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The writer Victor Giudice (1934-1997) was a deep connoisseur of classical music and a composer of sambas and other popular songs, many of which are still unpublished. He worked for the Bank of Brazil, and after his retirement, wrote music critique for Jornal do Brasil. Nonetheless, since the release of his first book in 1972, his profound relationship with music became a clear mark of his distinctiveness as a short story writer, above all, through his singular and ever-growing domain of rhythm. This article aims to address the relationship that Victor Giudice’s work maintains with music and, for such a purpose, specifically deals with the function of rhythm as a strategic element for reader engagement in fictional narratives. Based on the relationship between rhythm, form, and temporality, this article discusses both rhythm in relation to the disclosure speed of facts and rhythm as the shaper of writing itself. [ABSTRACT FROM AUTHOR]

Gabriel García Márquez, who is a great music lover, wrote a lot of articles about music, during the first years of his career, although he never was a musical critic. But, in his last writings —not only journalistic but also literary- he has done a subtle musical criticism about works and performers of all the genres, especially in classical music. Despite this, he is a hidden critic because few times he has signed high-risked opinions. In these cases, he has preferred to use his characters. [ABSTRACT FROM AUTHOR]

The opera Die Burgh-au (Brno 1832) is based on the local folk tale of the White Lady, a friendly ghost, who once used to reside in the castle of Pernštejn. In the first half of the nineteenth century pieces as such were shown on stage of the City Theatre at the Zelný trh in Brno, often of Singspiel quality. The opera of the White Lady surpasses all of them in structure and thorough elaboration. In spite of their young age, the authors represented first-class among contemporary artists in Moravia. The author of the libretto AntonIn Boäek (1802-1847) was a known Moravian historian, whose premature death prevented him to finish his life-work. When composing the opera, the composer Antonín Emil Titl (1809-1882) was double-bass player in the Brno theatre; later, he went on to become bandmaster in Vienna. The opera combines elements of the tale with historical events. In part, it presents historical figures, and even gives the date of 1545. The ghost of the White Lady interferes in the events, in which love wins over hatred, and evil is punished. The opera met with warm welcome when first performed in Brno, and was later shown in Olomouc as well. However, it did not make it to the Vienna stage. [ABSTRACT FROM AUTHOR]

The article presents a review on textbooks on sonata form. It notes that the phrase "sonata form" was derived by nineteenth-century pedagogues and now it is broadly held that their work ailing models eighteenth-century practice, and varies from the concerns of eighteenth-century theory. It mentions that Donald Francis Tovey and Leonard Ratner led way to changes and there developed a pervasive scepticism towards all definite rules for late eighteenth-century sonata composition. Moreover, much modern scholarship on the era has been committed to overcome the nineteenth century legacy.

The article presents a discussion and criticism on Walton's First Symphony which was critically perceived to be a Sibelian work. It notes that the inter-war English idolization of Sibelius may assist in explaining why Walton used characteristic Sibelian procedures such as rotational form, focus on a sound-sheet, and heavy dependence on pedal points for structural purposes. It mentions that after introducing an analysis of the Sibelian technology of Walton's work beside discussion of its thematic interventions of late modernism.

John Antill became recognized as a significant Australian composer with the appearance of his ballet suite (later ballet) Corroboree which was first performed when the composer was in his early forties. His earlier work was very little known during his lifetime save for the opera Endymion, performed in 1953 and reputed to have been written in 1920 when the composer was sixteen. Since Antill's death in 1986, further light has been shed on his considerable activity as a composer in the years before the composition of Corroboree—especially since the lodgement of the Papers of John Antill (1904-1986) in the Australian Manuscript Collection in the National Library of Australia. This comprehensive collection comprises the bulk of Antill's surviving manuscript scores, together with a very large collection of memorabilia. This collection is the main source for the present article. It is the years up to and including the late 1930s and early 1940s—the time when Antill began to be occupied with the composition of Corroboree—that is the central focus of this article. Its aims are twofold: first, the establishment of a reliable chronology of Antill's compositions during these years, including the radical revision of some dates hitherto suggested for such works as Endymion and other early theater works; and second, to gain some clear perspectives of the early evolution of Antill's style, from the post-Romanticism of the earliest extant works to the more astringent styles of those works written closer to the time of the famous ballet. [ABSTRACT FROM AUTHOR]

Sydney of the late 1910s and '20s was not as parochial as music historians have long assumed. The early piano music of Roy Agnew benefited from and reflected the richness and diversity of his surroundings. Through an analysis of representative works from this period and an examination of their cultural context I argue that Agnew's music belongs to the large body of modern music from the early twentieth century described by Jim Samson as 'transitional' and that Sydney's musical elite was aware of and could access the most recent modern European music. [ABSTRACT FROM AUTHOR]

This article discusses the letter written by John Cage for music writer and critic Peter Yates regarding Yates's comment on Schoenberg's opinion that John Cage is an inventor of genius. According to the author, the letter is an early artifact from the long and proven friendship between Cage and Yates. Events involving the first encounter of Cage and Yates in 1939 is also discussed. It is suggested that Cage clearly valued Yate's interest in what Cage considered the important music of his time. Yates wrote essays, reviews, plays and poetry for a living.

The article discusses the influence of Arthur Schopenhauer's "The World as Will and Representation," to Wagner's "Tristan and Isolde." The concept that the drive to existence entirely without awareness is the essential us, is reflected in the music. An inherently unsatisfiable web of longings, willings and strivings contained in Schopenhauer's doctrine is evident in the cessation of the lives of the main characters in the musical.

This article focuses on Jacques Derrida's acceptance of an invitation from Ornette Coleman, an American saxophonist and composer, for a music performance. During the concert, he remained on stage for only fifteen minutes amidst the mixture of wolf-whistles, boos and insults. It also described in detail the series of events that rise to the occurrence of the concert performance by Derrida and Coleman. It started with Coleman's interest in Derrida that a meeting between them was made possible years later. Derrida then made a written performance, "Joue—le prénom," which was articulated through the question of a mother. It was artfully composed, scaling back exposition of his ideas concerning events.

Theis article analyzes the role of music in novelist Margaret Atwood's life. It reflects that from childhood onwards the novelist has been exposed to music. Her experience of music and her professional activities as a writer is ranging widely. Though she enjoyed more success as an inspirer of musical creativity, her written accounts do not appear that the music is at the top of her interests.

The article reviews the music release "A Delay Is Better," by Pamela Z. Starkland.

The article presents several announcements from editors of "Perspectives of New Music" (PNM). It is announced that the PNM Web site (www.perspectivesofnewmusic.org) is offering new features, such as a link to the public PNM blog, a link to an online storefront, sale of back issues and subscription details. It also calls for submission of papers in any subject area, as well as in specific areas of special interests, including the composer Ligeti, developments in multimedia art and music, and the book "A Thousand Plateaus," by Gilles Deleuze and Felix Guattari.

The article presents the code of ethics for music-related research publications. The author must not submit the same manuscript for simultaneous consideration by two or more journal, and must not submit a manuscript published in whole or in substantial part in another journal or published work. It is noted that investigators who engage in systematic programs of research must report results from time to time as significant portions of their programs are completed. Authorship is reserved only to people who make major publications to the research. The author transfers literary rights on the published article to the publishing organization once an article is accepted, so that the authors and the association are protected from misuse of copyrighted material.

The article discusses the revision and reconstruction of Journal of Interdisciplinary Music Studies (JIMS) with regards to the journal's aims, structure, submission guidelines and review procedures. It states that the revised concept of interdisciplinarity in the journal is regard as the synergic collaboration of humanities, sciences and practically oriented disciplines. However, it clarifies that the journal is still an online journal that is freely and universally available, taking advantage of modern multimedia technologies and still a regular print journal. Moreover, it acknowledges several contributors and colleagues who were part of the previous concept of the journal.

The author offers introduction to the publication of the Journal of the Society for American Music under his editorship. He offers his gratitude to many people who contributed and provided work and dedication to the journal. The author mentions several individuals who took part in the creation of the journal including Sarah Adams and Leonard Berstein.

The article offers updates on the changes to the January 2008 issue of the journal, and presents an acknowledgement to several persons for their effort in the creation of the journal. It discusses topics on twentieth-century Australian composers by Kate Bowan and David Symons. It mentions the effort of several persons including John Griffith, Dorottya Fabian and Jennie Shaw who contributed in the creation of the journal.

The article provides information on the beginnings of opera. The earliest opera is de la Hale's comic opera "Little Game of Robin and Marian" in the thirteenth-century. This work eliminates the belief that Italy is the birthplace of opera. Then in the sixteenth century, a poet and a composer collaborated a work based on the story of Orpheus and Eurydice. This set the fashion for authors and composers but broken by Richard Wagner who taught that composer should write words accompanying the notes.