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This article aims to describe, summarize, and evaluate the main contributions of a translation of the Psalter titled Harp of Israel, made by Francisco Rodrigues dos Santos Saraiva, an old professor of Mackenzie College. The translation was published in 1898 by Rev. George W. Chamberlain. The article is not mainly a historical assessment of the subject, but an exegetical appraisal of the translation and the so-called discrepancies between the Portuguese translation of Antônio Pereira de Figueredo (based on the Vulgate) and Saraiva's translation. [ABSTRACT FROM AUTHOR]

Firefly Elegy uses a 12-note melodic theme, which through the course of the piece undergoes a series of transformations - mirroring the metamorphosis that takes place over a firefly's brief life span. The piece comprises four sections that reflect the four life stages of the firefly. During the motionless egg stage, some types of fireflies glow dimly; the opening section of the piece (following a short fanfare of flashing-light) is likewise static and calm, while at the same time features an internal motion hinting at subdued energy. The following groovy section is at times aggressive, not unlike the firefly during its larva stage, when it is hunting and digesting insects using special enzymes. The firefly hibernates through the pupa stage - reflected in the third section of the piece by seemingly everlasting sustained chords in the strings. Like a flash of light, each new phrase begins with an ascending scale, while the harp provides groups of repeated notes, recalling the synchronized flashes that are found in groups of tropical fireflies. Firefly Elegy ends with an elegy in which the now mature firefly looks back at its life. It has gone through such an extensive journey but only long enough to mate and lay eggs, sometimes without feeding during its adult stage. In the summertime, I often watch the firefly in his lonely flutter, flashing about and looking for a mate so he can complete the sole purpose of his short life before dying away. He must sometimes look back and wonder: was it all worth it? [ABSTRACT FROM AUTHOR]

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After the brief publication of three music journals in the second half of the nineteenth century (Sv. Cecilija, Gusle and Glazba) the first half of the 20th century in Croatia was marked by considerably more intensive activity in the field of music periodicals. In the period between 1903 and 1945 eighteen music journals appeared in Croatia. These are: Tamburica (1903-14), Glazbeni (i kazališni) vjesnik (1904-07), Pjevački vjesnik (1904-12), Sv. Cecilija (1907-44), Jugoslavenski muzičar/Muzičar (1923-41), Naša muzika (1924), Hrvatska narodna pjesma (1926-29), Glazbeni vjesnik (1927-31), Muzički informator (1929-33), Muzička revija (1932), Sklad (1932-45), Ćirilometodski vjesnik (1933-40), Grlica (1933-35), Muzika i knjiga (1935-36), Hrvatska tamburica (1936-43), Proljeće (1939-45), Ritam (1941), Svijet jazza (1941). Many of them were unfortunately short-lived. Sv. Cecilija had the longest publication history (1907- 44). In addition, those journals were mostly specialized in different aspects of musical culture. Consequently, editorials did not pay equal attention to music historiography and music history. Thus, in some journals, music history articles were only exceptions or did not exist at all while in others they had a significant place. Among the latter, the above-mentioned Sv. Cecilija especially stands out. With the paradoxical exception of Dragan Plamenac (1895-1983), who is considered a founder of modern Croatian musicology, the most prominent music writers of the time published their contributions in the Croatian music journals. In addition to professional musicologists and musicians, authors who did their research in particular in the field of Croatian music history, were of different professions (historians, teachers, lawyers, priests, journalists, enthusiasts amateurs). When it comes to music-historiographical themes that have occupied the author's attention, it should be said that they indeed covered a wide spectrum: from occasional articles on the occasion of various anniversaries and obituaries, through various reports of research to documentary and analytical studies, from topics related to the Croatian musical past to those dealing with content from general music history. The role of Croatian music journals in the development of Croatian music historiography is not negligible, in particular when it comes to researching the Croatian musical past. Many of them have initiated new and more thorough research, which, of course, has also brought some revisions. However, there are some articles that still function as fully relevant and respectable documentary sources. On the other hand, a considerable part of them reveals views, opinions, conceptions, interpretations and understanding of the musical and historical factors of the authors themselves. Therefore, all these sources are an inevitable step in any research of Croatian music historiography. [ABSTRACT FROM AUTHOR]

This document is an interview with Carla Scaletti, a composer and inventor, conducted by Elizabeth Hinkle-Turner. Scaletti discusses her background and influences, including her interest in science and mathematics, and how it has shaped her work in music composition. She also talks about the formation of Symbolic Sound, her company, and the pivotal events and experiences that led to its emergence. Scaletti encourages students to focus on their passions and not be limited by traditional job titles, as there are alternative ways to make a contribution in their chosen field. The text is a conversation between two individuals, EHT and CS, discussing their experiences with music and how they became involved in the field. CS shares that she initially started playing the harp through a grant provided by her school, and eventually became interested in electronic music. She also talks about her piano lessons and the influence of her teachers. CS mentions her exposure to electronic music through a seminar and her studies at the University of New Mexico. She also discusses her experiences working with a visiting composer and learning about tape music. Throughout the conversation, CS reflects on the importance of education and the sacrifices made by her immigrant grandparents. The text discusses the author's experiences with electronic music and the development of the Kyma system. The author explains how they were influenced by mentors and role models, and how their education at the University of Illinois allowed them to combine their interests in music, mathematics, and science. They also discuss the use [Extracted from the article]

The article focuses on Russian harpist Maria Korchinska. Information given about Korchinska include her stay in England and the career she made in the country, her success as a harpist, and reviews by critics about Korchinska's performances. Moreover, it says that the talents of Korchinska enabled her to make a career in England.

The article discusses a paper presented at the Historical Harp Society Conference held in June 2015 at in Oakland, California, which explores the book "Principles pour la harpe: avec des exercices et des préludes d'une difficulté graduelle," by composer and harpist Jean-Baptiste Krumpholtz. It presents an analysis of an introduction of the text by Jean-Marie Plane and Krumpholtz regarding the life and works of the 18th century harpist and composer.

The article discusses techniques for musical arrangements, particularly for harp music. Among the techniques discussed include the significance of dramatic arc of a production, the connection the form of a price with dramatic arc, and the importance of bringing musical elements into relationship. Several ways to increase the energy towards a focal point are also included.

It is well known that Franz Liszt was fond of the harp as an instrument, and his use of the harp in the orchestra is innovative. He also befriended and worked with prominent harpists of his time, such as Elias Parish-Alvars, Wilhelm Posse, Jeanne Pohl and Rosalie Spohr. The transcriptions he once made for harp are now lost. However, a recent finding in a collection in a Swedish museum, Murberget, Länsmuseet Västernorrland, - a collection that once belonged to the internationally renowned Swedish harpist Adolf Sjödén shows a previously unknown transcription for harp of Liszt's piano piece Ave Maria von Arcadelt. The manuscript is autographed by Liszt although the copyist is unknown. The article discusses Liszt's possible work processes with the piece, his work process with regard to other harp transcriptions, Sjödén's relationship to Liszt and the Ave Maria von Arcadelt, and how the manuscript came into Sjödén's possession. It also compares the recently found manuscript with Peter Dubez' harp transcription, and the original piano piece. It is the only preserved transcription for harp that has been autographed by Liszt. [ABSTRACT FROM AUTHOR]