Historically Informed Performance (HIP)

During the era of standardization and demythologization, especially after the reign of the recording industry, the music gradually began to lose its magical function-its power to affect the audience. Modern society, with its preference for neutrality and domination, tends to cultivate a condition of being nonaffected. Yet throughout history, true musicians have always resisted the mechanical habits of performance as well as the regressive habits of listening. Today, however, institutionalized musical cultures rarely concern themselves with the question of how the great masters of European music-Bach, Mozart, and Beethoven-actually performed their own works. It is as if there were a tacit assumption that they played in the same metronomic, flattened, and unnuanced manner that prevails today. Against this universal misconception, we can begin to recognize the tools necessary for reviving the authentic impact of those great masters' performances as they were first intended for the audience par excellence; and this endeavor must be rigorously distinguished from the pseudohistorical fabrications obstinately pursued under the banner of HIP, which reduce performance practice to a sterile antiquarianism rather than a living artistic truth. Silence and fermata must be restored to their original expressive weight; fingersatz should be guided by C. P. E. Bach's principles of passageplaying in clavier music; and most crucially, tempo must be understood as it was originally conceived-free from the tyranny of modern metronomism. At the same time, inspired by the theatre, every recital and concert should embrace a progressive idea of defamiliarizing the repertoire, re-enchanting the listener, and reopening the mythic space of performance.

This research project investigates the role of the bassoon in the basso of the early symphonies of Mozart,
Haydn and Contemporaries in the 1760s and 1770s. It draws on surviving primary source material
pertaining to bassoonists and orchestral practices across Europe before 1780. Autograph scores of
Haydn, Mozart and his contemporaries usually scored early Classical symphonies for pairs of oboes,
horns, two violin sections, viola and basso. Modern scholars have described these compositions as
symphonies for pairs of oboes, pairs of horns and strings, and have translated basso to mean cellos and
basses. Eliminating the eighteenth-century term basso has also removed bassoons from the bass section
of the early Classical orchestra.
The socioeconomic and aesthetic scene at the beginning of the second half of the eighteenth
century is discussed in order to envisage the world in which eighteenth-century bassoonists worked.
From this contextual mindset, hypotheses about how bassoonists performed from the generic basso
parts are tested against evidence from a variety of surviving sources. Convincing evidence shows the
bassoon to be a valuable addition to the basso, adding timbral variation, clarity of articulation and
support to the harmonic foundation. In the undertaking of this research, a complete set of orchestral
parts was discovered in an Austrian monastery. This is a significant find because the parts were most
likely created from Mozart’s autograph, written out by a Viennese copyist frequently employed by
Mozart. This previously unstudied set of parts for the A major symphony KV201 uncovers historic
performance practice of how a bassoon plays the basso line. The significance of the findings are
explicated in a hypothetical concert series.

Based on an investigation of newspaper articles, this article presents a first look at the activities of Antonio Jiménez Manjón, Miguel Llobet, and Agustín Barrios in Chile between 1893 and 1918. Manjón’s concerts were well received, clashing with some of the discourse in the local media, which considered the guitar vulgar and expressionless. Llobet introduced the Tárrega school in Chile in 1912, which is in itself a milestone in the study of Tárrega’s pedagogical philosophy in that country. Furthermore, his technique was praised and, like Manjón’s, led to the challenging of prejudices against the guitar. The case of Agustín Barrios, however, is noteworthy, since he seemingly did not achieve the same recognition and success as his predecessors, even though he was an outstanding guitarist and composer.

A look at these artists’ activities shows that the guitar was surrounded by a plethora of narratives, which gave rise to a specific understanding of the development of the instrument in Chile.

The struggle for gender equality has been a long and continuous skirmish. The need for gender equality continues to evolve globally and hasn't left a field of study such as music and an institution; church choir vindicated for a no discourse. The imbalance between men and women in choir is a global issue that has garnered attention from researchers, Music educators, and music directors. Some scholars claimed the gender identity of choir singers has shifted dramatically in the past century, from a male only club into an activity for females. The leadership positions; Music Director, Assistant Music Director, Organist, Welfare Director, Treasurer, Financial Secretary, Librarian, Public Relation Officer, General Secretary etc. though relative from one church choir to another has some gender struggles. The aim of the study was to propose gender balance in the Church Choir and Choir leadership. In doing this, it analyses the ratio of female choristers and male choristers in selected churches in Ibadan and the gender representations on the different leadership positions in the Choir. It also aimed at identifying leadership roles or responsibilities of female and male in the selected choir. It elucidates aptly on biblical acme as it touches Church choir and gender. The study employed a descriptive survey research design and data were collected through observation and interview and analysed with Pie chart and Percentage error. The study concludes that both males and females gender are fit to be a member of the Church choir and can play any leadership role. Church music directors and Choral music educators must celebrate all elements of music; not only encouraging members to engage in musical experiences during adolescence, but also equipping them with the necessary knowledge and skills to find success and lifelong engagement with music.

Isabella Leonarda (1620-1704) è un nome di spicco tra le compositrici della storia musicale italiana. Sebbene abbia vissuto e operato in relativo anonimato a Novara in un convento orsolino, ella ha lasciato oltre duecento composizioni (per la maggior parte musica sacra). Tra queste, l’op. I era fino a oggi considerata dispersa. Non viene infatti menzionata nei cataloghi della sua musica a stampa redatti da Carter (1981, 2001) e Monticelli (1998). Tuttavia, il manoscritto S. 609 della Zentralbibliothek di Solothurn, tramanda sei mottetti a voce sola e basso continuo estratti proprio dall’op. I di Leonarda, dando il riferimento per la data e il luogo di stampa (Milano, 1641). Per la prima volta, tali opere sono qui presentate in edizione critica.

Os instrumentos de sopro -saxofones, flautas, clarinetes -são estruturas acústicas complexas que sofrem constantemente a ação da ressonância das ondas sonoras. Esse fenômeno, natural e inevitável, não afeta apenas a sonoridade: ele também interfere diretamente nos mecanismos do instrumento. Durante a execução, eixos e chaves podem ressoar entre si, produzindo micro vibrações. Na maioria das vezes, o público ou os ouvintes externos não percebem esses ruídos. No entanto, para o músico executante, eles são evidentes e perturbadores. Isso acontece porque a ressonância não se limita ao ar em vibração: ela é transmitida também pela ressonância óssea, alcançando a face e a cabeça do instrumentista. O músico, portanto, sente o som de forma ampliada e até distorcida, captando harmônicos ou frequências internas que muitas vezes parecem "notas fantasmas" ou sons que soam dentro da fundamental.

Historically Informed Performance (HIP) of especially seventeenthand eighteenthcentury opera. Trained neither as a musicologist nor as a theatre historian, Barnett originally came to the theatre from the Early Music Movement, in which he had been active throughout the 1950s and 60s. Obviously inspired by the way musicians and musicologists had immersed themselves in the revival of musical instruments and practices of the past – Barnett himself built the first harpsichord ever manufactured in Australia – in 1968 he turned towards the study of what he described as historical 2

This article examines, from certain perspectives and by way of comparison, the mean-tone temperaments of 1/5 syntonic comma (SC), 1/6 SC, and 2/7 SC, in the context of Renaissance and Baroque music, presenting some historical testimonies, a hypothesis on the approach to monochord division, and having in mind the classical interval ratios rein-troduced by Gioseffo Zarlino. The analysis compares the major third, minor third, regular fifth, and wolf fifth intervals, highlighting the mathematical advantages of the 2/7 SC in terms of symmetrical balance between the thirds, and a potentially more functional wolf fifth. It is argued that, on one hand, historical evidence such as brisés harpsichords and the testimony of Joseph Sauveur favors the 1/5 SC; on the other, the 1/6 SC has docu-mented advocates; while the 2/7 SC, in turn, besides also being the preference of some historical testimonies — beginning with Zarlino himself — would offer, as the conclusion of a mathematical analysis of its intervals, some interesting advantages.

Keywords: temperament, mesotonic, tuning, monochord, keyboard

Translating texts from early musical periods represents a challenge, due mostly to our limited knowledge of the subject matter and historical context. Yet, the results provide clear insights into different fields, including translation, music, art history, music teaching and historical performance. This paper analyses how the translation of such musical texts has developed over time and proposes a methodology for approaching the task, exemplified through the English-to-Spanish translation of The Art of Playing on the Violin (1751) by Francesco Geminiani (1687-1762).

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.

Historical improvisation has been the subject of growing interest in recent years, with significant results in the fields of musicology and performance practice. On the one hand, this tendency can be seen as a direct consequence of the multiple paths opened up by historically informed performance of early music, but, on the other hand, it can also be framed within a broader movementthe 'performative turn' in music research, extending across various chronological eras and genres. In fact, repertories of the seventeenth and eighteenth centuries constitute a privileged ground for this approach, since improvisation played a crucial role in musical life, and musicians were trained to develop improvisatory skills. Moreover, music was still primarily an aural practice and musical sources offer ample scope for the performer's creativity. The volume Musical Improvisation in the Baroque Era, edited by Fulvia Morabito, is a welcome addition to the increasing literature related to this subject. It aims to investigate the role and forms of improvisation in baroque music, as well as to set up links between creative process and practice. The contributions were drawn from talks given at a conference with the same title as this volume that took place in Lucca in 2017. This event was organized by the Centro Studi Opera Omnia Luigi Boccherini in collaboration with Ad Parnassum. Although historical contexts, stylistic features and aesthetic views are explored in several essays, much of the volume's content focuses directly on the practical side of improvisation. The subjects range from specific aspects such as ornamentation, cadenzas and accompaniment to ideas and methods associated with musical training, as well as to questions of style and freedom within performance. Among the contributors are musicologists, music theorists and performers, some of them bringing interdisciplinary expertise. Most of the eighteen essays are in English, with others in Spanish and Italian. The book is divided into four sections: (1) 'Improvisation into Composition', (2) 'Issues of Performance Practice', (3) 'Contemporary Treatises, Pedagogical Works, and Aesthetics' and (4) 'The Art of Partimento'. However, several essays could also fit well into another section and address issues relevant to more than one chapter. The volume as a whole is a web in which a number of threads and concepts are interwovennotation, memory, virtuosity, rhetoric and many others. Improvisation is an ephemeral practice, inherently unwritten, but its study from a historical perspective can only be traced from written sources of different kinds: scores, treatises, manuals, chronicles, reports and other documents. How can a score give us clues about improvisation? And to what extent is it intended to be played as written? Can we consider certain pieces as written improvisations? What are the boundaries between improvisation and composition? How do these questions relate to learning methods? These and other questions cut across most of the essays or are implicit in their arguments.

This public lecture, presented at the Boston Early Music Festival on June 12, 2025, sheds light on Johann Oswald Harms, stage designer for the Hamburg Opera starting in 1695. Harms was responsible for visually bringing to life Handel’s first operas and most of Keiser’s. An exploration of Harms’s drawings can help us to reconstruct these works and to understand what audiences saw when they heard Handel’s and Keiser’s music. For BEMF’s historically informed 2025 Centerpiece opera, Octavia, Harms’s work was instrumental for understanding the German Baroque stage. A version of this talk will be published at a future date.

In 18.07.2025 we presented aspects of the chant-based event “Experiencing the Byzantine Chorós II”, which took place on December 1st, 2024, at the Church of Panagia Acheiropoietos in Thessaloniki (https://www.youtube.com/watch?v=SPhM24ctyiQ ).
As part of our presentation, we shared with the Masterclass audience:
-  the core concept and design of the event,
- selected excerpts from it, supported by historical and liturgical sources,
- as well as the experimental application of this documentation in the methodology of training the choral ensemble and in its performative enactment within the liturgical space.

Background: Synchronisation/coupling between respiratory patterns and musical structure. Methods: Healthy professional musicians and members of the audience were studied during a performance of W.A. Mozart's Piano Concerto KV 449. Electrocardiogram (ECG)/Heart Rate Variability (HRV) data recording (Schiller: Medilog W AR12, ECG-channels: 3, sampling rate: 4096 Hz, 16 Bit) was carried out and a simultaneous synchronized high definition video/audio recording was made. The breathing-specific data were subsequently extracted using Electrocardiogram-derived respiration (EDR; Software: Schiller medilog W DARWIN) from the HRV data and overlaid at the same time onto the musical score using FINALE 2011 notation software and the GIMP 2.0 graphics programme. The musical score was graphically modified graphically so that the time code of the breathing signals coincided exactly with the notated musical elements. Thus a direct relationship could be produced between the musicians' breathing activity and the musical texture. In parallel with the medical/technical analysis, a music analysis of the score was conducted with regard to the style and formal shaping of the composition. Results: It was found that there are two archetypes of ideally typical breathing behaviour in professional musicians that either drive the musical creation, performance and experience or are driven by the musical structure itself. These archetypes also give rise to various states of synchronisation and regulation between performers, audience and the musical structure. Conclusions: There are two archetypes of musically-induced breathing which not only represent the identity of music and human physiology but also offer new approaches for multidisciplinary respiratory medicine.

La cuarta ola feminista de los últimos años traspasa hoy los límites del carácter masculinizante del tango, lo que ha permitido una creciente incorporación de mujeres —y disidencias— en el circuito creativo–musical contemporáneo. Este artículo explora las transformaciones identitarias, las enunciaciones feministas y las estéticas musicales emergentes en el tango argentino del siglo XXI a partir del influjo de la «marea verde», el movimiento feminista por el aborto legal que resonó globalmente. Se analiza cómo esta ola feminista ha promovido la aparición de nuevas subjetividades femeninas/feministas y activismos dentro del tango, generando espacios, prácticas y expresiones inéditas. A través de la apreciación de creadoras, roles musicales y procesos de autogestión colectiva, se presenta una revisión panorámica del movimiento de mujeres músicas en el tango actual. El análisis aborda las re–invenciones identitarias, las enunciaciones feministas presentes en letras y producciones académicas, y las características musicales y estéticas que definen este flujo tanguero, destacando la confluencia de elementos tradicionales, vanguardistas y rupturistas. El objetivo principal de esta investigación es visibilizar a las mujeres protagonistas de la escena tanguera actual, para poder aportar a los estudios contemporáneos de esta música con una perspectiva de género, situando la creación musical surgida en la «marea verde» como un núcleo de renovación que impulsa la diversidad e integración en el tango.

Este artigo é um estudo de caso, no que diz respeito à interpretação e à percepção,
sobre Phantasie für Orgel mit Obbligati (1967) para órgão e duas máquinas de fita,
de Mauricio Kagel. Kagel expressa que os «obbligati» (parte integrante da peça) são
gravações. Essas gravações consistem em múltiplas camadas de paisagens sonoras
crípticas e objectos sonoros que necessitam de ser gravados pelo organista,
pertencendo ao domínio da interpretação musical.
Há dois objectivos: acrescentar conhecimento científico sobre esta peça menos
conhecida e clarificar a percepção do público. Uma vez que ambas as fontes sonoras
não são visíveis, podemos assumir que o público se envolverá numa escuta reduzida,
mas como reagirá? Como recriar estes sons com interpretação musical?
Como classificar esta obra? Música mista? Acusmática e/ou paisagem sonora?

Le origini della musica sembrano essere insolubili e si perdono in tempi remoti, al pari delle origini della lingua, della religione e della danza. Gli inizi sono stati puramente vocali, anche se non è accettabile l'ipotesi di un'originaria identità tra musica e linguaggio parlato 1 . Nelle popolazioni primitive la musica veniva fatta risalire agli animali ed i primi musicisti erano il leone, l'aquila, il corvo, la rana ed il cervo, mentre nelle civiltà più evolute dell'antichità una divinità era solitamente designata come l'inventrice o la protettrice della musica 2 . In questo studio si è voluto analizzare il ruolo della musica nell'area definita Mesopotamia, regione delimitata dal Golfo Persico a Sud, dalle pendici dei Monti del Tauro a Nord, i monti Zagros a Est e la Media Valle dell'Eufrate a Ovest. L'arco cronologico della ricerca è il periodo storico compreso tra il III e il II millennio a.C., definito Età del Bronzo. Il periodo coperto in questo lavoro è quindi contemporaneo alla prima urbanizzazione, portato della 1

Czwarty rozdział biografii niemieckiego artysty o polskich korzeniach - F.X. Scharwenki. Jego twórczość i działalność nie poddają się klasycznej periodyzacji. Pełno tu wątków głównych i pobocznych, czy też tematów i kontrapunktów (stąd tytułowa polifonia...). Xaver Scharwenka przeczuwał to chyba, pisząc autobiografię pt. Klänge aus meinem Leben (Dźwięki z mojego życia), gdzie opisał wielotorowość swojej drogi. Co niezmiennie zastanawiające jednak, w owej polifonia życia artysty niezmiennie pobrzmiewał kontrapunkt polski…

When engaging with cultural heritage, we encounter questions of authenticity, ephemerality and materiality in diverse, but unavoidably intertwined ways. This volume studies these interrelations and possible approaches to associated challenges by bringing together contributions from conservation science, material culture studies and museum studies. The temporal scope of the objects discussed stretches from a rather robust existence in time and space to the fleeting moment of a performance. The material dimension of the objects stretches from the monumental buildings of industrial heritage to seemingly immaterial, time-based media artworks.

Duke Carl Eugen von Württemberg spared no expense in creating magnificent and innovative opera, ballet and theatre at his court in Stuttgart by engaging renowned musicians, dancers, singers, actors, composers (Jommelli), choreographers (Noverre), costume designers (Boquet), and scenographers (Colomba) from Italy and France for his productions. As Colomba took a leave of absence in 1763-4 and N. Servandoni from Paris was appointed as his substitute, the creation of the stage decorations for the opera Demofoonte (and its ballet intermedia) is well documented in the archives. Colomba initially wanted to reuse existing decorations for 4 of the 8 stage sets – a pragmatic solution in view of his imminent absence. However, with the appointment of Servandoni, plans changed: not only were 6 new sets produced – 2 of them by Servandoni, who also created 13 new sets for the two ballets – but they were also more elaborate than originally planned, i.e. the number of flats and set pieces was increased.
None of the stage decorations for Demofoonte have survived; only the description in the festival book provides clues as to their appearance and effect. However, Portici, Atrio, Piazza, Porto di mare, Luogo magnifico etc. were typical stage decorations for an Italian opera. Comparisons with surviving stage sets, designs, presentation sheets and prints by Colomba, Servandoni and contemporary scenographers can provide further clues.
By comparing Metastasio’s indications in the libretto, the archival documents and the corresponding dramatic and musical setting, I would like to analyse the following:
Does the more elaborate design of the stage sets have an impact on the (visual) dramaturgy or stage action of the opera? Or did it merely enhance the splendour of the production?
I will concentrate on the stage sets which show multiple locations. The stage set Atrio del tempio di Apollo (II,8-10) is of particular interest for this type. Firstly, because Metastasio requires that the singers also act pantomimically in this stage set. Secondly, it also has the task of visualising the preliminary events leading up to the scene, thus it has an enhanced dramaturgical function.

This study aimes to assist the performance of the works by gathering data about the works for flute and bassoon which are in woodwind instruments of the Baroque era. In music history, the Baroque era is accepted that it starts with the years of 1600 and ends with death of Johann Sebastian Bach in 1750. During this period which lasted nearly 150 years, flute and bassoon which are in woodwind instruments, have an important place in instrumental music. Interestingly, before the Baroque period the flute and the bassoon were not often used for solo performances due to their limited technical capacity. After the developments that took place in sonatas and concertos, and the improvements in the technical capacity of the flute and bassoon, the composers were able to use these instruments more often in their works. Nowadays, the works for flute and bassoon by important composers of the Baroque era, Johann Sebastian Bach, Antonio Vivaldi and Georg Philipp Telemann, are accepted to be the keystone of instruments at educational and solo repertoire. At the end of study, it has been aimed to assist the rendition of the works by giving examples of sonatas and concertos written for flute and bassoon by Johann Sebastian Bach, Antonio Vivaldi and Georg Philipp Telemann. These examples aim to help with the interpretation of their work.

Since its beginnings, the timpani has undergone several structural changes until reaching what we know today. Widely used in the 14th and 15th-century cavalry, the kettledrum gained admirers and attracted kings and queens' attention, gradually increasing their space within the musical environment. After a long period as a rudimentary instrument, the timpani was finally incorporated into the orchestra in the 17th century, the Baroque period. At first, with elementary functions, the timpani evolved over the years and attracted composers' attention, resulting in the development of their writing, technique, and, consequently, their performance. This paper aims to help the timpanist perform the Baroque repertoire closest to the correct style by an overview of the timpani's trajectory during the Baroque period, exploring its structure, function, and technique.

Throughout history there have been many successful women composers. Unfortunately, historically, women have been left out of the music history narrative, which is taught to music students in conservatories and music colleges throughout the Western world. I attempted to help construct a new, more inclusive narrative which incorporates many of these accomplished women through composing an organ concerto. I composed a liturgical organ concerto inspired by music by women composers throughout history. The concerto is for solo organ and string orchestra and is 30 minutes, with six movements. Each movement is based on a different text of the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei). Each movement was inspired by a different woman composer from a different historical musical period, who was a pioneer or advocated for women: Hildegard von Bingen (1098-1179), Maddalena Casulana (1544-1590), Isabella Leonarda (1620-1704), Elisabetta de Gambarini (1731-1765), Clara Schumann (1819-1896), and Jeanne Marie-Madeleine Demessieux (1921- 1968).

Vocal treatises of the 18th c. and recent research suggest that Mozart\u27s concert arias should be embellished with restraint. Appropriate ornaments include turns, filling-in patterns, appoggiaturas, and short cadences at elongated fermatas. Two arias--Alcandro lo confesso...Non so d\u27onde viene, K.294, and Bella mia fiamma...Resta, o cara, K.528--are discussed in more detail

Rumbo al festejo por los 500 años de la fundación de Puebla, el Instituto Municipal de Arte y Cultura celebró con un repertorio musical portentoso el 494 Aniversario de una de las ciudades más bellas del mundo que es nuestra amadísima Puebla de los ángeles.
Bajo la batuta de la destacada directora de orquesta Lizzy Ceniceros, los miles de asistentes al variopinto concierto disfrutaron al son de grandes compositores

This paper presents work towards a "musicdiff" program for comparing files representing different versions of the same piece, primarily in the context of comparing versions produced by different optical music recognition (OMR) programs. Previous work by the current authors and others strongly suggests that using multiple recognizers will make it possible to improve OMR accuracy substantially. The basic methodology requires several stages: documents must be scanned and submitted to several OMR programs, programs whose strengths and weaknesses have previously been evaluated in detail. We discuss techniques we have implemented for normalization, alignment and rudimentary error correction. We also describe a visualization tool for comparing multiple versions on a measure-by-measure basis.

Spyrakou, E. (2025). When Iconography and Typika Meet: Performing the Ἀκάθιστος ὕμνος in Time and Space. In: Cubas Díaz, J.C. (ed.) The Akathistos Hymnos and Intermedial Compositional Processes in Later Byzantium. New Approaches to Byzantine History and Culture, pp. 57–78. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-62788-0_4
https://link.springer.com/book/10.1007/978-3-031-62788-0

https://books.google.gr/books?hl=el&lr=&id=PmNSEQAAQBAJ&oi=fnd&pg=PA57&ots=7ETj3g_LYw&sig=KnT6E4CFnckgswV6CxBo1OAkxcY&redir_esc=y#v=onepage&q&f=false

This chapter aims to manifest the interdependence between illustrations, ritual instructions, and musical manuscripts. In particular, the chapter suggests that illustrations closely depict the evolution in performance of the kontakion and the oikoi as soon as it is incorporated into ritual instructions of the mid-thirteenth century. Specifically, the gradual transmission of the oikoi from psaltai to priests and the consequent shift from the ambo or the centre to the altar, at least for a while. Moreover, the chapter demonstrates that hagiographers seem to be aware of byzantine performance practices since participants in chanting, such as priests and asketeria and the practice of cheironomy are incorporated in illustrations, though not specifically referred to by typika or musical manuscripts, when describing the Akathistos performance. On the contrary, musical manuscripts of the late Byzantine period tend to accumulate works that comply with performance practices before the turning point of the thirteenth century. Finally, the chapter suggests that certain depictions of processions across the city with the icon of the Hodegetria, held on Fridays during the service of presbeia may be incorporated among those that witness the performance of the Akathistos Hymns, in particular concerning the chanting of women and children.

METHODIKA 2003 was the third festival of Methods in Theatre Training under the artistic direction of Dr. Jurij Alschitz (Introduction). It was held in Gripsholm, Sweden 2 – 8 August 2003.
Four international pedagogues contributed their visions about the theme
THE FACE AND THE MASK OF THE ACTOR
considering the questions:
- How should we define the face and the mask?
- What does the actor show when he goes on stage?
- What is more "true", the face or the mask?
Reports by Martha Vestin and Grete Sneltvedt of the workshops of:
Director Vladimir Klimenko (Klim) (Russia),
Professor Claudio de Maglio (Italy) from Civica Accademia Dell' Arte
Drammatica Nico Pepe in Udine.
Director Abel Solares (Guatemala/Japan).
Mask-maker/costumier/scenographer Thanos Vovolis
and director Giorgos Zamboulakis (Greece)

Pionera y visionaria. Así era la personalidad artística de Wanda Landowska (1879-1959), la primera celebridad internacional dentro del mundo de la early music que, con su carisma y cuidada puesta en escena, convirtió el clave y los repertorios a él asociados en una opción estética moderna. Su carrera internacional, lanzada desde el París de 1900 de la mano de empresarios como Gabriel Astruc, recaló pronto en España y, desde 1905 hasta el inicio de la Guerra Civil, la presencia de la artista polaca en nuestro país fue constante, como ampliamente recogió la prensa nacional e internacional. Recientes publicaciones han abordado el impacto que tuvo su llegada en la actividad concertística española en los primeros años del siglo XX y la estrecha vinculación que estableció con intelectuales y compositores del ámbito hispano. Ninguna investigación ha estudiado de manera sistemática su presencia en España durante las tres décadas mencionadas y por ello será el objeto de esta comunicación que tiene como fuente principal los testimonios hemerográficos que su actividad dejó en la prensa nacional. Las conclusiones de este estudio pretenden constatar que España formaba parte fundamental del mercado internacional de conciertos y que la prolongada presencia de Landowska en sus temporadas fomentó redes de contactos e intercambios culturales que favorecieron la inclusión del clave como opción tímbrica en la vanguardia musical hispana y la democratización del universo de la música antigua. Una herencia que merece ser rescatada y revivida, pues su legado sigue gozando de plena vigencia estética.

En este trabajo se aborda la actividad de la Capilla musical de la colegial de San Salvador de Jerez de la Frontera entre 1532 y 1599. Mediante el estudio de los músicos que la integraron y ocuparon su maestría, se logra trazar un acercamiento revisado al desarrollo de su actividad, hasta ahora solo parcialmente estudiado. De forma paralela, se incide y analiza especialmente la figura del músico Bernal González, el maestro más relevante de cuantos sirvieron a la Capilla durante el siglo XVI.