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Introduction: Preoperative functional MRI (fMRI) and intraoperative awake cortical mapping are established strategies to identify and preserve critical language structures during neurosurgery. There is growing appreciation for the need to similarly identify and preserve eloquent tissue critical for music production. Case Report: A 19-year-old female musician, with a 3- to 4-year history of events concerning for musicogenic seizures, was found to have a right posterior temporal tumor, concerning for a low-grade glial neoplasm. Preoperative fMRI assessing passive and active musical tasks localized areas of activation directly adjacent to the tumor margin. Cortical stimulation during various musical tasks did not identify eloquent tissue near the surgical site. A gross total tumor resection was achieved without disruption of singing ability. At 9-month follow-up, the patient continued to have preserved musical ability with full resolution of seizures and without evidence of residual lesion or recurrence. Conclusion: A novel strategy for performing an awake craniotomy, incorporating preoperative fMRI data for music processing with intraoperative cortical stimulation, interpreted with the assistance of a musician expert and facilitated gross total resection of the patient's tumor without comprising her musical abilities. [ABSTRACT FROM AUTHOR]

Horace (65–8 BC), the great lyric poet of the Augustan Age in Rome, composed over a hundred Odes. Scholarly understanding of their early medieval reception has been hampered by the insistence of classical philologists that he was a purely literary poet. Ancient sources and Horace's own writings demonstrate that he was a performing artist who sang to the accompaniment of his lyre. His use of Alcaic, Sapphic and Asclepiad metres has musical implications. In manuscripts from the ninth to the twelfth centuries, forty-eight passages from the Odes are accompanied by musical notation. The Montpellier codex has notation for the Ode to Phyllis (Odes 4.11) which relates to Guido d'Arezzo's 'ut-re-mi' mnemonic. The St Petersburg codex has settings which suggest various uses, in the schoolroom, abbey entertainments and goliardic performance. The surviving manuscripts were widely spread across Europe and supported a monastic and secular tradition of Horatian song. [ABSTRACT FROM AUTHOR]

Copyright of Intermediality / Revue Intermédialités is the property of La Revue Intermedialites / Centre de recherche sur l'intermedialite 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.)

The article presents the discussion on Tasso in Music Project (TiMP), a database of the musical settings of Tasso's poetry directed by Emiliano Ricciardi. Topics include symposium hosting a virtual concert by the Italian ensemble Palma Choralis testifying to the usefulness of the site for performers; and offering searches by parameters such as composer, publisher, year, place of publication, number of voices, clef, key signature, final, and dedicatee.

Copyright of Italianist is the property of Taylor & Francis Ltd 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.)

The need to change the paradigm of music education, which primarily relies on performing and listening to music, implies a more systematic introduction of activities that would enable the direct involvement of children in the exploration of sounds and the creation of their own music. By analysing the curricula and textbooks for music education in Montenegrin primary schools, as well as examining the attitudes of teachers about the realisation of musical creativity in teaching practice, it was found that these activities are not given enough attention. In order to introduce innovations in practice, an action research study was conducted, during 2017/2018 school year with 30 fifth grade pupils in one primary school, belonging to the Southern region of Montenegro. The obtained results, based on the qualitative findings, showed the connection between the categories that make up musical creativity in the classroom: acquiring musical knowledge, developing musical skills, encouraging problem solving, developing critical thinking, supporting collaborative creativity, motivation and integrative teaching. Hopefully, the conducted research will contribute to a wide range of understanding of musical creativity in the classroom context, as one of the leading topics of contemporary music pedagogy. [ABSTRACT FROM AUTHOR]

This article argues that Carl Orff's Catulli Carmina – a five-movement cantata comprising a selection of Catullus' Latin poems framed by neo-Latin text written by Orff himself – occupies an ambiguous space within the cultural environment of National Socialism, especially in portraying ideals of contemporary masculinity. In its overt theatrical displays of male and female sexuality, Catulli Carmina invites association with the perceived 'decadence' of pre-war cabaret in France and Germany's Weimar Republic. Yet, through tendentious selection and ordering of the poems, Orff's cantata also 'corrects' Catullus' emblematic triviality and erotic abjection in an era which prized productive masculinity as a symbol of the good health of the nation. Orff's motivations in engaging with Roman culture were very different from Nazism's own fetishising of Greco-Roman antiquity, yet in this chapter Catullus provides a surprising case study for demonstrating how Orff's artistic values were often 'compatible' with those of the Nazi regime. [ABSTRACT FROM AUTHOR]

The Music Pedagogy Workshop working within the Institute of Music at the University of Nyíregyháza has initiated several programmes related to music methodology, financed by EU funds. Within the framework of subproject entitled "Renewing the practice of teaching music in public education based on folk traditions," digital handbooks and teachers' books have been designed for the Grades 1 to 4 of primary schools. The present paper introduces the novel features of the material designed for Grades 1 and 2. It touches upon the issues of the relevant points in curricular regulations, the possibilities of the innovative methods of score notation and score reading, tailored to the age characteristics of students, and the new approach to teaching the musical elements connected to a selected song corpus. The basic concept in designing the material of the first two grades was the amalgamation of folk culture, including folk tales and children's game songs, and the world around children. The elements of the knowledge of the present and the past appear side by side in the individual thematic units. Interdisciplinarity also gets emphasised. The generative and creative music activities, the tasks aimed at developing receptive competences, games, and the application of graphic notation, targeting the development of fine motor skills and music literacy, have been designed to broaden the toolkit of music pedagogy for junior schools. [ABSTRACT FROM AUTHOR]

Between 1985 and 1989 hundreds of Soviet citizens came to the United States in projects initiated by American activists who feared nuclear war and hoped to improve relations with the USSR. This ambitious citizen diplomacy led to hundreds of thousands of encounters between Soviet visitors and Americans that shattered negative stereotypes. Since the Soviet visitors received extensive media coverage, the programs had broad impacts on attitudes in many American towns and cities. As a result, 'the Cold War' ended in the hearts and minds of many Americans long before the collapse of communism in Eastern Europe and the Soviet Union. [ABSTRACT FROM AUTHOR]

Copyright of Italianist is the property of Taylor & Francis Ltd 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.)

The article discusses musical communion in the films of director Aki Kaurisma¨ki, particularly the 2017 feature film "Toivon Tuolla Puolen" (The Other Side of Hope). Other topics include the movement of refugees based on the contemporary discourse on globalization, and the use of musical expression to unite characters and present a narrative of shared struggle and mutual assistance.

This article examines Chick Corea's jazz fusion composition by applying Soviet composer Alfred Schnittke's concept of "stylistic adaptation" (1973), a specific type of intertextuality, to Return to Forever's "Duel of the Jester and Tyrant (Part I and Part II)" from Romantic Warrior (1976). Closer investigation of intra-musical features from classical and jazz styles will show how artists from different musical backgrounds and training came to sound strikingly similar despite their generic separation (in this case, jazz fusion and progressive rock). Through such an analysis, I argue that a re-evaluation of jazz fusion as not simply what Amiri Baraka called "dollar-sign music" is important, not only for how its reception reflected specific anxieties regarding race and changing global economic systems in the 1970s, but also to demonstrate how identifying the sonic markers of these genres are a key component to understanding them. [ABSTRACT FROM AUTHOR]

To commemorate the centenary of Debussy's death, this article proposes a new perspective on the composer's relationship to Otherness. While many have argued for the influence of japonisme and Javanese music on his oeuvre, here I look at experiences, influences, and ideas that shaped these and similar encounters, together with their implications. I argue that symbolism was not alone in motivating Debussy's resistance to overt mimesis and ambivalence about assimilation; Japan's evolving political identity between 1868 and 1904 may also have played a role. I examine what Debussy may have learned from, or at least shared with, Edmond Bailly, Robert Godet, Victor Segalen, and Louis Laloy. These connections draw particular attention to contemporary conceptions of sound, as promoted in esoteric philosophy, and especially nature's relationship to the arts through 'vibrations'—ideas later implicit in Vladimir Jankélévitch's philosophical approach, here re-evaluated after the 2012 colloquy in the Journal of the American Musicological Society. They offer intriguing historical foundations for today's 'sound studies' research. [ABSTRACT FROM AUTHOR]

Listening to music might make one tremble, cry or get up and dance in response. Musical feelings might spread from listener to listener in a hard to pin down but nevertheless palpable 'emotional contagion'. While theorising emotion, feeling or sentiment in relation to the social life of music and sound is not new, for the most part, scholars in music and sound studies have been relative late comers to the contemporary conversation on affect theory. In this essay, I place two academic turns in productive alignment, an 'affective turn' and a turn in ethnomusicology, the anthropology of music and sound and the interdisciplinary field of critical sound studies to the study of listening and aurality. What might methodological approaches gleaned from the anthropology of music and sound lend to theorizations of method for the anthropology of emotion and affect? In what ways is affect rendered audible as an object of analysis in the process of doing ethnography? Focusing on analyses of select audio-visual field recordings, I ask, how can we listen for affect? And what theoretical and methodological considerations might emerge when we do? [ABSTRACT FROM AUTHOR]

This article takes a site-specific, interactive sound installation called Pleasure Garden as a space for thinking about contemporary forms of musical experience. I develop a relational account of the 'co-reception' of Pleasure Garden, not centred on listening subjects, but distributed across audience members, artists, researchers and the more-than-human assemblage of the installation itself. I also discuss the effects of several overlapping cultures of 'audiencing' associated with Western art music, sound art and other forms of cultural experience – variously individualistic, distracted and participatory – characteristic of late capitalism. Tracing how Pleasure Garden both responded to and was interrupted by these wider forces, I take this case as suggestive of a deep ambivalence: that musical experience is at once powerfully conditioned and generatively uncertain. Throughout the article, problems of method, interpretation and representation intertwine, raising questions about how to study forms of musical experience that evade conventional ethnographic enquiry. [ABSTRACT FROM AUTHOR]

Despite the increased use of period instruments in modern-day conservatories and concert life, many classical musicians continue to make their careers by playing early music on "modern" instruments. In such performances, aspects of the esthetic impulse of the music can always be conveyed. In adapting early music for modern instruments, it is helpful to think about the adaptation as an "arrangement," and to seek out ways of capturing the esthetic impulse of the music despite the use of instruments from later time periods. It is possible to contextualize an understanding of the term "arrangement" within performance practices of the eighteenth century by highlighting sources that attest to the flexibility of instrumentation as an important feature of eighteenth-century music. A series of examples of performance practices from the collection of the Berlin salonnière Sara Levy reveal a spectrum of choices available to interpreters of music from the Bach family tradition and help provide a set of historically grounded principles for arrangements that may be applied in the present day by instrumentalists of all sorts. [ABSTRACT FROM AUTHOR]

The ubiquitous din of Paris's street hawkers, known as the cris de Paris or the "cries of Paris," has captured the Parisian imagination since the Middle Ages. During the 1850s and 1860s, however, urban demolition severely disturbed the everyday rhythms of street commerce. The proliferation of books, poetry, and musical works featuring the cris de Paris circa 1860 reveals that many in the Parisian literary community feared the eventual disappearance of the city's iconic sights and sounds. These nostalgia discourses transpired into broader criticism of Georges-Eugene Haussmann and the discriminatory mode of urbanism that he practiced. Haussmannization irrevocably altered the Parisian soundscape by displacing, policing, and thus silencing the working-class communities that made their living with their voices. As an ideological device, nostalgia offered a counternarrative to Second Empire ideas of progress by suggesting that urbanization would vanquish any remaining image of what came to be known as le vieux Paris. An analysis of Jean-Georges Kastner's symphonic cantata Les cris de Paris (1857) shows how representations of the urban soundscape articulated a distinctly Parisian notion of modernity: a skirmish between a utopian "capital of the nineteenth century" and a romanticized Old City. [ABSTRACT FROM AUTHOR]

In the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of circulation, the omnibuses also had a profound effect on the reception history of Boieldieu's opera. When the omnibuses improved the quality of working- and middle-class life, bourgeois Parisians applauded the vehicles' egalitarian business model, and Boieldieu's opera became unexpectedly entwined in the populist rhetoric surrounding the omnibus. Viewing opera through the lens of the Dames Blanches, Parisians conflated the sounds of opera and street, as demonstrated by Charles Valentin Alkan's piano piece Les omnibus, Op. 2 (1829), which combines operatic idioms and horn calls. Through these examples and others, this study examines the complex ways that material culture affects the dissemination and reception of a musical work. [ABSTRACT FROM AUTHOR]

Musical-aesthetic education represents an essential hallmark of schooling due to its substantial contribution to society and culture. As understood here, musical-aesthetic education means to make musical-aesthetic situations possible, resulting in musical-aesthetic experiences. In his recently published postdoctoral philosophical thesis from 1930/31 Günther Anders - influenced by Edmund Husserl and Martin Heidegger - comprehends the musical situation as a transformation of the human being into one of his dimensions, that finds reification only in music. Building on this theoretical work the musical-aesthetic situation as a basis for music education processes and its contribution to developments of approaches of musical- aesthetic education at the primary school level will be discussed. By means of guided expert interviews, the meaning, status and practice of music education at the primary school level is examined from the perspective of instructors at the Teachers Colleges and professors at Universities in Upper Austria. It will be shown that aesthetic education should be strengthened as an interdisciplinary tool at primary schools. In order to make musical-aesthetic education possible for all pupils in modern migration societies, new ideas are needed for the aesthetic learning milieu. Furthermore, both the theoretical examination of the topic as well as the empirical results of this paper should raise greater awareness for the inherent worth of musical-aesthetic education. [ABSTRACT FROM AUTHOR]

Copyright of ICT in Muzical Field / Tehnologii Informatice si de Comunicatie in Domeniul Muzical is the property of Tehnologii Informatice si de Comunicatie in Domeniul Muzical / ICT in Musical Field 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.)

The RAI music archive, located at the "A. Toscanini" Auditorium of Turin (Italy), contains five different types of documents: a valuable collection of rare, autographed manuscripts (letters and scores); printed music of symphonic and entertainment repertoire; a historical collection of opera librettos; an enormous corpus of arrangements for radiophonic orchestras; and the collection of concert programmes from the nineteen-fifties to the present. All of this material, practically unknown to the musicological community, was catalogued according to internationally adopted standards and has been the subject of a partial digitization. The collected information is now accessible on line (www.osn.teche. rai.it), thanks to the digital intervention of Rai Teche experts. The on line publication of the catalogued records made possible studies in various fields: the philological analysis and historical contextualization of the manuscripts preserved in the "Autographs and Rare Manuscripts" fund; a research on the repertoire of the arrangements for radiophonic orchestras; a complete history of Rai concerts performed in Turin; a series of studies about the activities of the RAI orchestras. The project, funded by MIUR (Ministero dell'Istruzione, dell'Università e della Ricerca) was completed between 2012 and 2016. [ABSTRACT FROM AUTHOR]

Creating new music for the harp, the composer needs to make choices about whether to build on the instrument's cultural baggage, and the strong accompanying imagery, or to attempt to move in the opposite direction. This paper will explore the processes which led to the composition and performance of Spindle for solo harp and assisting performers, discussing elements of theatricality, degrees of audience participation, performer-audience hybrids, verbal instructions in the score, and non-verbal cues during performance. It will also discuss improvisation using loops, and challenging the fourth wall through the physical interaction between performers and audience, and examine similar practices in a selection of pieces composed in the last 70 years. [ABSTRACT FROM AUTHOR]

When African American concert singers began to perform German lieder in central Europe in the 1920s, white German and Austrian listeners were astounded by the veracity and conviction of their performances. How had they managed to sing like Germans? This article argues that black performances of German music challenged audiences' definitions of blackness, whiteness, and German music during the transatlantic Jazz Age in interwar central Europe. Upon hearing black performers masterfully sing lieder by Schubert, Schumann, Brahms, and others, audiences were compelled to consider whether German national identity was contingent upon whiteness. Some listeners chose to call black concert singers "Negroes with white souls," associating German music with whiteness by extension. Others insisted that the singer had sounded black and therefore un-German. Race was ultimately the filter through which people interpreted these performances of the Austro-German musical canon. This article contributes to a growing body of scholarship that investigates how and when audiences began to associate classical music with whiteness. Simultaneously, it offers a musicological intervention in contemporary discourses that still operate under the assumption that it is impossible to be both black and German. [ABSTRACT FROM AUTHOR]

This article reassesses the "mechanical" style of playing featured in Carl Czerny's pedagogical works and keyboard arrangements-specifically, the Complete Theoretical and Practical Piano Forte School, op. 500 (1839), its supplementary text Letters to a Young Lady (ca. 1840), and the four-hand transcription of Beethoven's Symphony no. 9 in D Minor, op. 125 (the "Choral"). The first part of the article situates opus 500 within the larger pedagogical milieu of Biedermeier music culture and Johann Heinrich Pestalozzi's progressivist educational reforms, exploring the way it tasked predominantly women amateurs with assembling basic finger sensations in an exercise-by-exercise-"progressive"-fashion. I propose that this cumulative logic reflects an early-century epistemic norm-what Friedrich Kittler dubs a "mechanical program" of assembly and augmentation. The second part considers Czerny's transcription of the finale of Beethoven's Ninth from the perspective of ludo-musicology and cultural techniques media analysis, outlining the reductive and replicative-"reproductive"-techniques by which Czerny accommodated his former teacher's work to the hands he shaped in the private sphere. I argue that his pedagogies and transcriptions were recursively interrelated. Czerny was simultaneously a mechanic of the hand pedagogically and a mechanical reproducer of symphonies transcriptively, creating a multivalent corpus that forces us to rethink the media-theoretical concept of "mechanical reproduction" vis-à-vis "Discourse Network 1800." [ABSTRACT FROM AUTHOR]

The article discusses the history of music criticism, its propaganda and reception, based on the critical reactions to the music of French pianist and composer Henri Herz in the 19th-century music journal "La Gazette musicale." Topics discussed include tacit interplay between modern and historical reception, conflict between German music editor Maurice Schlesinger and Herz which includes a libel case and a pistol duel, and the ramifications for the study of Herz's music.

This article provides the first sustained overview and analysis of the reception of Ovid's "Metamorphoses" in sixteenth-century English ballad culture. It highlights a significant tradition of translating materials from this ancient Roman source into the stuff of vernacular song—a phenomenon that can be traced back as far as 1552. Positing that popular music must have played a crucial role in shaping Tudor ideas about the "Metamorphoses," this study draws attention to the textual, visual, aural, and kinetic dimensions of the Ovidiana that was regularly read, seen, heard, sung, and even danced to by early modern consumers of mythological ballads. [ABSTRACT FROM AUTHOR]

This article examines the novels Icône urbaine (2005, Urban Icon) by French-Togolese writer Lauren Ekué and Blues pour Elise (2010, Blues for Elise) by French-Cameroonian/Afropean writer Léonora Miano, with regard to their contribution to chick-lit in a broad sense. With a focus on urban working women, their love lives and consumerism, these novels fulfil a number of criteria of mainstream chick-lit. At the same time, however, a serious concern for structural power relations is inscribed into these texts. Both novelists make ample use of intermedial writing such as structural borrowing from and references to music, TV formats and the fashion press. I will analyse these narrative strategies and address how far Ekué and Miano copy, rewrite and reinvent the Anglo-American chick-lit genre from the transnational perspective of the African Diaspora in France and considering the peculiarities of black Paris as a space. [ABSTRACT FROM AUTHOR]

Copyright of Recercare is the property of LIM Editrice s.r.l. 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.)