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In order to verify the association of music study hours (MS) and physical activity levels (PAL) with depression (DEP) and anxiety (ANX) symptoms, 57 students filled out IPAQ and DASS-21 questionnaires. Over 80% were categorized as active, of which 47.4% performed physical activities (PA) in their free time. 49% presented moderate DEP and ANX symptoms, and 59.9% presented severe DEP and ANX symptoms, with no relations found between PAL + MS and DEP + ANX. Nevertheless, the daily sitting time and total walking time presented a positive association concerning DEP scores; hence, factors concerning lifestyle and PA practice featured greater importance in the prevalence of DEP and ANX in musicians than MS practice. [ABSTRACT FROM AUTHOR]

This study aimed at exploring gender differences in music undergraduate's overtraining syndrome. The study was descriptive, quantitative, and cross sectional. Five hundred undergraduate students from ten Mexican public universities participated: 178 women and 322 men. To measure stress symptoms, we used the ESSEM scale (Reynoso, 2018) and an inventory of Health Conditions. After a comparative analysis, results showed that the primary sources of stress were frustrating extracurricular situations and social distancing. Women scored higher on psychological symptoms of overtraining and reported more illnesses and ailments. Results suggest that women have a higher level of demands to fulfill various roles between family and academic activities and social pressures imposed in musical environments that produce inequities. Results lead to the recommendation of paying attention to the music training environment, the type of teaching exercise, and the requirements of study programs to counteract gender inequities. [ABSTRACT FROM AUTHOR]

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The objective of this work was to propose an adaptation of the Kenny Music Performance Anxiety Inventory (KMPAI) scale for the assessment of musical performance anxiety that offers better psychometric indices (such as reliability and sensitivity) than the original scale, and that is more in line with our cognitive/cultural context. The instrument has been presented to 134 musicians in two forms: (a) the original questionnaire (with 7 response options) and (b) another with an extended response scale (with 11 anchor points). The results suggest that the adapted form (KMPAI-ERE) improves its psychometric and discriminative properties compared to the original form, and is proposed as va lid for the assessment of performance anxiety. It was concluded that this form of the questionnaire can be proposed as an alternative to the original form in future research, as it allows for more precise responses in its scope. [ABSTRACT FROM AUTHOR]

En este artículo se presenta un análisis cualitativo preliminar de los contratos laborales firmados entre cuatro músicos de Europa del este y la dirección de la Orquesta Sinfónica de Antioquia en 1949, mientras dichos músicos estaban en los campos de refugiados europeos donde los sobrevivientes de la guerra fueron congregados para su atención y rehabilitación. Con este análisis se pretende problematizar la inserción de estos personajes como agentes de modernización cultural en Medellín, haciendo énfasis en las condiciones políticas y socioculturales que caracterizaban a Colombia a comienzos de la década de 1950. La nacionalidad de estos músicos (tres checos y un rumano) era objeto de sospecha desde la legislación migratoria colombiana, que desde la década de 1920 establecía un catálogo de extranjeros que no debían entrar al país, pues podían traer ideologías contrarias a la defensa de la propiedad privada. Al contrastar estos contratos laborales con la política migratoria colombiana y con la responsabilidad pedagógica cívica que se le imponía a la actividad musical académica, se plantean algunas preguntas para debatir acerca de la narrativa oficial que presenta a estos músicos como agentes de modernidad importados e integrados a un proceso de modernización cuya representación se ha caracterizado por la ausencia de conflicto.

Copyright of Revista Umbral is the property of Revista Umbral 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 study of enjoyment, defined as a positive affective state that occurs when a person engages in an experience or activity that satisfies a desire, goal, or need, is a topic of growing interest in Psychology. The objective of this work is to delve into theoretical aspects of this phenomenon and explore how it is expressed in the execution of musical instruments. Method. Musical instrument performers (n=210) participated (18.8% women and 81.2% men). Instruments. Sociodemographic questionnaire and Inventory of Enjoyment in Musical Performance (IDEM). An analysis of descriptive statistics, correlation and a confirmatory factor analysis (CFA) were carried out. The results allow to conclude that the enjoyment of musical instrument performers, unlike what happens with other activities, includes emotional, cognitive, motivational and contextual aspects related to each other. Likewise, this experience is expressed as a state, but also as a process and as a result. Given the conceptual and empirical developments, it is important to consider enjoyment as relational and in the context of vital meanings of the person. Finally, knowing how this experience is expressed in specific activities as well as the factors that determine it, allows promoting it to contribute to a better quality of life for the subjects. [ABSTRACT FROM AUTHOR]

Different studies show that two groups as different as militaries and musicians usually demonstrate high levels of anxiety and depression. So, the objective of this study is measuring these clinics variables in military musicians comparing with civil musicians. The sample is composed of 266 musicians, represented fifty percent by military and civilian coming from all over the national territory. To measure the levels of anxiety and depression were used the Beck Anxiety Inventory (BAI) and Beck Depression Inventory (BDI). The results show a direct relationship between anxiety and depression in the sample total and in both groups, finding that military musicians score higher than civilians in both variables, and that in the military sphere it affects the Ladder, being the troop that presents higher levels of anxiety and especially depression. [ABSTRACT FROM AUTHOR]

El archivo de la colegiata de Santa María la Mayor (Toro) ofrece un fondo excepcional para el estudio de la evolución de su capilla musical. A partir de las fuentes contables desarrollaremos el análisis de este órgano musical para explicar su evolución a lo largo de la Edad Moderna y para valorar su peso en el ambiente musical de la meseta norte. Dado que su archivo musical se ha perdido, llevaremos a cabo un análisis prosopográfico e institucional que dé a conocer la riqueza de este templo y la sonoridad que pudieron tener sus celebraciones hasta el fin del Antiguo Régimen.

Some texts and images of the cornicines (as military musicians) and their role within the strategy of war or in times of peace are examined. [ABSTRACT FROM AUTHOR]

Music Performance Anxiety (MPA) is a subjective construct of a maladaptive type created by the musician himself. This problem triggers a series of physical, cognitive, and behavioural symptoms that lead to a decreased interpretive effectiveness in public and a risk to the overall health of the sufferer. Therefore, this is a problem that affects musicians, both students and professionals, and constitutes a real obstacle to their careers. In this work, the level of MPA has been measured in learners of Professional Music Education Studies in Murcia (Southeast of Spain). For this purpose, the Spanish version of the K-MPAI (Kenny-Music Performance Anxiety Inventory) questionnaire was given to a sample of 403 students. The results indicate that the factors of MPA that reach higher levels are anxious apprehension, proximal somatic anxiety, and worry/dread. It is concluded that women, wind instrumentalists, students whose parents are musicians, as well as those who have studied music for more years present higher levels of AEM compared to their comparison group counterparts. [ABSTRACT FROM AUTHOR]

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The flexibilization of work, informality and precariousness that have been affecting the artistic sector, especially the music sector, are reflected in the way musicians manage their professional careers. This precarious context puts workers in vulnerabilities, touching the meanings they attribute to their professional activities: it is through work that the act of giving meaning to nature is materialized, that the subject-object relationship is measured, with the disruption in the circuit of meanings a generator of suffering, compromising mental health. This study analyzes the career models developed and their consequences in the meanings attributed by musicians to their work in the context of the COVID-19 pandemic, which intensified their obstacles. This psychosociological and descriptive research had the participation of eight workers in the field of music, who responded to semi-structured interviews. Data were analyzed using the Content Analysis technique. All ethical research procedures were followed. As results, musicians understand their professional careers related to the financial aspect, providing income, as well as enjoying what they do – professionals in organizations recognize themselves in the career anchors model, while the autonomous in the entrepreneurial career model. They attributed importance to the work they develop, with it meaning “everything” in their lives, in the foreground when evaluated against other dimensions of their lives. They face the intensification of precariousness at work during the pandemic, looking for parallel jobs to support themselves and continue their musical career. [ABSTRACT FROM AUTHOR]

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Los cambios que a nivel político, económico y social se vienen produciendo en los últimos años y su repercusión en el ámbito educativo, han provocado un replanteamiento de los procesos educativos, muy particularmente de los métodos y los recursos utilizados hasta el momento en las aulas. La educación musical, y en concreto la que se ofrece en los conservatorios de música (indistintamente de que estos impartan enseñanzas elementales, profesionales o superiores), exige profundos cambios pedagógicos y curriculares que permitan a los profesores convertirse en profesionales capaces de analizar de forma crítica su desempeño como docentes, para poder así desarrollar e implementar las estrategias didácticas que más favorezcan los procesos de enseñanza-aprendizaje de su materia. En este contexto de renovación curricular y didáctica, presentamos una investigación centrada en los conservatorios de música, y cuyo objetivo no ha sido otro que conocer la realidad de las clases de orquesta y otras agrupaciones musicales que se configuran en estos centros. A través del análisis de documentos y la entrevista semiestructurada como herramientas de investigación, hemos podido comprender el valor que estas materias colectivas cobran, tanto en el devenir de la institución, como en la formación musical de los estudiantes. Con este trabajo salen a la luz conclusiones tan importantes como la necesidad de reorientar el modelo pedagógico actual hacia un proceso de enseñanza-aprendizaje más centrado en el trabajo en grupo, para que el estudio individual encuentre su proyección y continuación lógica en las diferentes agrupaciones, y estas se conviertan en la motivación necesaria para afrontar el trabajo más personal de estudio técnico del instrumento.

Although music is positively related to a higher level of wellbeing, within the population group who dedicate themselves to this discipline professionally the reality is quite different. A total of 383 adults (63.2% female) [18-51 years old (M=31.6; SD=12)] participated in the study. The main objective of this study is to compare the differences in levels of self-esteem and life satisfaction among musicians to those of a sample of the general adult population. The results show that levels of self-esteem and life satisfaction are correlated, although this relationship differs when compared between musicians and the general population. Levels of self-esteem are lower among younger musicians. A stance in favor of a better care of professional musicians is expressed. [ABSTRACT FROM AUTHOR]

In this article it is presented the perspective of labeling theory - outsider career and its subjective context and its social interaction. Therefore, the objective was to identify how the outsider career labeling process occurs for musicians and the social and professional implications of having an outsider career in the municipalities of São João del-Rei and Tiradentes. The approach was qualitative, with the following data collection techniques: observation, interview with a semi-structured script and projective technique. The subjects were defined by accessibility and the number of responses by saturation. For the data analysis, the thematic content analysis was used. The results presented the context of Campo das Vertentes microregion, the trajectory of the researched musicians, the low income, the accumulation of functions, and the difficulties regarding career management. In their social interactions they were labeled by family, friends, partners, and society because of their career, which meant this was considered a career with low social status. Finally, the research limitations and suggestions for future work were presented.

The study purpose is to conduct a comparative analysis of the level of performance and psychophysiological indicators of violinists playing musical compositions in the flow state and according to the standard methodology. The study was conducted in 2019 at Minzu University of China (PRC) among 92 students who studied violin in the conservatory. The experimental group was also better at musicality (p=0.05) and intonation (p=0.05). The results obtained can be recommended as a method for improving musicians' skills while training in conservatories and other music universities in different countries. [ABSTRACT FROM AUTHOR]

El presente artículo parte de la reconstrucción de la trayectoria de Pablo Rosquellas, músico y empresario teatral español que vivió en Buenos Aires entre 1823 y 1831. Este punto de partida nos conduce al objetivo del trabajo: mostrar cómo el análisis de las acciones que desplegaron músicos y empresarios permite complejizar –al tiempo que discutir– una visión que establece a las prácticas culturales de la élite porteña como la consecuencia del accionar modernizador y reformista del grupo rivadaviano. En este sentido, la trayectoria biográfica de Rosquellas nos posibilita desplazar el foco de análisis de la política rivadaviana y situarlo en la dinámica de la cultura musical porteña, particularmente en la consolidación de la ópera buffa. Así, es posible advertir que la conformación de una escena musical moderna –que trascendió las fronteras de la provincia y se insertó en una cultura artística global vinculada a la ópera–, antes que la consecuencia de un programa cultural preestablecido por el poder político rivadaviano, fue el resultado de un entramado de acciones situadas y con grados de especificidad de diversos actores musicales.

Los desórdenes osteomusculares son un problema generalizado en la población laboralmente activa, sin embargo se diferencian dependiendo del trabajo realizado. De acuerdo con Santasmarinas Viñao (1) “Mineros, dentistas, pintores, jugadores de fútbol o empleados de banca, da lo mismo, cualquier profesión desempeñada durante muchas horas, día tras día, durante años, condiciona la forma de vida de la persona; la forma de sentarse, andar, respirar, ver, oír y pensar. El trabajo diario va modelando al ser humano, le da satisfacciones, pero también le somete al riesgo de sufrir determinadas afecciones.” En este caso, la población de interés son los músicos instrumentistas profesionales, los cuales deben mantener horarios de práctica y ensayos muy exigentes en cuanto a frecuencia e intensidad, además se le agrega a lo anterior las presentaciones y conciertos constantes, relacionados como situaciones estresantes, que en conjunto, pueden llegar a provocar grandes estragos en el organismo, principalmente a nivel del sistema osteomuscular, como consecuencia del sobreuso de los segmentos corporales y el alto riesgo biomecánico al que están sometidos permanentemente. Colombia pese a ser un país con un aumento creciente en los últimos años frente a la práctica musical, carece de centros especializados en la atención a profesionales instrumentistas.

The precariousness that conditions the musician's work has multiple articulations and complex configurations within the artistic, economic and social production. Thus, a theoretical reflection is carried out that approximates to interpret the work of the musician from the category of non-conventional work. There is a lack of literature that addresses the dynamics of precariousness around the musician's work. A first step to understand this problem is from concepts and categories that theoretically help to understand the precariousness of the musician's work. This leads to identify and propose three categories of musicians. [ABSTRACT FROM AUTHOR]

The precariousness that conditions the musician's work has multiple articulations; one of them is the structural precariousness that neoliberal policies and the music industry accentuate in the world of musicians' work. A theoretical reflection is presented to approach the understanding of musical work in the current contemporary economy from the category of non-classical work. Categories are proposed to analyze musicians' work and how, with the current health crisis of SARS-Cov2, musicians have had to face a double crisis: precariousness and pandemic. [ABSTRACT FROM AUTHOR]

The Stop Musical Center became in three decades the largest community of musicians in Portugal, a phenomenon that has been studied at a national level. However, despite the cluster that was formed in this space, there have been no visible actions to promote Stop and boost the growth of the musicians installed there. It is therefore relevant to analyze this phenomenon in terms of existing cooperation relationships and the possibility of creating collective actions with positive impact on unorganized creative clusters. To this end, we have used the theory of industrial networks and cooperative relations, which have been the object of study by the Industrial Marketing and Purchasing Group. This case study is a descriptive investigation that analyzes the groups: bands and musicians; production studios; locations; and other relevant actors. Semi-structured interviews were used in a representative sample of the reality in question. In the conclusions we suggested collective actions for the growth and promotion of Stop as a musical center and similar creative networks, based on the work developed.

Desde finales del siglo XVI hasta bien entrado el siglo XVII, en pleno Siglo de Oro, la música se retira de la documentación española. La crítica insiste en el fenómeno aduciendo razones económicas y sociológicas: entre ellas, que la aristocracia española no cultivó la música. Retomando la obra de Menéndez Pidal y su concepto de “estado latente”, plantéase aquí la posibilidad de que aquello en realidad no sucediera, sino que la música fuera entonces conscientemente velada, tomando formas nuevas que sólo pueden comprenderse en la vida aristocrática de la época; formas que de hecho pudieron ser razones del triunfo de la música española en la Europa del momento.

This article aims to analyze the musicians and dancers of the Maya elite through epigraphy and iconography examples in sources of the Classic period (250-900 AD), such as ceramic, mural painting, and sculpted monuments. Therefore, various aspects are studied as clothing, titles, musical ensembles, functions and different contexts which musicians and dancers appear. All this in order to understand its political and religious implications within the complex sociopolitical framework in which the Maya elite participated. [ABSTRACT FROM AUTHOR]

Copyright of Revista Eletrônica de Ciência Administrativa is the property of Instituto Brasileiro de Estudos e Pesquisas Sociais 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 Vínculos de Historia is the property of Vinculos de Historia 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 Esboços: Historias em Contextos Globias is the property of Esbocos: historias em contextos globais 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.)

En nuestro estudio se conocerá las experiencias y vivencias de las condiciones laborales, en los músicos de la Orquesta Sinfónica del Ecuador, por su connotación cultural nacional e internacional, quienes se encuentran inmersos, en factores de riesgo. Se considera imperiosa la necesidad de impulsar el diseño e implementación de políticas públicas. Objetivos es comprender las condiciones laborales en los músicos de la orquesta sinfónica. Metodología de estudio es cualitativo con diseño fenomenológico. Se toma en una perspectiva que va desde lo etic a lo emic. Resultados, el análisis de datos cualitativos se obtuvo mediante tres fases; descripción, reducción o tematización e interpretación. Conclusiones Las relaciones vividas en la familia, se describe una profesión en herencia y cultura, conviven por años, en el tiempo existen alegrías, emociones, competencia, ego, fama, y sobre todo sacrificio, en espacio vivido en ensayos y conciertos, dedicado largas horas a su profesión, admás desde su infancia han sacrificado muchas situaciones a su edad, Dentro de los interpretado en los hallazgos de condiciones laborales, se encontró de forma predominante riesgo ergonómico por presencia de lesiones por trastornos neuromusculares a repetición, llevando a licencias o ausencias de trabajo, por periodos renuentes.

Musculoskeletal injuries related to the work of professional musicians constitute a real public health problem. Thus, we aimed to identify the prevalence and determinants of musculoskeletal injuries in professional musicians practising plucked string instruments. It is a cross-sectional, descriptivecorrelational and quantitative character study, involving 140 Portuguese musicians living in 3 cities from Portugal, aged 18 to 55 years old. A questionnaire was used that included variables of sociodemographic characterization, health / style and musical practice. For the evaluation of musculoskeletal disorders we used the "Nordic Musculoskeletal Questionnaire". The results showed that 70,0% reported musculoskeletal disorders (MI) that manifested as pain / tingling / numbness in the last 12 months, mainly in the wrists / hands (68,6%) and shoulders (54,3%), We found that MI were more frequent in older musicians with higher Body Mass Indexes, those who consumed alcoholic beverages and did not practise physical activity, and those who had excessive performances. We conclude that the prevalence of MI in Portuguese musicians of plucked string instruments is high (70%) and these are related to individual characteristics, life styles and instrumental practice demands, which is urgent to modify through preventive measures. [ABSTRACT FROM AUTHOR]

In music conservatories make sparse use of educational technology. Music teachers claim a lack of time and training in this area. In addition, few studies are devoted to measuring and studying teachers' perception of their own Digital Competence (DC). The main objective of this study is to know the level of Digital Teaching Competence (CDD) self-perceived by the conservatory teachers in Spain. Specifically, this variable has been studied in relation to age, teaching experience, autonomous community, family of instrument, and gender. A quantitative, non-experimental study has been carried out by applying a teacher DC self-perception test, COMDID-A, to a sample of 364 conservatory teachers from Spain. The results indicate a low evaluation of the teacher DC of the same professors, especially for the two dimensions of curriculum and methodological didactics and relational ethics and safety (six items). The findings of this study show the low level of self-perception of teachers' DC, especially among those with more years of teaching experience. This study can be a starting point for the implementation of ICT training programs for teachers, as well as to increase the quality of use of technological tools, increasingly present in music education institutions. [ABSTRACT FROM AUTHOR]

En 1861 J. Federico Muntadas Jornet comenzó un álbum donde recogió las firmas de los amigos, familiares y personalidades que pasaron por el Monasterio de Piedra, donde falleció en 1912. En este artículo, se dan a conocer algunos autógrafos, fechas e impresiones, de compositores, músicos y cantantes que estuvieron en Piedra entre 1861 y 1912, acompañados por comentarios al respecto.

El subterráneo de la ciudad de Buenos Aires posee como característica distintiva la presencia de cientos de músicos que día a día componen la sonoridad de ese espacio. Este artículo ensaya una exploración etnográfica de dichos sujetos en distintas líneas, enfocados en la línea H por ser la última en habilitarse y en la que más músicos se desempeñan. Tomando como herramientas interpretativas los aportes de la geografía crítica y la antropología sonora, debatimos acerca de las disputas que se dan por el espacio sonoro urbano. En este sentido, la intención del gobierno porteño de modificar el Código Contravencional surge como un aspecto ineludible para comprender las implicancias sociales de reunir las expresiones acústicas del ámbito público bajo el concepto de “ruidos molestos”. Los músicos del subterráneo poseen un modo de organización informal que se superpone a la formalidad impuesta por el Estado. Por ello, consideramos la reforma como un modo en que se pretenden ordenar estos puntos de fuga en la sonoridad de los espacios.

Introduction: Music performance anxiety (MPA) is characterized by long-lasting, high intensity apprehension associated with performing music in public. At extreme levels, MPA can impair the career and quality of life. Our goal is to describe the clinical profile, perceived causes and coping strategies associated with MPA. Methods: In this cross-sectional study, several self-assessment instruments were administered to a sample of 214 Brazilian musicians (68% male, 53.3% classical/46.7% popular musicians). Data were analyzed using descriptive and parametric statistics, based on the variables of musical training and level of MPA. Results: Percentages of indicators of pathology were high (40% high MPA levels, 37% social anxiety, 12.5% depression, 13.5% alcohol abuse), and musicians with high MPA levels were the most affected. A wide variety of situations were associated with MPA, especially those related to the individual (pressure from self/concern about audience). Emotion-focused coping and internal resources were prominent among the resources used for coping with MPA (breathing, increased practice, familiarization with performance venue), although they were not always effective. It was relatively uncommon for musicians to seek specialized resources and treatments. Conclusions: The results demonstrate the vulnerability of the targeted professional groups and the need for preventive strategies and behavioral, environmental, educational, and pharmacological interventions to change this scenario. [ABSTRACT FROM AUTHOR]

This paper analyzes Indian church officials (fiscals, choir singers, musicians) in the 16th century, focusing on the privileges they enjoyed as the actors entrusted with organizing and ornamenting the liturgy. This was particularly the case of musicians and members of choirs. While we know that church fiscals played a significant role through their participation in the Republic of Indians, musicians and singers obtained similar recognition, though they were not appointed as members of the local council (cabildo). This role was manifested in the allocation of land and jurisdiction over neighborhoods reserved for musicians and singers that allowed them to participate in the distribution of power during council elections. One result of their condition was that religious musicians benefitted from privileges and rewards associated with the noble lineages. [ABSTRACT FROM AUTHOR]

Con la llegada de la emperatriz Margarita a Viena y sus ya conocidas demandas de comedias y teatro en español se escribían uno de los más excitantes capítulos de la historia de la recepción de la literatura española en territorio europeo, tal y como daban cuenta los trabajos de Wurzbach y Sullivan. En el marco de un estudio más amplio sobre los intercambios culturales entre ambos territorios, este trabajo pretende arrojar alguna luz sobre la antesala de este proceso, esto es, el trasiego de músicos y comediantes durante el paso de la Emperatriz por el norte de Italia camino de Viena. Tras recopilar gran parte de información sobre una compañía de comediantes españoles en Milán, reconstruyendo también su trayectoria por estas tierras, se dará también cuenta de las celebraciones y festejos ejecutados en dicha ciudad a través de diversas fuentes. The arrival of the Empress Margaret to Vienna and her well-known demand for comedias and works of theatre in Spanish has led to one of the most exciting chapters in the history of the European reception of Spanish literature, as the work of Wurzbach and Sullivan has shown. Within a broader study of the cultural exchange between these territories, this work sheds light on the particular circumstances that drew musicians and comedians to the Viennese court during the Empress Margaret's journey to northern Italy. After sketching out new research about the theatre company that travelled to Austria, this paper seeks to reconstruct her stay in Milan and, by drawing on various sources, outline the celebrations and festivities that took place in that city. [ABSTRACT FROM AUTHOR]