Institute of Comparative Music Archives - Page 2 of 4 - Fondazione Giorgio Cini

Istituto: Institute of Comparative Music

    World Music Listening Guides. Intercultural Music Education Courses

    The editorial series World Music Listening Guides. Intercultural Music Education Courses, created by the Intercultural Institute for Comparative Music Studies and curated by Lorenzo Chiarofonte, is edited by Fondazione Giorgio Cini. The publications are funded by the Università di Roma ‘La Sapienza’ within the Research Project of National Interest (PRIN) EDItAVi. Enhancement and development of Italian audiovisual ethnomusicology archives through new technologies sponsored by the Italian Ministry of University and Research.

    aim and field of application

    The guides aim to provide critical tools for understanding musical diversity. By analysing the dance and music characteristics of pieces belonging to different world music traditions, the guides explore the close relationship between music, culture and society, integrating textual descriptions, images, and multimedia animations created from audiovisual materials held in the IISMC archive. The multimedia animations form the core of the guides and represent their most innovative feature. Designed to function independently of the text, they aim to make the distinctive elements of the musical traditions under study immediately accessible. Each Guide concludes with a set of simple exercises intended to assess the knowledge acquired through the texts and animations, which can easily be used as teaching resources by educators.

    Starting from significant pieces of a given musical tradition, the guides explore the general aspects of the performance, such as the cultural context, performance practices, instrumental ensemble, song texts, and symbolic elements. The guides also offer the analytical elements needed to understand the formal and syntactic procedures peculiar to each music tradition: metric-rhythmic structures, processes of melodic variation in instrumental and vocal parts, the relationship between music and sung verse, tuning systems, methods of combining parts, and the interaction between music and dance movements.

    Organised according to progressive levels of complexity, the educational materials presented in the various guides are intended to provide students and teachers with a support for intercultural music education, and address wide audience, including those with no prior expertise.

    Editor: Lorenzo Chiarofonte
    Editorial Staff: Chiara Picardi and Costantino Vecchi
    Graphic design: Multiplo

    Intercultural Institute of Comparative Music Studies

    DIRECTOR
    Giovanni Giuriati
    CONTACTS
    [email protected]

    Music for Spirit Possession Cults In Burma, Myanmar

    This first number of The World Music Listening Guides. Intercultural Music Education Courses, Music for Spirit Possession Cults in Burma (Myanmar), is devoted to the Burmese hsaing waing ensemble and the role it plays in the spirit possession ceremonies of the nat cult. The contents presented here derive from audiovisual materials collected during the event Nat pwe. Music and dance in spirit worship in Yangon (Myanmar), organised by the IISMC in 2017 as part of the series Music and rites, here reworked and presented in a series of multimedia animations that constitute the core of the guide. To convey the meaning that music assumes within these possession rituals, the contents are arranged to provide a general overview of the cult and its ceremonies before progressively focusing on performative aspects and the sound dimension. The interwoven, driving rhythms of the hsaing waing – an ensemble made up of gongs, tuned drums, oboes and voices, described here through fieldwork images collected by the author – generate the energy that sustains the possession dances of the nat kadaw (mediums), facilitating communication with the spirits. The interaction between the action of the instruments, the movements of the medium, and the participation of the audience is illustrated in an animation that reconstructs the unfolding of the different phases of the possession of the famous Brothers of Taungbyone, highlighting the ritual sequence of invocation, dance, entertainment, and the spirits’ dismissal. A specific section is devoted to the song ‘Shwe Byone Maung’, part of the repertoire of nat thachin (‘songs for the spirits’), in which a video animation highlights the various sections and musical structure of the piece. Finally, particular attention is given to the rhythmic interplay between the two main drums of the ensemble: the pat waing, a circle of drums that leads the performance, and the pat ma, a large suspended drum. Their interaction, one of the most distinctive features of this tradition, is analysed through a combination of diagrams, musical transcriptions, and video animations that demonstrate in detail how the dialogue between the two instruments shapes and energises the performance.

    Call for applications Diego Carpitella 2026

    Deadline 15 April 2026

    The Intercultural Institute of Comparative Music Studies, as part of the project Eyes on Music: Projects on audiovisual ethnomusicologys, has established a research grant in memory of Diego Carpitella, aimed at the creation of an audiovisual product of ethnomusicological interest.

    Young Italian or foreign researchers with experience in the field of audiovisual ethnomusicology (preferably under the age of 40 on the closing date of the call for applications) are eligible to apply, provided they submit a project for the creation of an original and unpublished audiovisual product.

    To participate in the selection process, candidates must complete the form by 15 April 2026.

    Sguardi Musicali

    The event is part of a broader initiative called Sguardi Musicali: audiovisual ethnomusicology projects, launched in 2018 by the Intercultural Institute of Comparative Music Studies of the Giorgio Cini Foundation in Venice with the aim of promoting training and support for production in the field of audiovisual ethnomusicology.

    This year’s edition includes a meeting to reflect on experiences of ethnographic fieldwork and the screening of audiovisual documentation resulting from the research carried out, with the presence of directors, researchers and curators of the exhibition, followed by the premiere screening of the film made by Kawkab Tawfik with the support of the Diego Carpitella Scholarship (2024-2025). The presentations will explore the cultures and ritual traditions of North-East Africa and the Middle East, with particular reference to the possession cult known as zār.

    The event is organised in collaboration with Ca’ Foscari University of Venice and CFZ – Cultural Flow Zone.

     

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    Folk Life in Upper Egypt
    by Giovanni Canova (1978–1982) | Super 8 film, 35 min
    former Professor at the University of Naples “L’Orientale”

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    This is a rare ethnographic documentary that offers a vivid portrait of everyday traditions in Southern Egypt at the end of the 1970s. Filmed over several years by Giovanni Canova, the work portrays the rhythms of rural life in Upper Egypt through authentic examples of work songs, domestic songs, traditional music and dances. The camera follows farmers in the fields, women in their homes and communities gathered for celebrations, revealing the deep connections between song, work and popular religiosity. Viewers have the opportunity to observe local folklore and religious celebrations up close, where music becomes both a social bond and a spiritual expression. The film has no subtitles, allowing viewers to focus on the images. 

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    Ethnographic documentation of male dhikr jahrī in Andijan, Uzbekistan
    by Giovanni De Zorzi (2003) | SD video, 5 min
    Ca’ Foscari University of Venice

    Dhikr jahrī session held on the night of 22 May 2003 in Andijan (Uzbekistan) in the private residence of Shaykh Adil Khan Qāri. The circle (halqah) of dervishes practises various types of vocal dhikr (jahrī), which can serve as a refrain to poetry on spiritual subjects and, in some phases, as a support for collective physical movements (raqs).

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    Ethnographic documentation of female zikri in Harar, Ethiopia
    by Simone Tarsitani (2003) | SD video, 5 min
    Durham University, UK

    Ziyārah (pilgrimage) to the branch of the Qurrabe Limay shrine on the night of 10 February 2003. A group of women sing and dance zikri, in parallel with a mawlūd ritual (celebrated by men only) on the occasion of the Arafa festival in Harar, Ethiopia. At two points in the video, it is possible to observe the altered state of consciousness of one of the participants in the dance.

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    Mingis: a Somali possession cult
    by Francesco Giannattasio (1982) | Super 8 film, 16 min
    former Professor at the University of Rome ‘Sapienza’

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    This film was made using audiovisual documentation collected on 11 and 18 March 1982 as part of a research project in the then Somali Democratic Republic, funded by the Institute of Psychology of the National Research Council and conducted by Raffaello Misiti, Francesco Antinucci, Alberto Antoniotto, Piero Coppo and Giannattasio himself. The video presents the highlights of a ritual, explained by Jama Valedi in an interview by Piero Coppo. Jama Valedi is one of the officiants in Somalia who preside over the cult of possession called mingis, a variant of zār (in Somali saar) practised in various regions of Muslim and Christian East Africa. The practices of the cult induce states of trance accompanied by music and dancing, with the aim of healing illnesses believed to be caused by possession by spirits known as mingis.

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    Ethnographic documentation of zār
    by Giovanni Canova (1978) | audio and photographs, 5 min
    former Professor at the University of Naples “L’Orientale”

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    The photographs document a zār session in Luxor on 24 May 1978, led by al-Sayyidah al-Nubiyyah, with an elderly woman who chanted accompanied by a tār (large frame drum), while two other women accompanied her with a duḥullah (terracotta tubular drum) and a riqq (tambourine with jingles). The audio recordings document a subsequent zār session organised in a private home.

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    PREMIERE
    Disappearing Zār: Salīlah the Spirit of the Water
    by Kawkab Tawfik (Diego Carpitella Fellow, 2025) 60 min
    Institut Français d’Archéologie Orientale du Caire (IFAO)

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    Rooted in the ancient traditions of North-East Africa, zār is a ritual of spiritual possession and dance therapy that has long served as a tool for healing and emotional liberation. In Egypt, however, over the last fifty years this practice has been increasingly stigmatised and repressed, pushing the communities that practise it to the margins of society and threatening the very survival of the ritual.

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    Through a combination of intimate interviews and archival footage, the film presents the essential characteristics of zār, while exploring themes of social and gender marginalisation within this disappearing spiritual world.

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    At the centre of the narrative is Samāḥ, a woman oppressed by the burden of possession. Tormented by persistent voices and visions, she turns to a kūdya, a zār priestess, who prescribes a ritual dedicated to Salīlah, the spirit of the waters. Samāḥ’s mother, a follower of the zār, was also possessed by Salīlah and celebrated annual ceremonies to appease the spirit’s wrath, until one day she mysteriously drowned with five relatives in the Nile. Since then, Samāḥ has never found the courage to celebrate another zār. Now, as the possession grows stronger and begins to afflict her two daughters, she seeks help from Muḥammad, one of the last zār musicians still performing within rituals in Egypt. Convinced that there is no time to wait, Muḥammad insists that the ceremony must take place on the waters of the Nile.

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    As preparations proceed – amid the lively markets of Bāb Zuwālah, the gathering of sacred objects and the selection of animals for sacrifice – the film follows the community’s journey towards the ritual. On the river, to the hypnotic rhythm of the Salīlah chants, Samāḥ begins to dance: the dance of possession, a trance that once again connects her to the spirit and legacy of the generations of women who came before her.

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    Free admission until full capacity is reached.

    Casanova al Levante

    The concert highlights the cosmopolitan profile of Giacomo Casanova through the performance of music in vogue at the time of his travels in Eastern Europe and to Constantinople, both of Venetian and Ottoman derivation, with instruments belonging to both musical traditions. Indeed, among the writings left behind by various ambassadors of the time, we find pieces of music transcribed according to Western criteria, with instru-mental and vocal compositions that might be described as “Turkish-lean-ing. Even the musical instruments used combine the influence of Eastern culture and the ‘Orientalisation’ of the Western instrumental tradition. This is the case of the viola d’amore, later adopted in the Ottoman world under the name sine keman.

    Performers: Stefano Albarello (conducting, adnún, baroque guitar), Peppe Frana (lavta lutes and tanbür), Giovanni De Zorzi (ney flute) and Gianfranco Russo (viola d’amore)

    Chinese Marionette Performance | Rituals, Myths and Music of Eastern China

    The Intercultural Institute of Comparative Music Studies stages the tradition of string-operated puppet theatre, an art form deeply rooted in the culture of Zhejiang province and recognised as an intangible cultural heritage of the People’s Republic of China. The performance, curated by the Shuangfeng (Double Phoenix) Company from Rui’An, Municipality of Wenzhou, China, is divided into four parts, designed to allow the audience to explore the diverse artistic and sonic possibilities of Eastern Chinese puppet theatre.

    This type of performance is part of the broader Chinese theatre system, which combines ritual practices, dramaturgical expression, and popular traditions, and is particularly linked to Taoist heritage. String-operated puppet theatre in Eastern China represents a performative form of high technical value, in which the skill of the puppeteer is central to creating a fluid interaction between the inanimate object, narrative expression, and musical accompaniment. The complexity of performance is reflected in the close synchronisation of movements and dialogue, where puppeteers work in synergy with musicians performing on traditional Chinese instruments such as the suona (Chinese oboe), pipa (four-stringed lute), dizi (bamboo flute), and a variety of percussion instruments including gongs and drums, collectively known as luogu.

    The project, curated by Francesco Serratore (Zhejiang Conservatory of Music), also includes a meeting on 4 November between the Chinese artists and students of Ca’ Foscari University, entitled Il teatro di figura nella Cina orientale: analisi culturale e delle pratiche performative. This represents an important opportunity for in-depth study and research on puppet theatre in Eastern China, with significant implications for the study of intangible cultural heritage, traditional music, and language preservation.

    The event is realised with the support of the Wenzhou Municipal Bureau of Culture, Radio, Television, Tourism and Sport; the Communication Department of the Wenzhou Municipal Committee; the Rui’An Bureau of Culture, Radio, Television, Tourism and Sport; and the Rui’An Association for the Safeguarding of Intangible Cultural Heritage, in collaboration with Ca’ Foscari University of Venice, Department of Asian and North African Studies; the Antonio Pasqualino International Puppet Museum; and A.N.G.I., the New Italian-Chinese Generation Association.

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    The performance is structured in four parts, each designed to highlight the multiple artistic and sonic possibilities of Eastern Chinese puppet theatre. The opening piece is performed by the chuida ensemble (winds and percussion), traditionally used to announce the beginning of the performance. This is followed by a depiction of the Eight Taoist Immortals, each represented with their own symbols and powers, in a scene of great scenic and spiritual value, accompanied by auspicious verses and the rhythms of gongs and drums. The third part presents scenes inspired by the local Wenzhou opera, Ouju, in which heterophonic melodies of string and bamboo flute instruments intertwine with male and female singing, demonstrating the expressive potential of puppet theatre within operatic storytelling. The finale captivates the audience with the acrobatics of the true and false Sun Wukong, the Monkey King, whose feats, performed to the driving rhythm of the percussion, culminate in an explosion of energy and spectacle, bringing the performance to a visually and sonically striking conclusion.

     

    • «五更头通» Toutong of the Five Geng
      A festive and auspicious opening piece, performed exclusively on the suona and luogu (gongs and drums). The piercing sound of the suona, together with the insistent rhythms of the gongs and drums, symbolises the transition from night to dawn, carrying wishes of renewal and prosperity. This piece is traditionally used to open performances, signalling the imminent start of the show to the audience.
    • «三星八仙庆贺» The Three Stars and the Eight Immortals Celebrate
      The invocation of the Eight Taoist Immortals is an essential part of the ritual performance repertoire. It is an auspicious scene in which Taoist deities and the benevolent spirits of the three stars (Fortune, Longevity, and Wealth) summon various spirits and deities, make offerings, and bow together in harmony to Heaven and Earth to ensure favourable weather, national peace, and prosperity. This is an ode to harmony and prosperity, conveyed through traditional poetic language and accompanied by the chuida ensemble (winds and percussion).
    • «杨正明封官起程» Yang Zhengming Receives his Appointment and Departs for his Post
      Yang Zhengming was a filial and talented young man who achieved third place in the imperial examination. The story narrates key moments in his life, culminating in his appointment as Governor of Yanghe. The tale is presented in the style of Wenzhou Ouju opera, featuring a type of rasping vocalisation contrasted with the delicate and evocative heterophony of sizhou (silk and bamboo) accompaniment. The scene expresses core Confucian values — virtue, honour, and family harmony.
    • «真假美猴王» The True and False Monkey King
      Inspired by a famous episode from Journey to the West, an epic-mythological narrative frequently adapted for theatre, this scene depicts the trials faced by the Monkey King when travelling to India to bring Buddhist scriptures to China. It portrays the conflict between the true Sun Wukong and his deceptive double. With a driving rhythm, acrobatics, and witty dialogue, the performance explores themes of truth and illusion, loyalty, and discernment. A classic of traditional Chinese theatre, it combines acting skill, technical virtuosity, and moral symbolism, concluding the performance in a triumph of energy and colour.

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    The Shuangfeng Company was founded in 1989 by Wu Yanyao, now the representative of the fourth generation of puppeteers in the Wu family.

    Shuangfeng (Double Phoenix) Company (Rui’An, Municipality of Wenzhou, China)

    Wu Yanyao Director, Principal Puppeteer, Male Voice
    Liu Huazheng Suona, Dizi, Banhu
    Wu Yanbiao Music Director, Dagu and Biangu Drums
    Yang Suifang Second Puppeteer, Female Voice, Small Gong
    Lai Sangai Banhu, Erhu, Suona

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    Free admission until full capacity

    Music and sound after Covid-19. New creativities, new technologies, new soundscapes in a period of crisis

    Five years have passed since Covid-19 plagued the world, dramatically changing – at least for some time – interactions and behaviors across various geographical and social contexts and establishing new relationships with the environment.

    This Seminar, organized by the Intercultural Institute for Comparative Music Studies in collaboration with the Institute of Music as part of the thematic itinerary Democracy and Pandemics, promoted by Fondazione Giorgio Cini, aims to discuss the medium-term consequences that the pandemic had on the manifold sonic aspects of life, as sound is a fundamental means through which humans exist in, and understand the world.

    Confinement led to new ways of communicating and being heard through sound, creating new relationships within both physical and virtual spaces. It also promoted the development of technologies to mitigate the effects of distancing, fostering the spread of unprecedented social practices. Some of these solutions were quickly abandoned once confinement ended and faded from people’s memory, while others became permanent in social life and have continued to evolve to this day. T he pandemic also fostered various forms of sonic agency to face and cope with the medical and social crisis. One may reflect on the new musical creativities that emerged during that time, for instance, as means of addressing the pandemic on emotional, aesthetic, and organizational levels. In this respect, some responses to Covid-19 were global, creating worldwide networks, while others remained locally specific. One should also consider how these creative strategies related to the development of new technologies, starting with the online platforms that saw significant growth in 2020 and have continued to evolve ever since. Moreover, one may reflect on the legacy of the new soundscapes that emerged during the time of Covid-19, from environmental consequences to music from balconies and new ways of organizing social and musical gatherings.

    Another matter of concern is the historical perspective: how musically specific were the emotional and social reactions elicited by the Covid-19 pandemic compared to similar events in the recent and distant past? What can be learned from a comparative approach? Scholars of musicology and ethnomusicology, performers and artistic directors are gathered to reflect – through an interdisciplinary dialogue – on the consequences of this crucial event and evaluate the impact and influence that the Covid-19 pandemic had on human life through the pervasive presence of sound.

    program

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    Institutional greetings and introductory remarks

    Gianmario Borio Director,
    Institute of Music, Fondazione Giorgio Cini

    Giovanni Giuriati Director,
    Intercultural Institute for Comparative Music Studies, Fondazione Giorgio Cini

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    Institutional greetings and introductory remarks

    Giulia Sarno and Daniele Palma
    Tracing the medium-term impact of COVID on musical practices, participation, and research methods. A collaborative investigation


    Melanie Wald-Fuhrmann
    Balcony singing, courtyard concerts and splitscreen performances. Which COVID forms of musicking are here to stay?


    Cecilia Balestra
    Creativity, live music programming, and target audiences. Ongoing changes and strategies, from a national and international perspective

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    Lunch break and visit to the exhibition ‘Venezia e le epidemie’

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    Marie Louise Herzfeld-Schild
    Sounding sickscapes: pandemic musicking across time


    Daniel Margolies
    Communitarianism, intimacy, and wellbeing in Latin American musical responses to the COVID and after


    Roberto Prosseda
    The transformation of the ‘live performance’ concept following online experiences during COVID.
    New paradigms in classical music engagement and pedagogy in the post-pandemic era


    Ilaria Meloni
    “Hypervisible” voices: digital media, gender, and power in post-pandemic Javanese Shadow Puppet Theatre

    Final Discussion

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    Eyes on Music 2025 – online workshops

    Marco Lutzu and Simone Tarsitani continue their training and production support in the field of audiovisual and multimedia ethnomusicology. This year, the project includes a new series of online workshops, each focusing on a topic of technical, theoretical and methodological interest in the field of audiovisual media for ethnomusicological research, with special focus on the developments introduced by the pandemic in production, communication and research in the field of music.

     

    9 May 2025 – 15:30-18:00

    Pandemic Sounds: Music, Media, and Research during COVID-19
    Guest speaker: Giulia Sarno (Università di Firenze)
    This workshop explores some of the rapid transformations in audiovisual technologies that emerged during the COVID-19 pandemic, focusing on their impact on musical practices and on academic research in ethnomusicology and related fields. Drawing on their own research experiences, the curators and the guest speaker will present specific case studies and reflections on how music-making, dissemination, and scholarly inquiry adapted to new digital environments.

     

    4 July 2025 – 15:00-18:00

    Diego Carpitella Fellowship – Presentation of current film productions in progress
    Diego Carpitella Fellow 2024-2025: Kawkab Tawfik | Zar Ritual on the Nile: Salila, the Spirit of the Water. The film explores and documents a ritual of possession in Egypt, from the divinatory phase to the final dance ritual of possession.
    Diego Carpitella Fellow 2025-2026: winning project to be announced in June 2025

     

    19 September 2025 – 15:00-18:00

    Audiovisual and multimedia in museums and exhibition of ethnomusicological interest

    Guest speaker: Alcina Cortez (INET-md / NOVA University Lisbon)

    This workshop examines how audiovisual and multimedia resources—especially sound—are transforming museums and exhibitions. Participants will discuss how these practices enhance visitor experience, foster collective engagement, and open new ways of representing musical cultures in public spaces, with particular attention to exhibitions of ethnomusicological interest.

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    Free admission subject to availability. Registration is required via email: [email protected]
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      Eyes on Music: audiovisual ethnomusicology projects

      In the field of ethnomusicological research, audiovisual recording has taken on a central role in field documentation and in the subsequent stages of scientific activity. The camera has largely replaced the audio recorder, and digital technology has made it possible to produce high-quality audiovisual documents for archiving, analysis, teaching and dissemination. However, the widespread use of audiovisual technologies is not supported by adequate training for researchers, especially in universities, where limited resources prevent comprehensive teaching on field research and audiovisual production.

      In this context, since 2018, the IISMC has developed a project on audiovisual ethnomusicology, under the scientific supervision of Giovanni Giuriati, Marco Lutzu and Simone Tarsitani, articulated in three annual initiatives. A research grant of €5,000 in memory of Diego Carpitella supports a young researcher in the creation of an ethnomusicological audiovisual work. Training and study events with experts and participants on relevant topics audiovisual documentation. Finally, the ethnomusicological film festival presents the works produced by the winners of Carpitella’s scholarship.

       

      Concerto di Yair Dalal © Marco Lutzu.

      Diego Carpitella Scholarship 2026

      DEADLINE 15 APRIL 2026

      Diego Carpitella 2026 Call for Applications

      Next page

      Annual initiatives of Eyes on Music project

      Winners of Diego Carpitella’s scholarship
      plus

      2018-2019 | Christopher Ballengee
      Sweet Tassa: Music of the Indian Caribbean Diaspora

      2019-2020 | Dario Ranocchiari
      Videomusiking Al Ándalus

      2020-2021 | Petr Nuska
      Hopa lide

      2021-2022| Daniele Zappatore
      Carang Pring Wulung: The Journey of a Bamboo Gamelan Maestro

      2022-2023 | Shan Du
      Devagan

      2023-2024 | Diego Pani
      MANTÈNNERE: Custodire il Suono del Sacro

      2024-2025 | Kawkab Tawfik
      Zar ritual on the Nile: Salila, the spirit of the water (working title)

      2025-2026 | Nicola Renzi
      The Advocate of Joik (working title)

      Workshops in the field of audiovisual ethnomusicology
      plus

      Annual training and study events with experts in relevant audiovisual ethnomusicology topics:

      12–16 June 2018
      Audiovisual documentation of field research

      17–21 June 2019
      Audiovisual documentation of field research: planning and editing

      26-27 September 2020
      The Carpitella Grant: past, present and future projects

      14-18 June 2021
      Visual ethnomusicology and online platforms

      12-15 July 2022
      Audiovisual documentation of musical performance

      3-6 July 2023
      Editing and montage of audiovisual documentation

      2024 online workshops (10 May, 12 July, 13 September)
      2025 online workshops (9 May, 4 July, 19 September)

      Ethnomusicological film festival
      plus

      This public event presents the latest film supported by Diego Carpitella Scholarship and other related works, promoting reflections on relevant topics of audiovisual ethnomusicology with the author, providing also an opportunity for feedback of a wider audience.

      Intercultural Institute of Comparative Music Studies

      DIRECTOR
      Giovanni Giuriati
      CONTACTS
      [email protected]

      Diego Carpitella Scholarship – New Call 2025

      Diego Carpitella Scholarship

      Deadline for applications:15 April 2025

       

      New call for applications for an annual research scholarship of 5,000 euros in memory of Diego Carpitella, to be awarded to a young researcher to produce an audiovisual product of ethnomusicological interest. Projects received in response to the call for applications will be assessed by a panel of three experts. The winner will undertake to produce the work, which will be premiered in Venice. A copy of the material produced during the project will be kept in the Institute for Comparative Music Studies Archive.

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