Chamber Music

The following essay analyze Corporel, one of Vinko Globokar's most representative
scores, shedding light on the main theoretical reflections connected to a compositional project so individualized in its relationship with sound and with the instrument.

Music is time-art. 
Even though we all live in many dimensions at once, most of us cannot think any further than the third dimension: up-down, left-right, back-front, are stable opposing parameters of space. Navigation is easy.  However, within and beyond 3-dimensional space, there is time.  There are rhythm, pitch, movement, development, dynamics, overtones and special moments of surprize. Music happens in the dimensions of time.

Geleneksel ve Modern Keman Tekniklerinin İncelenmesi Examination of Traditional and Modern Violin Techniques Müziğin yüzyıllar içindeki gelişimi boyunca keman eserlerinde de dönemden döneme, ekolden ekole, besteciden besteciye değişimler görülmüştür. Bu değişimin bir parçasını da keman çalım teknikleri oluşturur. Keman teknikleri, solo keman eserlerinin ilk büyük örneklerinin verildiği barok dönemden 20. yüzyıl müziğine kadar ciddi bir gelişim hattı göstermiş, fakat modern dönemde bütün kalıplarından sıyrılarak daha önce eşi görülmemiş bir çeşitlilik kazanmıştır. Kaynak ve literatür taraması yöntemiyle oluşturulan bu çalışmada hem geleneksel keman teknikleri hem geleneksel tekniklerin çağdaş müzikteki yeni yorumları hem de çağdaş müziğe özgü ileri keman teknikleri tarihsel bir kavrayış içinde incelenmiştir. Çalışmada seçili keman teknikleri incelenip yorumlanırken seçili eserlerden nota örnekleri çağdaş müzikle sınırlandırılmış, tekniklere dair besteciler ve icracılara kılavuz olması hedeflenen öneriler sunulmuştur.

Wolfgang Amadeus Mozart’s sonatas for piano and violin, when considered in chronological order, offer a revealing perspective on the composer's musical inclinations. Composed in 1781 following his relocation to Vienna, these sonatas signify a period in which the artist declared both his musical and personal independence. In this context, the group of six sonatas dedicated to his piano student Josepha Barbara Auernhammer, known as the Auernhammer Sonatas, reflects
Mozart's productivity in this new period and how he handled the hierarchical transformation between instruments. However, two of these sonatas, K.296 and K.378, were composed during Mozart's residency in Salzburg. The remaining four sonatas, K.376, K.377, K.379 and K.380, were composed in Vienna and bear the imprint of his new relationships with the city's musical milieu and the emerging freedom of expression that was beginning to transform the artistic landscape. The evaluation of the sonatas is a scientific research project that employs qualitative data collection techniques. In this context, the study elucidates the transition in Mozart's expressive language and understanding of form and style. It is observed that the role sharing between the violin and piano in the sonatas of the early Viennese period has evolved into a more egalitarian structure, with musical motifs being distributed more evenly between the two instruments. Concurrently, a re-evaluation of the position of the early Viennese sonatas in the chamber music repertoire of the classical period is possible, as is analysis of the traces of the transformation in sonata form within a historical framework.

The research aims to determine the structural principles underlying Myaskovsky's Piano Sonata No. 2 across its various compositional levels. The work was selected for its complexity and novelty in terms of melodic forms, overall structure, and tonal plan-features that are characteristic of Myaskovsky's output and Russian-Soviet compositional experiments during the first two decades of the 20 th century. The study uses a descriptive-analytical approach, integrating formal processual descriptions and systematic compositional analysis. The research identifies an inventive combinatory complex of intricate thematic, tonal and gestural cycles of recurrences on various levels of the musical structure and form, which include a higher-level binary structure of "exposition/development" and "recapitulation/coda", and an overall sonata form with a coda. It also identifies lower-level theme and variations cycles that include the main and secondary subjects, the Dies Irae theme, and cycles of recurring tonal relations. These structural levels lead to a reinterpretation of the underlying sonata form.

Site preparation techniques including mounding, drainage and nitrogen (N) fertilization can enhance seedling survival and site productivity, particularly in waterlogged, low-productivity forest stands. However, practices that alter soil conditions and site hydrology can lead to the unintended alteration of biogeochemical process rates, such as CH4 fluxes. This study sought to measure CH4 fluxes measured using static closed chambers at a sub-boreal spruce site and a coastal cedar-hemlock site that underwent mounding and drainage, respectively, to manipulate water table depth relative to planted seedlings, as well as fertilization. The abundance of methyl coenzyme M reductase (mcrA) gene found in methanogenic archaea and the particulate methane monooxygenase (pmoA) gene found in methaneoxidizing bacteria (MOB) were examined. The use of sulphate as a potential method to stimulate sulphate-reducing bacteria (SRB) and reduce methanogen activity was also investigated using the dissimilatory sulfite reductase β-subunit (dsrB) gene. qPCR was used to link mcrA, pmoA and dsrB gene abundance to soil factors and GHG fluxes. Mounding created hot-spots of CH4 emissions at the spruce site. Drainage improved soil aeration at the coastal cedar-hemlock site and reduced CH4 emission rates. Fertilization did not affect CH4 emissions from either site. CH4 rates were influenced by soil water content and mcrA abundance. Measurements of microbial functional genes can elucidate the effects of site preparation on GHG fluxes in waterlogged forest stands.

In late 1765, Joseph Haydn received an official reprimand from his employer, Prince Nikolaus Esterházy (likely penned by his predecessor, 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:

“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 were copied by Johann Elssler the Elder 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 (per Sisman 1993, 129). 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 collects Haydn's baryton trios, Hob. XI: 73-96. After the intense activity of 1766-68, during which Haydn completed at least 60 baryton trios, these 24 trios were written at a leisurely pace over a three-year period. The works are more diverse than the preceding two volumes of 1767 and 1768. The range of keys is greater, including Haydn’s only two minor-mode works in the genre. Uniquely, three trios (Hob. XI: 89-91) include the violin, replacing the viola part that Haydn himself would normally have played. Nonetheless, these trios resemble their predecessors: opening movements feature variation sets and sonata-form adagios, with minuets and duple-meter allegros predominating as later movements. The minuets feature some of Haydn’s most imaginative writing, often including sparse melodies that employ the exotic scales of the Hungarian hinterland (as discussed in Ferraguto 2010, passim). One minuet and trio (Hob. XI: 94) is in canon, responding to Prince Esterházy’s interest in Baroque counterpoint. These works, dating from the height of Haydn’s Sturm und Drang period, are among the best and most ambitious of his output in the baryton trio genre.

Over the course of a playing career that spanned roughly fifty years, John Mahon (pronoucned M’hone) introduced and popularized the clarinet as a solo and chamber instrument throughout Britain. He performed extensively in London and in many provincial towns. This article presents biographies of John and William Mahon, illustrations of contemporary clarinets and a basset horn, Mahon as a teacher, his music, and his influence and legacy. William Mahon’s concerts and reviews and a conclusion end the article.

Abstract: (The identity of the accompanist pianist, musical dialogue partner in various chamber ensembles) Both in instrumental chamber music formation and alongside vocal artists, the contribution of the accompanying pianist is reflected in every moment, by shaping the harmonic foundation and completing the song, in order to achieve the dialog between the two performers. The defining role of the pianist begins in the rehearsal room, a space for sharing the effort to decipher the score. In the chamber music duo ensemble, the complexity of the musical approach is reflected by the contribution of the two performers. Also, with the play of their own score, the two musicians focus on the dynamic adaptation of the melodic path to the accompaniment, roles which they adopt alternately. In instrumental chamber ensembles, the accompanying pianist treats the dynamic-timbre ratio between piano and string instruments differently, as opposed to the duo in which he evolves alongside wind instruments. In the interpretation of the written works for voice and piano, the text put on music becomes the main source of expression of the affections embedded in the notation of the score. The role of the accompanying pianist in the relationship with the vocal performer also takes place semantically, and the dialog between voice and piano is enhanced by the correct pronunciation of the text. At the same time, the melodic approach is interdependent with the lyrics it accompanies. Regardless of the partner with whom he evolves, the accompanying pianist contributes fully to the realization of a homogeneous chamber music ensemble, in which the two musicians return to the public the intentions of the composer, completed by their own feelings.

Oda müziği, müzik eğitimi bölümlerinin lisans ve lisansüstü programlarında birlikte müzik yapma etkinliklerinin gerçekleştiği derslerden biridir. Bu derslerde öğrenciler ulusal ve evrensel oda müziği örneklerini seslendirirler. Bu araştırmanın amacı Müzik Eğitimi Yüksek Lisans Programlarındaki oda müziği dersinde Türk bestecilerine ait eserlerin kullanılma durumunu ortaya koymak ve Türk bestecilerine ait piyanolu oda müziği eserleri kullanılarak gerçekleştirilen uygulama ile bu literatürün Müzik Eğitimi Yüksek Lisans Programlarındaki oda müziği ders içeriklerinde yer alan kazanımlara yansımalarını tespit etmektir. Bu amaç doğrultusunda öncelikle lisansüstü düzeyde oda müziği eğitimi veren öğretim elemanları ile yarı yapılandırılmış görüşme formu kullanılarak görüşmeler yapılmıştır. Ayrıca doküman analizi yöntemiyle Türk bestecilerine ait piyanolu oda müziği eserleri listelenmiştir. Ardından Türk bestecilerine ait piyanolu oda müziği eserleri kullanılarak gerçekleştirilen oda müziği eğitimi, yapılandırılmış gözlem formları ile gözlemlenmiştir. Gözlem öncesi ve sonrası gözlemlenen öğrencilerle yarı yapılandırılmış görüşme formu kullanılarak görüşmeler yapılmıştır. Görüşmelerden elde edilen verilerin analizinde Nvivo12 programı kullanılmış, içerik analizi yapılmış ve bu analizler sonucunda belirli tema ve kodlara ulaşılmıştır. Doküman analizi yöntemi ile elde edilen eser listesinde 107 Türk bestecisine ait 447 oda müziği eserine ulaşılmıştır. Ulaşılan bu eserler Eğitim Fakültelerinin Güzel Sanatlar Eğitimi Bölümü Müzik Eğitimi Ana Bilim Dallarında gerçekleştirilen çalgı eğitimindeki enstrümanları kapsamaktadır. Öğretim elemanları ile gerçekleştirilen görüşmeler sonucunda Türk bestecilerine ait oda müziği eserleri ile ilgili ders kazanımlarına ulaşma durumunu etkileyen faktörlerin, kısıtlı literatür ve öğrencilerin seviye farklılıkları olduğu sonucuna ulaşılmıştır. Bununla birlikte öğrencilerin Türk müziği ögelerine dair birikimlerinin yetersiz olması, Türk müziğine karşı ilgisiz olmaları ve seviyeye uygun eserlerin yetersiz olması gibi nedenlerle bu literatürün oda müziği eğitiminde kullanımının güçlük oluşturduğu tespit edilmiştir. Türk bestecilerine ait piyanolu oda müziği eserleri ile gerçekleştirilen gözlemler sonucunda bu literatür kullanılarak Müzik Eğitimi Yüksek Lisans Programlarındaki oda müziği dersi kazanımlarına ulaşıldığı ortaya çıkmıştır. Görüşmelerden elde edilen sonuçlardan yola çıkarak araştırmanın son bölümünde Türk bestecilerine ait oda müziği eserlerinin kullanımının yaygınlaştırılması için her seviyeye uygun eser yazılması, yazılı eserlerin basılması, bu literatürün öğretim programlarında ve sanatsal/bilimsel etkinliklerde yer alması gibi önerilere yer verilmiştir.

The Infanta is seated at the harpsichord […] barely nine years of age […] and Domenico Scarlatti being contracted to come all the way from London […] corrects her fngering, fa la do, fa la do […] and why must these foreigners complicate their names, when it takes so little to discover that his real name is Scarlet […] a fne fgure of a man, with a long face, a broad, frm mouth, and eyes set wide apart, I do not know what it is about the Italians, especially this one, who comes from Naples and is thirtyfve years old. Thus Scarlatti in person enters José Saramago's novel Baltasar and Blimunda (Saramago 1987, 149-50), 1 in Lisbon in about 1716, where he will make a number of cameo appearances, not otherwise even loosely based on fact, in an uncanny story where peasant protagonists and high society mix unselfconsciously. 2 Eventually, having sought out his recently acquired peasant friends to tell them his grave, parting news, Scarlatti's fnal exchange with Blimunda is recorded in the minimal punctuation that Saramago liked: "What is it to be a saint, Signor Scarlet, You tell me, Blimunda (210)." 3 How human our maestro be- The essence of the novel is captured by Ilan Stavans (1996, 89): a "dense…narrative about a one-handed soldier in love with the slender daughter of a witch, whose romance plays to the ethereal music of Domenico Scarlatti." 2 I am grateful to Australian National, Florida State, Princeton, and Rio da Janeiro universities for the opportunity to present and discuss some of the ideas in this chapter. For special advice and encouragement at various stages of this research I ofer my thanks to Steven Laitz, José Martins, W. Dean Sutclife, Arnold Whittall, and Christopher R. Wilson, all shortcomings being my own responsibility. 3 It may be tempting to draw a parallel between Scarlatti's twopart textures and

Orientador: Adriana Giarola KayamaTese (doutorado) - Universidade Estadual de Campinas, Instituto de ArtesResumo: Composta para o Teatro San Moisé em Veneza no ano de 1797, a ópera cômica em um ato As Damas Trocadas ou Le Donne Cambiate integra a ampla relação autógrafa do compositor luso-brasileiro, Marcos Portugal. Um estudo sobre a obra possibilita contextualizar um importante período para o desenvolvimento da farsa que compreende a década de 1790, antes do apogeu Rossiniano. As Damas Trocadas faz parte da produção operística de Marcos Portugal que marca a sua segunda viagem à Itália (1795-1800), fase de maior produção lírica de sua carreira composicional. Por esse motivo o presente trabalho busca, por meio de documentos coletados, comprovar o trabalho de Marcos Portugal, em Veneza, ao lado de importantes compositores italianos como Domenico Cimarosa e Giovanni Paisiello e, principalmente, apresentar a edição integral, em português, da ópera As Damas TrocadasAbstract: Composed fo...

This article examines the creative legacy of Zinaida Alexandrovna Volkonskaya (1789-1862), a distinguished figure in early 19th-century Russian culture, known as a singer, composer, and literary patroness. Despite her significant impact on the cultural milieu, scholarly attention to her musical contributions have been limited and often overshadowed by her literary and musical associations with eminent contemporaries. This study aims to address this oversight by conducting a detailed analysis of Volkonskaya's compositions, particularly her romances, to explore her unique musical language. This study assesses the stylistic influences that shaped her oeuvre, emphasizing the synthesis of French and Italian musical elements within the development of a Russian identity. Utilizing archival materials, this study illuminates her multifaceted role as a cultural intermediary who bridges Russian and European artistic traditions. The findings of this research position Volkonskaya as a pivotal figure in the evolution of Russian music, highlighting her transitional style, which anticipated later developments in the field. By providing a comprehensive musical evaluation of her works, this study contributes to a deeper understanding of her influence on the Russian musical heritage.

Despite the astounding number of baryton trios Haydn wrote (123 for baryton, viola, and cello, three for baryton, violin, and cello, largely composed in a 10-year period from 1766-75), they have historically been a relatively unexplored corner of his compositional output. Oliver Strunk featured the baryton trios in a 1932 article, but they were then largely ignored in the scholarly literature until H. C. Robbins Landon devoted considerable space to them in the late 1970s in Haydn: Chronicle and Works.

In the middle of this incredible outpouring of baryton trios are three 24-trio volumes (Hob. XI: 25-48, 49-72, and 73-96) where the original parts copied by Johann Elssler the Elder (dating from 1767, 1768, and 1771, respectively) have survived. Due to the works’ easy (and free) accessibility through IMSLP, I began transcribing the sonata-form adagios from this 72-work collection, as part of a larger project on Galant sonata form. This project gradually expanded to encompass sonata-form movements in general, and finally to an edition of the 72 works in full. Along the way, I began to enjoy the challenge of interpreting the often unclear and inconsistent notation. This study describes some of these challenges. It concludes with a detailed consideration of the second movement of Haydn’s Baryton Trio in A major, Hob. XI: 86, an intricate sonata-form allegro, that illustrates some of the editorial decisions necessary to produce a workable performing edition.

Реч "хармонија" је именица. Потиче из грчког, али је прихваћенa и у многим другим језицима. Њено значење није стриктно дефинисано. Генерално, могло би се схватити као пријатна комбинација различитих елемената. У музици је то пријатна комбинација тонова и ритмова, у визуелној уметности, то је сагласје боја и пропорција. У међуљудским односима, то је, слично као и сагласност, договор који је пријатан свим учесницима. Хармонија, као и сваки идеал, има своју божанску персонификацију у миту старих Грка, богињу по имену Хармонија. У овом раду смо истраживали симболику хармоније, надајући се да ћемо прићи ближе њеном значењу. Сазнали смо да су љубав и страст њени тајни састојци. Хармонија се налази првенствено на небу, у небеском свету реда и стабилних ритмова. Повремено је можемо позвати у сопствену душу, када нађемо начин да прихватимо, поштујемо и негујемо супротстављене силе које владају у њој. Хармонију можемо срести и у неким породицама или малим заједницама пријатеља, где чланови имају љубав једни према другима, па је присутан тајни састојак који ће неутралисати (или, бар, ублажити) супротстављене жеље и интересе. Научили смо и да смо, када упознамо Хармонију, заштићени на неки начин од злих сила. То је зато што је она и Апотрофија (она која избацује из срца људи жељу за грешним задовољствима и пожудом). У широј људској заједници, узалуд је тражити је, јер нема довољно љубави да уравнотежи различите жеље и интересе.

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.

The 1920s saw a revolution in the guitar's concert repertoire: for the first time, non-guitarist composers took a serious and often sustained interest in the instrument, inspired above all by the Spanish guitarists Llobet and Segovia. Guitar historiography traditionally highlights composers such as Falla, Moreno Torroba, Ponce, and Turina as the forerunners of this movement, yet the music of another pioneer still awaits comprehensive evaluation-that of the Viennese composer Ferdinand Rebay (1880-1953). Rebay began composing for the guitar in 1924, which places him among the very first non-guitarist composers of the twentieth century. Active in Vienna as composer, arranger, choirmaster, pianist, and piano teacher, he had no connection with the circles of Llobet or Segovia: instead, he collaborated with a group of enthusiastic Viennese guitarists who were the first to receive a professional education at the Akademie für Musik und darstellende Kunst,1 stepping beyond the instrument's previous guitar-club boundaries and striving to integrate with their symphonic counterparts. Rebay's progressive ideas about the guitar led to innovations in formal, textural, and harmonic treatment. He chose the sonata for his most sophisticated works, leaving behind an impressive catalog of over thirty sonatas or sonata-structured works for guitar. Rebay's sonatas are already gaining a foothold in the guitar's concert repertoire; yet if their value is to be fully understood, they must be placed in the broad historical context from which they emerged. This article provides this context on several fronts. First, I explore what the Austro-German guitar establishment was like in the early decades of the twentieth century, as well as the unique characteristics of the Viennese guitar scene that inspired a composer such as Rebay to write for it; this includes the influence of his niece, the guitarist Gerta Hammerschmid (1906-85). I then discuss the sonata values constructed in the nineteenth century and how the genre evolved, not just in concert but also in domestic circles. A final section provides an introduction to Rebay's guitar sonatas and sonata-structured works, including a structural overview of a selected group of chamber sonatas that links my findings to previous discussions.

The aim of this study is to determine to what extent the training program
created for polyphonic Turkish Music and Classical Western Music works,
etudes and scales has an effect on the attitude towards the orchestra
course. Exploratory sequential design from mixed method research was
used in the study. In the quantitative part of the research, pretestposttest design was used from quasi-experimental research models. In
the qualitative part of the research, case study design was used. The
study group comprised 20 participants currently enrolled in the music
teaching department of Inonu University. Paired sample t-test was used
to analyze the data collected in the study. In addition, content analysis
was used to analyze the data obtained in the qualitative part. As a result
of the research, it was determined that the training program created for
polyphonic Turkish music had a statistically significant effect on students'
attitudes towards the orchestra course. As a result of the qualitative
analysis of the research, the students stated that their attitudes towards
the orchestra course changed positively.

Arbitrarium (2025) for violin, violoncello, and piano explores the interplay between structure and arbitrariness through a series of fragmented gestures and discontinuous developments. The work oscillates between precise metric configurations and abrupt deviations, creating a tension between formal coherence and impulsive disruption. Motifs recur in varied contexts, often distorted or displaced, establishing a shifting framework of memory and transformation. The instrumentation is treated both as a unified body and as a constellation of autonomous voices, allowing moments of intimate dialogue and sudden estrangement.

***

Arbitrarium (2025) für Violine, Violoncello und Klavier untersucht das Spannungsverhältnis zwischen Struktur und Willkür in einer Folge fragmentierter Gesten und diskontinuierlicher Entwicklungen. Das Werk pendelt zwischen präzisen metrischen Konfigurationen und abrupten Abweichungen und erzeugt so eine Spannung zwischen formaler Kohärenz und impulsiver Störung. Motive kehren in unterschiedlichen Kontexten wieder – oft verzerrt oder verschoben – und bilden ein wandelbares Gefüge von Erinnerung und Transformation. Die Instrumentation wird sowohl als klangliche Einheit wie auch als Ensemble autonomer Stimmen behandelt, wodurch intime Dialoge und plötzliche Fremdheit entstehen.

***

Arbitrarium (2025) for violin, cello og klaver udforsker spændingsfeltet mellem struktur og vilkårlighed gennem en række fragmenterede gestusser og diskontinuerlige forløb. Værket veksler mellem præcise metriske strukturer og pludselige afvigelser, hvilket skaber en spænding mellem formel sammenhæng og impulsiv forstyrrelse. Motiver genopstår i varierende kontekster – ofte forvredne eller forskudte – og danner et bevægeligt net af erindring og forvandling. Instrumentationen behandles både som en samlet klangkrop og som en konstellation af autonome stemmer, hvilket muliggør øjeblikke af intim dialog og pludselig fremmedgørelse.

@ChristianHildebrandt2025

Exposición premiada con el Premio Extraordinario de Historia de la Música por el Conservatorio Profesional de Historia de la Música (2025).
Este trabajo reúne información sobre la música instrumental de carácter civil en España durante los reinados de Carlos III (1759–1788) y Carlos IV (1788–1808). La estructura incluye una contextualización histórica y una descripción de los principales espacios de producción y circulación musical: la corte, los salones aristocráticos y los ámbitos burgueses en expansión. Se identifican compositores relevantes y se describen los repertorios vinculados a cada entorno. El estudio incorpora una revisión de la bibliografía disponible y del tratamiento historiográfico de este repertorio, destacando el enfoque especializado que ha caracterizado los estudios previos. Como resultado, se ofrece una visión general del desarrollo de la música instrumental civil en el contexto social y cultural de la España del siglo XVIII.

This commentary by Dr Eugene Seow, published by the Royal Society of Arts (RSA) in 2025, reframes arts education as essential civic infrastructure. Drawing on the author’s experience as a music educator, performer, and curriculum strategist, it critiques the marginalisation of creative subjects in policy and education systems.

The article argues for systemic integration of the arts into public health, education, and social resilience agendas, positioning creativity not as enrichment but as foundational to societal wellbeing.

Full article link: https://www.thersa.org/articles/comment/the-arts-arent-optional-extras-they-are-essential/

In a group of baryton trio finales from Volumes 2-4, Hob. XI: 25-96 (Hob. XI: 33, 40, 53, 67, 71, 75, and 81) Haydn pervasively employs imitative counterpoint, a device that foreshadows a similar textural development in his contemporary string quartets (tentatively in Opus 9 and 17, in earnest in Opus 20). At times suggesting three-part inventions or fugues, on other occasions resembling species counterpoint exercises from the Gradus ad Parnassum of Johann Joseph Fux, these finales stand out from the largely homophonic, melody-dominant opening adagios, and moderato movements.

This study examines a cross-section of contrapuntal movements from the baryton trios, Hob. XI: 25-96, exploring the possible motivation for their inclusion in this large body of works. Negative appraisals of Haydn’s style and craft by North German critics likely motivated him to rediscover the imitative textures that characterized the music he learned in his youth. The conservative musical tastes of his Baroque-trained patron, Prince Nikolaus Esterházy, also played a role.

Following an exploration of invention-like texture in the second movements of Hob. XI: 86 and 60, the study concludes with detailed formal and motivic analyses of three complete finales (Hob. XI: 33, 81, and 67). The first two finales are an amalgam of fugue and sonata form, while the third finale is a full-fledged “fuga à due soggetti,” in the manner of the three concluding fugues from Haydn’s Sun Quartets, Opus 20.

This piece is a projection of my first transpacific flight experience, from Korea to the United States. Every flight is somewhat frightening and bizarre to me, but this long flight was quite exceptional. I used to be emotional, and a lot of anxiety and self-reflection possessed me. However, this time, crossing the vast indigo ocean, I almost burst into tears of loneliness and nervousness, thinking about my unstable life path and the land I do not know. However, this flight was too long to be fragile. I prayed, ate meals, searched for travel information, studied scores, watched movies, observed people, listened to the music and noise inside the airplane, and composed a new piece. After all, life went on, even at 36,000 feet in the air

In a number of works from Volumes 2-4 of Haydn’s baryton trios (Hob. XI: 25-96), he increased the pace of certain sonata-form movements while retaining much of their rhythmic and thematic complexity. Typically, Haydn placed these movements (usually marked allegro, but closer to allegro moderato in performance) as the second of the three-movement cycle, to contrast stylistically with their adagio opening movements. (Hob. XI: 49 is an early example, as are Hob. 60, 82, and the last of Volume 4, Hob. XI: 96, among others.)

Like the “moderato 8/8” movements, these allegros feature a wide diversity of rhythmic values, and a complexity of thematic design. Moreover, Hob. XI: 60 and 82 conform to William Caplin’s R=1/2 N expedient (in which a single notated measure equals two analytical measures), implying a slower tempo. These works, as a whole, are midway between the “moderato 8/8” opening movements and the quicksilver allegro di molto (or presto) 2/4 middle and final movements in rhythmic and formal complexity.

This essay, part of a longer study, provides an overview of selected movements of the “allegro moderato 4/4” type, beginning with the opening gestures of Hob. XI: 59 and 82, examining their rhythmic and formal similarity to the “moderato 8/8” family of movements. The essay concludes with detailed motivic and form-functional analyses of the complete middle movements from (in order) Hob. XI: 35, 88, and 86.

Haydn’s 126 baryton trios date from 1765 to ca. 1774, a period that coincided almost exactly with his renewed interest in the string quartet, of which he wrote 18 between ca. 1768 and 1772 (Opp. 9, 17, and 20). A number of the baryton trios from Hob. XI: 25-96 (the three volumes from 1766-71 that are available in copyist Johann Elssler’s parts) feature rhythmically complex sonata-form first movements in “moderato 8/8 meter” (to use Landon’s term), as can be found in Haydn's contemporary string quartets (the opening movements of Opus 9 nos. 1-4, Opus 17 nos. 1-2 and 4-5, and Opus 20 nos. 1-2, and 5). Though H. C. R. Landon suggests that these lengthy and complex movements, featuring (in his words) “a broad tapestry of small interlocking fragments,” are the most challenging from the Sturm und Drang-era quartets for the modern listener, the greater brevity of the examples from the baryton trios mitigates the challenge somewhat, for listeners and performers alike.

This essay explores Haydn’s “moderato 8/8” sonata-form opening movements in his baryton trios, Hob. XI: 25-96. The rhythmic language in these movements is diverse, featuring an elaborate mix of eighths, sixteenths, and sixteenth-note sextuplets (plus ornamental thirty-second notes), creating an infinitely varied musical surface. The phrase structure features a free mixture of normative four-measure units and other phrases of irregular lengths–not just in the development section, where such variation of phrase lengths would be a logical extension of the process of variation, but within thematic units as well. The study concludes with an in-depth analysis of the first movement of Hob. XI: 80, a representative example of the “moderato 8/8” type.

The musical analysis of large-scale structures, such as the classical sonata form, requires to integrate multiple analyses of local musical events into a global coherent analysis. Modelling large-scale structures is still a challenging task for the research community. It includes building large and accurate annotated corpora, as well as developing practical and efficient tools in order to visualize the analyses of these corpora. It finally requires the conception of effective and properly evaluated MIR algorithms. We propose a machine learning approach for the sonata form structure on 32 movements from Mozart's string quartets. We release an open dataset, encoding two reference analyses of these 32 movements, totaling more than 1800 curated annotations, as well as flexible visualizations of these analyses. We discuss the occurrence in this corpus of melodic, harmonic, and rhythmic features induced by pitches, durations, and rests. We investigate whether the presence or the absence of these features can be characteristic of the different sections forming a sonata form. We then compute the emission and transition probabilities of several Hidden Markov Models intended to match the structure of sonata forms at several resolutions. Our results confirm that the sonata form is better identified when the parameters are learned rather than manually set up. These results open perspectives on the computational analysis of musical forms by mixing human knowledge and machine learning from annotated scores.

This study aims to pedagogically analyze the first ten piécétudes from Roland Dyens's Les 100 de Roland Dyens album. Based on a constructivist learning approach, document analysis was employed to explore how Dyens's innovative piécétude concept-combining technical exercises with musical pieces-contributes to guitar education and supports students' musical development. The term piécétude eliminates the distinction between technical studies and musical works, allowing students to enhance their technical skills within a musical context. Each piece was examined under the categories of general characteristics, suggestions for teachers and students, and difficulty level. The findings demonstrate that Dyens's piécétudes transform technical practice

In late 1765, Joseph Haydn received an official reprimand from his employer, Prince Nikolaus Esterházy, for negligence in carrying out his musical duties, including his neglect in composing for the prince’s favorite instrument, the baryton, a type of viola da gamba with extra, sympathetic strings that can be plucked:

“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 Land0n 1980, Volume 1, 420)

Haydn immediately acted upon this admonishment, composing the bulk of his 126 baryton trios between 1766 and 1771. This period coincides almost exactly with Haydn’s renewed interest in the string quartet, of which he wrote 18 between ca. 1768 and 1772 (Opp. 9, 17, and 20).

This study explores the adagios from Haydn’s baryton trios, Hob. XI: 25-96, the three 24-work volumes copied by Joseph Elssler that are available in the original manuscript. These works, far from merely fulfilling a requirement of Haydn’s employment in response to his official censure in late 1765, gave him an opportunity to experiment with form and string texture in preparation for his renewal of composition in the string quartet genre. The oft-noted musical advance between Haydn’s 10 early quartets and the 18 quartets of Opp. 9, 17, and 20 can be directly attributed to the experience he gained from composing these chamber works for Prince Esterházy.

Esta tesis es una invitación a hablar, hablar de música, en particular de la música académica mexicana de los años 1950-1960, al preguntarse cómo se representa lo indígena dentro de ella. Hablar, y a través de nuestras palabras, pensar cómo hablamos de esta música con sus notas. Esta tesis es una invitación a doblar nuestros discursos sobre ellos, ya que descansa sobre la siguiente afirmación: desde el interior de sus palabras, la musicología hace brillar lo indígena en la música, en particular apoyándose sobre el artificio del análisis musical para crear este espacio ficticio. 
A partir de este objeto de estudio, la exploración de archivos nuevos y mi lectura de la arqueología de Foucault, la tesis trata la musicología de los últimos cincuenta años —al menos la que pude encontrar, un poco por fortuna hay que admitirlo, en unos lugares de América Latina, de Estados Unidos o de Francia— como el presente de su propia reflexión. ¿Cómo hasta ahora esta musicología se ha ubicado y ha relacionado los acervos que manejaba? ¿Cómo ha hecho archivo? 
Con lo que llamo el análisis musical de la superficie, propongo desplazar el lugar del análisis musical dentro de los discursos musicológicos, ya que ellos se han vuelto exteriores al objeto musical abordado y han renunciado a su verdad: un análisis por el análisis. En la relación infinita que entretienen las palabras y las notas, este análisis observa con una lupa esa música para no confundirla con otra, para no confundirla con sus apelaciones y tampoco para hacerla entrar, un poco al azar, en el gran relato de la Historia de la música y sus categorías predefinidas.

Haydn’s 126 baryton trios, composed between ca 1766 and 1775, were copied in parts by Johann Elssler and collected in five volumes, with all but the last volume including 24 trios. Volume 4 (Hob. XI: 73-96) ends with an impressive work in the minor mode: the trio in b minor, Hob. XI: 96. Composed in 1771, this ambitious trio, one of only two in the minor mode, begins with a tragic largo, and maintains its subdued tone throughout its three movements. B minor is a rare and particularly “serious” key both historically (cf. J. S. Bach’s b Minor Mass) and for Haydn personally (if such works as the string quartets Opus 33 no. 1 and Opus 64 no. 2, and the Keyboard Sonata, Hob. XVI: 32, from the Anno 76 sonatas are any indication. Moreover, Haydn typically reserved the largo tempo indication for works of particular import (e.g., the celebrated Largo of the String Quartet in D major, Opus 76 no. 5, and the Largo assai of the “Rider” Quartet, Opus 74 no. 3). With this combination of attributes, the opening movement features material of unusual intensity, a character that Haydn maintains for the Sturm und Drang allegro. Only the concluding minuet provides any emotional respite.

This somber work is a fitting end to Volume 4 of the baryton trios. The work as a whole, and the musical progression of Hob XI: 25-96 in general, speaks both to Haydn’s increased musical ambition and Prince Esterházy’s growing ability as a performer on the baryton between 1766 and 1771.

Among the 126 baryton trios Haydn composed between ca. 1766 and 1775, only two were in the minor mode. Dating from 1771, Hob. XI: 87, Haydn's only multi-movement work in the relatively common key of a minor, was the first of them. This paper is a brief analytical vignette, with annotated scores, examining the formal design of this tonally unique three-movement work.

Sobre todo, me gustaría agradecer la atención cercana y ayuda del director de presente trabajo fin de master, Emilio Moreno Aguado, que ha sido un guía y supervisor excelente durante el proceso de la elaboración del trabajo, de principio a fin. También me gustaría dar las gracias a mi professor de violín, Manfredo Kraemer, que con su aportación de ideas musicales me ayudó a desarrollar mi creatividad necesaria para la elaboración de mis propias versiones ornamentadas y compartió su opinion sobre ellos.

A couple of years ago, in two blog posts, I raised the possibility that a woman composer’s decision to set poems by a woman poet had several implications, including their choice of musical style and the stage of their career. In this post I review some of my findings and then expand the circle to include German-speaking women composers for the same decades. When I started down this new path, I anticipated finding that male poets would play a larger role – this is, after all, the culture of Goethe, Heine, Rückert, Tieck, and many other revered poets. Yet German-speaking feminists also asserted themselves in the decades before and after 1900, and women poets inspired at least a few women composers. While my opening assumptions were not completely wrong, there were some surprises, especially the realization that the women who set a significant percentage of poems by German-speaking women were actually not from Germany, but rather Luxembourg, Croatia, and most of all, Austria.

AbstrakBeta-Coronavirus novel yang dianggap sebagai virus corona dengan tipe yang baru, muncul diakhir tahun 2019 dan dikenal dengan Covid-19 yang menjadi masalah kesehatan dunia termasuk indonesia. Virus ini menyebar melalui (droplets) tetesan cairan yang dikeluarkan oleh orang yang terkena Covid-19 dan masuk melalui mulut, hidung serta mata. Upaya pencegahan dan penanggulangan dampak dari virus ini bukan hanya merupakan tanggung jawab dari pemerintah semata, tetapi juga memerlukan dukungan dan peran dari pemerintah setempat. Masyarakat merupakan pihak yang berperang penting dalam memutus mata rantai penularan Covid-19. Dilihat dari banyak kasus Covid-19 di bulan November tahun 2020, menunjukan bahwa Kecamatan Baruga merupakan daerah yang tinggi kasus konfirmasi positif Covid-19 yaitu sebanyak 203 kasus. Tujuan penelitian ini untuk mengetahui pengaruh antara sikap, kepercayaan dan dukungan tokoh masyarakat dengan tindakan pencegahan penyakit Covid-19. Jenis penelitian ini adalah su...