Anno 2015/1

Rivista di Analisi e Teoria Musicale
Anno XXI n. 1, 2015

Saggi 

Pietro Cavallotti, Dalla ricezione del metodo dodecafonico al pensiero seriale: le Variazioni canoniche di Luigi Nono, pp. 9-34 

Anna Maria Bordin, Aspetti analitici e gestuali nell’esecuzione musicale dei bambini, pp. 35-61 

Nicolò Palazzetti, Italian harmony during the Second World War: analysis of Bruno Maderna’s First String Quartet, pp. 63-91 

Andrea Taroppi, Coerenza strutturale in Revolution, 9. Musica concreta e hook tra sogni e realtà, pp. 93-121 

Interventi: Didattica dell’analisi musicale 

Massimiliano Locanto, Introduction. Music Theory Pedagogy in Italy and Abroad, pp. 125-126 
Introduzione. L’insegnamento dell’analisi e della teoria musicale in Italia e all’estero, pp. 127-128 

Egidio Pozzi, Studies in Music Theory and Analysis in Italy: The 1st level Master’s Course in Music Analysis and Theory, pp. 129-135 

Michael Buchler, Report on American Master’s Degree Programs in Music Theory, pp. 137-141 

Recensioni 

Jean Jacques Nattiez, Analyses et interprétations de la musique. La mélodie du berger dans le Tristan et Isolde de Richard Wagner, Vrin, Paris 2013 (Mario Baroni), pp. 143-154

Robert Cohn, Audacious Euphony. Chromaticism and the Triad’s Second Nature, Oxford University Press, New York 2012 (Antonio Grande), pp. 154-163 

Notizie sugli autori, pp. 165-167 
Notes on contributors, pp. 168-170 

Pietro Cavallotti - pag. 9-34

Dalla ricezione del metodo dodecafonico al pensiero seriale: le Variazioni canoniche di Luigi Nono

Luigi Nono’s Variazioni canoniche sulla serie dell’op. 41 di Arnold Schoenberg (1949- 50) represent a very interesting example of reception of the twelve-tone method in the so-called “New Venetian School” in the years after the Second World War.

Abstract completo e PDF
Anna Maria Bordin - pag. 35-61

Aspetti analitici e gestuali nell’esecuzione musicale dei bambini

Aim of this article is to study analytical and gestural aspects of children’s perfor- mances with the purpose of helping instrumental teachers in taking more infor- med decisions regarding methods and repertorie, and to offer elements for com- parison with performances of advanced students and professionals.

Abstract completo e PDF
Nicolò Palazzetti - pag. 63-91

Italian harmony during the Second World War: analysis of Bruno Maderna’s First String Quartet

During the last two decades many scholars have focused on Maderna’s works, sketches and letters of the 1940s. Nevertheless, his First String Quartet (ca. 1943- 1945) has been left aside by this “Maderna Renaissance”. In this article I focus thus on this work in order to show why it constitutes an extraordinary viewpoint on Ma- derna’s pre-serial harmonic conceptions and on some forgotten sources of his poetics – such as Bartok and Hindemith.

Abstract completo e PDF
Andrea Taroppi - pag. 93-121

Coerenza strutturale in Revolution 9. Musica concreta e hook tra sogni e realta?

Revolution 9 is undoubtedly an atypical song within The Beatles’ production. Aim of this article is to investigate the song’s consistency both within itself and within the context of The Beatles’ song output through spectrogram and sonomorpholo- gical analysis, exploring the sound objects and their organization along the time axis and inside the soundbox.

Abstract completo e PDF
Massimiliano Locanto - pag. 125-126

Introduction. Music Theory Pedagogy in Italy and Abroad

The academic year that is about to be completed, (2014-15), has witnessed the creation, in the Department of Humanities of the University of Calabria, of the first Italian University Master’s Degree in Music Analysis and Theory. This is a propitious occasion to begin a reflection on the state of music theory and analysis pedagogy in Italy and, above all, on its possible developments following the example of countries where this scholarly tradition is well rooted.

Abstract completo e PDF
Massimiliano Locanto - pag. 127-128

Introduzione. L’insegnamento dell’analisi e della teoria musicale in Italia e all’estero

L’anno accademico che sta per concludersi (2014-15) ha visto, per la prima volta in Italia, la nascita di un Master universitario di I livello in Analisi e Teoria Musicale, nel Dipartimento di Studi Umanistici dell’Università della Calabria. 

Abstract completo e PDF
Egidio Pozzi - pag. 129-135

Studies in Music Theory and Analysis in Italy: The 1st level Master’s Course in Music Analysis and Theory

Since the early twentieth century, music analysis has become one of the main to- ols of historical enquiry and its rise is now borne out by a considerable amount of high-level international academic production, an increasing number of analytical methodologies and innumerable studies on the style and compositional techni- ques of the majority of composers belonging to the Western tradition. 

Abstract completo e PDF
Michael Buchler - pag. 137-141

Report on American Master’s Degree Programs in Music Theory

Summarizing American master’s degree programs in music theory is a difficult task. In the United States, there are no national standards, either official or implicit, for what constitutes a master’s degree in music theory (which we Americans generally take to mean music theory and analysis) and there are at least three different sorts of master’s degrees offered.

Abstract completo e PDF
Mario Baroni - pag. 145-154

Jean Jacques Nattiez, Analyses et interpretations de la musique. La melodie du berger dans le Tristan et Isolde de Richard Wagner, Vrin, Paris 2013, 401 pp.

E' sicuramene singolare l’idea di dedicare un libro di 401 pagine alle 42 battute dell’assolo di corno inglese del Tristano di Wagner, ma quando chi ha partorito questa idea singolare si chiama Jean-Jacques Nattiez, allora la cosa rischia di farsi seria e la decisione di parlarne può avere qualche ragion d’essere.

Abstract completo e PDF
Antonio Grande - pag. 154-161

Robert Cohn, Audacious Euphony. Chromaticism and the Triad’s Second Nature, Oxford University Press, New York 2012, 256 pp.

Alla voce Tonalità (Tonalität) del suo monumentale Musikalische Lexicon [1909, 1422-23], Hugo Riemann ci mostra, nell’unico esempio grafico presente, una successione tonale non proprio ortodossa. Nei pochi accordi tutti maggiori, la triade di Do è in compagnia con quella di Lab e Mi. E' vero che suona audace (kühne), scrive Riemann, ma è una successione energica e armoniosa (kräftige und wohlklingende Folge).

Abstract completo e PDF