Musical Interpretation

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.

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".

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.

Quando nel 1796 Francesco Ballani propose Giulio Cesare in Egitto all'Argentina di Roma con musica di Giuseppe Maria Curci, riprese un vetusto libretto di Giacomo Francesco Bussani che dal 1677 aveva riscosso un secolare successo nei teatri europei ma era ormai assente dalle scene da circa un trentennio. 1 Riportò così in auge un soggetto che poco dopo si sarebbe rivelato idoneo a celebrare la gloria di Napoleone: negli anni dell'impero francese, infatti, tra il 1805 e il 1814, si susseguirono almeno quattro nuovi adattamenti (Tav. 1). Nella Roma protetta dai francesi, mentre il papa si recava a Parigi per incoronare Napoleone imperatore, 2 Giacomo Tritto compose un Cesare in Egitto di Giovanni Schmidt che fu rappresentato nel gennaio 1805 all'Alibert, un teatro che si era distinto nel sostegno degli ideali prima rivoluzionari e poi napoleonici. 3 Nel 1807 Gaetano Gioja trasse un ballo dal libretto di Ballani, con programma edito in italiano e francese e

This paper is another attempt at a Helen Beebee style essay, but this time in social anthropology. It is probably of interest to philosophers as well. It presents experiences of mine of aesthetics as an official course at the University of Manchester, followed by an analysis. I argue that the main lessons I take do not require the rich fieldwork of the social anthropologist. Anthropologists are expecting one question or some questions in the philosophy of music and the big question there is quite different.

The article highlights the "polyphonic" and "idiomatic" experiment of the mandolinist Tiago Santos in his artistic product Bandolim Polifônico de Dez Cordas (Polyphonic Ten-String Mandolin (ten unpublished works for solo ten-string mandolin, sheet music and phonograph record)), prepared and completed during the course of the 2018 class of the Programa de Pós-Graduação Profissional em Música da Universidade Federal do Rio de Janeiro (Professional Graduate Program in Music of UFRJ-PROMUS-UFRJ). Considering the complementarity between the artistic product and the text of the dissertation, of the same title, I present some relevant topics of this text with the objective of favoring the understanding of the product and the respective realization process. From the perspective of the mandolinist-advisor and mandolin professor at the Escola de Música da UFRJ (UFRJ School of Music), I highlight the relevance of the work carried out by Santos in the Brazilian scene of the ten-string mandolin.

We tried to focus initially on the polka's emergence in Europe and the spread of its influence in many countries, including Brazil. We also aimed to highlight the development of hybrid forms created through the fusion of the polka with other local music genres in Brazil, particularly the choro (pronounced 'shor-o') as both a playing style and a musical genre that arose especially from the polka-lundu. After investigating some of the possible origins of the choro expression, we realized that the 'choromeleiros' (as they were called) could have been key precursors to this musical genre.

We then explored the affinities between choro and various musical, technical, and historical aspects, trying to identify what makes the choro's way of playing unique and what it might signify. The mandolin was the main instrument we focused on, so we delved into various aspects of its history, from its origins to its emergence and use in Brazil.

Lastly, we analyzed the 'Flora' and 'Bebê' polkas, particularly focusing on the performances of mandolin choro musicians and the variety of interpretive aspects they presented.

Keywords: Polka, Choro, Mandolin.

Jede Art von Schrift verlangt nach einem Code (Semiotik), der verstanden werden muss. Wenn diese Schrift eine Form aufbaut, wie ein Gedicht oder ein Roman, dann haben wir eine Gestalt und damit ein Werk.  Es gibt aber, einen Wiederspruch, wenn man von „Werken der Ars subtilior“ spricht, denn das Konzept Werk steht für Kunst wie der terminus Ars für Vorstellung. Ars steht für Philosoph wie Kunst für Künstler.

Lassen wir uns noch nachdenken, ab wann und warum wird die Musik als Werk überliefert. Blicken wir in die Vergangenheit und finden wir keinen Komponisten vor 1320. Natürlich nicht, denn das Konzeptwerk ist mit Kunst verbunden und Musik ist bisher kein einziges Mal als Kunst erwähnt worden, sondern als scientia oder Ars musica – Eine Wissenschaft, wo dem Verstand (scientia oder epistéme) eine diskursive Rationalität (dianoia) zugrunde liegt. Übrigens wir sind sicher, dass alle Musiker, die vor dem Roman de Fauvel gelebt haben Lyriker waren, aber keine Komponisten. Einige Ausnahmen könnte man beibringen wie z.B. Leoninus, Perotinus.

In seinem Buch Geschichte der Mensuralnotation beschreibt Johannes Wolf die Entwicklung der symbolischen Darstellung der Töne im Mittelalter. Die sogenannte figura ist zuerst, wie in einer der frühersten Quellen der Mensuralnotation "Discantus positio vulgaris" beschrieben wird, die geometrische Gestalt einer longa und einer brevis. Die musikalische Bedeutung als Lang-Kurz und damit deren Zeitmaß ist nun schriftlich-symbolisch belegt. Und wenn wir uns fragen würden, wie lange dauern diese zwei Figuren? Wie sehr lang und wie sehr kurz sind sie? Wolf erwähnt mehrmals, dass die Geschichte der musikalischen Notation die Geschichte der kleineren Notenwerte ist und dass diese figurierte Darstellung eine vielbedeutende Idee ersetz: die Arithmetik. 1

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

The postmodernist claim that musical interpretation is purely subjective and that all interpretations are equally valid raises questions about the consistency in musical interpretation. My research aims to account for the reported consistency of narrative themes and events in musical interpretation by studying "narrative listening" as a mode of attention (Margulis, 2019).
Drawing from psychology, philosophy, and musicology, I have defined "narrative listening" as a mode of attention that is sometimes employed by music listeners in the interpretation of their musical experiences. Research on the lateralisation of the brain has shown that the way we attend to the world changes the way the reality appears to us (McGilchrist, 2009). My research involves a specialised approach to semiotic analysis, which attempts to define musical qualities that are contingent on narrative interpretation through the musical encoding of embodied concepts and image schematic patterns using conceptual metaphor theory.
In my study, participants were presented with audio recordings of two performances of the same jazz standard, performed on solo guitar. One performance was a popular chord-melody arrangement, and the other was performed according to a theory of narrative encoding (semiotic encoding, conceptual metaphor theory) for instrumental jazz ballads. The study found that the performance encoded with the compositional method caused consistently higher levels of narrative engagement from listeners.
The findings from my study provide insight into the consistency of musical interpretation and the role of narrative listening and musical narrative in shaping this interpretation. I will present my methodology and analytical approach in detail in a 20-minute video presentation, which will be available to conference attendees two weeks prior to the in-person session. This presentation will contribute to a meaningful discussion on how rigor can be demonstrated in practice research with attention to hermeneutic interpretation, embodiment, and conceptual metaphor theory.

The jazz tradition values authentic storytelling and the reinterpretation of material, emphasising meaningful connections between performers and listeners. For students of solo jazz guitar, engaging with this tradition requires navigating the instrument's inherent limitations in simultaneously representing melody, harmony, and bass movement. These constraints often result in stylistic conventions that inhibit creative expression and fail to convey the narrative depth of jazz ballads.

Listeners and performers interested in the jazz tradition value authentic storytelling and the reinterpretation of material to make meaningful performances of standard repertoire. Critics and listeners frequently describe jazz performances in narrative terms, "the solo tells a story" or "the music unfolds" highlighting a link between narrative structures and musical interpretation. Solo jazz guitar presents unique challenges due to the simultaneous demands of melody, harmony, and bass movement played across six strings. These limitations have lead to a conventional chord melody structure in arrangements that express a specific narrative structure across the standard repertoire which may inhibit deeper narrative engagement with each piece. This lecture recital introduces a phenomenology of narrative listening, applying Conceptual Metaphor Theory (CMT) and Semiotic Encoding (SE) to solo jazz guitar. Drawing on the harmonic methodologies of Barry Harris and conceptual approaches from Kenny Werner, I propose a framework where performers encode narrative structures into their playing, creating arrangements that align with listeners' expectations of musical storytelling. By encoding **image schemas, **such as source-path-goal, compulsion, and **balance, **performers can enhance audience engagement without disrupting the song's harmonic and stylistic integrity. The research integrates empirical findings from narrative engagement studies, demonstrating that encoded performances yield consistently higher engagement scores compared to traditional chord melody approaches. This presentation will feature live performance demonstrations, contrasting standard and encoded arrangements of jazz ballads (e.g., Misty), and will explore the pedagogical implications of narrative engagement for jazz guitar education. The lecture recital contributes to discussions on guitar technique, improvisation, and performance-based approaches to jazz ballads, offering new possibilities for expressive solo playing through structured narrative encoding.

La ponencia aborda las diferentes maneras con que Violeta Parra musicalizó su poesía en el formato de la canción; la importancia y proyección de su etapa como recopiladora y difusora del folclor musical chileno -lo que será la base para sus composiciones poéticomusicales-; sus experiencias artísticas en Europa y en algunos países latinoamericanos. El paso de una expresión musical local, a un reconocimiento universal de la obra de Violeta Parra, se ilustra con fragmentos de cinco canciones cuya temática es el amor, con un breve análisis como orientación.

This paper provides a description of the process, and the results of case
method and interviews of four students from the study program, Pre-Scho-
ol and Elementary Pedagogy. These students have problems with accurate intonation when singing twenty children‘s songs. The aim of this paper is to bring an effective way of removing imprecise intonation by developing musical and singing skills under the guidance of a voice teacher or when studying alone. Attention is focused on the appropriate selection of vocal exercises that use the natural feelings and the imagination from everyday life. Another aspect is the creation of preparatory vocal-technical and intonation exercises that are based on problematic phrases from the songs. Also included are the instructions and procedures for solving the individual and joint problems in the the singing of these songs.

Keywords: female voices, singing, children‘s songs, imprecise intonation, the process to improve intonation

Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher’s rather than the student’s explorative interpretation. The aim of the present study is to investigate students’ and teachers’ understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher’s understandings of what musical interpretation is, (2) the student’s experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectation...

This article states the influence of New Media Arts on the instrumentalist's role. By instrumentalist the article refers to those who interpret written music from the Western music tradition, which has the artistic activity grounded on interpreting a musical score by recreating sonically compositions in concerts. This discussion pretends to argue that the musician develops different roles when digital means are involved. For this purpose, the instrumentalist activity as an artist and the new media arts creator's profile will be defined. Therefore, it will be possible to analyse how the new media usage and concepts could impact the artistic life of an instrumentalist. The idea of creator and/or recreator will be discussed regarding the instrumentalist's role, and it will be observed if this role changes under the new media arts mediation. To achieve the article's conclusions, it will use the author's experience as a clarinettist and New Media Arts artist and various conceptions and definitions concerning instrumental written music from the Western tradition and New Media Arts.

This article considers Mikhail Bakhtin’s notion of carnivalisation
(1984 [1968]), which he divides into four categories, the second of
which is eccentric or inappropriate behaviour where conventionally
unacceptable behaviour becomes normalised in a carnival setting.
Bakhtin believed that real-life carnivalisation, as practised in ancient
and medieval societies, had gradually become eclipsed by its transfer
to literature, and this essay further transfers it to music. Burlesque
may be regarded as a particular manifestation of the Bakhtinian car
nival and the focus of this article, the second of Bartók’s Three Bur
lesques Op. 8/c (“A Little Tipsy”), features what is here regarded as
the topic of drunkenness. The carnivalisation of drunken behaviour is
very much apparent in this music because outside the context of the 
carnival, drunkenness is generally the object of official censure whereas
within the carnival context, as processed through Bartók’s music, it is
rendered harmless, humorous and socially acceptable to the attentive
listener. The notion of drunkenness as a topic is defended and this is
followed by an examination of how best to portray it in performance – 
how to project the topic but without so much musical distortion that
the piece’s coherence collapses. There are three principal sources for
the performer to consult: the piano score (1911), the orchestral score
of the composer’s later transcription (1931) and Bartók’s own recorded
performance (1929). The author negotiates between these three sourc
es, assessing a variety of performances both orchestral and pianistic,
offering a personal interpretative strategy in the process.

This paper offers a semiotic approach to musical interpretation using narrativity and topic theory. Balakirev’s piano solo arrangement of Glinka’s song ‘The Lark’ is used as a case study and, after analysing the music from both theoretical and hermeneut perspectives, recommendations for performance are offered.

Johann Sebastian Bach's keyboard music remains a cornerstone of Western classical music, revered for its structural brilliance, emotional depth, and pedagogical value. Composed for instruments such as the harpsichord, clavichord, and organ, these works demand a nuanced understanding of Baroque performance practices. Performing Bach's keyboard compositions on the modern piano introduces both challenges and opportunities, requiring careful adaptation to honor the composer's intentions while utilizing the expressive possibilities of the contemporary instrument. This paper explores the historical context of Bach's keyboard music, examines the interpretive and technical challenges of performing these works on today's piano, and highlights the artistic opportunities that the instrument provides. Drawing on key texts, including David Schulenberg's The Keyboard Music of J.S. Bach and C.P.E. Bach's Essay on the True Art of Playing Keyboard Instruments, alongside insights from Glenn Gould's interpretations, this study bridges the gap between historical authenticity and modern expression. By integrating scholarly research with practical applications, this thesis seeks to provide performers and educators with tools to navigate the complexities of Bach's keyboard music in the 21st century.

Paying homage in a clown hat. Stravinsky’s Sonata and Beethoven
Sonata in F Major op. 54

The article focuses mainly on the analysis of Piano Sonata (1924) by
Igor Stravinsky, demonstrating various (thematic, syntactic, formal,
topical) ways of ironical distortion of the classical and baroque type
of sonata, particularly with respect to Beethoven Sonata op. 54, itself
a parody of baroque style. The results of those considerations enable
the author to put forward some general aesthetic remarks: referring to
Stravinsky’s commentaries and the early critical reception of his Sonata it is being claimed that the neoclassical style, esp. in its mechanical aspect, does serve a purpose of restoring the “organic” dimension
of musical work (however paradoxical it may seem when viewed form
the popular romantic perspective). Hence, the tone of the neoclassical
parody is a serious one, albeit disguised in manner of buffo.

The variants of the song analyzed in this paper have persisted in Hungarian popular poetry (manuscript songbooks) and folklore from the 1710s to the present day. The song, composed after the fall of Ferenc Rákóczi II’s War of Independence (1703–1711), expresses the grievances of soldiers regarding public order. Despite their heroism and victories, they were not appropriately honored by their noble officers, which facilitated the Habsburgs’ ability to suppress the revolt. Nearly all variants of the song criticize the arrogant Hungarian nobility for their delusions. Later versions of the song transcend the Kuruc era, addressing soldiers’ experiences more broadly across different historical periods. It was sung by Hungarian soldiers fighting against Napoleon and other adversaries, as well as in the context of conflicts with outlaws. Starting in the mid-19th century, the rise of “Kuruc romanticism” imbued this popular song type with renewed significance, leading new written versions to be perceived by the public as “original.” The Tyukodi Song (Te vagy a legény, Tyukodi pajtás – ‘You are the guy, our pal Tyukodi’) stands as one of the most renowned examples. It can be regarded both as an authentic relic and as a counterfeit, reflecting its dual role in Hungary’s cultural memory.

This article focuses on interaction processes during the performance of free improvisation in the jazz idiom, and their correlation to the construction of individual musical identities. In this article, I regard musical identity as an artistic, dynamic and personal process characterized by continual communication, construction and negotiation with the surrounding social and cultural environment. Interaction, just like improvisation, is a fundamental defining element in jazz and free improvisation, playing a crucial role in shaping the musical identity of each musician during their performance. This is presented here as analogous to the moulding of individual identity in our everyday social interactions. This research is based on the author's active participation in improvisation sessions and interviews with professional jazz musicians based in Lisbon, Portugal. Additionally, it explores how the context of free improvisation, when musical restrictions are minimized, intensifies the focus on the interactive improvisational process. This attribute makes free improvisation an ideal terrain for research on interaction and its relation with musical identity.

The technique of vowel modification is an essential point in the construction of choral sonority. This work presents partial results of an applied action-research in progress in the area of choral practices’
systematization and aims to evaluate the conflict between the configuration of frontal articulators in the spoken vowels and the
physiological conditions required for the development of choral sonority.
This analysis will result in the clarification of the concepts related to
the adjustment technique and an initial proposal for systematization of
the articulation of the sung vowels, comparing the results of the practical
application of this technique with the research of Johan Sundberg
(2018) and Richard Miller (2019), as well as the premises of Henry Leck
(2020), Shirlee Emmons and Constance Chase (2006).

Este es un trabajo de investigación aplicado a la memorización de obras musicales sencillas, como manera de liberarse de las ataduras impuestas por el papel de la partitura, de tal forma de concentrarse indirectamente en otros aspectos mas importantes al momento de hacer música: la interpretación. Sea por requerimiento institucional sobre el estudiante o una meta personal del interprete, disponer de una memoria entrenada es fundamental para un buen desempeño musical, independientemente de la profesión a la que se dedique un músico.

Chopin's mazurkas represent a remarkable fusion of folkloric tradition and
innovative compositional technique, establishing their enduring significance within the Western art music canon. Far from being superficial adornments, the folkloric elements in these works are intricately woven into their structure, rhythm, harmony, and texture, demonstrating Chopin's deep engagement with Polish folk traditions. The structural framework of the mazurka, characterized by the repetitive ‘ostinateness’ of dance figures, reflects Chopin's reverence for the dance form, while his sophisticated rhythmic patterns capture the physical energy of the traditional mazurka. Harmonically, Chopin employs modal scales and ambiguous tonalities derived from Polish folk music, enriching the emotional depth of the compositions. Texturally, the mazurkas evoke the rustic sounds of folk instruments, reinforcing their connection to the rural Polish landscape. Beyond their musical dimensions, Chopin's mazurkas transcend their origins, existing as timeless works of art that embody both national identity and universal beauty. The philosophical implications of these compositions suggest that they represent a synthesis of folk tradition and eternal artistic principles, resonating with the mathematical precision and beauty that underpins all great art. Through his mazurkas, Chopin immortalized the spirit of Polish folk music within the broader context of classical composition, creating works that are both deeply personal and universally resonant.

É com grande estima que apresentamos o e-book ‘Estudos interdisciplinares sobre as ciências humanas’. O leitor encontrará oito textos que analisam aspectos da cultura, arte, patrimônio, política, moral, ética e educação. É válido destacar o aspecto democrático de acesso às diversas pesquisas dos estudantes, docentes e pesquisadores de diferentes regiões e universidades do país. Esse fato, oportuniza aos leitores a possibilidade de se debruçarem sobre várias metodologias e pesquisas, de forma acessível e gratuita.
Neste e-book, são as dimensões da interdisciplinariedade na área das ciências humanas que ganham destaque. A coletânea se propõe a pensar as ciências humanas e a sua vasta possibilidades de temas e assuntos. Nos últimos anos, as produções no campo das ciências humanas se multiplicaram e avançaram em direção a pluralidade de abordagens e metodologias de pesquisas, sobretudo, com o uso de fontes estatais, arquivos pessoais e com novas problematizações e metodologias de pesquisa.

Assim, este livro é uma construção coletiva, fruto do esforço intelectual de docentes, pesquisadores e pesquisadoras, implicados e implicadas pelo apreço da história política como forma de análise da sociedade. A obra, apresenta conceitos e teorias bem fundamentadas, contribuindo para a produção científica do País. Reconhecemos também que as abordagens e problematizações aqui apresentadas não esgotam o debate, mas é inegável que começamos a tecer diálogos entre cultura, artes, política, moral e educação, possibilitando múltiplos olhares sobre a formação humana.

Il Giulio Cesare in Egitto è un'opera seria in tre atti , in italiano, composta nel 1723 e rappresentata per la prima volta il 20 febbraio dell'anno successivo al King's Theatre nell'Haymarket di Londra. Il libretto era di Nicola Francesco Haym, che a sua volta attingeva al libretto omonimo di Giacomo Francesco Bussani.  Haym, nato a Roma nel 1678 da una famiglia tedesca, fu una figura poliedrica: compositore, violoncellista, librettista e impresario. A partire dal 1700 si trasferì a Londra dove nel 1713 entrò in contatto con Georg Friedrich Händel  iniziando con lui una collaborazione per varie opere di argomento antico.

The development of a choral sonority constitutes a long-term project that involves several elements, which includes the appropriate choice of repertoire, elaboration of an extensive vocal preparation program and planning rehearsals and concerts. This article constitutes a part of an applied research on choral practices systematization and highlights relevant actions and strategies for the development of choral sonority fundaments, based on scientific approaches to vocal technique referenced in Sundberg (2018) and Miller (2019), as well as practical approaches in the field of choral conducting such as Leck (2020) and Sandt (2016).

Questo manuale è dedicato allo sviluppo delle capacità improvvisative e di fraseggio nella batteria jazz, ponendo un particolare accento sul concetto dello sviluppo motivico.
Il "motivo" è un concetto centrale sia nella composizione che nell'improvvisazione. Secondo il musicologo De Natale, il motivo è un'unità melodica o ritmica riconoscibile e caratteristica, che costituisce la cellula generativa di un brano. È l'elemento attraverso cui si costruisce l'identità musicale, una sorta di firma sonora che può essere elaborata, ripetuta, variata e trasformata nel corso del brano (De Natale, Teoria Musicale, 1981).
Analogamente, Walter Piston definisce il motivo come l'idea musicale di base, un frammento che possiede un'identità distintiva e che serve come punto di partenza per lo sviluppo compositivo.
Per Piston, il motivo è il "mattone" della costruzione musicale, capace di generare complessità attraverso la ripetizione e la variazione (Walter Piston, Harmony, 1941).
Attraverso lo studio di "50 Motivi per il Batterista Jazz", imparerai a riconoscere e distinguere uno o più frammenti motivici all'interno di un brano. Successivamente, esplorerai come riprendere e sviluppare questi frammenti motivici alla batteria, integrandoli nel contesto dell'improvvisazione e del fraseggio. Questo approccio ti permetterà di interagire in modo più consapevole e musicale con gli altri strumentisti, arricchendo il tuo stile e la tua voce nel jazz.

This article presents the results of research on the impact of Russian music on preludes of Polish composers active at the turn of the 19 th and 20 th-centuries. The study focuses on characteristics of selected Russian composers determined by Marina Frolova-Walker, Richard Taruskin, and Piotr Kędzierski. Specific features of the Russian idiom, which proves its inspiring role, were found in the preludes of Karol Szymanowski, Witold Maliszewski, and Roman Statkowski.

Da qualche anno a questa parte, nella dottrina nordamericana si profonde uno sforzo volto, per un verso, a emancipare la comprensione del diritto privato dalle logiche di un funzionalismo esasperato e, per altro verso, a confutare l'assunto, invero ampiamente diffuso in una cultura imbevuta di realismo giuridico, che vorrebbe il diritto come nient'altro che la prosecuzione della politica con altri mezzi. Questo sforzo viene presentato, da chi vi partecipa, nei termini di un New Private Law (NPL). L'attenzione verso il profilo metodologico segna, in particolare, il volume in recensione, ove essa viene sviluppata attraverso un dialogo tra studiosi che si riconoscono nel programma del New Private Law e alcuni loro colleghi tedeschi.

A obra intitulada "Desvendando a Complexidade Humana: Estudos Interdisciplinares em Ciências Humanas", apresenta uma coleção de pesquisas que exploram as diversas facetas do ser humano, abordadas sob perspectivas interdisciplinares. Ao longo dos capítulos, os(as) autores(as) nos guiam por temas que variam desde a análise social da mulher negra até as teorias de inovação, passando por questões de violência, educação e cultura.
Os estudos aqui reunidos revelam a interconexão entre diferentes áreas do conhecimento, ressaltando a importância do diálogo entre disciplinas para compreender as complexidades da sociedade contemporânea. Com abordagens que vão da análise crítica da cultura à investigação histórica e epistemológica, a obra convida o leitor a refletir sobre temas urgentes e, muitas vezes, desafiadores.
O primeiro tema abordado trata da posição da mulher negra na sociedade, com um olhar fundamentado nas ideias da intelectual Lélia Gonzalez. Este estudo contribui para a compreensão das dinâmicas de raça e gênero que permeiam nossa sociedade, oferecendo uma análise que resgata e valoriza as contribuições das mulheres negras na construção social.
Em seguida, a obra nos convida a refletir sobre a inter-relação entre linguagem, cultura e sociedade, sublinhando a importância da cultura no contexto atual. Este estudo crítico revela como a cultura molda e é moldada pelas interações sociais, destacando sua relevância na formação das identidades contemporâneas.
A obra também aborda questões de extrema relevância, como os delitos sexuais contra pessoas com deficiência, trazendo uma análise detalhada dos casos notificados no Espírito Santo. Este capítulo oferece uma visão profunda sobre as vulnerabilidades e desafios enfrentados por essa população, contribuindo para o debate sobre direitos humanos e proteção social.

This article explores three aspects of interpretation—musical interpretation of notated Western art music, hermeneutics (theoretical framework), and poetry (tool for analysis and representation)—based on ongoing music education research focusing on the learning of musical interpretation within the one-to-one context of higher music education. The broad philosophic poetic inquiry of interpretation has the form of an autoethnodrama containing both haiku and found poetry. Poetry is both used as a process of inquiry and as a means of representation. The autoethnodrama explores the author's struggle with finding his cogito for conducting arts-based research and touches upon his personal history. Through the combination of autoethnodrama and a philosophic poetic inquiry, he finds a deeper understanding of musical interpretation, usage of poetry and autoethnodrama in research, as well as of his personhood. Concluding reflections on one possible way of interpreting the autoethnodrama in...

Neste artigo, trato sobre o "Poema Estrutural", do experimentalista português Fernando Aguiar. Apresento, inicialmente, uma pequena contextualização da Poesia Experimental Portuguesa, a partir da obra Po-Ex: textos teóricos e documentos da Poesia Experimental Portuguesa (1981), de Ana Haterly e E. M. de Melo e Castro, e da "Breve apresentação da Poesia Experimental Portuguesa" (2006), de Rui Torres. Também comento o fazer poético de Aguiar, com base em textos dele mesmo e falo da associação da poesia aos meios digitais discutida por Melo e Castro na Poética do Ciborgue (2014). Para a análise que proponho do "Poema Estrutural" (performance realizada por Aguiar em 09 de maio de 2009), trago à luz questões relacionadas à performance, à fruição, à ressignificação e à resistência e, para tal, utilizo, além das obras já citadas, Performance, percepção, leitura (2007), de Paul Zumthor, e Em defesa da sociedade (2000), de Michel Foucault. Palavras-chave: Experimentalismo; performance; ressignificação.

Au Nigeria, la scène musicale se compose d'une grande variété de styles
différents. Nous nous intéresserons principalement à la musique savante des compositeurs qui trouvent leur inspiration dans la musique traditionnelle. Les nouveaux compositeurs du Nigeria ont utilisé des éléments de la tradition musicale pour produire quelque chose
de nouveau : une synthèse des langages africains et des cultures étrangères.

Baseado nas informações publicadas pela revista inglesa Guitar News, este artigo busca mostrar a visão sobre intérpretes, compositores e críticos do violão brasileiro veiculada em um periódico inglês, a fim de obter um panorama da atuação violonística entre as décadas de
1950 e 1970, por meio de uma pesquisa documental descritiva. As informações descritas pelo periódico demonstram determinado preconceito com as práticas do instrumento que não sejam consideradas
“clássicas”, o que influencia a seleção dos materiais que foram veiculados. Perante isso, buscamos relacionar os repertórios
publicados de cada intérprete e, por meio de um levantamento por gráficos, que analisa quantitativamente a nacionalidade dos compositores das obras apresentadas, que incluem Europa, Brasil e outros países da América Latina, a fim de perceber uma possível linha condutora para a publicação de cada matéria. Na parte introdutória, são apresentadas tabelas com todas as edições que contemplam nomes brasileiros, além daqueles que foram publicados como capa.

Esta pesquisa trata da importância de abordar a temática da violência doméstica e familiar contra a mulher (VDFM) e de problematizar essa prática no ambiente educacional com enfoque na formação continuada de educadores. Com uma revisão bibliográfica e documental, e a partir de uma metodologia qualitativa pelo olhar do método materialista histórico, foi possível compreender a constituição do desenvolvimento humano e as relações que o permeiam. Por ser uma questão cultural e presente na sociedade brasileira, é fundamental que o tema seja discutido nas escolas das cidades de Jataí e Rio Verde, no estado de Goiás. De caráter formativo e socializador, a violência contra a mulher deve ser interpelada com base em uma educação holística e democrática, fator fundamental para sua prevenção e seu enfrentamento.

Zoltán Kodály, writing in 1950 about Bartók "the folklorist," recalled his friend's belated study of Palestrina and Jeppesen's counterpoint treatise. Whereas Bach had a prominent role in Bartók's musical training, his interest in contrapuntal writing in his early compositions followed the lead of music from Beethoven to Richard Strauss. It was undoubtedly Stravinsky's neoclassicism that inspired his own-as Tibor Tallián put it, lonely-"retour à Bach" from 1926 on. And Bartók's journey into the realm of counterpoint did not end there. Works like the first movement of Music for Strings, Percussion and Celesta or the "Fuga" of the Solo Violin Sonata testify to the challenges counterpoint posed to him up to the final years of his career. In the study, the author will consider Bartók's own compositional autographs, some of which reveal a tendency to lend a particular status to contrapuntal writing. He will further discuss possible documentary evidence related to Bartók's actual late interest in counterpoint and earlier polyphony.

Nuestra  propuesta  se  centra  en  abordar,  desde  la  interpretación,  contenidos  de  las  diferentes  asignaturas  curriculares  del Bachillerato  de  Bellas  Artes  que  confluyan,  a  modo  de  síntesis,  en  puestas  en  acto  de  competencias  comunicativas  y  que  éstas mismas puedan transformarse en “contenidos aplicados”, concretos y entendibles. La interpretación se enfoca entonces como una experiencia donde se concentran distintos saberes. Mediante la vivencia de ella, se pretende generar nuevos espacios de integración y divulgación que favorezcan a la construcción cognitiva.