Anno 2022/2

Rivista di Analisi e Teoria Musicale

Anno XXVIII n. 2, 2022


Jean-Marc Chouvel, Ce que l’analyse fait à l’œuvre, pp. 7-30

Jean-Marc Chouvel, Cosa fa l’analisi all’opera, pp. 31-54

Daniel Moreira, Beyond the Purely Musical: Proposals for Bridging the Gap between Formalism and Representationalism in Teaching Musical Analysis, pp. 55-90

Fabio De Sanctis De Benedictis, Analisi della musica assistita da computer: strumenti operativi in OpenMusic, pp. 91-144

Chiara Carretti, Textual Language and Musical Language: Analytical Points in Search of Parallel Systems, pp. 145-182


Massimiliano Raffa, A New View of Canzoni Moresche. The African Diaspora in Renaissance Music: Notes on Il Chiaro e lo Scuro, pp. 173-182

Notizie sugli autori / Notes on contributors, pp. 183

Jean-Marc Chouvel - pag. 7-29

Ce que l’analyse fait à l’œuvre

Après avoir envisagé avec Marcel Proust, les différents moments et formes d’accès à une œuvre, nous reviendrons à un point de vue très axiomatique sur l’analyse, avec un tour d’horizon épistémologique de ce que les physiciens appellent « l’analyse de Fourier ». Nous prendrons en considération cet exemple et le modèle pleinement mathématisé qu’il véhicule, pour proposer une première approche théorique de ce qu’est un objet musical avec et sans analyse. Nous essaierons ensuite d’étendre les idées proposées par ce modèle aux mécanismes plus complexes proposés par «l’analyse cognitive».

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Jean-Marc Chouvel - pag. 7-29

Cosa fa l'analisi all'opera

Dopo aver considerato, con Marcel Proust, i diversi momenti e forme di accesso a un’opera, si tornerà a un punto di vista molto assiomatico sull’analisi, con una panoramica epistemologica di quella che i fisici chiamano “analisi di Fourier”. Prenderemo in considerazione questo esempio e il modello totalmente matematizzato che trasmette, per proporre un primo approccio teorico di ciò che è un oggetto musicale con e senza analisi. Cercheremo poi di estendere le idee proposte da questo modello ai meccanismi più complessi proposti dall’”analisi cognitiva”.

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- pag.

Beyond the Purely Musical: Proposals for Bridging the Gap between Formalism and Representationalism in Teaching Musical Analysis

The tension between formalist and representationalist views on music’s meaning has been a persistent one in the West, culminating in the second half of the twentieth century in an institutionalized distance between formalism as practiced in academic and classical music circles, and pop and film music practices based on the idea of representation.

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Fabio De Sanctis De Benedictis - pag. 91-144

Analisi della musica assistita da computer: strumenti operativi in OpenMusic

The article is aimed at computer-assisted music analysis. Therefore, some automatic analysis algorithms are presented, created in the OpenMusic environment, for carrying out analytical tasks from some of the widespread and historically defined methodologies. Each case is accompanied by a brief practical example. After some preliminary notions and the exposition of the methodological bases of the research, the antecedents in the field of assisted music analysis are out- lined, some software are briefly illustrated, to arrive at the description of the software used, namely OpenMusic.


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Chiara Carretti - pag. 145-182

Textual Language and Musical Language: Analytical Points in Search of Parallel Systems

The relationship between verbal language and musical language has been at the heart of discourse from numerous perspectives and different fields of scientific research throughout centuries. I would like to focus attention on the possibility of employing devices specific to rhetorics as a trait d’union between the understanding of the “musicality” of a literary text and the understanding of a “purely” musical composition with a narratological stamp.

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