Musical Analysis

Every performer has unique features that stand him out the same way every actor deliberately or inadvertently deploys the voice, body and imagination while performing because they are necessary tools integral in the profession. But the ability to apply the voice to other use apart from talking, the skill to put the body to other use apart from the usual body movement and facial expression, speaks volumes of the dexterity of such a performer. As a Solo Actor, Tunji Sotimirin epitomizes the total theatrician who skillfully employs melody and comedy apart from drama and dance to the delight of his audience because his aim is to entertain; and this is the crux of this paper. Through the field study research method and participant observer approach, this paper unveils Sotimirin as an adept performer who deliberately employs not only wit and humour but also music as his performance in Solo Africa reveals. This paper is anchored on the "avant-gardist theory" of the theatre that embraces experimentation and "the less is more concept" of the theatre that de-emphasises the non-essentials of the theatre while focusing on the actor and his performance. The paper observes that Sotimirin is not just an adept dramatist but also an accomplished musician whose achievements on stage have not been accorded adequate attention by scholars and critics. The paper therefore recommends Sotimirin's performance in Molue as "a standard instrument-a complete theatre package" for the teaching of Solo Acting in educational theatre.

L'esecuzione di Inviolata, integra et casta es Maria di Josquin des Prez tenuta dalla Cappella Pratensis presso il Museum Speelklok di Utrecht rappresenta un suggestivo incontro tra la musica polifonica rinascimentale e l'antica tradizione delle campane meccaniche dei Paesi Bassi. Il brano, composto dal celebre maestro franco-fiammingo noto per la sua raffinata maestria compositiva, trae origine dalla sequenza mariana omonima, che funge da cantus firmus e fonte testuale. Questo progetto si inserisce in una più ampia riflessione sull’importanza storica e culturale del carillon e della tradizione delle campane nell’area dei Bassi Paesi, che affonda radici profonde già nel XV secolo.

El presente artículo analiza la posición de Francesco Geminiani (1687-1762) como modelo de autoridad para la música instrumental inglesa del siglo XVIII. Italiano natural de Lucca, se estableció en Londres en 1714 y desarrolló una prolífica actividad profesional como violinista, compositor, profesor y autor de tratados musicales. A partir del concepto de emulación enunciado por Geminiani, analizamos sus preceptivas (publicadas entre 1748 y 1762), tanto desde el punto de vista textual como composicional. Es posible identificar que el tratadista, además de emular el modelo didascálico establecido por John Playford (1623-1686/1687) en el siglo XVII, se coloca junto a auctoritates de la música antigua inglesa (David Rizzio), italiana (Arcangelo Corelli) y francesa (Jean-Baptiste Lully). En este sentido, se concluye que Francesco Geminiani se establece como figura ejemplar para la música instrumental inglesa a partir de los gustos reunidos.

O presente artigo analisa o posicionamento de Francesco Geminiani (1687-1762) como modelo de autoridade para a música instrumental inglesa no século XVIII. Italiano natural de Lucca, radicou-se em Londres em 1714 e desenvolveu prolífica atividade profissional como violinista, compositor, professor e autor de tratados musicais. A partir do conceito de emulação enunciado por Geminiani, analisamos suas preceptivas (publicadas entre 1748 e 1762), tanto do ponto de vista textual quanto composicional. É possível identificar que o tratadista, além de emular o modelo didascálico estabelecido por John Playford (1623-1686/1687) no século XVII, coloca-se junto a auctoritates da música inglesa antiga (David Rizzio), italiana (Arcangelo Corelli) e francesa (Jean-Baptiste Lully). Nesse sentido, conclui-se que Francesco Geminiani estabelece-se como figura modelar para a música instrumental inglesa a partir dos gostos reunidos.

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)

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.

Musical parameters (rhythm, pitch, dynamics, and timbre) can be graded like earthquakes or temperature, by different degrees of force or heat. Force, from weak to strong, like the Richter scale for earthquakes, is a clear characteristic of dynamics, graded traditionally in Italian: pianissimo, piano, mezzo piano, mezzo forte, forte, fortissimo, with possible extensions to fortississimo on the strong side, and pianississimo on the weak. Heat is measured by degrees that are in direct relation with the speed at which molecules vibrate. This is analogous to pitch, which is also a result of vibration. We even call the notes of a scale the "degrees". Before talking about actual notes, we can say whether pitches' register is high, medium or low, like temperature, luminocity, or air pressure on a spring day. Tempo or speed is fast, medium, or slow, and register and tempo can further be graded by the word "very", and like mezzo forte and mezzo piano, we can talk about medium high, medium low, medium fast, and medium slow. Italian terms are traditional here too, with its terms Largo, Adagio, Andante, Moderato, Allegro, and Presto. Timbre is more difficult to grade, since it is the result of the combination of overtones, from low to high. 1 Sine waves have no overtones, and square waves have only even numbered ones. Sawtooth waves have all the overtones, and as square waves become pulse waves of ever narrower width, they acquire even numbered overtones. The filters on synthesizers can cut out or emphasize overtones in different registers, and acoustic instruments, use resonance or lack thereof to the same effect. A scale of timbres can be indicated by vowels, which range between dark to bright, like the registers of light: U, O, ô, A, E, é, I. If light and shade are analogous to register and timbre, actual pitches are analogous to color. Many synaesthetic artists have felt an empirical relationship between pitch and color, but since color is also a function of vibration, and we now know the frequencies of the different colors in terahertz 2 , it is possible to calculate exact correspondences by multiplying pitch frequencies by two to arrive in the terahertz range, the factor two giving an octave relationship. It takes forty octaves

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

En este artículo nos proponemos discutir algunos aspectos relacionados al análisis morfológico aplicado a la música tonal del período de la práctica común, tomando como punto de partida el estándar analítico establecido por Douglas Green, y su presentación en "Form In Tonal Music, An introduction to Analysis". Plantearemos una extensión del modelo analítico enfatizando el sentido de la forma como proceso y su articulación con el tradicional esquema de partes preestablecido.

En este artículo se presenta una primera profundización analítica acerca de los Procesos Morfológicos en la Música Tonal. Se prosigue con las discusiones iniciadas en la previa presentación de los autores sobre este tema, en el artículo denominado "Aspectos del Proceso Morfológico en la música tonal" 1 . Allí se planteaban algunos aspectos relacionados al análisis morfológico aplicado a la música tonal del período de la práctica común, en relación al estándar analítico establecido por Douglas Green, y su presentación en "Form In Tonal Music, An introduction to Analysis".

The experience of music seems unequivocally related to the experience of time. And it is precisely in this time experience where the different dimensions of a phenomenon conventionally called musical rhythm are developed. The attempt to capture musical rhythm in its formal and operative aspects has represented both a theoretical challenge and a discussion with few agreements. Contemplating the latest ideas about rhythm in music, we observe that they have been directly or indirectly related to ideas close to musical cognitivism. A wide-scope vision is pursued in this work where the conceptual transformation of rhythmic thought in the tonal music of the common practice period is reviewed. Assumptions and problems are here presented, giving rise to reflections on the subject and on conceptual tools that allow us to think the space of theoretical research. We discuss the aspects that will be considered central in the construction of our proposal, to be developed in future contributions

En este artículo se presenta una nueva categoría de análisis musical, a saber: Espectro Métrico como descripción del espacio en el cual compositor, intérprete y oyente interactúan. Piezas de J. S. Bach, L. van Beethoven y F. Mendelssohn son analizadas luego de que el constructo Espectro Métrico fuera brevemente explicado. También se discuten distintos conceptos técnicos vinculados a la métrica musical.

Desde determinadas perspectivas, el concepto de gesto musical remite a una traducción corporal de la percepción de los emergentes sonoros de las obras musicales. De esta forma, hablar de gestualidad musical es referirse a una gestualidad corporal entendida como el vehículo con el que un músico comunica corporalmente ese complejo mundo de sensaciones, imágenes, movimientos que surgen internamente al hacer música. Otros enfoques estudian las probables analogías existentes entre los gestos musicales y ciertos patrones gestuales corporales o determinadas formas de expresión vocal. Pero también a este concepto se lo encuentra vinculado a aspectos performativos de la música. Desde esta perspectiva, uno de sus fundamentos básicos (y en la que coinciden diferentes teóricos ) es que la gestualidad musical remite a un tipo de movimiento que conlleva alguna significación particular. En líneas generales, podemos decir que este concepto ha sido motivo de múltiples indagaciones vinculado no sólo ...

La posibilidad de comprender que una concepción gestual de una obra musical nos aproxima a concebirla como una unidad compleja es la idea que fundamenta este trabajo. Partimos de miradas totalizadoras sobre las interacciones de todos sus materiales constitutivos, insertas en contextos culturales específicos. Desde estas perspectivas, emergen preguntas en cuanto a aquellos comportamientos musicales que quedan ocultos, invisibilizados, no percibidos. Así, podemos aventurarnos en una escucha musical no guiada, únicamente, por un orden lineal, dogmático y normativo, sino que nos invita a plantearnos otras escuchas que puedan generar metodologías de análisis desconocidas hasta el momento y que nos acerquen a comprender la significación de una obra musical concebida como un emergente cultural.This work is founded on the possibility of understanding that a gestural conception of a piece of music approaches us to its conception as a complex unit. We base our assumptions on the comprehensive...

The concept of musical gesture refers to a holistic conception, where the harmonic, melodic, rhythmic and metric materials, together with indications of tempo, joints, dynamics and timbres interact in the quite indivisible one. This conception will be raised in the perceptual frame across which the concept of musical gesture is approached. In this way, we will study aspects of the intrinsic significance of a musical piece of work to arrive at its expressive, metaphorical, symbolic content and its social belonging.

Tanto en el contexto de la vida cotidiana como en el del ámbito musical, el término "gesto" conlleva múltiples acepciones. Dentro del campo específico de la música académica, el concepto de gesto musical suele remitir, frecuentemente, a una especie de "traducción" corporal que surge de la percepción de los emergentes sonoros de las obras musicales. Así, por ejemplo, puede formar parte de la enseñanza y de la práctica instrumental o de la dirección orquestal y coral ejemplificar determinado fraseo o determinado proceso sonoro de una obra con movimientos de los brazos y del cuerpo. O también puede remitir al resultado sonoro de una gestualidad física sobre un instrumento musical como, por ejemplo, el rasgueo de una guitarra, el golpe de una baqueta sobre un xilofón o el movimiento de un arco sobre una cuerda de un violín. Desde esta perspectiva, hablar de gestualidad musical es referirse, entonces, a una gestualidad corporal entendida como el vehículo con el que un músico comunica corporalmente ese complejo mundo de sensaciones, imágenes, movimientos que surgen internamente al hacer música. En una apretada síntesis, 1 podemos decir que el tema de la gestualidad corporal ha sido motivo de numerosas investigaciones desde la década de 1960. Dichas investigaciones han sido encaradas, inicialmente, por un reducido núcleo de semióticos, lingüistas, psicólogos y terapeutas quienes han puesto énfasis, fundamentalmente, en el lenguaje de señas de los sordomudos. Posteriormente, han extendido sus intereses investigativos al área de la gestualidad corporal en la comunicación oral, dentro de determinadas culturas y contextos específicos. Así, ponían el acento en analizar el gesto corporal como un "lenguaje" buscando sus unidades distintivas. Uno de los precursores de estos estudios (llamados "cinésicos" o kinéticos, término que proviene de "kiné", movimiento) fue Ray Birdwhistle, que llamó cine (del griego kiné) a la menor unidad de movimiento. Originalmente sustentados por un enfoque estructuralista, los estudios recientes, integran a los gestos en la interacción comunicativa humana y lo convierten en un elemento de base de dicha interacción. Pero también ha sido motivo de múltiples indagaciones el concepto específico de gestualidad musical. Una de las acepciones básicas en la que coinciden diferentes teóricos es que, la gestualidad musical, remite a un tipo de movimiento que conlleva algún tipo de significación particular. Desde este lugar, dicho concepto nos enfrenta a un sentido de continuidad discursiva, de movimiento, que va más allá de la mera continuidad de sonidos y ritmos encadenados. Esta continuidad, este movimiento, es perfectamente perceptible al escuchar una obra musical y más aún al interpretarla o componerla. Habida cuenta de que toda obra musical, desde un punto de vista sintáctico, es el resultado de la interacción entre diferentes parámetros (melodía, armonía, ritmo, etc.), el emergente gestual, remite más al mundo de significaciones que surgen de la interacción entre dichos parámetros que al mundo de sus lógicas constructivas sintácticas. El gesto musical puede ser concebido, entonces, como una continuidad discursiva que adquiere significación. 2 En este sentido, el concepto de gesto musical

Tanto en el contexto de la vida cotidiana como en el del ámbito musical, el término "gesto" conlleva múltiples acepciones. Dentro del campo específico de la música académica, el concepto de gesto musical suele remitir, frecuentemente, a una especie de "traducción" corporal que surge de la percepción de los emergentes sonoros de las obras musicales. Así, por ejemplo, puede formar parte de la enseñanza y de la práctica instrumental o de la dirección orquestal y coral ejemplificar determinado fraseo o determinado proceso sonoro de una obra con movimientos de los brazos y del cuerpo. O también puede remitir al resultado sonoro de una gestualidad física sobre un instrumento musical como, por ejemplo, el rasgueo de una guitarra, el golpe de una baqueta sobre un xilofón o el movimiento de un arco sobre una cuerda de un violín. Desde esta perspectiva, hablar de gestualidad musical es referirse, entonces, a una gestualidad corporal entendida como el vehículo con el que un músico comunica corporalmente ese complejo mundo de sensaciones, imágenes, movimientos que surgen internamente al hacer música. En una apretada síntesis 1 , podemos decir que el tema de la gestualidad corporal ha sido motivo de numerosas investigaciones desde la década de 1960. Dichas investigaciones han sido encaradas, inicialmente, por un reducido núcleo de semióticos, lingüistas, psicólogos y terapeutas quienes han puesto énfasis, fundamentalmente, en el lenguaje de señas de los sordomudos. Posteriormente han extendido sus intereses investigativos al área de la gestualidad corporal en la comunicación oral, dentro de determinadas culturas y contextos específicos. Así, ponían el acento en analizar el gesto corporal como un "lenguaje" buscando sus unidades distintivas. Uno de los precursores de estos estudios (llamados "cinésicos" o kinéticos, término que proviene de "kiné", movimiento) fue Ray Birdwhistle, que llamó cine (del griego kiné) a la menor unidad de movimiento. Originalmente sustentados por un enfoque estructuralista, los estudios recientes integran a los gestos en la interacción comunicativa humana y lo convierten en un elemento de base de dicha interacción. Pero también ha sido motivo de múltiples indagaciones el concepto específico de gestualidad musical. Una de las acepciones básicas en la que coinciden diferentes teóricos es que la gestualidad musical remite a un tipo de movimiento que conlleva algún tipo de significación particular. Desde este lugar, dicho concepto nos enfrenta a un sentido de continuidad discursiva, de movimiento, que va más allá de la mera continuidad de sonidos y ritmos encadenados. Esta continuidad, este movimiento, es perfectamente perceptible al escuchar una obra musical y más aún al interpretarla o componerla. Habida cuenta de que toda obra musical, desde un punto de vista sintáctico, es el resultado de la interacción entre diferentes parámetros (melodía, armonía, ritmo, etc.), el emergente gestual remite más al mundo de significaciones que surgen de la interacción entre dichos parámetros que al mundo de sus lógicas constructivas sintácticas. El gesto musical puede ser concebido, entonces, como una continuidad discursiva que adquiere significación 2 . En este sentido, el concepto de gesto musical remite a un concepto holístico, en donde los parámetros armónico, melódico, rítmico y métrico, junto a indicaciones de "tempo", articulaciones, dinámicas, tímbricas, interactúan en un todo indivisible 3 . Si escuchamos los cuatro primeros compases del 1er. movimiento de la Sinfonía en Do Mayor K.551 de Mozart Ejemplo 1

universitario y director de coros. Se ha desempeñado como pianista solista y acompañante presentándose en diversas salas del país. Integró el quinteto de la cantante Amelita Baltar; el conjunto del bandoneonista Daniel Binelli y la cantante italiana Milva, con quien ha grabado tres CD y ha realizado giras de conciertos en Argentina,

According to a Saribas Iban oral history, the Orang Kaya Pemancha Dana Bayang (OKP), the acknowledged leader of the Saribas Iban, presented Rajah Sir James Brooke with a sungkit textile called a lebur api at the sealing of the Saribas Treaty in 1849 when OKP agreed to surrender to Brooke after a devastating Iban defeat at Betin Maro. Brooke presented one lebur api (Figure 1) to the Royal Botanic Gardens at Kew which was later passed on to the British Museum. As far as the author is aware, it is the only known lebur api in the British Museum’s collection of Iban textiles and the only Brooke gift of a lebur api to any British museum.  This paper examines the likelihood that OKP’s “gift” to Brooke and the cloth that eventually found its way to the British Museum are one and the same.

One of the first things that players hear in the opening scenes of Majora's Mask is the ominous sound of laughter. Players then catch a glimpse of the Happy Mask Salesman, an unsettling, mischievous figure who also appears in Ocarina of Time and Oracle of Ages. For a game focused on death, mourning, and the end of the world, this laughter might seem out of place. Yet read another way, there is nothing unusual about this laughter at all. Consider that laughter is central to Mikhail Bakhtin's (1895-1975) philosophy of the "carnivalesque," a phenomenon in which the rules and norms that ordinarily govern society are temporarily suspended. Carnival laughter, Bakhtin explains, "builds its own world in opposition to the official world." It is through the laughter of the Happy Mask Salesman that players are invited into the carnivalesque, inverted world of Majora's Mask. Majora's Mask has inspired philosophical interpretations alongside numerous fan theories over the past 25 years. Initially overshadowed by its beloved predecessor, the game has gained greater appreciation in the ensuing years for its unique and ambitious gameplay, and its eerie, despairing atmosphere. Although many have read Majora's Mask as an allegory of depression and coming to terms with death, there is nevertheless an undertone of revelry throughout the game, as well as spontaneous acts of joy and mischief. The recurring three-day time loop is in one sense constraining on players and characters, but it also allows them to indulge in unconventional behaviors and interact with each other in ways that foster what Bakhtin called a "special type of communication impossible in everyday life." Looking at Majora's Mask through Bakhtin's philosophy of the carnivalesque allows players to see the game as less a commentary on death, and more as a celebration of the liberating forces of the "carnival sense of the world."

The album Opus Five is grounded in two prominent five-movement works from the early twentieth century. Arnold Schoenberg’s Five Pieces for Orchestra, Op. 16 and Anton Webern’s Five Pieces for Orchestra, Op. 10 stand as exemplary instances of the rupture with tonal harmony, the redefinition of instrumental timbre, and a concentrated, compressed sonic experience.

Wie kann Popmusik erforscht werden? Unterhaltsam und leicht verständlich führen die Autor:innen in die Vielfältigkeit der Popular Music Studies ein. Im Mittelpunkt steht ein gemeinsames Beispiel, das aus verschiedenen Perspektiven beleuchtet wird: Billie Eilishs »Bad Guy«. Zehn kompakte Kapitel vermitteln ein grundlegendes Verständnis der Popmusikforschung und ihrer methodischen Werkzeuge. Der mosaikartige Aufbau dieser Einführung unterstützt nicht nur Studierende der Musik- und Kulturwissenschaften, sondern auch Praktiker:innen aus Musikbranche und Journalismus bei der Entwicklung eigener Analysekompetenzen zu einem kulturellen Phänomen, das allgegenwärtig ist und die Massen begeistert.

Vom Comic über die filmische Adaption bis hin zur Bandai-Puppe: Das Kapitel beleuchtet Formen der Aneignung und Rezeption von Popmusik aus systematisch-klassifikatorischer Perspektive am Beispiel von Billie Eilishs »Bad Guy«. Auf einschlägige Arbeiten der Trans- und Intermedialitätsforschung aufbauend, wird eine Typologie der transmedialen Rezeptionsweise erarbeitet. Auf diese Weise offenbart sich Transmedialität weniger als Theorie denn Methode, nämlich als das In-Beziehung-Setzen von verschiedenen Medientexten.

The practices associated with a score are virtually endless: we can compose, read, or perform a score—but we can also analyze it, describe it, visualize it. A fragment of a score might end up in an anthology, in a painting, on an album cover, or even as a graphic motif printed on rolls of toilet paper. A score can be transfigured to the point of becoming, in its entirety, a visual artwork—or even a scholarly text.

The Little Book of Notations aims to lay the groundwork for an analysis of scores understood in graphic terms, and therefore applicable across the full spectrum of musical writing—from traditional scores to graphic scores. In this way, it also becomes possible to design and draw scores in any notation system, even one that is entirely invented. The book is accompanied by 15 Album Leaves: small, possible scores for short musical pieces, intended as illustrations of the concepts discussed in the text.

What happens when we listen to a piece of music? And how is it different from when we perceive ambient noises or a person speaking? Is it possible to think about listening in a way that doesn't have to limit itself to a single specific case, like that of music, but rather allows us to address the diversity of sonic phenomena and practices? Listening seeks to answer these and other questions by attempting to restore our discussions about listening to its specificity, without relying on metaphors derived from other senses, such as vision or movement. For this reason, the book opens with an investigation of the different ways of writing about listening that, from the very beginning, that is, from the late nineteenth century, have served as tools to promote an increasingly diverse point of view.
After a brief summary of concepts related to sound and music aimed at less experienced readers, a "narrative of listening" is then undertaken. Starting from the simple ability to distinguish between sound events, it will gradually lead the reader along an original path through the articulation of listening, arriving at the problems of meaning and significance.

Today, research on listening and related topics stands at the crossroads of a myriad of disciplines related to musicology, (neuro)physiology, so-called cultural studies, and artificial intelligence.

Анотація. Стаття присвячена комплексному аналізу музичної інтерпретації в контексті сучасного аудіо продакшну, де виконавець і звукорежисер розглядаються як рівноправні суб'єкти творчого процесу. Метою роботи є систематизація спільних та відмінних аспектів їхньої інтерпретаційної функції, а також обґрунтування звукорежисури як автономної форми творчої діяльності, що оперує специфічним набором експресивних засобів.
Методологія дослідження базується на міждисциплінарному підході, який інтегрує теоретичне музикознавство, естетику, психологію музичного сприйняття, практику критичного слухання, а також сучасні підходи до виробництва музики. Аналіз здійснюється на основі актуальних наукових джерел та практик професійного звукозапису.
Наукова новизна дослідження полягає у представленні: критичного слухання як універсального інтерпретаційного інструмента, що поєднує творчий, фізико- та психоакустичний аналізи; формотворчого потенціалу звукотехнічних процедур, які надають фонограмі статусу самостійного естетичного артефакту; моделі співтворчості виконавця та звукорежисера як двох інтерпретаторів, що взаємодіють у спільному творчо-технологічному просторі.
Практичне значення отриманих результатів полягає в обґрунтуванні інтегрованих освітніх програм, орієнтованих на розвиток міждисциплінарної інтерпретаційної культури, де майбутні виконавці й звукорежисери оволодівають спільною термінологічно‑понятійною базою, навичками комунікації та прийняття колективних естетичних рішень. У висновках показано, що інтерпретація набуває статусу поліаспектного, багатовимірного процесу, який охоплює музичні, технологічні, психо‑емоційні та комунікативні виміри і реалізується як у реальному часі виконання, так і всередині структур фонограми. Трансформація ролі звукорежисера зі «службового техніка» на «співрежисера смислу» зумовлює потребу подальших міждисциплінарних досліджень і перегляду методологічних підходів у професійній підготовці фахівців музичної сфери.
Ключові слова: музична інтерпретація, виконавська практика, звукорежисура, критичне слухання, звукові технології, тембр.
Abstract. The article is devoted to a comprehensive analysis of musical interpretation in the context of contemporary audio production, where the performer and sound engineer are considered as equal subjects of the creative process. The aim of the study is to systematise the common and distinctive aspects of their interpretive function, as well as to substantiate sound engineering as an autonomous form of creative activity that uses a specific set of expressive means.
The research methodology is based on an interdisciplinary approach that integrates theoretical musicology, aesthetics, psychology of music perception, critical listening practice, and modern approaches to music production. The analysis is based on current scientific sources and professional recording practices.
The scientific novelty of the study lies in the presentation of: critical listening as a universal interpretive tool that combines creative, physical and psychoacoustic analyses; the formative potential of sound engineering procedures that give the phonogram the status of an independent aesthetic artefact; a model of co-creation of the performer and sound engineer as two interpreters interacting in a common creative and technological space.
The practical significance of the obtained results lies in the substantiation of integrated educational programmes focused on the development of an interdisciplinary interpretive culture, where future performers and sound directors master a common terminological and conceptual base, communication skills and collective aesthetic decision-making. The conclusions show that interpretation acquires the status of a multidimensional, multidimensional process that encompasses musical, technological, psycho-emotional and communicative dimensions and is realised both in real time and within the structures of the phonogram. The transformation of the sound director's role from an ‘official technician’ to a ‘co-director of meaning’ necessitates further interdisciplinary research and revision of methodological approaches in the professional training of music specialists.
Keywords: musical interpretation, performance practice, sound engineering, critical listening, sound technologies, timbre.

This paper explores a fundamental interdisciplinary question: Is the human aesthetic experience of “music” rooted in the deepest physical laws of the cosmos? Starting with the Law of Resonance in the Information-Cognitive Compression Field (ICCF) framework, we propose that all stable structures in the universe—ranging from elementary particles to macroscopic galaxies—emerge through harmonic rules based on integer ratios. We further advance a radical hypothesis: The human mind, as an extremely complex Information Integration Entity (IIE) that evolved within the ICCF universe, must also adhere to the same harmonic principles in its structural stability. Therefore, when humans encounter specific combinations of frequencies (such as octaves and perfect fifths), these mathematical structures resonate isomorphically with both the IIE and the universe’s most stable resonance modes, evoking deep, ineffable feelings of harmony and beauty in our subjective experience. This paper aims to provide a physical ontological foundation for aesthetics.

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

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

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

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

Un Palestrina "oltre il classicismo" è quello che è emerso ieri alla prima giornata del convegno internazionale dedicato al compositore prenestino. L'evento organizzato dal Dipartimento di Musicologia e Beni Culturali dell'Università di Pavia e dall'ADUIM per il cinquecentenario della sua nascita, ha offerto nuove interpretazioni e prospettive nella ri-scoperta della sublime arte del Princeps che per complessità e rilevanza duratura si pone come figura chiave del Rinascimento musicale. La prima giornata del convegno internazionale dedicato a Giovanni Pierluigi da Palestrina, organizzato dal Dipartimento di Musicologia e Beni Culturali dell'Università di Pavia e dall'ADUIM per il cinquecentenario della nascita del compositore, ha rivelato nuove prospettive sulla sua musica, proponendola come un sottile equilibrio tra rispetto della tradizione, innovazione e pragmaticità nell'esecuzione. Come ho già anticipato, tra le numerose celebrazioni dedicate al Princeps Musicae, quella a Palazzo Raimondi, si annuncia come un momento di riflessione feconda per la musicologia, non solo italiana ma internazionale. La prima giornata, di fatto, ce ne ha già data larga prova, mettendo in risalto la tradizione scientifica del dipartimento verso la "musica antica" che risale ai tempi della "scuola di paleografia e filologia musicale".

本研究は、フランツ・シューベルト作曲「ヴァイオリンとピアノのためのロンド ロ短調 D.895」（1826年）の構造分析に、ソフトウェアアーキテクチャ設計で用いられるC4モデルを応用した新しい音楽分析手法を提案する。
C4モデルの4層構造（コンテキスト、コンテナ、コンポーネント、コード）を音楽作品の分析に適用することで、従来の楽曲分析では捉えきれなかった演奏者間の相互作用、聴衆体験、楽曲構造の多層性を体系的に可視化できることを示す。
PlantUMLを用いた実装により、音楽教育および鑑賞指導への実用的応用可能性を検証する。
キーワード： シューベルト、ロンド、C4モデル、音楽分析、PlantUML、室内楽、相互作用分析

A theory of idiomaticism is developed and illustrated using music for Bflat valve trumpet. Physical measures were collected from two trumpet performers and used to construct a computer model of the instrument/performer. Using this model, several works composed by both trumpet virtuosi and non-trumpet players were analyzed. A conceptual distinction is made between measures of performance difficulty (how hard it is to play a particular passage) and measures of performance idiomaticism (how well suited a passage is to a specific instrument). Methods for characterizing both difficulty and idiomaticism are described. In general, the results suggest that detailed modeling of the mechanics of performance can help to pinpoint aspects of musical organization that arise from performance idioms or affordances. Repercussions for ethnomusicology, historical musicology and music analysis are discussed.

En agosto de 2021, el músico y multi-instrumentista Hermeto Pascoal subastó el contenido de algunas de sus composiciones creadas durante la pandemia. Bastaba entrar en el sitio phonogram.me para participar en varias subastas en las que se podían adquirir no solo partituras, sino también derechos de uso de las composiciones del artista. La tecnología que intermediaba esta posibilidad era el blockchain, una herramienta caracterizada por operar descentralizada, anónima y públicamente. A partir de una experiencia etnográfica interesa explorar las implicaciones, aún poco exploradas, del registro, difusión y consumo fonográficos en el mundo de la Web 3.0; entendiéndola también como una nueva forma tecnológica de distribución y consumo del sonido, diferente de plataformas como Youtube, Instagram etc. ¿Qué puede decir este caso etnográfico sobre los nuevos arreglos político-poéticos contemporáneos? Para tratar de responder a esta pregunta primero voy a describir brevemente estas tecnologías (Web 3.0 y blockchain), posteriormente presentaré el caso de la plataforma phonogram.me y las obras de Hermeto Pascoal y finalmente propondré una posible lectura de las políticas y poéticas sonoras en el mundo de la Web 3.0 a partir de los conceptos de aura, reproducibilidad técnica y origen en Walter Benjamin.

This peer-reviewed lesson plan, designed for a lower-division American literature survey course, focused on how Miranda’s musical adapts the historical events of the American Revolution and the early years of the American government, including adaptational changes and narrative contexts. 

https://adaptationtoday.com/2025/09/09/in-new-york-you-can-be-a-new-man-adapting-american-mythology-in-hamilton/

Kent mekânı yalnızca fiziksel bir üretim birimi değil, aynı zamanda kültürel, toplumsal ve ideolojik mücadelelere sahne olan bir sosyal praksis alanıdır. Kapitalist sistemin tahakkümü altında bulunan modern kapitalist kentler bireyleri pasifleştiren, gündelik hayatı rutinleştiren ve deneyim alanlarını tüketim pratikleriyle sınırlandıran bir “gösteri sahnesine” dönüşmüştür. Bu dönüşümün en görünür örneklerinden biri, sanatsal eylemlerin sokak ve kamusal alanda gerçekleştirilmesidir. Bu çalışma, Lefebvre’in “mekânın üretimi” ve “itiraz hakkı”, Debord’un “gösteri toplumu” ve “situs” kavramları temelinde sokak müziği performanslarını birer situs pratiği olarak ele almayı amaçlamaktadır. Araştırmada, sokak müziği pratiklerinin kent mekânını dönüştürme gücü kavramsal bir çerçevede ele alınmış, nitel ve betimsel modele bağlı kalınarak çalışılmıştır. Doğaçlama performanslar (emprovizasyon), sokak performansları ve flashmob performansları gibi eylemler; müzikal performans aracılığıyla mekânın eko-politik ve deneyimsel anlamını değiştiren ve mekânı yeniden üreten situs örnekleri olarak incelenmiştir. Bu bağlamda incelenen müzikal eylemlerin; gösteri toplumunun pasifleştirici etkilerine karşı geliştirilmiş aktif, etken, spontane, kolektif, dinamik ve dönüştürücü müdahale biçimleri oldukları, bireylerin edilgen, durağan, pasif tüketicilikten çıkmasına olanak sağladıkları, kent hakkının kullanımına katkıda bulunarak kentsel mekânın toplumsal, estetik ve politik yeniden üretimine aracılık eden birer situs örnekleri oldukları sonuçlarına ulaşılmıştır.

Nikos Skalkottas’s Concerto for Violin, Piano, and Orchestra (Berlin 1930) was the first among fourteen concerto or concerto-like works he composed during his lifetime. In terms of form, this concerto has many differences from the following ones. On the contrary, in terms of thematic and motivic development, as well as harmonic language, it exemplifies the use of fundamental compositional techniques that were to become idiomatic for his compositional style thereafter. One of them is the use of diatonic elements that either originate from Greek folk music or stem from the inner workings of the music’s harmonic organization. This article attempts to explore these diatonic elements and the ways in which they function in this concerto. It demonstrates how these elements may be organized into five categories and then proceeds to analyze particular passages of the work by focusing on issues of centricity and functionality. Considering the analytical requirements regarding the work’s harmonic material, the analyses are methodologically based on Forte’s theory of pitch-class set genera, which provides a systematic frame of reference for the characterization of harmonic species in 20th-century musical compositions.

La aprobación de la música de Semana Santa como bien de interés cultural, el 3 de noviembre de 2022 en el Parlamento de Anda- lucía, supuso el apoyo normativo al desarrollo de un género ajeno a los planes de estudio de los conservatorios andaluces, pero presente en la formación de una mayoría de alumnos que tocan en bandas. A partir de este precedente, el desarrollo del proyecto Hebdomada Sancta respon- de a la necesidad de recuperar y estudiar los modelos representativos de la música religiosa de Semana Santa con el objetivo de vincular su resul- tado hacia una puesta en valor del género en el ámbito académico. Para ello, se utiliza una metodología analítica que, tras una identificación inicial de fortalezas y debilidades, reflexiona sobre la práctica docente y su aplicación a un posible contexto curricular centrado en el estudio del género. La valoración de su viabilidad, así como del cumplimiento de objetivos, será tratada en el apartado conclusivo final.

The designation of Holy Week music as a Cultural Heritage Asset by the Andalusian Parliament on November 3, 2022, provided regulatory support for the development of a genre that remains largely absent from the curricula of Andalusian conservatories, despite being integral to the training of a significant number of students who perform in bands. Building on this milestone, the Hebdomada Sancta project seeks to address the need to recover and analyze the representative models of Holy Week religious music, aiming to enhance its academic recognition and value. To this end, an analytical methodology is applied, beginning with the identification of strengths and weaknesses, followed by a critical reflection on teaching practices and their potential integration into a curricular framework focused on the study of this genre. The evaluation of the project’s feasibility and its alignment with stated objectives will be discussed in the final conclusion.