Fabrizio Ammetto | Universidad de Guanajuato (original) (raw)

Papers by Fabrizio Ammetto

Revista Iberoamericana para la Investigación y el Desarrollo Educativo - RIDE (ISSN: 2007-7467), vol. 13, n. 25, 2022

The labour of the current members of the "Musicology" Consolidated Research Group has promoted, n... more The labour of the current members of the "Musicology" Consolidated Research Group has promoted, nationally and internationally, the musical-musicological area of the Ph.D. in Arts of the University of Guanajuato. This has led, between 2014 and 2021, to the qualification of thirteen doctors from Spain, Italy, Mexico, and Russia. Subsequently, they have been distinguished in the country for their academic accomplishments (recognition of the PRODEP profile and admission to the SNI) and work outcomes (employment as professors at public universities). This article describes the research carried out in the doctoral dissertations, listing the resulting publications (books, book chapters, refereed and indexed articles, and audio CDs), and showing the training in Mexico of highly specialized human resources, as well as the creation and coordination of a solid working group in the area of musicology.

STUDI VIVALDIANI (ISSN: 1594-0012), XXI, pp. 25-59, 2021

His travels across Italy in 1716-17 constituted for Johann Georg Pisendel a full-blown study tour... more His travels across Italy in 1716-17 constituted for Johann Georg Pisendel a full-blown study tour, during which this musician from Saxony had the opportunity to become acquainted with numerous violinists and composers in the cities he visited: these men included Tomaso Albinoni, Giuseppe Tartini, Francesco Maria Veracini and Antonio Vivaldi in Venice, Antonio Montanari in Rome, and Martino Bitti and Giuseppe Maria Tanfani in Florence. In particular, his encounter with the Red Priest is well documented by the incomplete manuscript of a violin concerto by him (consisting of the first movement alone in score plus a few sketches for the remaining two), which is today preserved in Dresden (at the SLUB) in the ‘Schrank II’ collection (Mus.2421-O-14). The special significance of this manuscript, long recognized by students of both Pisendel and Vivaldi, lies in the fact that it contains autograph annotations made by the latter that turn it into a veritable ‘exercise in composition’. Despite this, the interaction of the two composers to produce this score has not been studied in detail previously. Thanks to the identification of individual hands made for the first time in this article it has become possible to pinpoint successive phases of the drafting and revision of the concerto. These stages emerge clearly from the numerous corrections, additions and compositional second thoughts originating from both violinists. Analysis of these changes sheds light on the ‘modus operandi’ of both Pisendel and Vivaldi, the second man being concerned, in particular, to improve the counterpoint between the voices, differentiate timbres more sharply and vary the accompanimental textures during solo passages, besides making adjustments to the proportions and elements of structural unity in the orchestral ritornellos.
As a complement to the article, the authors append a score of the concerto’s first movement in its final state (i.e., following the changes made by both composers). This score corrects various errors present in an earlier transcription made by Wolfgang Hochstein that was published in 2010 in a volume of proceedings of a conference dedicated to the German violinist.

STUDI VIVALDIANI (ISSN: 1594-0012), XXI, pp. 61-77, 2021

In Issue 48 (Spring 2021) of the journal “Early Music Performer” the American violinist Jude Zili... more In Issue 48 (Spring 2021) of the journal “Early Music Performer” the American violinist Jude Ziliak reviewed my reconstruction of the (lost) violin concerto BWV 1052R by J.S. Bach (Edition HH, 2020), the scholarly basis for which had been explained in an article by me published in Volume 20 (2020) of “Studi vivaldiani”. In his text Ziliak called into question the validity of certain aspects of my reconstruction, especially regarding perceived problems encountered in passages employing ‘bariolage’, in arpeggios, in cadenzas and in phrasing marks, concluding that “technical issues in the third movement mean that players will continue to need to refer to other editions”, meaning specifically the ‘official’ one made by Wilfried Fischer for the ‘Neue Bach Ausgabe’ (Bärenreiter, 1970), including a revised version of it by Werner Breig (1976), plus a less well known one by Benjamin Shute (Prb Productions, 2013 and 2017).
With the support of historical, source-critical, musical and instrumental technique-related arguments, and also ones connected with Bach compositional process, this postscript analyses in detail all the individual passages criticized by Ziliak, showing by means of a minute analysis based on a close reading of the text of the known original sources that the two modern editions just mentioned, taken as a model by the reviewer, in fact harbour serious conceptual and methodological shortcomings in that they use as the foundation of their reconstruction the final reworking of the concerto (BWV 1052, almost a quarter-century later than the original version) or, in the worst cases, combine readings belonging to different phases of Bach’s process of composition and recomposition.
The postscript therefore provides convincing evidence that historically and musicologically aware performers will not, in fact, be able to continue “to refer to editions by Fischer and Shute”, contrary to Ziliak’s hopes. In doing so, it also provides some useful detail additional to the original article.

STUDI VIVALDIANI (ISSN: 1594-0012), XX, pp. 3-39, 2020

Either for reasons of historical context or because of the (supposed) presence of certain structu... more Either for reasons of historical context or because of the (supposed) presence of certain structural features within the score, two eminent Bach scholars, Christoph Wolff (Harvard University) and Peter Wollny (Bach Archive Leipzig), have recently disputed – independently of one another – that J.S. Bach’s concerto for harpsichord and orchestra BWV 1052, whose musical material the composer had already used in three movements with obbligato organ in church cantatas (BWV 146/I-II and BWV 188/I), was based on a lost original for violin, as has long been believed, proposing instead that it was conceived from the start as a work for a keyboard instrument.
Since for BWV 1052 there also exists an earlier version, likewise for harpsichord (catalogued as BWV 1052a), whose musical content probably goes back to the Weimar period (1708-1717), the article analyses the textual differences emerging from a close comparison of the known primary sources, focusing on various portions of musical text that display apparently inconsistent changes of octave register, alterations to notes or entire passages and modifications to orchestral tuttis (in the first movement), many of which appear to have been dictated by the simple practical need to transfer to the keyboard musical ideas originally conceived for violin. Moreover, this hypothesis receives support from certain peculiarities in the soloist’s melodic line in the second movement, as well as from some interesting notational features and particular types of writing associated with passages in bariolage and arpeggiated chords, all of which point unequivocally towards an original version of this concerto for violin (BWV 1052R).
The second part of the article highlights the presence of several unique features of BWV 1052/1052a within the entire corpus of Bach’s ‘original’ concertos: the particular choice of key for the second movement; the presence of not one but two substantial cadenzas for the soloist (originally both unaccompanied); the appearance of the orchestral unison as a compositional device characterizing tutti sections; the extraordinary variety shown by the combinations employed in the accompaniment of solo passages; the composer’s propensity to introduce asymmetrical or irregular phrase structures.
In the light of the analysis performed it is legitimate to hypothesize that the original version for violin (BWV 1052R) represents one of Bach’s first attempts at composing an ‘autonomous’ Italian-style concerto (drawing on the experience of his keyboard transcriptions made during the years 1713-1714), which would place it chronologically within the last years of the Weimar period: between 1714 and 1717.
Further, the concerto is revealed to be heavily indebted to Vivaldi on account of the large number of structural, harmonic, instrumental and timbral details showing affinity to some of the early works of the Red Priest (in particular, to the concertos RV 208, 316, 522, 528 and 813). It appears to be one of the first compositions in which Bach tested out – above all, in the construction of the orchestral tutti – the application of the cardinal principles of “order, coherence and proportion” (“Ordnung, Zusammenhang und Verhältniß”).

THE CONSORT (ISSN: 0268 9111), LXIV, pp. 60-77, 2009

CONTENTS - Telemann’s double violin concertos - Telemann’s part-writing - Telemann’s solo writing... more CONTENTS
- Telemann’s double violin concertos
- Telemann’s part-writing
- Telemann’s solo writing
- Sources of Telemann’s style
- Bach’s double violin concerto
- Vivaldi’s influence on Bach
- Torelli’s influence on Bach
- Conclusion

REVISTA IBEROAMERICANA DE CIENCIAS (ISSN: 2334-2501), vol. 7, n. 1, pp. 1-10, 2020

This article surveys – for the first time – the entire musical production of an important Mexican... more This article surveys – for the first time – the entire musical production of an important Mexican composer of the second half of the twentieth century, whose primary sources comprise three groups: the largest is in the possession of the composer’s younger sister, María Luisa Guerra González, while the other two are owned by the composers Eduardo Caballero and Ricardo Hernández. In connection with the preparation of a dedicated catalogue, the acronym GV (‘Guerra Verzeichnis’) has been created to bring together all this composer’s works, which subdivide into orchestral music (GVo), vocal music – sacred and secular – (GVv), chamber music (GVc), arrangements of (or preparatory studies for) orchestral compositions (GVr) and music for one instrument (GVi), arriving at a total of 133 titles.

Boletín informativo de la Academia Mexicana de Ciencias (no. 52, p. 24), 2016

Numerosas composiciones musicales del pasado han llegado a nosotros de manera incompleta, ya sea ... more Numerosas composiciones musicales del pasado han llegado
a nosotros de manera incompleta, ya sea porque
no fueron terminadas por el autor o porque han sido
dispersadas o destruidas, y aunque no siempre es posible
reconstruir científicamente una obra musical; es decir,
completar las partes faltantes sin incurrir en un proceso
de creación arbitraria, el doctor Fabrizio Ammetto,
del Departamento de Música de la Universidad de
Guanajuato, estudia la obra de un autor y profundiza
en el conocimiento de su lenguaje
musical con el fin de encontrar sus
“estrategias compositivas”.

Antonio Vivaldi. Passato e Futuro (a cura di Francesco Fanna & Michael Talbot), Venezia, Fondazione Giorgio Cini (ISBN: 978-88-96445-00-6), pp. 353-357, 2009

Nel testo vengono descritti gli indizi presenti nelle partiture di tre composizioni strumentali i... more Nel testo vengono descritti gli indizi presenti nelle partiture di tre composizioni strumentali incomplete di Vivaldi, utili per una loro ricostruzione: il Concerto per due violini, archi e continuo, RV 528 (che servì da modello per la trascrizione clavicembalistica di Bach, BWV 980); il Concerto per violino, organo, archi e continuo, RV 774; il Concerto per violino, organo, archi e continuo, RV 775.

Antonio Vivaldi. Passato e Futuro (a cura di Francesco Fanna & Michael Talbot), Venezia, Fondazione Giorgio Cini (ISBN: 978-88-96445-00-6), pp. 59-72, 2009

Fino agli anni Dieci del XVIII secolo, o poco oltre, Vivaldi ha concepito la distribuzione funzio... more Fino agli anni Dieci del XVIII secolo, o poco oltre, Vivaldi ha concepito la distribuzione funzionale delle singole parti strumentali del concerto per due violini come un ‘assottigliamento’ dell’organico del «concertino» di un concerto grosso: due parti solistiche rispettivamente tratte dalle file dei violini I e dei violini II. Successivamente, ma non oltre la fine del secondo decennio del Settecento, Vivaldi ha invece inteso il concerto per due violini come un ‘ampliamento’ del concerto solistico.

VÓRTEX (ISSN: 2317-9937), vol. 5, n. 1, pp. 1-31, 2017

The article examines the aria “O golpe suave / O bien amable” (for soprano, two violins and conti... more The article examines the aria “O golpe suave / O bien amable” (for soprano, two violins and continuo) by the Italian composer Ignacio Jerusalem y Stella (1707-1769), who was living in Mexico City around 1742. This aria – which is preserved in the Cathedral of Guatemala and transmitted in four non-autograph separate parts without a score – has one literary text (“O bien amable”) in the soprano part and a different one (“O golpe suave”) in the guideline of the basso continuo part. Source-critical and musical analysis of the composition, based on the significant differences identified in these two separate parts, can clarify why two separate verbal texts exist and show which one was originally used for the music.

Violín, viola, violoncello y piano. Procesos de enseñanza-aprendizaje, vol. III (Jorge Barrón Corvera & Gonzalo de Jesús Castillo Ponce, coords.), Zacatecas, Universidad Autónoma de Zacatecas (ISBN: 978-607-555-001-5), Madrid - Ciudad de México, Plaza y Valdés (ISBN: 978-607-8624-33-1), pp. 37-50, 2019

En el artículo se analizan algunas colecciones impresas de sonatas para violín publicadas en la a... more En el artículo se analizan algunas colecciones impresas de sonatas para violín publicadas en la antepenúltima década del siglo XVII en las que es posible delinear algunos rasgos característicos que serán los puntos de fuerza de la producción (sucesiva) de Arcangelo Corelli: el rigor contrapuntístico, la elegancia estilística y, sobre todo, un equilibrio ‘medido’ entre invención melódica y técnica instrumental, nunca finalizada a sí misma.

ARTECONCIENCIA (ISSN: 2007-4433), n. 4, pp. 5-15, 2013

En el siglo XVIII, Antonio Vivaldi (1678-1741) fue el más importante compositor europeo de concie... more En el siglo XVIII, Antonio Vivaldi (1678-1741) fue el más importante compositor europeo de conciertos para dos violines y orquesta: sus veintiocho obras de este género (construidos tanto en la tipología del concierto grosso ‘romano’, como en la del doble-concierto solista ‘veneciano’) ofrecen numerosos elementos de análisis. En el artículo se discuten los aspectos conectados con la ejecución de los conciertos para dos violines de Vivaldi: los orgánicos orquestales requeridos por el mismo compositor en el 'Ospedale della Pietà' en Venecia, los instrumentos utilizados para la realización del bajo continuo y, sobre todo, las diferentes disposiciones espaciales de los dos solistas y de la orquesta deseadas por el mismo autor (aspecto nunca analizado hasta ahora).

ARTECONCIENCIA (ISSN: 2007-4433), n. 1, pp. 77-99, 2011

Archives and libraries in Mexico have an extraordinary amount of primary musical sources from Eur... more Archives and libraries in Mexico have an extraordinary amount of primary musical sources from Europe that were spread in the ‘New World’ in the mid sixteenth century. If in one side their surveys and cataloging have been the topic of very important and prestigious studies, on the other side there is a lack of high quality critical editions based on the latest philological knowledge. A good example is the printed collection of the ‘Pensieri ariarmonici’, twelve Concerti a cinque op. I (Amsterdam, Roger & Le Cène, ca. 1720-21) by the Italian composer Giacomo Facco (1676-1753), kept in the Colegio de las Vizcaínas in Mexico City. This collection was published entirely by Uberto Zanolli (México, FONCA, 1965), and printed more than once (1995 and 1997). However, this modern edition, which is still used, is very problematic: in fact, Zanolli didn’t understand the typical structure of the venetian ‘concerto a cinque’ in the organization of the three violins parts, he did not always offered a correct way of the notation’s system of the accidentals used in Italy during the eighteenth century, neither he offered the figured bass added by the Dutch editors. The article offers an example of realization of a new critical edition of the Facco’s Op. I, based on updated philological criteria.

Violín, viola, violoncello y piano. Procesos de enseñanza-aprendizaje, vol. II (Jorge Barrón Corvera & Gonzalo de Jesús Castillo Ponce, coords.), Zacatecas, Universidad Autónoma de Zacatecas (ISBN: 978-607-8368-76-1), Madrid - Ciudad de México, Plaza y Valdés (ISBN: 978-607-402-994-9), pp. 37-55, 2018

En el artículo, con el fin de ofrecer algunos ejemplos prácticos para una praxis ejecutiva histór... more En el artículo, con el fin de ofrecer algunos ejemplos prácticos para una praxis ejecutiva históricamente informada, se analiza la relación entre el texto original de unos movimientos lentos de conciertos para violín de Antonio Vivaldi (RV 299, 316, 528) y su indispensable ornamentación a través de algunos ejemplos significativos que nos han dejado Johann Sebastian Bach (BWV 973, 975, 980) y el mismo Vivaldi (RV 775).

STUDI VIVALDIANI (ISSN: 1594-0012), n. 9, pp. 3-31, 2009

Analysis of the sixteen autograph scores of Vivaldi’s sixteen concertos preserved in the Bibliote... more Analysis of the sixteen autograph scores of Vivaldi’s sixteen concertos preserved in the Biblioteca Nazionale Universitaria of Turin (the fond Foà and the fondo Giordano) can shed light on the compositional processes and working methods of the “Prete rosso”. Some of these sources appear to be fair copies (being totally void of evidence of correction and written in a neat and regular hand), while others bear evidence of second thoughts that must have been almost contemporary with the original creative act. The article describes and analyses Vivaldi’s compositional methods, for example his recourse to “juxtaposed modules”. It also draws attention to many other aspects, including the composer’s constant striving for ‘optimum’ proportions in his ritornello-form movements, which he achieves by reducing the number of modules in his sequences (a step that sometimes results in changes of harmonic direction); to the presence of cuts (which may be either definitive or subsequently reversed); to the deliberate ‘deformation’ of regular phrase-structures; and to his practice of shortening (or sometimes not shortening) the final Tutti.

ESERCIZI. MUSICA E SPETTACOLO (a cura della Cattedra di Storia della Musica dell’Università degli studi di Perugia), n. 19, n.s. 10 (ISBN: 978-88-6074-011-8), pp. 7-50, 2004

Le Sinfonie RV 122, 135 e 162 di Vivaldi sono pervenute unicamente tramite parti staccate manoscr... more Le Sinfonie RV 122, 135 e 162 di Vivaldi sono pervenute unicamente tramite parti staccate manoscritte, conservate a Dresda, compilate dai copisti designati come ‘A’ e ‘D’, da un ulteriore copista non identificato (‘?’), e dallo stesso Pisendel: le fonti includono «parti non autentiche per fiati» (flauti, oboi, corni, fagotto). L’edizione Ricordi di tutte le opere strumentali vivaldiane ha pubblicato nel 1962 le tre composizioni, all’interno del gruppo dei “Concerti per complessi vari” (F. XII), includendovi anche le parti per gli strumenti a fiato. [...]

HORTUS MUSICUS (ISSN: 1129-4965), n. 14, pp. 81-83, 2003

Sebbene la presentazione ‘ufficiale’ al mondo musicale di Tomaso Albinoni sia avvenuta con la pub... more Sebbene la presentazione ‘ufficiale’ al mondo musicale di Tomaso Albinoni sia avvenuta con la pubblicazione di una (canonica) raccolta di triosonate nello stile ‘da chiesa’ – le dodici Suonate a tre, due Violini e Violoncello col Basso per l’Organo … Opera Prima (G. Sala, Venezia 1694) – è con la successiva raccolta a stampa, edita sei anni dopo, che il Veneziano si impose all’attenzione del pubblico internazionale. L’opera 2 albinoniana – Sinfonie e concerti a cinque, due Violini, Alto, Tenore, Violoncello e Basso (G. Sala, Venezia 1700) – è costituita da un insieme di sei Sonate (‘Sinfonie’) e sei Concerti ordinati in sequenza alternata. [...]

HORTUS MUSICUS (ISSN: 1129-4965), n. 13, pp. 13-16, 2003

L’importanza storica delle ‘sinfonie’ albinoniane sta nel fatto che queste composizioni (scritte ... more L’importanza storica delle ‘sinfonie’ albinoniane sta nel fatto che queste composizioni (scritte tra fine Seicento e gli anni Trenta del Settecento) hanno conservato l’esemplificazione del processo, nel suo stadio iniziale, di differenziazione stilistica e morfologica dei due tipi di sinfonia: quella ‘indipendente’ e quella ‘avanti l’opera’ [...]

HORTUS MUSICUS (ISSN: 1129-4965), n. 12, pp. 24-26, 2002

All’interno delle oltre 160 composizioni strumentali albinoniane autentiche, i concerti per/con s... more All’interno delle oltre 160 composizioni strumentali albinoniane autentiche, i concerti per/con strumento solista (violino e/o oboe) e orchestra rappresentano oltre un terzo dell’intera produzione. Cinquantaquattro di questi concerti vennero pubblicati in raccolte a stampa tra il 1700 ed il 1735/36 (opp. 2, 5, 7, 9, 10), mentre soltanto cinque lavori senza numero d’opus sono stati tràditi in forma indipendente e manoscritta (a stampa, nel caso di un solo concerto). [...]

HORTUS MUSICUS (ISSN: 1129-4965), n. 11, pp. 88-89, 2002

«Musico di violino dilettante veneto»: con tale autodefinizione il ventitreenne Tomaso Albinoni (... more «Musico di violino dilettante veneto»: con tale autodefinizione il ventitreenne Tomaso Albinoni (Venezia, 1671-1751) si presenta al mondo musicale licenziando alle stampe la sua 'opera prima' (Suonate a tre, G. Sala, Venezia 1694). [...]

Revista Iberoamericana para la Investigación y el Desarrollo Educativo - RIDE (ISSN: 2007-7467), vol. 13, n. 25, 2022

STUDI VIVALDIANI (ISSN: 1594-0012), XXI, pp. 25-59, 2021

STUDI VIVALDIANI (ISSN: 1594-0012), XXI, pp. 61-77, 2021

STUDI VIVALDIANI (ISSN: 1594-0012), XX, pp. 3-39, 2020

THE CONSORT (ISSN: 0268 9111), LXIV, pp. 60-77, 2009

REVISTA IBEROAMERICANA DE CIENCIAS (ISSN: 2334-2501), vol. 7, n. 1, pp. 1-10, 2020

Boletín informativo de la Academia Mexicana de Ciencias (no. 52, p. 24), 2016

Antonio Vivaldi. Passato e Futuro (a cura di Francesco Fanna & Michael Talbot), Venezia, Fondazione Giorgio Cini (ISBN: 978-88-96445-00-6), pp. 353-357, 2009

Antonio Vivaldi. Passato e Futuro (a cura di Francesco Fanna & Michael Talbot), Venezia, Fondazione Giorgio Cini (ISBN: 978-88-96445-00-6), pp. 59-72, 2009

VÓRTEX (ISSN: 2317-9937), vol. 5, n. 1, pp. 1-31, 2017

ARTECONCIENCIA (ISSN: 2007-4433), n. 4, pp. 5-15, 2013

ARTECONCIENCIA (ISSN: 2007-4433), n. 1, pp. 77-99, 2011

STUDI VIVALDIANI (ISSN: 1594-0012), n. 9, pp. 3-31, 2009

ESERCIZI. MUSICA E SPETTACOLO (a cura della Cattedra di Storia della Musica dell’Università degli studi di Perugia), n. 19, n.s. 10 (ISBN: 978-88-6074-011-8), pp. 7-50, 2004

HORTUS MUSICUS (ISSN: 1129-4965), n. 14, pp. 81-83, 2003

HORTUS MUSICUS (ISSN: 1129-4965), n. 13, pp. 13-16, 2003

HORTUS MUSICUS (ISSN: 1129-4965), n. 12, pp. 24-26, 2002

HORTUS MUSICUS (ISSN: 1129-4965), n. 11, pp. 88-89, 2002

Guanajuato, Universidad de Guanajuato [ISBN: 978-607-441-376-2], pp. 1-136, 2015

Guanajuato, Universidad de Guanajuato [ISBN: 978-607-441-378-6], pp. 137-494, 2015

La rosa blanca de luz inolvidable.

Guanajuato, Universidad de Guanajuato [ISBN: 978-607-441-377-9], pp. 495-640, 2015

Lucca, LIM - Libreria Musicale Italiana (ISBN: 978-88-7096-730-2), pp. IX-168, 2016

Il volume documenta le attività musicali e musicologiche realizzate tra il 2003 e il 2015 dall’As... more Il volume documenta le attività musicali e musicologiche realizzate tra il 2003 e il 2015 dall’Associazione culturale “L’Orfeo” e dal gruppo musicale “L’Orfeo Ensemble” di Spoleto: 158 concerti (319 complessivi dal 1993, anno di ricostituzione dell’associazione), 4 edizioni del Concorso internazionale d’organo “Albert Dunning” (istituito nel 2007), 36 concerti tenuti da “L’Orfeo Ensemble” in Italia e all’estero tra il 2003 e il 2005, 6 incisioni discografiche, 32 conferenze musicologiche (49 dal 1998), 8 seminari musicologici intensivi (16 dal 1998) e 10 pubblicazioni.

Guanajuato, Universidad de Guanajuato (ISBN: 978-607-441-563-6), pp. XI-165, 2019

El volumen nace del proyecto “Productos de creación/interpretación musical e investigación musico... more El volumen nace del proyecto “Productos de creación/interpretación musical e investigación musicológica”, en el marco de una Red temática de colaboración académica aprobada por la Secretaría de Educación Pública (SEP) de México, y coordinada por el Cuerpo Académico de Musicología (UGTO-CA-66) de la Universidad de Guanajuato.
El libro abarca tres temáticas generales correspondientes a otros tantos capítulos: “Compositores y formas musicales” (Cap. 1), “Ejecución e improvisación” (Cap. 2), “Arte sonoro y paisaje sonoro” (Cap. 3). El volumen incluye ensayos de Castro Ortigoza (Mujeres compositoras y teóricas desde la Antigüedad al Barroco), Béjar Bartolo (Una cantata, dos voces (¿soprano o alto?), cuatro (¿o cinco?) fuentes: “Pallidetta viola” de Francesco Antonio Pistocchi), Hernández Prado (Catálogo de la obra del compositor queretano Fernando Loyola), Podzharova (Ciclo sonata-sinfónico), Barreiro Lastra (Investigación, cartelera e interpretación musical de la ópera por decreto en la naciente república mexicana. Lucas Alamán: burguesía, poder e identidad nacional), Pérez Sánchez (Impresiones sobre la grabación integral de “Iberia” de Isaac Albéniz realizada por Ángel Huidobro en DVD), Córdova Azuela (Improvisación: limitantes para la comprensión de un lenguaje), Villarreal Hernández (Lo visual en lo sonoro: una perspectiva histórica del arte sonoro) y Alvarado Angulo (Los pregones de Guanajuato: paisaje sonoro y contaminación acústica).

Citas a las publicaciones académicas de Fabrizio Ammetto, 2023