Anno 2012/1

A partire da questo numero la rivista e l’Associazione cominciano un percorso che ha alcuni elementi di novità rispetto a quello seguito fino a oggi. Per questo mi sembra opportuno far precedere alla presente pubblicazione una breve introduzione che ricordi il passato e che anticipi il futuro.

The music of Debussy and the poetry of Mallarmé feed off the same fears: fear of emptiness, of nothingness and death is intertwined with the luminous fulfilment of the moment.

Debussy’s musical language is based on the juxtaposition of different musical units each consisting of a limited number of pitch-classes, a situation that would seem to be ideal for an analytical approach based on PC-Set Theory.

Aim of this paper is to analyse Nuages gris, a short piano piece composed by Franz Liszt in the last period of his life. These two pages, totally 48 bars, are quite easy to play and very far from transcendental and virtuoso style which still characterizes Liszt’s late production.

This study is based on the assumption that there is consistency of signification between movie narration and the music which was created for it, and that such consistency allows the integration of the languages interacting in the movie and their confluence into a multiple composed object.

This research is about music analysis and its use in the preparation for a music performance. The focus of the study is related to the strategies applied while preparing for a performance. The aim is to understand the role and importance of analysis in the study behaviour of the musicians and to identify which other procedures are implied in it.