History of music

In 1924, the first Song Festival was organised in independent
Lithuania. This epochal event brought together the scattered choirs
and choirmasters, raised the idea of national unity, and enriched the
choirs’ repertoire with new songs, laid the foundations for the establishment of a Lithuanian choir school, and the formation of a national tradition of Song Festivals. This article analyzes the birth of the song festival tradition in Lithuania, discusses its preparation process, repertoire, organizers, and choir conductors, as well as reviews in the periodical press.

The musical career of Petras Armonas (b. 1907) coincided with the formation of the newly independent state of Lithuania and its fledgling institutions - legislative, social, as well as cultural. As a result, Armonas had multiple opportunities for musical expression as a cellist, choir director, conductor of a symphony orchestra, and teacher. He was one of the first professional instructors of the cello in Lithuania. Trained by Czech and Hungarian musicians at the Klaipėda School of Music, Armonas taught cello at the Šiauliai State School of Music (1939-1944). He also taught music at the All-Boys’ High School (1932-1941) and directed school and other youth choirs, which performed at concerts and musical festivals throughout the city and the country. Professionally, he played cello in the orchestra of the Klaipėda School of Music. His career also took him to the orchestra of the Kaunas State Opera House, and eventually, after moving
to Šiauliai, he founded its Musical Theatre in 1943. Armonas can be credited with contributing to the musical enrichment of the city and, in fact, the popularization of “highbrow” culture by organizing a symphony orchestra and staging three operettas. He also performed himself, primarily as a cellist with a chamber trio, but as an accompanist to vocalists and in solo performances as well. His repertoire consisted of popular works 143 by Lithuanian and Western composers. Most of his concerts were held in Šiauliai, thus further enriching the musical life of
that city. Emigration to Austria and later to Germany in 1944-1945
forced him to adjust to new conditions, not the least of which involved his musical career. For one thing, he had to learn to play an organ and work with amateur performers. He directed a Lithuanian choir and chamber ensemble, taught music in a Lithuanian high school, and participated in various events held by the emigre Lithuanian community. However, he did not limit him self to a Lithuanian audience and, in fact, gave concerts to
American and French troops, thus contributing to the national image of Lithuania as a culturally endowed nation.  Meanwhile, Armonas himself found work as an organist in the church of Golling in Austria, and in the orchestra of Salzburg Mozarteum as first cellist. Later in Germany, in the city of Kempten, Armonas played in the Collegium Musicum string
quartet and in the Symphony Orchestra of Munich (1947—1949). In 1949, he immigrated to the United States, where he made his living as an organist in the Lithuanian parish churches of Rochester and later Chicago. Even though this could not have been the career he might have envisioned for himself, he served a significant role in Lithuanian emigre culture.
As a church organist, he inevitably also became its choir director. In Rochester, that also meant taking the choir on a touring circuit of other Lithuanian communities in the U. S. as well as participating in American venues throughout the 1950s. In 1960-1964 in Los Angeles, Armonas directed a male quartet named Daina, and a female sextet. Most of his creative energy, however, went into working with his Chicago-based and favorite vocal-and-folk dance ensemble, Dainava, which performed in cities like Washington, Cleveland, New York, and Detroit between 1964 and 1972. Thanks to Armonas, Dainava became the best-known ensemble of its kind throughout the Lithuanian community in the U. S. and earned its director a significant reputation. The choir-directing experience of Armonas turned out to be a rich resource for the organizers of Lithuanian song festivals. He
was invited to conduct the mass choir (composed of all participating community choirs) of the 1966 song festival in Chicago and, for the next five years thereafter, given responsibility for the repertoire and rehearsal of future participants. This, in addition to the work he did in Lithuanian schools with the youngest generation of Lithuanians, already born in the U. S., greatly contributed to the development not only of Lithuanian choral
music, but also preservation of the Lithuanian cultural inheritance and identity. Along with his choral activities, Armonas also popularized chamber music among the emigre Lithuanians. Even though a string quartet (1965-1966) and later a piano trio were both short-lived for lack of interest, his efforts there were not entirely fruitless. He laid the groundwork for the formation of such groups, the popularization of Lithuanian composers, always aiming to create a musical life for the Lithuanian community that would be on a par with the American musical experience.
As a cellist outside the Lithuanian community in America, Armonas was invited to play with various chamber ensembles, in the Symphony Orchestra of Santa Barbara in the early 60’s, and in the orchestras of Chicago’s southwestern and northern suburbs in the early 70’s.
Armonas spent the last years of his life (1976-1997) in Florida, where he had planned a quiet retirement for himself. Needless to say, retirement did not suit him, and he returned to doing what he’d done all his life: he played the organ and led the choir of the Lithuanian Club of St. Petersburg, participated in Lithuanian song festivals, and played in the city’s symphony
orchestra and chamber ensemble. He was even invited to conduct the American orchestra of the Bay Area Chamber Strings. Until he died in 1997, Armonas remained faithful to the two passions in his life - music and the Lithuanian community - which he was fortunate to be able to integrate into a single, successful whole.

Juozas Žilevičius was a Lithuanian organist, choir conductor, composer, musicologist, educator, author of the first Lithuanian symphony and nonet, and founder of the Musicology Archive. In Lithuania, little is known about his life and work, and this book aims to provide a detailed biography of the forgotten musician and an overview of his work in order to broaden the knowledge of music history and to introduce Žilevičius into the context of Lithuanian musical culture. Two-thirds of the text are devoted to the life of the protagonist and the remaining third to the historical context, to better understand the nature of Žilevičius, his links with the past, relationships with his contemporaries, and visions for the future. Lithuania, which was incorporated into Russia in 1795, was called its Northwest Region and divided into governorates. Kaunas Governorate, established in 1843, included the territories of central and northern Lithuania as well as Samogitia, where Žilevičius was born in the late nineteenth century. It was inhabited by people of various nationalities, and at that time, nationality was linked to social status. A Pole meant a nobleman or a city dweller, a Lithuanian a peasant, and a Russian a government representative. This attitude was shaped by the way people in certain areas were grouped according to their denomination and type of activity. In the cities, foreigners-Russians, Poles, Germans-were active; the estates of the nobility and princes continued the traditions of aristocratic life in the times of the Grand Duchy of Lithuania and fostered Western European art; in the countryside, Lithuanian ethnic culture was prospering. In the period of 1864 through 1904, in all the governorates, press in Latin characters was banned as well as Lithuanian schools and secular choirs. However, not only did this oppression not suppress, but it even encouraged the formation of the intelligentsia from the peasantry. It included priests (Antanas Baranauskas, Antanas Strazdas, Juozas Tumas-Vaižgantas, Motiejus Valančius, Antanas Vienažindys), medical doctors (Jonas Basanavičius, Vincas Kudirka), and church organists (Juozas Kalvaitis, Juozas Naujalis, Mikas Petrauskas, Česlovas Sasnauskas), who became the authors of the first Lithuanian hymns, songs, poems, prose works, and 627 musical compositions. Through illegally published periodicals and books, they encouraged people to fight for their civil, national, and religious rights. A separate group consisted of landlords (the Princes Oginski and Count Tyzenhauz) who founded music schools and orchestras in Rokiškis, Rietavas, and Plungė, as well as students from St Petersburg and Moscow who would return to their homeland during their holidays and organise secret evenings in barns. Kaunas was the administrative centre of the entire Kaunas Governorate. In the late nineteenth century, it became a fortified city of Russia, and as a result, the majority of its budget was spent on military, rather than educational or cultural, needs. Nevertheless, Kaunas gradually expanded. Around 1865, the City Garden with a pavilion was opened, where performances were given by passing troupes or individual performers; in 1882, the Musical Society was established, bringing together local musicians to give concerts; in 1892, the City Theatre was opened; moreover, a music school operated. However, Lithuanians were not interested in the activities of these institutions that had nothing to do with their needs. They secretly formed choirs, read illegal literature brought from Lithuania Minor by book smugglers, and after the ban on the press had been lifted, they started to establish their own societies and schools, publish Lithuanian hymnals, newspapers, artistic, scientific, and educational literature, and organise cultural life. Žilevičius belonged to a noble family of Samogitia. He was born in the countryside of this ethnographic region, learnt at Palanga Progymnasium, and studied music under local organists; early on, he learned to play the piano and participated in a noblemen's ensemble, where he became acquainted with the main

In 1944, thousands of people fled Lithuania to escape the advancing Red Army, including many artists from the Kaunas State Opera. Founded in 1920, this Opera House played an important role during the interwar period. Most of the musicians found temporary refuge in Germany. In 1948, to mark Lithuania’s 30th anniversary of independence, the Lithuanian Union and the Baltic Council in the UK, with support from the Arts Council of Great Britain,  invited four singers and an accompanist from Germany: Izabelė Motekaitienė, Alė Kalvaitytė, Stasys Baranauskas, Ipolitas Nauragis, and Vladas Jakubėnas. They were contracted
to participate in the jubilee event and to visit Lithuanian communities in England, Scotland, and Wales. The concert programs featured Lithuanian songs and excerpts from classical operas. Some of the concerts were also open to English audiences. The soloists presented themselves as
artists from the Kaunas State Theatre, emphasizing the continuity of independent Lithuania’s traditions in exile. Twenty-two concerts were held over two months. The audience praised the performers, but the British press was reserved in its coverage. The Lithuanian Union invited the
same performers to tour Great Britain again in 1949 to mobilize their compatriots and achieve political goals (this time Antanina Dambrauskaitė replaced Izabelė Motekaitienė). Twenty-nine concerts took place, half of which were organized at the initiative of the Arts Council of Great Britain. This time, the British press paid more attention to the artists, and tickets sold out quickly. Lithuanian soloists in the UK sought work in their profession but faced challenges due to time constraints, financial limitations, and a lack of concrete offers. However, they effectively
served as “singing ambassadors,” representing Lithuania as a cultured nation and advocating against the illegal incorporation of Lithuania into the USSR.

. Juozas Žilevičius (1891–1985) was an organist, chorus master, composer, musicologist, teacher, and community activist who contributed immensely to Lithuanian musical culture. In 1929, he emigrated to the United States and was remembered less and less before becoming entirely forgotten
67 during the Soviet occupation. Even now, few people are cognizant of Žilevičius’s achievements since there are no capital works at all analyzing and summarizing his truly multifaceted activities. As the author of the first Lithuanian symphony and of instrumental chamber works, he laid the foundations for what became the concert life of independent Lithuania as well as for the tradition of organizing mass
song festivals. He also published periodicals reviewing Lithuanian music; stimulated the development of ethnomusicology; and prepared courses in music education for general education schools. Having amassed solid work experience in various fields of culture and education, he endeavored to apply this experience to practical work in emigration. His most important task was to foster national ethnic
identity. This paper aims to analyze Žilevičius’s views and his accomplishments in the United States, as he associated music training with preserving Lithuanian identity.
Keywords: music, folk song, kanklės, school, jazz, Lithuanian identity, ethnic education.

Juozas Žilevičius (1891–1985) was an organist, choirmaster, composer, pedagogue, researcher, and nurturer of Lithuanian music history. In the first years of Lithuania’s independence,
he was active in all fields of music, laying the foundation of the
national culture. One of those fields was the establishment of
the Lithuanian Opera House in Kaunas. Not only did Žilevičius
watch the preparation of the first performances, but he also contributed to their production. He was a reviewer and an author of
numerous articles on the subject of opera. Therefore, the aim of
the paper is twofold: a) to evaluate Žilevičius’ contribution to the
foundation of the Opera House in Lithuania; and b) to reveal
the beginning of the development of the Opera House, based on
Žilevičius’ articles, memoirs, and archival sources. The following
facts were revealed:
1. The production of performances took place under particularly
difficult conditions: the premises of the City Theatre were neglected, and there was a lack of sheet notes, costumes, decorations,
and even performers. Žilevičius described this period as one of
the most difficult in his life, yet over the years he forgot the experienced hardships – only the bright picture of the Kaunas Opera
remained in his memory.
2. While working as the head of the Art Department at the Ministry of Education, Žilevičius contributed to the development of the
Statute and Regulations of the Opera House and played an active
role in sending musicians abroad, raising their salaries, dismissing
them from military service, and taking care of their well-being.
His publications on the theme of the Opera House were valuable
in several respects: they a) revealed the conditions of the period
during which the theatre was established and complemented the
history of the Lithuanian theatre art; and b) testified to the situation of music criticism in interwar Lithuania, the fields of critics’
interests, and their relationships with theatre people.
3. In America, Žilevičius was among the greatest proponents of
opera art. He published articles introducing the former stars of
the Kaunas Opera House who arrived in the United States, always remembered to commemorate Kaunas Opera anniversaries,
shared his memories with readers, and raised the idea to establish
a Lithuanian Opera House in America

This article examines the position of Francesco Geminiani (1687-1762) as a model of authority for eighteenth-century English instrumental music. An Italian born in Lucca, Geminiani settled in London in 1714 and developed a prolific professional career as a violinist, composer, teacher, and author of musical treatises. Drawing on the concept of emulation as articulated by Geminiani himself, we analyze his didactic writings (published between 1748 and 1762) from both textual and compositional perspectives. It is possible to identify that, in addition to emulating the didactic model established by John Playford (1623-1686/1687) in the seventeenth century, Geminiani also aligns himself with auctoritates of early English (David Rizzio), Italian (Arcangelo Corelli), and French (Jean-Baptiste Lully) music. In this sense, the article concludes that Francesco Geminiani  established  himself as a paradigmatic figure for English instrumental music through the convergence of diverse national styles.

The Pennsylvania Dutch Kirchenleute (Lutheran and Reformed "Church People"), who spoke a dialect of German ("Pennsylvania Dutch"), were the largest ethnic group in early America outside of the English-speaking population. Like all ethnic minorities, they went through a process of change in relationship to the dominant English-speaking society in the eighteenth and nineteenth centuries. This sequential process (i.e., full ethnic retention, adaptation, acculturation, and amalgamation) is reflected in the Pennsylvania Dutch tune and chorale books that supported various stages of this evolution, depending on location and editor. Details of each music publication between the 1790s and 1850 contributed to this change linguistically, theologically, and musicologically through their content and appearance. Books that supported and promoted full ethnic retention retained the German language entirely, had a simple preface outlining the purpose of the book, employed a pure European repertoire, utilized unrealized figured bass or a harmonization on three staves, were printed from engraved or punched plates, and sought to retain German theology from the Reformation era. Some later examples of retention were not produced for ethnic reasons, but for theological reasons that resulted in the retention of traits of European chorale books. Tune books participating in ethnic change moved away from the use of the German language and European repertoire. They employed singing-school introductions and were resultant of the type-set printing process. N.A.

The Pennsylvania Dutch Kirchenleute (Lutheran and Reformed "Church People"), who spoke a dialect of German ("Pennsylvania Dutch"), were the largest ethnic group in early America outside of the English-speaking population. Like all ethnic minorities, they went through a process of change in relationship to the dominant English-speaking society in the eighteenth and nineteenth centuries. This sequential process (i.e., full ethnic retention, adaptation, acculturation, and amalgamation) is reflected in the Pennsylvania Dutch tune and chorale books that supported various stages of this evolution, depending on location and editor. Details of each music publication between the 1790s and 1850 contributed to this change linguistically, theologically, and musicologically through their content and appearance. Books that supported and promoted full ethnic retention retained the German language entirely, had a simple preface outlining the purpose of the book, employed a pure European repertoire, utilized unrealized figured bass or a harmonization on three staves, were printed from engraved or punched plates, and sought to retain German theology from the Reformation era. Some later examples of retention were not produced for ethnic reasons, but for theological reasons that resulted in the retention of traits of European chorale books. Tune books participating in ethnic change moved away from the use of the German language and European repertoire. They employed singing-school introductions and were resultant of the type-set printing process. N.A.

Official Abstract Book for the 22nd International Conference of Music Analysis and Theory, held from October 2nd to 5th in Salerno. This event is took place in Conservatory of Salerno and organized by the Italian Society of Music Theory and Analysis (GATM)

11 цикл лекций знакомит с основами акустики певческих голосов, а также с краткими биографиями и акустическими особенностями голосов выдающихся певцов (теноров) 20—21 веков.
Лекции, написанные на основе следующих информационных материалов:
• Попов В.И. Певец и компьютер. Рига: Издательство Рижского технического университета, 2006, 102 с.,
• Попов В.И. Основы музыкальной акустики. Рига: Издательство РТУ, 2010, 427 с.,
• Морозов В.П. Резонансная техника пения и речи. Методики мастеров. Сольное, хоровое пение, сценическая речь. М.: Когито-Центр, 2013. – 440 с.,
• Thomas Fillebrown. Resonance in Singing and Speaking.  Forgotten Books, ‎ August 24, 2018,‎ 105 p.
• Miller, D. G. (2000). Registers in Singing. Empirical and Systematic Studies in the Theory of the Singing Voice. [Thesis fully internal (DIV), University of Groningen]. Ponsen & Looijen BV, Wageningen., 2000, 240 р.
• Дж. Лаури-Вольпи.  Вокальные параллели. Л.: «МУЗЫКА» Ленинградское отделение, 1972, 142 с.
и интернет-ресурсов,
дают базовые знания широкому кругу любителей вокальной музыки, а также могут служить практическим руководством для профессиональных певцов и студентов вузов и средних музыкальных учебных заведений по специальностям: Пение, Музыкальная культура и пр., а также по специальностям в области телекоммуникаций и связи.

This survey-based research is part of our broader research activity concerning machine learning (ML) software, which we are developing for use in music education. With the ultimate goal of informing the design of our software, last academic year, we conducted a quantitative study using a questionnaire addressed to music teachers working in public music schools and conservatories in Greece. Through this research, we examined teachers' habits and perceptions regarding the use of digital music technology (DMT) and artificial intelligence (AI) in music teaching, as well as their views on the role of kinesthetic activity in the music classroom. The analysis of the results yielded important findings that help us piece together the puzzle of the needs of a highly kinesthetic and musically rich classroom, which ML software could support and transform. Among the key findings, a substantial proportion of teachers reported access to computers and viewed DMT as beneficial for teaching, although few currently integrate ML or AI applications into their lessons. Despite this limited use, teachers expressed openness to adopting such tools, provided that adequate support is available, and highlighted the practical constraints of their daily school routines. Statistical analyses showed a strong positive association between perceived kinesthetic benefits and participation and inclusion, while correlations between demographic factors and attitudes were generally small.

Musik am Bauhaus – mal leise, mal laut, mal unterhaltend, vermittelnd oder experimentell. Sie war nicht nur Begleitung, sondern integraler Bestandteil einer Schule, die die Welt gestalten wollte. Dieser Band stellt erstmals die Musikerinnen und Musiker in den Mittelpunkt, die das historische Bauhaus zwischen 1919 und 1933 prägten, mit ihm in Verbindung standen oder nur lose daran anknüpften – mit bekannten Namen wie Arnold Schönberg, Belá Bartók oder Stefan Wolpe, ebenso wie mit jenen, deren Spuren fast verschwunden sind. Die Textbeiträge bieten neue Perspektiven auf die Musik- und Kunstgeschichte der Moderne und sind damit eine Ressource für alle, die sich für Musik, Kulturgeschichte und die vielschichtigen Netzwerke im Umfeld des Bauhauses interessieren.

Mit Beiträgen von Eike Feß, Christine Hopfengart, Adriana Kapsreiter, Christina Lena Monschau, Kai Hinrich Müller, Andreas Platthaus, Rebecca Schmid, Annette Schwarzer und Christiane Stahl.

TO MAG-BASE (MILANO)-13.09.2025 L'aneddoto ideale è quello legato alla nascita dell'Incredibile Hulk, uno dei personaggi più iconici dei fumetti. Nel maggio del 1962, Stan Lee e Jack Kirby crearono il personaggio con l'idea che la sua pelle fosse di un grigio spento, per riflettere il suo animo oscuro, ispirato a Dr. Jekyll e Mr. Hyde. Tuttavia, a causa delle imperfezioni tecnologiche dell'epoca e della bassa qualità della carta, l'inchiostro grigio non risultò uniforme, apparendo a volte verdastro o bluastro. A seguito di questo difetto di stampa, anziché correggere l'errore per il numero successivo, Stan Lee decise-facendo riferimento al detto "verde di rabbia"-di abbracciarlo e di cambiare permanentemente il colore del personaggio in verde, un colore che risaltava di più e che poteva essere riprodotto in modo più coerente e vibrante. Ciò che era nato come un errore tecnico si è trasformato in una caratteristica distintiva e iconica del personaggio, un'imperfezione che ne ha definito l'identità. Mentre le altre riviste seguivano le rigorose regole della griglia e della leggibilità, il direttore artistico David Carson ignorò ogni convenzione nella sua rivista americana Ray Gun, fondata nel 1992. Utilizzò tipografie quasi illeggibili, distorsioni, sovrapposizioni e una composizione caotica, definendo un vero e proprio stile grunge che rifletteva lo spirito ribelle della musica e della cultura alternativa di quegli anni. L'estetica di Ray Gun era l'opposto della perfezione: era rumorosa, sporca e volutamente imperfetta. L'episodio più famoso è quello dell'intervista al cantante Bryan Ferry. Trovando il contenuto noioso, Carson decise di impaginarla interamente usando il font dingbat Zapf Dingbats, rendendola completamente illeggibile e lanciando una sfida diretta ai lettori. Questa estetica, che a molti apparve come un errore, fu invece la sua arma vincente. Ray Gun ottenne un successo di culto e commerciale, e il suo design influenzò un'intera generazione di grafici, dimostrando che l'imperfezione e l'autenticità potevano essere molto più potenti della perfezione mainstream. Cosa ci dicono questi due aneddoti storici? Esiste un collegamento che li unisce? Vediamo di trovarlo, o per lo meno, di provarci. Quello che intendo esplorare con voi è un territorio affascinante e spesso controverso: quello delle estetiche che potremmo definire "LO-FI".

This study explored the influence of drum sets in Congolese Rumba music by examining three key drum sets; the bass, snare, and cymbals. The study was anchored on the advanced theory of adaptive musicology supported by the predictive coding theory. The exploration utilised both qualitative and quantitative research designs, collected data through interviews and rigorous discussions, and analyzed data using Excel worksheets. The findings of the study indicate that; the drum beat is used as a means of expressing emotions and conveying cultural values and connections, drums are used to signal a change of rhythm in Congolese Rumba music, drum training is important for proficiency in reading musical notes to align the drum calibration in line with musical notes. The study experienced limitations in terms of a few respondents as a result of; a language communication barrier on the part of respondents, literacy issues on the part of some study participants and their willingness and availability for the online survey. The study recommends a need to explore the classification of bass drums, characterization of snare drums and adaptability of cymbals in a three-dimensional design. It will also be imperative to research the use of drums in Congolese Rumba as a connection to African roots and its connection to traditional Congolese music and dance.

Seminar fest in der Hand der Gadamer-Schueler befinde. Dies traf zweifellos zu und war auch gut so. Nicht zuletzt deswegen, weil die konsequente Linie uns Studenten, den gerade erst die unermessliche Sphaere philosophischer Denkweisen und-traditionen Betretenden, eine Basis verschaffte, von der aus ein jeder, der nach intellektueller Eigenstaendigkeit strebte, sich seinen Weg bahnen konnte. Ich kam im selben Jahr, 1996, im Wintersemester als junger naiver Moechtegernvertreter der Neuen (inzwischen schon ziemlich alten) Linken nach Heidelberg und erkannte in Bubner einen politischen Gegner. Mehrmals brachte er seinen Spruch von den arbeitslosen Jugendlichen, welche die geisteswissenschaftlichen Faecher bevoelkerten, an, der sich auch in seinem Buch Zwischenrufe findet, und machte damit klar, wo er akademisch-politisch stand. Es ist an anderer Stelle nachzuzeichnen, wie ich mich im Laufe der Jahre vielen seiner Standpunkte, wie sie in den Zwischenrufen artikuliert werden, angenaehert und nicht wenige uebernommen habe. Diese Entwicklung hat schliesslich auch zu unserer Uebersetzung des vorliegenden Textes aus naemlichem Buche gefuehrt, womit ich Bubner endlich einen zwar kleinen, aber wahrhaft dankbaren Tribut zollen kann.

One of the primary objectives of Vishnu Narayan Bhatkhande's ten Thaata system was to introduce a novel and systematic method of raga classification in Hindustani classical music. Notably, this system serves not only as a classificatory framework but also as a foundational structure of basic scales for the construction of ragas. However, despite its innovative approach, the ten Thaatas fail to encompass the full range of ragas practiced within the Hindustani tradition. The Thaata system is grounded in two key parameters: Swar Samya (note alignment) and Roop Samya (characteristic alignment), with Swar Samya being the more dominant criterion due to its emphasis on the physical configuration of notes. Nonetheless, numerous ragas have emerged that do not conform to the note structures of any of the ten Thaatas. The existence of ragas that utilize both Shuddha/Teevra and Komal variants of certain swaras further complicates this system. Additionally, the incorporation of South Indian ragas into Hindustani performance practice has exposed further limitations of the existing framework. In contrast, the 17th-century South Indian musicologist Venkatamakhi introduced a mathematically robust system of 72 Melakartas that, while not all musically popular, offer theoretical coverage of all potential scalar configurations relevant to Carnatic music. Bhatkhande's derivation of the ten Thaatas from this larger Melakarta corpus raises the proposition that the Melakarta system possesses greater potential for comprehensive classification than the restricted Thaata framework. This prompts the central research question: can the Thaata system be expanded-drawing from the 72 Melakartas-to accommodate a broader spectrum of Hindustani ragas? Given the lack of prior systematic investigation into this possibility, the present study seeks to conduct a detailed comparative analysis of both systems, utilizing literature review and mathematical modeling to explore and substantiate this hypothesis.

El aporte del estudio de César D. Favila a la historiografía monjil novohispana consiste en haber musicalizado muchos de sus pasajes más relevantes–la mayoría de ellos abordados con anterioridad en otros estudios de carácter histórico, cultural y artístico–, poniendo de manifiesto sus implicaciones sonoras y musicales, las cuales es necesario tomar en cuenta al momento de sumergirse en el universo simbólico del contexto monástico novohispano. Finalmente, es preciso señalar que el libro tiende un puente entre la cuantiosa bibliografíaa hispanoamericana especializada en el tema del monacato femenino y la literatura anglosajona que alimenta particularmente esta investigación.

Ligeti's etude Fanfares extends the technical skills demanded of the modern pianist and many incorporate completely new techniques. This etude, which was composed around 1985 consists of some of the most technically demanding issues composed for the piano in the last decades of the 20 th century. Through the study of this work the pianist is pushed in new directions as Ligeti extends the limits of the pianistic borders.

Nel contesto di GO! 2025 -Capitale Europea della Cultura, l'Associazione Culturale Isonzo propone un ciclo di eventi tra conferenze, concerti e momenti di riflessione ispirati alla ricerca interiore e al dialogo tra culture. Un percorso che intreccia simbolo, musica e pensiero, svelando quel filo sottile che unisce le popolazioni tra Italia e Slovenia, dal passato all'oggi. Wolfgang Amadeus Mozart Concerto per flauto, arpa e orchestra in Do maggiore KV 299 Ludwig van Beethoven Concerto per pianoforte e orchestra in Do minore op. 37 " L'Armonia Velata" vuole offrire risonanze intime, capaci di collegare storia e spiritualità, bellezza e conoscenza.

Questo studio riesamina criticamente la storiografia tradizionale che interpreta la dominazione spagnola a Napoli come periodo di declino culturale, dimostrando invece come il Viceregno sia stato un centro di innovazione pedagogico-musicale di rilevanza europea. L'analisi dei quattro conservatori napoletani rivela la trasformazione sistematica della carità cristiana in strategia educativa strutturata, l 'ibridazione tra modelli monastici e innovazioni didattiche, e la straordinaria capacità di adattamento istituzionale durante le crisi storiche. Nuove fonti archivistiche e metodologie digitali hanno confermato il ruolo dei conservatori come efficaci agenti di mobilità sociale, trasformando giovani marginali in protagonisti della scena musicale europea. La ricerca dimostra come questi centri formativi forgiarono il linguaggio musicale settecentesco attraverso maestri che fusero tradizione contrappuntistica e innovazione espressiva, i cui allievi diffusero lo stile napoletano dalle corti asburgiche alle cappelle pontificie. Il modello pedagogico napoletano rappresentò un paradigma di conversione della marginalità sociale in egemonia artistica, culminando nella fusione istituzionale del Real Collegio di Musica (1806).

Истражувањето на филолошката и преведувачка историја на библискиот инструмент ugab (угав), чие име во Септуагинтата е преведено како organon, а во Вулгатата како organum, покажува дека античките преведувачи имале сериозни тешкотии во идентификацијата на овој инструмент поради временската оддалеченост, развојот на инструментите во различни културни средини и пропадливоста на материјалите од кои биле изработени.
Има различни толкувања – од тоа дека ugab бил жичен инструмент, до претпоставки дека станува збор за панова флејта, тамбура или харфа. Авторот го прифаќа ставот на К. Сакс дека најверојатно станува збор за вид надолжна флејта, што е поткрепено со етимолошки аргументи и паралели со други древни култури.
Особено внимание се посветува и на црковнословенските и македонските преводи на Библијата, каде се гледа влијание од Вулгатата и од западноевропските преводи. Заклучок е дека во контекст на македонската традиција, терминот organon би можел да се поистовети со кавал – еден од најпознатите народни дувачки инструменти на Балканот

Frutto di una lunga maturazione creativa, la nuova opera di Francesco Filidei trae dal romanzo Il nome della rosa di Umberto Eco non solo la vicenda ma la stessa struttura musicale e drammaturgica, considerando come lo stesso Eco, per descrivere la forma del suo romanzo, facesse riferimento alle sinfonie di Mahler e alla struttura da melodramma comico, «con lunghi recitativi e ampie arie». Il compositore ha colto subito le potenzialità operistiche di un romanzo, insieme storico, popolare, giallo, ricco di rimandi intertestuali e di citazioni (dai classici latini alla letteratura medievale, dai romanzi ottocenteschi alla cultura dei mass-media), sviluppato secondo una logica musicale, ambientato in un contesto, come quello monastico, dove il canto è parte integrante della vita della comunità. Come già in Giordano Bruno, ha sviluppato il discorso musicale in una forma geometrica e speculare, partendo dalla suddivisione del romanzo in sette giorni e lavorando sul concetto di temporalità: forma che per il compositore rimanda anche all’idea medievale della summa, per la volontà di rinchiudere elementi e stili molto diversi tra loro in una struttura chiusa, e all’immagine frattale di una rosa, per il suo disegno geometrico sempre uguale che si ripete su scale diverse. L’opera si suddivide quindi in setti giorni, raggruppati in due atti (tre nel primo, quattro nel secondo), e in 24 scene (12 nel primo atto, 12 nel secondo) denominate “Stanze”. In stretta collaborazione con i librettisti, Filidei ha lavorato approfonditamente sul testo, apportando ovviamente delle riduzioni rispetto al romanzo, spostando alcune scene, eliminando qualche personaggio, ma cercando di rispettare ogni parola e ogni riferimento simbolico e letterario (oltre che musicale), anche lavorando sugli appunti dello scrittore per ricostruire i movimenti Di Adso e Guglielmo negli spazi della biblioteca. Ne è venuta una dettagliata mappatura musicale, basata sui 12 suoni della scala cromatica (esattamente come nella partitura di Giordano Bruno), che si alternano lungo le 24 Stanze seguendo due vettori, uno ascendente, l'altro discendente, aprendosi e richiudendosi come i petali di una rosa: a partire dal do del Prologo e della Stanza I, ogni successiva Stanza del primo atto è imperniata su una diversa nota di due scale cromatiche divergenti, generando una serie di tutti gli intervalli (Allintervallreihe) che culmina nella scena della ragazza (Stanza XII), imperniata sul fa#, nota agli antipodi del do; questo processo viene riprodotto specularmente nel secondo atto, con due scale convergenti che riportano al do iniziale nella scena finale dell’incendio (Stanza XXIV)....

In seguito al ritorno a Roma da Avignone, nel 1377, del Papa Gregorio XI, alcuni compositori e cantanti del Nord Europa si trasferiscono in Italia (pare che insieme al Papa arrivino in Italia anche i primi falsettisti), venendo in contatto con la cultura umanistica, acquisendo nella loro musica la fresca e spontanea cantabilità, la chiarezza d'espressione tipiche della produzione dell'Ars Nova italiana. Rimane però una sostanziale differenza fra gli Oltremontani e gli italiani ed è l' affetione: per gli artisti italiani parola e musica possiedono attributi espressivi che si richiamano e si completano ed è da questa convinzione che si distaccano dalla tradizione contrappuntistica, per aderire alla monodia vocale, seguendo un ideale richiamo alla classicità greca.
C'è una lettera, poco nota, del Petrarca che invita il Papa a venir via dalla sciovinistica cultura francese e a tornare in Italia, patria anche del bel cantare. I francesi, dice il Petrarca, hanno voci fisse mentre le nostre vibrano e per questo sono più espressive. La riflessione del Petrarca è anche legata all'idea del rinnovarsi della vita partendo dall'antica civiltà greca, da qui la polemica contro i "barbari", siano Galli o Germani, colpevoli di aver sommerso la cultura classica.

LA “COLONNA SONORA” ABRUZZESE: ETTORE MONTANARO (1888-1962) E I “CANTI DELLA TERRA D’ABRUZZO”

UN RICONOSCENTE CONTRIBUTO A SESSANT’ANNI DALLA MORTE DEL COMPOSITORE

ABSTRACT
Il 28 gennaio 1962 a Roma veniva a mancare Ettore Montanaro, compositore, musicologo e critico musicale nativo di Francavilla al Mare (Ch). Fu autore di importanti colonne sonore per il cinema, di musiche pianistiche e sinfoniche, di opere liriche, di brani destinati ai bambini. Inoltre, svolse attività di critico musicale per il quotidiano “Il Popolo” e soprattutto di etnomusicologo, contribuendo in maniera significativa alla conoscenza del patrimonio musicale popolare abruzzese, dopo le fondamentali ricerche condotte da Gennaro Finamore e  Francesco Paolo Tosti a fine Ottocento. In tale sede si intende riportare all’attenzione questa importante raccolta di brani, in quanto fonte primaria e spesso unica di molto repertorio vocale di tradizione orale.

Collana diretta da Marcello de Angelis Saggi in onore di Marcello de Angelis a cura di Maurizio Gagliardi LoGisma editore Firenze 4 Maurizio Gagliardi (a cura di), Questo è il tempo del mio lieto aprile. Saggi in onore di Marcello de Angelis.

Collana diretta da Marcello de Angelis Saggi in onore di Marcello de Angelis a cura di Maurizio Gagliardi LoGisma editore Firenze 4 Maurizio Gagliardi (a cura di), Questo è il tempo del mio lieto aprile. Saggi in onore di Marcello de Angelis.

Ibn Ḫaldūn (1332-1406), uno dei più grandi storici arabi della fine del Medioevo, è tra i pochi autori arabi medievali noti anche al di fuori del ristretto ambito degli arabisti e degli islamisti. Nel suo pensiero, i metodi tradizionali della pedagogia islamica si uniscono a un’acutissima capacità di analisi, frutto delle sue burrascose vicende biografiche, e a una forte sensibilità per l’indagine sociologica e psicologica dei gruppi sociali. In particolare, la cosiddetta Muqaddima – cioè il primo dei tre libri che compongono la sua celeberrima opera storica – è spesso definita come testo fondativo della sociologia storica: in essa, infatti, l’autore discute le cause e i fattori dell’incivilimento. Ibn Ḫaldūn in particolare considera la terra greca come la terra dell’arte, e soprattutto il centro da cui la scienza si è irradiata nel mondo musulmano. La riflessione di Ibn Ḫaldūn, connettendo le concezioni filosofiche derivanti dal movimento di traduzione greco-arabo alle correnti più vitali della tradizione culturale islamica, getta le basi teoriche di una nuova scienza storica e riorganizza in maniera globale il modo di narrare la storia universale, limitando alquanto il peso della prospettiva provvidenzialistica e mettendo invece al centro il concetto di «nazioni» (umam), entità etniche detentrici di autorità.
Il volume offre al lettore la possibilità di conoscere i capitoli del Kitāb al-‘Ibar riguardanti la storia greca e romana, di cui si presenta per la prima volta la traduzione integrale in una lingua occidentale, corredata da un commento e da un’ampia introduzione che mette a fuoco i punti fondamentali su cui si impernia il “discorso greco-romano” del grande storico arabo.

И покрај интензивните археолошки ископувања вршени во Источниот Медитеран, особено во Палестина во последните неколку децении, кои изнесоа на виделина голем број материјални сведоштва за видот на музичките инструменти на древниот Исток, сепак, проблемот околу точната идентификација на голем број инструменти во Библијата остана во спекулативната сфера, а само се зголеми бројот на претпоставките.
Но, тоа не е проблем само на современата наука. Ако се направи една напоредна филолошка анализа на најстарите преводи на Библијата, начинот на кои се преведувани и приспособувани називите на музичките инструменти во нив, ќе се забележи  дека и многуте преведувачи и редактори на текстовите во минатото го имале истиот проблем. Ова особено може да се забележи во преводот на евр. инструмент ugav (ugab), вид флејта или панова флејта, во Septuagintaта и латинската Vulgata, каде се преведува и како жичан инструмент psalterion и како organon што упатува на тоа дека инструментот можеби е сложен од повеќе делови. Големата временска оддалеченост од настаните опишани во Библијата, а и развојот на самите инструменти во разни средини низ вековите, довело до грешно преведување на називите на музичките инструменти, кои се пренесени до нас. Изработката на музичките инструменти од материјали од органско потекло и долгиот временски период, сториле одредени древни инструменти засекогаш да останат тајна за современите истражувачи.

Introduction: Hypothesis The results of our research conclude with this major hypothesis: in light of the expansion of the modern scientific world, it is necessary to completely rethink the place and meaning of musical Art. It is pointless to restrict its analysis and interpretation to concrete information and their conclusions, in the form of theories, which preserve the works but do not open up to another dimension-one of the present and the future. We must broaden the study to encompass the ever-expanding space of scientific progress and question the significance of the work beyond its historical framework, in the continuity of Human Thought, through time, and in its relevance today and tomorrow. Problematic The musical work possesses, radiating around its sound body, an aura of thought, a Form. This gives it a spectrum, a geometric design that synthesizes its mental and architectural conception, indicating the peak, the summit, and its pillars, that is, the climax, the essence. This form can be reversible, inverted, doubled, or even circular, in motion. From the postulate of Form, one can understand the arrangement of the structure and its link to the main significance. Thus, certain theoretical analyses are illuminated under the light of finitude. They are no longer, or not merely, harmonic, logical, or aesthetic sequences, but mirrors reflecting a master thought that has generated the work. Consequently, the same harmonic chord, the same color, can have a totally different meaning, a dissoluble content that escapes the aesthetic framework of its time. The postulate is that the work of musical art is in gestation over time, and its elements cross specific temporal and spatial barriers. The second postulate, or its consequence, is that the work is not a progressive succession, but a construction created by the meaning. Its beat, expressed in measures of rhythm, can prove to be a hindrance or an absurdity. For the essence is its movement, which cannot be segmented or stopped, but is constant-even if suspended by silences-in motion through time. If the work is perfect, it can be read in all directions, even simultaneously, as a synthesis of thought, whose true rhythm is that of the movement of a celestial body with meaning in the galaxy of the universe. Some works inspire the number 1 and extend infinitely in that direction, unknown yet undoubtedly real. These works, projected into the infinity of time and space, can illuminate universal knowledge and fulfill the true mission of Music : a superior knowledge, driven by the audacity of inspiration, entirely free, original, and pioneering by nature. If we dared to launch these probes into space, these sound bodies of Thought, instead of lifeless, soulless machines, we might discover Space itself, Time, the Universe, Creation, and its Harmony. A sublime mission of Art since the dawn of time. In summary, Music is Thought in sounds. And this sound is nothing, means little, without Thought. The true structure lies in Thought, its progression and purpose, the rest being merely a sound realization, lifeless or empty, without spirit. Moreover, analyzed from the perspective of theoretical, tangible, deceptive structure, it can seem clear while being symbolic, an enigma, a mystery. The true structure is the reflection of the Idea. Its internal organization and meaning depend on the Idea. Thus, Beethoven's Ninth Symphony is the divine light and lightning that reveal to mankind the mystery beyond the vault of stars (über'm Sternenzelt). It is a hierarchized Whole that departs from Heaven and returns there. Grasping the final chorus, it coils and ties back to the very beginning, like an inseparable whole, and each note is an emanation of this whole. A part of this Whole, this celestial sphere that moves and rolls towards the Creator. The orchestra and the voice must intertwine and chain together in a single movement rising toward this hope. There is no antagonism or struggle in this symphony-like often in most of Beethoven's works-it is a revelation that grows and victorious, ascending towards the Unknown, sensed and revealed. A work of faith, strong and powerful, does one find its energy today in the exploring Universe ? It undoubtedly has its scientific correspondence, as a probe toward the unknown, as a constellation, as a phenomenon of the Universe. As a higher, divine

On 13 October 1781 Holy Roman Emperor Joseph II (1741-1790) issued a Toleranzedikt (Patent of Tolerance), which granted to Protestants and Greek Orthodox Christians the right to practice their religion privately (das Privat-Exercitium auszuüben seyn). 1 That is, these groups became legal, though not fully equal to Catholics. Prior to that, Lutherans living under the Austrian monarchy had to stay underground. Without pastors, they had to lead their own worship, smuggling in devotional books and hymnals from outside (cf.

Vittoria Guerrini è conosciuta come Cristina Campo, ma è bene ritornare al suo vero nome per scoprire quanto la musica abbia avuto un ruolo importante nella sua vita e nella sua poetica, specialmente la musica religiosa in genere e liturgica in particolare. Del resto è comprensibile che nella sua esigenza di meditazione la musica abbia contribuito profondamente allo scavo interiore che Vittoria Guerrini praticò per tutta la sua vita, riallacciandosi alla "poetica dell'attenzione" desunta originariamente da Simone Weil. La sua passione per la musica deriva dall'ambiente familiare, il padre Guido Guerrini fu, infatti, un valente compositore, didatta e organizzatore musicale.

Con este Proyecto de Innovacion y Mejora de la Calidad Docente, de caracter institucional, se pretende dar continuidad a la etapa de innovacion y formacion docente que se inicio el pasado Curso 2018-2019 en la Facultad de Geografia e Historia de la Universidad Complutense de Madrid. Asi como a las anteriores iniciativas de la Facultad de Geografia e Historia en materia de nuevas tecnologias. El objetivo de este proyecto, siguiendo la metodologia del ano anterior, ha pretendido promover en nuestra Facultad una formacion en el ambito de la innovacion educativa y de las nuevas tecnologias basada en: (i) la formacion del Profesorado, del Personal de Administracion y Servicios, y del Alumnado de nuestro Centro y (ii) en el intercambio de experiencias innovadoras entre representantes de estos colectivos, para poder hacer uso de las mismas en su desempeno docente, administrativo y formativo, respectivamente. El Proyecto, dirigido por el Vicedecano de Innovacion, Nuevas Tecnologias y Comuni...

Bus Songs Beat Bands Rabindranath Tagore Bus music Ajith Muthukumarana Cassette records Musical Caste Sarala Gee Pop Groups Semi-classical songs Maritime areas Raga Buddhism The research reflects the intriguing situation of the impact of the musical style called "Bus Songs". That has been working in the industry in the current Sri Lankan music scene, those fascinating music style has some specialities to describe as the subject that is better for categorizing the musicality and how these well-known music styles rise gradually in the Sri Lankan music industry. Sri Lanka has a rich musical history since ancient times, and the research cited the path of how the musical abilities gradually increase with the cultural influences. The period after 1950 was the golden years for developing the music industry with the situation of free economic policy. Also, the subject of beat bands rose according to the changes in some technical-based stuff and the political background. The most iconic thing was the cassette piece, and the revolution after that came into the music scene, which made a huge music fan base around Sri Lanka. That means the portability and sharing methods impact on making a new musical wake-up. This paper mentions all the characteristics and theoretical background of how to develop the music industry brick by brick, till today's situation on one side. Additionally, I use my personal experiences to explain the research as well as to make the story flow, mentioning the social situations of public areas, dealing with trends, and musical practices in Sri Lanka.

It can hardly be said that the pianist Charles Hallé (1819-1895) is a musical figure who has been unjustly neglected. The orchestra that he founded in Manchester in 1858 attracted a range of high-profile conductors after Hallé's tenure and continues to be active to this day, as does the music college in the same city of which he was one of the founding professors. The history and development of both of these important institutions have also attracted significant scholarly interest, both because of their continued existence as well as their important function within British musical life of the second half of the nineteenth century. 1 Hallé was possibly the first pianist with a truly intercontinental career-his concert tours took him from many European counties to as far away as Australia-and his activities have been documented in detail by Ann Kersting and more recently Robert Beale. 2 One of the cornerstones of Hallé's identity as a musician was Beethoven's music, the familiarity of which was still developing during his career. This chapter will show how the critical reception of Hallé's performances in France, the United Kingdom, and Germany was influenced by degree to which Beethoven's music was known by his audience and critics. The final part of this chapter will demonstrate how Hallé's reception by European critics influenced the reception of his performances in Australia in the 1890s, a hitherto largely ignored aspect of his career. I would like to thank H. Robert Cohen as well as the Transforming Nineteenth-Century Historically Informed

A central figure of the Renaissance, Giovan Battista Della Porta was a polymath who bridged the worlds of natural magic and early experimental science. His seminal work, Magia naturalis, or Natural Magic, was not merely a collection of "secrets" but a profound attempt to provide a philosophical and experimental foundation for natural magic. It aimed to distinguish this form of magic from its more occult counterparts by grounding its principles in the workings of nature.
This international conference brings together leading scholars from institutions across Europe and the United States to investigate Della Porta's intellectual legacy. Through two sessions, The Art and Craft of Magic and From Natural Magic to Experimental Philosophy, we will analyze how Della Porta's work influenced a new generation of thinkers and contributed to the birth of experimental philosophy.
This event is part of the SECRETS (Marie Sklodowska-Curie Actions) project and is funded by the European Union (GA number: 101148607). Attendance is free and open to the public.

In the challenging, conservative and oppressive context of “fascist culture,” the musical activities carried on by Countess Anna Laetitia “Mimì” Pecci-Blunt in Rome during the 1930s were a shining exception. Managing to disentangle herself from the interference of power, and a public sometimes uninterested in European musical and artistic novelties, the Pecci-Blunt sphere – internationalist, aristocratic, cultured and progressive – established itself as one of the major, if not the only, social and artistic salons in the capital. Building on several inter-artistic initiatives already underway in Paris – such as the Société de la Sérénade, of which Pecci-Blunt was among the patrons - the countess inaugurated in Rome a series of musical initiatives first called Concerti di primavera (1934-36) and then Sabati di primavera (1937). Thanks to the musical advice of Vittorio Rieti and Mario Labroca, through a studied socio-cultural policy, and by means of a constant dialogue with the literature and art cultivated in the parallel institution of the Comet Gallery, each concert hosted both music from the Western tradition (from Palestrina to Ravel), the debut of the young Italian school (Petrassi, Salviucci, Dallapiccola etc.), as well as World, Italian or Roman premieres, performed by some of the most established soloists of the time or by the composers themselves, among whom the names of Stravinsky, Hindemith, Poulenc and Milhaud stand out.
Through the present research I intend not only to reconstruct these concert series for the first time, but also to shed light on the role of the Pecci-Blunt salon within the cultural politics of the Rome of the Ventennio, the function of the salonniére in a context dominated by “fascist virilities,” and thus to bring to light the dynamics and outcomes of the production and promotion of contemporary music of Europeanist tendencies in one of the periods and places least open to this kind of practice.

En el libro de Julian Freund se hace referencia a que Max Weber escribió el texto citado en 1910 y que, luego de la muerte del autor en 1921, cuando fue encontrado el escrito, se incluyó en Economía y Sociedad. Adicionalmente a éste texto hay otro escrito de Weber sobre la música, Ensayo sobre la Neutralidad Axiológica, que permite comprender la idea expresada en el primero.

Tarihsel süreçte önemli bir yere sahipken zamanla unutulmuş olan Şehrud sazını yeniden inceleyerek, Türk musikisi repertuarına kazandırmak bu çalışmanın en önemli amacıdır. Türk müziğinde sıklıkla hissedilen bas ses eksikliği, müzikal derinlik ve çeşitliliği sınırlamakta; bu bağlamda şehrudun sahip olduğu tok ve pes sesler, bu eksikliği giderebilecek niteliktedir. Ud sazından bir oktav daha pes akortlanan Şehrud'un hem yapısal hem de tınısal özellikleri bakımından Türk müziğine yeni açılımlar sunabileceği düşünülmektedir. Araştırma, nitel bir çalışma olarak kurgulanmış; veriler belgesel tarama yöntemiyle toplanmıştır. Bu kapsamda literatür kaynakları, minyatürler, sanat eserleri, görsel materyaller ve uzman görüşleri sistematik biçimde incelenmiştir. Elde edilen bilgiler betimsel analiz yöntemiyle değerlendirilmiş, Şehrud'un tarihsel gelişimi, organolojik yapısı ve çalgı ailesi içerisinde yer almaktadır. Ayrıca, günümüzde Şehrud'un yeniden icraya kazandırılması amacıyla, alanında uzman iki icracıyla görüşmeler yapılmış ve başlangıç düzeyine uygun etütler ile teknik öneriler geliştirilmiştir. Bu yönüyle çalışma hem kültürel mirasın korunmasına hem de müzikal uygulamaya dönük katkılar sunmayı hedeflemektedir.

Punk's do-it-yourself call to arms led to a widespread adoption of the rhetoric, if not always the practice, of independence from traditional means of production. During the early period of punk's development in the United Kingdom, a distinct division of labour can be seen in the impact of an 'anyone can do it' DIY ethos on a range of activities. 2 These range from live performance to the creation and manufacture of punk artifacts (clothes, posters, flyers, fanzines, records). While some of these areas offered new opportunities for amateur producers, within more technical areas of manufacturing, including the physical production of records, do-it-yourself could only have a nominal impact. Many punk groups did not have access to sound recording technologies, and even of they did, they would have to hand over the cutting and pressing of vinyl to a professional outfit. There was certainly a widespread and outspoken desire to take artistic control away from mainstream sources, but in reality the ownership of the means of production was at best a naive ambition. Similarly, sleeve artwork could be created by untrained designers, but print reproduction was often left to the services of a professional print studio -doing-it-yourself had obvious limitations when it came to large-scale production and distribution.

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.

Piero Salvetti (1609-1652) era prete, era gobbo, aveva l’asma. L’unico evento notabile della sua vita sembra si sia verificato quando, nel 1645, esaltato per i recenti fatti europei (la rivoluzione inglese, la Spagna che perdeva un regno dopo l’altro, gli Asburgo più volte sconfitti nella guerra dei trent’anni) e forse amareggiato per qualche sopruso sofferto, arrivò a sognare un totale sovvertimento della società che ponesse fine al "tirannesimo regnante" e si azzardò a mettere in versi il suo sogno nel "Grillo". Poi implorò dai Medici un canonicato del duomo di Firenze. Dicono che gli facessero rispondere: "qui non vi cantano grilli". Il Salvetti andò a morire in campagna, dove cercava sollievo dal male.