Social History of Music and Musicians Research Papers

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- Musicology, Music Criticism, Cultural Musicology, Piano Music

This article provides an example of historical analysis of a pop song, by showing how Domenico Modugno's super-hit of 1958, "Nel blu, dipinto di blu" (a.k.a. "Volare") powerfully, if implicitly, reflected Italian social renaissance and the beginning of its so-called "economic miracle". The song triumphed at the Sanremo's Festival, then a widely popular event.

- by Leonardo Campus
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- Music, Italian Studies, Popular Culture, The Sixties
- by Andrew Pink
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- Music History, Eighteenth Century History, Cultural Musicology, Italian Music

Resumen Si bien desde hace décadas los estudios históricos sobre la música han puesto el foco paulatinamente en un universo de manifestaciones, relaciones y actores que tradicionalmente no formaban parte de su objeto de estudio, los resultados de esta ampliación no han tenido un impacto concreto y consistente en los imaginarios sociales sobre la música, principalmente en los ámbitos de formación musical y los textos que los informan. Ya se trate de nuevas disciplinas como la etnomusicología, de los enfoques derivados del postmodernismo integrantes de la " nueva musicología " , la " musicología radical " de índole más crítica o los menos abundantes estudios basados en el marxismo, son numerosos los trabajos, artículos y libros que construyen perspectivas historiográficas alternativas con el fin de abordar " otros " objetos de estudio que la tradición musicológica había solapado o segregado. Sin embargo, el impacto de estas investigaciones generalmente se restringe a los círculos científicos en los que se origina, constituyéndose en un discurso de autoafirmación y validación académica que, lejos de plantear una discusión crítica en el propio terreno de la historia de la música, construye circuitos paralelos que no han representado la necesidad concreta de un cambio en el núcleo duro de un paradigma musicológico que es heredero de las concepciones estéticas, históricas y metodológicas del siglo XIX. Esto se ha hecho evidente en la creación de subdisciplinas y en la necesidad de explicitar en los títulos de los trabajos la especificidad de lo estudiado, renunciando a considerar estos aportes como parte legítima de los estudios sobre la música, sin necesidad de mayores aclaraciones. El presente artículo propone una revisión de los aportes que estas nuevas perspectivas han realizado sobre cuatro objetos de estudio históricamente marginados de la investigación musicológica: los instrumentistas y la interpretación musical; el rol de las mujeres en los desarrollos musicales; la música popular anterior al siglo XX; la producción musical de Latinoamérica y su impacto en el desarrollo de la música occidental. A su vez analizaremos el grado de presencia que estos temas obtienen en los libros de texto de mayor difusión y trazaremos hipótesis acerca de las transformaciones que la inclusión de estos objetos de estudio podría (o necesitaría) producir en el corpus estable de la historia de la música, tanto en términos de investigación académica como de formación superior.

- by María Paula Cannova and +1
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- Music History, Musicology, Social History of Music and Musicians

Nel ghetto che i nazisti durante la seconda guerra mondiale istituirono a Theresienstadt (in ceco Terezín) poco a sud di Praga, Viktor Ullmann fu compositore prolifico e promotore della vita culturale degli internati. Di origini ebraiche e di cultura antroposofica steineriana, Ullmann nell’Andante della sua Sonata per pianoforte n° 5 op. 45, scritta nel 1943, lascia traccia di una resistenza spirituale al nazismo citando alcuni versi della poesia Vor dem Schlaf [Prima del sonno] di Karl Kraus. Il presente articolo illustra come le tecniche compositive di Ullmann, in particolare alcune sue strategie armoniche, nonché una particolarissima notazione enarmonica, possano divenire anch’esse veicolo di espressione per un sentimento di impermeabilità al dominio materiale e culturale perpetrato dal regime hitleriano. Il testo musicale e quello poetico sono discussi nei loro significati potenziali ed espliciti, nel loro rapporto reciproco e in relazione ad altre opere composte da Ullmann a Theresienstadt, come l’opera da camera Der Kaiser von Atlantis [L’imperatore di Atlantide].

- by Carlo Bianchi
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- Sociology of Music, Twentieth-century Music, Piano Music, Music analysis

Среди многочисленных раритетов, хранящихся в Кабинете рукописей Российского института истории искусств (КР РИИИ) и связанных с историей отечественной музыки, находится фотография с живописного полотна, на котором изображены хористы Придворной певческой капеллы во главе с ее директором Алексеем Фёдоровичем Львовым (1798-1870) в присутствии многочисленных слушателей, среди которых особенное внимание привлекает П. Виардо-Гарсия. Детальное изучение этого любопытного снимка позволило не только установить имена некоторых изображенных на нем персонажей, но и выявить живописный оригинал в собрании Государственного музея истории Санкт-Петербурга, а также прояснить некоторые моменты, связанные с историей бытования картины в двадцатом веке. | Among the numerous rarities stored in the manuscripts room of the Russian Institute for the History of the Arts, and related to the history of Russian music, there is a rare photograph from the little known oil painting, which depicts the choristers of the court chapel, led by its director Alexei (Alexis) Fyodorovich Lvov (1798-1870) in the presence of a numerous audience, among whom Pauline Viardot-Garcia is particularly notable. A detailed investigation of this photograph enabled the identification of various figures depicted in the concert hall; and also the identification of the original painting in the collection of the State Museum of the History of St. Petersburg, making it possible to clarify some points relating to the history of the painting during the twentieth century.

Disco Animals do Pink Floyd: uma distopia sobre animalização do sistema capitalista e a democracia liberal burguesa Resumo A distopia é um gênero narrativo explorado pela literatura, cinema, teatro, jogos eletrônicos e música. Caracteriza-se como contrário da utopia (lugar imaginário ideal), onde as relações humanas tornam-se insuportáveis, ao exagerar determinadas questões acerca do contexto no qual foi produzida. São comuns elementos como solidão, cenários pós-apocalípticos, guerras e o totalitarismo, expresso na caça às minorias, na violência e na vigilância extremas. Em 1977, a banda britânica de rock n´ roll Pink Floyd lançou o álbum conceitual Animals, inspirado na obra Revolução dos Bichos, de George Orwell, contendo cinco músicas com nomes de animais: ovelhas, porcos e cães. Com base na aproximação metodológica entre História e música, busca-se uma análise do álbum no contexto da década de 1970, ou seja, o surgimento de uma nova onda conservadora frente à recente crise do capitalismo, e um desencantamento do mundo moderno, que animaliza as pessoas e as relações sociais. Para tal, foram utilizados conceitos e teorias de autores como Murray Schafer, Marcos Napolitano e Robert Walser. Palavras-chave: Distopia. Pink Floyd (Conjunto musical). Rock.

The early history of the so-called ‘neighbouring rights’, as part of the history of copyright, has so far been given very little attention by scholars. This article sheds light on a European contest over the rights in sound recordings during the 1930s, 1940s and 1950s. This forms an important part of the background to the Rome Convention of 1961. The article first looks separately at how musicians’ unions and the record industry were raising different demands for protective legislation, motivated by the use of new electronic media. At the beginning, no one imagined that these protections would be bundled together as ‘neighbouring rights’. While the International Labour Organization (ILO) put great efforts into creating a convention protecting only the performers, another actor turned out to be more influential in the long run, proposing a hierarchical bundling of rights in which only record companies were entitled to compensation for the use of recordings. This actor was the Fascist government of Italy. The article argues that there are some continuities from the legal philosophy of Italian Fascism to the system of ‘neighbouring rights’ established in the Rome Convention.

- by Rasmus Fleischer
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- Media History, Copyright History, Labour history, Liveness

This article offers a bird's-eye view of the evolution of guitar learning and pedagogy in the XX and XXI centuries, supported, and often propelled by emerging popular musical styles and new technologies. Specifically, the article discusses how learning to play guitar has evolved from formal teacher-student lessons in private and academic settings, to informal and self-guided forms of learning through books, magazines, and DVDs. Starting in the late 1990s, technological advancements and the diffusion of high-speed internet brought about technologies and social spaces that contributed to innovating guitar pedagogies and disrupting traditional approaches to teaching and learning the guitar. These technologies include, but are not limited to online archives and communities, social media, apps and software, subscription-based services, augmented reality, virtual worlds, and digital games. Several of these technologies are still in their infancy and their potential for impacting guita...

Настоящая статья представляет обзор истории двух редких музыкальных инстументов XVIII века - организированного фортепиано и серинета, приводятся их изображения в живописи. Статья представляет собой исправленную и дополненную версию... more

- by Askold Smirnov
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- Keyboard Instruments, History of Art, Fortepiano, Musical Instruments

En l'últim quart del segle xix, el piano s'havia convertit en un fenomen cultural, social i comercial de primer ordre i es trobava profundament arrelat en la societat catalana. N'és una prova la intensificació de la producció de pianos i del consum de música per a aquest instrument, la facilitat d'accés al repertori per part del públic català, la consolidació de l'ensenyament pianístic i, finalment, la presència massiva d'aquest instrument en sales de concert, exposicions universals, cafès, ateneus, casinos, teatres i salons privats. El present article aporta noves dades que expliquen el procés d'implantació i de difusió del piano des de la seva arribada a Catalunya l'últim quart del segle xviii fins a final del segle xix, quan es converteix en l'instrument més popular i en la icona cultural de referència, tal com ho evidencia el sorgiment de pianistes de relleu internacional com ara Tintorer, Granados o Albéniz. L'estudi comprèn referències a constructors i venedors de pianos com ara F. Bernareggi i M. Guarro, a comerços de venda de partitures com el de F. España, a intèrprets i professors com J. B. Pujol, a material pedagògic i centres docents de música implicats, així com als espais públics i privats compromesos en la recepció sonora de l'instrument. Aquestes dades confirmen i evidencien l'alt desenvolupament de l'activitat i de la cultura del piano a la Catalunya vuitcentista.

- by Oriol Brugarolas
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- Music History, Piano, Piano Pedagogy, Piano performance and repertoire
- by Romano Vettori
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- Social History of Music and Musicians

In the ancient confraternity of San Niccolò del Ceppo, Florence - one of the rare lay companies still in existence thereat - is preserved an unusual vanitas. The macabre theme of death is represented by a skeleton smashing musical instruments. Both partbooks (with legible notation) and scrolls provide a rich set of paratexts, with the overall motto according to Psalm 45 [46] ("He breaks the bow and shatters the spear"), and a clue to the painting's original function ("A group of musicians assembled for the sake of salvation"). Erroneously considered up till now a seventeenth-century anonymous work, the stylistic impact of Jacopo Ligozzi, a master of the vanitas genre, is strong. Among the iconographic models, a drawing recently attributed to Ligozzi can be identified, furthermore Federico Zuccari's Giudizio universale for the dome of Florence Cathedral. Based on archival evidence, the original context of the vanitas painting as 'apparatus'nwithin the collective rituals of a musicians' confraternity can now be determined, furthermore its author (Michele Lepri) as well as the year of tis creation (1721). Compliant with the new dating are also organological details, such a s the characteristic features of the early eighteenth-century oboe.

- by Elena Abbado
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- Music, Death Studies, Baroque Art and Literature, History of Florence

By the last quarter of the 19th century, the piano had become a prime cultural, social and commercial phenomenon and was deeply rooted in Catalan society. Proof of this is the increase in piano manufacturing and the consumption of piano music, the Catalan public's ready access to the repertoire, the consolidation of piano instruction and the massive presence of this instrument in concert halls, universal expositions, cafés, athenaeums, casinos, theatres and private salons. This article provides new information outlining the process by which the piano took root and spread from its arrival in Catalonia in the last quarter of the 18th century until the late 19th century, when it had become the most popular, iconic instrument, as evidenced by the emergence of internationally renowned pianists like Tintorer, Granados and Albéniz. This study encompasses references to piano builders and vendors such as F. Bernareggi and M. Guarro, shops that sold scores like F. España, performers and instructors like J. B. Pujol, instructional materials and centres that taught music, as well as the public and private spaces committed to welcoming the instrument's sound. This information confirms and reveals the profound development of piano activity and culture in 19th-century Catalonia.

In: Rohrblatt 31 (2016), Heft 2, S. 11-14

- by Sebastian Werr
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- Musicology, German History, Organology, Music in the German Democratic Republic
- by Zdravko Blazekovic
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- Art History, Organology, Iconography (Music), Antiquity
- by Olga Baird (Yatsenko)
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- Music, Musicology, Social History of Music and Musicians

Known to scholars for a long time, and have now become rather rare, gli "Aneddoti piacevoli ed interessanti" di G. G. Ferrari (1830) are part of that kind of autobiography artistic feature of the early nineteenth century, very valuable for historians of culture and music. The work, in fact, runs, through memory of Ferrari, the main stages of his artistic career, and consequently, in the narrative involves all musical and cultural environments known to him, from his native land, Trentino and
Rovereto in particular, the nearby Verona, the most important Italian cities, with Naples, Rome, Florence, before moving to Paris, Brussels, London, precisely where he settled permanently. Not to underestimate the interest that "Aneddoti" may have in general for the history the early nineteenth-century costume, thanks to put news on social habits, characters human, the various national and regional curiosity,
of which the Ferrari fills his autobiography.

- by Olivia Moreno Gamboa
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- Cultural Studies, Music, Piano Music, Pianists and Piano Literature

The third unit is about the Renaissance of the cathedral rite during the 13th and 15th centuries, after this tradition had disappeared during the exile of the Court and the Patriarchate at Nikaia. The acceptance of the oktoechos system was based on the monastic Round notation as the medium to integrate different traditions of the Byzantine empire: the monastic tradition of the chant books sticherarion and the heirmologion, and the cathedral rite with its chant books asmatikon and kontakarion. The synthesis was done by the establishment of psaltic art and an additional kalophonic way which was based on the traditional methods and their books, but at the same time also a field for experiments between the genres. The books of the papadic reform were akolouthiai, and additional editions of the old books such as sticherarion kalophonikon and heirmologion kalophonikon, but also the creation of revised editions of the old books sticherarion and heirmologion. According to Manuel Chrysaphes it was Ioannes Koukouzeles who invented the kalophonic method to sing the hymns of the sticherarion. His method was based on a didactic chant called “Mega Ison” which memorised all signs of Middle Byzantine notation. While Constantinople became a very advanced centre of Byzantine music with famous composers like Xenos Korones, Ioannes Glykys and Ioannes Kladas, other Poleis, Patriarchates, and peripheral territories within and beyond the Empire opposed to its innovations. A three-dimensional realisation of the trochos system offers an insight in the creative aspects of kalophonic art, and demonstrates the integrative role of eight diatonic echoi and two phthorai called by their intonation (echema) “nenano” and “nana”. Since the history of Constantinople was particular destructive, this lecture will also treat Mount Athos as a hidden place where lost traditions of Byzantine Music could be continued and from where they could be revived.

- by Oliver Gerlach
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- Music History, Performance Studies, Byzantine Studies, History of Music Theory

While the economic involvement of early modern Germany in slavery and the slave trade is increasingly receiving attention, the direct participation of Germans in human trafficking remains a blind spot in historiography. This edited volume focuses on practices of enslavement taking place within German territories in the early modern period as well as on the people of African, Asian, and Native American descent caught up in them.

- by Rebekka von Mallinckrodt and +2
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- Early Modern History, German History, History of Slavery, Human Trafficking
- by Zdravko Blazekovic
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- Economic History, Opera, Social History, Historiography of Music
- by Thomas Lang
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- Dance History, Court history, Syphilis, Morris dancing, mumming plays, ritual dance

This monographic essay is dedicated to one of the most mysterious protagonists of the patriarchal style (hyphos) Petros Peloponnesios. Despite the many colourful anecdotes, we only know very few facts about Petros Peloponnesios’ life before he came to Constantinople in 1764. Analysing Petros’ contribution to the hyphos, this essay does not rely on the well-known transcriptions as they were distributed by the print editions in different languages. Recent research has already proved that many ascriptions to Petros are not trustworthy. On the other hand, readers might discover less known compositions by Petros, like his second week cycle and the long oktoechos cycle of cherouvika, which have rarely been printed. They will also be surprised that his composition of the idiomela for the «Doxastarion syntomon» are quite different from the official transcriptions according to the New Method. Another mystery is Petros’ close relationship to the Mevlevi dervishes of Pera (Beyoğlu), where he was adored as Hoca and Hırsız (“teacher and thief”), and his exceptional contribution to Ottoman music by numerous transcriptions of historical makam compositions and more than 100 original makam compositions, sometimes made over a Greek text. The article proves that Petros did not invent the exegetic use of notation nor the transcription of makam music into Greek neume notation. It also proves that many of the works and innovations were officially wrongly attributed to him. Nevertheless, he must be regarded as one of the most remarkable and most gifted Greek Ottoman musicians who did wonders during his short life span between 1764 and his early death during the disastrous plague of 1778.

- by Oliver Gerlach
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- Musicology, Greek Literature, Performing Arts, Ottoman History
- by John C Franklin
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- Religion, Mythology And Folklore, History, Cultural History

Il volume Variazioni in sviluppo. I pensieri di Giovanni Morelli verso il futuro rappresenta l’ulteriore sviluppo di un’ampia discussione sul magistero di Giovanni Morelli che ha avuto luogo in un convegno dallo stesso titolo, organizzato dall’Istituto per la Musica della Fondazione Giorgio Cini il 15 e 16 maggio 2015. L’obiettivo di questo progetto è aprire un nuovo orizzonte di ricezione degli scritti del musicologo, coinvolgendo otto giovani studiosi che sia per ragioni anagrafiche, sia per i percorsi accademici compiuti non rientrano nel novero dei suoi allievi. A ognuno di loro è stato affidato un saggio tra i più rilevanti della produzione scientifica di Morelli, selezionati in maniera da essere rappresentativi di altrettante tematiche il cui peso è stato centrale nella sua poliedrica attività di ricerca. La discussione si estende dalla retorica musicale alla popular music, dalla drammaturgia dell’opera romantica alla composizione per il cinema, dal rapporto tra genio e malattia all’estetica musicale del Settecento, dalla "Generazione dell’Ottanta" alle avanguardie del secondo Novecento. Gli autori si confrontano in maniera critica con le tesi formulate da Morelli, contestualizzandole nello scenario culturale e scientifico in cui sono sorte per poi ricollocarle nel quadro degli attuali dibattiti della musicologia internazionale, così da illustrarne sia la portata innovativa rispetto all’epoca in cui furono formulate, sia il loro ricco potenziale di ulteriori sviluppi futuri.

- by Giada Viviani
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- Musicology, Popular Music Studies, Cultural Musicology, Historical Musicology
- by Jordan Alexander Key
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- Music, Musical Composition, Early Music, Music History

Dans une societe francaise d'Ancien Regime qui se pense essentiellement en termes d'etiquette sociale et qui aime a attribuer une place precise a chaque individu afin d'etablir des hierarchies, les musiciens apparaissent comme un groupe professionnel difficile a categoriser. Ils vivent des realites tres diverses en fonction des profils, depuis l'organiste de la cathedrale jusqu'au violoniste qui anime une noce de quartier, en passant par le trompette municipal, le tambour militaire et le musicien de rue. L'incertitude qui entoure leur statut les rend ideals afin d'interroger le regard que porte la societe moderne sur elle-meme. La presente these se propose d'etudier ce groupe socio-professionnel dans une demarche prosopographique a l'interieur d'une zone geographique large qui englobe la Provence et les Etats pontificaux rhodaniens au XVIIIe siecle. Trois axes principaux guident nos reflexions sur les musiciens : les pratiques professionnelles...

- by Aurélien Gras
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- History, Cultural History, Music History, Art
- by John C Franklin
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- Religion, History, Ancient History, Cultural History

The intention of the collection of essays was to address the fundamental question concerning the significance of the encounters between the East, the West and the South of Europe for musical culture, both broadly defined and local in the places where the encounters occurred. Music migrations have considerably contributed to the dynamics and synergy of the European cultural scene at large, stimulating innovations, changes of styles and patterns of musical and social behaviour, and contributing to the cohesive forces in the common European cultural identity. The book devoted to the subject show the great diversity of materials and problems, which will give, as we hope, new stimulus to further research into the fascinating matter of music migrations.

- by Jolanta Guzy-Pasiak and +1
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- Music and Politics, Music and identity, Music and Migration, 17th Century Music
- by John C Franklin
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- Philology, Ancient History, Musicology, Classics

Relatively recently, thanks to efforts of the late German clarinetist and researcher Dieter Klőcker (1936-2011), the musical world has rediscovered an almost forgotten 18th-early 19th century composer Antonio Casimir Cartellieri (1772-1807). After 1996 record of Cartellieri’s concertos for clarinet and orchestra by Dieter Klőcker and Prague Chamber Orchestra, no less than ten audio recordings of Cartellieri’s compositions have been produced. It can be concluded that Cartellieri’s musical legacy is nowadays well known in the musical world.
Dieter Klőcker discovered and eventually published the short biography of Cartellieri compiled by his son, which has been preserved in the collection of the Gesellschaft der Musikfreunde in Vienna. It states that in about 1791 Cartellieri was patronized by a certain Polish Count Oborsky; that they travelled together to Berlin; that during their stay in Vienna Cartellieri became a favourite of Prince Joseph Franz Maximilian Lobkowitz who was so much impressed by his Symphony performed in Vienna in 1795, that he secured for himself Cartellieri’s services. Nowadays Count Oborsky has become firmly established in musical literature as Cartellieri’s employer and patron.
However, Count Oborsky, a Polish magnate and landowner, patron of Cartellieri and ‘great friend of the arts’ who therefore should be well known to his contemporaries, has not been documented in the context of Warsaw or Viennese musical, artistic, social and political life, and his personality remains mysterious.
The paper presents materials from a newly discovered document - the Memoir of Ludwig-Wilhelm Tepper de Ferguson (1768-1838), a minor composer of Polish origin. It sheds some light on the personality, life and social position of Oborsky and establishes the fact that not Oborsky was Cartellieri’s patron, but the Great Hetman of Lithuania, Count Michał Kazimierz Ogiński (1728-1800), a poet, playwright, musician and indeed a great patron of arts.

- by Antonio Baldassarre
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- Music Education, Music History, Historiography, Zurich

This article offers a bird's-eye view of the evolution of guitar learning and pedagogy in the XX and XXI centuries, supported, and often propelled by emerging popular musical styles and new technologies. Specifically, the article discusses how learning to play guitar has evolved from formal teacherstudent lessons in private and academic settings, to informal and self-guided forms of learning through books, magazines, and DVDs. Starting in the late 1990s, technological advancements and the diffusion of high-speed internet brought about technologies and social spaces that contributed to innovating guitar pedagogies and disrupting traditional approaches to teaching and learning the guitar. These technologies include, but are not limited to online archives and communities, social media, apps and software, subscription-based services, augmented reality, virtual worlds, and digital games. Several of these technologies are still in their infancy and their potential for impacting guitar learning and teaching may still to be fully harnessed and explored.

- by Vittorio Marone
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- Music History, Music and Media, Classical Guitar, History of Music Theory

O presente trabalho investiga o processo de construção social do maxixe, uma dança de movimentos intensos e sensuais que fez parte do cotidiano dos cariocas
entre os séculos XIX e XX. Com o auxílio das fontes da imprensa periódica, bem
como músicas e peças teatrais, os casos analisados demonstram que a dança era forjada de maneira dinâmica, em diálogo com o mundo atlântico e com os conflitos sociais de um Rio de Janeiro em plena transformação. Baseado na experiência dançante de trabalhadores pobres, negros e pardos, o maxixe tinha seus significados
estrategicamente construídos por diferentes sujeitos que encontravam na dança um objeto polissêmico de disputa e negociação sobre as tensões entre raça e
nacionalidade colocadas pelo fim da escravidão.
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The present work investigates the social construct process of the maxixe, a dance of intense and sensual movements that took part of cariocas’ everyday life between the nineteenth and twentieth centuries. Supported by periodicals, songs, as
well as theatrical plays, the case studies analyzed illustrate how the dance was fashioned in a dynamic way in dialogue with both the Atlantic World and the social conflicts of a transforming Rio de Janeiro. Based on the dance experience of poor,
black, and mixed workers, the maxixe had its meaning strategically constructed by
different characters that found in the dance a polysemic object of dispute and negotiation on the tensions between race and nationality imposed by the end of slavery.

- by Bruno Costa
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- History, Social History of Music and Musicians

Il poemetto di Rainer Maria Rilke "Die Weise von Liebe und Tod des Cornets Christoph Rilke" (‘Il canto d’amore e morte dell’alfiere Christoph Rilke’) fu messo in musica da Frank Martin e Viktor Ullmann quasi contemporaneamente, negli anni della seconda guerra mondiale. Martin scrisse un Lied per contralto e orchestra, Ullmann invece un melologo per voce e recitante e pianoforte. Il seguente articolo confronta questi due brani illustrando differenze e affinità che a loro volta suggeriscono varie considerazioni sulla poetica del testo di Rilke. Le caratteristiche di linguaggio e le visioni estetiche che i due compositori mostrano nei rispettivi Cornet vengono definite con riferimento ad alcune generali tendenze della musica del Novecento.

- by Carlo Bianchi
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- Literature and Music, Sociology of Music, Twentieth-century Music, Music analysis

Acercamiento al quehacer artístico de Alfredo Portela López, en sus distintas facetas como instrumentista, profesor y compositor. El artículo recorre dos etapas de su vida, una la etapa formativa, la cual refiere a los inicios de su carrera como flautista. Y un segundo momento tiene que ver con su trayectoria artística, sobre los premios, reconocimientos y distinciones otorgadas por su profesionalidad.

- by Pablo Alejandro Suárez Marrero and +1
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- Music, Musicology, Social History of Music and Musicians
- by Regine Pruzsinszky
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- Social History of Music and Musicians

Social History of Music and Musicians Research Papers (original) (raw)