Pub Date : 2021-12-16DOI: 10.54103/2465-0137/16878
Alessandro Arbo, A. Bertinetto
{"title":"Penser la musique à l’ère du web","authors":"Alessandro Arbo, A. Bertinetto","doi":"10.54103/2465-0137/16878","DOIUrl":"https://doi.org/10.54103/2465-0137/16878","url":null,"abstract":"","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84520362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-16DOI: 10.54103/2465-0137/16867
Paolo Magaudda
L’articolo analizza l’emergere della tecnologia blockchain nel settore dell’industria musicale, identificando le retoriche e le “promesse” costruite attorno al suo impatto sulla circolazione della musica digitale. La blockchain è stata descritta come una imminente “rivoluzione” nel settore della musica ed è spesso acclamata come una nuova “tecnologia dirompente”, in grado di trasformare radicalmente il mondo della musica. L’articolo analizza il modo in cui questa innovazione è presentata discorsivamente da articoli, documenti, notizie e presentazioni da parte delle start-up e degli organi di informazione del settore musicale. Da un punto di vista teorico, l’analisi si basa su concetti provenienti dagli studi sociali sulla scienza e la tecnologia (STS) e fa particolare riferimento agli studi sulle infrastrutture informative e all’analisi delle promesse tecnologiche. Su queste basi, l’articolo delinea una panoramica dei principali discorsi e retoriche generate intorno alla blockchain musicale, riconoscendo cinque principali promesse tecnologiche a supporto dell’adozione della blockchain nell’industria musicale. Infine, l’articolo solleva anche alcune preoccupazioni sulle possibili conseguenze dell’adozione della tecnologia blockchain rispetto alla costruzione del valore culturale della musica e all’evoluzione della circolazione della musica digitale nel prossimo futuro.
{"title":"Le “promesse tecnologiche” della blockchain nell’industria musicale digitale","authors":"Paolo Magaudda","doi":"10.54103/2465-0137/16867","DOIUrl":"https://doi.org/10.54103/2465-0137/16867","url":null,"abstract":"L’articolo analizza l’emergere della tecnologia blockchain nel settore dell’industria musicale, identificando le retoriche e le “promesse” costruite attorno al suo impatto sulla circolazione della musica digitale. La blockchain è stata descritta come una imminente “rivoluzione” nel settore della musica ed è spesso acclamata come una nuova “tecnologia dirompente”, in grado di trasformare radicalmente il mondo della musica. L’articolo analizza il modo in cui questa innovazione è presentata discorsivamente da articoli, documenti, notizie e presentazioni da parte delle start-up e degli organi di informazione del settore musicale. Da un punto di vista teorico, l’analisi si basa su concetti provenienti dagli studi sociali sulla scienza e la tecnologia (STS) e fa particolare riferimento agli studi sulle infrastrutture informative e all’analisi delle promesse tecnologiche. Su queste basi, l’articolo delinea una panoramica dei principali discorsi e retoriche generate intorno alla blockchain musicale, riconoscendo cinque principali promesse tecnologiche a supporto dell’adozione della blockchain nell’industria musicale. Infine, l’articolo solleva anche alcune preoccupazioni sulle possibili conseguenze dell’adozione della tecnologia blockchain rispetto alla costruzione del valore culturale della musica e all’evoluzione della circolazione della musica digitale nel prossimo futuro.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91132332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-16DOI: 10.54103/2465-0137/16865
Luca Cossettini
In the era in which the web is fully demonstrating its archival potential, more and more composers make use of sound, melody and computer library repositories. It is a clear trend in popular music, which is increasingly being extended also to ‘academic’ composition: today authors can access and contribute to a vast array of audio materials, of procedures and languages, where historicity and innovation coexist in an eternal present. At first glance it may seem a revolution. However, a closer look reveals ancient roots in the history of music that audio reproduction has made only more evident: the fixation of music on tape, at first, has led some composers (e.g. Bruno Maderna) to create sound libraries to be reused in different works, thus blurring the borders of the Opera; later on, the dematerialization and atomization of procedures in IT have pushed towards a philosophy of sharing (e.g. libraries for Computer Assisted Composition systems) – exalted today by the capillarity of the lightning-fast web distribution – raising deep questions about the concept of author itself. Moving further backwards, to the re-uses in Rossini and Mozart, or to the anonymous formulas in Gregorian chant, could we not find the recurrence of a quest for that world of «myriad strains that once shall sound», where the composer can stretch forth a hand for a musical idea, so wonderfully glimpsed by Busoni in his Sketch for a New Esthetic of Music?
{"title":"The quest for myriad strains","authors":"Luca Cossettini","doi":"10.54103/2465-0137/16865","DOIUrl":"https://doi.org/10.54103/2465-0137/16865","url":null,"abstract":"In the era in which the web is fully demonstrating its archival potential, more and more composers make use of sound, melody and computer library repositories. It is a clear trend in popular music, which is increasingly being extended also to ‘academic’ composition: today authors can access and contribute to a vast array of audio materials, of procedures and languages, where historicity and innovation coexist in an eternal present. At first glance it may seem a revolution. However, a closer look reveals ancient roots in the history of music that audio reproduction has made only more evident: the fixation of music on tape, at first, has led some composers (e.g. Bruno Maderna) to create sound libraries to be reused in different works, thus blurring the borders of the Opera; later on, the dematerialization and atomization of procedures in IT have pushed towards a philosophy of sharing (e.g. libraries for Computer Assisted Composition systems) – exalted today by the capillarity of the lightning-fast web distribution – raising deep questions about the concept of author itself. Moving further backwards, to the re-uses in Rossini and Mozart, or to the anonymous formulas in Gregorian chant, could we not find the recurrence of a quest for that world of «myriad strains that once shall sound», where the composer can stretch forth a hand for a musical idea, so wonderfully glimpsed by Busoni in his Sketch for a New Esthetic of Music?","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87471425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Henry Burgess, Junior, published in 1743 the earliest known set of organ concertos by an English composer. These show strongly the influence of George Frideric Handel, whose organ concertos published as Op. 4 in 1738 invented the genre, but also reveal that of Antonio Vivaldi and – more surprisingly – the English song tradition. Though still little known, Burgess is a capable and inventive composer, whose sparkling concertos, performable either with or without orchestra, deserve a place in the repertoire.
{"title":"The Organ Concertos of Henry Burgess (1718–1786)","authors":"M. Talbot","doi":"10.3986/dmd17.2.04","DOIUrl":"https://doi.org/10.3986/dmd17.2.04","url":null,"abstract":"Henry Burgess, Junior, published in 1743 the earliest known set of organ concertos by an English composer. These show strongly the influence of George Frideric Handel, whose organ concertos published as Op. 4 in 1738 invented the genre, but also reveal that of Antonio Vivaldi and – more surprisingly – the English song tradition. Though still little known, Burgess is a capable and inventive composer, whose sparkling concertos, performable either with or without orchestra, deserve a place in the repertoire.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44820731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Oklicna knjiga ljubljanske stolne župnije (1737–1759) je posebnost zaradi jezika, saj je bila vodena v slovenščini in kot takšna prikazuje slovensko glasbeno terminologijo svojega časa. Med vpisi oklicev se jih 19 nanaša na glasbenike oziroma z glasbo povezane osebe. Od znanih osebnosti je najti Filipa Jakoba Repeža, organista, pesnika in skladatelja iz Starega trga pri Ložu.
卢布尔雅那大教堂教区（1737-1759）的出版因其语言而具有特殊性，因为它是用斯洛文尼亚语进行的，因此展示了当时的斯洛文尼亚音乐术语。在这些职业中，有19个是指音乐家或音乐相关人员。著名人物包括来自Stari trg pri Ložu的管风琴师、诗人和作曲家Filip Jakob Repež。
{"title":"Glasbeniki in z glasbo povezane osebe v slovenski oklicni knjigi ljubljanske stolne župnije iz let 1737–1759","authors":"B. Golec","doi":"10.3986/dmd17.2.03","DOIUrl":"https://doi.org/10.3986/dmd17.2.03","url":null,"abstract":"Oklicna knjiga ljubljanske stolne župnije (1737–1759) je posebnost zaradi jezika, saj je bila vodena v slovenščini in kot takšna prikazuje slovensko glasbeno terminologijo svojega časa. Med vpisi oklicev se jih 19 nanaša na glasbenike oziroma z glasbo povezane osebe. Od znanih osebnosti je najti Filipa Jakoba Repeža, organista, pesnika in skladatelja iz Starega trga pri Ložu.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46271362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Z namenom implementacije interdisciplinarnega teoretskega aparata za proučevanje libretov v multimodalnih umetniških konfiguracijah v polju glasbenega gledališča avtor članka predstavi lastno inovacijo – analitično orodje Vokalurlinie. Ta nam kot zanesljiv metajezikovni zapis bimodalne kongruence besedne in glasbene prozodije omogoča pertinentno reševanje problemov, povezanih s prevajanjem in adaptacijo libreta, z namenom zagotavljanja karseda optimalnih pogojev pevske izvedbe in percepcije.
{"title":"V iskanju inovativnih pristopov pri interdisciplinarnem raziskovanju libretov glasbenogledaliških del","authors":"Benjamin Virc","doi":"10.3986/dmd17.2.01","DOIUrl":"https://doi.org/10.3986/dmd17.2.01","url":null,"abstract":"Z namenom implementacije interdisciplinarnega teoretskega aparata za proučevanje libretov v multimodalnih umetniških konfiguracijah v polju glasbenega gledališča avtor članka predstavi lastno inovacijo – analitično orodje Vokalurlinie. Ta nam kot zanesljiv metajezikovni zapis bimodalne kongruence besedne in glasbene prozodije omogoča pertinentno reševanje problemov, povezanih s prevajanjem in adaptacijo libreta, z namenom zagotavljanja karseda optimalnih pogojev pevske izvedbe in percepcije.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47159114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article examines the role of the theatrical agent in the operatic circuits of the late nineteenth and early twentieth centuries on the eastern Adriatic coast in the light of his relations with theatre management, impresarios and fellow agents. There were many different types of theatrical agent involved in managing operatic seasons, and they had different working practices.
{"title":"On the Role of the Theatrical Agent in Operatic Circuits at the Turn of the Twentieth Century: The Case of the Eastern Adriatic Coast","authors":"Cristina Scuderi","doi":"10.3986/dmd17.2.02","DOIUrl":"https://doi.org/10.3986/dmd17.2.02","url":null,"abstract":"The article examines the role of the theatrical agent in the operatic circuits of the late nineteenth and early twentieth centuries on the eastern Adriatic coast in the light of his relations with theatre management, impresarios and fellow agents. There were many different types of theatrical agent involved in managing operatic seasons, and they had different working practices.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70403402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
oleg tragedij in komedij so po Johannu Matthesonu med operne zvrsti 18. stoletja v Hamburgu sodile tudi satire (»Strafspiel«). Članek prikazuje, kako je Georg Philipp Telemann italijansko pastoralno opero I satiri in Arcadia (Dunaj 1714) preoblikoval v »Strafspiel« Damon (Hamburg 1724), satiro nezvestega ljubimca.
{"title":"Der neumodische Liebhaber Damon (1724) Georga Philippa Telemanna: predelava dunajske pastoralne igre v moralno satiro","authors":"Livio Marcaletti","doi":"10.3986/dmd16.1.02","DOIUrl":"https://doi.org/10.3986/dmd16.1.02","url":null,"abstract":"oleg tragedij in komedij so po Johannu Matthesonu med operne zvrsti 18. stoletja v Hamburgu sodile tudi satire (»Strafspiel«). Članek prikazuje, kako je Georg Philipp Telemann italijansko pastoralno opero I satiri in Arcadia (Dunaj 1714) preoblikoval v »Strafspiel« Damon (Hamburg 1724), satiro nezvestega ljubimca.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48928604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Wurttembergische Landesbibliothek in Stuttgart houses a rich collection of Stammbucher, including ones compiled by Paul Jenisch (1558–1647) and Johann Michael Weckherlin (1579–1631). These valuable sources (Cod. hist. qt. 298–299 and Cod. hist. oct. 218) offer a wealth of iconographical evidence concerning organology and performing practices.
{"title":"Pictorial Depictions of Musicians, Musical Instruments and Music-Making in the Stammbücher of Paul Jenisch (1558–1647) and Johann Michael Weckherlin (1579–1631)","authors":"S. Owens","doi":"10.3986/dmd15.1-2.08","DOIUrl":"https://doi.org/10.3986/dmd15.1-2.08","url":null,"abstract":"The Wurttembergische Landesbibliothek in Stuttgart houses a rich collection of Stammbucher, including ones compiled by Paul Jenisch (1558–1647) and Johann Michael Weckherlin (1579–1631). These valuable sources (Cod. hist. qt. 298–299 and Cod. hist. oct. 218) offer a wealth of iconographical evidence concerning organology and performing practices.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48482978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Michael Praetorius describes tempo modification in a variety of contexts. Performers changed the speed of the tactus according to text and music, to move the affects, in accordance with dynamics or scoring, to adjust to changes in prevailing note-values, and for reasons of variety. Such practices were an important part of performance aesthetics and are confirmed by a number of German and Italian sources.
Michael Praetorius在各种情况下描述了节奏的变化。表演者根据文本和音乐改变动作的速度，根据动态或评分来移动效果，以适应流行音符值的变化，以及出于多样性的原因。这种做法是表演美学的重要组成部分，并得到了许多德国和意大利来源的证实。
{"title":"“Now Quickly, Now Again Slowly”: Tempo Modification in and Around Praetorius","authors":"D. Marincic","doi":"10.3986/dmd15.1-2.03","DOIUrl":"https://doi.org/10.3986/dmd15.1-2.03","url":null,"abstract":"Michael Praetorius describes tempo modification in a variety of contexts. Performers changed the speed of the tactus according to text and music, to move the affects, in accordance with dynamics or scoring, to adjust to changes in prevailing note-values, and for reasons of variety. Such practices were an important part of performance aesthetics and are confirmed by a number of German and Italian sources.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42773316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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