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Two opposed conceptualizations of Granada, shared across poetry, painting (and photography) and music, combined to create a contrasting transmedia soundscape of the city throughout the twentieth century. Granada "the Beautiful" responded to the romantic myth of the city and was rooted mainly in the Alhambra, an Arab palace among the mountains, filled with gardens and water fountains. This idealized image could be heard in Manuel de Falla's literary and pictorial dream: Noches en los Jardines de España [Nights in the Garden of Spain] (1916), and also appeared in Federico García Lorca's musical conception of his city (1933). Fifty years later, the democratic transformation of Spain generally led to a punk, poetic deconstruction of the city in Rimado de ciudad [Rhyming from the City] (1983), singing about the margins of the city: Granada "the Wounded", emerging from the suburbia and from the dark streets of the Arab quarter: the Albaicín. [ABSTRACT FROM AUTHOR]

The correspondence between Manuel de Falla and the conductor Enrique Fernández Arbós, which went on for more than twenty years and includes more than two hundred unpublished documents, reveals important exchanges of aesthetic conception, which bridge the divide between traditionalism and modernism, and reveal previously unknown information about the international reach of Falla's music and the creation of an image around the quintessential Spanish composer of the time. This article analyses Arbos's biography in relation to his aesthetics and cosmopolitan outlook before moving to a discussion of his correspondence with Falla, which sheds valuable new light on Falla's move towards modernism. By focusing on key institutions and events at the time (such as the Sociedad de Autores and the 1936 ISCM Festival in Barcelona), I interrogate the dialectic between nationalism and internationalism in European music during the first decades of the twentieth century. [ABSTRACT FROM AUTHOR]

No other work represents Spanish ness in the international context like Manuel de Falla's El amor brujo. The score underwent a series of adaptations from the original gitanería (1915) to the suite for concert version (1916) and finally the ballet (1925), acclaimed all over the world. The composer himself transcribed some of the more characteristic musical numbers for piano, like the »Ritual fire dance«, which was played and recorded by Arthur Rubinstein on several occasions. Although Falla is labelled as a nationalist composer, the première of El Amor Brujo aroused sensitivities regarding how Spanish it sounded, first in Madrid, Valencia and Barcelona and later when it was premiered in other countries. Not only did the modern conception of the work puzzle the audiences, but also the peculiar use of popular material and the colourful character of the instrumentation. Thus it was described as nationalist, frenchified, popularist or espagnolade all at once. [ABSTRACT FROM AUTHOR]

Recent decades have seen a significant increase in the number of scientific investigations and publica- tions within the field of the Neuroscience of Music that explore the relationship between music and the brain. This article sets out to examine the scientific activities within this discipline by employing the methods provided by scientometrics. By means of an investigation of the citation index and scientific production rate of articles related to the Neuroscience of Music, the objective of the present work is to ultimately determine how the field has evolved and how this work has been received within the international scientific community. The Web of Science database was the chosen tool for this investigation. The analysis considers the number of international publications in the field and the developing impact of texts on Music Neuroscience, as well as that of journals, organizations, and countries highlighted in the field. A bibliometric analysis demonstrates the exponential growth curve both in the number of publications and the number of citations received which, in comparison with the adjacent fields (the fields of Music and of Neuroscience), reflects the Neuroscience of Music as a developing area, a new field of study quite separate from Music or Neuroscience in general. [ABSTRACT FROM AUTHOR]