Anno 2015/1

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.

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.

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.

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.

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. 

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.

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.

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).