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The increasing participation rate in higher education has raised its own issues, such as how to fund the growth while retaining the quality of education. In Finland, it has been argued that the tuition-free higher education policy increases equality. On the other hand, in the United Kingdom, establishing a system of tuition fees supported by an income-contingent loan system for students has also been argued to increase equality. In Australia, students also face high tuition fees for higher education, as well as a support system focused on domestic students. In addition to tuition fees, entrance examinations also play a crucial part in higher education systems. In order to examine inequalities in higher education from the students’ point of view, tuition fees are scrutinised in connection with equality, and entrance examinations in relation to cultural reproduction. Comparing examples of higher music education institutions in Finland, the United Kingdom, and Australia shows that there are large differences between the tuition fees charged for domestic and international students, as well as between countries. Entrance examinations in higher music education are similar in these countries, but may include inequalities based on long traditions in the field of music, especially in classical music. By revealing misconceptions about equity in higher education, it is possible to have a critical debate about the role of tuition fee systems as they are connected with the economics of higher education, and about entrance examinations as reproducing social class inequalities. This discussion may contribute to the redefinition and reformation of more equitable and just education systems, and promote equality in general in society.

©2021 Anne Jordhus-Lier. This is an Open Access article distributed under the terms of the Creative Commons CC-BY 4.0 License (https://creativecommons.org/licenses/by/4.0/). The purpose of this article is to discuss the use of discourse analysis in order to understand music teachers’ professional identities. This is done by elaborating on the theory and methodology of a study on professional identities of music teachers within the Norwegian municipal school of music and performing arts. Theoretical and methodological perspectives, including research design, analysis, results, validity and ethics, are discussed in the article. An argument in favour of discourse analysis is put forward: that it offers focus on the context, complexity and power relations of the field, as well as providing an understanding of how identities are constructed and negotiated. The use of discourse analysis in the study provided analytical tools which challenged taken-for-granted knowledge, discovered binary discursive oppositions, and unmasked power relations. The study found that teachers construct their identities within a contested discursive field where meanings are attached to the work they perform, as well as to the institutions they represent.

Este artigo apresenta apontamentos, sobre uma possível interpretação da forma sonata clássica adaptada para um contexto atonal, no primeiro movimento do Quarteto de cordas n. 3 de Heitor Villa-Lobos. No âmbito da música brasileira, Villa-Lobos foi o compositor que mais escreveu quartetos de cordas. No cenário internacional da música do século XX, sua produção está em segundo lugar em termos quantitativos. Todavia, algumas análises mais antigas com base apenas nos parâmetros da música tonal, defendem a ideia de que Villa-Lobos não utilizou a forma sonata em seus quartetos de cordas. No entanto, análises mais recentes demonstram a habilidade de Villa-Lobos em adaptar a forma sonata para um contexto não-tonal, assim como fizeram outros compositores vanguardistas. No caso do primeiro movimento do Quarteto de cordas n. 3 é possível notar a manipulação das classes de alturas que demarcam as entradas das seções, em substituição as relações tonais da forma sonata clássica. Sendo assim, torna-se patente a proficiência composicional de Villa-Lobos, ao manusear um dos gêneros mais consagrados da música de câmara europeia (Quarteto de Cordas) e uma das estruturas formais mais significativas da música ocidental (Forma Sonata).

Este texto busca observar os pontos e contrapontos comuns que se encontram entre o Ritual do Candomblé e a Sala de Concerto. Discutindo seus cânones, similaridades e diferenças através da visão de Christopher Small (1987), que observa a Sala de Concerto como parte de um ritual que inclui o “musicar”, ou “musicking”, e que traz além do ato da execução musical, todo um conjunto de etiquetas que acontecem nas duas agências, que incluem ações semelhantes e comportamentos de pessoas, desde o regente até o vendedor de ingressos. Por outro lado, as visões de Jorge Vasconcelos (2010), Sacramento de Almeida (2009) e Vitor da Trindade (2019), pesquisadores do Candomblé, com vivência no mundo dos Orixás como Ogan Omoloyê do Ilê Axé Jagun, vistos aqui como profissionais da música.

São dois os campos de reflexão necessários para um pensamento material, radical e consequente sobre a relação entre música e sociedade. O primeiro deles, o da determinação social da música. O segundo deles, o do papel político da música e também do músico. Aponto aqui, filosoficamente, para estas duas problemáticas, suas bases estruturais e suas consequências políticas.

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) (expectations of) the student's explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students' development. Validerad;2021;Nivå 1;2021-01-13 (alebob)

Este estudio muestra la evolución comercial, transmisión y modelos de la música de inspiración patriótica que se distribuyó en Valencia en la Guerra de la Independencia Española (1808- 1814). Se aborda la identificación de diferentes obras relacionadas con este género, así como los establecimientos de venta que las anunciaron en la prensa local durante dicho periodo, confrontando la información obtenida con la referente a otros anuncios de lotes similares publicados en prensa foránea que pudieron haber comercializado material de características parecidas. También se ha planteado la correspondencia entre el volumen de anuncios y los acontecimientos bélicos que tuvieron eco en la vida de Valencia. Además, se identifica a dos copistas que ejercieron su labor en la ciudad, documentando algunas de sus transcripciones y composiciones conservadas en la Biblioteca Nacional de España. Por último, se ofrecen ejemplos de diferentes tipologías de este género musical que se han podido documentar en los periódicos valencianos.

Los cuatro cantorales mozárabes copiados en Toledo por orden del Cardenal Jiménez de Cisneros como parte de la restauración del rito hispánico contienen las melodías de la misa completa y de una pequeña parte del oficio. Este trabajo está centrado en el primero de los cantos del propio de la misa, el officium. Su antífona sigue parcialmente un sistema de composición formularia identificado por Imbasciani, pero hasta ahora no se había abordado el análisis de sus versículos. En este trabajo se aborda por primera vez dicho estudio, comprobándose que, en la mayoría de los casos, todos siguen una misma y sencilla estructura de composición. Esto permite plantear un debate acerca de su posible ascendencia medieval: por un lado, su extrema sencillez podría haberles permitido sobrevivir a lo largo de los siglos por tradición oral, pero, por otro, se trata de un esquema modal derivado con mucha probabilidad del canto gregoriano. The four Mozarabic choirbooks copied in Toledo by order of Cardinal Jiménez de Cisneros as part of the restoration of the Hispanic rite contain the melodies from the complete Mass and a small part of the Office. This article focuses on the first chant of the Mass Proper, the officium. Its antiphon partially follows Imbasciani’s system of formulaic composition, but its recitative verses have not been analysed until now. This study addresses the study of these verses for the first time, proving that most of them follow one very simple compositional structure. This opens up a discussion about their possible Medieval origin: on the one hand, their extreme simplicity might have allowed these choirbooks to survive over the centuries by oral tradition, but, on the other hand, their modal scheme is probably derived from Gregorian chant.

espanolDurante la Restauracion borbonica, las ceremonias solemnes sirvieron para proyectar una imagen de la monarquia identificada con la nacion y con el catolicismo. La musica ayudo a estos fines, ocupando un lugar privilegiado en las ceremonias tanto festivas como religiosas de la Corte espanola, en actos publicos y privados que tuvieron lugar en la Real Capilla y en los salones del Palacio Real. Si bien perviven tendencias estilisticas anteriores representadas en el gusto de la aristocracia por la opera italiana, asistimos a un impulso de las practicas musicales dentro del espiritu de renovacion de la epoca, con presencia del repertorio de autores nacionales. La musica aparece vinculada a la labor de mecenazgo ejercida por el rey Alfonso XII, la reina consorte Maria Cristina y la infanta Isabel, bajo el consejo del conde de Morphy. Gracias a la documentacion conservada en el Archivo General de Palacio y a las noticias de la prensa historica, nos aproximamos a los diferentes ambitos en que se desarrolla la musica en Palacio y senalamos sus diferentes aspectos ceremoniales. De esta manera, pretendemos llamar la atencion sobre un campo poco estudiado y suscitar el interes hacia cuestiones que precisaran de un mayor estudio y desarrollo. EnglishDuring the Bourbon Restoration, solemn ceremonies served to project an image of the monarchy identified with nation and Catholicism. Music assisted in this, playing an important part in both festive and religious ceremonies at the Spanish Court, in public and private events which took place at the Real Capilla and in the halls of the Palacio Real. Although earlier stylistic trends represented by the aristocracy’s penchant for Italian opera continued, this period also bore witness to a boost in musical practices within the spirit of renewal, with the presence of music by Spanish composers. Music was linked to the patronage exerted by King Alphonse XII, Queen consort Maria Christina and the Infanta Isabel, with guidance from Count Morphy. Using the documentation preserved at the Archivo General de Palacio and the contemporary press, this article examines the different ambits of music making at the Palace and discusses its diverse ceremonial aspects. It thus seeks to draw attention to a little-studied field and spark interest in questions that require further study.

Este estudo pretende suscitar o saber da antiga e rica tradição milenar de cantar e reinterpretar a torá ou Bíblia hebraica conhecida por Te amim ha-mikra ou cantilenas. Este fenômeno litúrgico musical permitiu a um determinado grupo de pessoas a estruturar um sistema organizacional com a qual realizaram a implementação de um agrupamento de sons funcional de leitura Bíblica que mais tarde veio a se tornar notações musicais que se propagaram por todas as comunidades judaicas, conservando suas particularidades assim como a assimilação do costume local pelos judeus, externalizando desta maneira, através da música, suas origens sem deixar de apropiar-se da tradição por onde passavam.

El objeto de este artículo es narrar metodológicamente el proceso mediante el cual se construyó un concierto de grado, el cual partió de la siguiente pregunta: ¿Cómo lograr que un recital de grado en canto lírico resulte ameno e interesante para todos los asistentes? Tal interrogante surgió a partir del interés en conservar la atención de la audiencia inexperta durante todo el concierto. Para lograrlo, se partió del análisis de recitales anteriores y se obtuvo una serie de elementos estructurantes que fueron modificados, con el fin de generar una puesta en escena coherente e integral capaz de mantener la atención del público, sus resultados se analizados cualitativa y cuantitativamente y serán descritos en el texto.

Volume 20 of the Nordic Research in Music Education Yearbook marks the yearbook’s transition from printed physical book to open access publishing under the name Nordic Research in Music Education (NRME), as part of a newly established collaboration between the Norwegian Academy of Music and the Norwegian publishing house Cappelen Damm Akademisk. As editors, we endorse this development towards improved visibility, a better profile, and the widening of access to research in music education to the public.

The juxtaposition of classicism and actuality is a good description of the ambiguous position occupied by the Second Viennese School not only in the eyes of the scholars who research it, but also of composers who can be regarded as its successors. However, in the works and writings originating from the Second Viennese School we find a concentration of problems encountered by contemporary composers, especially the modernist ones. The aim of this article is to examine the role played by the representatives of the Second Viennese School in the reflections of selected twentieth-century composers, concerning their place in music history, the expressive categories present in their work, and their ambiguous attitude to tonality. A separate subject to be explored is the discourse used by contemporary composers to describe the music of their predecessors, full of both analytical categories and vivid metaphors. The quoted composers (Witold Lutos?awski, Gy?rgy Ligeti, Helmut Lachenmann and Jonathan Harvey) may be identified with more-or-less radical modernist views. This article is guided by the thinking of Gianmario Borio and the idea of ?historical appropriation?, according to which analysis of the works of the past helps composers to create their own artistic identities and to define their own place in the history of music.

The text describes the application of one of the most important isometric transformations to the projected metro-rhythmic entities of individual harmonics of the spectrum. It is a direct isometry called central rotation. Central rotation conditions the hemiola structuring of the meter. Hemiolas are identified with regular and irregular geometric figures (primarily triangles) by means of a partition and the composition (index) number of a particular spectral harmonics. The partition and composition of numbers, which are dealt with in discrete mathematics, on the one hand, and, the technique of horizontal hemiolas, characteristic of the polyphony of the sub-Saharan region, on the other, served as a means of creating methods by which the isometric transformation of central rotation would be realized in (musical) time.

The complicated political and cultural position of the Serbs who migrated to the Habsburg Monarchy in the early eighteenth century caused the rise of popularity of Russian rulers, who were recognized as protectors of the Orthodox against religious persecution. Political ties were accompanied by a strong Russification of Serbian culture, which was carried out through the mass procurement of Russian liturgical books and the arrival of many Russian teachers to Serbian schools. Ukrainian painters who came to the Metropolitanate of Karlovci brought new forms of baroque religious painting and introduced changes in the structure of the iconostasis. The cult of the Romanov dynasty among Orthodox Serbs in Hungary was amplified by their numerous portraits and engravings. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177001: Representations of identity in art andverbal-visual culture of the Modern era]

Vladimir R. Djordjevic (1869?1938), one of the pioneers of Serbian ethnomusicology, achieved outstanding results in various fields; his work is based on Serbian musical folklore. Several dozen of his publications belong to the domain of ethnomusicology, as well as music pedagogy and popularization of folk music. However, for decades, their often very similar titles, as well as numerous repeated and sometimes revised editions, have discouraged researchers from acquiring a clear idea of his overall music-folkloristic contribution. The primary goal of this paper is to create a precondition for a more objective evaluation of Djordjevic?s work, in the context of the time to which he belonged.

There are still no argumentative answers about the extent to which and in what way the share of Russian singing practice in Serbian church singing is present. The ways in which the Serbian melody reached Russian singers are not known either. The paper presents the results of research on Russian notated collections kept in Serbian libraries are also presented. Certain stereotypes regarding the crucial Russian influence on the newer Serbian church singing have been critically considered. New research tasks related to Russian musical manuscripts are listed, after which the exchange of singing experiences between Russian and Serbian church singers will become clearer.

After the October Revolution, the Russian tradition of spiritual and folk choral singing was introduced to the whole world by the active work of choirs that appeared in exile. The Don Cossack Choir Sergei Jaroff and the Metropolitan Choir of Alexander Nevsky Cathedral in Paris under Nikolai Afonsky, were two unique choirs that stood out over time. During the interwar period Jaroff?s Choir performed ten times in Belgrade with great success. The capital?s press announced them with great enthusiasm and the first Belgrade concert attracted the attention of significant critics such as Miloje Milojevic, Branko Dragutinovic,Viktor Novak, Jovan Dimitrijevic and Petar Bingulac. The day after their first concert in Belgrade in January 1929, The Don Cossack Choir Serge Jaroff attended a reception at the King Alexander?s Court, who honored them on this occasion. The study of their performances in the 1920s and 1930s in Belgrade is based on domestic periodicals of that time and archival material from the Archives of Yugoslavia.

Serbian musicians who were collecting different forms of traditional music at the end of the 19th and the beginning of the 20th century were unable to make audio recordings of the collected material. This conditioned the need to transcribe folk melodies “by ear” during the very process of interviewing their interlocutors or later – from memory. Methodology of transformation of sound into an adequate graphic transcription was especially promoted by Vladimir Đorđević who, in comparison to his predecessors, introduced numerous novelties. This article discusses his approach to the transcription of vocal practices as applied in two large collections: Serbian Folk Melodies (Southern Serbia) and Serbian Folk Melodies (Pre-war Serbia). The fundaments of his work are observed through the analysis of the manner in which Đorđević transcribed meta-data, as well as from poetic and music texts. Српски музичари који су се бавили сакупљањем различитих облика традиционалне музике крајем XIX и почетком XX века, суочавали су се с немогућношћу да звучно забележе прикупљени материјал. То је подразумевало записивање народних мелодија „по слуху“ за време самог испитивачког процеса, или касније – по сећању. Методологију претварања звука у адекватан графички запис посебно је унапредио Владимир Ђорђевић који је увео бројне новине у односу на своје претходнике и савременике. У оквиру овог рада разматра се његов приступ транскрипцији вокалне праксе који је примењен у две велике збирке: Српске народне мелодије (Јужна Србија) и Српске народне мелодије (Предратна Србија). Кроз анализу начина на који је Ђорђевић бележио метаподатке, као и поетске и музичке текстове, сагледавају се основе његовог рада. Метаподаци су исказани кроз исписивање (или изостављање) имена казивача, насеља у којима су песме записане и подацима који се односе на контекст. Поетске и музичке карактеристике песама сагледане су кроз испитивање Ђорђевићевог односа према певаном и поетском тексту, лексемама које имају функцију рефрена, тонском потенцијалу мелодија, интонативним одступањима, метру, ритму, карактеру и другим извођачким особеностима. Владимир Ђорђевић представља посвећеног сакупљача музичкофолклорне грађе с краја XIX и почетка XX века, чија активност је била усмерена ка документовању традиционалне музике. Иако није поседовао фонограф, те није био у могућности да звучно сними примере традиционалног музицирања, тежио је минуциозном записивању музичког текста радећи „по слуху“. Током богате музичке каријере допринео je развоју методе транскрипције вокалне праксе као специфичног процеса претварања звучног записа у графичку слику. Основне постулате свог рада публиковао је у предговорима својих капиталних дела: Српске народне мелодије (Јужна Србија) и Српске народне мелодије (Предратна Србија). У њима се сагледава Ђорђевићев однос према музичкофолклорном материјалу као материји и уздизање мелографских начела и размишљања о специфичностима грађе. Анализом начина бележења метаподатака, као и поетских и музичких карактеристика у назначеним делима, запажа се да је Ђорђевић имплицирао тоналитет и повремено недоследно излагао поетски текст, уводне сегменте мелострофа, рефрене и извике. Упркос томе, његов допринос је изузетно значајан за развој српске транскрипције и огледа се у: записивању метаподатака везаних за забележене примере (име и презиме извођача, локацију одакле је песма, контекст извођења, жанр, рефрен и друго), транскрипцију двогласних примера старије сеоске праксе, увођењу ознака за интонативна одступања, записивању прекидања мелодије на једном слогу (када је мелодијска цезура позиционирана у слогу) и бележењу темпа и карактера интерпретације.

La Fundación Archivo Manuel de Falla (Granada) incorporó en 2013 el legado del clavecinista Rafael Puyana (1913-1931). Si bien es conocida su faceta como intérprete, pocos datos se saben de la formación que recibió antes de su debut y consolidación artística, en concreto del período en el que estudió con Wanda Landowska en Lakeville (Connecticut). Es por ello que es necesaria una aproximación al conocimiento que la clavecinista polaca le transmitió y la manera en que lo hizo, al igual que la ayuda que prestó al joven intérprete para darse a conocer en las salas de concierto. El presente trabajo se fundamenta en una investigación de tipo documental, a partir del vaciado y análisis sistemático de fuentes musicales encontradas en su biblioteca personal, donde se ha trabajado con un importante corpus de correspondencia y programas de concierto, que han sido complementadas con información de otros fondos.

espanolIsidoro de Sevilla expone en su Chronica una serie de interesantes noticias sobre los inventores de la musica basandose en el Chronicon de Jeronimo. Entre estas noticias destaca una por su ubicacion, su contenido y su originalidad, ya que atribuye la creacion de la musica a un personaje biblico, desligandose en este caso de Jeronimo, su fuente, quien atribuye a la musica un origen pagano relacionado con la mitologia grecolatina. Posteriormente, el obispo hispalense vuelve a tratar el tema en sus Etimologias, exponiendo dos nuevas noticias sobre los inventores biblicos de la musica cuyo contenido vuelve a variar de manera sensible en relacion a lo expuesto en la noticia senalada de su Chronica. En este articulo se pretende dar una explicacion a las variaciones de contenido observadas en estas tres noticias (que, sorprendentemente, han pasado inadvertidas para casi la totalidad de la critica) partiendo del analisis del pensamiento historico-musical isidoriano, sus metodos de trabajo y el contexto cultural tardoantiguo. EnglishIn his Chronica, Isidore of Seville outlines a series of interesting stories about the inventors of music based on Jerome’s Chronicon. One of these stories stands out for its location, content and originality, as it attributed the creation of music to a biblical figure. This differs from Jerome, his source, who cites music’s pagan origin related to Graeco-Latin mythology. The Sevillian bishop subsequently revisits the subject in his Etymologiae, outlining two new stories about the biblical inventors of music whose content, once again, varies substantially in relation to what was set out in his Chronica. This article aims to provide an explanation for the variations in the content in these three stories (which, surprisingly, have gone unnoticed in almost all critical scholarship) based on the analysis of Isidorian historical-musical thought, his work methods and the cultural context of Late Antiquity.

El concepto de intertextualidad, acuñado por Julia Kristeva (1967) a partir de la idea de dialogismo de Mijaíl Bajtín, ha sido estudiado por diferentes musicólogos, como Robert Hatten (1995), Omar Corrado (1992), Rubén López Cano (2005, 2007 y 2018) y Mark Spicer (2009). Desde diversas perspectivas, estos trabajos se refieren a la relación “textual” en la música. En este trabajo propongo otro tipo de relaciones musicales intertextuales, a partir de la idea de John Fiske menos restrictiva que las anteriores, que permite ampliar el estudio de otros elementos de la práctica musical que no conforman el “texto” musical. Desde este nuevo punto de vista musicológico se analizan algunas obras de Les Luthiers y La Banda Elástica. El primero es un grupo humorístico-musical argentino que lleva 50 años de actividad ininterrumpida. El segundo fue un grupo de carácter instrumental que reunió ocho músicos del ambiente jazzístico argentino entre 1988 y 1993.

El modo frigio, poco habitual en el canon del rock anglosajón, es, sin embargo, un elemento estilístico profusamente empleado en el heavy metal. En especial, la supertónica descendida (b2) ha sido abordada en relación con su apropiación desde la masculinidad en el heavy metal y con su uso en estos repertorios como elemento de tensión y disonancia, en ocasiones vinculado a lo oscuro y a la fatalidad. El presente artículo examina procesos inter/hipertextuales y transfonográficos en torno al modo frigio, al intervalo de segunda menor y a la supertónica descendida en la música metal en España. Se presentan una diversidad de representaciones de esta estructura melódica o armónica, desde imaginarios sobre lo andaluz, español, árabe y flamenco en música que conectan estas estructuras musicales con el exotismo y el orientalismo, hasta su uso como marcador estilístico del metal sin evocaciones territoriales explícitas. Este signo musical, continuamente reapropiado dentro de un entramado complejo de significados presentes en la canción popular grabada de las bandas de metal, conforma un espacio de primer nivel en la enunciación de narrativas patrimoniales diversas. Estos aspectos son vinculados en el artículo a la construcción de discursos en torno a las identidades nacionales en España y la recreación de comunidades imaginadas basadas en mitos históricos y héroes nacionales, desde la exaltación de figuras como la del Cid hasta la evocación del pasado de Al-Ándalus.

Este trabajo busca mostrar las distintas maneras en que el canto gregoriano es citado, elaborado o transformado en cuatro obras del compositor chileno Alfonso Letelier Llona (1912-1994) y los campos de significación que esto suscita en cada caso. Para ello, se toma en consideración a diversos referentes teóricos, como Hatten (1994), Nommick (2005) y López Cano (2018), y se aplica un marco analítico que abarca la poiesis y circulación de la obra, el discurso de recepción y el uso intertextual del canto gregoriano en ella.

El Museo de Arte Español Enrique Larreta de Buenos Aires alberga en su colección un Antifonario (ficha 2035) español de vinculación franciscana y probable origen pretridentino. Con anterioridad al presente artículo, y más allá de alguna mención, este códice no había sido objeto de estudios musicológicos publicados. En el presente escrito analizamos la composición del códice, con particular énfasis en la colección de los 78 himnos que recoge, 48 de los cuales están dados en notación mensural. Hemos cotejado este conjunto, reductible a 34 melodías, con un grupo de fuentes manuscritas e impresas españolas de los siglos XV al XVII para establecer una caracterización general, deteniéndonos en casos puntuales de entrecruzamiento de rasgos melódicos locales, extra locales y propios de la orden. También hemos vinculado ciertos aspectos de la notación mensural de los himnos con las teorías de la notación rítmica de la época.

El uso de citas, referencias y alusiones a otras músicas es un fenómeno que reaparece con fuerza en la composición española de la década de 1970, relacionado con la crisis de los valores asociados a la vanguardia anterior y el auge de la posmodernidad. Entre los compositores que se valen de la intertextualidad destaca Miguel Ángel Coria (1937-2016), cuyo uso del revival elude la citación temática directa para recrear el estilo de autores como Falla o Ravel. El sentido de esta práctica en Coria parte de algunos de sus presupuestos estéticos e ideológicos, tales como el rechazo a la visión lineal de la historia, el carácter artesanal de la composición, o la recuperación de la comunicación con el público. En este artículo profundizamos en dos de las obras que mejor reflejan estas ideas, analizándolas bajo la tipología hipertextual del pastiche: Ravel for president (1973) y Falla revisited (1973-1976)., Esta publicación se enmarca en el Proyecto de Investigación Músicas en conflicto en España y Latinoa-mérica: entre la hegemonía y la transgresión (siglos XX y XXI), dirigido por Celsa Alonso González (Universi-dad de Oviedo) y financiado por el Ministerio de Economía y Competitividad [MINECO-16-HAR2015-64285-C2-1-P]. El autor forma parte asimismo del Grupo de Investigación en Música Contemporánea de España y Latinoamérica “Diapente XXI” (GIMCEL).

Este artículo muestra cómo los documentos de archivos reunidos por un músico a lo largo de su vida, caso de Luis Miguel de Zulategi, les proporciona a los investigadores información histórica, teórica musical, pedagógica y archivística a partir de temas centrales como la música colombiana y la española durante el siglo XX. La conformación de archivos musicales determina a la Archivística como una ciencia mediadora entre la Historia y la Musicología para conformar la memoria histórica de un territorio, a través de la producción documental de sus actores culturales como los músicos. La valoración documental de archivos personales con característica musical facilita conocer su estructura archivística desde la fase creativa de un músico hasta su trayectoria en diversos escenarios artísticos. El texto muestra la contextualización del archivo personal de Zulategi, los valores secundarios de su información y el análisis de sus tipologías documentales en relación con los datos y los registros que produce un músico, lo que permite realizar investigaciones en materia musical, histórica, social y en el campo de las Ciencias de la Información.

Este artículo aborda la música como elemento estructurador para la interpretación del repertorio universal para guitarra solista Para este propuesta, empezamos desde la concepción de la música como un lenguaje y las piezas musicales comodiscurso para los que la técnica debe estar a su servicio. El objetivo es estructurar el proceso de digitación para la interpretación de las piezas, tanto las que fueron concebidos para la guitarra como las que son adaptaciones de piezas escritas para otros instrumentos.

Is it useful to write history on everyday musical life? And how can we do it? This article introduces a historiographical concept initiated by historians such as Carlo Ginzburg, Alf L?dtke and Richard van D?lmen already in the 1970s, in an attempt to renew the writing of history. Instead of the reconstruction and interpretation of grand narratives and deep structures in society, economy and culture, these historians offer close descriptions of ?average citizens? with their daily musical routines, motivations and preferences, and the result is oft en a cluster of fascinating and wide-ranging insights into different forms of contact with music. Following this general approach, I hope to offer a panorama of everyday musical culture in Hamburg in the early eighteenth century. The sources used for this study include different musical genres such as opera, cantata and instrumental ?table music?, as well as books, newspaper reports, subscription lists, diaries, behavioural guides and archival documents. This material permits insights into the uses made of musicians such as Johann Mattheson, Georg Philipp Telemann and Reinhard Keiser, as well as into the social lives of the Hamburg citizenship.

This essay originates from a paper given at a seminar The Future of Music History organised by Prof. Jim Samson, during the eponymous conference at the Serbian Academy of Sciences and Arts (28–30 September 2017). Earlier versions of this paper have been presented at the joint triple conference of ICTM, IMS and IAML, Music as Cultural Heritage in Abu Dhabi (New York University Campus) on 13 March 2017, and at the IMS Round Table Towards a global history of music at the IMS 2017 Tokyo conference on 22 March 2017. An earlier version of the section Global Modernisation and Music was read at the symposium on Modernisation of Musical Traditions of the International Network for a Global History of Music (INGHM) at Nueva Universidade, Lisbon, of 15 March 2019.

Sol de América (1981-1982) es una composición para narrador, coro y orquesta del compositor uruguayo Antonio Mastrogiovanni (1936-2010). El presente estudio utiliza el método hermenéutico (Nattiez, 1990) para dar cuenta de esta obra a partir del análisis de su orquestación. En este caso, se le da preeminencia a las texturas, timbres y sonoridades por encima de la armonía, las alturas o la forma, parámetros que usualmente se priorizan en la mayoría de los métodos analíticos. Como resultado se obtiene una visión inédita de la música, desde una perspectiva que permite descubrir las propiedades fuertemente cohesivas de la orquestación.

This paper describes an on-going project, the collaborative Thematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th- 18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.

Starting with the hypothesis that sound recordings published by the Serbian/ Yugoslav record label PGP-RTB/RTS dominated programmes of the Radio Television Belgrade/Radio Television Serbia during most of the twentieth century (while declining in this century), and that decisions made within the label on which composers’ works were going to be (repeatedly) present in its catalogue consequently had significant impact on overall music and media culture in Serbia/Yugoslavia, our goal was to examine how the central composer figure of Serbian music, Stevan Stojanović Mokranjac, was represented in this catalogue. Research methods were based primarily on analysis of archive material gathered in documentation of the label itself, data on recordings available via online music databases, and recordings themselves, while relying on theoretical notions of canon in music, with the accent on the performing canon. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177004: Serbian Musical Identities within Local and Global Frameworks: Traditions, Changes, Challenges]

The denomination singing revolution (coined by Estonian artist Heinz Valk, b. 1936) is commonly used for events in Baltic States between 1987 and 1991 that led to the restoration of the independence of Estonia, Latvia and Lithuania. Three songs - the folk song P?t, v?ji?i! (Blow, Wind!), the choir song Gaismas pils (The Castle of Light) by the national classical composer J?zeps V?tols (1863-1948) and the song Saule, P?rkons, Daugava (Sun, Thunder, Daugava) by the composer M?rti?s Brauns (1951) - at that time in Latvia had a special significance in society. Each song represented references to different layers in Latvian cultural and political history. The characteristics of the three songs in the Singing Revolution process are based on the approach and methodology of distant (objective) analysis of cultural context and recent historical experience. As a result, this article reveals the meaning and reception of the three songs as symbols of nonviolent resistance during the fall of communist regime in Latvia in the late 1980s.

The creation and expansion of commercial music printing from around 1500 has normally led to modern editors assigning textual primacy to published copies of music from the period in preference to any equivalent manuscript copies. However, some groups of manuscript sources, such as the Paston collection, from late 16th and early 17th century England, can shed a different light on contemporary music print culture and its relationship to manuscript copying. Edward Paston?s huge private music library, now dispersed in collections in the UK and US, contains many multiple versions of works he already access to in print form, and the choices he or his copyists made with regard to three particular six-voice Latin motets, Byrd?s Memento homo, Ferrabosco?s In monte Oliveti, and Vaet?s Salve Regina, are examined here, and placed within with their collecting context and likely use.

It is little known that Nietzsche - appointed professor of classical philology at Basel University in his twenties - had postulated on the basis of rigorous textual studies that the leading classical philologists active in Central Europe in the nineteenth century, predominantly German-speaking, had gone seriously off -track by fitting Greek rhythms into measures of equal length. Unlike the philologists, influential musicologists who wrote about ancient Greek rhythms were mostly French. The Paris Conservatoire was a powerhouse of rhythmic theory, with an impressive lineage from F?tis and Gevaert through Laloy and Emmanuel to Messiaen and beyond. F?tis and Gevaert referenced their contemporary German philologists without really critiquing them. With Laloy, Emmanuel, and Messiaen, however, there was a notable change of orientation. These authors all read as if they had somehow become aware of Nietzsche?s discovery. Yet none of them make any mention of him whatsoever. In this study, a comparative analysis of their musical rendition of Greek rhythms is undertaken before focusing on Messiaen?s analytical proposal that there is an impressively long series of Greek rhythms in Stravinsky?s Le sacre du printemps. I seek to throw light on the resurgence of interest in ancient Greek rhythms in modernist musical works, and question how the convoluted reception of Nietzsche?s discovery in Parisian music circles might have sparked rhythmic innovation to new heights.

The article explores the Baltic musicological conferences as a non-hierarchical network and its role and meaning in the changing political and cultural contexts. Starting from 1967, when the first conference took place, the annual meetings of the Baltic musicologists soon became a transnational space for the professional exchange and crosscultural discussion. Based on the results and the impact of cooperation between musicologists of neighbouring countries, the Soviet formation of the national history writing and the development of the Baltic musicological comparativism is discussed, given the political and cultural factors of these changes. The theoretical foundations and cultural aspirations of the concept of national music historiography by Vytautas Landsbergis is highlighted as representative example of the national self-confidence in Lithuanian musicology during the Soviet period.

The Fifth Hellenic Week of Contemporary Music (Athens, 1976) has been mainly considered in the context of a major political event: the fall of the military dictatorship in 1974. However, it may also be seen as a landmark for the transition to a postmodern era in Greece. The musical works presented during the Week, as well as their reception by the musical community are indicative of this transition. This paper aims at exploring those two perspectives and places the emphasis on the second, through an analytical comment on Le Tricot Rouge by Giorgos Kouroupos and the critiques in the press.

Este artigo é uma pesquisa bibliográfica teórica sobre rítmica e seus métodos de ensino, realizada por meio de levantamento de definições e conceitos relacionados a ritmo e ao recorte rítmico escolhido; e análise de métodos utilizados por universidades estaduais paulistas, nas disciplinas de percepção musical e rítmica, quando esta existe na grade, sendo eles: Guia Teórico-Prático para o Ensino do Ditado Musical partes I e II de Pozzoli; Rítmica de José Eduardo Gramani; Manual de Rítmica de Abelardo Mato Alonso; Ritmo de Bohumil Med; e Treinamento Elementar para Músicos de Paul Hindemith; quanto aos seus respectivos princípios norteadores para elaboração dos exercícios propostos como também, quanto às suas abordagens com relação à subdivisão e ao manuseio do tempo musical. Desta forma, busca-se entender como tais métodos e, por consequência, o ensino superior de música no estado de São Paulo, trabalham questões referentes a assimetrias possíveis de ocorrerem tanto na macroestrutura do compasso, expressa por meio da fórmula de compasso, quanto em sua microestrutura, compreendida pela acentuação e subdivisão do tempo. Observa-se com relativa frequência nos estudantes de música dificuldades para execução de tais assimetrias e, sendo assim, é importante compreender primeiro a forma que são pensados os exercícios de rítmica para futuramente apontar alternativas para sanar essas dificuldades.

Este artigo tem a finalidade de descrever sobre um trabalho etnográfico realizado no Centro de Umbanda Casa de Caridade Mãe Maria (CCMM) com abordagem antropológica. A pesquisa foi realizada na cidade de Ribeirão Preto-SP. É uma pesquisa qualitativa com o propósito de relatar uma prática de trabalho de campo, na qual a música foi inserida em um contexto cultural. Foi um trabalho de observação, na qual foi descrito o que vimos. Foi estabelecida a relação entre: visão, olhar, memória, imaginário, descrição do ritual e das regras do grupo.

This article proposes the use of works of art music as a source for the study of Andean popular genres in the late colonial period and the dawn of the republic in the present-day Peru and Bolivia, a difficult period to document due to the scarcity of written sources. This approach could contribute to the study of the early phases of such genres, how they differ from their contemporary versions, to documenting those that have already disappeared, and how academic composers have reflected material of a traditional origin into their works. The third and fifth movements of the Divertimento concertante, op. 43 for guitar, two flutes and string quartet by the Peruvian-Bolivian composer Pedro Ximénez Abrill y Tirado (Arequipa, Peru, 1784?; Sucre, Bolivia, 1856) are used as a case study. En el presente trabajo se propone el empleo de obras de música académica como fuente para el estudio de géneros populares andinos en la época colonial tardía y albores de la república en los actuales territorios de Perú y Bolivia, época difícil de documentar debido a la escasez de fuentes escritas. Este planteamiento podría contribuir al estudio de fases tempranas de dichos géneros, cómo difieren de sus versiones contemporáneas, documentar aquellos que ya han desaparecido y la forma en que autores académicos plasmaron en sus obras el material de origen tradicional. Se emplea como ejemplo de estudio el tercer y quinto movimiento del Divertimento Concertante Opus 43 para guitarra, dos flautas y cuarteto de cuerdas del compositor peruano-boliviano Pedro Ximénez Abrill y Tirado (Arequipa, Perú, 1784?; Sucre, Bolivia 1856)

In the second half of the 19th century, the press often reported on performances of sacred music, both inside and outside the temple, especially coinciding with the most solemn celebrations, such as Holy Week. Initially the newspapers described and even commented on the music of liturgical celebrations, but as the century wore on, the references to performances of sacred music outside the church increased, focusing on its presence in the theatres and salons of civic associations, primarily during periods like Lent, when theatrical performances were forbidden. This article centres on the performances of sacred music in Spain during the second half of the nineteenth century, as well as its promoters, venues, repertoires and performers. Based on these findings, conclusions are drawn about the significance of these activities and the reception of particular works and composers. Finally, new lines of research are suggested. En la segunda mitad del siglo XIX abundan en la prensa las reseñas de interpretaciones de música sacra, dentro y fuera del templo, especialmente con motivo de las principales fiestas solemnes, como la Semana Santa. Inicialmente los periódicos describían e incluso comentaban la música de las funciones litúrgicas, pero a medida que avanza el siglo aumentaron las referencias a las interpretaciones de música religiosa fuera de los recintos sagrados y se centraron en su presencia en los teatros y salones de asociaciones cívicas, principalmente en periodos como la Cuaresma, cuando estaban prohibidas las representaciones teatrales. Este artículo se centra en las interpretaciones de música sacra en España durante la segunda mitad del siglo XIX, así como sus promotores, escenarios, repertorios y artistas. A partir de los datos obtenidos se extraen conclusiones sobre el significado de estas actividades y la recepción de determinadas obras y autores y se sugieren nuevas líneas de investigación.

Ligado al concepto de publicidad (lo público) y estrechamente relacionado con el desarrollo y proyección que la prensa ejerció en la configuración de la esfera pública, el café se alza como uno de los principales espacios de análisis para el estudio del concierto en Madrid durante la restauración fernandina (1814-1833). La celebración de conciertos en los salones de los cafés fue cada vez más recurrente en la oferta musical madrileña. Este artículo se centrará en examinar los principales elementos que caracterizaron la vida concertística madrileña de este periodo, poniendo especial énfasis en los cambios en los patrones de consumo y sociabilización que propiciaron cambios determinantes en la vida musical en Madrid, proceso en el que el café se constituye en un espacio de especial relevancia. Associated with the concept of publicity (what is public) and closely related to the development and influence of the press on the configuration of the public arena, the café represents one of the most important spheres of analysis for the study of the concert in Madrid during Ferdinand’s restoration (1814-33). The organisation of concerts in café salons became increasingly more common in Madrid. This article examines the most important elements that characterised concert life in Madrid during this period, placing particular emphasis on the changes in the consumption patterns and socialisation that led to decisive changes in musical life in Madrid, a process in which the café became a venue of particular importance.

O presente artigo, pautado na pesquisa da obra de Émile Jaques-Dalcroze, trata das contribuições que sua Rítmica pode vir a oferecer à preparação do pianista, com foco na colaboração musical, à medida que tem por objetivos a superação de arritmias, automatismos e a integração entre o corpo e a audição, bem como o desenvolvimento da escuta e da criatividade. Para isso, são delineadas as particularidades dessa atuação artística, tomando como principal referência teórica a obra de Martin Katz. Entende-se que essas contribuições podem, do mesmo modo, ser aplicadas a outros instrumentistas que se dedicam à música de câmara, pelas suas semelhanças performáticas, no que diz respeito especialmente à necessidade de perceber e corresponder musicalmente ao outro em uma interpretação conjunta.