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Il saggio indaga tecniche e gesti della danza e della musica nelle tradizioni orali sul piano teorico e metodologico.

Il saggio indaga tecniche e gesti della danza e della musica nelle tradizioni orali, sul piano teorico e metodologico. Si tratta della traduzione in inglese del saggio pubblicato nel medesimo volume, che è in italiano e in inglese, alle pp. 44-53.

The aim of this paper is the presentation of reflections on the main issues that arose in the reorganization of the Second Cycle of Drama, Art and Music (University of Bologna), which is conducted by teachers of musicological and ethnomusicological disciplines together with students, in order to examine the need to employ different approaches to multidisciplinary teaching in graduate studies. Graduate studies have recorded a significant number of foreign students in recent years, mostly from the Far East, and especially from China, which represents a challenge for multidisciplinary teaching of musicology and ethnomusicology due to the differences between the language cultures. The authors recognize two levels of problems in the implementation of study programs and the organization of teaching: 1) the need to make a specific music lexicon suitable even for non-specialized students without lowering the level of didactic proposals for music curriculum students; 2) the strategy of relations with international students, mostly from the Far East, who generally possess excellent technical musical skills (resulting from the previous schooling at music academies or conservatories), who encounter several language problems, which are often related to the idea of studying and learning human sciences in general (in the case of students of the Far Eastern origin, the culture of learning and the perception of the methodology of teaching humanities differs significantly from the European approach to the same issue). The paper is based on sociological and ethnographic research on foreign students’ learning techniques and reflects on the analysis of collected notes of Chinese students as particular examples of the addressed problems in the perception and adoption of the musicological and ethnomusicological content taught in drama, art and music studies.

Healthcare workers (HCWs) are on the frontline fight against the ongoing pandemic with an increased risk of infection from COVID-19. As of December 27, 2020, approximately 89,879 COVID-19 cases had been reported among HCWs in Italy. Vaccination plans recommend that initial supplies of COVID-19 vaccine be allocated to HCWs because their early protection is crucial to preserve capacity to care for patients. The aim of this study is threefold: to investigate the factors influencing the likelihood towards vaccination, to estimate the vaccine efficacy (VE) in a hospital setting and to assess the frequency of adverse reactions (AR). This retrospective study was conducted in an Italian teaching hospital from December 28, 2020 to March 31, 2021 (before the introduction of mandatory vaccination for HCWs). A total of 6,649 individuals was included. HCWs were divided into physicians, nurses and other HCWs. Univariate analyses and a multivariate logistic regression were run with an alpha of 0.05. VE was estimated as the proportionate reduction in disease attack rate between the unvaccinated and vaccinated. Out of 6,649 HCWs, 5,162 were fully vaccinated against COVID-19. Among the selected job categories, 82% of physicians, 79% of nurses and 68% of other HCWs were vaccinated. The findings of the logistic regression depicted that the 41-60 years old age class, compared with the youngest age class, was statistically significant (OR 1.17, 95% CI 1.03-1.33) in influencing vaccination, as well as being nurses (OR 0.80, 95% CI 0.69-0.92) or other HCWs (OR 0.45, 95% CI 0.39-0.52) in comparison with physicians. VE equaled 92.83% (p < 0.05). The frequency of serious and not serious AR was 0.03% and 2.9%, respectively. Sustaining and boosting COVID-19 vaccination campaigns is effective for preventing SARS-CoV-2 infection in real-world conditions. COVID-19 vaccination among HCWs is a critical public health measure to safeguard HCWs themselves, patients and the hospital community. Key messages In light of the encouraging efficacy and safety of COVID-19 vaccination, it represents an essential strategy to protect HCWs themselves, their patients and the hospital community. Despite the introduction of mandatory vaccination, policy-makers should set up tailored strategies of clear communication to reduce reluctancy to vaccination among HCWs.

Healthcare workers are at the forefront against COVID-19, worldwide. Since Fondazione Policlinico Universitario A. Gemelli (FPG) IRCCS was enlisted as a COVID-19 hospital, the healthcare workers deployed to COVID-19 wards were separated from those with limited/no exposure, whereas the administrative staff were designated to work from home. Between 4 June and 3 July 2020, an investigation was conducted to evaluate the seroprevalence of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) immunoglobulin (IgG) antibodies among the employees of the FPG using point-of-care (POC) and venous blood tests. Sensitivity, specificity, and predictive values were determined with reverse-transcription polymerase chain reaction on nasal/oropharyngeal swabs as the diagnostic gold standard. The participants enrolled amounted to 4777. Seroprevalence was 3.66% using the POC test and 1.19% using the venous blood test, with a significant difference (p &lt, 0.05). The POC test sensitivity and specificity were, respectively, 63.64% (95% confidence interval (CI): 62.20% to 65.04%) and 96.64% (95% CI: 96.05% to 97.13%), while those of the venous blood test were, respectively, 78.79% (95% CI: 77.58% to 79.94%) and 99.36% (95% CI: 99.07% to 99.55%). Among the low-risk populations, the POC test’s predictive values were 58.33% (positive) and 98.23% (negative), whereas those of the venous blood test were 92.86% (positive) and 98.53% (negative). According to our study, these serological tests cannot be a valid alternative to diagnose COVID-19 infection in progress.

In several hospitals worldwide, healthcare workers are currently at the forefront against coronavirus disease 2019 (COVID-19). Since Fondazione Policlinico Universitario A. Gemelli (FPG) IRCCS has been enlisted as a COVID hospital, healthcare workers deployed to COVID wards were separated from those with limited or no exposure, whereas administrative staff was destined to work-from-home. Between June 4 and July 3 2020, an investigation was carried out to evaluate seroprevalence of SARS-CoV-2 IgG antibodies among employees of the FPG using point-of-care (POC) and venous blood tests. Sensitivity, specificity and predictive values were determined with reverse-transcription polymerase chain reaction (RT-PCR) on nasal/oropharyngeal swabs as gold standard.Four thousand, seven hundred seventy-seven participants were enrolled. Seroprevalence was 3.66% using the POC test and 1.19% using venous blood test, with a significant difference between the two (p < 0.05).POC sensitivity and specificity were, respectively, 63.64% (95% confidence interval (CI): 62.20% to 65.04%) and 96.64% (95% CI: 96.05% to 97.13%), while those of the venous blood test were, respectively, 78.79% (95% CI: 77.58% to 79.94%) and 99.36% (95% CI: 99.07% to 99.55%). Among low-risk population, point-of-care’s predictive values were 58.33% (positive) and 98.23% (negative) whereas venous blood test’s were 92.86% (positive) and 98.53% (negative). In conclusion, point-of-care tests have low diagnostic accuracy, while venous blood tests seem to show an overall poor reliability.

Health workers, especially those in patient-facing roles, had a significantly increased risk of COVID-19 infection, having serious outcomes, and risking spreading the virus to patients and staff. Vaccination campaign planning suggests allocating initial supplies of BNT162b2 vaccine to health workers given the importance of early protection to safeguard the continuity of care to patients. The aim of the study is to assess the effectiveness and safety of BNT162b2 vaccine among the health workers of Fondazione Policlinico Universitario Agostino Gemelli IRCCS (FPG). The retrospective cohort study was conducted among health staff working at the FPG. Vaccination data were collected from hospital records. The primary end points were vaccine effectiveness and safety. A total of 6649 health workers were included, of whom 5162 received injections. There were 14 cases of COVID-19 with onset at least 14 days after the second dose among vaccinated health workers and 45 cases among unvaccinated ones. BNT162b2 was 91.5% effective against COVID-19 (95% credible interval, 84.7% to 95.3%). The safety profile of BNT162b2 vaccine consisted of short-term, non-serious events. The promotion and boost of the COVID-19 vaccination campaign represents a key public health measure useful to curb the spread of the pandemic especially in vulnerable contexts, such as hospitals, where health workers carry out a paramount role for the entire community, and requires further protection with a possible booster dose in view of autumn-winter 2021.

Nel saggio si propone una riflessione sul modo in cui la disposizione dei fori su alcuni strumenti a fiato riferisce di segmenti delle loro vicende storiche: in specie del passaggio da forme policalame a forme monocalame, e, nei clarinetti, dalla tastatura corrispondente a tastature a mani indipendenti.

Yuri Arbatsky, nato a San Pietroburgo il 15 aprile 1911, sì trasferì con la famiglia, ancora bambino, in Germania (a Dresda, poi a Lipsia), ove studiò composizione con Rachmanino e iniziò una precoce carriera di brillante pianista, compositore e direttore d’orchestra. Negli anni Trenta sfuggì alla guerra trasferendosi a Belgrado, dove fu maestro di cappella del Duomo. Nella ca-pitale serba strinse amicizia con Mehmet, un anziano musicista che abitava nel villaggio Spinadija, vicino Prizren, in Kosovo. Mehmet svolgeva le attività di pastore, taglialegna, contrabbandiere, suonatore professionista e maestro di kaval (un auto a imboccatura libera largamente presente nei Balcani e in Anatolia) e soprattutto di surla e tupan, l’oboe e il tamburo a cassa corta di tra-dizione islamica arrivati in quella regione con la dominazione turca. Arbatsky fu allievo di Mehmet dal 1933 al 1937, fino alla morte del maestro, ucciso da un colpo di fucile mentre attraversava clandestinamente un con ne. Trascrisse per intero quelle che lui definisce le strutture ritmiche di base del repertorio del tupan, le loro possibili suddivisioni e le regole di combinazione e variazione delle formule. Tornato in Germania, tentò di utilizzare la cronaca della sua relazione con Mehmet e la trascrizione del suo repertorio come dissertazione di dottorato, ma il manoscritto e le registrazioni gli furono sequestrati dalla Gestapo. A Dresda riuscì a reperire della carta e riscrisse tutto su carta di stracci, del tempo di guerra, poi emigrò negli Stati Uniti. Ma lì la carta del manoscritto gli si disfece in mano: soltanto nel 1953, con un finanziamento della Newberry Library di Chicago, riuscì finalmente a riscrivere e pubblicare il proprio lavoro (cfr. Arbatsky 1953: VII). La cronaca delle lezioni di tupan impartite da Mehmet ad Arbatsky, cor-redata da trascrizioni musicali, è la prima, la più dettagliata e approfondita indagine sulle complesse strutture ritmiche in uso presso i suonatori di tupan del Kosovo. Il suo lavoro riferisce di una tradizione straordinariamente ampia e articolata, dotata di una strutturazione formale di stupefacente complessità. Arbatsky trascrisse per intero le formule ritmiche di base del repertorio del tupan, le loro possibili suddivisioni e le regole di combinazione e variazione delle formule, oltre che le formule melodiche delle surle. Le trascrizioni di Arbatsky aprono la strada a valutazioni dei repertori di tamburello delle donne rom in Kosovo, a partire dalla dissoluzione dell’opposizione binario-ternario propria dei ritmi aksak, verso le strutture ritmiche non proporzionali che caratterizzano l’universo femminile in opposizione a quello maschile.

Determination of Pollutants in the Air of Textile Industries: Valentino RIMATORI. et al. Institute of Occupational Medicine, Catholic University -In order to investigate the pollution degree in three weaving and dyeing and in two clothing factories, the authors measured the indigo, oil mist, hydrogen sulfide (H2S), sulfur dioxide (SO2) and total particulate matter (TP), as well as the biphenyl, ophenylphenol and p-phenylendiamine (PPDA) concentrations. H2S ranged from

Si prende in esame la funzione identitaria della musica in tre contesti diversi: il rapporto tra pastori e contadini in Sicilia nord-orientale; il rapporto tra albanesi e rom in Kosovo; il rapporto tra immigrati italiani e gli altri in nord-America

ll titolo del mio intervento parafrasa una celebre opera dello studioso di preistoria e di cultura materiale André Leroi-Gourhan.1 Leroi-Gourhan dimostra bene come l’evoluzione dell’uomo sia da individuarsi nella aspecificità del suo adattamento all’ambiente, e nella sua capacità di costruire oggetti meccanici che prolungano e specializzano le azioni corporali. L’evoluzione non si è mai arrestata, sebbene la struttura fisica sia rimasta, dalle prime attestazioni ad oggi, sostanzialmente invariata: essa è stata “esteriorizzata”, cioè si compie fuori dal corpo, negli oggetti che ne costituiscono un’estensione e che lo sostituiscono. E l’uomo non ha “esteriorizzato” soltanto gli organi della tecnicità, ma anche la memoria; tale esteriorizzazione comporta la scrittura e poi l’intelligenza artificiale. La paleontologia di Leroi-Gourhan si colloca nel solco della tradizione di studi sociologici e antropologici francesi, che a partire dagli studi di Émile Durkheim e Marcel Mauss interessa anche, con André Schaeffner, l’indagine sulla musica e sui suoi oggetti, secondo una prospettiva che vede gli strumenti della musica appunto come prolungamenti o sostituzioni del corpo umano; il suono come risultato dapprima secondario, sebbene non involontario, di un gesto di lavoro o di danza: «una danza di oggetti che risuonano indistintamente intorno al corpo, attorno ad un recipiente o al suo interno, lungo il manico o l’asta che li attraversa e che la mano agita, attorno ad uno strumento musicale che resta loro estraneo ma che per il suo scuotimento li mette in vibrazione indirettamente: questa è, assieme alle percussioni immediate del piede sul suolo e della mano sul corpo o su una materia qualsiasi, la prima idea … della musica strumentale. Tale danza … la vediamo lentamente, progressivamente sfuggire all’uomo, poi allo strumento … l’oscillazione quasi invisibile di una corda sfregata o di una colonna d’aria rappresenta il punto estremo di una evoluzione in cui la danza va sfumando».

Si valuta la funzione della fotografia nelle indagini etnomusicologiche e di iconografia musicale.

The discovery of various aerophones whose reed is a tense membrane (marginal instruments, certainly, newly constructed, and which exist mainly as a consequence of the progress made in the production of elastomeric materials) have compelled me to review the class of aerophones, and in particular free idiophonic interruptive aerophones, and advancing my own revision of the articulation of 412.1.I propose the following articulations for idiophonic interruptive aerophones. 412 Interruptive free aerophones 412.1 Idiophonic interruptive aerophones or reeds 412.11 Flexible beating reeds 412.111 Concussion reeds 412.111.1 Idioglot concussion reeds 412.111.11 Blade concussion reeds 412.111.12 Flattened concussion reeds 412.111.121 End-blown idioglot concussion reeds 412.111.122 Side-blown idioglot concussion reeds 412.111.2 Heteroglot concussion reeds 412.111.21 Tied concussion reeds 412.111.22 Concussion reeds with staple 412.112 Percussion reeds 412.112.1 Idioglot percussion reeds 412.112.11 Upper cut idioglot percussion reeds 412.112.12 Lower cut idioglot perc. reeds 412.112.2 Heteroglot percussion reeds 412.112.21 Upper cut eteroglot percussion reeds 412.112.22 Lower cut eteroglot perc. reeds 412.12 Flexible free reeds 412.13 Stretched reeds 412.131 Ribbon reeds 412.131.1 Ribbon reeds without frame 412.131.1 Ribbon reeds with frame 412.132 Membrane reeds 412.132 Percussion membrane reeds (complete membrane reeds) 412.132 Free membrane reeds (cropped membrane reeds)422 Reed aerophones 422.1 Double reed instruments 422.11 (Single) shawms 422.111 With cylindrical bore. 422.111.1 Without fingerholes. 422.111.2 With fingerholes. 422.112 With conical bore 422.12 Sets of shawms 422.121 With cylindrical bore. 422.122 With conical bore. 422.2 Single reed instruments 422.21 (Single) clarinets. 422.211 With cylindrical bore. 422.211.1 Without fingerholes. 422.211.2 With fingerholes 422.212 With conical bore 422.22 Sets of clarinets. 422.3 Reedpipes with free reed 422.31 Single pipes with free reed. 422.32 Double pipes with free reeds. 422.4 Percussion membrane clarinets 422.41 (Single) percussion membrane clarinets 422.42 Sets of percussion membrane clarinets

Fin dall’antichità alcune parole, in parte di origine onomatopeica, designano, nelle fonti letterarie, degli strumenti a fiato minori e marginali, il cui tratto condiviso è che sono intesi come specialmente vicini alla natura, e si ritiene appartengano a stadi primitivi dell’esistenza umana, e sono usati da gente a vario titolo intesa essa pure come “primitiva” e “naturale”: bambini, pastori, cacciatori, incantatori di serpenti. Questi oggetti, nominati e talvolta descritti in fonti antiche, sono poco rappresentati nelle arti figurative; qui si sono individuati e collazionati i documenti esistenti, e li si è messe a confronto con le testimonianze archeologiche e con quelle etnografiche. Gli stessi strumenti sono menzionati nei componimenti poetici di Teocrito, Lucrezio, Virgilio, Ovidio e dei loro emuli; poi sono di nuovo elencati e descritti dagli studi organologici del XVII e del XVIII sec.; infine sono ancora in uso nelle tradizioni musicali di molti luoghi: ancora in mano a pastori, bambini, cacciatori, incantatori di serpenti (o loro discendenti), musicisti semi-professionisti. La persistenza nel tempo di tipologie, forme, denominazioni degli aerofoni minori o marginali – e le modificazioni che esse conoscono, nell’attraversare periodi storici e luoghi diversi – è il terreno sul quale, concretamente, si è indagato il rapporto tra attualizzazione del mito e mitizzazione della realtà, quale viene articolandosi nella poesia, nella letteratura, nelle immagini.

Questo libro offre una descrizione del variegato paesaggio delle musiche di tradizione orale in Italia, corredata da ampi ascolti. La descrizione e la valutazione di forme e generi musicali, repertori, strumenti, forme di danza tengono conto delle ricerche più recenti, alle quali rinviano l’apparato di note e l’ampia bibliografia, che giova pure, con l’ultimo capitolo, a dar conto della storia degli studi etnomusicologici in Italia. L’antologia di ascolti commentati qui proposta comporta quindi un consistente aggiornamento rispetto alle antologie di musiche orali edite nel corso del Novecento da Diego Carpitella, Alan Lomax, Roberto Leydi, senza le quali non disporremmo, oggi, del patrimonio di conoscenze sul quale si sono basate le successive ricerche e analisi etnomusicologiche. In appendice si propone una edizione commentata dell’importante antologia di documenti sonori, originariamente raccolta in tre microsolco 33rpm con libretti allegati, curata e pubblicata da Roberto Leydi dal 1970.

Nel saggio si descrive la complessità delle strutture ritmiche delle musiche di tradizione orale eseguite in Kosovo e in aree circostanti da esecutori specializzati di etnia rom. E ci si avvale di questo specifico esempio per mostrare la determinazione culturale di alcuni aspetti della sensibilità ritmica che comunemente si tendono a considerare innati o appartenenti comunque a un sostrato profondo e universalmente condiviso.

I have never understood what constitute the canons of “visual anthropology,” at least when it is simply understood as a tool for describing and distributing various kinds of research or for understanding events by making visual recordings of them (through either photography or film) and mounting, editing and publishing these recordings: in other words, when it does not take into account native strategies of visualization or the function and structure of images within the culture being investigated. Contemporary “visual anthropology” (or a specific field of “musical iconography”) might tailor its own codes in relation to the techniques and objects it investigates, at least in contexts where photographic and filmic recording tools are widely used. Images do not provide an abstract and absolute account of the documented events; rather, they refer to specific moments of a particular event: that procession, that feast, that moment of everyday life. In these images, the participants’ individual characteristics and the role they play in constructing the rite and articulating the relationships between the rite and the system underlying it (between rite and myth, between action and formalization) are always present and unavoidable. While an ethnographic documentary has certain specific characteristics (in that its expressive codes must take into account the expressive codes of the action or rite being staged and documented), an ethnomusicological documentary has certain restrictions and additional peculiarities based on the fact that the musical content unfolds through its own temporal progression, a progression that has a powerful affect on the editing process. Furthermore, ethnomusicological work has certain specific characteristics in relation to the pertinence and significance of documentary material and its editing. Like any ethnological investigation of ritual and representative actions, ethnomusicology essentially deals with actions that have been deliberately staged in more or less conscious and explicit ways. Any documentation of an event involving the production of organized sound is necessarily a representation that essentially stages a staging. It thus involves methodological and ethical implications that are quite different than those arising from efforts to observe and document non-performative actions.