Anno 2018/1

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. 

David Lewin’s essay Music Theory, Phenomenology, and 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.

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. 

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 ...

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.

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 ...

Description of the objectives, characteristics and didactic offer