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The seventeenth-century Commonwealth of Poland and Lithuania, embracing the lands of the Polish Crown (together with the territory of present-day Ukraine) and the Grand Duchy of Lithuania, belonged geographically to both Central and Eastern Europe. It was a multiethnic and multiconfessional state, in which the Latin and Greek cultures were mutually interactive. With regard to the musical culture of the royal court, however, itwas the close ties with Italy that were of the greatest significance. The Polish kings of the Vasa dynasty (above ali Zygmunt III and Władysław IV) maintained music chapels consisting to a considerable extent of Italian musicians, among whom were Luca Marenzio, Giulio Cesare Gabussi, Asprilio Pacelli, Giovanni Francesco Anerio and Tarquinio Merula. Thanks to the Polish patronage, they not only composed newworks, but also trained musicians of various nations belonging to the royal ensembles. Among the composers trained at the Polish court was the Italian Marco Scacchi (d. 1662), chapel-master to Władysław IV, the composer of operas staged in the royal theatre, and also a music theorist – the author of a classification of musical genres which was produced during Scacchi's dispute over music theory with the Gdansk organist Paul Siefert. This dispute contributed to the popularisation across Europe of the works of Scacchi and also of other musicians associated with the court of the Polish Vasas. Extant handwritten sources of Silesian provenance (belonging to the Emil Bohn collection, currently held in the Staatsbibliothek Preussischer Kulturbesitz in Berlin) testify the considerable interest in this region (now within the Polish borders, but in the seventeenth century constituting a dominion of the Empire) in the religious compositions of Marcin Mielczewski (d. 1651), musician to Władysław IV (until 1644) and subsequently, until his death, chapel-master to Karol Ferdinand Vasa, Bishop of Płock and Wrocław. Of Mielczewski's compositional output for the needs of the Roman Catholic Church, copyists from Lutheran circles in Wrocław chose primarily psalms that were universal to the Christian repertory, furnishing those works whose texts chimed with the doctrine of the Augsburg confession with more appropriate texts of German-language contrafacta. However, this method was not always successful in eliminating traces of Catholicism, which remained, for example, in the melodies of works based on pre-compositional material drawn by Mielczewski from Marian songs that were popular in Poland (e.g. the church concerto Audite gentes et exsultate, also preserved in a version with the text of a German-language contrafactum entitled Nun höret alle, based on the song O gloriosa Domina, which in the former Commonwealth was treated as a chivalrous hymn).

Warschau und seine musikalische Identität in der ersten Hälfte des 18. Jahrhundert (die so genannten Sachsenzeiten)

Vorwort – Begrüßung – Aussprache

Tschechische musikalische Identität in mitteleuropäischem Kontext am Anfang des 21. Jahrhunderts

Mitteleuropa – Mythos oder Wirklichkeit?

Slowenische Musik als Teil der mitteleuropäischen

Übernationales und nationales in der Musik

The increasing participation rate in higher education has raised its own issues, such as how to fund the growth while retaining the quality of education. In Finland, it has been argued that the tuition-free higher education policy increases equality. On the other hand, in the United Kingdom, establishing a system of tuition fees supported by an income-contingent loan system for students has also been argued to increase equality. In Australia, students also face high tuition fees for higher education, as well as a support system focused on domestic students. In addition to tuition fees, entrance examinations also play a crucial part in higher education systems. In order to examine inequalities in higher education from the students’ point of view, tuition fees are scrutinised in connection with equality, and entrance examinations in relation to cultural reproduction. Comparing examples of higher music education institutions in Finland, the United Kingdom, and Australia shows that there are large differences between the tuition fees charged for domestic and international students, as well as between countries. Entrance examinations in higher music education are similar in these countries, but may include inequalities based on long traditions in the field of music, especially in classical music. By revealing misconceptions about equity in higher education, it is possible to have a critical debate about the role of tuition fee systems as they are connected with the economics of higher education, and about entrance examinations as reproducing social class inequalities. This discussion may contribute to the redefinition and reformation of more equitable and just education systems, and promote equality in general in society.

©2021 Anne Jordhus-Lier. This is an Open Access article distributed under the terms of the Creative Commons CC-BY 4.0 License (https://creativecommons.org/licenses/by/4.0/). The purpose of this article is to discuss the use of discourse analysis in order to understand music teachers’ professional identities. This is done by elaborating on the theory and methodology of a study on professional identities of music teachers within the Norwegian municipal school of music and performing arts. Theoretical and methodological perspectives, including research design, analysis, results, validity and ethics, are discussed in the article. An argument in favour of discourse analysis is put forward: that it offers focus on the context, complexity and power relations of the field, as well as providing an understanding of how identities are constructed and negotiated. The use of discourse analysis in the study provided analytical tools which challenged taken-for-granted knowledge, discovered binary discursive oppositions, and unmasked power relations. The study found that teachers construct their identities within a contested discursive field where meanings are attached to the work they perform, as well as to the institutions they represent.

The practicum conversation in School of Music and Performing Arts teacher educating programs An arena for development of students’ professional understandings This article addresses the practicum training in Norwegian teacher educating programs, and focuses on the practicum conversation, where three participants of the teacher educating program meet: the student, the teacher educator and the practicum supervisor. By observing students’ practicum-related teaching in School of Music and Performing Arts (SMPA) as well as practicum conversations related to this teaching, the aim of this study is to investigate how the practicum conversation functions as an arena where students acquire professional understanding, as well as exploring the understandings of the SMPA teacher profession that appear in these conversations between the three participants. The results are discussed in light of theory of professions and socio-cultural learning theory. The article argues for the importance of students’ active participation in the community of practice, and highlights some challenges associated with the practicum conversation and the relationship between educational institutions and the practice field.

This study suggests that the pedagogy of music history for the professional training of musicians – including opera singers and future opera composers – could benefit from applying narratology to operatic analysis and acknowledging the “operatic of opera” in the organization of the artistic materials as one possible pedagogical approach. By breaking with the canonized forms of music history pedagogy, the subject content of opera history can be explored for instance through the architecture of temporal narrativization, as made possible by the multiple media types incorporated into opera. The study demonstrates this temporal narrativization through examples grouped into three main categories: “temporal sameness”, “temporal incongruence” and “non-linear temporality”. While most of the examples are drawn from the classical-romantic repertoire, the analysis also shows that new pluri-medial ways of dealing with temporality and narration have been emerged in contemporary opera. The study argues that by analyzing and illustrating the architecture of temporal narrativization as one form of the “operatic of opera” in Western operatic practice, students will gain a better understanding of the special nature of the pluri-medial nature of opera.

Denne teoretiske artikkelen drøfter mulighetene for hvordan kunnskap om leseprosessen og lese- og skriveopplæringsmetoder brukt i den norske grunnskolen kan anvendes for noteopplæring i instrumentalundervisning på nybegynnernivå, der vestlig tonal musikk ligger i fokus. Tekstlesing og notelesing synes å ha mange fellestrekk som kognitive prosesser. Gjennomgang av undervisningsmetoder i språk- og notelesing viser imidlertid flere grunnleggende forskjeller, som vektlegging av ulike metodiske elementer, progresjon i innføring av nye skrifttegn, samt valg av undervisningsaktiviteter. Artikkelen beskriver språklig og musikalsk syntaks og lesing som en kognitiv prosess, og sammenlikner populære læreverk brukt i leseopplæring i Norge i henholdsvis språk og musikk. I diskusjonsdelen blir det argumentert for at bruk av undervisningsaktiviteter som tar i bruk skriving, erfaring med klingende musikk før noteskriften introduseres, introduksjon av grunnleggende harmonilære samt tilpassing av læreverkenes layout kan ha positiv effekt på utvikling av notelesingsferdigheter på nybegynnernivå. English abstract English title: How can knowledge about language learning and teaching be used to enhance the study of music reading at the beginner level? This theoretical article aims to discuss the possibility of using teaching methods for reading and writing used in Norwegian primary schools for teaching literacy for music notation to instrumental pupils at the beginner level, focusing on western tonal music. Language and music reading have much in common as cognitive processes. However, comparison of methods for teaching how to read language and music shows several fundamental differences. They relate to the emphasis on various methodological elements, progression in the introduction of new symbols and choice of the activities used in the teaching/learning process. The article describes musical and linguistic syntax, acquisition of reading skill as a cognitive activity, and compares popular method books for teaching reading text and music in Norway. In the discussion section it is argued that the teaching activities that use writing music, experiencing various elements of music as sound before introducing musical notation and introducing basic knowledge about harmony, as well as adjusting of layout in the books for beginners, will have a positive effect on sight-reading at the beginner level.

This article illustrates how a social innovation, Figurenotes, has contributed and can contribute, through conceptual change, to the advancement of equity in Basic Education in the Arts (BEA), Finland’s publicly funded system of extracurricular music education. BEA has traditionally been characterised by structures and pedagogical practices–such as the use of Western standard music notation–that influence the accessibility of music studies. The theoretical framework for this interview study consists of change-theoretical concepts: namely, social innovation, multiple streams, and policy windows. The findings are presented at two levels. First, the innovation process of Figurenotes is described to explain social innovation development. Second, three different strands of discourse on the concept of special music education expose the educational policy change generated by this innovation. The findings suggest that the use of Figurenotes has raised awareness of inequity in the institutional agenda and has encouraged this problem to be addressed through the public policy process. The opening of this policy window is critically discussed in relation to the establishment of the field of special music education, and in relation to inclusion and equity policies as well as exclusion.

Automatic chord recognition (ACR) has long been a topic of interest in the field of Music Information Retrieval (MIR), due to not only its commercial applications, but also its support for advanced music analysis. While a lot of ACR-related work deals with audio data, ACR from symbolic music has received less attention. In addition, conventional ACR systems specify chords in a key-dependent way (usually with the root note and the chord quality) and hence are unable to reveal the high-level patterns and harmonic structures. These issues hinder the developments of music analysis and music generation via ACR systems. With the success of deep learning, it is viable to build a symbolic ACR system using a more comprehensive chord vocabulary such as functional harmony. Recently, two advanced models, namely the Bi-directional Transformer for Chord Recognition (BTC) and the Harmony Transformer (HT), introduced for the first time the multi-head attention mechanism to ACR, showing the great capability of the attention mechanism to improve the performance of ACR. In this paper, we systematically study the performance of the BTC and the HT in terms of symbolic ACR, and propose an improved model. Experiments on conventional ACR and advanced functional harmony recognition indicate that the HT has the potential to surpass the BTC, especially in terms of chord segmentation quality. Also the overall performance of the HT is further improved by enhancing the learning of local context and positional information.

O presente artigo, segmento de pesquisa de Pós-Doutorado amparada pela Capes, pretende uma reflexão em torno de uma correspondência inédita trocada de 1926 a 1928 entre Charles Kiesgen, então secretário-geral da Société Musical Indépendante (SMI) (1910-1935), e a compositora Nadia Boulanger (1887-1979), então membro do comitê de direção dessa importante associação musical francesa. No decorrer de seus 25 anos de existência, a SMI teve como principal atividade a realização de suas temporadas de concertos, responsáveis por revelar nomes referenciais da música do século XX e apresentar em primeira audição um número impressionante de obras. As 26 cartas que integram a correspondência que representa o foco deste estudo fazem parte do acervo privado do Departamento de Música da Bibliothèque nationale de France (BnF) e classificadas “Rés. Vm. Dos 138”. No decorrer desses escritos, é possível entender o modo de funcionamento, a seleção dos compositores, intérpretes, das obras para as temporadas de concertos e as inúmeras dificuldades enfrentadas pela associação em seus últimos anos de existência, parte da história da SMI que permanece ainda desconhecida e que a presente investigação busca compreender.

Carlos Althier de Sousa Lemos Escobar é Guinga, violonista nascido em 10 de junho de 1950 no Rio de Janeiro, que em 2020 completou 70 anos. Compositor e instrumentista, ao longo das décadas de percurso profissional suas músicas ressoaram nas diversas salas de concerto, teatros e palcos do Brasil e do mundo. Sua linguagem composicional, seu estilo interpretativo e suas influências são híbridos e ecléticos, exercitando releituras idiomáticas do choro, do baião, do samba, como também do cool jazz, do impressionismo musical francês, das cantilenas villalobianas ou das politonalidades à la Stravinsky. Desde o seu primeiro disco – em parceria com Aldir Blanc –, Simples e absurdo (1991), a produção discográfica de Guinga reserva um lugar de destaque ao gênero canção e à música instrumental, esta última em formato camerístico – violão e outros instrumentos, como em Cheio de Dedos (1996) – ou solista, como Roendopinho (2014) e Canção da Impermanência (2017). No entanto, a dimensão do seu pensamento político-estético ainda não foi suficientemente explorada nas pesquisas científicas em música quando observamos o corpus atual de teses, dissertações, artigos e eventos acadêmicos. Espera-se que os temas abordados nesta entrevista subsidiem os diálogos universidade-sociedademultiplicando a diversidade epistemológica, em particular aquela referente à construção de uma historiografia crítica – e não apenas a musicológica – do instrumento e à compreensão do assim chamado “violão brasileiro”.

En este texto trato de una posible nueva aproximacion al estudio de la musica contemporanea orientada por la actitud de Helmut Lachenmann que, cuando propone el concepto de musica concreta instrumental, sugiere una conceptuacion derivada de la musica concreta de Pierre Schaeffer, llevandolo inclusive a la elaboracion de los Tipos Sonoros de la Nueva Musica. Ya que los modelos teoricos tradicionales, pensados desde el paradigma de la nota, vienen mostrandose insuficientes para el estudio de una musica en la que la organizacion de notas e intervalos no es, necesariamente, el unico medio de organizacion sonora, intentare dirigirme hacia el analisis de la musica no-electroacustica a partir de conceptos tomados de la investigacion electroacustica. Para esto, propongo la adopcion del modelo de Denis Smalley para estudiar lo que llamare de musica acustica basada en el sonido, idea esta que tambien sera propuesta en este texto.

In the past two decades, the study of video game music has come into its own and gained acceptance in the academic community. This subdiscipline, now commonly referred as Ludomusicology, is still attempting basic questions concerning how it can be researched. This article aims to present the current situation and to reflect about some of the main lines of research related to the music of video games and their culture, a field of ongoing research that has received little attention in Hispanic academia up to the present time., El estudio de la música de videojuegos ha alcanzado en las dos últimas décadas su madurez y aceptación en medios académicos. Esta subdisciplina, conocida comúnmente como Ludomusicología, se plantea aún preguntas básicas sobre cómo se puede investigar. Este artículo pretende dar a conocer la situación actual y reflexionar sobre algunas de las principales líneas de trabajo de los estudios sobre la música de los videojuegos y sus culturas, un campo de investigación en desarrollo permanente que, hasta la fecha, ha recibido escasa consideración en el ámbito académico hispánico

El presente estudio tiene por objeto dilucidar cómo Jean-Claude Izzo (1945-2000) secuencia las escenas que describe en el discurso textual de su trilogía policíaca (Total Khéops, Chourmo y Solea) en función de la música con la que las ambienta, intentando, a su vez, precisar qué elementos son los que le llevan a utilizar uno u otro género musical. Este se estructurará, asimismo, a partir de las distintas temáticas asociadas a los vínculos relacionales e identitarios que se establecen entre sus personajes, analizando, en cada una de ellas, la variedad de música que emplea Izzo para aclimatar los pasajes de su obra. Esclarecer esta conexión entre literatura y música nos permitirá determinar los vínculos discursivos que pueden crearse entre ambas manifestaciones artísticas con el fin de intensificar la sensación empática que siente el o la lector/a ante un fragmento donde la música emana de forma simbiótica con el texto escrito.

El presente artículo constituye una aproximación desde un punto de vista estético al trabajo con el instrumento musical que realiza en su obra el compositor español José Luis Torá (Madrid, 1966). En el contexto de su poética, el instrumento se entiende como un cuerpo sonoro, físico, provisto siempre de posibilidades acústicas no actualizadas. Además, se reconoce en él la existencia de una historia o “memoria” que contribuye a cargar de sentido, de antemano, las acciones instrumentales. El artista, partiendo de posicionamientos teóricos afines a los de quien fuera su maestro, Helmut Lachenmann, (y de otras influencias musicales, filosóficas y artísticas), se plantea la necesidad de una labor crítica que permita sacar a la luz nuevas relaciones acústicas en el instrumento en el proceso de creación musical. A lo largo de estas páginas se estudian las implicaciones filosóficas de dicha concepción del instrumento, enmarcándolas en la poética personal de Torá, y se analiza su huella en la escritura musical del autor a través de algunos ejemplos tomados de, entre otras obras, wq.132 à creux perdu (2017), Kaspar Hauser Lied (1993) e in der bruchlosen Ferne, dans le crevasse du temps (2001).

The Sri Lankan Ministry of National Coexistence, Dialogue, and Official Languages published the work “People of Sri Lanka” in 2017. In this comprehensive publication, 21 invited Sri Lankan scholars introduced 19 different people’s groups to public readers in English, mainly targeted at a growing number of foreign visitors in need of understanding the cultural diversity Sri Lanka has to offer. This paper will observe the presentation of these different groups of people, the role music and allied arts play in this context. Considering the non-scholarly design of the publication, a discussion of the role of music and allied arts has to be supplemented through additional analyses based on sources mentioned by the 21 participating scholars and their fragmented application of available knowledge. In result, this paper might help improve the way facts about groups of people, the way of grouping people, and the way of presenting these groupings are displayed to the world beyond South Asia. This fieldwork and literature guided investigation should also lead to suggestions for ethical principles in teaching and presenting of culturally different music practices within Sri Lanka, thus adding an example for other case studies.

In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhala including by large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated from Persia to the Northern part of India in the 13th century and later. Therefore, some scholarly authorities believe that the Sinhalese ‘naturally’ prefer North Indian music as they also continue the suggested Aryan heritage. Nevertheless, some other sources reveal that the North Indian music was spread in Sri Lanka during the British rule with the coming of the Parsi Theatre (Bombay theatre), which largely promoted Hindustani raga-based compositions. This paper explores selected literature and opinions of some interviewees and discusses what could be the reasons for preferences of North Indian music by the Sinhalese. The interviewees were chosen according to their professional profile and willingness to participate in this research. As a result, this paper will offer insights through analysing various opinions and statements made by a number of interviewees. The research also considered some theories which may relate to the case whether Hindustani classical music is due to these reasons a dominating minority culture or a rather self-imposed musical ideology. The latter would establish an aesthetic hierarchy, which is not reflected in the cultural reality of Sri Lanka. This is a new research scrutinizing a long-term situation of performing arts education in this country taking mainly interviews as a departing point.

Editor's note: letter to the Vórtex dossier in honor of Julian Bream.

The Huashan Rock Arts represent the rock pictographs in the Zuojiang River Basin. They record the unique sacrificial scenes by Luoyue people from the 5th century BC to the 2nd century AD. Historical materials, unearthed cultural relics and existing folk customs all prove that the distinguishable musical instrument pictographs on the rock arts include bronze drums, sheep-horn knob bells, ling (small bells with a clapper), etc. All of these also explains why these musical instruments appear on those pictographs, further emphasizing the importance attributed to them on dividing the history of the rock arts into certain periods. This study has found out that after the Western Han Dynasty, the sheep-horn knob bells gradually lost the function of ceremonial and musical instruments due to the destruction of the rite system, thus withdrawing from the historical arena. On the other hand, the artisanship of bronze drums has become more and more exquisite, highlighting its three-fold use for rites, rituals and musical instruments. The drums also continue to occupy a significant part of the music history of the Luoyue ethnic group. Through an in-depth study of the musical instrument pictographs, the music history of the Luoyue is further, clarified and understood.

Питання доцільності використання в опері мови оригіналу як єдино вірного варіанту виконання є спірним і набуло нині характеру міжгалузевого та творчого диспуту. Питання актуалізується у випадку, коли оперний спектакль ставиться у країні, в якій мова оригінального лібрето є незрозумілою для абсолютної більшості слухачів, і виникає проблема донесення ідеї, закладеної автором, до широкого кола слухачів. Існують різні підходи до розгляду цього питання – з точки зору зручності вокаліста, запитів публіки, інтенцій композитора і, нарешті, з точки зору завдань і цілей режисера. Якщо перші три аспекти раніше висвітлювалися в окремих наукових та науково-популярних публікаціях, то режисерський підхід потребує детального дослідження та обґрунтування. Мета дослідження – виявити та обґрунтувати основні режисерські підходи до слова як засобу донесення ідеї та необхідного психофізичного інструментарію актора в опері, як синкретичному жанрі. Методологія дослідження ґрунтується на комбінованому застосуванні універсальних методів наукового пізнання, зокрема теоретичного узагальнення та аналогії, використання яких дає змогу оптимально розкрити сутність досліджуваної проблематики. Наукова новизна дослідження – вперше досліджено практичні аспекти феномену діалогу між автором та публікою з позиції режисерського втілення драматургії. Окреслено значення використання доступної глядачеві мови в оперному жанрі з точки зору втілення режисерського задуму. Висновки. Поява «режисерського театру» у ХХ столітті зумовила переосмислення інтерпретації подачі опери та зміщення акценту на вибір мови. Оскільки акторська виразність, з точки зору режисера, неможлива без миттєвого осмислення драматургії опери, цілісність образу героя досягається лише тісним зв’язком пластики тіла із сценічним словом, чого тяжко досягти при виконанні опери іноземною мовою. Таким чином, доступна глядачеві мова – це єдиний спосіб подолання оперних умовностей та засіб досягнення режисером гіпертекстуального виміру драматургії. Саме в такому вираженні виникає феномен «вічного діалогу».

Looking back over the past nearly 70 years since the People’s Republic of China was established, it seems that the meaning of ‘place’ has varied and changed, especially since the turn of the millennium. ‘Place’ usually refers to a specific geographical area, but it can also reference an imagined space – that is, a sense of place is assembled through experience, feeling, perception and identification. To date, Chinese scholars have paid more attention to the close relationship between traditional music and its locale, or the place in which its original owners resided, but there has been little research that moves beyond a geographical conceptualization. However, the dimensions of place in China are more complex when we consider ethnic minorities rather than the majority Han Chinese: minority musicians represent themselves through their music, while the central government emphasizes the integration of diverse cultures within the Chinese nation. Representations of place, and how these relate to music, therefore differ. This chapter examines, using Feld’s and Basso’s (1996) term, what the ‘sense of place’ is for minority musicians, and how within contemporary China musicians and the state have developed different ‘senses of place’.

The goal of this paper is to shed new light on selected strategies that characterize the tonal style of the first nine studies of the set by means of examining Villa- Lobos’s treatment of tonality from a perspective that takes into account the role of large-scale structure. I focus on three broad tonal effects that characterize the style of the selected studies, examining in detail some of their specific realizations. I demonstrate how 1) tonal madness may be associated with the deformation of tonic and dominant functions, 2) tonal ambiguity emerges from the presence of opposing tonal forces within the same musical space, and 3) tonal coloring is achieved through chromatic voice-leading, tonally oriented parallelism, and the substitution of standard tonal events. The theoretical foundation combines Schenkerian theory with aspects of Joseph Straus’s interdisciplinary studies on musical modernism and disability (2018) and Daniel Harrison’s harmonic theory on 19th- and early 20th-century chromatic music (1994).

The main objective of the article is to present some observations on the singing styles that have been used in relation to Agrarian Life in Sri Lanka. They were sung until the late 1990s by people who were employed in agriculture or who were peasants themselves. Today’s commercial entertainment singers, in the 21st century, are performing these poems with great enthusiasm using audio-visual media. It is questionable whether they are well aware of the environment related to those songs. The agricultural society that promoted these songs has been widely transformed through changed working processes and demographic shifts. Therefore, the modern society is in a position where stage performers cannot have a real experience of these past times. This study is to observe and investigate the specific musical features of those songs that have been transmitted over the centuries. These observations may help to increase a conscious dealing with musical traditions in the context of Sri Lankan agrarian life and their future representation.

Desde a década de setenta, histórias sobre a virtuosidade prematura do violonista Marcos Alan (1956-1973) permanecem no inconsciente coletivo de violonistas do Rio de Janeiro. Em pesquisa desenvolvida no Programa de Pós-Graduação em Música da UFRJ, Marcos Alan se revela também como compositor original e prolífico. Esse levantamento se dá, sobretudo, por meio de análises estruturais de algumas de suas obras. Apesar do importante projeto de análise documental empreitado por sua irmã, Graça Alan, os recursos poéticos constituintes de sua obra permanecem relativamente desconhecidos. No presente artigo, é abordada a Sonatina para dois violões, na qual se observa a manipulação de estruturas cordais – abordadas aqui como matrizes bidimensionais (Morris, 1987) – em intrincado processo de desenvolvimento de derivação serial. Trata-se da primeira abordagem analítica da obra pós-tonal de Marcos Alan.

Este ensaio, de caráter teórico e base bibliográfica interdisciplinar, retoma a discussão sobre o ensino conservatorial, com base em autores que abordaram o assunto. São apresentadas as principais características deste modelo e as críticas a ele traçadas. Analisa-se como, apesar de o modelo já apresentar modificações, ele ainda permanece. Tomando como referencial teórico o sociólogo Pierre Bourdieu, o texto desenvolve o assunto, mostrando que as disputas que ocorrem no campo acadêmico-musical influenciam as questões curriculares e pedagógicas dos cursos de graduação brasileiros. Conclui-se que existe a necessidade de maior discussão entre as diversas especialidades do estudo da Música, a fim de proporcionar uma mudança paradigmática que supere as concepções tradicionais relativas à formação do músico.

Nota do editor: carta para o dossiê da Vórtex em homenagem a Julian Bream.

A análise musical é frequentemente relegada a um estágio de aprendizagem posterior na sequência do estudo instrumental, quando já estão dominadas a teoria musical e a harmonia. Neste trabalho propomos a aplicação da análise musical desde a infância, respeitando a capacidade cognitiva da criança em cada estágio do seu desenvolvimento. Nosso foco de estudo é a criança do período operatório-concreto (aproximadamente de 7 a 12 anos) e seu potencial de análise musical. Serão examinados elementos presentes no processo de aprendizagem do piano com base na teoria piagetiana e, a seguir, discutidas algumas possibilidades de análise musical pela criança, amparadas pela abordagem cognitiva.

Bu araştırmada halk ezgilerinin viyolonsele aktarılmasına ilişkin yapılmış olan ve viyolonsel eğitimine katkı sağlayan lisansüstü tezler incelenerek içerik bakımından sınıflandırılmıştır. Bu araştırma halk ezgilerinin viyolonsele aktarılmasına ilişkin yapılmış lisansüstü tezlerin alt problemler ışığında içeriğinin incelenip sınıflandırılması amacıyla yapılmıştır. Bu amaç bağlamında, tezlerin tek bir araştırma çatısı altında toplanması, başka araştırmacılara yardımcı bir kaynak oluşturması ve bu konuda başka yapılacak çalışmalara ışık tutması bakımından büyük önem taşımaktadır. Bu araştırma, nitel veri toplama yöntemlerinin kullanıldığı betimsel bir araştırmadır. Araştırmanın deseni ise durum çalışmasıdır. YÖK Tez’de viyolonsel veya çello anahtar kelimeleri ile aratıldığında 204 adet teze ulaşılmıştır. Bu 204 tez araştırmanın evrenini oluştururken, bu tezlerden halk ezgilerinin viyolonsele aktarılmasına ilişkin yapılmış olan 5 tez de örneklem grubunu oluşturmaktadır. Bu 5 tezden elde edilen veriler doküman analizi tekniği ile incelenmiştir. Araştırmanın sonucunda halk ezgilerinin viyolonsele aktarılmasına ilişkin yapılan çalışmaların hepsinin eğitim bilimleri enstitüleri ve müzik eğitimi anabilim dallarında yapıldığı, bu doğrultuda tezlerin yapılma amacının öncelikli viyolonsel eğitimi olduğu anlaşılmıştır. Bir tez hariç aktarımı yapılan türkülerdeki koma seslerin sadeleştirilerek tampere ses sistemine uygun düzenlendiği ve daha parlak duyum-tını için genellikle eserlerin karar seslerinin değiştirildiği sonucu ortaya çıkmıştır.

In India, Bengal’s most celebrated literary figure, Rabindranath Tagore, was specifically sensitive regarding the various seasons occurring in India. The monsoon and its relation with Tagore’s songs is the main focus of this paper. The monsoon, when Mother Nature spreads her beauty by unravelling her bounty treasures, is richly expressed by Tagore. In the composition for the khanika (poem) ‘Asho nai tumi phalgune’ [you did not come in the spring season] Tagore says: “when I awaited eagerly for your visit in the spring, you didn’t come. Please, don’t make me wait any longer and do come during the full monsoon”. In another of his songs he visualises on a cloudy sunless day, a person’s longing to share his or her deepest treasure of feeling for that particular important person ‘Emon ghonoghor boroshaye’ [in this heavy downpour] (Tagore 2002: 333, song 248). Through these poetic compositions and many more, one may understand the depth in Tagore’s understanding of the human’s emotional details regarding this specific season. The monsoon may also be disastrous. According to Tagore’s a composition ‘Bame rakho bhoyonkori’ [keep aside the destructions] (Tagore 2002: 394, song 58) he describes as well as wishes that the monsoon keeps away the damage or distress from people’s lives. His tunes blend with his words and emotions, not to mention the ragas that are believed to be related with rain that is popular to the Indian subcontinent such as Rag Megh or Rag Mian ki Malhar. These have been affluently used by Tagore to create emotional feelings through his words. He expresses being a philosopher with whom people can find a connection, irrespective of their regional background.

Este artigo propõe uma discussão sobre a literatura científica relacionada às estratégias de ensino de instrumento musical e oferece exemplos práticos dessas estratégias aplicadas ao ensino de violão. Para tanto, parte-se de uma revisão da literatura pertinente ao tema e apresenta-se uma análise de excertos de uma amostra de master classes que dialogam com o conteúdo discutido. Dessa forma, são apresentados os seguintes construtos: estratégias verbais, divididas em linguagem literal, terminologia técnica da música e linguagem f igurada; comportamento verbal do professor, caracterizado como elocuções verbais, curtas expressões, tipos de questões elaboradas e tipo de feedback oferecido; uso da partitura como meio de aproximar o estudante do conteúdo a ser trabalhado; papel do comportamento gestual no processo pedagógico; modelagem aural, dividida em demonstração vocal, demonstração instrumental e indicação de gravações, como estratégia de ensino da expressividade musical; e o papel do contato físico como plataforma de comunicação para o ensino de instrumento musical.

Türk Makam Müziği ses sisteminin temelinin 13.yüzyılda ortaya çıkan ve Sistemci Okul olarak da adlandırılan sisteme dayandığı bilinmektedir. Safiyyüddin Abdülmümin Urmevî tarafından temeli atılan bu sistemin 15.yüzyılda Abdülkâdir Merâgî tarafından geliştirildiği ve Merâgî’nin özellikle müzik nazariyatına dair kaleme aldığı Câmîü’l-Elhân ve Makâsıdü’l-Elhân adlı elyazmaları ile 15.yüzyıl Anadolu nazariyatçılarına kaynak teşkil ettiği kabul edilmektedir. 15.yüzyıl nazariyatçılarından / teorisyenlerinden Yusuf Kırşehrî, Hızır bin Abdullah, Bedr-i Dilşâd, Lâdikli Mehmet Çelebi’nin el yazmalarından, makamların seyir özelliklerine dair ilk bilgiler alınabilmektedir. Bununla birlikte, 17.yüzyıl ortalarında Ali Ufkî Bey tarafından kaleme alınan ‘Hâzâ Mecmuâ-i Sâz ü Söz’, Osmanlı / Türk Makam Müziği saz / söz eserlerini form çeşitliliği bakımından geniş bir yelpazede içine alan ve çok sayıda eseri bünyesinde barındıran el yazması olarak büyük öneme sahiptir. Bu mecmuâdan önce bu kapsamda başka bir nota örneği olmaması nedeniyle 17.yüzyıl öncesine dair seyir özellikleri konusunda edvârlardaki sınırlı bilgiler ile yetinilmek zorunda kalınmaktadır. Buna karşın, 17.yüzyıl ve sonraki yüzyıllar içinde kaleme alınan gerek edvârlar gerekse çeşitli nota yazım sistemleri ile kayıt altına alınmış saz / söz eseri notaları üzerinde yapılan incelemeler ile makamsal seyir özelliği ayrıntılı biçimde ortaya çıkarılabilmektedir. Makamların, yüzyıllara göre az ya da çok değişime uğradığı da bilinmektedir. Özellikle Sultan III. Selîm Han dönemi ile birlikte Osmanlı / Türk Makam Müziğinin büyük bir gelişim dönemi yaşadığı söylenebilir. Bu dönemde bazımakamlar, seyir, geçki ve karar ediş biçimi bakımından önceki yüzyıllara göre farklılıkların olduğu bir yüzyıl olarak ortaya çıkmaktadır. Bu araştırma ile, özellikle Dügâh perdesinde karar eden makamlardan Bûselik, Hümâyun, Dügâh ve Hisar makamlarının 17.ve 18.yüzyıl saz / söz eserleri ile el yazmalarında belirtilen makam seyir özelliklerinden yola çıkarak Zirgûle ve/veya Nim Zirgûle perdesinin yeden olarak kullanılmaya başlandığı dönemin belirlenmesi amaçlanmıştır. Bu amaç doğrultusunda Tarama modeli ile yazılı kaynaklarda bulunan gerek yazılı makam seyir özellikleri gerekse saz / söz eseri nota örnekleri incelenmiş ve makamların hangi yüzyılda değişime uğradığı konusunda bir yargıya varılabilmiştir. Bu araştırmanın sonucunda, 17.yüzyılda Bûselik Makamı’nın gerek seyir içinde gerekse tam karar aşamasında Zirgûle perdesini kullanmadığı, Kantemiroğlu dönemi ile birlikte Bûselik seyir içinde Zirgûle perdesine yer verildiği fakat tam kararın yedensiz biçimde gerçekleştirildiği, 1750 – 1775 dönemi ile birlikte Bûselik seyir içinde Zirgûle perdesine yer verildiği ve tam kararın genel olarak yedensiz yapıldığı, ayrıca, yeden olarak Zirgûle perdesinin ilk örneklerinin kullanılmaya başlandığı, Dügâh ve Hümâyun Makamlarının 1750 – 1850 dönemi ile birlikte yeden olarak Zirgûle perdesini kullanmaya başladığı, 1750 - 1770 döneminde Zirgûle perdesinin Hisar Makamı’nda da uygulandığı sonuçlarına ulaşılmıştır.

Este artigo tem como objetivo analisar a trajetoria estilistica do choro no Brasil sob o enfoque do violao de sete cordas. Apos breve digressao sobre genero e estilo, sao discutidas modificacoes de ordem tecnica do violao de sete cordas no choro. Considerados os maiores expoentes do instrumento no choro, Dino Sete Cordas e Rabello Raphael contribuiram para inovacoes estilisticas e organologicas do instrumento na segunda metade do seculo XX. Essas inovacoes sao analisadas por meio da relacao idiomatica entre o violao de sete cordas acompanhador e solista, com base em ferramentas analiticas dos proprios musicos de choro. Diante das novas tendencias do seculo XXI, este estudo corrobora a hipotese de que estilos tradicionais e nao tradicionais coexistem pacificamente no choro.

[EN] Jaquetti (1895-1963), a composer, poet and folklorist whose name does not appear in the main music dictionaries. She carried out an important task of collecting ca. 10.000 Catalan folksongs for the project “Obra del Cançoner Popular de Catalunya” (1922-1936) -most of them unpublished- and collaborated with the Instituto Español de Musicología in the Misión M12 (1945) to collect songs of oral tradition in seven charity nursing homes in Barcelona. The transcriptions of the ca. 450 songs collected in the Misión M12 and the informants’ cards of the people who sang them can be consulted in the website of the Fondo de Música Tradicional IMF-CSIC (), but the field notebook where Jaquetti annotated the vicissitudes of the mission remained unpublished. This notebook, transcribed here, is particularly valuable, owing to its ethnomusicological and social interest -describing aspects of post Spanish Civil War Barcelona- and, from the literary point of view, as an example of clear, straightforward, elegant, and expressive prose of an extraordinary woman., [ES] a Jaquetti (1895-1963), compositora, poeta y folclorista cuyo nombre no aparece en los principales diccionarios de música. Llevó a cabo una ingente labor de recogida de ca. 10 000 canciones tradicionales para la “Obra del Cançoner Popular de Catalunya” (1922-1936) -la mayoría siguen inéditas- y colaboró también con el Instituto Español de Musicología en la Misión M12 (1945) para recoger canciones de tradición oral en siete asilos de Barcelona. Las transcripciones de las ca. 450 canciones recogidas de la Misión M12 y las fichas con los datos de las personas que las cantaron pueden consultarse en el portal web del Fondo de Música Tradicional IMF-CSIC (), pero el cuaderno de campo en el que Jaquetti anotó las vicisitudes de esa misión permanecía inédito. Este cuaderno, que se transcribe en esta aportación, es particularmente valioso por su interés etnomusicológico y social —al describir aspectos de la Barcelona de posguerra-, y desde el punto de vista literario como muestra de la prosa clara, sencilla, elegante y expresiva de una mujer extraordinaria.

Nota do editor: publicacao de partitura de estudo para violao, baseado na obra de Ernesto Nazareth.

O violonista Roland Dyens (1955-2016) ocupou um lugar de destaque no mundo do violao classico. Suas performances, composicoes e arranjos, alem de sua atividade pedagogica, sao reconhecidos e admirados em todo o mundo. O mesmo se aplica ao violonista Sergio Assad (n.1952). O presente artigo procura demonstrar as inovacoes e a complexidade das solucoes presentes em seus arranjos para violao solo, em especial seus arranjos para a obra Verano Porteno de Piazzolla, original para o quinteto Tango Nuevo do compositor. Comparamos os arranjos entre si e tambem com outros arranjos para a mesma obra. Fizemos uso de entrevistas que encontramos e outras que conduzimos com os arranjadores. Para emoldurar a analise (comparativa) usamos ainda conceitos de complexidade de Edgar Morin e de criatividade de Csikszentmihalyi.

O presente artigo versa sobre a presenca de violonistas na cidade de Sao Paulo no seculo XIX. Atraves de criticas do pianista Alexandre Levy, publicadas em 1890, analisam-se os concertos de Martinez Toboso e Gil-Orozco, violonistas espanhois, cujo duo parece ter sido o primeiro a realizar concertos mais formais em Sao Paulo. Trata, ainda, da atuacao de Gil-Orozco, que fixou residencia na capital paulistana durante dezessete anos (1890–1907), tendo sido fundamental para o desenvolvimento do violao na cidade.

The study of the Orquesta Nacional de Espana (ONE) during the Spanish transition (1975-82) sheds light on the discourses configured around democracy. The fact of being the most favoured group by the State invites us to explore the musical politics of that time, still very affected by the triumphalist inertia inherited from the Franco regime. From 1977, some significant changes occurred: the creation of the Direccion General de Musica by Jesus Aguirre, the conversion of the ONE into an Autonomous Organism and the publication of the Regulation in 1982. All these changes led to a more inclusive management from the sociological perspective and according to the programmed contemporary Spanish repertoire. However, feminist analysis limits this progress. The comparison of unpublished material, obtained from the Administration General Archive, with that of newspapers confirms our proposal.

The present paper serves a theoretical as well as a musicological purpose in addressing metrical dissonances in the multifaceted act of Baroque dance music. In identifying the centrality of the minuet in eighteenth-century repertoire as a capital example of the aesthetic style of the time, this article discusses its complex metrical structure in the integrative art of music and dance. By way of established analytical tools designed by contemporary theorists (KREBS, 1999; LERDAHL; JACKENDOFF, 1983; LITTLE; JENNE, 2001) the minuet’s metrical dissonances are systematically analyzed. The complex metrical structure of the minuet is then discussed in light of its practical implications for today’s performance scene. Such a discussion illuminates the need for mutuality between theory and practice in an intentional endeavour to reconcile and, therefore, better understand the historically segregated arts of music and dance in the performance of Baroque repertoire.

This review is about the event “My flowing Life: the Songs of the Miao cleaning women in the Demon City Shanghai”, which took place on the afternoon of 29th December 2019, at the ceremonial hall of the Shanghai Aurora Museum. The event was designated as a workshop for practical reasons and is a “heart and sound” interaction among specific urban groups. Miao cleaners, students, scholars and the public interacting in the Demon city. The term Demon city comes from a novel written by Muramatso (1924?). It describes the city character of Shanghai in the beginning of the 20th century and reminds of long-term views of people coming from outside into the city. The cleaners came into town with their cultural habits and expectations long after that time. The event reviewed was to provide an opportunity to express these habits.

O emprego da língua vernácula em cânticos católicos não ocorreu somente a partir do Concílio Vaticano II (1962-1965), conforme faz crer o senso comum. Ao contrário, no Brasil, sabe-se ter sido prática ao menos desde a década de 1860, com a produção de hinários pelos religiosos lazaristas. Neste trabalho, busca-se analisar uma fonte impressa em Portugal em 1800, sem notação musical, que sistematiza diversos cantos em vernáculo. Embora impressa em Portugal, há notícias de sua circulação em território brasileiro na primeira metade do século XIX. A fim de constatar eventuais continuidades dos textos, procede-se à comparação entre Canticos Christaõs e cinco coletâneas posteriores, sobretudo as de circulação no Brasil. Para fins de análise, recorre-se a referenciais acerca das memórias e identidades coletivas. Os resultados apontam para um extenso processo de continuidade no uso dos cantos em vernáculo na liturgia católica, ainda que fora do Ordo Missae.

This article deals with the history of the development of ornamentation in keyboard music, the principles of its formation and performance styles. Ornamentation is one of the greatest means of expression in keyboard performance. It has ancient historical roots. In keyboard music, ornamentation was subject to various changes depending on the period. Ornamentation manifests itself in various forms in keyboard music. Thus, ornamentation is not just a means of embellishment. It is considered as the main component in the creation of a work. Embellishments are also essential as an aesthetic factor. The purpose of this research is to review the principle of the embellishments’ historical development, to classify the types of ornamentation in music and to determine the role of embellishments in music. At the same time, the research clarifies the concept of the style of ornamentation in the keyboard music of Western Europe. The research methodology is based on a comprehensive musical-analytical, theoretical and historical analysis, a synthesis of the Western European and Russian musicologists’ scientific literature regarding the subject of ornamentation. The research includes links to articles published with regard to ornamentation in music encyclopedias, and the conclusions have been scientifically substantiated. The scientific novelty of the research. For the first time in the framework of the musical science of Azerbaijan, the features and principles of the ornamentation performance in Western European keyboard music were studied. The findings of the study can be used for future research. Conclusions. Ornamentation is important in the keyboard music of Western Europe and acts as its main means of expression. The development of ornamentation in keyboard music is directly related to the art of improvisation. So, embellishments are considered as the main means of expression in the art of improvisation. In keyboard music, ornamentation is not only an embellishment of the melody. Along with the structure of the melody, it also plays an important role in creating the rhythmic structure of the work, the artistic content of the work, and the shape of the texture. Musicologists have considered ornamentation from the point of view of various prisms and classified it in various forms. In the modern period, ornamentation is divided into two groups in the form of embellishments and free ornamentation. One of the main features of keyboard music in Western Europe is that it reflects the musical traditions of that period. It should be noted that the ornamentation in keyboard music underwent a period of rapid development in the Baroque era. The main characteristic feature here is the lack of regulation of decorations, its change depending on the school, style of performance. Later the concept of style in ornamentation was lost. Thus, in the classical era, the embellishments were already regulated and a common system of decorations in European keyboard music was adopted.

In this essay, I investigate the issue of neoclassicism around the public figure of the polish composer Alexandre Tansman. The objective is to chart some of the ways in which the composer is related to neoclassicism. I begin by presenting an understanding of the term neoclassicism and proceed to an investigation of how commentators see Tansman’s relation to it, both in relation to his ideas on music and art and in relation to compositional decisions and procedures. Toward the end of the essay, a section is dedicated to the issue of neoclassicism in Tansman’s guitar works, in which I present an argument against the easy use of the term within this repertoire. The final section wraps up the discussion and presents a graphical representation of the results of the present investigation.

A pesquisa tem como objetivo a reelaboração de passagens não-idiomáticas em uma obra para violão solo através do processo colaborativo compositor-intérprete. A obra escolhida, o Estudo nº 10 para violão solo do compositor brasileiro Marcelo Rauta, apresenta passagens não-idiomáticas, tornando difícil ou impossível a execução fluente da obra. A identificação das passagens não-idiomáticas foi realizada por três violonistas e a autora do trabalho. A partir da identificação das passagens não-idiomáticas, estabeleceu-se um processo colaborativo da autora com o compositor, com o objetivo de tornar o texto musical mais fluente e idiomático para o violão. Como resultado destacamos a importância do processo colaborativo na resolução de passagens não-idiomáticas, com a apresentação de uma nova edição musical que enriquece o repertório brasileiro de estudos para o instrumento. The research aims to rework non-idiomatic passages in a solo guitar work through a collaborative composer-performer process. The chosen work, Study nº 10 for solo guitar by Brazilian composer Marcelo Rauta, presents non-idiomatic passages, making it difficult or impossible to perform the work fluently. Three guitarists and the author made the identification of non-idiomatic passages. From the identification of non-idiomatic passages, a collaborative process was established by the author and the composer in order to make the musical text more fluent and idiomatic for the guitar. As a result, we highlight the importance of the collaborative process in resolving non-idiomatic passages by presenting a new musical edition that enriches the Brazilian repertoire of studies for the instrument.

Nos ultimos anos estudantes com formacao pelo Metodo Suzuki tem se destacado em suas performances em concursos de violao como os promovidos pelo GFA - Guitar Foundation of America. No entanto, o metodo elaborado em 1983 por Frank Longay esta distante do ambiente academico brasileiro, o qual apresenta majoritariamente pesquisas das escolas tradicionais de violao. Um dos mais importantes autores dessas escolas de violao e Abel Carlevaro. Segundo Wolff (2001), Carlevaro foi um marco para o desenvolvimento da pedagogia do instrumento. A presente pesquisa visa analisar procedimentos tecnicos abordados em 4 pecas do volume 01 do metodo Suzuki para violao relacionando-as com o metodo ESCUELA DE LA GUITARRA de Carlevaro (1978). Como resultado, concluimos que os conceitos de apresentacao longitudinal e transversal de Carlevaro sao trabalhados nas pecas do metodo Suzuki havendo, no entanto, divergencias com relacao a abordagem de toque de mao direita.

En esta historia intelectual de la aparición de la estética musical global, trato del nacimiento de la estética como un campo filosófico moderno y la expansión de la historiografía musical hasta incluir el mundo entero. Estos momentos musicológicos globales son muy evidentes en los primeros escritos de Johann Gottfried Herder (1744-1803), quien canalizaría y mantendría esa confluencia a lo largo de su vasta obra publicada. El título de este artículo procede de Herder, específicamente de los volúmenes que llamó Volkslieder (Canciones populares, 1778/79), en los que conecta sus escritos fundacionales sobre estética, Kritische Wälder (Selvas críticas), con el primer concepto integral de estética musical global. La historia de la recepción de Herder es en sí un hilo conductor crítico en la historia intelectual de la estética musical que conecta el siglo XVIII con el XXI. Sigo este hilo conductor hasta el sur de Asia en el siglo XVIII a la búsqueda de una moderna estética musical indú fundacional, particularmente en el género clásico kriti, del sur de la India, y el vasto dominio estético de la teoría de los rāga, que también dio un giro hacia lo moderno a finales del siglo XVIII. El artículo concluye volviendo al presente con ejemplos de principios estéticos de Herder aplicados a interpretaciones musicales en la actual crisis migratoria global. Es esa historia intelectual, con ejemplos del pasado y del presente, de la Ilustración en Europa y en el sur de Asia, especialmente sus dimensiones globales, la que da forma a la teoría de momentos musicológicos globales que constituye el núcleo de este artículo.