Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11929
Riccardo Nardozzi
This article provides a general overview on the theme of ‘musical aptitude’ and ‘musical aptitude test’, with a focus on the research of American music teacher and psychologist Edwin Gordon (1927-2015). After a quick look at the debate on the origins of 'musicality', and on the history of music aptitude tests and early forms of experimentation in this domain, the article goes more in-depth about the entire research of Gordon and the resulting speculations, ideas, discoveries, and investigations: the source and development of music aptitude, its nature and characteristics, audiation as 'musical thought based on a syntactic understanding of music', and music aptitude tests (MAP, AMMA, PMMA, IMMA, AUDIE). A final look at criticism and research about the tests will bring the reflection back to evaluation and education, a pair that is reganing currency today.
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Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11937
N. Badolato
This review considers the volume Musica e gesto nel teatro mozartiano. Le didascalie nelle "Nozze di Figaro" by Paolo De Matteis (Lucca, LIM, 2020). This is an examination that follows in the wake of the numerous studies addressing gestural expression in opera music, in this case applied to Mozart's Nozze di Figaro. The author carries out an in-depth analysis of the relationship between libretto and score in regard to the explicit and implicit stage, proxemic and gestural captions.
这篇评论考虑了莫扎特歌剧的音乐gesto nel teatro。Paolo De Matteis的《Nozze di Figaro》(卢卡，LIM, 2020)。这是继对歌剧音乐中手势表达的大量研究之后的一项研究，在这种情况下应用于莫扎特的《费加罗之歌》。作者从显性和隐性舞台解说、体裁解说和手势解说等方面对剧本与配乐的关系进行了深入的分析。
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Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11938
A. Rizzuti
The article examines the different versions of Schubert's Choral Lied on a text by Goethe Gesang der Geister uber den Wassern, focusing mainly on the final version for male octet and string ensemble. The investigation starts with a semantic-morphological analysis of the verbal text and then concentrates on the solutions Schubert experimented with in an attempt to produce a setting as close as possible to the spirit of Goethe’s text.
本文考察了歌德·格桑·德·盖斯特·uber den Wassern的《舒伯特的合唱谎言》的不同版本，主要关注男性八重奏和弦乐合奏的最终版本。调查从言语文本的语义形态分析开始，然后集中于舒伯特尝试的解决方案，试图创造一个尽可能接近歌德文本精神的环境。
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Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11926
F. Piperno
Besides sound, the essence of music is inherent in the materiality of the objects that graphically represent, concretely produce, and ideally describe that sound: books, instruments, paintings. The history and didactics of music, therefore, must also include these objects among its research and teaching contents, especially if these are aimed at illustrating the meaning and role of music in a specific era or environment. With a methodological support from anthropological studies on the notion of gift, on the social meaning of collecting, and on the symbolic functions of objects owned, requested or donated, this study probes into the hermeneutic effectiveness of this perspective by specifically investigating the musical collecting of the Duke of Urbino, Guidubaldo II Della Rovere. The study reveals how much the Duke's interests for musical objects have contributed to define his identity and his role in relations with foreign gentlemen of his time.
除了声音，音乐的本质是固有的物质性的对象，图形化地表现，具体地产生，并理想地描述声音:书籍，乐器，绘画。因此，音乐的历史和教学也必须将这些对象包括在其研究和教学内容中，特别是如果这些对象旨在说明音乐在特定时代或环境中的意义和作用。在人类学对礼物概念、收藏的社会意义以及拥有、请求或捐赠物品的象征功能的研究的方法论支持下，本研究通过具体调查乌尔比诺公爵Guidubaldo II Della Rovere的音乐收藏，探讨了这一观点的解释学有效性。这项研究揭示了公爵对音乐物品的兴趣在多大程度上决定了他的身份，以及他在与他那个时代的外国绅士关系中的角色。
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Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11948
D. Caramia
Neuroscienze cognitive della musica by Alice Mado Proverbio offers an updated selection of studies on the delicate interweaving between musical practice and brain plasticity. The book provides evidence on how the learning and enjoyment of music can be verified by means of neuroimaging techniques, showing how it determines significant variations in sensory and motor cortical areas as well as in limbic centers, the guardians of emotions. The many topics addressed, from perfect pitch to rehabilitation in Parkinson's and mirror neurons, turn out to be useful in an educational perspective, building a valid framework of reference for any further independent investigation. As a reader and commentator on this text, I hope that readers who, like me, are fascinated with the musical synaptic forest, will be able to follow the story of science without getting lost in dead ends, and fully discover just to what degree we are made of music.
Alice Mado Proverbio的《神经科学认知della musica》提供了关于音乐练习和大脑可塑性之间微妙交织的最新研究。这本书提供了如何通过神经成像技术来验证音乐的学习和享受的证据，展示了它如何决定感觉和运动皮质区域以及情感守护者边缘中心的显着变化。从完美音高到帕金森氏症的康复和镜像神经元的许多主题被证明在教育角度是有用的，为任何进一步的独立研究建立了一个有效的参考框架。作为本文的读者和评论员，我希望像我一样对音乐突触森林着迷的读者能够跟随科学的故事，而不会迷失在死胡同里，并充分发现我们在多大程度上是由音乐组成的。
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Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11945
Giorgio Pestelli
Faced with the impossibility of translating “music” in a broad sense into words, this contribution shifts attention to “musics”, which can be talked about by identifying relationships with codified musical forms or meanings through two main categories: music set to poetic texts, and absolute music for which a context can be outlined through recurring passages. As an example of “verbalization of a musical discourse”, the piece Chopin from Schumann’s Carnaval op. 9 is analyzed, identifying those passages that are present in both authors, and an image of Chopin condensed by Schumann as lyrical essence.
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Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11947
L. Bianconi
In his Cours complet d’harmonie et de composition (1806) Jerome-Joseph Momigny offered both a paraphrase of the first movement of W.A. Mozart’s D minor Quartet K 421, and a double analysis of the first movement of Joseph Haydn’s Symphony no. 103 in E flat major. In the first case, he matched the phrases of Mozart’s composition to the verses of a fictional quarrel between Dido and a runaway Aeneas, providing both a harmonic and structural analysis at the same time. In the case of Haydn, a first, essentially formal analysis is complemented by an analyse pittoresque et poetique conceived as a dramatisation: the subject illustrates the contrasting reactions of the peasants to the threat of a storm, their prayers, comments, banters, and ensuing squabbles.In both cases Momigny segments the composition into ‘periods’ that convey complete meaning. Therefore, he does not rely on a pre-established morphological model – the very idea of sonata form had not yet been formulated in 1806 – but seeks logical and formal links in the narrative coherence resulting from the succession and concatenation of musical periods. This translation into words of a complex, multi-layered construct like the first movement of Haydn’s symphony is no doubt arbitrary, but not inappropriate. However, it has the merit of reducing the gap between poor denotation and lavish connotation that is peculiar to musical language.Moreover, in itself the very beginning of Symphony no. 103 gives a textbook example of the limits that constrain the power of the word vis-a-vis musical language. Indeed, the sources give no indication on how to perform the “drum-roll” that made it famous.
在他的课程完成d 'harmonie et de composition(1806)中，杰罗姆-约瑟夫·莫米尼(Jerome-Joseph Momigny)提供了w·a·莫扎特d小调四重奏K 421的第一乐章的释义，以及约瑟夫·海顿(Joseph Haydn)的第4号交响曲的第一乐章的双重分析。降E大调103大调。在第一种情况下，他将莫扎特作品中的短语与虚构的狄多和逃跑的埃涅阿斯之间争吵的诗句相匹配，同时提供了和声和结构分析。在海顿的案例中，首先，本质上是形式分析，辅以一种被认为是戏剧化的pittoresque et poetique分析:主题说明了农民对风暴威胁的对比反应，他们的祈祷，评论，嘲笑和随后的争吵。在这两种情况下，Momigny都将文章划分为“时期”，以传达完整的含义。因此，他不依赖于预先建立的形态模型——奏鸣曲形式的概念在1806年还没有形成——而是在音乐时期的继承和连接所产生的叙事连贯性中寻求逻辑和形式的联系。这种像海顿交响曲第一乐章那样复杂、多层结构的翻译无疑是武断的，但并非不恰当。然而，它的优点是缩小了音乐语言特有的外延贫乏与内涵丰富之间的差距。此外，就其本身而言，交响曲的开头部分。103给出了一个教科书式的例子，说明与音乐语言相比，单词的力量受到了哪些限制。事实上，这些资料并没有说明如何演奏让它出名的“鼓声”。
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Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11932
Luca Aversano
Musical activities play an important role in the life of modern universities, and are internationally recognized as a strategic and defining element of university policy, also from the point of view of the cultural education of students. The best universities around the world are committed to designing, supporting, managing and coordinating musical initiatives within the academic community, and are setting up appropriate organizational structures for this purpose. This contribution addresses the issue in relation to the Italian situation, also in view of the so-called "Third Mission".
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Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11936
C. Cuomo
This review examines the volume Composizione, analisi musicale e tecnologia nella scuola primaria. I bambini compongono, raccontano, analizzano, riflettono (Pisa, 2019) by Emanuele Pappalardo. The book reports the results of a school experiment conducted by a network of institutions, including the Comprehensive School Institution of Latina and the Music Conservatory of the same city, where the author teaches. The relationship between composition, musical analysis and listening, mediated by the use of the computer, was the heart of the experiment, which was structured like a laboratory and organized like a research project. The purpose of the volume is to document both aspects, and also to provide a self-training course for teachers, to whom it is primarily addressed.
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Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11942
A. Battistini
In classical rhetoric, the name ekphrasis designates the detailed verbal description of a concrete object or subject, i.e. the transposition into words of something that is intended to be "seen" by placing it under the eyes of the reader. The privileged field of application of this device are the visual arts, in which critics are expected to render both real and fantastic images through words, translating the fixedness of visual data into the temporal sequence of a verbal discourse. In the case of musical art, ekphrasis aims to render in words sequences of sounds that are in turn temporally oriented, and in this respect diverges from a verbal representation of the visual arts, which exist in a spatial dimension. In music, however, meanings exist but are generally not denoted according to a specific semantic system, and therefore require transcoding processes and lexical loans. Even in the poetic description of a work of visual art (e.g. the sonnets in which Marino describes the image of Daphne's metamorphosis into laurel in Bernini's marble group, animating and dramatizing it), ekphrasis can generate a flowering of poetic tropes that clearly enhance the semantic content. This enhancement of meaning is even more necessary in musical ekphrasis, which tends to shift the object of representation from physical-acoustic data, or from the specific semiographic system, to the sensations it produces in the listener. In fact, rather than insisting on the musical text, the melophrasis - as it has recently been renamed - is ultimately directed at the effect it causes, and therefore at viewers and their internalization processes. The result is a substantial shift from denotation to connotation, through extensive (but not uncontrolled) recourse to metaphorical procedures, applied to the sound images of the composition, to the proxemics and environmental components of performance, and finally to the specific sound symbolism contained in certain scores.
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