Index 2001 vol. 2 number 2

EDITORIAL - by Egidio Pozzi
The fourth issue of Analitica, or rather the delayed second issue of 2001, is particularly rich, in that it contains not only a very interesting article, but also some important news for all those interested in musical analysis and theory.
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LETTER FROM MARIO BARONI - by Mario Baroni
Dear Readers, over the last years our subscribers will have noticed that the issuing of the Bollettino has been somewhat irregular (delays, special issues in the place of ordinary ones etc.). This has not, in our opinion, affected in any way the quality of the articles or the cultural scope of the review and we have therefore decided to continue our publication. However, difficulties in administrating and organizing the work have led us to turn to a publisher: the LIM Editrice in Lucca. The Bollettino will therefore no longer be just an "internal" publication restricted to members, but will take on the characteristics of a true and proper magazine.
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G.A.T.M. Membership and Subscribing to the Bollettino

PARALLEL PATHS: HISTORICAL-DOCUMENTARY AND ANALYTICAL CONTRIBUTIONS AS A BASIS FOR THE PERFORMANCE OF DEBUSSY’S SYRINX - by Luisa Curinga
Debussy’s Syrinx (1913) is one of the most significant pieces in flute literature and its importance is also testified by the existence of a rich analytical literature. This paper examines, from the point of view of a player, the performing suggestions supplied by analytical contributions, both those provided directly by the analysts, as well as those deduced by the performer who reads and interprets the analyses. Moreover it takes into account other information concerning the relation between the musical and poetic text (Syrinx was conceived as incidental music), the connection between the only single existing autograph manuscript and the first printed edition, and the testimonies, on particular performing aspects, of famous historical flautists who worked in association with Debussy. On the basis of this double cognitive path – analytical and documentary – a methodological comparison between the two approaches would therefore seem appropriate. The conclusions of this paper highlight how the two contributions, with different but complementary competences, do not overlap but complement each other, leading to a global understanding of the piece and to valuable performing suggestions.
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