co-author of Conc epts and the Curric ulum of Mus ic al Education in the Republic of Moldova, for the 1-9 grades, of scientific al artic les and these presented at national and international confernces of public ations in prestigious journals from Moldova and from abroad. The ample investigation of psyc hopedagogic al and mus ic ologc al principles of music al educ ation based on his published
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work in the musical pedagogy lead this scholar to the defendence of the dis sertation for the Doctor Habilitates degree. The first Doc tor Habilitate Ion Gagim has created the firs t school for sc ientific researc h from Moldova in the domain of music al educ ation. Conf. Univ. Dr Anton Popov (Ion Gagims former teacher, ex-dean at Fac ulty of Mus ic and Music al Pedagogy)

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Ion Gagim, despre sine

Mi s -a cerut, pentru aceas t carte, s spun c eva despre mine. Pot spune unele lucruri, dar foarte puine i pe exterior - doar ca persoan ce sunt, printre alte persoane n contextul c rora mi duc existena, c ci altceva ce pot s pune? (Iar persoan - de la persona nseamn masc: adic omul, ca persoan-personalitate, i creeaz, volens-nolens, prin ceea c e fac e, o masc-chip-imagine soc ial c u care s e prezint n faa semenilor si i de c tre care es te primit dup masc a pe care i-a c reat-o prin ac tivitatea sa). Pentru c pe interior (despre viaa interioar, adic, despre c eea c e a i fi n esena mea) pot vorbi lucrrile mele. Or, ele n-au fos t scrise att din nec esiti exterioare (pentru profesie, c u toate c sunt scrise n contextul unei ac tiviti cu care m ocup n aceas t via), ct din nec esiti interioare: am cutat, pur i simplu, rspunsuri la n ite ntrebri, care m frmntau ( i c are au corespuns cu profes ia mea): despre via/existen, sensul ei, despre c eea c e caut eu nsumi n ac east lume, despre muzic , despre om n general i despre rolul meu n toat ac east...istorie. Ca formaie sunt muzician-pedagog. Ca mentalitate (natur) sunt filos of (cu toate c ac este dou ramuri s e ating, mai mult ca att, n expresia lor suprem s -ar identific a). Nu filosof savant, dar filosof ca simire i trire. Pentru c , dup mine, a fi filosof nu es te o profesie este o stare. i ca s m menin n aceast stare, mai exact, s-mi alimentez ac east stare, m ajut muzic a o alt filos ofie, una
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mai mare ca oric e filosofie (asta am zis -o nu eu, ci filos ofii Shopenhauer, Nietzsche, Cioran .a.). Pentru c muzica es te o filosofie vie, trit, n raport cu filosofia savant, gndit. De aceea este mai profund, mai adevrat. Probabil c aa este firea mea, dar am avut noroc i de educ aie: de c ei apte ani de-acas , spiritul crora Dumnezeu a vrut s mi-L pstreze pn n prezent. n familia prinilor mei se cnta n zile de odihn, la srbtori de familie. Ex is ta o atitudine aparte fa de muzic nu tiu de unde s-o fi luat. Dar nu manifestat public , exterior, dar tacit, pe interior. Prinii i surorile me le mai mari c ntau (c hiar pe voc i), iar eu, mic, ascultam, vrjit de frumus eea melodiilor, dar i de feele lor n timpul cnd cntau, fee c are s e transfigurau (n-ai observat c omul cnd cnt sinc er, se schimb la fa? Tata avea un foarte bun auz muzical, dar nu c unotea notaia muzical (a fost c ontabil de profesie). Ambii prini cntau la s rbtori (n s pecial, la Pati) n corul bisericii. Despre biserica s atului (Onic ani, Clrai) trebuie spus aparte. De fapt, bis eric a ac tual, cons truit la sf. sec . XIX (pe faada c reia st o plac cu inscripia Oc rotit de stat c a monument de arhitectur) i c are n-a fos t nchis n epoca materialist, este a doua bis eric a s atului. Prima, care nu mai este, dar din c are s-au pstrat c teva icoane, dateaz cu sec. XV. S-a creat, prin aceas ta, o tradiie spir itual n satul nostru, pierdut n inima codrilor (sat pe care, se vede, l-au atins mai puin ispitele civ ilizaiei). De aceea, oamenii lu i sunt un soi de oameni evlavioi, c umini, blnzi aceas ta ar fi c araceristic a lor de baz. Nu c era vorba de vreo btaie undeva
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n s at, dar de-o ceart mai glgioas - i deja tiau toi, tratnd ac easta c a un eveniment ieit din comun, de o mare ru ine! Bunicul meu de pe mam, Sofronie (pe urm am aflat de Sofrologie, vec hea tiin despre armonizarea sufletului - bunicul corespundea pe deplin spiritu lui ac estei tiine, fr c a s tie de existena ei) exerc ita anumite funcii ob te ti la biseric, unde a nceput s m ia de la o vrst i pe mine. Stteam, c uminte, n stran, ascultnd duminic i ntregi servic iul divin i mai ales corul, care rsuna, ca din c er, din balc onul bis eric ii. Tot bunicul m-a nvat s c itesc c rile sfinte (c are erau multe n c asa lui) n romn i n slavona veche (de la el mi-a rmas o Biblie, editat n 1936 la Bucureti, n traducere de Gala Galaction). Sub primul nume n Pomelnicul familie i noastre st scris Schit Ioan-Ioanahan. La ntrebarea mea despre el mama mi-a rspuns c a fost un str-strbunic al familiei, c are era cic un mare credincios, un fel de clugr .a.m.d. Tot n ac est context spiritual pare a se nsc rie i descifrarea numelui de familie al tatlui, Gagim, modificat de la Hagi, c are din greac hagios sau francez hagio ns eamn sac ru, s fnt, divin, iar d in turc hagiu persoan care viziteaz locurile sfinte. O fi o coinc iden ntre numele meu de familie i etimologia lu i, dar mie mi-ar plcea s fie a a. Ac easta m fac e s m s imt mai s tabil n via, s m simt cu nite rdc ini, s tiu de unde vin i ce responsabilitate am n ac east via lucru foarte important unui om pentru a se gsi pe sine.
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n clasa a treia tatl m-a dus la directorul Casei de Cultur (o cldire nou i impuntoare pe atunc i), c are nva civa c opii s cnte la ac ordeon, la c are m-am alturat i eu. De ce povestesc des pre ac este lucruri? Ele au constituit acel mediu n care s-a produs prima mea educaie (adic educaia de baz) i c are, se vede, m-a marc at, lsnd amprenta pe tot stilul meu de a fi i de a face c eea c e-am fcut pn acum. Sunt un mare norocos n ac est s ens. i pe parcursul vieii am avut noroc ntotdeauna m-au nconjurat oameni buni. De fapt, uneori norocul vine, dac i-l fac i tu singur: culegi c eea, ce iradiezi. Pentru c, prin vibraiile pe care le produc i prin aciunile, gndurile, trir ile ta le (or, noi permanent emitem unde invizib ile, prin care comunicm cu tot i c u toi c e ne nconjoar), creezi n jurul tu un cmp energetic respectiv de pac e, iubire, armonie sau de dezordine-dezechilibru, de ne-dragos te sau invidie, adic , energie negativ. Energia, c are dore ti s te nconjoare i n c are dore ti s-i duc i exis tena, i-o c reezi tu nsui, prin c eea ce fac i, c e gnde ti, fr s tii despre aceasta. Ei bine, fiecare s e afl ntr-un as tfel de mediu invizib il, pe c are i-l c reeaz. Eu nu am dumani. Pentru c dumanul i- l fac i tu s ingur prin felul cum reacionezi la nite provocri. Dar poi oricnd s le neutralizez i prin indiferen. i atunci totul fuge ca apa de pe gsc . (Cineva spunea, c a fi nelept ns eamn a ti la ce nu trebuie s atragi atenie). Doar poate c sunt unele pers oane c rora invidia le este bun prieten, dar c e pot eu s le fac ?

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Deviza vieii mele sunt cuvintele lui G. Enescu: Te nali nu pentru a nvinge, ci pentru a sluji. Penrtu c , ce ai de nvins, pn la urm? Viaa n-ai s-o nvingi. Dar de slujit a i ce: pe c ei c e-au rmas mai jos (din anumite motive), lumea din jur, existena. Pentru ce ac east slujire? Pentru a rsplti Darul suprem, pe c are i l-a dat Dumnezeu Darul Vieii. Parc exist ceva mai suprem pentru om dec t viaa vie, druit pe gratis de Cel-de-Sus? i, mulumindu-i pentru aceasta, urmeaz s-i aduc i darul de rspuns - slujirea Vieii, valorilor ei supreme. (i Dumnezeu, cred, mult se bucur). Altfel, rmi un ingrat. Mie, n fond, nu-mi plac e s vorbesc mult (mai ales n edine - colegii mei, cred, au observat). Nu de aceea c nu tiu a vorbi. Dar cel ce a nvat s tac i s asculte (cu adevrat) dar muzic a te oblig la aceasta va vorbi mai puin. (Se zice c sihatrii aveau o regul: a vorbi nu mai mult de apte c uvinte pe zi. Dar ce cuvinte trebuiau rostite!). Or, ascultarea (auzul) este o alt comunic are a omului c u c eea ce s e ntmpl, dar o comunicare mai profund dect vorbirea. Auzul (as cultarea adevrat) intete n rdcina lucrurilor, merge pe interiorul nelegerii, prinde sensuri i nuane ale celor c e s e ntmpl pe c are cuvntul nu le poate exprima, orict retoric ai face. i atunc i, tac i. Pentru c totul se fac e clar. Aic i mi plac e s mi-l amintes c pe Anton Pann: Sau taci, s au spune ceva mai bun dect tcerea. Ascultarea, tc erea, pentru mine, sunt creaie.

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mi place s merg pe interiorul luc rurilor. Am o predilec ie pentru acea rais on du coeur, de c are zicea Pascal. mi plac e (nu, nu c mi place m cheam ceva!) s pun deseori n aplic aie judecata in imii, nu numai a c reierului. i nu dau gre. A prinde doar cu creierul nseamn a prinde nu prea c ine tie c e, nseamn a merge de multe ori pe suprafaa lucrurilor. Cel c e nu aude vibraiile venite din adncurile eu-lui nu cred c e capabil la luc ruri profunde. Fiind ntrebat odat de s tudenii mei, c are ar fi pentru mine lucrul c el mai important n via, care ar fi valoarea suprem, le-am rspuns (spre marea lor mirare): Educ aia - Educarea Omului (ei ateptau s zic Muzica). Cineva ar crispa o grimas vizavi de banalitatea acestor cuvinte, dar eu cu ct mai mult acumulez experien de via, cu att mai mult m conving de aceas ta. Nu cos t nimic din c eea c e face omul, dac ceea c e face nu slujete sc opului suprem a-l ajuta s -i duc exis tena. Pentru c a educ a, dup mine, nu nseamn altceva, dect a-l nva pe copil Viaa Viaa nu cu minuscul, ci c u majuscul, c ci ac estea sunt dou lucruri diferite. Al nva pe copilul n cre tere s se descurc e n via e una (a te descurca nseamn a lupta dar vai de cel c e i-a transformat viaa ntr-o lupt!). A-l nva s ns ueasc Fenomenul Vieii, s-i realizeze Viaa, s se gseasc pe sine n ac east Via, s-i gs easc rostul aceasta e absolut altc eva. O cunotin de-a mea mi zice ntr-o zi: Viaa asta trece pe alturi, nu tiu c um. Eu i rspund: Cum pe alturi? Viaa trec e prin tine nu observi?. (Apropo: omul trece prin via sau viaa trec e prin om? Dar asta e o alt
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ntrebare). Iat cum se ntmpl darul suprem, i noi nu tim ce s fac em cu el! Darul suprem i disperarea, dezamgirea alturi. Cum se ntmpl asta? Omul a creat i c reeaz valori (muzic, tiin etc.), dar ele nu cos t nimic , dac nu-l ajut s- i duc existena. E proast nvarea, care nu devine nvtur. Filosoful Kierkegoore zice (redau cu aproximaie): Cine m-a aruncat n ac east lume plin de nevoi fr c a s tiu c e s fac , fr ca s mi s e fi s pus ce es te ac easta? i de c e nu m-a ntrebat pe mine, dac doresc sau nu s vin aici? Ac um cui s-i c er socoteal?. Sunt ni te ntrebri foarte serioase. Nu fiec are i le pune att de clar c a Kierkegoore, dar fiecare - mai devreme sau mai trziu, mai des sau mai rar - le simte. Aadar, odat ce a c obort pe lume o nou fiin, societatea uman (dac e uman!) trebuie s-o ajute s rspund (i e de dorit - pozitiv!) la ac este ntrebri existeniale. Prin aceasta i ne deos ebim de alte vieuitoare. Pentru c animalele nu-i pun probleme existeniale. Ele nu caut metafizic , spre Cer. Ele au doar dou griji (i ac elea dup instincte) s mnnce i s se reproduc. Omul ns, ca parte a lui Dumnezeu i cu o parte de Dumnezeu n sine, are alte chemri. (mi plac cuvintele lui C. Noic a: S nu uitm, c Dumnezeu ne-a trimis pe pmnt ca s-l nlocuim). Eu tratez muzica nu doar c a ceva plcut i frumos, dar c a pe un fenomen cu o incomparabil nc rctur spiritual, deci, educativ. Muzic a este o pedagogie n sine. Bac h, Mozart, Beethoven sunt nu numai mari muzicieni, dar sunt mari pedagogi ai omenirii. Ac esta es te unul din leit-motivurile crilor mele (de ac eea
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ele se afl la hotarul ntre pedagogia, psihologia i f ilosofia muzicii) i un aspect al tezei de doctor habilitat. ...Dup copilr ie am urmat coala Pedagogic din Clrai, sec ia de muzic , Ins titutul Pedagogic din B li Alec u Russo, facultatea de Muzic , doctorantura Ins titutului Pedagogic din Moscova, iari catedra de muzic i, napoi la Bli: lector, lec tor superior, c onfereniar, ef de catedr, decan, doctor, doctor habilitat, membru-corespondent al Academiei Internaionale de Studii Pedagogic e (secia pedagogie-psihologie muzic al), membru al Uniunii Compozitorilor i Muzicologilor din Moldova (pentru lucrrile n muzicologie)... Dar, dup cum zic eam, mai bine s vorbeasc n continuare unele rnduri din textele mele (cele editate, dar i din cele n stare de pregtire).

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About himself
I was asked to tell s ome things about mys elf for the book. I can tell some things but few and only from a limited point of view just as the person that I am, among the other persons who surround my exis tence, as what else can I say? ( And we should not forget that the person, originating from persona stands for mask that means man, as person-personality creates for hims elf, in a volens-nolens way, through what he does , a social mask-fac e image that he wears while enc ountering his fellow creatures w ho rec eive him see in the mask,that he has created for himself through his activity (w ork) .As for my interior part ( my inner world, precisely what I c ould be essentially) it is my works that talk. As they w ere not written out of exterior neces sities ( for the profes sion, even if they w ere written in the c ontext of an activity, which I take up in this life ), but out interior neces sities: I was merely searching the answers to some questions that challenged me (and which suited my profession) about life existenc e, about its meaning, about what am I mys elf , about mus ic , about the man in general and about my role in all this ... matter . The educ ation that I rec eived made me a musicianpedagogue. My mentality (human nature) makes me a philosopher even if there tw o branches c onnect, more over they could identify in their s upreme express ion I am not a philosopher-sc ientist, but a philos opher in my feelings and emotions . It is so becaus e, in my opinion, to be a philos opher is not a profess ion, it is a s tate. And it is
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mus ic that helps me to maintain myself in this state, or more exac tly to feed this state, it is mus ic that is another philosophy, one that is larger than any philos ophy ( this is not me s aying Schopenhauer Nietzsche, Cioran and others told that before). Thus mus ic is a live felt philos ophy, contrasted to the scientif ic thought philosophy. That is why this one is more profound, truer. Such is probably my nature but I also w as lucky of my breeding, of those bas ic years of my home breding. Whose spirit wanted keep it for me until today. My parents family used to s ing during the week-ends, while celebrating family holidays. A special attitude towards mus ic existed I am unaware of its origins. Just it was not a public , exterior attitude but a s ilent, interior one. My parents and my elder sisters sang (even on different voic es) and I, a Small boy, lis tened to it, enc hanted both by the beaty of the tunes and by their fac es which changed while they were singing (have you not notic ed that while sinc erely singing there is a chung in a mans fac e). My father had a very good music al hearing, but he c ould not distinguish the mus ic al notation (he was a book keeper by profession), both my parents s ang during the holidays (es pec ially during Easter holidays) in the church ( from Onicani, Clrai) requires s pecific treatment. In fact, nowadays church built at the end of the 19 century (on whose a faade plate says Protected by the s tate as a architecture monument) and which was not closed in the materialis tic epoch, is the second village church. The firs t church, which does not exist any more, but whose s everal icons have survived, dates from the 15
th th

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century. This led way to a spiritual tradition in our village, los t in the heart of the woods ( a village that sc enis to have suffered less from the temtations of the c ivilization). That is why the people from this village are pious, obeying, kind paople this may be their bas ic characteristic , It is not that a fight s omewhere in the village c ould happen, but a noisier quarrel was enough for the whole village to know it looking at this as if it were something uncommun, a very shameful deed. My grandfather, my mothers father, Sofronie ( it was many years later that I found out about Sofrology the anc ient sc ience about hormonizing the soul, as my grandfather entirely correspondes to the spirit of this scienc e, being completly unaware about the existence of this sciece being c ompletly unaware about the existence of this sciece performed some public work at the church, and when I reac hed a c ertain age he began to take me there. On Sunday I used to stay obediently in the pen listening to the divine c eremony and especially to the balcony choir, w hich resounded as if from heavens. It w as als o my grandfather w ho taught me to read the s acred books ( he had a great member of books in his house ) w ritten in Romanian and in old Slavonic . I remember he has felt me a Bible printed in 1936 in Bucureti and translated by Gala Galation. The first name written in our familys Pomelnic (lis t of dead pers ons ) belongs to the hermit Ioan-Ioanahan. When I asked my mother about him she told me that he was a great- greatgrandfather of our family eho is said to have been a great believer, a kind of a
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monk etc. This spiritua l context seems also inc lude the decifering of my fathers s urname , Gagim, which means s acred, saint, divine in Greek (hagios) and in French (hagio) and person who visits the sac red places in Turkish (hagiu) .There might be a coinc idence in the sounding of my surname and in its origins ,but I would like it to be so .This makes me seel more steady in lige ,to feel that I have some rools to know w here I come from and what my resisponsibility in this life is an omportant thing for a man when he needs to find his inner self. When I was a pupil in the third grade, my father took me to the direc tor of the Cultural House (a new and an imposing building then), who taught come c hildren to play the according, whom I jo ined. Why am I telling these things? They s erved as the medium of my first upbringing (that is, the basic upbringing) and which seems to have marked me and has left a sign upon my nature and everything I have done until now. From this point, I consider myself lucky. I am also lucky in my life I have already been surrounded by good people. In fact luc k sometimes comes when you c ontribuite to its arrival: you reap what you saw. That is because the vibrations your actions, thoughts, feelings produce (as we constantly emit inviible waves through w hich we c ommunicate with everything and every pers on around us), you create around you an energetic , sphere of peac e, love, harmong or a sphere of disorder, bac k of pois e, unlove, envy, namely, negative energy. It is you who c reate the energy. It is you w ho create the energy that you w ish it surrounded
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you and Filled your existenc e you c reate it through your ac tions your thonghts , without even know ing about it. So, everybody is a part of such an invisible medium that he c reates for himself. I do not have enemies. An enemy c an be made through the mode you reac t to some provocations, whic h you can neutralize through your indiference. And then nothing c an touch you (Somebody once s aid that being wise means to know what things you should not pay attention to) . Maybe there are some people, who make good friends with enry ,but that can I do for them? My motto in life are G. Enescus words : you rise not to win ,but to serve what can you win after all you cannot win life. But there are a lot of things to be saved: those who have remained lawer (for some reasons), the surrounding people,existence. What do you need this servi e for? c You need it to repay for the supreme Gift that God gave youthe Gift of Life. Is thre anything else more supreme that the live life, given to people free of charge by He, who is in Heavens? Thanking Him for that you s hould come with a respons e gift-your service in the name of Life, of its supreme values . (I think God much rejoices then). Otherwise, you remain ungrateful. In fac t, I dont like to talk much (especially at meetings; my colleagues must have observed it). It is not because I cannot speak on such occ asions. Only the one who has learned to keep silent and to listen trulys and its music that makes you be so, wile speak less. They say trere was a rule among hermits - not to pronounc e more than seven words per day. And think of the words that needed to be
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pronounced. You see, listening (hearing) is a different type of communic ation of the man with what is going on around, it is more profound than speech. Hearing (true listening) aims at the root of the matter, to the interior part of understanding, catc hes the meaning and the nuances of those happening whic h a word c annot express no matter how muc h thetorics you study. And then you dontt speak. Because every thing is clear from now on. At th is point I would like to remember Ion Pans saying: Either you keep silent, or say something whic h is better than s ilence. For me, listening and silence mean creation. I like to s ee the interior side of things. I have a special bent for raison ...... coeur, of which Pasc al s aid. I like, prec is ely it is not bec aus e thet I like, but bec ause some thing is c alling me to prac tise the judgement of the heart, not only that of the brain. And I do not fail. To understand only the reas on means not to undres tand much means to s ee most of the time jus t the exterior s ide of things. The one who does not hear the vibrations that come from the depths of the self is not c apable of doing profound things . Having once being asked by my students what is my most important thing in life, which is the supreme value I answered (and they were much amazed) that it is Education Mans Education (they expected me to say that it was Music). Sombody might contract his face on hearing thos e trivial wards , but the more experienc e I get from life, the more convinced I bec ome that it is true. The things a man does value nothing if his deeds do not s erve. The supreme goal: to help the man exist.In my
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opinion to educ ate means to teach a child what Life is- Life with a capital letter, becaus e these tw o are different to teach a growing child to face the life problems is one thing (to face life means to fight, but poor he is who has transformed his life into a fight). To teach him to understand and to know the Life phenomenon, to produce his Life to find himself in this Life, to find his goal- this is something else. An acquaintance of mine onc e told me Somehow life just passes by I replied How is thet by ? Life passes . Approuch you, dont you see? By the way, does the man pass through the man? But this is another ques tion...) Just look at this it is a s upreme gift and we cannot apply it. It is a suppreme dift, going along w ith Des beration and Disappointment what happens? The man has been creating values (music sciences) but they do not cost anything as long as they dont help him exist. Learning is bad if it doesnt lead to know ing . The philosopher Kierkgoore faid aproximately those things: who is the one who threw me into this life full of needs w ithout having taught me what to do w ithout having told me what that is? And why didnt he ask me if I wanted to come here ? Now whom sgall I ask for reckoning ? These are very s erious questions. Not everybody asks them as clear as Kierkgoore did, but sooner or later, more often or more rarely, everybody feels them . Thus once a human being has descended into our life , the human s ociety (of it is human) should help him to answer positively, if possible thes e existentialis t questions. This it is that diff irentiates us from other living creatures. The animals do not ask themsellves such exis tentialist ques tions.
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They do not look to the sky. They have only needs (according to their instincts) to feed and to multip ly. But the man as a part of God and carring a part of God in thems elves, has other c allings. (I like C. Noicas saying J et is not forget thet God s ent us to the earth to substitute Him). I see misic not just as something pleas ant and harmonious, but as a phenomenon c arring an incmparable spiritual load therefore educational. Mus ic is pedagogy in itself Bac h, Mozart, Beethoven are not just some great mus ic ians, they are the great pedagogues of the humanity. This is one of the motieves in my books (that is why they are at the border between the Musical Pedagogy, M. Psycology and M. Philos ophy) and it also c onstitues an aspec t of my Doctorate dissertation. In my life I s tudied at Calra i Pedagogic al School (mus ic al sec tion), Bli Pedagogical Ins titute (Faculty of Mus ic ), I Followed Doc tor courses At Moscow Pedagogic al Institute, again to Mus ic Chair, then I came to Bli to occupy the positions of lec turer, superior lecturer , c onferentiar, chairman, dean, doctor, doc tor habilitate, c orresponding member of International Academy for Pedagogic al Studies (Musical Pedagogy Psyc ology Department) member of the Composers and Musicologists? Union from Moldova (for my works in music ology ). But as I was s aying, it is better that some lines from my texts (both published and they s till in the proc ess of publishing) speak for me.
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7 noiembrie 1976. Cu colegii grupei 129

1977. Student n anul I la IPSB. O or de exerc iiu muzic al

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1977. Prima sesiune la IPSB. Examen la Teoria corului

1979. student n anul III pe tabla de onoare a IPSB

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1980. Examenul de absolvire la Dirijat Coral

1997. Chiinu Piaa Marii Adunri Naionale. mpreun cu George Blan i asistentul su Gephhard fon Gtlingen (Germania)

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1998. Chiinu. Bibliotec a Naional. Dup o audiie muzical promovat de muzicologul i filos oful G. B lan.

2000. Un grup de absolveni ai facultii mpreun cu decanul.

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Ion GAGIM Sub semnul muzicii (Revelaii)

Sunt un obinuit tritor ca miile i miile Doar c mi duc existena s ub semnul Muzic ii. Iar ac easta schimb s ituaia o schimb radic al, n esen. A tri sub semnul Muzic ii nseamn a tri sub semnul sublimului, nseamn a tri sub semnul a ceea ce es te mai pur, nltor i sfnt pe acest pmnt adic , a tri sub semnul Spiritulu i. Iar a tri sub semnul Spiritului e cu totul alt existen *** Eu sunt unul seara, i altul dimineaa. Seara m apropii mai mult de adevrul adevrat, dimineaa sunt mai treaz, mai c alculat, mai mrunt-prac tic . Permanent m lupt cu mine nsumi Dar, n ac east venic balansare ntre dou lumi, paremi-se c am nc eput a pune stpnire pe mine nsumi. A pune stpnire pe tine nsui v dai seama c e nseamn aceas ta? *** Toi merg pe acela i drum, dar fiec are i are drumul s u. *** Se zice c viaa alege c e e bob i c e e pleav (adic, supravieuiete c eea, ce e adevrat, c e prezint valoare, c e e pozitiv pentru ulterioara evoluie). Oare?! ntotdeauna lumea se c onduce de cele mai bune reete descoperite tot de ea? Cte milen ii lumea nva c a duc e rzboaie nu e bine? Dar c ontinu s le duc . De ce nu se nv a minte? Dec i, c um stm cu bobul i c u pleava? *** Cutam abisuri n luc rri despre abis uri. Dar abisurile nu erau acolo. Acolo erau ncercri de explicare a abisurilor.
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ntr-o bun zi mi-am dat seama c abisurile nu-s acolo, c i dincolo. Lucrrile erau doar puni de trecere *** S cni ( i s asculi) aa, c a fiec are sunet s devin eveniment ! iat idealu l c omunicrii c u muzic a. *** Kant, Hegel, Schopenhauer, Nietzsche Pe ei trebuie s-i treci prin simuri, s trieti c eea ce-au trit ei s criind c eea c e-au scris. Or, a nsu i teoretic-academic teoriile marilor gnditori (artiti) e una, a s imi, tri i nelege existena aa cum au simit-o, trit-o i neles-o ei - e cu totul altceva. A-l trece pe Schopenhauer nseamn a-l simi pe Schopenhauer; a-l trec e pe Bach nseamn a auzi lumea ca Bach i a privi la lume cu ochii luntrici ai lu i Bach. Altfel, rmi analfabet cu toate sutele de ore de lectur sau de audiie *** Naivitile ac estea filosofice s unt naiviti Dar, mai devreme sau mai trziu, fiec are ajunge la ele. la ar vine duminica la biseric dup ele Un renumit le tinu ie te n sine toat viaaCe (Cine) l fac e pe rspunsuri la ntrebri ce nu au rspuns? *** Omul face c eea ce fac e mnat de ceva sau - chemat de c eva? Mnat de instincte? Chemat de Absolut? *** Nu pe Dumnezeu, c a chip-persoan concret, l caut omul nlnd privirea spre ceruri. Dumnezeu este doar forma (una din forme), este doar icoana-imaginea c onc retizat a altc eva a altei lumi, a s acrului, a ve niculuiOmul r idic privirea n c utarea altei
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filosofic e Mtuic a de academician om s caute

lumi, Dumnezeu fiind doar poarta de intrare. Dumnezeu nu es te coninutul, el este forma a ceea c e trebuie s gseasc omul n s ine, ridic nd privirea spre c eruri. *** Omul, n viaa sa, trebuie s sdeasc un pom, s creasc un copil Este adevrat. ns : omul, n viaa sa, trebuie s mai scrie i o carte (mcar n s uflet). Altfe l, rmne n compania categoriilor lui Spenc er i Darwin. Trist perspectiv! *** Oare exprim vreun cuvnt adevrul? Probabil c nu. Limba (limbajul) es te c eva inventat-fabricat de om. De aceea nu poate exprima nceputul, Sfritul i Venic ia Lumii. *** Stil, figur de s til etc . Cea mai bun figur de stil es te acea fraz, care las loc pentru continuare - pentru nc heierea gndului de ctre c ititor, pentru creaia (i uimirea!) lu i. Este mort stilul, este moart fraza c are nu fac ac est luc ru. *** Melodia aforism sonor *** S-i dai seama de absurditatea lumii i s fii optimist! *** s faci! S-i dai seama c tot c e faci nu trebuie nimnui i totui,

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S-i dai seama de nimicnic ia n care trieti i, tiind bine c altc eva nu es te, tiind c eti sortit i, totui, s c reezi! Iat adevrata claritate a c on tiinei! Munc a lui Sis if, n plan interior, ps ihologic , este nespus de preioas. E creare de sine *** Dup cum omul depune efort pentru a-i dezvolta c apac itatea de a ptrunde tot mai profund i amplu cu mintea n c eea c e se ntmpl n jurul su, la fe l el trebuie s -i dezvolte c apacitatea de a simi, la fe l tot mai profind i amplu, ac est luc ru. Dezvoltarea simirii trebuie fcut n mod special c a i dezvoltarea gndirii. Altfel, vslim doar c u o vs l n cunoaterea lumii, rotind pe loc . *** Omul, de cnd es te i n tot c e face, merge pe muchie. Viaa omului (a omenirii) nu este altceva dect o mergere pe muc hie: ntre alb i negru, ntre bine i ru, ntre Sc ylla i Har ibda, ntre via i moarte A face din mergere pe muchie o Istorie, o Existen! Te strnge n s pate! i n acelai timp e genial! *** Bib lia n-o poi nelege cu adevrat pn n-ai fcut ani de filosofie *** Trebuie s tii totul i apoi s uii totul abea atunci vei putea creea c eva *** Cuvntul este doar o construcie material a s imului. Ex ist simuri c are nu ncap n forma c uvntului. De aceea uneori nic i nu-i vine s vorbeti c nd ai prea mult de spus. Cuvntul e o mare descoperire a omului, dar, totu i, el ine de pmntesc. Doar simul,
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ce nu poate fi turnat n cuvnt, ine de c eresc. Hai mai b ine s tcem , i spun doi ndrgostii. i au dreptate *** Filosofia nu este o tiin, es te o stare de contiin. Ea es te tiin n msura n care ncearc s c erceteze-explice c eva, dar nu ac esta este motivul apariiei e i. Filos ofia este o tens iune interioar, o stare de a privi lumea-existena, o ncerc are de a le nelege. De aceea concluziile n f ilos ofie sunt efec te c olaterale, esena ei fiind de alt natur. *** De multe ori m-am pomenit n s ituaia cnd muzic a din mine n-o pot gs i adecvat n note. Oare s fie similar c u gndurile mor n momentul cnd sunt transformate n cuvinte? (Nietzsche). Probabil c nu toat muzica c are sun n noi poate fi pus n note. E c hes tie de limbaj. Limba jul muzic al desc operit pn astzi nu ac oper pe deplin muzic a din noi. Ac easta e mult mai variat i subtil dect forma n care poate fi turnat. De aceea i se chinuie bieii c ompozitori, cutnd noi limbaje *** A pune o ntrebare (i a a tepta un rspuns) nu es te un lucru att de inocent. A pune o ntrebare n scopul ateptrii rspunsului dorit nseamn a pregti mentalitatea inter locutorului, a orienta curs ul gndirii lu i n d irecia respec tiv. Cc i poi pune ntrebri, dar s nu te aud nimeni *** Pentru mine textul (orice scriere) trebuie s se nasc din interior ca o Rugciune. Altfe l e fals.

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Am auzit deseori: el se c ontrazic e pe s ine nsui. Foarte corect! Gndirea adevrat e gndire contrapunc tic. *** Comoditatea materia l nu-i adaug deloc nelepc iune omului. Cu att mai mult, nu-i adaug spiritualitate. Profunzimile vin din alt parte *** A vrut odat unul s spun c e este fenomenul Mozart dar a gngvit nite prostii *** Omului i- i dat s caute, dar s nu gs easc. Mult mai tragic ar fi dac ar gs i *** n librrie lumea cumpra c u fervoare c artea lui Alfred Ad ler Sensul vieii, creznd c va gsi acolo ceea c e caut. Ce rtc ire! Sensul vieii nu e n c ri, ci n noi. *** n faa muzic ii lu i Bac h plete oric e poezie, tablou etc. Nic i una dintre arte nu atinge fora de dezarmare a omului n faa Venic ie i-Infinitulu i, ca muzic a lui Bach. *** M s ocoteam c umva profes ionist n muzic Dar trebuia s s se sc urg vreo 40 de ani, ca la s impla auzire a c uvntului Muzic s m treac fiori prin spate.

43

Deseori cnd pornete la drum, omul aude muzic. Dumnezeu, prin c ntec, i ine de urt *** A nelege muzica, cu adevrat i profund, nu nseamn altc eva dect a te nelege pe tine nsui. *** Omului nu-i es te dat s cunoasc Taina, dar nu-i es te dat s-o ignore. i este dat doar s-o ntrezreasc . *** Cea mai banal ieire din Eu e zbenguiala. Cea mai nalt intrarea n Spiritua l. *** Muzica nu este un semn accidental pe portativul vieii. Ea st ca s emn c onstitutiv la cheie, dnd tonul, ac ordnd-o ntr-o anumit tonalitate. *** Socialul e s pec tacol. Individualitatea fuge de spec tacol, de joc, de teatru, de fals. Muzica, n sens ul ei s uprem, nu este o art social: Ea este o art individual-intim. Trirea personal nu poate fi scoas n public. *** Exis t tiin despre suflet i exist sufletul ns ui. Ac olo unde se termin tiina despre el ncepe sufletul ca atare.

44

A citi ntre rnduri Ab ia s pre o anumit vrst am simit c m cheam aceast materie s ubtil. Pn atunc i citeam c uvinte ceea c e scria rndul *** Dac mi spune c ineva c e este Omul, l numesc Tat ceresc chiar n momentul aces ta *** Obiec tiv, obiec tivitate Care obiectivitate, cc i vine momentul subiec tivitii i-i c ere socoteal! *** Gndul este derivata simului. *** Creierul nu cunoate ruinea. Doar inima o cunoa te *** Totul depinde de faptul, cum formulezi problema *** Omul nu desc oper s ensuri, el desc oper forme ale aceluia i Sens. *** Folc lor i Dumnezeu Dumnezeu e folclor? Indiscutabil!

45

Prin gura omului vorbesc , mai nti de toate, realitatea prac tic i nec esitile imediate. Abia mai apoi vin c ele lalte, dac mai vin *** Muzica i omul ntlnirea Eternitii c u clipa. *** Omul se hrnete cu Pmntul. Dar privir ile i le ndreapt venic spre Cer. De c e? *** nelepc iune vine nu de la c antitatea de idei acumulate, c i de la calitatea trir ii lor. *** Toate minile luate la un loc nu-l pot fac e pe om feric it, dac el nu tie s afle fericirea n interiorul su. *** A gndi corec t ns eamn a gndi ngust *** Vis ez la timpurile c nd psihologia tiina despre suflet, - l va nva pe om s triasc. *** Prin muzic poi poetiza oric e proz.

46

Ps ihologul este un utopis t. El ncearc s explice c eea ce es te inexplic abil: sufletul uman. *** Misiunea mea, ca profesor de psihologia muzicii, este nespus de chinuitoare - a explica un lucru inexplicabil: momentul ntlnir ii sufletulu i cu muzica. *** Pn la o anumit vrst am nvat. La un moment dat am simit foarte acut printr-o chemare asc uns, interioar neces itatea de a dezva c eea cea am nvat. Doamne, unde-i mntuirea: n nvtur sau n contra s ensului ei? *** De c e s plec m aiurea dup adevruri, c nd adevrul es te deasupra noas tr? *** Tristeea, bucuria Tonaliti ale sufletului. *** Ce fac i? Pesc uiesc concluzii. Dar nc n-am prins nic i una adevrat. *** Una din lucrrile despre muzic am vrut s-o ncep cu fraza: Ca s fiu sinc er Doamne, ce neghiobie! De parc cu muzica poi fi altcumva, dect sinc er.

47

Cu ct mai multe cuvinte poi s pune despre o muzic , cu att ea es te trit mai superficial. *** Pi, aici nu vd nimic nou, pentru c asta a mai fos t. A mai fost? Cu tine a fost? Nu, cu alii. Pi, c u alii asta-i diferena! *** Trebuie s-i f im recunosc tori omului preistoric pentru descoperirea lui Dumnezeu. Noi, cei de as tzi, nu l-am fi descoperit niciodat. *** Nu tiu de ce, dar tot mai mult vreau s rmn n urma is torie i (de azi). *** S nvm limba paradoxului i gndirea paradoxal adevrul ac estei lumi se afl acolo. *** Mintea tie c Dumnezeu nu exist. Inima simte, ns, c exist. Omul, tiind (parc ), c Dumnezeu nu exist, continu s edifice biseric i n pline secole tiinif ic e XX i XXI ! *** Viaa e o permanent lupt? Eroare! Viaa e o permanent edificare i nlare de sine. Iar dac i-ai transformat-o n lupt e problema ta.
48

E ntuneric n lumea lucrurilor. Ridic-te deasupra lor, i vei vedea Lumina. *** E cev a s-i subordonezi psihologicul spiritua lulu i. E problema vieii, pn la urm. *** Pentru binele fcut (c uiva) trebuie s plte ti: valoarea c ost. *** Majoritatea muzic ienilor nu iubesc muzic a n s ine, ci - pe sine n muzic . *** Nu-mi plac e s triesc cu amintirea z ilei de ieri. ntotdeauna m-a chemat c eva n mine.

Ion GAGIM Distinguished by Music (Revelations)

I am a simple human being like other thous ands and thousands... The only different lies in a life led by the taken of Music. And this changes everything- it c hanges the Situation Radically, essentially. To be dis tinguished by music means to be distinguis hed by the sublime, it means to live under the taken of that which is the purest, the most elevating and the most sacred in the world that means to live under the Spirits taken. And to live under the Spirits taken means a completely different exis tence.
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*** I am one kind of person in the evening, and a different pers on in the morning. In the evening I am c loser to the real truth, in the morning I am soberer, more calculated, more pedant and more prac tic al. I cons tantly fight again myself but, in this eternal balancing between two worlds , I seem to have begun to govern myself.To govern oneself-do you realize what that means? *** All the people walk along the same real,but everybody follows his own road. *** It is said that life selec t the essential things from the sec ondary things (that means only the things which are true, valuable, positive for the eventual evolution survive). Is that so? Do people always follow the best rec ipes discovered by them? For how many milleniums do people learn that to lead w ars is not good? But they would lead them. Why isnt that like a less on for them? So, how do w e manage the matter of es sential and the secondary things? *** I looked for abysses in the w orks on abysses. But they were not there . There were attempts to explain the abys ses. One day I realised that the abys ses w ere not there, but beyond there. The w orks served just as bridges for cross ing that road.... *** To sing (and to listen) in such a way, so that each sound should become an event!- this is the ideal of communicating with mus ic .
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*** Kant, Hegel, Schopenhauer, Nietzsche... They must be felt through senses, to experienc e what they experienc ed, writing what they w rote. Or, to learn the theories of the great thinkers (artists) is one thing, but to feel, to experienc e and to understand the human existence the w ay they felt it, experienc ed it and understood it is a completely different thing. To learn Schopenhauer means to feel like Sc hopenhauer....? to study Bach means to hear the world as Bach and to look at the world with Bac hs inner eyes. Otherw ise, you remain illiterate no matter the hundreds hours of reading or listening... *** These philosophical naivetes are philosophical naivetes. But , s ooner or later, everybody approaches them. On Sunday, the auntie comes to churc h in search of them. A renown academician hides them in his soul all his life... what makes the man look for answ ers to unanswerable questions? *** The human does what he does driven by something or-called out by something? Driven by his instincts? Called out by the Absolute? *** It is not God, as an image-c onc rete pers on that the human looks for ris ing his eyes to the sky. God is just the form (one of the forms), it is just the concretized ic on, pic ture-image of something else-of a different world, of the sacred, of the eternal... The human ris es his eyes in seach of a different world, God, serving just as an entrance door .God is not the content, he is the form of that which man should find in himself, rising his eyes to the sky.
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*** In his life, the man should plant a tree, grow up a child... This is true. Nevertheless , in his life the man should also w rite a book (at least in his soul). Otherw ise, he remains in the c ompany of Spenc ers and Darwins categories. Bad perspective! *** Is there any word which reflec ts the truth? Probably not. The language (the s peech) is something invented and manufactured by the human. That is why it cannot express the Beginning, the End and the Eternity of the World. *** Style, stylis tic device . The best stylis tic device is that complex sentence which leaves plac e for its continuation-for the process when the reader finishes a thought, for the readers creation (and amazement) . The s tyle and the complex sentence which do not follow these are dead. *** The melody is a sonoric aphorism. *** To realize the worlds abs urdity-and to be optimistic ! To realize that nobody needs everything, you do- and, no matter what, to do! To realize the nothingness in which you live and, knowing well that there is not anything else, knowing that you are predes tined-nevetheles s, to create! This is the true c larity of consciousness !On the interior, psychological level, Sisifs Labor is extremly valuable. It is the creation of the self...

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*** As the human makes s ome effort to exercise his c apac ity of penetrating deeper and ampler, on the mental level, everything that goes on around him, so he must develop his c apac ity of feeling it in the s ame way, ampler and more profound. The development of the human sensations mus t especially follow the same rules as the development of thinking. Otherwise, we row with jus t one oar to come to the know ledge of the world, turning round on the same spot. *** From the beginning of his existence and in everything he does, the man walks on the edge. The life of the human is jus t walking on the edge between white and black, between good and evil, between Scylla and Haribda, between life and death... To make a History, an Existenc e from walking on the edge! It gives you chills ! At the same time, it is also brilliant! *** You c ant truly understand the Bible unless you have studied philos ophy for years ... *** You must know everything and then you must forget everything-only then you w ill be able to create something... *** The word is just a material c ons truc tion of the s ense. There are s enses w hich will not go into the form of the word. Therefore sometimes you do not feel likely to talk when you have too much to say. The word is a notable human invention., nevertheless it keeps to the earthly matters. Only the sens e, w hich c annot be poured into a
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word, goes with the heavenly domain Lets better keep silence, two loves say to each other . And they are right... *** Philosophy is not a sc ience, it is a s tate of cons iousness. It is a sc ience as long as it tries to inves tigate explain something, but this is not the reason for which it appeared. Philosophy is an interior tens ion, a s tate to look at the world-exis tence, an attempt to understand them. That is w hy the conclusions in the philosophic al fie ld are collateral effec ts , its essence being different. *** It was a lot times when I found myself facing the situation that I could not s et the music from inside me on notes.Can it be similar with the Thoughts die w hen they are transformed into words? (Nietzsche). Perhaps not all the mus ic w hich sounds in us can be s et on notes. It is a language matter. The mus ic al language discovered by present does not cover entirely the music from inside of us . This is s ubtler and more varied than the form in which it may be poured. That is why the poor compositors try hard, looking for new language... *** To ask a question (and wait for an answer) is not an innocent thing at all. To ask a question in order to wait for a des ired answer means to prepare the collocutors mentality, to orientate the flow of his thinking proc ess into the respec tive direc tion.Bec ause you may ask ques tions, but nobody may hear you...

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*** For me, the text (any writing) must originate from interior like a Prayer otherwise it is fals e. *** Ive heard it seldom: he contradic ts himself. Very correct!True thinking is counterpointed thinking. *** Material indolence does not contribute to the mans wis dom in any way. Moreover, it does not contribute to his spirituality. The profound matters c ome from other places... *** Onc e someone wanted to s ay what the Mozart phenomenon meant-but he only managed to stutter some stupidities... *** The Man is predes tined to search, but not to find. It might be more tragic al if he found... *** At the bookstore, people were fervently bying Alfred Adlers book Life Sense, hoping that they might find there w hat they were looking for. What a straying error. The sens e of life is not in the books , but in us. *** I somehow considered myself a professional in the mus ic domain...But some 40 years had to pass for the mere hearing of the word Music to give me chills.
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*** Seldom, when a man starts a journey, he hears music . Through music , God keeps him company. *** To unders tand music truly and profoundly is nothing more than to unders tand yourself. *** The Man is not distinned to know the Mis tery, but he is not destined to ignore it. He is just destined to disc ern it. *** The most common place emergence from the s elf is the frolic . The highes t is entering the Spiritua lity. *** Music is not an acc idental sign on lifes staves. It stands as a constitutive sign at the key, s erving as the tone, turning it to a definite tonality. *** The soc ial is a performance. Individuality runs from the performanc e, from the play, the theatre, from the fake. In its supreme meaning, music is not a soc ial art. It is an indiv idual intimate art. Personal feeling c annot be show n up in public .

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*** There is a sc ience about the soul and there is the soul itself. The soul as such begins there where the sc ience of the soul ends . *** To read between the lines... It was jus t when I approac hed a certain age that I felt that this suble Substanc e called me. I had read words until then-what the line wrote... *** If somebody tells me what the Man is I will c all h im Heavenly Father right this moment... *** Objec tive, objec tivity... What objectivity, becaus e the subjectivity moment comes and asks you to ... *** The thought is the derivative of the sense. *** The brain does not know what shame is, jus t the heart knows it. *** All depends on the way you formulate the problem... *** The Man does not disc over meanings, he discovers forms of the same Meaning.
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*** Folklore and God... Is God folklore? Undoubtedly! *** First of all, the prac tical reality and the immediate nec essities talk through the mans lips. Then the res t comes, if it comes... *** Music and the Man- the meeting of the Eternity and the moment. *** Man feeds on the Earth. But he alw ays rises his eyes to the Sky. Why? *** Wisdom c omes not from the quantity of the amas sed ideas, but from the quality of experiencing them. *** All the minds taken together cannot make a man happy, unless he knows to find happiness in his inner self. *** Thinking correctly means thinking narrowly... *** I dream of the times when Psychology- the sc ience of the soul-w ill teac h the human to live.
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*** You can poetic ize any type of prose through music. *** The ps ycologist is an litopist . He / She tries to explain what is inexplicable: the human soul. *** My miss ion, as a teacher of Psychology of Mus ic is extremly trying - to explain an inexplic able thing: the moment when the soul and music meet. *** I studied until a certain age. At a defin ite moment I felt very acutely through an interior hidden call, the necess ity to unlearn what I had learned. God, where is the Salvation: in learning or in conter learning.? *** Why should we go els ewhere in search of the truth, when the truth is above us? *** Sadness, joy-soul tonalities. *** -What are you doing? *** -I am fishing for conclusions. Let I have not c aught any true one.
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*** I w anted to begin one of my work on music with the Sentenc e: To be sincere, God, what a stupidity! As if when dealing with music you can be s omehow else but sincere. *** The more words you may use about a type of music, the more superficial it is experienced. *** -But, I do not see anything new here , because this has existed before. *** -Has it existed ? Have you experienc ed it? - No, but other did. - You see, the other experienc ed it this is the difference . *** We must be grateful to the prehistoric man for having discovered God. We, thos e who live now, would have never discovered Him. *** I dont know why, but more and more I w ant to be remain behind (todays ) history. *** To learn the language of the paradox and the paradoxic al thinking-the truth of this world is there.
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*** The mind knows that God does not exist. But the heart feels that he exis ts . The Man, knowing (seemingly) that God does not exist, c ontinues to build churches during the scientific centuries the th 20 and the 21th centuries . *** Is life a constant struggle? Life is a constant enlightening and raising of the Self. *** It is dark in the world of the things Raise above them and you will s ee the Light. *** It is something special to s ubordinate your psychology to the spiritual. It is the life problem, after all. *** For the goodness that you have done (to somebody) you mus t pay: value costs . *** The majority of the mus ic ians do not love music as such, they love thems elves in music. *** I do not like to live with yesterdays remembering. I have always been c alled by something of tomorrow.
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2002. Moscova. Univers itatea Pedagogic de Stat. mpreun cu Iurie Kabalevs ki (fiul lui D.Kaba levski)

2002. Moscova. Membru al juriulu i Festivalulu i internaional Profesorul de Muzic sec. XXI. Cu partic ipanii.

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2002. Sanct-Peters burg. Cu prietenii.

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2002. Cu colegii dup un concert inspirat.

2003. mpreun c o colegii: M.Tetelea i A.Popov.

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2003. Orchestra de muzica popular Alunelul ntr-un conc ert.

2004. La o edin de c atedr cu colegii.

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Ion Gagim pe paginile ziarului . :

(1998) , , , , . , FM 103,5 . : , , , - , . . . , . . , . , , . : , , , , , , , , , , . : , , , , , , .

66

 : 31 1954 . . : , , . : , ( ) : : : 170 : 73 . : 42 : 50 : , , ? . : : , ; : ; : ; : ,

, ; : ; : , ; : , ; : ; : ( ); : ; : ; : ; : - (, ); : ( ); : ; : , ; : , ;
67

 : ; : (, .. , - ); : ; : ; : 0 ( , ); : , ; ? - ; ? , ; ? ; , ?
68

, . ; c ? , . ; , , : , , , , ; ? , ; , , ? , ; ; ? ? - - , ?

 ? , ; , ? - . ; , ? , , ; ? , , ; , -, ? , , , , ; ? , ? . , . , ;

? ? ; ? , , ; ? ? : , ; , ? . ( - ), ; ? , ; ? ; ? ? ? , , ;
69

 ? ; ? : ; ? . , , ; ? . . , , . ; ? , , ; , : : , . ; : -
70

, ; : ; ? . , ; . : , . . . . , . , , , . : , . ,

 . , . , . , , . : , FM 103,5 . 25 . 28 . , . , . , - , . , , . 12-13 . , ;

, ? . . , : - , , . ; , -, ? . , . , . , . , , . . , , . - , .
71

 , -. . : - , , . , , . , , , , . . , - , . ? , , ? . . . . , . , . ,
72

, - , , . , . . , , ? -. , , . , , , . , .

1998. Romnia. Sinaia. Cu soia la odihn.

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2001. n seara de revelion cu soia Lidia i fiica Daniela.

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2003. n familie. Cu ai si i prietenii.

2004. Cu c ea mai scump fiin, nepoelul Darius.

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CURRICULUM VITAE
Numele: GAGIM Prenume le: ION Data i locul de natere: 31 mai 1954, satul Onicani, raionul Clrai, Republica Moldova Prinii: tata Tudor Gagim, mama Alexandra (Coc r) Surorile : Elena (Coc odan), Ecaterina (Dnil), Maria (Tbc aru) Soia: Lidia (Smetanc), magistru n management educaional, specialist princ ipal Clas ele primare, Direcia de nvmnt, Tineret i Sport, mun. Bli Copii: Daniela, lic eniat n Pedagogie muzi al, magistru n Muzic, c cadru didac tic discipline muzic ale, Colegiul Pedagogic Ion Creang din c adrul Univers itii de Stat Alec u Russo, Bli Nepoi: Darius Ioan (Secrieru) Specialitate a: pedagog-muzic ian Titluri tiinifice: doc tor n pedagogie (Moscova, 1998); doc tor habilitat n pedagogie (Chiinu, 2004) Titluri tiinifico-didactice: c onfereniar universitar (1995), profesor universitar interimar (1998) Alte titluri: membru-corespondent al Academiei Internaionale de Studii Pedagogice (Mosc ova, 2002); membru al Uniunii Compozitorilor i Muzicologilor din Moldova (2003) Laureat: Revista Literatura i Arta pentru anul 2001 (Eseuri)
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Domenii de activitate: pedagogie, tiin, administrare Locul actual de munc: Universitatea de Stat Alecu Russo din B li (din 1980) Postul: dec an al facultii Muzic i Pedagogie muzic al Funcii: secretar tiinif ic al Senatului Univers itar; preedinte executiv al Atheneului Un iversitar Studii: coala de 8 ani din s. Onicani, Clrai (1960-1968); coala Pedagogic din Clrai, sec ia Educ aie muzical (1969-1973); Institutul Pedagogic de Stat Alec u Russo din Bli, facultatea Muzical-Pedagogic (1976-1980): doctorantura Institutului Pedagogic de Stat din Moscova, catedra de Muzic (1983-1987) nvtori: coal Nina Dnil, prima nvtoare (autoarea unui CD recent aprut Doi ochi albatri. Romane); coala Pedagogic tefan Andronic , profesorul de Dirijat i de Cor (ac tualmente dirijorul c oralei Vocile primverii, Chiinu), Valentin Budilevs chi, profesorul de Solfegiu i de Cor (ac tualmente dirijorul coralei Moldova a Teleradiodifuziunii moldoveneti), Gheorghe Budescu, profes orul de Metodic a educaiei muzicale; facultate Anton Popov, dr.,conf.univ., profesorul de Armonie, Solfegiu i Metodica educaiei muzicale, Pavel Anton, profesorul de Dirijat i de Cor, Sergiu Croitoru, eful c atedrei Instrumente muzic ale; doctorantur Olga Apraxina, prof.univ., dr. habilitat, c onductor tiinif ic (Moscova); postdoctorat George Blan, dr. n filos ofie, mentorul spiritual (ntemeietorul Institutului Music osophia, Sankt

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Peter, Germania), Vlad Pslaru, prof.univ., dr. habilitat, consultantul tiinif ic al tezei de doc tor habilitat. Colaborri spe ciale: dr. n filosofie George Blan (Institutul Musicos ophia, Germania); prof. univ., dr. hab. n pedagogie Eduard Abdullin (Universitatea Pedagogic de Stat din Moscova); prof.univ.., dr. n filos ofie Carmen Cozma (Iai, Universitatea Al. I. Cuza); Ac ademia de Muzic George Enesc u, Iai (profesor asociat, c ursul de Psihologie Muzical, 1995); Revista de Cultur Cronic a, Iai (ciclu de s tudii); Un ivers itatea Al.I.Cuza, Iai (conferine publice n filos ofia muzicii); Institutul de tiine ale Educaie i, Chi inu Expe riena profesional:

coala medie Selemet, raionul Cimi lia, nvtor de muzic (1973); coala Pedagogic din Clra i, cadru didactic Discipline muzicale (1975-1976) Un iversitatea de Stat Alecu Russo din Bli (1980 - prezent): lec tor, lec tor superior, confereniar universitar, profesor univers itar interimar; eful catedrei Ins trumente muzic ale i Metodic (1988-2000), decanul Fac ultii de Muzic i Pedagogie muzi al (2000 prezent) c

Specializri peste hotare: Conservatorul din Kiev, Ucraina; Academia de Muzic George Enescu, Iai, Romnia Domenii tiinifice de activitate: pedagogie muzic al, ps ihologie muzic al, filosofie muzi al c
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Realizri tiinifice (conc epte, idei, pr inc ipii, categorii-noiuni formulate i/sau tratate de autor): Cunoatere prin auz Cunoatere de tip muzical Filosofia sunetului Filosofia tcerii Hermeneutic temporal - Filosofie sonor Fiz ic muzical Biologie muzical Fiz io logie muzical Nivelur ile percepiei muzic ale : fiz io logic, psihologic, spiritua l Sentimentul muzical Tratarea psihologic a gndirii muzicale Contiina muzical Inteligena muzic al Impulsul muzic al Trirea muzic al Starea de c nt/starea de muzic Abordarea/carac teristica ps ihologic a elementelor muzic ii Tratarea psihologic a imaginii muzicale Psihologia pauzei n muzic Pedagogia auzului Conceptul triad ic psihologic-pedagogic -muzical de Educ aie Muzic al
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Sis temul de legiti a le Educaiei Muzicale Modelul teoretic al Educ aiei Muzicale, ntemeiat pe tiinele : Existenei (Filosofia), Muzicii (Muzic ologia), Eu-lui legiti, problem (Psihologia), Educ aiei (Pedagogia), valorile crora reprezint fundamentele pedagogiei muzicale, sintetizate n principii, idei i sisteme curri ulare c

Problema

scopului

Educ aiei

Muzic ale

ca

triaspectual: pedagogic, muzicologic, filosofic Reperele epistemologice i filos ofice ale Educ aiei muzic ale Reperele ps ihologic e ale Educ aiei muzic ale Reperele muzicologic e ale Educaiei Muzicale Principiul interior izrii muzicii Principiul reinterpretrii pedagogice a muzic ii Metoda stimulrii imaginaiei Metoda reinterpretrii artistic e a muzic ii Metoda c arac terizrii poetice a muzicii Principiile lec iei moderne de Educaie Muzical Modaliti s pec ifice de evalure n Educaia Muzic al

Activiti pedagogice ge nerale: coautor al Conc epiei Educ aiei muzic ale n R. Moldova; coautor al Curriculum-ului Educ aie Muzical pentru nvmntul preuniversitar; preedinte/membru al Comisiei de experi la Educ aia artistic de pe lng Ministerul Educaie i; formator c entral la c ursurile de formare continu a profesorilor de muzic; autor de manuale universitare la Metodica

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educaiei muzicale; c oautor al manualului de Educaie muzical pentru clasa VII-a .a. Te za de doctor n pe dagogie : Intercorelarea pregtirii interpretativ e i metodice a studenilor facultii muzical-pedagogice n clasa de instrument Te za de doctor habilitat n pe dagogie : Fundamentele psihopedagogice i muzicologice ale educaiei muzicale Lucrri tiinifice : pes te 70 de titluri, inclusiv 3 monografii, 1 dicionar de Pedagogie muzical, 2 manuale univers itare, 1 manual colar, 6 luc rri didactic e pentru studeni i profes ori, circa 45 studii, artic ole tiinif ice i metodice Cri de autor: Gagim, I., leahtic hi M. Dicionar de Pedagogie muzical / I. Gagim, M.leahtichi.- Chi inu: tiina, 1994. 207 p. Gagim I. tiina i arta educaiei muzicale / I. Gagim.- Chiinu: ARC, 1996 228 p.; Gagim I. Omul n faa muzicii / I. Gagim. Bli: Presa Un iversitar Blean, 2000. 104 p.; Croitoru S., Gagim I. Educaie muzical: Manual pentru clasa a VII-a / S. Croitiru, I. Gagim. - Chiinu: tiina, 2002. - 136 p. Gagim I. Dimensiunea psihologic a muzicii / I.Gagim. - Iai: Timpul, 2003. 280 p.; Gagim I. Metodica educaiei muzicale (pentru studenii colegiilor muzic al-pedagogice) / I. Gagim, A. Stic i. - Chiinu: tiina, 2003. 152 p.
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Cursuri universitare i postunivers itare: Teoria i practica educaiei muzicale, Psihologia muzicii, Filosofia muzicii, Didactica muzicii, Arta audiiei muzicale, Acordeon Conductor de doctorat: Pedagogie general; Teoria i metodologia ins truirii pe discipline (Muzica) Foruri internaionale:

tefan Lupacu 2000. Conferin Internaional (sub egida Ac ademiei Romne, Fundaiei Internaionale tefan Lupacu i Universitii A.I.Cuza), Ia i, oc tombrie, 2000. (Comunic are: Dimensiunea metapsihologic a muzic ii: implic aii ale experienei estetic e lupasc iene).

. , workshop 2002. ,

, , (Comunic are: ).

Reforma nvmntului: Teorie Internaional s piritual). tiinif ico-practic, intonare (Comunic are: Relaia

i practic. Conferin Bli, muzic al aprilie 2002. comunicare

Democraie i manipulare n posttotalitarism. Simpozion Internaional, B li, iunie, 2002. (Comunic are: Manipularea psihicului prin sunetul muzic ii).

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Standarde, c oninuturi i tehnologii moderne n educ aia muzical, Simpozion tiinific internaional, B li, 2004. (Comunic are: Reperele muzicologic e ale educ aiei muzic ale).

i ii ( i i . - , e, 1991. (Comunic are: . . ).

? 2002 ( -, , (CIMCIM), -, , 2002. (Comunic are: )

Immanuel Kant. nferin tiinific . Iai, oc tombrie, 2004 (Comunic are: Kant, batista parfumat i problema perc epiei muzicii)

100- . . , , 2004. (Comunicare: )

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Coordonator de lucrri tiinifice:

Modaliti de perfec ionare a nvmntului n Republica Moldova. Conferin tiinif ic . Bli, 1992 (membru al comisiei de redac ie).

. , , 2002 ,

(membru al comis iei de redacie);

Standarde, c oninuturi i tehnologii moderne n educ aia muzical. Materiale le Simpozionului tiinif ic internaional. Bli, 2004 (c oordonator tiinif ic al volumului).

Educaie

artistic-spiritual

c ontextul

nvmntului

contemporan: materia le le c onferinei Internaionale. Bli, 2005 (redac tor tiinific).

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2003. n cutarea une i noi insp iraii n tre Bach i E min escu .

2003. Corul facu ltii pe scena slii de concerte .

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2003. O n ou lucrare n d ru m sp re editare.

2003. Un d iscu rs la s emin aru l repub lican Profeso ru l de muzic: p res tana i talent.

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2004. O zi de lucru a decanulu i.

2004. 30 dece mb rie. Susin erea te z i de doc to r hab ilitat e a trecut cu succes. Felicit rile rec to ru lu i Universit ii, Acad emician , Profesor, Dr. ha bilita t N.F ilip

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Personaliti cunoscute i mai puin cunoscute despre Ion Gagim Well known and less known Personalities about Ion Gagim
Drag dom nule Gagim, Mi-a parvenit mesajul dvs. dar, datorit probabil unor nepotriviri e lec tronic e, extrem de desfigurat. Esentialul nsa cred c l-am neles, s i trebuie s v spun c am fost gnd la gnd, deoarece admirabila dvs. cerc etare Dimensiunea ps ihologic a muzicii se afl de saptamni pe masa mea de luc ru asteptnd un raspuns. Iar raspunsul nu poate fi dec t unul de sinc er felic itare pentru aceas t ultim nfptuire. Ai realizat c eea c e eu, n lunga mea via, niciodata n-am izbutit : o investigaie metodic s i riguroas (la mine muzicolog0ul aflndu-se totdeauna n umbra scriitorului). Cum bine spune autorul prefeei, e vorba de o "realizare de vrf a psihologiei muzic ale". V urez sa gs ii si cititorii demni de ea. Mi-ar fac e o mare buc urie s mai stm odat fa c tre fa, dar nu-mi dau s eama c um si cnd ar fi posibil. Zilele petrecute n Chisinau si Bli ramn neterse n amintirea mea. Camera unde dorm e dominat de fotografia noas tr format mare pe c are mi-ai trimis-o. Cu toat prietenia, George Blan, Dr. n filosofie , Sankt Peter, Germania,23.07.2003
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Dear Mr. Gagim, I have received your message, but, probably because of an electronic Unadjustment, it was extremely naimed. But I think that? I have understood the essential, and I must tell you that we thought of that at the s ame time, bec ause I have been keeping your admirable researc h work The Psyc hologic al Dimens ion of Music on my bureau for weeks, waiting for an answer. And my answer cannot but sinc erely congratulate your for this latter ac hievement. You have fulfilled what I, liv ing that long, have never managed a methodic al and rigorous investigation (my opinion alw ays placing the mus ic ologist in the bac kground, the foreground belonging to the writer) . As the author of the preface exactly states, it is a top achievement of the mus i al psyc hology. I wish you also found c readers worthy of it. I would be very glad to have a discussion onc e again, but I dont know how that could be possible. The days that I spent in Chiinu and Bli remain unforgetable memories in my mind. I have plac ed the large-size photo of us that you sent to me in the bedroom and that image dominates me. Friedly yours,Ge orge Balan, Sankt Peter, Germania, 23.07.2003

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*** . .

, , , . , , , ,

. B- , , ( , , ). , . , . : - ; , ()
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, (), ( ) (); , , , . Dr. habilitat n pedagogie, prof. univ.,ac ademician, Albertas Piliceauskas, Ac ademia de Muzic din Viln ius, Lituania *** Ion Gagims innovation and sc ientifically bas ed ideas on Musical Educ ology and Educational Psychology have been in the expents attention for some decades the distinguis hing mark comprising originality, logic and topic ality. After all, they are amassed into a single unity, representing a sc ientific report for the Doc toral dissertation in the pedagogic al domain, it aim ing at the elaboration and grounding of conc eptual positions in the fie ld of Musicial Education, that calls upon es tablishing it as an authonomous field in the modern general Science and Educational prac tic e. First of all, the wideness of the scientific aspects, elaborated by the author amazes (the volume of which seem to be accomplished only by an entire scientific laboratory). Nevertheless, the sc ientific profoundness of the investigated points is also astonis hing. It is
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worth mentioning here the c ontribution made by the author to the development of general pos itions of the modern Mus ic al Education in schools, it reprezenting the sc ientific innovation of the research I would espec ially like to mention the following sc ientific elaborations : the triadic psycho-musical-pedagogic al approach to the process of Mus ic al Education in all its c omponents, the theoretic al model of the modern c onc ept of Music al Educ ation, bas ed on the existentialist(philosophy) awareness of the goal of the human existence, on the intrinsic communic ation of the subjec t with mus ic (mus icology), on the many-s ided human I (s elf psychology) and on the educ ation of transformation and the integration of the mus ic al culture into the s piritual c ulture through the system of regularities , princ iples, methods , etc. Albertas Piliceauskas, PhD (doctor habilitate in the pedagogic al field) Un iversity teacher, academician, Viln ius Musical Ac ademy, Latvia

*** Gravitatea cu care se apleac n munc a de c ercetare c a i n acea la c atedr, sufletul pe care l pune n tot ceea ce face, inclus iv n ndrumarea doctoranzilor pas iunea vdit, a s pune c hiar iubirea imens pe care o trans mite pentru om i pentru uluitoarea creaie muzic al universal, c apac itatea extraordinar de a se deschide cu pricepere n temeiul unei solide culturi muzicale, general artistic e i filosofice, c tre umanitatea din om n orizontul unui nobil sc op
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formativ, bucuria de a se adresa tinerilor de formaie diferite dau la iveal o pers onalitate c omplex, de toat lauda, un educator de vocaie dedicat muzic ii c u un devotament aparte, onornd din plin statutul unui c ercettor univers itar n stare a- i asuma responsabilitatea pentru ac tul autentic c ultural. Es te o not carac teris tic a personalitii profesorului Ion Gagim puterea de a demons tra mereu meditaie profund metafizic i strdanie neobosit n a gs i cuvintele potrivite... Doresc s evideniez luc rrile Dlui I. Gagim tiina i arta educaiei muzicale, Omul n faa muzic ii, Dimens iunea ps ihologic a muziciio mrturie a forei s piritului romnesc n lumea contemporan Apreciind la superlativ ac tivitatea tiinif ic i profesional, c alitatea de om a domnului Ion Gagim, nchei: colaborarea cu domnia sa este una onorant pentru oricare dintre noi. Prof. univ., Dr n filosofie, Carm en Cozma, Univers itatea A.I.Cuza, Iai *** The gravity taken in his res earch work as well as that observed at the chair, the s et heart in everything he does-inc luding in guiting the trainers for a doc tors degree-the obvious pasion, I would even say his transmitted immense love for man and for the amazing universal music al creation, the extraordinary ability to be s killfu lly
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open to wards the founding of a durable musical, general-artistic and philos ophic al c ulture, towards the human from inside a human in the sphere of a new formative aim the joy to address the youngsters with different back grounds- these all point to a complex, praiseworthy, pers onality, an educ ator by variation, dedicated to music through a specific devotion, entirely honoring the status of a university researc her c apable of assuming the responsibility for the authentic cultural act. The power of constant demonstration, the profound metaphys ic al meditation, the s teady endeavor to find the nec essary words-these are the hallmark of Ion Gagims pers onality. I would like to emphasize Ion Gagims works sc ience and Art of Musical Educ ation, Man facing Music , Psychologic al Dimens ion of Musi . c Appreciating Ion Gagims scientific and profes sional work, his human quality at the ir highes t level, I c onclude w ith the following: the collaboration work w ith Ion Gagim is an honorable task for any of us, as he constitutes the evidence of the power of the Romanian spirit in the contemporary world. Carmen Cozma, University teacher, PhD in Philos ophy Iai Al. Ion Cuza Univers ity *** Tema cerc etrii Dlu i I. Gagim este de o impres ionant amploare i c omplicitate, este de o stringent actualitate. Ea nu putea
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fi abordat dect de un c ercettor abil; att n problematica domeniului ps iho-pedagogic i al es tetic ii, c t i n mereu discutatele aspecte ale spec ificului muzicii i ale rec eptrii ei. Ea nu putea fi abordat dect de o persoan c are iubete muzica i i-a descoperit prin permanentul contact cu valorile artei s unetelor i ndelungii meditaii uimitoarele valene emoional-atitudina le i spirituale Dr. n muzic ologie, prof. univ., Mihai Cozmei Un ivers itatea de Arte George Enescu, Iai
***

... The theme of Ion Gagims research is of an impress ionable sc ope and c omplicity, it is of an urgent to pic ality. It could be approached only by a skillfu l researcher, both in the field of the problems related to the psycho-pedagogical and aestetic al domain and in the field of c onstantly discussed aspec ts of the spec ificity of mus ic and its reception. It could be treated only by a person who loves music and who discovered- through the c onstant contact with the value of the Art of the sound and a long meditation-its amazing emotional-attitudinal and spiritua l valences . Mihai Cozmei, Un iversity teacher, PhD in Music ology, Iai University of arts George Enescu

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. - .

- . , , . , , , ..; ,

. , . , . Dr. habilitat n pedagogie, prof. univ., Eduard Abdullin eful c atedrei Teoria i Metodica Predrii Muzicii, Univers itatea Pedagogic de Stat din Mosc ova, academic ian al Academiei de tiine din New York

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*** Ion Gagim has long es tablished himself in the sphere of mus ic al and mus ic al-pedagogic al s pec ialist in the Educational sphere of the Eas tern countries as one of the most highly-qualif ied professional in this domain. In the passed decades his numerous works and spec hes at the sc ientific c onferenc es on musical and mus ic al-pedagogic al Educ ation show ed Ion Gagim to be a recognized theorist in this field. Among the most obvious innovations cons isting a matter of princ iple e laborated by Ion Gagim, it is necessary that w e should point out at least s uch works as Acoustic cognition, Music al Type of Cognition, Pedagogy of the Hearing and others ; the systematization of the bas ic regularities of the muzical education, the elaboration of a theoretic al model of the modern mus ic al educ ation. The above-mentioned innovation are only a small part of what Ion Gagim has created in the sphere of pedagogic al methodology of the music al education, its theory and educ ation. Eduard Abdulin, PhD (Doctor Habilitat in Pedagogy, University teacher, Chairman at the Chair of Theory and Methodology of teaching Music, Moscow State Pedagogic al University,academician at New-york Scientific Ac ademy) *** Colaborarea cu domnul profesor I. Gagim nu a fost ntmpltoare, pentru c noi ac tivm de o via n ac elai domeniu
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educaia artistic a elev ilor. De aceea, dup ce a depus atta efort, dup c e a scris attea cri, s-a constituit ca prima figur, ca primul specialist n domeniul educaiei muzic ale n Republica Moldova i era de ateptat ca s-mi solicite a jutorul pentru a sintetiza rezultatele cerc etrii sale de muli ani. Dup ce am susinut eu nsumi teza de doctor habilitat, ac um as e ani, mi-am zis i aceasta este o logic a cerc etrilor tiinif ice c cel care m va urma, c el c are va aspira la doctor habilitat, va trebui s fac o investigaie mai bun dect a mea sau, c el puin, una nu mai rea. I. Gagim a reuit s fac aces t luc ru. Dac nu m-a dep it n toate, n unele aspec te, cu siguran, m-a depit. Dumnealui c u foarte mult rbdare, cu foarte mult tenac itate, cu o c apac itate foarte mare de lucru a putut s se racordeze c erinelor pe c are i le-am formulat. Consider - i nu exagerez deloc - c tiinele educaiei nu numai din Republica Moldova, dar n general (pentru c lucrrile d-lui Gagim sunt cunoscute i c hiar implementate i n alte ri) au obinut o achiziie foarte important, un om n tiinele educaiei de foarte mare valoare i eu sper c aceast valoare va crete. Dr. habilitat n pedagogie, prof univ., Vlad Pslaru, Institutul de tiine ale Educaiei,Ch i inu (consultantul tiinif ic al lu i I. Gagim) *** ... My collaboration with professor Ion Gagim was not incidental as it is during a lifetime that w e w ork in the same domainthe artistic education of the school students. That is why, after so
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much effort made after s o many books written, he has es tablished as the first model himself as the firs t spec ialist in the domain of Mus ic al education in the Republic of Moldova and it was expected that he solicited my help for synthesissing the results of his many-year researc h. After my ow n /defenc e of the PhD / Doctor Habilitate dissertation six years ago, I told myself-and this is a logic of the scientific research-that the one to follow me, the one to aspire to the PhD (Doctor Habilitate) Rank, would have to make a better investigation than mine, or at least not worse Ion Gagim has managed to do this . If he has not surpassed to exceed me in everything, then, in some aspects he c ertainly has . Has managed to connec t adjus t himself, to the requirements that I formulated with very muc h patienc e, with a very big working skill. I cons ider and I do not exagerate at all that the education sc iences not only from the Republic of Moldova , but in general (because Ion Gagims works are known and even implemented in other countries) have obtained an important acquis ition, a highly valuable man in the educational scienc es and I hope that this value will inc rease. Vlad Pslaru, PhD (Doctor Habilitate) in Pedagogy, Univers ity teacher,Sc ientif icInstitute of Educ ation, Chi inu *** Cartea profesorului Ion Gagim Dimens iunea psihologic a muzic ii va cons titui un prilej potrivit pentru cititori s gndeasc
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mai amplu i mai profund despre om, va nmuli cunotinele despre om i condiia lui n lumea contemporan. Meritul autorului c onst n aceea c a avut curajul i ambiia s abordeze o problem extrem de complex i subtil, cum este cea a relaie i omului c u muzic a. n c adrul aces tei relaii se ntmpl un eveniment cu totul deosebit: sunetele muzicale, parafrazndu-l pe autor, se ps ihologizeaz, iar sufletul se muzicalizeaz. De ce omul cnt? De ce omul compune muzic? i Ce se ntmpl cu el atunci cnd cnt sau compune muzic? iat ntrebrile pe care i le-a pus autorul i a cror dezlegare le-a cutat ncheind aliane c u toate tiinele ce au un cuvnt de spus n aceas t privin, ncepnd cu fizio logia, traversnd ntregul spaiu al tiinelor ps ihologic e i terminnd c u filosofia. E o ac iune temerar ce a pres upus multe riscuri dintre c are cel mai mare a fost riscul de a profana muzic a ca art prin scientizarea ei i a fragiliza psihologia ca tiin prin a o da pe mna gndirii afective. Autorul s-a condamnat prin aceast intenie s fac echilibr istic mintal, s mearg pe muchie, cum s-a exprimat dnsul i minune! a izbndit! Avem acum n fa o c arte de zile mari, o c arte despre om i tainele lui c um nu s-a mai scris pn acum n acest segment de spaiu cultural i spiritual romnesc. Prin faptul c a discutat problemele legate de om-muzic i a elaborat rspunsuri pertinente la ele, urc at fiind n vrful tiinelor

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ps ihologic e i al c elor conexe, fc nd uz i punnd n c irc uit cele mai noi i relevate informaii din ac este tiine. n final doresc s subliniez c textul monografiei D lui prof. Ion Gagim constituie o realizare de vrf a psihologiei muzicale i o c ontribuie c ert la dezvoltarea aces tui domeniu de cunoa tere uman. mi exprim convingerea c oric e editur, care va avea harul s ntrevad valoarea ac estei luc rri i o va prelua de la autor, transformnd manuscrisul n carte bun de pus pe masa cititorului, va realiza un act de cultur semnificativ pentru ntreg spaiul romnesc i un succes care i va c onsolida autoritatea i bunul ei nume. Dr. n psihologie, conf. univ., Ion Negur eful c atedrei de Psihologie, Univers itatea Pedagogic de Stat Ion Creang, Chi inu

*** Ion Gagims book The Psyc hological Dimension of Music will c ontitue a favourable opportunity for the readers to reflected upon human being ampler and more profound and will inc rease his knowledge of the man and the human condition in the contemporary world. The authors merit consis t in having had the courage and the ambition to approach an extremely complex and s ubtle problem, that of the relation betwen the man and music. Within the framework of this relation ( an entirely dis tinct ) event takes place: paraphrasing
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the author, the musical sounds get psychologised and the s oul gets mus ic alized. Why does the man s ing? Why does the man compose music? What happens to man when he sings or compose mus ic ?- these are the question that the author asked himself and for whos e dec iphering the author searched, signing an allianc e with all the scienc es which can contribute to this matter, from phisiology, crossing the entire space of psychologic al scienc es, to phylosophy. It is a temerary ac tion that implied many risks, the biggest of whic h was to profane mus ic as art through , by the proc ess of sc ientis ising it and frailing psychology as sc ience by handing it to the emotional thinking. In this intention the author condened hims elf to mental rope walking to w alking on the edge, as he himself s aid, and, what a miracle!-he has managed it! Now we can s ee a brilliant book, a book about the man and his mys teries as has not ben written before withinthis segment of Romanian cultural and spiritual spac e. The author has accomplis hed it through his reference to the problem of man-music relation and his having elaborated relevant answers to them, while sitting high on the top, of the psychologic al scienc es and the scienc es connected to thes e, making use and introducing into the c irculation the new and the most relevant information provided by these scienc es. Fina lly I would like to emphas ize that the text of Ion Gagims monograph represents a top ac hievement in the music ial psychology domain and a definite contribution to the development of
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this domain of human cognition. I am sure that any publishing company which will be able to c atc h a glimple of the value of this work and will take it over from the author, trans forming the manuscript into a proper book for the reader, will produce a significant c ultural ac t for the entire Romanian space and w ill be a success that will s trengthen its authority and good name. Ion Negur, PhD in Psycology, University Conferentiar, Chairman at the Ps ychology Chair, Ion Creang State Pedagogic al University, Chi inu *** Numele Dlui Ion Gagim l-am cunoscut n perioada c nd mi fceam studiile la facultatea Pedagogie Muzical a Un ivers itii blene, dumnealui aflndu-se pe atunc i la Moscova la s tudii de doctorat. Despre el se vorbea c este abs olvent al primei promoii la ac east specialitate. Ma i trziu, am aflat despre ac tivitatea postuniversitar din public aiile lu i, c are mi-au fos t de mare folos n calitatea mea de profesoar de Metodica Educaiei Muzicale la UPS Ion Creang. ntlnirea c u Dl Ion Gagim a fost favorizat de realizarea tezei mele de doc tor, la c are am avut onoarea s-l am n calitate de c onductor. D-lui a acceptat conducerea investigaiei mele, iar mie mi venise mult pe plac tema propus. De fire fiind foarte s ensibil i s piritua l la muzica pe c are o promoveaz pe toate
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cile, uor am gsit limb comun. Dific ultile i problemele care apreau pe parcursul c ercetrii D- lui le s oluiona c u mult rbdare i tact. Este persoana rec eptiv la tot ce ine de muzic i de omul legat de muzic. Activitatea s a profesional a mers n ascensiune datorit muncii i perseverenei sale. De la ef de catedr Instrumente muzic ale i Metodic a avansat la func ia de dec an al facultii Muzic i Pedagogie Muzical. Aceast personalitate nu tie niciodat s se opreasc la cele atinse. Mai trziu a devenit profesor universitar inter imar, apoi a fost ales n calitate de membru al Uniunii Compozitorilor i Muzic ologilor din RM, membrucorespondent al Academiei Internaionale de tiine Pedagogice (Moscova). n toamna anului 2004 a susinut cu succes teza de doc tor habilitat n pedagogie (muzic al). Oare ce va mai urma? Ce surprize ne mai pregte te n viitor acest neostenit savant? Un luc ru este c ert: el s ervete drept exemplu de urmat. Ce noroc au studenii care- i fac studiile la un astfel de profesor. Pentru corpul profesoral-didactic al facultii Muzic i Pedagogie Muzic al, c t i pentru cel al ntregii Universiti Alecu Russ o, c red, este o onoare de a avea n rndurile sale un astfel de coleg ca Ion Cagim - neos tenit cerc ettor, pedagog, om de cultur, promotor al noilor ide i n tiine le moderne ale educaiei. Dr. n pedagogie, conf. univ. Mariana Vacarciuc Universitatea Pedagogic de Stat Ion Creang, Chi inu
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A student of Music and Musical Pedagogy Faculty I had known Ion Gagim w hen I w as a student of the Mus ic Pedagogy of the Balti Un iversity, when he was busy w ith his Doctors degree in Moscow . He was said to be a graduator of the first promotion of this speciality. Later I found out about his post-university activity from his public ations w hich I found of great use acting as a professor of Education of Music Methodology at Ion Creanga University. I met Ion Gagim as a result of my doctors thes is, w hen I w as honored to have him as an advisor . He accepted managing my research work and I liked the topic he proposed very muc h. Be ing sensible to the mus ic he promotes in any way made it possible for us to speak the same language .The problems that used to appeared w ere solved by him with much passions and tac t .He is a receptive person to everything and everybody dealing with music. His profess ional activity grew due to his work and perseveranc e. He advanc ed from Musical department Chief to the Dean of Music and Pedagogy Faculty. This personality never stops after

achieving something. Later he became Ad-interim university professor, then he was named Member of the Union of Composers and Music ians in Moldova, Correspondent member of the International Ac ademy of Pedagogical Sc ience(Mosc ow). In the autumn of year 2004 he pass ed successfully Doctors thes is in Pedagogy. What comes the next? What surprise is this res earcher

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tire les s preparing for us ? One thing is for s ure : he is an example to be followed. He is a great luck for the s tudents he is teaching. For the teaching stuff of his faculty as w ell as for the whole university it is a great honor to have the researcher, teacher, art man, promoter of new ideas in the modern scienc e of educ ation that is Ion Gagim. Mariana Vacarciuc Ph.D in Pedagogy, Ion Creanga PSU, Chisinau. *** Prin personalitatea lui Ion Gagim, Domeniul pedagogiei muzic ale i poate revendica n Educaia Muzical a Moldovei ac elai rol privilegiat, pe care l deine pedagogia muzical romneasc i rus easc, graie contribuiilor lu i George Breazul i Dim itrie Kabalevsky. Pentru pedagogii muzic ieni, ca i pentru o mare parte a inteligeniei, Ion Gagim es te c unoscut ca integrator al tiinei, culturii, pedagogiei, spiritualitii, f iind ntemeietorul i fondatorul unei baze teoretic e psihopedagogic e i muzicale a domeniului de Educaie c ontemporan. Renumele, de care s e bucur omul, pedagogul, savantul, ps ihologul, muzicologul Ion Gagim, este binemeritat i se valorific prin numeroasele sale cercetri enc ic lopedic e profunde, aplicate procesului de Educ aie Muzic al. Dumnealui a avut o intuiie ce

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poate nsemna un domeniu att de esenial a l existenei umane ca relaia om-muzic. Originalitatea viziunii lu i Ion Gagim asupra s unetului muzic al trebuie cutat dinc olo de rs unetul multip le lor sale preocupri. Prin el sunetul muzic al nc eteaz s fie o simpl sunare i dobndete calitate de vibraie a s ufletului, descoperind prin el valorile muzic ii i valorif icnd relaiile intime om-muzic, demons trnd c universul intim, trirea intens iv a exis tenei, spiritualizarea nu se pot produce n afara sunetului - c ategorie fundamental a muzic ii. Muzica, afirm Domnia sa, realizeaz cunoaterea suprem - cunoaterea de s ine, prin capacitatea de a conduce direct la afirmarea individualului n fiec are persoan. Pe acest trm psihopedagogic i filozofic de tratare a fenomenului muzic al-s onor, concepia lui Ion Gagim o ntlnete pe ac eea a marelui George Blan. Trirea muzical scoate la ivea l, graie lui Ion Gagim, tocmai ac ele s ubs traturi interioare, descrise de George Blan, la rndul lui considerate a fi enunia unor stri spirituale ale Eu-lu i uman. Doar prin as emenea constatri i s e clarif ic lui Ion Gagim misiunea de Didact, Filosof i Educator. Prin ac est trivium, pers onalitatea Dlui se transform n promotor al s piritualitii umane. Dr n pedagogie, conf. univ., Margareta Tetelea, ef c atedr Ins trumente Muzicale i Metodic , USB

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Through the personality of Ion Gagim, the mus ic al pedagogical domain, in the Moldovan musical education may demand the same privileged role, that the Romanian and Russian mus ic al pedagogy possess, owing to the contributions of George Breazu and Dimitr ie Kaba levsky. For the music ian pedagogues , and for a big part of the intelligenc e, Ion Gagim is famous as integrator of sc ience, culture, pedagogy, spirituality, being at the s ame time the founder of theoretic al psycho-pedagogical and musical base of the contemporary educational domain. The fame, whic h enjoys the man, the pedagogue, the sc ientist, the psychologist, the musicologist, Ion Gagim, is w ell deserved and is glorifying by his numerous profound enc yc lopedic res earches, applied to the musical educational proc ess. He had the intuition that can s ignify a domain so muc h essential of human being like the relation man-music. The original v ision of Ion Gagim, concerning mus ic al sound, should be searched beyond the echo of his multiple preocc upations. With h im the musical sound c eases to be a simple one and obtains a soul vibration quality, discovering trough him the musical values and rendering valuable c lose relations man-music, demonstrating that the intimate universe, the intensive experience of existence, the spiritualization cannot be produc ed out of the sound- a fundamental category of music. The Music, affirms his Majesty, realizes the supreme knowledge- the self-knowledge, through the capacity of conducting direc tly to the individual affirmation in each person.
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On this psycho-pedagogic and philosophic treatment realm of music al-sonorous phenomenon, the Ion Gagims view meets that of the famous George Balan. The musical experience presents, owing to Ion Gagim, even those interior substrata, desc ribed by George Ba lan, in his turn, considered to be the enunc iation of some s piritual states of human ego. Only by suc h asc ertained fac ts may be c larif ied the mission of Didac t, Philosopher and Educ ator of Ion Gagim. By this trivium, his personality transforms into a promotor of human spirituality. Dr. in pedagogy, univ. conf., Margareta Tetelea, head department Musical Instruments and Methods , USB *** Profesorul Ion Gagim este un mptimit de muzic. Crile Dnsului snt mrturia gritoare a ac estei patim i, c are, iat se pare, este adevrata voc aie a omului. Dimensiunea pe care o exploreaz Ion Gagim nu este nou, or, la s eria de ntrebri (n parte retorice, totui, prin incapacitatea omului de-a ptrunde cu intelec tul n tainele Facerii, implicit a le Muzicii) au constituit pa jitea ( vorba poetului filosof: Turma gndurilor mele eu le pasc c a oi de aur), din antichitate pn n zile le noas tre. Mai toi n loc de rspuns la ntrebri au narat sau au declarat starea lor de fasc inaie, taina pstrndu-i conotaiile iniia le. Ion Gagim nc earc s se apropie de
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ac este mis tere, itinerarul su cumulnd mai multe mijloac e de deplasare : mai c u intuiia, mai cu studiile din domeniul fizicii, mec anicii, bio logiei, psihologie i, muzic ologie i, al f ilosofiei, i, nu n ultimul rnd, al relig iilor. Preocuprile lu i Ion Gagim prezint interes i strnesc curiozitatea. Dr. n filologie; conf. univ., Maria leahtichi, Decanul Facultii Filologie, USB *** Ion Gagim is a music pass ionate . His books are the living proof of this passion whic h seems to be the true voc ation of the man. The dimension explored by Ion Gagim is not new , as to the series of questions ( some of them theotoric due to the mans inability to penetrate mentally the mysteries of the Origins, implic itly those of mus ic ) have constitued the lacon ( as the poet-philosopher said in Romanian Turma gndurilor mele eu le pasc c a oi de aur ( I feed the herd of my thoughts as golden ships ). Almost all of them have narrated or declared the State of being fasc inated, the mystery pres erving its initial connotations. Ion Gagim tries to approach these mysteries, his itinerary cummulating several means of travelling intuition, his studies in the domains of rhisics, mecanic s, biology, psychology, musicology, philosophy, and not at last religion.
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Ion Gagims conc erns aris e interest and provoke curios ity. Maria leahtichi, PhD Philology, Un iv. Conf., Dean of the Faculty of Philo logy, BSU

***

Prin luc rrile Domniei sale (monografii, manuale, dicionare, studii etc .) intuim numai eforturile intelectuale depuse, pe de o parte, i barierele f inanc iare nfruntate, pe de alt parte. Prof. Ion Gagim a izbutit s demonstreze consecvent i cu lux de amnunte c Tu i Muzica c onstituie un TOT armonios, s spulbere pers uasiv ideea preconc eput c muzic a e, pur i simplu; cntare, voc e, execuie, interpretare, compoziie, s mbrbteze spirite le sc eptice privind integrarea cultural romneasc , balcanic, european, mondial etc., s certifice, n ultim instan, c un pedagog de muzic poate (i trebuie) s posede, deopotriv, caliti i de muzicant, i de muzic ian, i de muzi olog, i de filosof, i de estetician, i de psiholog, de c estetician i de filo log i de teolog. Dr. n filo logie, conf. univ., Gheorghe Popa, ef Catedr Limba romn, USB *** Through his book (monographs, textbooks , dic tionaries, researc h work) we can only goes the efforts made on the one hand and the fac ed financial barriers on the other hand Prof. Ion Gagim
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has managed to demonstrate and to elaborate on the theory that you and Music make a harmonious unity, to persuas ively s hatter the preconc eived idea that music is merely the act of s inging, melody rendition performing compos ition to encourage those sceptical about the integration in the Romanian European World Culture etc ., to certify eventually, that a Music Pedagogue can (and must) posses at one and the same time, qualities of a musician, of a musical expert, of a musicologis t, of a philosopher, of an aesthetician, of a psychologist, of a philologist, of a teologue. Ghe oghe Popa, PhD, University Conferentiar, Chairman at the Romanian Language Chair, BSU.

*** Omul es te setos de unitatea n toate domeniile: n f ilozofie aspir la unitate de gnd; n viaa social la o unitatea de voin; n ac tul iubir ii la o unitatea de sentiment; n ac tul religios se urmrete o unitate de via Toate aces tea n echilibru adunate de muzic desc oper expres ia sacrului pe auzul tuturor. Nu mistic a, ci nelepc iunea constituie s fr itul f iresc i aceas t idee se des prinde fil c u fil din c rile lu i Ion Gagim. Lidia Noroc-Pnzaru efa Direc iei Cultur, Bli, artis t emerit
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*** Man is c raving for unity in all the domain: in philosophy he aspires to unity of thoughts in his social life-to unity of feeling, in his relig ious deeds he s eeks life unity. All those, well-balanced and connec ted by music discover the expression of the sacred that c an be heard by all. It is not Mystic ism but wis dom that cons titues its natural ending and this idea can be grasped from each page of Ion Gagims books. Lidia Noroc-Pnzaru, Chief of the Direction for Culture, Bli. *** n viaa fiecrui din noi exis t persoane cu care dorim s comunic m i temele de discuie nic iodat nu se iepuizeaz. Prin comunic area cu dl. Ion Gagim lumea din jur s e transfigurez. l c unosc din 1981. Eram s tudent la Fac ultatea Muzic i Pedagogie muzical, iar dl profesor curatorul grupei academice din care fceam parte. Felul de a gndi, vorbi i aprec ia lucrurile l-au fcut s se deosebeasc de c eilali. Om de o inteligen rar, druit muzic ii, c umptat n tot ce face, nelept n tot c e spune. Datorit Dlui am citit multe izvoare din domeniul filos ofiei, ps ihologiei i pedagogiei artei. n discuie pe marginea celor citite am descoperit noi realiti ale fenomenului muzicii. in mult la noiunea starea de cnt, pe care a lans at-o, ne mai vorbind despre toate c rile publicate, pe care le recomand pentru lectur tuturor. Dac noi ne-am nscut n sunet i din sunet, apoi apucm s
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contientizm aces tea prin lec tura c rilor scrise de Ion Gagim; desprindem abordarea filos ofic a raportului Om-Muzic n propria via. Prelund expresia de la Academicianul rus Dm Kabalevsky, prin cele scrise dl Ion Gagim cultiv sufletul i cugetul studenilor facultii Muzic i Pedagogie muzic al i nu numai i n acest sens l invidiez i, fiindc n formarea lor profes ional i aduc contribuia cercetrile tiinif ice rec ent aprute (autor fiind Ion Gagim) cerc etri att de mult s olic itate cu 15-20 de ani n urm. n cadrul unei edine a Laboratorului Curriculum (Institutul de tiine ale Educaiei, Ch iinu), Dl. Ion Gagim a menionat, c cerc etarea tiinif ic l reprezint pe c erc ettor. Ai spune, c dl Ion Gagim, dr.habilitat n pedagogie, profesor universitar interimar, Dec anul Fac ultii Muzic i Pedagogie muzical reprezint Universitatea A.Russ o din Bli pe sc ar internaional Metodist-coordonator Marina Morari Secia Studii, USB
***

In the life of each of us there are persons with whom we wish to c ommunicate and the discuss ion subjects never end. While communic ating with Ion Gagim the surrounding world trans figures. I have known him from 1981. I w as a student at the Faculty of Mus ic and Musical Pedagogy and Mr. Ion Gagim was the curator of the ac ademical group to whic h I belonged. His w ay of thinking of
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talk ing and of valuing the matters showd him different from the other. A person marked by a rarely encountered intelligence, dedicated to Mus ic , moderate in everything he did, wise in everything the s aid- this is Ion Gagim. I have read many sourses in the Philosophy, Psychology and the Pedagogy of Arts domains due to him. While discussing what I have read I have disc oved new realities of the Music phenomenon. I care much of the notion s inging state that he c irculated without taking into consideration all his published books , w hi h I c recommend to everybody for reading. If w e are born in a sound space and from s ound, then be begin to be aware of it through the process of reading Ion Gagims books , we infer the philosophic al approach of the c onnection Man-Musi in our own lives. Talking c over the expresion of the Russian Ac ademic ian Dm. Kabalevs ki, through w hat he has written, Ion Gagim improves the soul and the mind of the Students of the Faculty of Mus ic and Musical Pedagogy and not only theirs . In this circ ums tances, I envy him, because the recently appeared scientif ic res earch by Ion Gagim investigating that were much solic ited 15-20 years ago c ontribute to the s tudents Professional trainning. At a meeting of the Curric ulum Laboratory (The Institute of Educafronal Sc iences , Chi inu), Ion Gagim mentioned that scientific investigation marked him as a researcher. I would saw that Ion Gagim, PhD (Doctor Habilitat) in Pedagogy, ad-interim University teacher, Dean of the Fac ulty of Mus ic and Mus ic al
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Pedagogy, repres ents Bli State University Alec u Russo on an international s cale. Marina Morari, Coordinator mehodologist, Education Sec tion A. Russo Univers ity

*** Fiind s tudenta Dlui Ion Gagim, admiram c apacitatea sa de a convinge i de a explic a fenomenul complex al muzicii n termeni acc esibili. Anume din acea perioad s nt ferm convins c multstimatul profes or este nzes trat cu darul dumnezeesc de a transpune misterul muzic al n limbajul verbal, as tfel nc t simplele enunuri despre arta muzicii se transform n rugc iune prin voc ea-i cald, moderat i armonioas. De aceea orele promovate de D-lui snt neobinuite dup coninut i form, fiind ptruns e de meditaie profund. La Fac ultatea Muzic i Pedagogie Muzic al a Univers itii de Stat A.Russ o Dl Gagim es te o personalitate: profesor universitar. membru corespondent al Academiei Internaionale de tiine Pedagogice, membru al Un iunii Compozitorilor din Moldova. Profesorul promoveaz o nou viziune as upra muzicii printre colegi i s tudeni, public nd pentru ei numeroase lucrri n domeniu, adeseori cu rs unet peste hotare. n cele trei monografii ale sale : tiina i arta educ aiei muzicale, Omul n faa muzicii, Dimensiune psihologic a muzicii , Dl Gag im cerc eteaz
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fenomenul muzicii nu doar c a pe o art specific , c i ca pe o tiin cu obiective concrete, cu princ ipii i metode bine determinate, cu ac tiviti muzical-didactic e dezvluite pe larg. Ion Gagim a reuit s elaboreze noi disc ipline fundamentale c a: Psihologia Muzicii, Filosofia Muzic ii, Muzicosophia. Arta audiiei muzic ale, apreciate de studeni la justa lor valoare. Cu spiritul su lucid, el contribuie la constituirea artei muzic ale c a parte indispens abil a v ieii umane, care presupune cunoa terea lumii prin nelepc iunea muzicii. Dec an al Fac ultii Muzic i Pedagogie Muzical, Ion Gagim s e pronun att pentru propagarea muzi ii (prin oferirea posibilitii s tudenilor c de a continua studiile pos tuniversitare n cadrul aceleiai faculti, la mas terat i doctorat, prin c olaborarea fructuoas cu diversele instituii culturale: coli de muzic, licee, colegii, teatru), c t i pentru propagarea ei pe larg (prin intermediul c onc ertelor i concursurilor sus inute de s tudenii fac ultii la nive l naional i internaional, emisiunilor radio i televiziune). Om al s ufletului, Domnia sa pledeaz nu numai pentru soarta muzic ii, ci i pentru destinul studenilor, fiind pentru ei un Prieten fidel, c u o inim ce radiaz lumin, c ldur i bunvoin. Pe bun dreptate, Dnul Profesor este considerat ngerul pzitor al facultii, ndeplinindu-i misiunea cu devotament i druire de sine. Asis tent univ. Lilia Arcea, magistru n muzic

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*** Be ing a s tudent of Mr.Gagim, I admired his abilities to convinc e and explain the c omplex phenomenon of music in acc essible terms . Namely from this period I have been convinced that the professor has the Gods gift to transform the mystery of mus ic in every day speech, so that simple sentences about the art of mus ic change into prays through his kind, moderate, harmonious voic e. Thats why his lec tures are unusual in content and form, being full of deep meditation. At the Mus ic and Musical Pedagogy Faculty the A. Russos State University, Mr.Gagim is a personality: University Professor, Corresponding Member of the International Academy of Pedagogic al Science, Member of the Union of Composer in Moldova. The Professor brings a new vision over mus ic among his colleagues and s tudents, publishing a great number of works in the brunch, that often have res onance abroad. In the three monographs of his : The Scienc e and Art of Musical Education, Man Vis-a Vis Musi and Psychological Dimension of Music , c Mr.Gagim w orks on the phenomenon of music not only as specific art but as a sc ience with real objec tives, w ith well determined princ iples and methods ,accompanied by musical-didac tic activities largely revealed. Ion Gagim managed to elaborate new fundamental subjects as : Psyc hology of Mus ic, the Philosophy of Mus ic , and Musicosophia, the Art of Listening, apprec iated by his s tudents at their value. Having a lucid spirit, he c ontributes to the cons titution of mus ic al art as an indispensable part of the human life that supposes
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familiar iz ing the world through wisdom of music . As Dean of Faculty, he is for music propaganda(offering the students the possibilities to continue their post univers ity studies at the same faculty for masters, doctorate in collaboration with different cultural institutions: art sc hools , lyceums, colleges, theatres), as well as for its large propaganda(via concerts and contests presented by the s tudents at a national and international leve l, Radio and TV Programs ). He is a kind man who pleads not only for the fate of music, but for the fate of students as well, being a true friend for them, having a light-bringing warm and kind heart. He is fairly considered the angel of the faculty, fulfilling his miss ion with devotion. Lilia Arcea, Lec turer, Master in Music *** Pentru a ptrunde n tainele Mrie i sale Muzica pe lng contiin, gndire, imaginaie mai es te nec esar un ndrumtor, c el care n mod metodic , sistemic, pas c u pas va deschide lumea suprasensibil a ac estei arte. n persoana Dlui Ion Gagim am ntlnit ac el ndrumtor erudit CTITOR SPIRITUAL PRIN ACTUL SONOR. Cel c are mi-a transfigurat c on tiina ntr-un c adru vizionar specific de nelegere luntric profund a Mriei sale Muzic a. Cu evlavie m c ople esc amintirile d in anii studeniei, care snt nemijlocit legate de cursul Arta audiie i muzic ale, promovat cu mare succ es i rsunet de Dnul profesor Ion Gagim, c are c u mare
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rbdare i druire de sine ne cultiva f iina prin muzic , prin legile spirituale ale sunetelor. Ct pasiune, emoii, trir i, gust elevat! Etapa urmtoare e cunoatere, contientizare a mesajului sonor o parcurgem la prelegerile D lui profesor, care explic it i gradat ne iniia n adevrata lume a Muzic ii. Printre c ei dinti c are totalmente s-au druit actului de cerc etare filosofic , muzicologic, pedagogic, ps ihologic , metafizic a muzicii n relaia strns a ac estor aspecte este Dnul profesor Ion Gagim. Prin vasta sa activitate tiinif ic i educativ, prin numeroasele luc rri pentru profesori i studeni , Dnul profesor a ridic at la o treapt superioar semnificaia educativ a Muzicii. Asistent univ. Victoria Criciuc, Doc torand, USB *** To penetrate in the mystery of Its Majesty Music besides conscious, thinking and imagination a guide is necess ary, the one who in a methodic and scientific w ay, step by step w ill open the supersens ible world of this art. I disc overed this guide in Ion Gagims existenceSpiritual Founder Through Sonorous Act. He is the one who transfigurated my conscious in a specific way of a deep inner understanding of music. Memories from my university life fulf ill my
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soul w ith piety and are direc tly linked w ith the course The Art of Musical Audition, taught successfully by professor Ion Gagim who, with much patience and abnegation, develops our personality through music and spiritual law s of sounds. How much pass ion, experienc e, tas te and how many emotions are pres ent in a man! The next s tep is knowledge, realization of the s ound mes sage, we have found out at his lectures that fully expla in , eluc idate and in itiate us in the true world of Music. Among the first people that absolutely dedicate their lives to musicological, pedagogi al, c psychologic al philos ophic al,

researc hers, music metaphysics in c lose relation to thes e aspec ts is professor Ion Gagim. Through his immense sc ientific and educative ac tivities, through a lot of works for s tudents and teachers, he raised the educational s ignific anc e of Music to the superior level. Victoria Crisciuc, Lecturer, Doctorate, State University, Ba lti. *** Dac c ineva, fr un anumit subtext, m-ar ntreba, cum e de lucrat cu Dnul Ion Gagim, i-a rspunde fr ezitare: i u or, i greu. Uor, pentru c n persoana Dlui a i un veritabil profesor de pedagogie muzic al i un is cus it ndrumtor tiinific (fie c i ofer generos consultaii, privind scrierea tezei de lic en s au a c elei de
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magis tru, fie c te pune la curent cu proaspetele descoperiri n domeniul pedagogiei muzic ale). Totodat, e greu de colaborat cu Dnul Ion Gagim, deoarece Domnia s a detest superfic ialitatea, diletantis mul, fariseismul n colaborarea de orice gen. Ceea ce a dori s remarc n mod special, e faptul c ipos tazele, n care l-am surprins pe Dnul Ion Gagim de profesor universitar, de coordonator tiinif ic, de administrator al facultii devin oarecum mai limpede conturate, dac s nt raportate la ipostaza de baz, n care c hiar se c omplace Dnul Ion Gagim c ea de Om. Probabil, toc mai aceast ipos taz a Dlui Ion Gagim mi-a ajutat s neleg mai bine raionamentul lu i Lucian Blaga : cuvintele biblice c Dumnezeu a fc ut pe om dup dup chipul i asemnarea s a nu nseamn c Dumnezeu e un om n cer, ci nseamn c omul e un Dumnezeu pe pmnt. Marina Cosumov, Masterand, USB If somebody asked me, without a c ertain subtext, how is it to work w ith Mr. Ion Gagim, I would answer without any hesitation: as much easily as difficult. Easily, bec ause in the personality of Mr. Gagim you see a veritable professor of mus ic al pedagogy and a skilful scientif ic guiding (either bec aus e he, generously, offers you consultations , about the writing of lyc ense or that of master, or

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bec aus e he informs you with fresh discoveries in the mus ic al pedagogy department). At the same time, it is diffic ult to co-operate with Mr. Ion Gagim, bec ause his Majes ty detests the superficiality, the dilettantis m, the hypocrite, in cooperation of any kind. What I would remark here, in a special way, is the fac t that the hypos tasis , in which I s urprised Mr. Ion Gagim- as a university professor, a sc ientific coordinator, an administrator of the facultybec omes , somehow more dis tinc tively outlined, if they are reported to the bas ic hypostasis , in which even Mr. Ion Gagim is indulged as a Man. Probably, this very hypos tas is of Mr. Ion Gagim helped me understand better the reasoning of Luc ian Blaga: the bible words that God made the man in his own image do not mean that the man is a God on the earth. Marina Cosum ov, Mas ters University Alec u Russo Bli

*** Este destul de greu s realizezi obiec tiv portretul unui om, dar aproape imposibil es te s realizezi portretul unei pers onaliti remarcabile ca decanul facultii de Muzic i Pedagogie muzical, domnul Ion Gagim, personalitate esut cu fir rou pe filele is toriei facultii, dar nu numai... Fiind de o modes tie care astzi la noi pare a fi venit de pe alt planet, schimbnd c alitatea timpului, cel mai fericit dintre nefericii i venicul cuttor de interogaii

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abordeaz probleme care nic i nu exist (!) pentru cei c e pot doar gndi. De ce cel mai fericit dintre neferic ii? Pentru c ori e om c cu har plutete ntr-o uria lacrim de tristee, prin prisma creia vezi, auzi, simi toate adevrurile i neadevrurile, toate dreptile i nedreptile lumii aces tea te ntris teaz. i. c u stupefianta-i senintate nu se ascunde n c ulisele eu-lui i nu pune lac t la gura adevrului. Din c ontr, cu harul sc risului n suflet i n cuget, Dumnealui s crie pentru vztori i auz itori, tu lburnd starea de inerie, s tereotipurile perc epiei, tihna concepiei. Cuviinc ioasa demnitate i logica nelin i titoare a profeiilor lui Emil Cioran, George Blan, n sc rierile Dumnealui dau glas scrisului tcerii, imprimnd o vitalitate aparte i afec iune cruzimii adevrului. Cercetnd Muzic a i fc nd din ea un c ult, Dnul Ion Gagim caut, de fapt, rspunsuri la mar ile ntrebri ale Vieii. Precum muzic a nu va nceta nic ic nd s fie una din marile mistere ale vieii, la fel i domnul Ion Gagim, cred, nu va nc eta nicicnd s fie un nesecat izvor de adevr. Tatiana Buliga, student la Facultatea Muzic i Pedagogie Muzi al c

*** It is diff ic ult to achieve objectively a mans portrait, and nearly imposs ible to achieve the portrait of a remarkable personality,
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like the Dean of Music and Mus ic al Pedagogy Faculty, Mr. Ion Gagim, a personality marked in red on the his toric al leaves of the faculty, but this is only As he is of a modesty, that seems to have arrived from another planet, changing the times quality the happiest from the unhappiest and the eternal searching man of interrogations deals with problems , that cant even exist (!) for thos e that c an just think. Why the happies t from the unhappiest? Bec ause each man with grac e floats into a big immense tear of sadness , through the prism of whic h, you c an see, hear, feel a ll the truths and the lies, all the jus tice and the injustice of the world-it saddens you.Ion Gagim has the gift of the soul and thinking, so he writes for sensible people exc iting the s tate of inertia, the stereotypes of perception and quiet views. Decent pride, and anxious logic of the prophets of Emil Cioran, George Balan, he adds sound diffects to the silent writing, giving a special vita lity and affection in his works. Searc hing Mus ic and doing a cult from it, Ion Gagim seeks, in fac t, answers to the big questions of the LIFE. As Music will never stop to be one of the greatest mys teries of life, so w ill not Ion Gagim. I think he will not ever stop to be a perennial spring of the truth. Tatiana Buliga, a student of the Music and Pedagogi al Mus ic c Faculty

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Atheneul Universitar
Ion Gagim coordoneaz activitatea Atheneului Universitar ciclu de ac iuni educaionale, desfurate n afara orelor de curs i destinate completrii c ulturii generale a studenilor i tuturor doritorilor, orientate spre educarea, culturalizarea i spiritualizarea viitorilor spec ialiti, api s s e ncadreze n viaa societii moderne: lansri de carte, concerte, discuii pe domenii de interes e, mese rotunde, audiii muzicale, emisiuni radiofonice, ntlniri cu pers onaliti din diferite sfere ale artei i tiinei . a. Motivaia ac iunii const n a corec ta lipsurile din liceu (coal), de a completa cu informaie, noiuni c are au survenit ulterior etapei de colarizare terminate, de a oferi o ans mrit absolventului de facultate, indiferent de profil, care n c onfruntarea cu viaa i cultura european s fac fa onorabil. Aciunea se ncadreaz n conceptul de nvmnt continuu, care asigur o receptivitate mrit la nou i mai ales s timuleaz c apac itatea de a rec epta informaii c are cultiv pers onalitatea i c aracterul. Mostr de Afi (scris de I. Gagim ) care anun una din activitile permanente ale Atheneului Crezi n tine nsui? tii pn la capt cine eti, ce doreti cu adevrat? Ai v rea s te transformi, s dev ii altul cel esenial, profund? tii de existena a dou lumi cea din afara ta i cea din interior? n care din ele trieti cu adevrat? ntr-un cuvnt: Te cunoti pe tine nsui?
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La aceste i alte multiple ntrebri, ce in de lumea interioar, de sufletul i spiritul uman, i poate da rspunsuri M UZICA. M ai mult ca att, ea te poate ajuta s le faci reale, vii. Pentru c muzica nu exist pentru ea nsi, ea exist pentru TINE, i nu doar pentru desftarea ta, ci pentru a te ajuta s te edifici spiritualicete, s-i rspunzi la cele mai profunde ntrebri, s-i construieti v iaa, v iitorul, s-i orientezi existena spre adevratul ei sens. Dac doreti s comunici la direct cu Mozart, Bach, Viv aldi, Chopin i ali titani ai gndirii i simirii umane, dac doreti s afli cu adevrat ce este SUNETUL, n care ne ducem existena zilnic fr ca s ne dm seama, dac doreti s afli despre ce vorbete TCEREA i cum poate ea dev eni prietenul tu cel mai fidel, i dac doreti s mpreunezi toate aceste fenomene tainice: M UZICASUNETUL-TCEREA-TU frecventeaz cursul facultativ Arta audiiei m uzicalen fiecare mari, ora 16.00.

Universitys Atheneu
Ion Gagim leads the ac tivity of the Universitys Atheneu a series of educational activities whic h take plac e after c las ses and aim at completing the lac ks in the general culture of the s tudents and other eagers. It is oriented tow ards education diss emination of culture and spirit of the future spec ialists so that, they become able to involve themselves in the modern soc iety life : launching of books,
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concerts, discussions in the fields of interest, round tables, mus ic al hearings, radio programmes , meetings with personalities from different spheres of art and scienc e and others. The motivation of the ac tivity c ons ists in correc ting the lacks of high school education, completing them with information ideas whic h have c hanged subsequently the already finis hed stage of schooling, in offering an enlarged chance to the graduates of the faculty, no matter the profile, who can look respectable while c onfronting the European life and culture. The ac tion is involved in the conc ept of Continuous Training, which ensures an enlarged respons iveness tow ards the new elements and more than that, it stimulates the students capac ity to receive information, a fact which cultivates character and pers onality. Ne xt you can see the sam ple of a poster written by Ion Gagim, which announces one of the perm ane nt activities of the Athe ne u. Do you believe in yourself? Do you know yourself well enough? Do you know what you really want? Would you like to change, to become a different person one that is essential, and profound. Do you k now about the existence of the two words,- the one outside of you and the one inside of you? Which word do you really belong to? In simple words, the question is: Do you know yourself?

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To these and to the other multiple questions which are connected to the inside, to the soul and to the human spirit its Music can help you to mak e these questions real, alive. Because music doesnt exist for itself it exist for you and not only for your delight but for helping your spiritual enlightenment, to help you find the answers to the most profound questions to build your life, your future, to orientate your existence towards its real meaning. If you want to communicate with Mozart, Back , Viv aldi, Chopin and other great men of human feelings and thoughts directly, if you want to find what the sound is, the sound in which we lead our daily existence without notice of it, if you want to find what Silence is speaking of and how it can become your dev oted friend and if you want to unite all these unique phenomena: Music - Sound Silence You , attend the optional classes : The art of Musical Audition ev ery Thursday at 16.00.

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LUCRRI TIINIFICE. CURSURI I PROGRAME UNIVERSITARE SCIENTIFIC WORKS. UNIVERSITY COURSES AND PROGRAMMES
1981 1. Gagim, I. Muzic a n viaa elev ilor / I. Gagim // nvmntul public. 1981. 7 oc t. ( Cu caract. chir.). 1984 2 Gagim, I. Audierea muzic ii la lec ii / I. Gagim // Pedagogul Sov. 1984. Nr.3. P.51-63. (Cu carac t. chir.).

3. Gagim, I.F. Trainic fundament tiinif ic : [Rec . la c artea: .. . . : , 1983. 222 .] // nvmntul public. 1984. 17 mart. (Cu c aract. chir.). 1985 4. . () : . .-. . / - . . . ; . . , . . ; . .. ; . . .. . - .: , 1985. - 26 p. 5. , ... : ( -. ) : . .-. . / . .. ; . ... ; . ..

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; . .. . . . .: . ., 1985. 52 6. , .. / .. // . 1986. - 3. .17-20. 1987 7. , .. - () : . ... . . / .. ; . . .. ., 1987. 17 . 1990 8. , .. / .. // - : . . (, 1-10 . 1990 .). ., 1990. .1: -, . .100-101. 9. , .. / .. // : . . . . . ( 2223 1990 .) / . .. , 1990. P.78-79. 1991 10. Gagim, I. Reinterpretarea pedagogic a lucrrii muzicale : Schi teoret. / I. Gagim; Ins t. pedagogic de stat A.Russo din Bli; Red. lit. Maria leahtic hi. Briceni, 1991. 14 p.
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11. Gagim, I. Rezerve didac tic e ale acompaniamentului : (Indicaii metodice pentru profes orii i studenii fac. de muzic i pedagogie) / I. Gagim; Red. t. S.F. Croitoru; Red. lit. Maria leahtichi; IPSB A.Russo. Briceni, 1991. - 17 p. 12. Croitoru, S. Muzica i pedagogia : Pregtirea nvtorilor de muzic la Inst. ped. din Bli / S. Cro itoru, A. Popov, I. Gagim // Fc lia. 1991. 27 dec. P.5. 13. , .. .. / .. , .. // i ii i i : . . . ..., , 29-31 19991. , 1991.- .3 . P.94-95. 14. , . . / . ; . . . . ; . . . , 1991. 16 p. 15. , .. / .. ; . .. , 1991. 14 . 1992 16. Concepia educaiei muzicale n nvmntul preunivers itar / E.Coroi, T. Chir iac, S. Croitoru, I.Gagim // Va lenele reformei nvmntului. Ch., 1992. Partea IV. P.42-49. 17. Gagim, I. Conceptul Asachi-Haret de promovare a muzic ii n c oal i unele modaliti de actualizare a lui / I.Gagim, M. leahtichi // Modaliti de perfecionare a nvmntului din Republica Moldova : Culeg. de teze a c onf. t. / U.S.B. A.Rus so. Ch., 1992. P.160-162.
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18. Gagim, I. Despre programa c ursului Metodica educ aiei muzicale n coala general / I. Gagim // Modaliti de perfec ionare a nvmntului d in Republic a Moldova : Culeg. de teze a conf. t. / U.S.B. A.Russo Ch., 1992. - P.163-164. 19. Modaliti de perfec ionare a nvmntilui d in Republica Moldova: [Culeg. de teze a c onf.t.-pract.] / Univ de Stat "A. Rus so" din Bli; coord. Mihai leahtichi; red. t. Svetlana J urat, Lidia Stupacenco, Ion Gagim. - Ch.: Ed. Encicl. "Gh.As achi", 1992. - 247p. 1993 20. Gagim, Ion. Dic ionar de muzic: rus-romn, romn-rus = . Bli, 1993. 167 p. 21. Metodic a educaiei muzic ale n c oal : Progr. pentru colegiul muz. -ped. / Alct. I. Gagim; Min. tiine i i nvmntului al RM. Ch., 1993. 12 p. 1994 22. Gagim, I. Dic ionar de pedagogie muzic al rus-romn / I. Gagim, M. leahtic hi. Ch.: tiina, 1994. 207 p. (SOROS Foundation-Moldova). 23. Programa de educ aie muzic al : Pentru nvmntul preuniv. (c l. I-VIII) / Alc t. E. Coroi, V. Vasile, S. Croitoru, A. Bor, A. Popov, I, Gagim; Min. nvmntului a l RM; Ins t. de pedagogie i ps ihologie. Ch.: Lumina, 1994. 42 p. 1995 24. Concepia educ aiei muzicale n nvmntul preuniversitar / T. Chir iac , E. Mamot, C. Rusnac , S. Croitoru, A. Popov, E. Coroi, A. Bor, I. Gagim.- Ch., 1995.- 11 p.
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25. Gagim, I. Dimensiuni ps ihologic e ale gndirii muzic ale : Tez. ref. / I. Gagim // Realizr i i deschideri tiinif ice. Conf. jubiliar. Bli, 1995. P. 72. 26. Gagim, I. Din is toria nvmntului general romnesc / I.Gagim // An. t. / Univ. A.Russo Bli (ser. nou). 1995. T.XVIII, fasc. Psihologie-Pedagogie. P.59-61. 27. Popov, A. Studierea aprofundat a artei muzic ale n nvmntul preuniversitar general : Concepie i sisteme / A. Popov, I. Gagim, S. Croitoru // An. t. / Univ. A. Russo Bli (ser. nou). 1995. - T.XVIII, fasc. Psihologie-Pedagogie. P.57-58. 1996 28. Gagim, I. Metoda de acordeon : (Man. pentru cl. 1 c u aprofundare n arta muzical) / I. Gagim, V. Sas u; Univ. De Stat A.Russo; Fac. Muzic i Pedagogie Muzical. Bli, 1996. 60 p. cu note. 29. Gagim, Ion. tiina i arta educ aiei muzicale / Ion Gagim. Ch.: ARC, 1996. 223 p. 30. Programa educ aiei muzicale n clasa a 9-a : nvmntul gimnazial / Alc t. I. Gagim; Min. nvmntului al RM. Ch.: Lyc eum, 1996. 10 p. 1997 31. Gagim, I. Educaia muzic al exigenele unei noi viz iuni / Ion Gagim // An. t / Univ. Al. I. Cuza din Iai (serie nou). tiine le educ aiei. 1997-1998. T.I-II. P.199-206.

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32. Gagim, I. George Blan i musi osophia : [ muzicolog romn c din Germania] / I. Gagim // Lit. i arta. 1997. 25 dec. P.6. 1998 33. Educaia muzical : clasele I-IV: Curriculum dis ciplinar / E. Coroi, A. Bor, S. Croitoru, I. Gagim // Curriculum c olar. Clasele I-IV. Ch., 1998. P.173-191. 34. Educaia muzical: c lasele I-IV : Curric ulum disc iplinar / E. Coroi, A. Bor, S. Croitoru, I. Gagim // Curriculum c olar. Clasele I-IV: Bro ur informativ. Ch., 1998. P.43-46. 35. Gagim, I. De ce omul are nevoie de muzic? / I. Gagim // Lit. i arta. 1998. 12 mart. 36. Gagim, Ion. Iniiere n arta de a asculta i nelege muzica / Ion Gagim // Lit. i arta. 1998. 24 sept. P.6. 37. Gagim, Ion. Tes te pentru proba de evaluare la muzic: examenul atestrii: s uport / Ion Gagim // Fc lia. 1998. 9 mai. P.5. 1999 38. Gagim, I. Filosoful n faa muzic ii / I. Gagim // Lit. i arta. 1999. 6 mai. P.6. 39. Gagim, I. Se a teapt strangularea muzic ii? / I. Gagim // Fclia. 1999. 30 ian. 2000 40. Educaia muzic al: curric ulum colar pentru c las ele a 5-a a 9-a / Eugen Coroi, Alexandru Bor, Sergiu Croitoru, Ion Gagim. Ch.: Cartier educaional, 2000. 27 p. 41. Gagim, Ion. Auzim noi, oare, muzic a? / Ion Gagim // Lit. i arta. 22 iunie. P.6.
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42. Gagim, Ion. Muzica i taina vieii / Ion Gagim // Basarabia. 2000. Nr.1-3. P.107-114. 43. Gagim, Ion. Omul n faa muzicii / Ion Gagim; Atheneul Un iv. Blean. B li: Pres a Univ. B lean, 2000. 104 p. 44. " " 5- - 9 / . , . , . , . ; . .Ch.: Cartier educaional, 2000. - 27 . 2001 45. Anale le tiinif ice ale Universitii de Stat "Alecu Russo" din Bli: Ser. nou 2001 / c ol.de red.: Larisa Stog, Ion Gagim, Va lentina Pric an, Mihail Rumleanschi, 2001. - 72 p. T.19, fasc. c.: Pedagogie i Psihologie. Muzic i Pedagogie muzical. 46. Gagim, Ion. Coninutul nvmntului muzical-pedagogic postuniversitar n baza Legii nvmntului i a Conc epiei nvmntului n Republica Moldova: Raport t. (n rezultatul elaborrii temei nr.8 Muzica la comanda Ministerului nvmntului). Nr. de inventar 0201 MD 01274 / Inst. Naional de Economie i Informaie. Ch., 2001. 19 p., 92 anexe. (coautor) 47. Gagim, Ion. De c e omul are nevoie de muzic ? / Ion Gagim // Cronica (Iai). 2001. Nr.4. P.6. 48. Gagim, Ion. Dimensiunea metaps ihologic a muzic ii: implic aii ale "Experienei es tetice" lupac iene / Ion Gagim // Analele tiinif ic e ale Institutului de Studii Europene "tefan Lupacu" 136

Iai. Ser. Secvene semio-logic e. T.2, nr.1-2, 2000\ Vol.1: tefan Lupacu : un gnditor pentru mileniu trei. - Iai, 2001. - P.365372. 49. Gagim Ion. Muzic i exis ten / Ion Gagim // Cronic a (Iai). 2001. Nr.5. P.6. 50. Gagim, Ion, Omul i muzica / Ion Gagim // Educ aia prin art n nvmntul preunivers itar: materialele conf. republic ane (8-9 decembrie, Chiinu 2001). Ch., 2001, P.31-33. 51. Gagim, Ion. Prelegeri de ps ihologie muzical: Nr.1-5 / Ion Gagim; Un iv. De Stat A.Rus so din Bli. Fac. Muzic . Bli, 2001. Nr. 1. Psihologia muzic ii disciplin de studiu i domeniu de c ercetare. 2001. 11 p. Nr.2. Evoluia psihologiei muzicale: (aspect istoric i istoriografic: c ercettori, coli i c ercetri). 2001. 27 p. Nr.3. Muzi a i psihic ul: interferene. 2001. 23 p. c Nr.4. Dimens iune perc eptiv a muzic ii. 2001. 27 p. Nr.5. Aptitudinile muzic ale. 2001. 23 p. 52. Gagim, Ion. Toamnele doamnei Liuba Popovschi [la 65 de ani] / Ion Gagim // Plai blean. - 2001. - 12 oc t. 2002 53. Croitoru, Sergiu. Educaia muzical: Man. pentru cl. a 7-a / Sergiu Croitoru, Ion Gagim. Ch.: tiina, 2002. 136 p. 54. Gagim, Ion. Fizio logie i muzic / Ion Gagim // Cronic a. 2002. Nr.12. P.8. 55. Gagim, Ion. Prelegeri de filos ofia muzic ii / Ion Gagim; Univ. de Stat "A. Russo", Fac . Muzic i Pedagogie Muzic al. Bli, 2002. Nr.2 : Filos ofia sunetului. - 8 p., verso filelor alb. - Bibliogr. p.8;
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Nr.3: Cosmologie muzi al. - 6 p., verso filelor alb. c 56. Gagim, Ion. Prelegeri de psihologia muzic ii / Ion Gagim ; Un iv. de Stat "A. Russ o", Fac. Muzic i Pedagogie muzical. Bli Nr.2A: Ps ihic ul uman: Imagine general, 2002. - 47 p. Bib liogr. p.47. 57. Gagim, Ion. Profesorul de muzic: Prestan i talent / Ion Gagim, Margareta Tetelea, Anton Popov // Fc lia. 2002. 2, 9 mart. 58. Gagim, Ion. Relaia Intonare muzic al comunicare spiritual / Ion Gagim, Mariana Vacarc iuc // Reforma nvmntului: teorie i practic: conf. int. t.-practic, 20-21 aprilie. Bli. 2002. P.153-156. 59. , . works hop // - : . . ., 2002. P.29-35. 60. - : VII . .- . / . .: .. , .. ; .: .. ,..., .. ,....- .: . . . -, 2002. - 146 p. (Xerocop.). 2003 61. Croitoru, Sergiu. Educaie muzical: Man. pentru cl. a 7-a / Sergiu Croitoru, Ion Gagim. - Ch.: tiina, 2003. - 136 p.: il., note 62. Educaia muzical : curriculum colar/ E. Coroi, A. Bor, S. Croitoru, I. Gagim // Curric ulum colar : cl. 1-4.- Ch.. - 2003. P.92-116. 63. Gagim, Ion. Auzim noi, oare, muzic a? / Ion Gagim // Clipa (Los Angeles (SUA). 2003. Nr.582. P.43-45.
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64. Gagim, Ion. Bios i melos : Sunetul muzic ii / Ion Gagim // Cronica (Iai). 2003. Nr.4. P.8. 65. Gagim, Ion. Cuvnt nainte: [ la lucrarea Foaie verde lmie de Pavel Anton / Ion Gagim // Anton Pavel. Foaie verde lmie: c ntece pentru precolari i c olari. Timi oara, 2003. P.3 66. Gagim, Ion. Dimensiunea psihologic a muzicii. Ia i: Timpul, 2003. 280 p. 67. Gagim Ion. Filos ofia muzic ii i a tcerii n contextul filosofiei muzicii // Filosofie i Drept. 2003. Nr.1-3. P. 68. Stic i, Alexandra. Metodica educ aiei muzicale : Manual pentru s tudenii inst. de nvmnt superior de scurt durat (colegii) cu profil muzical-pedagogic / Alexandra Stici, Ion Gagim. Ed. a 2-a. Ch.: ARC, 2003. 222 p. 69. Probleme actuale i de perspec tiv ale pedagogiei muzicale : Materiale le c onf. t. (18 apr. 2003, Bli) / Univ. de Stat "A. Rus so"; Fac . Muzic i Pedagogie muzical; Bib l. t.; c oord. I. Gagim, M. Tetelea, A. Popov, V. Bab ii; resp. de ed. V. Babii. Bli, 2003. - 68 p. 70. / . , . , ., . // . I-IV. , 2003. P. 203-227 . 2004 71. Gagim, Ion. Despre scopul educaiei muzic ale / Ion Gagim // Un ivers Pedagogic. 2004. Nr.2. P.38-44.

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72. Gagim, Ion. Dezvoltarea s piritual a elev ilor prin muzic / Ion Gagim // Univers Pedagogic . 2004. Nr.1. P.41-46. 73. Gagim, Ion. Fundamente psihopedagogic e i muzicologic e ale educ aiei muzicale. Spec . 13.00.01. Pedagogie general: ref. t. de dr. habilitat n baza lucrrilor public ate n pedagogie / Ion Gagim; Univ. de Stat din Moldova. Ch., 2004.- 56 p. 74. Gagim, Ion. Repere muzic ologic e ale educaiei muzic ale n c oala contemporan / Ion Gagim // Standarde, c oninuturi i tehnologii moderne n educ aia muzical : Materia le le s impoz. t. int.: Bli, 26 mai, 2004. Bli, 2004. P.11-13. 75. Gagim, Ion. tiina i arta educaiei muzic ale / Ion Gagim. Ed. a 2-a. Ch.: ARC, 2004. 222 p. 76. , .. / .. // .., .. . ., 2004. P. 231-233. (). 77. , . / // - IX: VIII . .-. .(, 1 4 . 2004 .). .; - , 2004. P. 146-152. 2005 78. Gagim, Ion. Kant, batista parfumat i problema perc epiei muzic ii / Ion Gagim // Cultura: rev. internaional de filos fia culturii i antropologie cultural. 2005. Nr.3. P.75-87. PERSONALIA

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79. Lans area crii lui Ion Gagim tiina i arta educaiei n Bibliotec a Universitar // Cugetul. 1997. 29 mai. p.5. 80. Cosma, Carmen. Un demers pentru cei in iiai: Despre c artea lui Ion Gagim Omul n faa muzic ii / Carmen Cosma // Lit. i arta. 2000. 14 dec . P.6. 81. Popa, Iulius. Omul n faa muzic ii alturi de Ion Gagim / Iulius Popa // Lit- i arta.- 2001. 31 mai. P.3. 82. Bu liga, T. Zile le Facultii de muzic / T.Buliga // Generaia Pro. 2003. Nr.7. P.1-2. 83. Arc ea, Lilia. Ion Gagim la 50 de ani // Fc lia.- 2004. 29 mai. P.5. 84. Ion Gagim: [Informaie s ucc int despre ac tivitatea didac tic i tiinif ic ] // Cultura: rev. internaional de filosfia c ulturii i antropologie cultural. 2005. Nr.3. P. 206. 85. , . 5 / // . 2002. 15 . P.3.

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DIN CUPRINSUL CRILOR FRAGMENTE DIN CRI

Domeniul Pedagogia muzicii Gagim, I. tiina i arta educaiei muzicale / I.Gagim .- Chi inu: tiina, 2004. -222 p. Cuprins : Prefa Introducere Probleme Capitolul nti. fundame ntale de educaie m uzical 1.1.Arta, neces itatea i ac iunea ei. 1.2.Spec ificul muzic ii ca gen de art. 1.3.Arta muzi al c a obiec t de c studiu n nvmntul general. 1.4.Lec ia (ora) de muzic. 1.5.Profesorul c olar de muzic . 1.6.Principii i metode de nvmnt muzical general. 1.7.Aptitudinile muzicale i rolul lor n ac tivitatea muzical. 1.8.Perc epia muzical alfa i omega activitii muzicale. 1.9.Forme de iniiere muzical: prezentare general. Capitolul doi. Activitile m uzical-didactice i tehnologiile lor 2.1.Audiia muzicii. 2.2.Cntul vocal-coral. 2.3.nsu irea cunotinelor muzicale i despre muzic. 2.4.Citit-sc risul muzical. 2.5.A tivitatea muzical-ritmic. c 2.6.Creaia muzical-artis tic a elevilor. 2.7.Jocul muzic al. 2.8.Executarea la instrumente muzic ale pentru copii.
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2.9.Caracterizarea muzicii. Capitolul trei. Probleme speciale de e ducaie muzical 3.1.Aspectul doc imologic al nvmntului muzic al c olar. 3.2.Tema pentru acas (lucrul independent) la obiectul Muzica. 3.3.Activitatea muzic al extracolar. 3.4.Sis teme i concepii de nvmnt muzic al-general. 3.5.Tendine ac tuale n educaia i instruirea muzical a copiilor n lume. Mic epilog Bibliografie Fragment din carte: n lucrarea de fa se ncearc o aducere a pedagogiei muzicii la ea ac as, o aduc ere la un numitor comun a problemelor de baz ale educaiei muzic ale colare, o c entrare a lor pe un princ ipiu-cheie, o orientare i interpretare proprie naturii i esenei muzicii c a fenomen specific al acestei lumi, al vieii omului. Concepia muzical-pedagogic propus se s prijin n mod inerent pe psihologismul profund al muzicii, pe energia interioar c oninut n ac east art. i aceasta din urmtoarele considerente. Tot ce se ntmpl n muzic i cu muzic a se identific totalmente cu c eea ce se ntmpl n om i c u omul. Muzica este reflectarea direct a lumii sufleteti a omului i n afara sufltului nu poate fi tratat pe deplin i profund. De ac eea oric e abordare a fenomenului muzical, inclus iv cea pedagogic dar poate n primul rnd cea pedagogic! n afara nelegerii c el este n esen i n spec ial un fenomen ps ihologic , i va pierde din integritate, va rmnea tirbit din c apul locului. Gagim I. Metodica educaiei m uzicale. Pentru studenii colegiilor m uzical-pedagogice (ciclul primar / I.Gagim, A.Stici .- Chiinu: tiina, 2003. 152 p. Cuprins: Introducere Capitolul I. Educaia muzical disciplin de nvm nt
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1.1.Importana muzic ii c a obiect de studiu. 1.2.Lecia de muzic form de baz n realizarea educ aiei muzic ale. 1.3.Varietatea i structura metodic a lec iei de educ aie muzi al. c Capitolul II. Principii i metode utilizate n procesul de educaie muzical 2.1.Principii d idactice generale n educaia muzical. 2.2.Metode specific e educaiei muzic ale. Capitolul III. Activiti de re alizare a e ducaiei muzicale 3.1. Perc epia muzic al. 3.2. Audiia muzicii. 3.3. Cntul voc al-coral. 3.4. Activitatea muzical-ritmic . 3.5. Executarea la ins trumente pentru copii. 3.6. Citit-s cris ul muzical. 3.7. nsu irea cunotinelor muzicale i despre muzic. 3.8. Creaia muzical-artistic . 3.9. Jocul muzical. 3.10. Caracterizarea verbal a muzicii. Capitolul IV. Curriculum-ul la educaia m uzical 4.1. Curric ulum-ul educ aiei muzic ale n c las ele primare. 4.2. Obiec tivele generale ale educaiei muzicale. 4.3. Obiectivele de referin i c oninutul educ aiei muzicale n clasele primare. Capitolul V. Evaluare a proces ului de e ducaie muzical 5.1. Teste de evaluare. 5.2.Teste de evaluare care solicit un s ingur rspuns. 5.3. Teste de evaluare cu mai multe variante de rspuns. 5.4. Teste de evaluare cu rspunsuri selec tive. 5.5. Teste de evaluare a capacitilor. Capitolul VI. Proiectarea didactic a educaie i muzicale 6.1. Particularitile proiec trii didac tic e de lung i de sc urt durat a educaiei muzicale. 6.2. Aplicaii: set de proiecte didactice pentru leciile de educ aie muzic al n c lasele I-IV. Capitolul VII. Dezvoltarea nvm ntului muzical n Re publica Moldova 7.1. Din istoria nvmntului muzical general n coala naional.
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Capitolul VIII. Activitatea m uzical e xtradidactic form de cunoatere a m uzicii. Bibliografie Fragment din carte: Educaia muzical s e bazeaz pe anumite legi, care nec esit a fi demonstrate, c lasificate, argumentate i explicate. Dar ce i cum se poate argumenta n muzic, dac mintea nu ptrunde pe deplin sensul e i sonor? Or, muzica mai mult se intuiete, se simte, dect se explic . De aceea orice abordare pedagogic a fenomenului muzic al este, n esen, un proces de ordin interior, psihologic i spiritual. Cum se poate cuc eri sufletul copilulu i prin intermediul muzic ii? Care s unt cile de cunoa tere a muzic ii? Care es te metodologia de iniiere n tainele artei muzicale? Lucrarea reprezint o sintez a experienei didactice a autorilor i rspunde ac tualelor cerine ale educaiei muzicale. Gagim I. Dicionar de Pedagogie Muzical / I. Gagim , M. leahtichi. - Chiinu: tiina, 1994, -207 p. Din Cuvnt nainte: Prezentul dicionar este o prim ncercare de sis tematizare i traducere din limba rus n c ea romn a unor termeni utilizai n nvmntul muzic al. Gndit ab ovo drept instrument care s contribuie la formarea culturii muzic ale generale i profes ionale, el poate fi conc eput ca o luc rare domenial c u c aracter interdisc iplinar. i ac easta pentru c procesul de ns uire a culturii date semnific, mai nti de toate, un domeniu cu o vdit configuraie complex, presupunnd o bun cunoatere a noiunilor i categoriilor ce vizeaz direc t muzica c a fenomen spec ific, precum i a multip lelor ci de difuzare i interpretare a ei. El necesit n ac elai timp o cunoatere satis fctoare a principiilor, formelor i metodelor de percepere a muzicii, a strilor afective provoc ate de ea.
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innd cont de complexitatea procesului de formare a pers onalitii prin intermediul muzic ii, autorii, pornind la elaborarea dicionarului, au c onsultat o vas t bibliografie din diferite domenii: muzicologie, pedagogie, psihologie, etic, soc iologie, filos ofie etc . Dic ionarul conine termeni ce se refer la aspectele is toric , teoretic, estetic, psihologic, pedagogic prac tic ale artei muzicale. El conine i o list cu nume a circa 500 personaliti notorii compozitori, dirijori, interprei de muzic , pedagogi, scriitori, c are iau adus aportul la dezvoltarea i propagarea muzic ii. Lucrarea es te destinat tuturor c elor ce sunt implicai n procesul de instruire i educaie muzic al, nc epnd cu etapa prec olar i terminnd cu c ea postuniversitar, precum i unui cerc mai larg de cititor i.

146

INDEX DE NUME INDEX OF NAMES

Anton Pavel Arcea Lilia Babii V. B lan George Bor A. Bu liga T. Chir iac T. Coroi E. Cosma Carmen Croitoru S. Jurat S. Mamot E. Popa Iulius Popov A. Popovschi Liuba Prican Valentina Rumleanschi Mihail Rusnac C. Sasu V. Stici A. Stog Larisa Stupac enco L. leahtic hi Maria leahtic hi Mihail Tetelea M. Vacarc iuc M. Vasile V. .. .. .

(65) 83 69 (32) 23, 24, 33, 34, 82 16, 24 16, 23, 24, 33, 80 11, 12, 16, 23, 33, 34, 40, 53, 19 24 81 12, 23, 24, 27, (52) 45 45 24 28 68 45 19 10, 11 17, 22 57, 69 58 23 60, 76 3 44, 67, 70

40, 62 34, 40 62 24, 27, 61, 62

57, 69

147

 . .. .. .. .. ..

44, 67, 70 4, 5, 7, 44, 67, 76 5 60, 76 85 14 13

148

INDEX DE TITLURI INDEX OF TITLES

Analele tiinif ice ale universitii de Stat A.Russo din Bli.Ser ie nou Audierea muzic ii la lec ii Auzim noi oare, muzica? Bios i melos: sunetul muzi ii c Conc eptul Asachi-Haret de promovare a muzic ii n coal i unele modaliti de actualizare a lui Conc epia educaiei muzicale n nvmntul preuniversitar Coninutul nvmntului muzic alpedagogic n baza Legii nvmntulu i i a Conc epiei nvmntului din Republica Moldova Cuvnt nainte: la lucrarea Foaie verde lmi De ce omul are nevoie de muzic ? Despre programa cursului Metodica educaiei muzicale n c oala general Despre sc opul educ aiei muzic ale

45 2 41, 63 64

17 16, 24

46 65 35, 47 18 71

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Dezvoltarea spiritual a elevilor prin muzic 72 Dic ionar de muzic: rus-romn, romnrus Dic ionar de pedagogie muzical Dimens iunea metapsihologic a muzic ii Dimens iunea psihologic a muzicii Dimens iuni psihologice ale gndirii ale gndirii muzicale Din istoria nvmntului general romnesc Educaia muzical: c l.I-IV Educaia muzical: c urriculum colar Educaia muzical: manual pentru c l. a 7-a Educaia muzical: exigenele unei noi viziun i Filosofia muzicii i a tcerii n contextul filosofiei muzicii Filosofia n faa muzic ii Fizio logie i muzic Fundamentele psihopedagogic e i muzicologic e ale educ aiei muzic ale George Blan i muzicosophia
150

20 22 48 64 25 26 33, 34 62, 40 53, 61 31 67 38 54 73 32

Iniiere n arta de a asculta i nelege Muzica Ion Gagim la 50 de ani Kant batist parfimat i problema perc epiei muzicale Lansarea c rii lui IonGagim tiina i arta educaiei muzicale Metoda de ac ordeon Metodica educaiei muzicale Metodica educaiei muzicale n coal Modaliti de perfecionare a nvmntului din Republic a Moldova Muzica n viaa elevilor Muzic i existen Muzica i pedagogia Muzica i taina vieii Omul n faa muzicii Omul n faa muzicii a lturi de Ion Gagim Omul i muzica Prelegeri de filos ofia muzic ii 36 83 78 79 28 68 21 19 1 49 12 42 43 81 50 55, 56
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Prelegeri de psihologie muzic al Probleme ac tuale i de perspectiv ale pedagogiei muzicale Profesorul de muzic: pres tan i talent Programa de educaie muzical: cl. I-VIII Programa educ aiei muzic ale n clasa a 9-a Reinterpretarea pedagogic a lucrrii muzic ale Relaia intonare muzical-comunic are spiritual Repere muzicologice ale educaiei muzicale n coala contemporan Rezerve didac tice ale acompaniamentului Se ateapt strangularea muzicii Studierea aprofundat a artei muzicale n nvmntul preuniversitar general tiina i arta educaiei muzicale Teste pentru proba de evaluare la muzic Toamnele doamnei Liuba Popovschi Trainic fundament tiinif ic
152

51 69 57 23 30 10 58 74 11 39 27 29, 75 37 52 3

Un demers pentru cei iniiai tiina i arta educaiei muzicale Zilele facultii de muzic . . workshop - 5

80 29, 75 82

13 59 76 14 8 60 77 70 85 4
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 5- 9-

15 5 44

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SUMAR
Prin perseveren, atingi s uccesul Ion Gagim de la primul ef de grup al noii s pec ializri Pedagogie muzic al la primul doctor habilitat n pedagogie muzical Ion Gagim despre s ine Ion Gagim s ub semnul muzic ii (Revelaii) Ion Gagim pe paginile ziarulu i . Curriculum vitae Personaliti c unoscute i mai puin c unoscute despre Ion Gagim Din cuprinsul crilor Lucrri tiinif ic e. Cursuri i Programe univers itare Personalia Index de nume Index de titluri 3

10 15 36 66 75 86 117 122 132 134 136

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TABLE OF CONTENTS
Succes can be achived throuch perseverence Ion Gagim from the first monitor Of the groups, of the new spec ialization Mus ic al Pedagogy to the firs t habilitate doctor in musical pedagogy About himself Ion Gagim distinguished by music (Revelations) Well known and less known pers onalities Universitys Atheneu Sc ientific works. University courses and programmes Personalia Index of names Index of titles 6

12 25 47 105 115 122 132 134 136

156