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Vários autores (Ferreira, 1995; Schick, 1996; Carroll, 2009) apontam que a crítica musical cumpre uma função que se pode qualificar de pedagógica pois deve orientar os leitores para a recepção e compreensão das obras tocadas. Neste artigo analiso alguns aspectos da crítica musical escrita por Francine Benoît à luz deste princípio, tendo como ponto de partida diversos exemplos de comentários feitos por Benoît às obras tocadas em concerto (em particular a obras em primeira audição) e à interpretação e técnica dos músicos. As críticas de música analisadas foram recolhidas no Diário de Lisboa e escritas entre 1924 e 1934, década que corresponde aos primeiros de muitos anos de colaboração de Francine Benoît com aquele jornal. The pedagogical role of music criticism: Francine Benoît’s music reception in Diário de Lisboa. Several authors (Ferreira, 1995; Schick, 1996; Carroll, 2009) state that music criticism has a role that can be qualified as pedagogical, since it must guide their readers for the reception and understanding of the musical works played at the concert. In this article I analyze some characteristics of music criticism written by Francine Benoît under this principle. To begin with, I will analyze several examples of reviews and comments made by Benoît concerning the works played at the concert (in particularly first auditions of works) as well as the musicians’ interpretation and technic qualities. The music criticism analyzed were published in Diário de Lisboa between 1924 and 1934, the first ten years of many during which she wrote in that newspaper.

El treball presentat aporta diverses dades sobre la recepció de la música de Mozart a Catalunya. Així, es constaten i comenten: tant diversos fons musicals on hi ha servades obres de Mozart, com la citació i el comentari que fa de dita música el teòric de finals del segle XVIII Josep Teixidor, i com la figura del compositor i mestre de capella Bernat Calbó Puig n'impulsà llur difusió. Dades que són analitzades i circumscrites en el context on es generaren. Aquestes aportacions configuren i corroboren la recepció de la música de Mozart en el decurs del segle XIX a Catalunya., This paper presents diverse information on the reception of Mozart’s music in Catalonia. It discusses several music holdings that contain works by Mozart; the citation and comments with respect to this music made by Josep Teixidor, a theoretician from the end of the 18th century, and how the composer and chapel master Bernat Calbó Puig fostered the dissemination of these works. The information is analysed and set within the context in which it arose. The data presented here describe and confirm the reception of Mozart’s music in the 19th century in Catalonia.

The thesis is focused on the influence of mythology on music. Classical myths with musical elements are understood as an inspiration sources for musical works, especially on instrumental program music, musical impressionism and on the music of 20th century. Historiographic aspect of the topic is also taken into consideration. The interpretation of myths in music is conducted using the theory of archetypes by Carl Gustav Jung and modified semantic analysis. The ways of applying the complex set of mythology, archetypes and music for purposes of music education forms an important part of the work. The first chapter explores theoretically possibilities of interaction between myth and music, introduces the theory of archetypes, and defines possible ways of understanding the musical archetypes and their use in interpretation of the musical work. The second chapter is concerned with the classical myths of Apollo, Dionysus, Orpheus, Pan and Sirens. The chapter presents particular versions of the myths and conducts their interpretation. The third chapter focuses on the selected mythological motifs as inspiration for the musical work in the historical perspective. The fourth chapter presents three archetypical, semantic analyses and interpretations of compositions by Igor Stravinsky (Orpheus), Vitezslav...

The theory of the aesthetic of reception proposed by Jauss in the fi eld of literature can be applied to research into the reception of the music of Gustav Mahler. In creating his symphonies ‘with every means of accessible technique’, the composer achieved what might be described as a reinterpretation of the conception of selected genres. In this way he disturbed the traditional ‘horizon of expectations’ of the potential audience, and signifi cantly distanced himself from it. The most important consequence of this was the lack of understanding of his music by a section of his contemporary audience. Mahler justifi ed the rightness of his own creative intuition with the famous sentence ‘my time will come’. In her article the author presents the fundamental theses of Jauss’s aesthetic of reception relating to his understanding of the ‘horizon of expectations’. She also indicates the manner in which Mahler distanced himself from that ‘horizon’, and how in individual symphonies he contributed to the expansion and reinterpretation of conceptions of genres which had previously been based on knowledge shared by the composer and the listener.

El presente escrito da cuenta de una investigación realizada durante los años 2004 y 2006. Su objetivo central es mostrar cómo se vincula la experiencia musical con la construcción o reconstrucción que las personas hacen de sus vidas y de sí mismas tras haber sufrido agresiones de naturaleza sexual, así como también explicar en qué consiste dicho vínculo, atendiendo a las especiales características tanto de las víctimas como del repertorio por ellas utilizado en este proceso de reparación. This article is based on the results of a research carried out between 2004 and 2006. It presents the linkage of the musical experience with the construction or reconstruction that people make in their lives and in their own selves after having suffered sexual assault. This linkage is analyzed on the basis of both the special characteristics of the victims and the features of the musical repertoire employed by them in their healing process.

La reproductibilidad del sonido supuso un cambio en la recepción musical, comparable tan sólo en la Historia de la Música a la invención de la escala y la notación musical. Antes de la fonografía, los instrumentos mecánicos fueron capaces de producir automatizadamente música, sin necesidad de intérpretes, comenzando con un cambio de paradigma de trascendentales consecuencias. Todavía hoy, estos instrumentos tienen vigencia, a pesar del nulo interés que despiertan entre las investigaciones musicológicas, Sound reproduction meant a change in musical reception, comparable, in the history of music, only to the invention of musical scale and notation. Before phonography, mechanical instruments were already capable of producing music automatically, without the need of performers, iniciating a change of paradigm with far-reaching consequences. Nowadays, these instruments are still in use, even though no attention is paid to them by musicological research.