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The article titled "Transformations of Musical Modernism" explores various aspects of modernism in music, including the interplay between human experience and music history, transformations of Faustian pacts in opera, and the connection between musical gesture and instrument design. It also discusses Louise Otto's proposal for an operatic project based on the German epic Die Nibelungen. The article reflects on different aspects of musical modernism and its relationship with history, challenging the idea of linear progress and emphasizing the role of historical contingencies. It presents different perspectives on modernism, with some authors highlighting its diversity and others emphasizing its continued relevance in contemporary music. The article also mentions Susan McClary's critique of modernism as an aesthetic of violence and negation. [Extracted from the article]

Copyright of KULT online is the property of Justus Liebig University Giessen and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the emerging field of premodern sound studies and its impact on our understanding of the medieval and early modern periods. It discusses the diverse soundscape of the past, including urban noises and the cultural significance of different sounds. The article also highlights the transnational nature of music in the premodern world and its role in disseminating news and moral messages. Overall, the article suggests that studying sound can provide a more inclusive and nuanced understanding of premodernity. It also raises questions about the inclusivity of sound studies and the need for diverse perspectives in order to fully understand premodern soundscapes. [Extracted from the article]

This article provides a review of two volumes that delve into the early history of musicology. The first volume focuses on the development of musicology in Germany and Austria, while the second volume explores its development in other countries. The articles in these volumes examine the historical and institutional factors that shaped the field of musicology, as well as the influence of German and Austrian musicology on other regions. The volumes offer valuable insights into the establishment of musicology within universities and the transfer of scholarly knowledge. [Extracted from the article]

Today, the discipline of music history does not seem to be, and indeed is no longer, what Guido Adler and Hugo Riemann formulated in their writings. The difference lies both in the structure and in the understanding of what is, in fact, and history, and music, then and now. If the intention of both inventors of modern musicology was a founding-recuperative one, then both the structure and the postmodern understanding rely exclusively on the recycling procedure with the meaning of rewriting. Hence the set of conflicts between, on the one hand, the new understandings and contents of more and more histories, and, on the other hand, the resistance to preserve the scholastic methodology, which generally refuses to evolve, forming new generations of students in terms of already anachronistic didactic contents. [ABSTRACT FROM AUTHOR]

Huaibei Dagu Quyi, an enchanting Chinese musical tradition, unveils a rich tapestry of culture and history deeply embedded in the city of Huaibei. This study aimed to explore the history and development of Huaibei Dagu Quyi as a resource for teaching Chinese music history. The investigation delves into the profound historical and cultural context of Huaibei, tracing its roots to ancient dynasties, while scrutinizing the evolution of Huaibei Dagu Quyi, underscored by its remarkable historical resilience. The diversity within this art form is meticulously categorized, encompassing various forms of Dagu and associated folk arts. Government-led initiatives play a pivotal role in its preservation and promotion, featuring its designation as an intangible cultural heritage, the appointment of custodians, and the establishment of apprenticeship programs and public welfare classes. Employing an interdisciplinary research approach blending anthropology and musicology, the study embraces field investigations, in-depth interviews with key informants, and qualitative data analysis. The findings illuminate the profound cultural significance of Huaibei Dagu Quyi and the contemporary challenges it confronts. Ultimately, the study concludes by offering insightful recommendations for safeguarding this invaluable cultural treasure, ensuring its enduring vitality, and enhancing its contribution to the broader landscape of Chinese music history education. [ABSTRACT FROM AUTHOR]

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Copyright of Musica Theorica is the property of Musica Theorica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bernhard König’s research project investigates the interactions between music and the climate and spans various disciplines. The planned book aims to sensitise music lovers and musicians to climate protection and to emphasise the socially transformative role of music. The writing process revealed many research gaps, particularly in the climate vulnerability of different musical cultures, the role of music as a driver of the Great Acceleration and the lack of theory on the interaction between inner-musical and societal transformation. The book is intended to be understandable for non-experts and introduces fundamental climate and music topics. Despite the challenges in the writing process, the author emphasises the urgency of his topic in the face of climate change. He is actively committed to the integration of culture into climate policy and is planning the practical musical realisation of his research findings. [ABSTRACT FROM AUTHOR]

Andrea F Bohlman's book, "Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland," offers a unique and immersive exploration of the role of music in the Solidarity movement in Poland. Bohlman combines ethnography, historical musicology, analysis, and archival work to provide a multi-angled approach to understanding the relationship between music and politics in late twentieth-century Poland. The book examines the sonic surroundings of the Solidarity movement, including the use of tape culture, the impact of martial law on music, and the role of protest songs and hymns. Bohlman's work challenges conventional interpretations of Polish history and offers a compelling and original perspective on the subject. [Extracted from the article]

The book "Seachanges. Music in the Mediterranean and Atlantic Worlds, 1550–1800" by Kate van Orden explores the maritime history of music in various oceanic regions, particularly in the Mediterranean. It emphasizes the significance of musicians as examples of mobility, migration, and diaspora. The book takes a global approach to music history and employs ethnological concepts to challenge the dominance of written music historiography. It is divided into three parts, which focus on the Mediterranean, Italy, and the Spanish and French colonies. The review highlights the contributions of Kate van Orden, Theodora Psychoyou, and Francesco Spagnolo, who examine complex linguistic relationships and musical phenomena. However, it is noted that the Ottoman side is underrepresented in the book. The second part of the book delves into the importance of the Neapolitan school and the dissemination of Spanish music in Italy. It emphasizes that the migration of Neapolitan musicians was based not only on musical ambitions but also on social circumstances. Cory M. Cavito's contribution examines the myth of Spanish music in Italy and demonstrates that this myth was also prevalent in the Ottoman Empire. Emily Wilbourne sheds light on the history of a black singer in 17th-century Florentine music theater and suggests that he was most likely a slave. The third part of the book explores various aspects of music practice and reception in Central America and the Caribbean. Geoffrey Baker questions previous research on music practice in Latin America and criticizes the use of the term "mestizo musical culture." Philippe Canguilhem examines Guatemalan music manuscripts from the 16th century and identifies transcultural elements within them. Pedro Memelsdorf examines the reception of Nicolas Dalayrac's Opéra comique in Haiti, and Olivia Bloechl analyzes gender roles in Lully's Proserpine. The anthology provides a fascinating panorama and makes an important contribution to music historiography. [Extracted from the article]

Global Musical Modernisms – the formulation heralds expansion into new arenas of music research. For while certain pairings of the component terms are familiar enough, the concatenation of all three is novel. In music studies, the most notable trend is the flurry of activity around global music history, with study groups in two societies historically focused on Western musics, and one focused on ethnomusicology. Global music history derives strength and in turn strengthens movement towards disciplinary convergence, or at least greater interaction – an important precondition for the study of global musical modernisms. There has also been renewed interest in musical modernism, though not so much, at least at first glance, in the direction of the global, and with less interdisciplinary synergy. By contrast, the global figures very prominently in what has been termed the 'new modernist studies', a field that coalesced in the late 1990s. As one indication, its global turn had gathered enough momentum for Oxford University Press to publish a handbook on 'Global Modernisms' in 2013, just three years after its handbook on 'Modernisms'. Despite aspirations to coverage of modernism in all its forms, the field is populated predominantly by literary scholars, with minimal attention to music. [ABSTRACT FROM AUTHOR]

When tracing the history of ancient music culture, the Han Dynasty stone statue in Anhui has become a window to spy on the past. These stone carvings have a history of more than a thousand years, carrying the life scenes, aesthetic concepts and social culture of people in the Han Dynasty. Music, as the common language of human society, is passed down through these images and becomes a link between the present and the past. Anhui Han stone sculpture is one of the precious heritages of ancient Chinese culture and art, which contains rich musical images. The purpose of this paper is to explore the music images in Anhui Han stone sculptures, analyze their artistic style, musical elements and cultural connotation, and reveal the relationship between ancient music and social life. Through the detailed study of a number of Han Dynasty stone sculptures in Anhui, we find that music played an important role in the life of ancient people, which profoundly reflects the music culture of the society at that time. Through the analysis of music images, we can further understand the Musical Instruments, playing forms and social functions of ancient music, which provides a powerful perspective for us to understand ancient society. [ABSTRACT FROM AUTHOR]

Copyright of Historia y Sociedad (01218417) is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas y Economicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

'Nu alrest lebe ich mir werde', or 'Palästinalied', is a song written in Middle High German by the minnesinger Walther von der Vogelweide probably in the 1220s, extolling the virtues of the Holy Land and of crusading. Although claims that it is a contrafact of Jaufre Rudel's Lanquan li jorn are disputable, the song shows evidence of the creative reinvention that was a feature of medieval music. While it defines a specific historical moment, the Palästinalied also enjoys a prodigious afterlife. Modern performances and recordings outnumber those of any other German song from the period. From the 1970s to the year 2000, most of these versions could be broadly categorised either as historically informed 'Early Music' performances or as falling within the 'medieval gothic' or heavy metal genres of rock/pop music. Developments in music technology, recording and social media in the past twenty years have led to an even greater proliferation and diversity of treatments and interpretations. This article explores: how we might account for the song's popularity; the significance of its modern reinventions and what they can tell us about public perceptions of the crusading era; and how the Palästinalied is being repurposed within the social, cultural and political contexts of our own time. [ABSTRACT FROM AUTHOR]

The purpose of the article is to highlight the concert and performance activities of the Ukrainian Naddniprianskyi Choir leaded by conductor Dmytro Kotko based on the materials of the Polish periodicals of 1922--1926. The research methodology consists in the use of methods of analysis and synthesis, systematization of facts, and generalisation of the materials studied. The methodological basis of the work is based on the historical and chronological, source, logical and generalising method to analyse periodical sources, study the work of the Naddnipryanskyi Choir, and identify the impact of its artistic activity on the development of musical life. The scientific novelty of the article is the introduction of new archival documents, a significant database of periodicals of that time, and publications of music criticism for a detailed comprehensive analysis of the choir's creativity. Conclusions. The scientific article hightlights one of the periods of Dmytro Kotko's artistic activity -- the management of the Ukrainian Naddnipryanskyi Choir. The analysis of his work is based on materials from Polish periodicals. Polish press has created a kind of chronicle of the musical life of this ensemble, describing artistry, exemplary stage discipline, professional vocal skills, successful selection of repertoire, original interpretations of choral works, and artistic perfection of performance. A large number of reviews, including those of well-known Polish musicologists, attest to the popularity of the creative institution and its director, Dmytro Kotko. Despite certain contradictions, biased assessments, or contradictory conclusions, the importance of these reviews in periodicals lies, firstly, in the fact that they created a kind of chronicle of the musical life of the Ukrainian Naddnipryanskyi Choir, and secondly, they stimulated the development of historical and theoretical musicology, laid the foundations of musical culture, and preserved valuable documentary facts for posterity. [ABSTRACT FROM AUTHOR]

The purpose of the article is to study scientific research on the history of Bedřich Smetana's opera "The Bartered Bride". The methodology of the work includes: source study -- for the study of scientific literature and periodicals on the history of B. Smetana's opera "The Bartered Bride"; historical -- to consider the opera at different times; generalising -- for updating and specifying the basic information about the specified opera. The scientific novelty of the work lies in the fact that the analysis of foreign scientific sources and periodicals on the subject of this opera was conducted for the first time. Conclusions. The relevance of the study of scientific literature and periodicals on the opera by the Czech composer Bedřich Smetana is determined: the importance of Czech culture and musical art in Ukraine (V. Shchepakin, Yu. Zinko, S. Kalytko, A. Kravchuk, I. Pop); clarification of the authorship of the Ukrainian translation of the libretto of B. Smetana's opera "The Bartered Bride" and parallels with M. Lysenko's opera "Natalka Poltavka" (O. Smolnytska); criticism of the choreographic component in the opera from an archival source (T. Churpita). Coverage of the fate of the opera at different times: the popularity and inexhaustible source of Czech folklore (G. Palla, S. Bergmannova); emphasising the patriotism and progressiveness of B. Smetana's work in comparison with other Czech composers (Z. Nějedla); the influence of F. Liszt and P. Cornelius on the idea of a national comic opera; the flourishing of national ideas and the activities of the C. H. Mahá circle, the reflection of ideas in the libretto of K. Sabina and its relevance to the Czech language (D. Tyrrell); criticism of the premiere performances (Josef Krejčí). Comparison of the comicism of W. A. Mozart's opera "The Marriage of Figaro" and B. Smetana's "The Bartered Bride" (G. Schenker) with an emphasis on heterogeneity, organic joy, simplicity, and charming naivety in the transfmission of content can be considered an open path to future popularity. The critic's remarks about the organic thematic development and orchestral perfection in Smetana's opera were available only to Mozart. Criticism of the contemporary opera performance directed by E. Nellis "The Bartered Bride" (G. Shpalkova). [ABSTRACT FROM AUTHOR]

For several decades, the topic of natural disaster has featured significantly across the humanities; in musicology, however, the severity of such events has been marked primarily in the footnotes to our histories. Often leaving a substantial and insurmountable lacuna in the historical record, natural disasters are rarely considered for their generative potential. This article demonstrates the value of a disaster-studies approach to musicology, showing how natural events can have long-term impacts on the development and evolution of musical practices. It centers on the Santa Marta earthquake of 1773 and its effects on music and musicians in the colonial capital of Santiago de Guatemala. Colonial disasters, in particular, generated a flurry of written documentation, requiring correspondence at the local, regional, and imperial level to negotiate the process of restoring order to urban centers. I argue that it is precisely the disruptive nature of disaster that allows us to observe new details of both the extraordinary and ordinary musical practices of a colonial city. Embedded in an extensive archival record is evidence of the ways ecclesiastical notions of decencia (decency) in the post-disaster landscape were enacted through musical performance, which contributed to the political process of reinstating colonial power over a destroyed Guatemala. The article expands the relationship between music and nature, placing colonial musical practices in dialogue with the sociopolitical impacts of disaster, weaving together a history of music that intersects with environmental history. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Librosdelacorte.es is the property of Instituto Universitario "La Corte en Europa" - IULCE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Two-year community colleges (CCs) provide access to higher education for those who might not otherwise have had the opportunity. Research into CCs has seen growth in past years, with a focus on areas of curriculum, such as music history and musicianship; however, research within music education regarding transfer students is remarkably slim. This qualitative case study investigated the experiences of four CC transfer students in music as they transitioned into music education programs at 4-year universities. The primary research question was: How do transfer students in music education describe their experiences making the transition from 2- to 4-year music programs? Current analysis indicates a need for greater communication between different institutions, the presence of transfer-specific systematic barriers for students, and the importance of community and support for transfer music education majors. [ABSTRACT FROM AUTHOR]

This article presents a reevaluation of Wilhelm Stenhammar’s role in Stockholm’s late 19th-century musical scene, challenging traditional views of the 1880s as a time of decline. The article aims to provide new insights into Stenhammar’s early career, his involvement in musical networks, and his contributions as a chamber musician. Utilizing digital musicology, this article revisits the work of Bo Wallner, who has had a significantly impact on the understanding of Swedish music at the turn of the twentieth century. By analyzing digitized newspapers and periodicals, the study presents new insights into the concert scene and musical repertoire from the mid-19th century to the first decades of the 20th century. This article underscores the possibilities of digital tools in historical musicology, especially for visualizing and analyzing concert performances and musical networks. It reveals a more vibrant and dynamic musical environment in Stockholm than previously recognized, highlighting Stenhammar’s substantial contributions as a chamber musician and his involvement in the city’s musical networks. The article also demonstrates the potential of digital methodologies in reconstructing historical narratives. The study enriches the understanding of Stockholm’s musical life in the late 19th century, portraying it as a fertile period for musicians like Stenhammar. [ABSTRACT FROM AUTHOR]

When the Gothenburg Orchestra School and the Gothenburg Orchestra Association’s school for choir singing were formed at the Gothenburg Symphony Orchestra during the 1916/17 season, Wilhelm Stenhammar had been the orchestra’s chief conductor for nine years. Despite his great importance for the orchestra, there is nothing to show that the formation of the two new schools was on his initiative. Regarding the orchestra school, there were several factors that contributed to its formation, among them the obligation to fulfil the conditions of a will that had been crucial to the creation of the orchestra, and also the need to ensure the recruitment of musicians to the orchestra and to counteract the preponderance of foreign musicians. In the first years of its existence, the symphony orchestra cooperated with some high bourgeoisie choirs dating back to the 19th century, despite their mediocre artistic quality. When the last of these choirs was discontinued in 1916, Elsa Stenhammar, a cousin of Wilhelm’s who had formed a number of high-quality choirs with members from the middle and working classes, offered to transfer her choirs to the orchestra’s organization, which could then start a choir school and, only a year later, its own choir, the Concert Hall Choir. [ABSTRACT FROM AUTHOR]

Copyright of Musicology of Lithuania / Lietuvos muzikologija is the property of Lithuanian Academy of Music & Theatre and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ouvirOUver is the property of ouvirOUver and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Accordingly, the authors argue that for a correct perspective on music theory, one should realize the insignificance of the whole current musicological enterprise and contemplate the Golden Record in space to theorize rightly about music from earth. Around the "mission impossible" of the Golden Record, Daniel K. L. Chua and Alexander Rehding develop a new music theory of everything that is based on an object-oriented ontology of sound. I was holding my heart when I read in the first sentence of I Alien Listening i that the book began in 2016 on the back of a napkin, when the two highly esteemed authors met during a conference and shared their ideas about a revolutionary "theory of everything" (p. 7). [Extracted from the article]

Copyright of RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

9 Russell Stinson, The Reception of Bach's Organ Works from Mendelssohn to Brahms (New York: Oxford University Press. There is much that is of interest here, and one gets a real sense of the difficulties confronting Bach lovers in the period prior to the Bach I Gesamtausgabe i ; as Stinson demonstrates, Krüger's knowledge of published editions of Bach's music was surprisingly patchy (p. 61). [Extracted from the article]

The paper is an overview of the musicological research project „Towards a global history of music", which was carried out between 2013 and 2017 on the basis of a Balzan Prize for Musicology (2012), with the assistance of international music research institutes and their specialists. A main outcome of the project are three collective volumes of papers, published in 2018, 2019 and 2021, respectively. The project has viewed the variety of musical experiences around the world as a historical unfolding, to be explored via a „long path" through both geography and history. It has queried the enlightenment idea of a fundamental unity of all music (universalism), and the often fragile status of musical-cultural identities on the regional or national levels. It has sought to join methodologies of ethnomusicology and historical research, and has observed that the concepts of music and historiography themselves are less than universal. To the discourses of globalisation and modernisation, the project has added the alternative of transculturality, allowing for more neutral or participatory interpretations of cultural encounter. Summarising this research, tensions between nation and migration, regionalism and adaptation, ‚radial' and ‚imposed' globality are shown. The paper proposes to expand such studies into non-scientific practice and to find new institutional bases, which would benefit further global understanding and sharing. [ABSTRACT FROM AUTHOR]

The history of music theory, as it has usually been taught in the United States, has focused on a small canon of texts written mostly in Latin, Italian, French, and German. This article advocates a more expansive view of the subdiscipline's remit by way of three case studies. The first considers the distinction that Abū Naṣr Muḥammad ibn Muḥammad al-Fārābī draws between the speculative and active parts of music theory and its influence on the formation of the discipline in the Latin-speaking world. The second considers entanglement between French and Chinese music theorizing in the later eighteenth century. The third treats the international contexts of Hugo Riemann's thought. I present these three case studies, together with more general reflections on the possible scope of research on historical music theory, with the aim of inviting reflection on the subdiscipline's past, present, and future. [ABSTRACT FROM AUTHOR]

The article offers information on the history of theoretical reflection on popular music in the Czech lands and Hungary from 1918-1998. Topics include the formation and mutual relations of Czech and Hungarian scholarship on popular music; the differences between the musicology of popular music and popular music studies; and the complex process of defining terms like "popular music" in the context of linguistic specificities, cultural politics, and evolving genres.

The aim of the article is to develop the explication of an opera house as a category of Ukrainian operology. The research methodology is based on the combination of historical, theoretical, and performance musicology, in particular systemic and terminological approaches. The author has also applied the historical-genetic and comparative methods, principles of the communication theory, and the principle of historical synchronisation. Scientific novelty of the research. The author has systematised the analysed content levels and essential categories; introduced a developed terminological system into the concept interpretation; specificated valued scales and interpretations relevant to the concept’s content levels. As a result, the author has suggested a topical scientific paradigm of interpreting the category of an opera house. The mechanism of making the terminology system of the opera house concept has been defined, which includes the detailed description of its content, specification of local terms and definitions that correlate with it. These terms include the world opera house, the continental opera house, and the national opera house. Moreover, the author has justified the necessity of introducing into the modern Ukrainian operology such terms as the authorial opera house and corporate impresario. The former term implies the interpretation of the opera house concept as «summa summarum» of opera projects (both realised and not yet finished; artistic and scientific-critical), a combination of artistic search and regularities of creative thinking, manifestation of opera poetics and esthetics as the legacy of each specific composer. The latter term specifies the opera house concept as a formation that tackles a number of creative and organisational problems, searching for an effective way of managing the crisis, preparing the opera-theatrical enterprise and professional tours. Conclusions. The article presents a system of interpretations and functions of the «opera house» category within the Ukrainian operology, develops a comprehensive terminology system, and suggests a scientific paradigm of interpreting the category of the opera house. The author also distinguishes five levels of interpreting the «opera house» category that can be observed in the Ukrainian operology: as a category of historical musicology of both continental and worldwide scale, as an authorial phenomenon, namely the authorial opera house, as a architectonic structure that defines the poetics of the «opera city», and as a managerial system created to solve organisational problems and favour successful realisation of the opera performance. It has been established that its content-functional duality as a generic feature distinguishes the opera house category. The opera house appears to be a field for distinguishing international, temporal, topographic forms of dialogue that stipulates for the topicality of a specific interpretation of the opera work at the level of stage and verbal language (implication) in the process of its staging in other national and continental conditions in accordance with the national traditions. [ABSTRACT FROM AUTHOR]

In comparison to the (Western) European tradition, the development of music theory in Serbia has been quite short. Milan Milovuk's works, dating from the 1860s, were the first published theoretical writings in Serbian. Nevertheless, this development was substantial, leading from basic music theory in Milovuk's pioneering works to an interdisciplinary field of research that is fully integrated into today's global map of the discipline. Through this expansion, the status reconfiguration of music theory in Serbia took place from propaedeutics to an autonomous scientific field. However, the transformation of the discipline was not the subject of scientific research until recently. The questions about the nature of a musical-theoretical work, on what basis and with what convictions it is carried out, what kind of knowledge it produces, and what the impact of that knowledge is can be considered an exception in music theory writings in Serbian. Likewise, the legitimisation of certain types of musical-theoretical work about the discipline as a whole or its relevant parts has only recently become represented in our scientific literature. In this article, I investigate the reasons for the indicated epistemological certainty of music theory in Serbia and study the traces of its disciplinary legitimation in both diachronic (historical-developmental) and synchronic (theoretical–conceptual and methodological-epistemological) perspectives. [ABSTRACT FROM AUTHOR]

Indeed, through the sheer magnitude - the sheer elaborateness - of his editorial undertaking, Sherr demonstrates the rarely acknowledged musical and dramatic sophistication of the nineteenth-century vaudeville comedy. The results are nothing short of revelatory: Sherr reveals that the Théâtre des Variétés would not only borrow popular tunes from other operas, but would also lift orchestrations wholesale from these operas, or, indeed, from past performances at the Théâtre des Variétés. Sherr's edition painstakingly reconstructs this long-forgotten work from the archives of the Théâtre des Variétés. [Extracted from the article]

The English band Black Sabbath represented a milestone in the history of music, presenting to the world, in the early 1970s, a dark and heavy sound and lyrical themes, giving rise to heavy metal. We seek to analyze, in this text, the presence of biblical elements, more specifically eschatological, in the songs of their first three albums. In the first section, we present some theoretical and methodological questions about music as an object of research in religious studies, having as main references the works of Marcos Napolitano on music and history and of Arnaldo Érico Huff Jr. about religion and music. In the sequence, we seek to analyze the historical and cultural context of the late 1960s, within which Black Sabbath's work must be understood. In the last two sections we dedicate to the analysis of the musical production of the band in the beginning of the 1970s. initially, analyzing the characteristics of the work, taking into account the sound, the instrumental performance, the lyrics, the history and the beliefs shared with the audience. Finally, we analyze the biblical and eschatological elements in the lyrics of some songs. [ABSTRACT FROM AUTHOR]

The article reports that in the attempt to reconstruct historical events, as well as synthesize the history of culture, the researcher needs documents created by the persons who participated in the creation of said history. Topics include considered the primary sources such as diaries, memoirs and correspondence can clearly contribute to the understanding of the past and facilitate the interpretation of political and social events.