Rivista di Analisi e Teoria Musicale
Anno XXVII n. 2, 2021
Paolo Teodori, Dissonanze in cadenza e tirate di legature nelle Sonate a tre, op. 3 di Arcangelo Corelli: le regole del contrappunto e l’invenzione 7, pp. 7-40
Alessandro Bertinetto, Improvvisare l’emozione nel suono. L’espressività musicale tra teoria della persona ed enattivismo, pp. 41-66
Massimiliano Locanto, «Scala naturale e scala temperata». Le tonalità neutre di Domenico Alaleona tra positivismo e idealismo, pp. 67-116
Andrea Stefano Malvano, Athematic Cyclicism “à la Debussy”. Construction, function, and perception of some recurring intervals in the Sonata for Flute, Viola, and Harp, pp. 117-146
Notizie sugli autori / Notes on contributor, 147
Carlo Serra, Come suono di natura. Metafisica della melodia nella Prima Sinfonia di Gustav Mahler, di Santi Calabrò, pp. 151-159
Kyle Gann, The Arithmetic of Listening. Tuning Theory & History for the Impractical Musician, di Gianluca Dai Prà, pp. 160-168
Dissonanze in cadenza e tirate di legature nelle Sonate a tre, op. 3 di Arcangelo Corelli: le regole del contrappunto e l’invenzione
The aim of the study is to analyze some specific aspects of Corelli’s style, remaining close to the references of his time, i.e. by considering the trends of the current style and the crystallization of these trends in contemporary treatises on counterpoint. The analysis was systematically conducted on two contexts in which Corelli commonly uses suspended dissonance: the final cadence and the descending chain of suspensions.
After presenting the main theoretical orientations in the contemporary philosophical debate on the topic of musical expressiveness, in this article I will discuss the solution to the question of musical expressiveness that, also considering recent developments in the field of musical psychology, I take as the most interesting and compelling one: the person theory. Finally, by resorting to the enactivist theories of human mind, I will suggest that an improvisational dimension, linked to the concrete situativity of performative (inter)action, is proper to musical expressiveness.
«Scala naturale e scala temperata». Le tonalità neutre di Domenico Alaleona tra positivismo e idealismo
The theory of the tonalità neutre (neutral keys) exposed by the Italian composer and musicologist Domenico Alaleona in 1911 was one of the first attempts to explain “modern” (post-tonal) harmony according to entirely different principles than those of traditional tonal harmony. Alaleona’s theory has been the subject of several comments and descriptions, and many scholars have highlighted its innovative character. However, so far little attention has been paid to an aspect that plays acrucial role within it: the acoustic basis — natural or tempered — underlying the practice of modern harmony.
Athematic Cyclicism “à la Debussy”. Construction, function, and perception of some recurring intervals in the Sonata for Flute, Viola, and Harp
This paper intends to demonstrate how the tritone in the Debussy’s Sonata for Flute, Viola and Harp becomes a tool of the memory, capable of revealing an underlying cyclical unity. The analysis consolidates Jean-Louis Leleu’s insights (Leleu 2017), reinterpreting the function of some recurring intervals in the construction of the Sonata. What emerges is a path of progressive revelation of a few supporting elements, in particular the α interval [6–0], which gradually shed their themes to reveal a distinctive identity. So far, the cyclical nature of the work has been evaluated only with regard to the resumption of the theme of the Pastorale in the epilogue. But the analysis of this paper highlights a much denser network of links, which tends to go beyond the thematic dimension, to favor a substantially athematic connection.