Music History

Bu çalışmanın amacı erken Cumhuriyet'in modernleşme fikirleri ve uygulamalarının bir parçası olan Ankara Devlet Konservatuvarının kuruluş sürecini uzman raporları, talimatnameler ve kanunlar üzerinden inceleyerek, Cumhuriyet'in modernleşme ideolojisinin müzik alanındaki yansımalarını belge temelli bir çözümleme ile ortaya koymaktır. Nitel araştırma yöntemiyle yürütülen çalışmada, 1920'li ve 1930'lu yıllarda hazırlanan yerli ve yabancı uzman raporları ile dönemin müzik kurumlarının kanun ve talimatnamelerinden oluşan veriler içerik analizi yöntemiyle çözümlenmiştir. Elde edilen bulgular, erken Cumhuriyet döneminde müziğin yalnızca bir sanat alanı değil, aynı zamanda ulusal kimliğin inşasında ideolojik bir araç olarak konumlandırıldığını göstermektedir. Paul Hindemith, Eduard Zuckmayer, Joseph Marx, Max Reinhardt ve Carl Ebert gibi uzmanların raporlarında, müzik eğitiminin Batı normları çerçevesinde yeniden yapılandırılması, halk müziği repertuarının derlenip işlenmesi ve sanatın toplumsal işlevinin kültürel kalkınmayla ilişkilendirilmesi önerilmiştir. Bu öneriler, dönemin kanun ve talimatnameleriyle birlikte Ankara Devlet Konservatuvarının yapılanmasını ve eğitim modelini biçimlendirmiştir. Sonuç olarak, konservatuvar Cumhuriyet'in müzik politikaları bağlamında Batı müziği temelli bir modernleşme anlayışı üzerine kurulmuş, modern devletin kurumsal simgelerinden biri olmuş ancak "millî musiki" arayışının kurumsal yapıya sınırlı biçimde yansıması, kültürel reformların ideolojik gerilimini açık biçimde ortaya koymuştur.

musicale settecentesco nella costruzione di una prospettiva storiografica europea e nella definizione di nuove traiettorie di indagine. La realizzazione del convegno e del presente volume è stata possibile grazie al contributo e alla collaborazione di numerose istituzioni, studiosi e operatori culturali, ai quali desideriamo esprimere la più sincera gratitudine. Un sentito ringraziamento va anzitutto ai Conservatori di Musica "Santa Cecilia" di Roma, "San Pietro a Majella" di Napoli e "Benedetto Marcello" di Venezia, che hanno accolto e sostenuto le diverse sessioni del convegno, contribuendo in modo determinante alla sua articolazione policentrica e al suo respiro internazionale. La disponibilità degli spazi, il supporto organizzativo e la partecipazione attiva delle rispettive comunità accademiche hanno reso possibile un confronto scientifico di alto profilo. Un particolare riconoscimento è rivolto ai relatori e agli autori dei saggi qui raccolti, per la qualità delle ricerche presentate e per la disponibilità dimostrata nel trasformare gli interventi in contributi scientifici organici, offrendo un apporto significativo al rinnovamento degli studi jommelliani. Un ringraziamento particolare è rivolto ai componenti del Comitato scientifico (Tarcisio Balbo,

Among the many compositions that have come down to us from 18th century composer, keyboardist, and vocalist Marianna Martines (1744-1812) are three keyboard sonatas written in the 1760s (in E, A, and G major, respectively). These works are the only solo sonatas that have come to light out of the estimated 31 she composed.

Until recently, these sonatas were relatively unknown by the general public. The two earlier works (Sonata in E major, 1762, and Sonata in A major, 1765) had circulated in the late 19th century in heavily edited versions by Ernst Pauer, while the most recent of the three (Sonata in G major, 1769) existed only in a manuscript copy from ca. 1800. Thanks to IMSLP, manuscript copies of all three works are now available.

The three sonatas, composed by Martines from her late teens to her mid-20s, are three-movement works that display a variety of moods and technical challenges, serving as an apt tribute to the composer’s abilities as a virtuoso keyboardist. Likely intended for the harpsichord (the public instrument of choice for keyboard virtuosi in the 1760s), these works translate well to the clavichord, as well as the contemporary fortepiano.

This edition, compiled primarily from the extant manuscript sources, seeks to present Martines’s musical text with a minimum of editorial interference. Discrepancies between the manuscript copies and the Pauer edition are noted and reconciled. It is the editor’s hope that the scores presented on the following pages will help to introduce these meritorious works to a new, wider musical audience.

Theatre in Pressburg (today’s Bratislava). This was the first ever staging
of a Dvořák opera in what is now Slovakia. The work was performed as part of a guest performance by the Czech opera company of the National Theatre of Brno led by its director František Lacina. The event took place at a time when the Hungarianization effors of the Hungarian government were at their height, which looks surprising at first sight. As the contemporary press reveals, the reason for obtaining the permit was that it was declared as a national and local support event. The main proceeds went to the committee set up for the construction of a monument of the Hungarian poet Sándor Petőfi (1823–1849). Another recipient was the municipal poverty fund, one of the oldest pillars of social assistance to the Pressburg bourgeoisie. Dvořák’s work thus became an instrument of charity and patronage in a Hungarian province.

The consequences of the coronavirus pandemic are and will continue to be devastating for the tourism sector, especially for the cultural one. It is necessary to reflect on the new strategies to be adopted to deal with the heavy losses that the world of cultural heritage is suffering. The great archaeological attractions will no longer be able to accommodate the prepandemic numbers and therefore we must also think of alternative routes to present the minor heritage of our country. In recent years, our experience has allowed us to realize an open-air museum project in bioarchaeological sites (archaeological cemetery areas characterized by the recovery of human remains) that are part of an archaeological heritage that is little known, but which reserve great dissemination and fruition potential. The design of an archaeological itinerary, even a virtual one, which includes the bioarchaeological sites that we are musealizing, could offer a new visiting experience, especially in this diff...

บทความนี้มุ่งขยายความเข้าใจเกี่ยวกับประวัติศาสตร์ครอบครัวในแง่ประสบการณ์ความสัมพันธ์ทางเพศสภาพระหว่างพ่อกับลูกชายจากกรณีพระจุลจอมเกล้าฯ กับเจ้าฟ้าจักรพงษ์ฯ ระหว่าง พ.ศ. 2439–2453 ในการศึกษา บทความเลือกใช้หลักฐานชั้นต้นประเภทจดหมายครอบครัวที่บอกเล่าประสบการณ์ความสัมพันธ์ระหว่างพ่อกับลูก พร้อมทั้งเสนอว่าความสัมพันธ์ระหว่างพ่อกับลูกชายคือศูนย์กลางหนึ่งของความสัมพันธ์แบบครอบครัวของชนชั้นนำ และส่งผลกระทบอย่างลึกซึ้งต่อความคิด ท่าที และอารมณ์ของผู้เป็นพ่อ ความสัมพันธ์นี้ทวีความสำคัญขึ้นพร้อมกับการสืบตระกูลจากพ่อสู่ลูกชาย และดำเนินไปในสถานการณ์ใหม่ที่พ่อจำต้องส่งลูกชายออกไปศึกษาในยุโรปซึ่งเป็นหมุดหมายของความเป็นสมัยใหม่ อันตรายที่ตามมาจากสถานการณ์นี้คือประสบการณ์แบบข้ามชาติและข้ามวัฒนธรรมของลูกชาย ซึ่งมีด้านที่ไม่อาจยอมรับได้ในครอบครัวชนชั้นนำ และยังผลให้ความสัมพันธ์ระหว่างพ่อกับลูกชายตึงเครียดอย่างรุนแรง
[This article aims to broaden the understanding of family history in terms of gender relations between father and son, focusing on the case of King Chulalongkorn and Prince Chakrabongse between 1896 and 1910. To accomplish this, it draws on primary sources, especially family letters, which reflect the lived experiences of their relationship. The article argues that the father-son relationship was central to elite families and profoundly affected fathers' thoughts, personalities, and emotions. This relationship was elevated in significance alongside the patrilineal succession from father to son and was shaped by a new situation in which fathers had to send their sons to study in Europe, which was regarded as the center of modernity. The danger that followed lay in the sons' transnational and transcultural experiences, which encompassed certain aspects that were unacceptable within elite families and ultimately strained the father-son relationship.]

Spiritual music is said to have many functions: from religious, pedagogical, to educational and developmental functions. Reducing spiritual music, particularly Serbian spiritual music, solely to a tool for awakening one's religious feelings had a negative impact on studying this type of music in Serbian education in the post-war period. However, in the last decade of the previous century, Serbian spiritual music was incorporated in the curricular content of Music Education in primary schools. Bearing this in mind, the authors of the paper set the aim of their research - to determine the representation of Serbian spiritual music in teaching Music Education in the second cycle of general education, as well as its significance according to teachers' opinions. In order to contribute to this endeavour of national importance, the authors conducted research to investigate how much is Serbian spiritual music present in the current curricula, recommended contents, and music lessons, and what...

This study explores the sonic and cultural trajectory of the 15th-century Wallachian ruler, Vlad III (Vlad Țepeș), analyzing the profound dichotomy between his authentic representation in Romanian oral tradition and his subsequent transformation within Western commercial music. Utilizing ethnomusicological, morphological, and anthropological frameworks, the paper examines how local folk music forms-specifically the Cântec Bătrânesc performed by the Lăutarifunctioned as a "sonic shield" and an active oral archive to preserve Vlad's historical legacy as a symbol of absolute socio-political justice and national defense. Furthermore, the paper contrasts this native eulogy with the Western "Gothic" soundscape, analyzing how 20th-century cinema, orchestral scoring (e.g., Wojciech Kilar), and contemporary subcultures like heavy metal have exoticized and commodified his persona into a transnational myth of supernatural terror. Ultimately, this research provides a counter-colonial narrative, highlighting the endurance of Romanian musical heritage in safeguarding historical truth against global commercial distortion.

Il volume raccoglie una dozzina di contributi relativi a fondi, raccolte e collezioni musicali che – a prescindere dalla natura e dalle finalità dei soggetti produttori, dai contesti e dalle modalità di formazione e fruizione, dalla maggiore o minore organicità e unitarietà – sono oggi accessibili agli studiosi in biblioteche e archivi italiani (Firenze, Genova, Siena, Venezia, Verona) ed europei (Berlino, Bruxelles, Kyiv, Lisbona, Londra, Vienna). L’articolato quadro che ne emerge offre all’attenzione del lettore una rassegna di realtà variegate e variamente definite, gli consente di seguire il farsi e disfarsi delle raccolte, di riannodare fili e stabilire dialoghi a distanza, di acquisire informazioni su ritrovamenti recenti e su strumenti di ricerca spesso poco noti. - Music collections (Berlin, Bruxelles, Kyiv, Lisbon, London, Vienna, Florence, Genova, Siena, Venice, Verona)

This study aims to examine Paul Hindemith’s musical thought through his 1935 report on the organization of musical life in Turkey and his correspondence with Cevad Memduh Altar. The research approaches Hindemith’s activities in Turkey not merely as a process of institutional
consultancy, but as a practical field in which a musical philosophy-closely connected to his identity as a composer, performer, and pedagogue-was implemented. Conducted within a qualitative research framework, the study employs thematic analysis to examine the report and
the correspondence. During the analysis, the musical concepts and emphases emerging from the texts were evaluated under the following thematic categories: performance- and orchestracentered musical understanding; music education and pedagogical structure; the function of repertoire; the organization of public musical life; and a folk-music-based approach to musical formation. The study comparatively examines how the principles articulated in the report were concretized in the correspondence, the areas in which they were put into practice, and the
practical challenges encountered in this process. The findings indicate that Hindemith sought to structure musical life in Turkey not through quantitative expansion, but in accordance with principles of technical competence, discipline, craftsmanship, and continuity. This approach corresponds closely with the concepts of functional music (Gebrauchsmusik), objective performance practice, and neo-classical continuity, which are commonly used in international literature to characterize Hindemith’s musical thought. The study demonstrates that
Hindemith’s reports on Turkey provide an application-oriented framework of his musical philosophy, while the correspondence reveals its practical manifestations as well as its limitations.

The Sarangi is one of the most expressive bowed string instruments of South Asia and occupies a significant place in the musical heritage of Punjab. This paper explores the historical development, cultural significance, and musical contributions of the Sarangi within Punjabi folk, devotional, and classical traditions. Drawing upon historical literature, oral accounts, and cultural narratives, the study examines the instrument's origins, anatomy, and distinctive tonal qualities that have earned it recognition as the instrument closest to the human voice.

The paper highlights the Sarangi’s role across diverse religious and cultural contexts, including Sikh Gurmat Sangeet, Sufi qawwali traditions, Punjabi Christian worship through the Punjabi Zabur, and folk musical practices. It further investigates the patronage of music during the reign of Maharaja Ranjit Singh and the contribution of prominent Sarangi gharanas and master musicians in shaping Punjab’s musical identity. Particular attention is given to the instrument’s ability to transcend social boundaries, serving both royal courts and common communities.

Despite its historical prominence, the Sarangi faces a severe decline in contemporary Pakistan due to changing musical preferences, reduced patronage, and the diminishing transmission of hereditary knowledge. The paper argues that the erosion of Sarangi traditions represents a broader loss of cultural heritage and musical diversity. It concludes by emphasizing the need for revitalization efforts, cultural preservation initiatives, and renewed scholarly engagement to ensure the survival and continued relevance of the Sarangi in the contemporary musical landscape.

Si un artículo anterior destapó el proceso inquisitorial por sodomía que explica el deliberado silencio sobre los orígenes de fray Manuel Correa, este reconstruye la vida que ese silencio había borrado. Leídas no como relato sino como cantera de datos biográficos, las confesiones del tribunal de Lisboa permiten seguir al compositor desde su infancia en la Capela Real de Lisboa y su formación junto a Manuel Cardoso hasta el destierro secreto que lo llevó a Madrid. Allí su música no solo sobrevivió: João IV coleccionaba sus obras, y Cuenca, Sigüenza y Zaragoza se lo disputaron como maestro de capilla. Tras su muerte, su memoria resuena en citas, guiños y homenajes que su tiempo supo descifrar y el nuestro casi ha olvidado; rastrearlos es medir el alcance de su fama. Esta es la historia de cómo el genio de un fraile condenado al olvido acabó inscrito en el canon de su tiempo.

Memory and remembrance. ArAny János's Song Collection
The most important document of ArAny János's musical knowledge is the manuscript score he compiled at the request of his friend, musicologist and composer BArtAlus István, between approximately 1871 and 1874. Its main purpose was to record melodies from his childhood and youth for the Universal Collection of Hungarian Folk Songs, which was based on BArtAlus's collecting trips and earlier manuscripts copied by him. The seven-volume series included only selected and reworked material from ArAny. At the same time, the manuscript parallels the concept of the Hungarian Folk Poetry Collection, which was also produced with the participation of the ArAny family. From this perspective, the Song Collection is the background material for a scientific and artistic series of publications. However, its compiler did not only follow academic considerations, but above all sought to exploit his own memory as deeply as possible, since he collected the songs himself, and the recorded songs are deeply connected to his own poetic oeuvre in terms of form and poetics. While the manuscript is a subjective musical and textual document on the one hand, on the other hand it preserves the memories of several communities: Nagyszalonta, Debrecen, and part of Nagykőrös, and more broadly, the imprint of Hungarian public culture in the Partium region. His repertoire ranges from family memories to Hungarian poems published in the 1830s and quickly set to music (VörösmArty, Kölcsey, BAjzA), and in this respect, too, it goes beyond a collection of personal memories. The scientific processing of this unique source is linked to the Academy. The manuscript is preserved in the MTA KIK Manuscript Library, and its first critical edition was published in 1952, edited by Kodály Zoltán and GyulAi Ágost.

In the summer of 2022, a significant legacy material containing the Csáth and Kosztolányi manuscripts was transferred to the Pannonian University in Veszprém. The purchased document set (with the Csáth legacy highlighted this time) was based on various private collections, of which the collection of Zoltán Dér can be identified with certainty. However, the manuscript set contains only a small portion of the latter: a significant amount was acquired from Szabadka into the possession of the Petőfi Literary Museum, and significant manuscripts are still hidden with private individuals across the border and in Vojvodina. Among the manuscripts preserved in Veszprém, there are several fragments of dramas among the works of fiction and sketches. The “melodrama” entitled Egy csók!..., on the other hand, is an exceptional example, as it has survived in its entirety in a school notebook. In our study, we publish this work, with a philological introduction.

El objetivo de este trabajo es el de acercar al lector a una singular colección de materiales musicales, el fondo de rollos de pianola de la familia Fernández-Shaw. Los herederos de tan insignes libretistas (Carlos, Guillermo y Rafael) han mantenido durante más de un siglo una interesante y modesta colección, formada por 223 rollos de pianola, que constituyen una curiosa selección de obras del género zarzuelístico en la que los libretistas participaron. A través de este estudio ofrecemos una visión general del contenido de los rollos, los géneros más comunes presentes en la colección y otras singularidades, propias de los documentos y dignas de mención.

¿Cómo incorporó el Estado español el pasado musulmán, judío y cristiano a la imagen turística de la nación durante el siglo XX? Esta comunicación propone analizar los usos patrimoniales y turísticos de la llamada España de las tres culturas a partir de las agencias estatales de turismo, desde la Comisaría Regia de Turismo hasta Turespaña. A través de la publicidad, los itinerarios y los discursos promocionales, se examinará cómo el legado religioso fue convertido en recurso patrimonial, imagen nacional y mercancía turística. El objetivo es mostrar cómo la turistificación de este pasado permitió reelaborar tensiones centrales de la identidad española contemporánea, entre memoria religiosa, legitimación política y proyección internacional.

Sources for musical life in the Zadar cathedral of St. Stošija from the seventeenth century are limited to two manuals compiled by the then maestro del coro Šime Vitasović (Simeon Vitassouich, 1644–1719): a manuscript from 1677 with liturgical texts, some with coral notation, and a 1685 songbook containing church songs (without notation) in the Croatian language, versatile dialogues performed solo (una voce), in two voices (binis vocibus) or in chorus, and one integral liturgical drama for Christmas. Vitasović was also present at the Diocesan Synod of the Archdiocese of Zadar, convened in 1680 by the Archbishop Giovanni Ev. Parzaghi (archbishop 1669–1688), which confirmed the regulations on music in the cathedral, agreed to at the previous synod in 1664. We know little about music in the cathedral during the eighteenth century.
In the archives of the achbishopric are preserved two volumes of the then popular psalms, Estro poetico-armonico (1724) by Benedetto Marcello; a manuscript hymnal from 1737 with rites for Holy Week used by maestro del coro Giovanni Frangipani (active ca. 1737–1773); and the libretti of the oratorios Jephtes sacrificium by Antoni Sacchini (1771) and Judith triumphans by Bonaventura Furlanetto (1787), printed for their first performances in Venice, which were probably not performed in Zadar. In 1784 was completed in Zadar the building of the Nobile Teatro, and with the
establishment of the regular opera seasons increased the number of  instrumental musicians in the city. That made possible from 1808 organizing in the cathedral the liturgical celebrations for important holidays with a participation of an orchestra.
In addition to figural music, there was a practice to perform also Gregorian chant and other vocal music a cappella or with organ accompaniment. Thus, two persons were always concurrently in charge of music: the orchestral performances were directed by the maestro di cappella, and the coral performances by the maestro del coro, who also taught canto ecclesiastico at the seminary. The position of maestro di cappella was successively held by Jerolim Alesani (1778–1823), Antonio di Licini, Giovanni Cigala (1805–1857), Antonio Ravasio (1835–1912), and Giometto Giometti (1885–1928). After Alesani’s death in 1823, the maestro del coro was Francesco Sabalić (1777–1855). He also taught church singing at the seminary and compiled a manual, Regole di canto fermo (lost). He was succeeded by Mate Kurtović (1804–1875), who was first mentioned as music director already in 1840, and since 1855 has taught Gregorian chant at the seminary. He also wrote a textbook Manuale dei principii di canto-fermo giusta le regole di S. Gregorio Magno (Venice 1844).
The music repertoire since the early nineteenth century has been relatively well documented through four groups of sources: (1) musical collection in the archives of the Zadar Archbishopric (collection HR-AZDN-49), (2) payments to copyists of music parts used in performances and to musicians, (3) manuscript chronicles, the Memoriale functionum Ecclesiae Metropolitanae Jadrensie and the Cronaca ecclesiastica di Zara, both spanning from 1865 through 1890, written by the canon Carlo Federico Bianchi, which are exquisit sources for the social, cultural and musical life of Zadar, and (4) reports about the performances published in newspapers.

This review examines the formal and musical structure of Hallelujah! Ajaga Fo! 2013 By David Olugbade Adedokun as a representative Nigerian sacred art-music composition. The study analyzes the work's sectional form, melodic organization, harmonic progression, rhythmic patterns, texture, and expressive features. Findings reveal a creative fusion of Western classical compositional techniques with indigenous Yoruba musical elements, particularly in the use of speech-tone influenced melody, rhythmic repetition, and call-and-response patterns. The composition reflects strong liturgical and cultural relevance through its integration of African identity and Christian worship expression. The review concludes that the work contributes meaningfully to contemporary African art music scholarship and demonstrates effective intercultural musical synthesis suitable for both academic and sacred performance settings.

This article explores the status of Josif Schlesinger (1794–1870), the first Serbian composer and professional musician in the court of Prince Miloš Obrenović (1780–1860), in the complex process of constructing Jewish identity in the web of Jewish legislation at the crossroads of the Ottoman and Habsburg Empires. Schlesinger was singled out as one of the most prominent Jews in the Principality of Serbia. His status was far more favorable than that of Jews of other professions, especially merchants. The attitude of the Serbian government towards Jews during most of the nineteenth century can be divided into two periods. During the first period, until the early 1840s, Jews were free to work, travel, and settle, while during the second period, which lasted until the Serbians achieved independence in 1878, Serbia had anti-Semitic laws that suppressed Jewish rights to work, travel, and settle. The anti-Jewish laws were so strict that the Alliance Israélite Universelle had to write to the...

The Principality and later Kingdom of Serbia with its less pronounced class differences, with a thin layer of urban population and the dominance of rural population, was the perfect target for the military musicians that were coming from the Habsburg Empire. “Foreigners” as military musicians would progress into higher strata. Czech musicians were the most important and most numerous among the newcomers in Serbia and the role of Josif Schlesinger as the first important musician is essential for understanding their importance and influence. The educational and modernization process could be followed by the growth in the number of professional military musicians.

În Imperiul Bizantin, acolo unde reprezenta unul dintre cele mai puternice simboluri ale puterii imperiale, orga devenise indispensabilă în cadrul manifestărilor de la Curte. Singură sau integrată într-un ansamblu, orga (hidraulică, înlocuită treptat cu cea pneumatică) apărea în cadrul concursurilor, al curselor din Hipodrom, în ovaţiile în triumf de la Circ, în palatul Triclinium pentru aclamarea banchetelor imperiale, în Augusteon și Magnaura pentru a spori măreţia și solemnitatea recepţiilor oaspeţilor ș.a.
Deși nu fusese inventată de bizantini, aceștia au ridicat-o la cel mai înalt nivel din punct de vedere ceremonial și simbolic. Catalogată drept instrument muzical de prim rang și ocupând un loc excepţional în contextul muzicii bizantine, orga nu participa însă niciodată la ceremoniile
liturgice. Sinodul de la Laodiceea, din anul 343, interzisese prin canonul 15 utilizarea instrumentelor muzicale în cadrul bisericilor și în contextul muzicii ecleziastice, așa cum stipula și canonul 75 al Sinodului VI Ecumenic. Când și cum se schimbă lucrurile, vedem în ceea ce urmează.

fue el que me introdujo en el mundo de la composición hace más de una década, su filosofía se resumía en esto: Para componer música ha que pensar en un diálogo, preguntas y respuestas. Y con esa información fue que empecé, ya me había enseñado los principios básicos para armonizar, ahora me tocaba crear y tuve el privilegio de arreglar una de sus canciones llamada En mi Soledad para ensamble de metales y percusión, pieza que lamentablemente perdí porque fue un manuscrito. Luego, más adelante, vi clases con otros maestros que me hablaron de la Forma Musical, y estaba relacionado con lo que en teoría de la música se llama Fraseo. El Fraseo consiste en observar con exactitud la puntuación musical. Toda composición lo mismo que todo discurso, se divide en períodos o frases, y en miembros de períodos y frases. El miembro de período se compone de una o varias pequeñas ideas melódicas que toman el nombre de diseño melódico. Esto será la continuación de los principios básicos de composición iniciados en la clase anterior. A.-Concepto de Forma: El concepto de forma es muy amplio pero sí puede definirse, Schoenberg habla sobre el tema ampliamente en su sobre composición: El término "forma" se utiliza con varios sentidos distintos. Cuando se usa en conexión con "binaria", "ternaria" o "rondó", se refiere claramente al número de sus partes. La indicación "forma sonata" sugiere, sin embargo, el tamaño de las partes y la complejidad de sus relaciones. Al hablar de "minuet", "scherzo" y otras "formas de danza" se tiene en mente el compás, el tempo y las carácterísticas rítmicas que identifican la danza. Utilizada en sentido estético, la palabra forma quiere decir que una pieza está "organizada", es decir, que consta de elementos que funcionan como los de un "organismo" vivo. Sin organización la música sería una masa amorfa, tan ininteligible

Este ensayo examina la transformación del pensamiento armónico en la guitarra clásica contemporánea desde perspectivas musicológicas, acústicas y epistemológicas. Se sostiene que la noción tradicional de acorde, concebida como entidad funcional dentro del sistema diatónico, resulta insuficiente para explicar los fenómenos verticales de los siglos XX y XXI. A través de la teoría de conjuntos de Allen Forte, la crisis de la funcionalidad, la modalidad expandida, la cuartalidad y la resonancia tímbrica, se analiza cómo compositores como Leo Brouwer y Tōru Takemitsu comprendieron el acorde como un fenómeno espacial, energético y acústico.

La hipótesis plantea que la guitarra contemporánea desplaza el foco de la sintaxis armónica tradicional hacia una organización perceptual del sonido donde la digitación, el sustain, los armónicos y el color tímbrico adquieren relevancia estructural. Finalmente, se problematiza la historiografía armónica occidental, proponiendo que el catálogo histórico de acordes no constituye un límite del universo vertical, sino una selección cultural legitimada por tradiciones analíticas específicas.

Il saggio concerne l’«Achille in Sciro» di Jommelli messo in scena a Roma nel 1771, per un cast comprendente fra gli altri Bedini (Licomede), Compagnucci (Achille), Moschini (Deidamia), Ciprandi (Ulisse), sebbene i sei manoscritti censiti della musica presentino oscillazioni nell’uso delle chiavi di soprano e di tenore per Licomede ed Ulisse, forse sintomo di un’indecisione riguardo all’assegnazione delle parti.
In continuità con gli studi (anche a cura di chi scrive) relativi agli aspetti del libretto di Metastasio che lambiscono il genere della festa teatrale e che evocano il canto XVI della «Gerusalemme liberata», si valutano sotto il profilo drammatico-musicale gli accomodi di Roma 1771, a partire dal confronto con la versione che il compositore intonò a Vienna nel 1749. Specifica attenzione viene dedicata ai ‘finali’ dei primi due atti, che nel 1771 Jommelli riservò alle prime parti traendo ispirazione per le arie da precedenti lavori (come notato da Mattei e poi da Abert), «Passaggier che su la sponda» da Semiramide riconosciuta (Stoccarda 1762) e «Ira, dispetto, amore» da «Odio, furor, dispetto» di Armida abbandonata (Napoli 1770).

here are many challenges in teaching Western music history, and it is even more exacting to do so in Asia, particularly in Hong Kong, where the students' mother-tongue is not English and the educational environment is exam-oriented. As Melanie Lowe has written, it is a daunting task to cover a huge teaching content in a two-semester (or even a three/four semester) music history sequence and to teach that material to students of varying music backgrounds, many of whom see in it little relevance to their daily life; doing so outside of North America brings its own unique issues. 2 I would say even though Grout-Palisca-Burkholder's A History of Western Music is designated as the standard text for the history course I teach in the Department of Music at Hong Kong Baptist University, it is used largely as a reference. In a semester of twelve to thirteen teaching weeks, I can cover only the basic canonic composers and works. In addition, one class meeting is set aside for contemporary Chinese music, covering both Chinese composers living in the West (as represented in Grout), and those residing in the People's Republic of China. I have tried various pedagogical initiatives in the past-from using PowerPoint that includes images and video links to using on-line platforms to try to engage students in discussion. Last year, I decided to replace the teacher-centered teaching mode with "problem-based learning" (hereafter PBL) in response to my university's implementation of outcome-based teaching and learning (OBTL).

In April 1915 poet Rupert Brooke died and was buried in an olive grove on the Greek island of Skyros. His friend, and fellow naval officer, F. S. Kelly wrote that during the midnight funeral ‘my feelings began to express themselves musically.’ This film is about the piece of music he wrote for his friend before his own violent death a year later. Elegy is a story of friendship and loss - but also the longevity and resilience of art. The return of the music to Skyros in 2025 is a homage to those young men and their distant ideals.

Histories of higher education isolate the conservatory/music school from their purview by omission, while histories of music education and individual music schools give overviews but do not address in depth the traditions, development, effects, and tensions buried within courses of study and the particular needs of the music student. That consideration is the purpose of this study. Toward the end of the nineteenth century, professional music education emerged as independent schools, or schools and departments within university settings. As the university accepted and acknowledged a broad and diverse range of fields of study, it developed new areas of specialization in its curricula. Concurrently, 'art' music as a cultural pastime was finding its place in the American social consciousness and inviting, as a consequence, a means of education directed to this pursuit. Encouraged by European immigrants who themselves were musicians, or those for whom art music was a cultural tradition, and also by responsible philanthropy of new wealth acquired from the Industrial Revolution, America began to embrace the currents and interests of its immigrant population. In so doing it created a need for teachers of music, for improved instruments and organizations to engage in music-making, and for performers to provide entertainment. The recognition of professional education in new university institutions made it an opportune time for music to establish itself as a viable part of American higher education. Music schools proliferated, standards notwithstanding with regard to courses of study, faculty, and student requirements. Gradually, however, America pooled its resources and called upon its own ingenuity to clarify the ideology of the professional musician and to define how the training and education for that ideology might be accomplished. By the twentieth century America could offer professional study for the applied musician on a par with its European counterparts. This thesis considers the environments of three prominent music schools founded in the 1920s, the Eastman School of Music, The Juilliard School, and The Curtis Institute of Music. It reviews the administration, faculty, and the evolution of their curricula for the applied major from their inception to 1945, and observes how each defined and clarified its course of study. Thus it serves as a foundation for understanding the trajectory that brought these schools to their present place of recognition. In so doing it offers one perspective of professional education, that of training and educating for performance, and contributes to the narrative of the history of higher education.

В настоящей работе анализируется статья британского журналиста и музыкального критика Герберта Энтклиффа (1875-1964) «Ренессанс голландской музыки», опубликованная в 1925 году. Интерес к современной ему культурной жизни Нидерландов, граничащих с враждебной англичанам Германией, был выражением культурной политики Британии. Развитие музыкальной культуры Нидерландов конца XIX -начала XX столетий оказалось в центре внимания критика. Данный период совпал с движением «Нового английского музыкального Возрождения». Энтклифф обозначает темы, важные и для него -критика, и для музыкальной культуры Нидерландов: подъём национального самосознания, предпосылки возникновения нового Ренессанса голландской музыки и выдвижение его лидеров, важнейшие события и явления в культуре интересующей его страны (основание Вагнеровского общества, расцвет нидерландской национальной литературы, активизация концертной жизни и др.). Энтклифф характеризует ряд ключевых, по его мнению, особенностей нидерландской музыки, отразивших идейную основу Нового Возрождения в музыкальном искусстве Страны тюльпанов. В исторической перспективе рассматриваемая статья Энтклиффа видится не частным событием его биографии, а проявлением тенденции английской музыкальной историографии в её противопоставлении германской музыкальной историографии. Работа Энтклиффа обратила на себя внимание в Нидерландах попыткой изучения музыкальной жизни страны рубежа XIX-XX веков. Ключевые слова: Герберт Энтклифф, национальное самосознание, нидерландская музыкальная культура, Ренессанс голландской музыки, лидеры Ренессанса голландской музыки, Альфонс Дипенброк.

Questa è la versione integrale del testo pubblicato in Marco Coltellini da Montepulciano all'Europa, a cura di Lucio Tufano, Firenze, Leo S. Olschki, 2026 (Studi sulle abbazie storiche e ordini religiosi della Toscana, 12), pp. 11-100, dal quale per ragioni di spazio sono state omesse le immagini e gli esempi di traduzioni dal francese di Coltellini; sono aggiunte anche alcune integrazioni alle note 3, 5 e 76 e all'Appendice III (p. 57 e nota) e sono state apportate alcune piccole correzioni.

Я писал, что антивакцинаторство-одно из проявлений социальной деградации, в последние 30 лет охватившей все слои российского (и украинского) общества-в том числе увы, даже биологов (не говоря про врачей). Это невыгодно выделяет страну что из 1го, что из третьего мира, см.статью в Nature Medicine). Для объяснения этого я предполагал, что, как пресёкшаяся любовь сменяется столь же сильной ненавистью, гибель социализма с его культом науки и знания вызвала аномально мощный откат и социальную деградацию. Текст посвящён проверке этого предположения.

La presente nota busca recuperar la centralidad de una pregunta que rotula un ensayo de reflexión filosófica como el propuesto por Ricardo Ibarlucía: ¿Para qué necesitamos las obras maestras? Escritos sobre arte y filosofía, a instancias de su revisión crítica. Se tomará como punto de partida el mencionado ensayo para indagar acerca del alcance argumental allí propuesto. A fin de sostener un diálogo con este que permita dimensionar los logros derivados, se buscará brindar aportes que iluminen determinados ejemplos y consignar la magnitud de su propuesta. Esta breve presentación acompañará el modo en que los ensayos cifrados en el texto de base se desarrollan.

The central focus of this article is a manuscript copy of the treatise that conveys the innovative guitar tablature system by the Catalan Joan Carles Amat, preserved in the Historical Library of the University of Valencia. This study analyses its distinctive features in an attempt to identify its source among the numerous editions of the work, while also providing new biographical information about the author.

L’objecte central d'aquest article és una còpia manuscrita del tractat que transmet l’innovador sistema de xifres per a guitarra del català Joan Carles Amat conservada a la Biblioteca Històrica de la Universitat de València. En aquest treball s'analitzen les seues peculiaritats tractant d’ubicar la seua font entre les nombroses edicions de l’obra, a més d’aportar novetats biogràfiques de l’autor.

“How original was Mozart?” is the title of an article written by John Platoff (1992) about Mozart and Viennese opera buffa. The question I want to answer in this paper is similar but, in a certain way, opposite: what was conventional in Mozart’s opera buffas?
We consider Mozart a genius because his operas are outstanding, and I am not going to challenge this point; but he did not invent everything; which is why I want to investigate what was not innovative in his opera, especially his Italian opera buffas. This study will compare Mozart-Da Ponte’s Le Nozze di Figaro (1786) with the other opera buffas performed in Vienna from 1783, when the emperor Joseph II engaged Da Ponte, Salieri and Durazzo’s Italian opera buffa company.
Unfortunately, this task cannot be pursed in a term paper. Thus, I will restrict this work to Le Nozze di Figaro for several reasons: a) this is Mozart’s first opera buffa in Vienna; b) it could have been perceived as the sequel of Giovanni Paisiello’s Il Barbiere di Siviglia (performed in Vienna in 1783); c) despite its indubitable quality, it was not soon a popular success.
There are also too many elements of the dramatic and musical conventions to be taken into count. Therefore, I will start from the major conventions about the plot, the disposition and importance of the characters, before considering the number and the peculiarity of the musical pieces. 
My point is that we need to put Mozart’s work in its historical context to fully appreciate what his audience in Vienna in the 1980s felt as truly innovative.

This presentation delves into the profound relationship between coloratura, as a musical ornamentation, and the concept of Musical Subconscious, particularly focusing on the works of W. A. Mozart and G. Rossini. Methodology: Through the interdisciplinary lenses of philosophy and psychology, we aim to uncover the connections that exist within the human mind when exposed to intricate musical compositions. Results: Our objectives are to elucidate the role of memory, emotion, and creativity in shaping the musical experience, to analyze the distinct manifestations of the concept of musical subconscious in Mozart's and Rossini's compositions, and to explore the implications of psychology and philosophical-musical aesthetics of reception on our understanding of coloratura's impact. Conclusion: It is summarized that in this psychic symphony, the genius of Mozart and Rossini resonates like an echo that transcends not only space and time, but also the logos itself.

Gadamer y la Interpretación Musical Históricamente informada. Seminario Nietzsche y la Música Festival Breve VIII 2023 Dr. Jorge Torres. Resumen. ¿Cómo presentar el repertorio para laúd de John Dowland a las nuevas generaciones?, ¿Se pueda dar una interpretación adecuada de este repertorio en la guitarra eléctrica? El autor de este trabajo ha dedicado gran parte de su actividad artística a la interpretación del repertorio barroco, fundamentalmente el repertorio del barroco alemán, dedicado especialmente a la interpretación de las Cantatas de Juan Sebastián Bach. Durante algunos años contó con la colaboración de cantantes e instrumentistas entusiasmados por este tipo de música. Lamentablemente, todos ellos han emigrado en los últimos años uniéndose a la diáspora venezolana. Esto lo ha llevado a explorar otros repertorios que incluyen otros formatos instrumentales y lo ha obligado ha reflexionar en torno a los distintos enfoques posibles para interpretar esta música desde las posibilidades reales de la Venezuela actual. Para dar respuesta a estas inquietudes el autor ha recurrido a los trabajos de autores como Gadamer y Harnoncourt quienes han tratado el tema desde la filosofía y la música respectivamente. Aquí presentamos los resultados parciales sobre esta reflexión.

In pre-modern literature, we can distinguish a type of lyric poetry called women’s songs. It contains several genres as well as regional, linguistic and stylistic variants, yet there are several common distinctive features (discussed here), regardless of the culture or epoch of composition. The same core characteristics, best described for medieval Romance and Germanic songs, can be seen in fragments abstracted from archaic or classical Greek literature, Germanic epics, as well as in folk songs, and also in the songs of indigenous societies whose culture did not pass from the oral to the written stage. Those and other circumstances indicate that all songs demonstrating such characteristics are rooted in a common, archaic, primitive tradition covering all mankind, or, better said, womankind. (…) This article aims to show the degrees of mediation of the medieval texts, the layers that separate us from the hypothetical original oral form, also indicating the fundamental changes which were caused by conversion from oral to written language. The starting point will be 1.) determining the basic features of women’s songs, then, 2.) presenting their textual testimonies, and later 3.) analysing what kind of transformations the original songs underwent in the process of adaptation from the oral into the written form, preserved until nowadays, while focusing on their changing function in the pro¬cess of transition. This will be illustrated with specific pieces from the surviving Western corpus of medieval women’s songs.

The musical angels in the trompe-l’oeil decorations of Genoese rocaille chapels and halls draw inspiration from recurring Baroque imagery: armed with classicizing lyres and syringes, they only occasionally depict actual contemporary musical practice. Rare are the frescoes dating from the first decades of the eighteenth century that portray musicians with instruments, and even rarer those from the second half of the century. By shifting the investigation toward different artistic techniques of representation commonly regarded as merely ornamental, stucco decorative apparatuses may reveal unexpectedly accurate details. The present contribution focuses on the panoplies with musical instruments embellishing two villa palaces in Albaro and Cornigliano, formerly belonging respectively to the Brignole Sale and Durazzo families, as well as those of the Oratorio di Sant’Antonio Abate in Mele. Among the instruments are depicted examples of the mandolino alla genovese, confirming its local diffusion between 1750 and 1780.

How can the articulation of human rights politics be explored through sound, musical practices, and reception? This article addresses the intersection of music and human rights on a global level since World War II. The two authors observe that historians have already examined human rights from a variety of perspectives-such as law, society, and cultural politicsyet the expression of human rights issues in sound aesthetics has so far received little scholarly attention. Musicologists and sound researchers, on the other hand, have extensively analyzed the symbolic and affective use of music and sound on the part of social movements, cultural institutions, liberal governments, authoritarian regimes, and individual activists. Yet, the theme of human rights has only been explicitly addressed in a few publications. Against this background, the authors argue and demonstrate that an interdisciplinary analysis combining theories and methods from history, music, and sound studies can open up new pathways to understanding the global history of human rights.

Defined by its 9/8 aksak metric framework and a core tempo range of 90-155 BPM, the genre integrates hyper-melodic ornamentation, comic street-vernacular rhyme schemes, and a geographically extensive performance context centered on wedding celebrations. This paper offers a comprehensive ethnomusicological, music-theoretical, and cultural analysis of Roman Havası and its two principal sub-genres: Ağır Roman (60-90 BPM, predominantly instrumental) and Gayda (60-90 BPM, characterized by DJ/MC slogans in place of melodic vocal lines). The analysis draws upon thirty-five years of compositional practice, field observation, and comparative rhythmic theory.

American composer John Cage travelled to Europe three times in the post-war period, in 1949, 1954, and 1958. These visits, which included concert tours and extended stays, have received significant scholarly attention due to their importance in the musical interactions between the United States and Europe after the war. Studies have focused on the reception of Cage’s music and aspects of cross-fertilisation, with considerable effort put into rebuilding early contacts and their role in these processes. Despite such extensive research, however, the connection between Cage and Russian-German composer Wladimir Vogel has remained overlooked. A letter from Cage to Vogel, dated 17 June 1954 and held at the Zentralbibliothek in Zurich, reveals that Vogel was amongst the earliest contacts that Cage established in Europe in 1949. Building on the information disclosed in this document, this essay aims to shed light on the encounter between the two composers in Milan in 1949 and Vogel’s subsequent role as a mediator for Cage’s 1954 European tour.

This booklet documents the research framework, historical sources, and interpretive methodology underlying the recording project Galilei: The Sound of Science (available on all digital stores). By reconstructing the musical environment in which Galileo was formed, the project sheds new light on a neglected dimension of his intellectual formation: the role played by vocal and instrumental practices cultivated within his family in shaping both his literary culture and his scientific thought.
The album Galilei: The Sound of Science presents original historical and musicological research initiated in 2008 and based on the study of rare printed editions, manuscript sources, literary texts, and iconographic materials. It contributes to current international scholarship on the relationship between early modern science and the arts, proposing a reassessment of Vincenzo Galilei as a central intellectual figure at the intersection of music, poetic culture, and scientific thought.
Particular emphasis is placed on the epistemic role of musical practice and on the interaction between musical composition and poetic texts (Petrarch, Ariosto, Tasso, Guarini, among others), understood as part of the cultural framework within which questions concerning sound, expression, language, and knowledge were articulated in the late Renaissance.
The recording includes several world premiere recordings based on historical sources, including works from Vincenzo Galilei’s madrigals, voice and lute compositions, contrapuntal works, and materials connected with Galileo’s scientific writings. The recording associated with this publication is conceived as part of the research methodology itself, understood as a form of practice-based research and experimental reconstruction of historical sound practices.

I curatori presentano il fascicolo "Questioni di storia delle arti performative in prospettiva mediamorfica, ovvero tecnopsicologica" ("Mimesis Journal", 14, 2, 2025) a partire dalla sua call for papere illustrando anzitutto i riferimenti teorico-metodologici lì esposti al fine di inquadrare complessivamente i contributi oggetto della pubblicazione. In secondo luogo, si procede a una presentazione mirata degli stessi: si parte dai primi saggi sugli effetti del passaggio dalle culture orali a quelle alfabetizzate, in special modo per quanto concerne la trasmissione del sapere performativo; si passa da vari interventi che ragionano sull’impatto delle tecnologie di registrazione sulle arti dal vivo nel Novecento; per giungere a quegli interventi che affrontano gli attuali scenari dischiusi dalle tecnologie digitali e, infine, a due contributi di particolare portato teorico trasversale. In conclusione, si individuano alcuni potenziali elementi condivisi fra le diverse prospettive, che si possono riunire in una serie di tentativi – specifici ma convergenti – di ripensamento mediologico degli studi di spettacolo.