Index 2006 vol. 2 number 2

EDITORIAL - by Egidio Pozzi
Forthcoming.
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“POTENTIAL” COMPLEXITIES IN THE INTERPRETATIONS OF AGUAS DE MARÇO BY ANTÔNIO CARLOS JOBIM - by Enrico Bianchi
The present contribution is dedicated to the analysis of one of the most famous examples of the bossa nova genre: Aguas de Março by Antônio Carlos Jobim. Firstly, the historical context in which the song came into being will be defined, together with some reflections upon the versions taken into consideration here, and a description of the analytic tools used. An analysis will then be put forward with the aim of demonstrating that Aguas de Março is characterized by the use of a very small number of elements, continuously combined and reiterated in a musical discourse that is poor or rudimental only in appearance. By means of a close examination of the micro-elaborations of the musical material, our intention is to disclose certain complexities that lie below the relative simplicity of the surface level. Such complexities – already present in the original version, albeit in an embryonic state – are to be held as “potential”, insofar as they are completely brought to light only in later interpretations.
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CHOOSING MUSIC IN THE INTERNET ERA - by Marco Russo, Rossana Dalmonte, Vincenzo D’Andrea
The circulation of music on the Internet only came about with the arrival of two specific technologies. The first involves compression systems (notably MP3) that allow the reduction of the magnitude of each file, and the second involves the progressive enlargement of the band available to home users (ADSL) which has drastically accelerated data transferral.
Finally, the birth of Napster and subsequent peer to peer systems [Merriden 2001] has made the practice of searching for pieces of music on the Internet widespread and stable [Mari 1999], to the point of superseding most traditional music media, and generating new forms of commercialisation and control of musical data [Prato 1995; Silva-Ramello 1999]. Without mentioning the legal problem of the explosion of the Internet in the circulation of materials [Darias de las Heras 2003], it is certain that the primitive initial modalities of gathering pieces on the Internet have progressively evolved, taking on considerable technological and commercial features [Di Carlo 2000] that make it possible to identify and download virtually any piece one should desire. The result is an entirely new modality of music consumption, compared to that encouraged by traditional media, essentially passive and lacking in any kind of interaction.
With the arrival of the Internet and all of its corollaries the music listener’s problems change profoundly; his/her interest is principally drawn towards the “choice” of music, often independently from the use that he/she will make of it or from the listening modalities that will be put into play.
In this paper our intent is to analyse the data that emerges from a concrete occurrence (case-study) in the circulation of pieces of music through the Internet, and to evaluate user behaviour.
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6th EUROPEAN MUSIC ANALYSIS CONFERENCE - Call for papers
VII. JAHRESKONGRESS DER GESELLSCHAFT FÜR MUSIKTHEORIE, 10–14 October 2007, Freiburg
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