Rivista di Analisi e Teoria Musicale
Anno XIX n. 1, 2013
Lauri Suurpää, The Fourth Piece of Schumann's Kreisleriana, Op. 16, as a Musical Fragment: Discontinuity and Unity Intertwined, pp. 7-24
Antonio Grande, I nuovi "mondi" di Albert Simon: ipotesi per un'altra tonalità, pp. 25-63
Wai-Ling Cheong, Toward a Theory of Synaesthetic Composition: A Case Study of Messiaen's Sound-Colour and Bedazzlement, pp. 65-88
Errico Pavese, Lo stile nello studio di registrazione: composizione e interpretazione nella produzione di Fabrizio De André e Ivano Fossati, pp. 89-109
Friedemann Sallis - Robin Elliot - Kenneth DeLong (eds), Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress, Wilfrid Laurier University Press, Waterloo, Ontario 2011 (Giada Viviani), pp. 113-116
Mark Hijleh, Towards a Global Music Theory: Practical Concepts and Methods for the Analysis of Music Across Human Cultures, Ashgate, Farnham 2012 (Ignazio Macchiarella), pp. 117-122
Notizie sugli autori / Notes on contributors, pp. 123-126
Call for papers. Analisi e didattica della musica / Music Analysis and Education, pp. 127-128
The Fourth Piece of Schumann’s Kreisleriana, Op. 16, as a Musical Fragment: Discontinuity and Unity Intertwined
At the turn of the 18th and 19th centuries, Friedrich Schlegel and Novalis established the literary fragment as a significant genre. In spite of its historical importance, the precise nature of a literary fragment is hard to define. This difficulty is in part an outcome of the coexistence of two characteristic features that apparently exclude each other: inconclusiveness and inner cohesion.
The theoretical works of the Hungarian musical theorist Albert Simon (1926-2000) – a very eclectic musician, orchestra conductor and analyst – are thus far unpublished. Only German musicology has been dealing with him: Bernhard Haas, who was his student, wrote a book about his thought (2004), and the German journal, «Zeitschrift der Gesellschaft für Musiktheorie», has published many theoretical contributions.
Toward a Theory of Synaesthetic Composition: A Case Study of Messiaen’s Sound-Colour and Bedazzlement
Messiaen is likely to be the only synaesthete-composer of canonical stature to have written about his perception, theorization, and utilization of sound-colours in great details. Until now, Messiaen’s claim as a synaesthete has not been studied by neuroscientists specialized in research on colour-hearing, although he fits surprisingly well the criteria laid down in standard texts of neuroscience.
Lo stile nello studio: composizione e interpretazione nella produzione di Fabrizio De André e Ivano Fossati
This essay is a study of the musical style of Fabrizio De André (1940-1999) and Ivano Fossati (1951). The analysis of De André’s and Fossati’s production from a musical point of view allows us to uncover the implementation of real strategies, techniques of composition, which highlight their musical language. Furthermore, this article will provide the occasion to discuss some more global questions about style in “canzone d’autore”
Recensione di Friedemann Sallis, Robin Elliott, Kenneth DeLong, Centre and Periphery, Roots and Exile: Interpreting the Music of István Anhalt, György Kurtág, and Sándor Veress, Wilfrid Laurier University Press, Waterloo (Ontario) 2011.
Abstract not available
Recensione di Mark Hijleh, Towards a Global Music Theory: Practical Concepts and Methods for the Analysis of Music Across Human Cultures, Ashgate, Farnham 2012
Abstract not available