Music Scores

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.

anna maria matuszewsk a instytut badań literackich, polska akademia nauk ----ZASTOSOWANIE DIAGRAMATYKI W OBLICZENIOWEJ ANALIZIE MUZYCZNEJ R ewolucja cyfrowa zmienia sposób, w jaki człowiek obserwuje otaczający nas świat i zdobywa wiedzę; wpływa na styl pracy, a nawet modus myślenia. Dynamiczny rozwój technologii definiuje obecnie nie tylko nauki informacyjne i przyrodnicze, lecz także w coraz większym stopniu również humanistyczne. Metody obliczeniowe, modele matematyczne, algorytmy i statystyki prowadzące do lepszego zrozumienia muzyki stanowią arsenał badawczy muzykologii obliczeniowej (ang. computational musicology), która zakotwiczona jest w humanistyce cyfrowej: [...] ze względu na teoretyczny aspekt muzyki, muzykologia obliczeniowa jest mocno osadzona w ramach h u manistyki cyfrowej i skupia się na tych samych rodzajach pytań, co tradycyjne badania humanistyczne. (Jednak z powodu różniących się metod, konkretne pytania są często inne.) Podobnie jak inni humaniści cyfrowi, muzykolodzy obliczeniowi wykorzystują (i tworzą) narzędzia cyfrowe aby badać, zadawać i odpowiadać na pytania dotyczące ludzkich artefaktów -w tym przypadku elementów strukturalnych utworów muzycznych i (meta)danych o ludzkiej interakcji z muzyką 1 . Korzenie muzykologii obliczeniowej sięgają lat sześćdziesiątych XX w., kiedy to na Princeton University zainicjowany został Josquin Project. Jego przedmiotem było wyodrębnienie charakterystycznych cech stylistycznych mszy Josquina des 1 "[...] due to the music theoretical aspect, computational musicology sits firmly within the digital humanities and focuses on the same kinds of questions as traditional humanities research. (Though, because of the differing methods, the specific questions are often different.) Like other digital humanists, computational musicologists use (and make) digital tools to explore, ask, and answer questions about human artifacts -in this case, the structural elements of musical works and (meta)data about human interaction with music", w: Kris Shaffer, "What is Computational Musicology?", . github.io/2016/01/computational-musicology/, dostęp 10 XI 2022 (przekł. tu i dalej A.M.M.). diagramatyka w obliczeniowej analizie muzycznej 2023/2 Prez, w celu uściślenia chronologii i wsparcia atrybucji dzieł kompozytora 2 . Harald Heckmann już w 1967 r. prognozował, że wykorzystanie komputerów w muzykologii nie tylko pozwoli na przetwarzanie ogromnych ilości informacji, wykraczające poza możliwości człowieka, ale może wręcz doprowadzić do rozwoju nowych obszarów badawczych 3 . Kilka dekad później David Huron, dostrzegając potencjał metod obliczeniowych, stwierdził, że ich wykorzystanie mogłoby przekształcić muzykologię w dyscyplinę bogatą w dane (ang. data-rich) 4 , w której nowy arsenał metod badawczych ułatwi 2 John Selleck, Robert Bakeman, "Procedures for the Analysis of Form: Two Computer Applications",

This paper explores the overlooked formal overlap between the axiologic aesthetic paradigm and diegetic boundary permeability coefficient in Koji Kondo's Concerto for Bass Clarinet and Tubular Bells. By applying a rigorous framework derived from Tristan Murail's latest formulations, we demonstrate how ludomusicological adaptive audio layering coordinates a complex hierarchy of temporal sync points. Our analysis reveals that the epistemic axiology is not a mere surface phenomenon, but rather a deep-structure construct that substantiates the global teleology of the work. Furthermore, we explore the terrifying implications of Archduke Hildegard von Babbit-Webern's lost algorithmic treatises on this voice-leading model, opening up new speculative dimensions.

In this exploration of Fluxus performance and exhibition practices, Natilee Harren examines the complex challenges of preserving, presenting and reinterpreting Fluxus event scores and objects. Drawing from interviews with artists, curators and scholars, Harren investigates the delicate balance between historical fidelity and the contemporary reactivation of Fluxus works. The essay introduces two key frameworks for understanding Fluxus activation: a “meta-score” for performance and exhibition and a “Fluxus Activation Matrix” that maps degrees of interpretation and intervention. Harren argues that while early Fluxus artists resisted standardization, there is now an urgent need to articulate responsible approaches to presenting their work, as original participants age and pass away. Central to Harren’s analysis is the tension between preserving the core aesthetic and ethical principles of Fluxus and allowing for creative reinterpretation. She explores issues of performance rights, tacit knowledge and the evolving culture of permissions surrounding Fluxus works. The essay critically examines how institutions and performers might honor the spirit of Fluxus without ossifying it into a rigid historical artifact. Ultimately, Harren advocates for an approach that maintains the work’s inherent flexibility while respecting its conceptual integrity, arguing that “We get the Fluxus we deserve.”

This chapter has been made available under a CC-BY-NC-ND 4.0 license.

Edizione critica a cura di Giulia Zoppelli ERMANNO WOLF-FERRARI (1876-1948) SANTA MARIA GLORIOSA DEI FRARI CHIESE DI VENEZIA, III per orchestra. SZ SUGAR, 2025

The critical edition brings to light the score "Santa Maria Gloriosa dei Frari", the only orchestrated movement of the symphonic work "Chiese di Venezia" (1948), and presents the transcription of the continuity draft of the entire symphonic project (San Marco, Santa Maria dei Miracoli, I Frari).

Introduction and critical apparatus in Italian, English, and German.

L’edizione critica porta alla luce la partitura “Santa Maria Gloriosa dei Frari”, unico movimento orchestrato del lavoro sinfonico “Chiese di Venezia” (1948), e restituisce la trascrizione dell’abbozzo continuo dell’intero progetto (S. Marco, Santa Maria dei Miracoli, i Frari)

Introduzione e apparato critico in italiano,inglese,tedesco

El análisis de Aure de Kaija Saariaho se enfoca en los aspectos de altura y timbre, dos elementos fundamentales que estructuran esta composición. La obra, escrita en 2011 como homenaje a Henri Dutilleux, fue adaptada para violín y violonchelo en 2015. Saariaho utiliza la materialidad del sonido para crear atmósferas ricas y complejas, alejándose de la armonía tradicional y centrando su atención en las texturas sonoras y los matices tímbricos.
El objetivo principal del presente análisis es explorar cómo Saariaho utiliza la altura y el timbre para construir una obra que interpela las convenciones musicales. En cuanto a la altura, el análisis se realiza mediante la teoría de Pitch Class Set (PCS), que permite observar cómo los intervalos y sus combinaciones estructuran la obra. En su obra, Saariaho muestra una preferencia por intervalos como la segunda mayor y las terceras, que aparecen en conjuntos de notas como el PCS (014). Este conjunto se repite a lo largo de la misma en transposiciones e inversiones, lo que permite un desarrollo motívico que permanece vinculado al motivo original sin perder su coherencia. La repetición y variación de estos conjuntos proporcionan un sentido de continuidad y evolución, a pesar de las transformaciones que sufren a lo largo de la pieza.
En relación con el timbre, se propone el concepto de eje tímbrico, entendido como el principio organizador que articula la progresiva transformación tímbrica en la obra. Saariaho recurre a una amplia gama de técnicas instrumentales, como glissandi, armónicos, pizzicatos y variaciones en la posición del arco que contribuyen a una transformación constante del material sonoro. Esta evolución afecta tanto a los instrumentos individualmente como a su interacción, dando lugar a combinaciones tímbricas verticales que generan texturas complejas. En este marco, la relación entre sonido y ruido constituye un componente estructural central. Según la compositora, el ruido representa elementos disonantes, mientras que el sonido es un timbre más puro y consonante, y su alternancia genera dinámicas de contraste que articulan la obra.
El análisis muestra cómo, a través de estas técnicas, la obra mantiene una estructura abierta que invita a una escucha profunda. La interacción entre los dos instrumentos, sumada a la constante transformación de los timbres, da como resultado una pieza que transmite una gran riqueza sonora. La reiteración de ciertos intervalos, combinada con los desplazamientos dentro del eje tímbrico, da lugar a un equilibrio entre la continuidad y el cambio.
En conclusión, en Aure se refleja la interacción entre timbre y altura, y sobre cómo estos elementos pueden estructurar una obra desde la materia sonora misma. La obra invita a explorar un paisaje sonoro en constante transformación, articulando técnicas compositivas con expresión emocional.

Esta artículo explica cómo funcionan los modelos de Inteligencia artificial aplicada a la música, describiendo todos los pasos del proceso y las implicaciones de cada uno de ellos. Concluye señalando que el desarrollo actual está basando fundamentalmente en música grabada (audio), mientras que los desarrollos basados en música escrita (simbólico) son todavía testimoniales. También señala que solo mediante el desarrollo de modelos multimodales con un fuerte componente simbólico se podrá avanzar en resultados musicales complejos.

La col·lecció Bandes desentaforades neix amb l’objectiu de recuperar de l’oblit obres de qualitat d’autors mallorquins de renom que descansen, entaforades, als arxius de les bandes de música d’arreu de l’illa de Mallorca. Es tracta d’obres manuscrites, tant originals per a banda com arranjaments, que temps arrere foren èxits, però que han quedat arraconades, per la falta de materials editats de fàcil lectura i adaptats a la realitat de les bandes de música actuals. En aquest cinquè volum, presentam la marxa fúnebre del 5è moviment del poema simfònic La Vida de Pere Miquel Marquès. Aquest marxa fou arranjada per Jaume Albertí per a esser interpretada a l'enterrament del mestre Marquès.

When preparing a piece of musical theater for performance, most actors and directors place more emphasis on the lyrics and spoken text (dialogue) than on the music when it comes to characterization, relationship and other acting and staging choices. Rehearsal practices commonly include a thorough dissection of the verbal text ("table work"), while music analysis receives comparatively less attention. Further, the separation of singing and acting into separate classes and rehearsals, a practice found both in the industry and at training institutions, can prevent a holistic, combinatory approach to verbal and musical texts on the part of the actor. Many actors and directors acknowledge that monologuing the lyrics" (divorcing the lyrics of a song from its music) to focus on the verbal text as a source for acting choices is beneficial, but seldom is the reverse undertaking. I posit that a failure to balance text exploration with a comparable musical investigation can lead to an over-reliance on "What am I saying?" at the expense of "How am I saying it?" Through three decades of professional practice as a director, actor and vocal coach of musical theatre, and more recently in my PhD research, I have consistently found that when actors pay attention to the musical elements of a songs when making character choices, they uncover hitherto unnoticed dramatic insights and, most importantly, use this awareness to create layers of characterisation and complexity, resulting in a more authentic and believable performance.

He preferido conservar la forma de escritura tanto en Castellano como en Quechua del texto original, pues considero que es una referencia valiosa tanto para la escritura como para la pronunciación del quechua, aquel que se hablaba hacia el 1600. Las traducciones de cada estrofa se encuentran en la parte superior derecha de cada página.

Este artículo presenta y contextualiza el testimonio musical de En la chozuela pajiza, villancico de disparates sobre texto de Félix Persio Bertiso conservado en los Cartapacios de la Universidad de Coimbra (P-Cug MM-232). Se examina la tradición editorial de La harpa de Belén (Sevilla, 1634) y su recepción, se enmarca el disparate como género cómico en el Barroco ibérico, y se analiza la fuente coimbrense en relación con la circulación peninsular de repertorios. Se describen la estructura y disposición de la obra (a solo, a dúo y a 8), las lagunas de copia en las partes del alto y los criterios aplicados para su reconstrucción musical por imitación y contorno melódico. Se propone, con cautela, un posible vector de transmisión sevillano y se subraya la relevancia del hallazgo para comprender la permeabilidad entre lo cómico y lo sagrado en la práctica villanciquera del siglo XVII

Volumen con la edición filológica y musical de 38 villancicos conservados en códices provenientes de varios pueblos de Huehuetenango, Guatemala, que datan en su mayoría del siglo XVI.
Forma parte de la Colección Euterpe, que reúne trabajos de edición, estudio y catalogación de fuentes poético musicales hispanoamericanas de los siglos XVI-XIX, realizados desde un enfoque interdisciplinar. Se trata de una colección cuyo objetivo es poner a disposición de los especialistas, intérpretes y lectores en general ediciones, estudios, así como catálogos y repertorios de la música con letra en lenguas vernáculas de alto nivel académico, para propiciar la difusión del patrimonio cultural hispanoamericano.

Music Composition is a complex praxis, that intertwines various artistic realms, Technological developments, and Philosophical and social worldviews. This intricate relationship is influenced by the financial conditions, and the availability or the invention of technology. In other words, Music Composition, Production, and Aesthetics are strongly linked with their historical context, and a certain vision of the music cannot be disconnected from it. The musical environment, and nowadays even stronger than before, englobed a huge number of practices, aesthetics, and "meaning" in making music. Probably it is becoming challenging to speak about a "unique musical environment", even in the production of so-called Contemporary Music. Today, we can observe how our historical period changed and reconsidered aesthetic and musical parameters, due to new technologies. These changes impact the production and consumption of music, habits, and musical practices, in which we can see the establishment of noise quality as a musical parameter. There is also an extramusical extension in the creation of content, media usage, and compositional techniques, developing and opening new horizons in how music is perceived and created by listeners and musicians. With these transformations, a crucial aspect of Western music is mutating its role and relationship with performers, specifically, the Score. In contemporary music, Musicians, navigate through heterogeneous aesthetics and typology of notations. Despite their standardization, these Notations are still permutating, becoming often a subjective displacement of signs. Therefore, composers, may differentiate or drastically change, their use of the signs or the graphical apparatus, from one composition to another. This Thesis aims to investigate the score in the "traditional" notation of music, excluding Graphic Score production. The focus is on viewing the (traditional) score as a poetic tool, influencing performers through its graphical qualities and characteristics that can trigger interpretations in music. This exploration will be connected with Semiotics, Visual Communication, and a partial Neuroscientific perspective. The investigation will also include performer's testimonials regarding their relationship with the Musical Sign. Subsequently, there will be a specific focus on the music scores of Jürg Frey, examining the graphical meaning that his score, in my opinion, has achieved and created within his aesthetic.

This panel presents and discusses Paik Replayed, an
interdisciplinary and practiced-based research project
undertook at ECAL/University of Art and Design, Lausanne
(HES-SO), Switzerland (2024–2028), and funded by the
Swiss National Science Foundation (SNF).
The study focuses on hybrid online exhibition formats,
particularly for non-digital native artworks and the virtual
revival of past historical exhibitions. Hybridity being
defined in this context as the variable and evolving
combination of digital and analog environments, media,
displays and means of perception.
Central to the research and this panel discussion are Nam
June Paik's electronic artworks and Symphony for 20 Rooms
(1961), an unrealized exhibition score from his lifetime that
serves as a curatorial framework for rethinking hybrid
exhibitions "at a distance," beyond institutional walls. 1
Paik's vision of exhibiting media and non-media artworks in
indeterminate "rooms", while incorporating instructions for
their spatialization and participatory manipulation by an
audience, resonates strongly with recent algorithmic and
hybrid curatorial practices. The Paik Replayed research
makes it a pivotal case study, allowing for observation and
evaluation of the effects at play, not least on the works
themselves, and their reception in unspecified and varied
contexts.
Building on a 2021 preliminary prototype developed in
collaboration with the Nam June Paik Art Center (KR), for
an augmented reality (AR) exhibition "at home", and
following a study on past and recent online exhibitions, the
research project explores experimental hybrid exhibition
practices, their conceptual and technological contexts, and
impacts on both digitized artworks and audiences. By
addressing challenges in digital exhibition design, the panel
gathers curators, artists, and researchers to discuss issues,
findings, share insights, and reimagine Paik's Symphony for
20 Rooms in a contemporary digital context.

In late 1765, Joseph Haydn received an official reprimand from his employer, Prince Nikolaus Esterházy (likely penned by Kapellmeister Gregor Werner) for negligence in carrying out his musical duties, including his neglect in composing for the prince’s favorite instrument, the baryton, a viola da gamba with extra, sympathetic strings that can be plucked. The relevant passage reads as follows:

“Finally, said Kapellmeister Haydn is urgently enjoined to apply himself to compositions more diligently than heretofore, and especially to write such pieces as can be played on the gamba [baryton], of which pieces we have seen very few up to now; and to be able to judge his diligence, he shall at times send us the first copy, cleanly and carefully written, of each and every composition” (cited in Landon 1980, 420).

Haydn immediately acted upon this admonishment, composing the bulk of his 126 baryton trios between 1766 and 1771. The trios (per Sisman 1993, 129) were copied by Johann Elssler and bound in four volumes of 24 works upon completion (Hob XI: 1-24, 25-48, 49-72, and 73-96), dating from 1766, 1767, 1768, and 1771, respectively. A fifth volume, compiled in 1778, collected Haydn’s final 30 trios (Hob. XI: 97-126), composed somewhat more sporadically during an extended period where the musical focus of Prince Esterházy shifted from the baryton to opera.

This volume, transcribed from Elssler's parts, collects Hob. XI: 49-72, written in 1768 during Haydn’s most intense exploration of the genre. The trios feature the baryton as primary melodic instrument—the ornate adagios and variation sets in particular, usually the opening movements of the works, gave Haydn’s employer plenty of space to display his artistry, including opportunities for cadenzas. The viola and cello parts (the former likely performed by Haydn himself) have a supporting role, though they occasionally dialogue with the baryton as near-equals.

Resumen Todo proceso de edición es un proceso de selección y toma de decisiones. La edición musical, sobre todo de documentos antiguos, implica no solo el profundo conocimiento de las fuentes y su entorno, sino la necesidad de sustentar con claridad las decisiones que desde ese conocimiento asume el editor. En este caso, se comparten algunas de las decisiones que se tomaron al momento de emprender la transcripción y edición de una parte de los villancicos de Juan Gutiérrez de Padilla.

The manuscript collection of the Belgrade musician and music publisher Jovan Frajt (Plzen, 1882 – Belgrade, 1938) is an excellent historical source about the musical life of Belgrade before World War I, about the development of the repertoire of urban folk music and the melodies that belong to early popular music in these areas. This collection presents professionally notated sheet music material, which is ethnomusicologically classified, first of all according to genres, and, within certain categories, according to structural
characteristics – starting from melodically, harmonically, metrically and formally simpler, to more complex examples. Thus, the existing monophonic tunes are divided by genres into: song melodies (divided into hymns, Serbian songs and foreign songs), kolo (Frajt’s own collection is highlighted and published as an entity – Serbische Tanze), marches (Serbian, Slavic, Turkish, as well as those described here as Austro-Hungarian, Habsburg and others), as well as polkas, waltzes, quadrilles, and finally various instrumental pieces and folk dances. In the introductory study, the context in which the original collection was created is given, through the presentation of the biography of Jovan Frajt and his circle of distinguished collaborators with whom he regularly met to play in prominent Belgrade ensembles at the beginning of the twentieth century (including “Theatre Orchestra”, “Orchestra of the Royal Guard”, and “Salon Concert Chapel”, which was in residence at the Moskva Hotel in central Belgrade). The interpretation of the collection’s authenticity as an artifact is also presented. Aiming to highlight the importance of the collection as part of a network of sources for the reconstruction of early popular music in Belgrade, its content is observed in relation to the sources that define military and tavern/salon repertoire in Belgrade in the same period, as well as the available data on Frajt’s later music publishing activities. With this edited collection, readers can explore and add arrangements to parts of the complex body of instrumental urban folk music.

El Libro de música profana de Tentúgal es un manuscrito musical inédito conservado en el Arquivo Nacional Torre do Tombo que procede del convento portugués de Nossa Senhora da Natividade de Tentúgal. Este manuscrito, datado entre finales del siglo XVII y la primera mitad del XVIII, constituye un valioso testimonio del período de transición musical en la Península Ibérica, donde conviven características de los antiguos tonos humanos con las nuevas arias de influencia italiana. El códice contiene obras vocales profanas para tiple solista y presenta concordancias musicales con obras de Sebastián Durón, Juan de Celis y Juan Serqueira de Lima, así como textos poéticos del Príncipe de Esquilache y Alonso de Alcalá Herrera. Su estudio revela conexiones con el ambiente cortesano madrileño y posiblemente con la casa nobiliaria de Cadaval, aportando nuevos datos sobre la circulación y pervivencia del repertorio vocal profano.

This collection of essays and scores is intended to be neither a treatise on methods of composition, nor an attempt to defend my work as a student. I have no desire to placate critics, as others' opinions of my work are largely irrelevant to the greater goal of honoring my God. Instead, with these writings, I hope to present a clearer picture of my motives, methods, and approach to composition as well as my own analysis and commentary on the best compositions from my college career. While the language is occasionally technical in nature, I have also attempted to include anecdotes and reflections that might be of interest even to those with a limited knowledge of music theory and terminology. The compositions are presented in chronological order as a partial catalog of my collegiate career. Originally, I intended the collection to include some of my less than favorites as well as a few arrangements and pop songs. However, after spending a great deal of time on my best "art music," I was left with over fifty pages of narrative and a hundred pages of scores. Thus, I chose to limit the scope for this project, leaving my so-called "less scholarly" work for later publication. Beginning with Rag for Two Marimbas and Two Xylophonists and culminating with The Vancouver Suite for string quartet, this offering is a journey through the orchestra, the choir, and even a few soloists. You will find brushes with extended and poly-tonality, word painting, jazz, pop, and various other influences. However, I hope that the most brilliant stroke upon my canvas will be nothing directly related to music, but instead, the message of God woven amongst the notes, dynamics, and phrases. As J.S. Bach wrote so many years ago, my music is S.D.G.: Solo Deo Gloria-to the glory of God alone. Before I get to the music, allow me to offer a few brief words of thanks to a few people who have helped me to make it this far. To Mrs. Josephine, Mrs. Rummel, Dr. Luther, Dr. Brunell, Dr. Batey, and Dr. Stutzenberger who led me through dangerous waters of music education. To my church families who have allowed and encouraged me to share the music of my heart. To the many friends who listened to, commented on, and proofread both text and tune. To Dr. Jacobs who gave me the freedom to explore myself by not allowing me to be anyone else. To my parents who encouraged me to persevere by making me stick with it. Most importantly, to the supreme and eternal Creator who saw fit to bless me with ideas and opportunities; may my feeble attempts to channel His inspiration serve only to glorify Him. In the Shadow of Agony . ..