Rivista di Analisi e Teoria Musicale

Anno XXIII, n. 1, 2017

  • Giovanni DoroStrategie compositive del contrappunto BWV 1076 Canon triplex á 6 voc. di J.S. Bach (abstract)
  • Mario Baroni - Roberto Caterina - Fabio RegazziHow to Analyse Opera and Its Inherent Emotions, with Examples Taken from Handel’s Giulio Cesare (abstract)
  • Federico Gon«Melodia semplice, ritmo chiaro»? Alcune (ri)considerazioni sul topos del crescendo rossiniano (abstract)
  • Angela CaroneLa ricezione di Luigi Dallapiccola in Luciano Berio: alcune osservazioni analitiche (abstract)
  • Massimiliano Locanto, Dissenting Variations. The Rhetoric of New Musicology (abstract)

Interventi

  • Anna Maria Bordin - Giuseppe Sellari, La formazione pianistica di base: indagine pedagogica e analitica sulle metodologie didattiche in uso in Italia
 

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)
 

Critical Reflections on the Concept of Popular Music

Max Paddison

Defining what is understood by the term “popular music” has always been problematic, and the term has tended to be used in a vague and indistinct way that can encompass a wide range of fundamentally different musics. This article examines attempts to define the concept of popular music, and considers the problems and debates they raise, drawing particularly on the extensive Anglo-American work that has been done in this area since the 1970s. The discussion emphasizes the concept of popular music material and offers a critique of the notion of “common stock” proposed by Russell in 1970. Central to the argument is the commodification of popular music not only as object of desire but also as material object. The approach, which is philosophical, is derived from critical theory. Issues of conceptualization, reception and changing understandings of popular music are viewed in the context of digital technology, commodification, globalization, and ideologies of authenticity.

 

Quali basi epistemologiche per una musicologia della popular music?

Vincenzo Caporaletti

This article aims firstly to test the musicological resilience, and possibly probe the limits, of the epistemological field identified by the notion of “popular music” as an object of study. Starting with an examination of the nomothetic value of this formula, it will therefore discuss the conditions of feasibility of this field as an autonomous and distinct entity within the topology of musical experiences and systems. Secondly, it aims to explore the epistemic consistency and methodological effectiveness of the academic disciplines that are proposed as the privileged, if not exclusive, instruments of study of this field. The critical orientations that coalesce in “popular music studies” and in the more recent “popular musicology” will thus be verified as to their academic assumptions and their heuristic potential in relation to traditional musicological and ethnomusicological disciplines. This analysis will highlight critical factors for which appropriate research indications will be provided.

 

Do We Need “populäre Musik”? A German Perspective

Dietrich Helms

The question in the title of this special issue is hard to answer from a global perspective. Local scholarly and institutional traditions but also local definitions of the term “popular music” have a strong influence on our way of thought. This article discusses the conceptual history that is associated with the German “populäre Musik” in following it back to its origins in the 18th century and distinguishing it from equivalent expressions like Volksmusik, Unterhaltungsmusik, Gebrauchsmusik, Umgangsmusik, Trivialmusik and Popmusik.

None of these terms comes up to the standards of scholarly terminology; they are ambiguous, sometimes even contradictory in themselves and in no way neutral and unprejudiced. By now all attempts to define populäre Musik as a set of objects with similar characteristics have had only limited success in German scholarship. Therefore most scholars have retreated to a position understanding populäre Musik as a discourse. This, however, would reduce popular music studies to discourse analysis and discourse history, excluding musicological methods like e.g. music analysis. As a consequence this article suggests to use the term populäre Musik only in contexts concerning the politics of our discipline, musicology. For research, however, musicologists should find and define better terms that precisely describe the subject-matter they actually want to study.

 

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ANVUR luglio 2018: INSERIMENTO DELLA NOSTRA RIVISTA DI ANALISI E TEORIA MUSICALE TRA LE RIVISTE DI CLASSE A

La RIVISTA DI ANALISI E TEORIA MUSICALE (RATM) è stata inclusa dall'ANVUR nell'elenco delle riviste di CLASSE A per l'Area 10 Scienze dell'antichità, filologico-letterarie e storico-artistiche. L'aggiornamento è stato pubblicato sul sito dell'ANVUR il 31 Ottobre 2018 ed è attivo da Luglio 2018.

La Rivista di Analisi e Teoria Musicale è una rivista peer reviewed fondata nel 1994 dal GATM. Sulla rivista sono pubblicati studi in lingua italiana e inglese, dedicati all'analisi di repertori e pratiche musicali di ogni periodo storico, genere, stile e provenienza geografica.

La Rivista pubblica articoli originali, caratterizzati da ampiezza di articolazione e analisi critica, completezza delle fonti e rigore dell'informazione bibliografica; comprende inoltre una sezione dedicata a brevi interventi sulla didattica dell'analisi e una rubrica di recensioni. Oltre ad accogliere le proposte degli studiosi, la Rivista promuove la pubblicazione di volumi monografici dedicati a questioni teoriche e metodologiche di particolare rilievo nel panorama degli studi internazionali.