Digital – Fondazione Giorgio Cini

Archival Notes No. 8

An open-access, peer-reviewed journal, curated by the Institute for Music of the Giorgio Cini Foundation. With an interdisciplinary approach, Archival Notes. Source Studies in Twentieth and Twenty-First-Century Music is dedicated to the research of musical sources from the twentieth and twenty-first centuries.

 

Articles

  • Claudia Di Luzio, Rendering Voices Independent – Smorfie and Sogni: On the Dramaturgy and Text-Music Relationship in Fausto Razzi’s Music Theatre Work
  • Luigi Manfrin, Fausto Romitelli’ “Syntactic Pertinences” of Timbre: Analytical Notes on Lesson II of Professor Bad Trip
  • Franco Sciannameo, Nino Rota. Sonata per viola e pianoforte (1934-35): Genesis and Performing Alternatives
  • Francesca Scigliuzzo, Searching for Something Other Than Sound: Proposal for a Study of the Materials for Domenico Guaccero and Michiko Hirayama’s Esercizi per voce sola (1965; 1971)
  • Paolo Somigli, Music in Interaction With Other Arts: Florence in the 1960s and the Experience of Gruppo 70

A Performer’s Eye

  • Aldo Orvieto, Notational Aspects in the Piano Works of Camillo Togni (1937-47): The Case of the Sonata Op. 9 for Cello and Piano

The eighth issue of Archival Notes is available for download and consultation on the OJS platform of the Fondazione Giorgio Cini.

Ethnography of Recording Studios

This volume, the fourth in a series of online publications that the Intercultural Institute of Comparative Music Studies promotes from its international ethnomusicology seminars, stems from the three-year work of a research group funded by the Ernst von Siemens-Musikstiftung and consists of a series of monographic studies on the conception of harmony in Béla Bartók, Claude Debussy, Paul Hindemith, Arnold Schönberg, Alexander Nikolayevich Scriabin, Igor Stravinsky, Edgar Varèse and Anton Webern. The authors focus their attention on one or more works by the composer of reference, relating the harmonic processes to the theoretical issues debated at the time or that emerged in subsequent decades. The approach takes particular account of current developments in international musicology, the gaps in Italian studies and the needs of higher education in AFAM and university venues. At the same time, it aims to make a contribution to the reflection and methodology of music theory in our times.

 

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