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Presentazione
No full textThis article, introducing the book by Marilena Laterza about same contemporary rewrites of Gesualdo da Venosa’s compositions, explains the many problematic aspects inherent the musical rewrite and indicates the interesting choices made by the author
Senso e significati: un esempio
No full textIl secolare dibattito sulla semantica della musica ha prodotto innumerevoli studi, e diverse teorie che riflettono la grande varietà dei modi significanti che possono ritrovarsi nella musica d’arte occidentale di ogni tempo. Questo scritto propone come strumento di chiarificazione e di sintesi la distinzione tra rappresentazione e espressione che ha origine storica ed evidenza ermeneutica. La rappresentazione può cogliersi in tutte le componenti strutturali di una composizione musicale determinate, chiuse, codificate che si dispongono percettivamente nella dimensione spaziale; l’espressione in quelle indeterminate, fluide, tragressive che riflettono il tempo psicologico. Un esempio straordinario di questa dialettica può vedersi nel celebre Lied che Schubert compose nel 1814 su testo di Wolfgang Goethe, Gretchen am Spinrade, dove la descrizione di una fanciulla intenta al lavoro femminile della filatura assume carattere simbolico. Gli elementi musicali portatori di senso vengono individuati e analizzati per mostrarne le risultanti percettive all’interno della dialettica tra spazio e tempo, rappresentazione ed espressione, il particolare in universale
Introduzione. Il suono delle cose
No full textThis paper introduces the book of the theoretical texts by the composer Federico Incardona (Palermo, 1958-2006), collected and put in order by his students, now stored in the musicological library of Palermo University; it draws a concept map to guide the reader into Incardona’s labyrinthine path. The fundamental concepts, highlighted and analyzed, are: the “inaudito” (what you never heard) as the result of a research in which the composer is involved even physically; the “sign”, as a tool to objectify the unheard; the “tone row” as the order of notes obtained by their bonds with the sensations and experiences: the epiphany of the sound of things: the “tradition” as “permanent revolution”, a R. Kolisch’s idea that Incardona learned from H.-K. Metzger ; the “work” as an utopian aspiration
La "perfection absolue de la musique": histoire, lexique et esprit du "Dictionnaire" de Rousseau
No full textJean-Jacques Rousseau dedicò molti anni (1749-1765), contrariamente alle sue abitudini di scrittore, al Dictionnaire de musique, correggendo le voci già redatte per l’Encyclopédie di Diderot e D’Alembert e aggiungendone di nuove fino a più che raddoppiarle. In questo articolo che lo introduce nella Édition thématique du tricentenaire delle Oeuvres complètes pubblicate da Honoré Champion-Slatkine, ne vengono prese in esame le fonti, le motivazioni, le scelte lessicali specialmente alla luce della “illuminazione” e della maturazione filosofica dell’autore. Della concezione di musica che emerge dal labirintico percorso dei diversi articoli, tra teoria, storia, estetica, filosofia, viene messa in evidenza soprattutto, e in difformità dalle letture diffuse, la modernità
Traductions, transformations, transmutations du Pygmalion de Rousseau dans les royaumes de Naples et de Sicile
No full textThe Rousseau’s Melodrama, Pygmalion, first time staged in 1771 at Lyon, arrived in Naples in 1773 performed in French by a French theatrical company and with the music composed by Aspelmayr. At the same time in the kingdom of Naples, like in northern Italy and in Austria, the first Italian translations and the first attempt to change the original text in an Opera libretto put essential questions about the translation of theatrical texts and especially the change of a dramatic-musical form, a semiotic transmutation. In 1797, in Palermo, according to the historian Pitrè, was staged a Pigmalione or Pigmaglione translated perhaps by Sografi, transmuted in operatic form, put in music by Asioli or Sirotti or Cimador. In Catania, another town of the Bourbon Kingdom, a libretto was printed in 1791 for the performance of a Pimmalione in melodramatic form but in Italian language. The music was by Gluck: so we can read in the libretto; but it’s much more probable that the musician was Aspelmayr, like in Venice, where it was printed the first time Perini’s translation used also in Catania. Many cuts in this translation also perfected the trivialization of the dramatic invention and of the play by Rousseau
Voci di donne nel "Corpus" di Alberto Favara
No full textBetween 1902 and 1905 Alberto Favara collected, from direct execution of his interviewees, 1090 Sicilian folk songs which constituted the "Corpus" published, after his dead, in 1957, by Ottavio Tiby. Favara sometimes reported, along with transcriptions, the performer’s name and some few other data. Among the people he heard there is a relatively high number of women, in a constant proportion in the various repertoires. Women interviewed by Favara, like men, show interest and skill in music; they evaluate its psychagogic quality; point out the differences between the songs by the place of origin, or by the activities they accompany; distinguish the performing ways and habits; are proud to recall old songs, learned in their childhood from old people. Reporting their comments and their opinions, Favara improves his great ethnomusicological work by a lively cross section of the female daily life at the beginning of the 20th century
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Musica e Cultura a Scuola. Comprendere la musica
No full textL'iniziativa è consistita in un corso di ricerca-formazione, a rilevanza regionale, per 120 insegnanti della Regione Sicilia (formazione dei formatori), sia di educazione musicale sia di altre discipline, delle scuole di ogni ordine e grado.
Il corso è stato suddiviso in due parti.
La prima ha compreso alcuni percorsi didattici incentrati sulla didattica dell'ascolto per la comprensione musicale e una tavola rotonda sulla trasposizione didattica del sapere musicale nei suoi aspetti contenutistici e metodologici. Percorsi didattici e tavola rotonda sono stati affidati a docenti universitari.
La seconda è consistita in laboratori didattici, incentrati sull'apprendimento strumentale, sull'interdisciplinarità, sull'analisi di specifici brani musicali finalizzata alla trasposizione didattica. I laboratori sono stati affidati a docenti di Scuola e Conservatorio
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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