Anno 2018/1

Rivista di Analisi e Teoria Musicale
Anno XXIV n. 1, 2018


Augusto Mazzoni, Intenzioni tonali e fenomenologia del tempo, un analisi a partire da David Lewin, pp. 3-19  

Giovanni Albini, Combinatorial Features as Cues and Means of Music Innovation, pp. 21-38 

Kerri Kotta, On Rhetoric of the Main Key Area in the First-Movement Exposition. The case of Early Beethoven, pp. 39-60

Duilio D'Alfonso, Respighi's archaism from an analytical viewpoint, pp. 61-86

Alberto Odone: Analisi all'ascolto, un percorso, pp. 87-118

Antonio Grande, In memoria di Marco De Natale, pp. 121-128

Egidio Pozzi, Master Universitario di I livello, Analisi e Teoria Musicale (VI Edizione 2019-20), pp. 129-131

Curricola, pp. 133-136

Antonio Grande - pag. vii-xxii

Editoriale / Editorial

With this issue, we introduce ourselves to our readers through a new management of the journal. Many years have gone by since we provided a simple information bulletin, aimed mainly at promoting international scienti c literature. Subsequently, under the name RATM, the journal has grown a lot not only in Italy, but also abroad, earning a place in the libraries of prestigious study centers. 

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Augusto Mazzoni - pag. 3-20

Intenzioni tonali e fenomenologia del tempo, un analisi a partire da David Lewin

David Lewin’s essay Music Theory, Phenomenologyand Modes of Perception [1986] deals with the intersections between music analysis and phenomenology of perception, developing a formal model around the constitution of multiple and heterogeneous perceptual experiences of musical events.

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Giovanni Albini - pag. 21-38

Combinatorial Features as Cues and Means of Music Innovation,

The features of completeness, exhaustiveness and equality in repetition in music are de ned and discussed, focusing on how and why they can occur and be used as cues and means of innovation. Their occurrence in the scores of di erent com- posers is then studied, with examples from the music and techniques of Ludwig van Beethoven, Arnold Schoenberg, Josef Mathhias Hauer, Fritz Heinrich Klein, Milton Babbi , Arvo Pärt, Paul Glass, Tom Johnson and of the author. 

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Kerri Kotta - pag. 39-60

On Rhetoric of the Main Key Area in the First-Movement Exposition. The case of Early Beethoven

The topic of this article is the rhetorical and formal design of the main key area of the sonata exposition in early Beethoven. e harmonic task of the main key area of the former is to articulate the tonic of the main key and then to start moving away from it. e abandonment of the tonic is also re ected in the intensi ca- tion of the musical expression. In the process of intensi cation, it is possible to determine the place where the new, rhythmically more animated action space is irreversibly formed. I refer to this place as the “dramatic turning point” (DTP). DTP is a crucial change in texture or a place where the textural features of the new rhythmically animated action-space have all nally taken shape ...

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Duilio D'Alfonso - pag. 61-86

Respighi's archaism from an analytical viewpoint

The two main concertos of Respighi, Concerto gregoriano for violin and orchestra (1921) and Concerto in modo misolidio for piano and orchestra (1925), are structurally, formally and thematically analysed in some detail, with the speci c pur- pose of evaluating the problematic issue of Respighi’s collocation in the European musical scenario at the beginning of the twentieth century between radicalism and the various revivals of ancient musical worlds. e programmatic archaism already expressed in the titles of these two works consists, namely, in the diatonic space principally characterizing thematic creativity (or re-invention) and in a harmonic context aimed at disempowering the classical cadence. However, the compositional and formal conceptions are evidently inherited from the late-romantic symphonic tradition.

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Alberto Odone - pag. 87-118

Analisi all’ascolto: un percorso

Proceeding from the pedagogical experience of Ear Training academic courses, the article outlines an itinerary for improving aural analytical skills and aims to show the possible contribution of analytic listening to general musical analysis. e article deals mainly with repertoires containing speci c elements (structures and schemata) originally intended to be recognized by the audience: this means in particular galant-classic and pop repertoire ...

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Egidio Pozzi - pag. 129-131

Master Universitario di I livello, Analisi e Teoria Musicale (VI Edizione, 2019-20)

Description of the objectives, characteristics and didactic offer

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