The GATM is an Association that aims to promote and diffuses new analytical and theoretical knowledges in the field of music in Italy. The Association was created in 1989 by five associations of musicologists and in 2002 it became an association of individual scholars. On the site of the GATM you can find all the necessary information about the activities of the Association, together with information on publications and how to sign up.

Any one interested may become a member of the Association subscribing to the Rivista di Analisi e Teoria Musicale and participating personally in the organization of its activities.

Read more: Gruppo Analisi e Teoria Musicale

Il progetto, realizzato in collaborazione tra il Ministero dell’Istruzione, dell’Università e della Ricerca italiano ed il Servizio Tedesco per lo Scambio Accademico, intende favorire la ricerca e la mobilità di studiosi, docenti e musicisti italiani e tedeschi sostenendo finanziariamente lo svolgimento di progetti congiunti, condotti da soggetti appartenenti ad istituzioni universitarie e dell’alta formazione artistica musicale e coreutica. Il finanziamento riguarda esclusivamente le spese di viaggio e alloggio di studiosi e musicisti in Germania e in Italia e deve avere come coordinatori/responsabili del progetto docenti di ruolo delle Università e delle Istituzioni AFAM. La scadenza per la presentazione delle proposte è il 31 luglio 2017.

Link al documento riassuntivo del MIUR

Link al portale per la presentazione delle domande e la consultazione del bando completo.


The debate around the scope and purposes of musicology as a social practice has recently led to a new awareness of the ideological and political implications related to the practices of music analysis [Broman-Engebretsen 2007; Buch-Donin-Feneyrou 2013], and to the historicization of the contrasting approaches introduced by the New Musicology in the last two decades of the twentieth century [Agawu 2004, MacCutcheon 2014]. At the same time the progressive convergence of the methodologies employed in different fields of music research – from art music to traditional music, from popular music to music in audiovisual communication, from the use of sound in new media to non-musical sound cultures – has clearly revealed the close relationship between the various practices of music analysis and their different epistemological foundations, the latter resting also on specific political and cultural choices [van den Toorn 1996; Scherzinger 2001; Schuijer 2008, Campos-Donin 2009; Guilbault 2014; Earle 2015].

As a result of such trends, music analysis is increasingly conscious both of its social role and of the political dimension that orients its practice. The limits of the approaches based on organicism and graphocentrism, as witnessed by the history of music analysis since the rise of Musikwissenschaft in Europe and by the subsequent reception and implementation of European analytical methods in the United States, have become increasingly evident.

Read more: Music, Politics, Society: The Role of Analysis - Analitica call for papers – No. 10 (2017)

Anno XXII, n. 1-2, 2016 (in collaborazione con Analitica) - Abbiamo bisogno della popular music? - Prospettive critiche dagli studi musicalia cura di Alessandro Bratus (in uscita)

  • John Covach, The Way We Were: Rethinking the Popular in a Flat World (abstract)
Read more: Rivista di Analisi e Teoria Musicale - 2016
FaLang translation system by Faboba