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History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4690896]'), work: {"id":4690896,"title":"One, Two, Three: BBC Radio's formation of intercluded 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Union","url":"https://www.academia.edu/Documents/in/Musicians_Union?f_ri=685"},{"id":742031,"name":"Pirate Radio","url":"https://www.academia.edu/Documents/in/Pirate_Radio?f_ri=685"},{"id":806983,"name":"Postwar British History","url":"https://www.academia.edu/Documents/in/Postwar_British_History?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_63347301" data-work_id="63347301" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/63347301/Detroit_Remains_Archaeology_and_Community_Histories_of_Six_Legendary_Places">Detroit Remains: Archaeology and Community Histories of Six Legendary Places</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">An archaeologically grounded history of six legendary places in Detroit. The city of Detroit has endured periods of unprecedented industrial growth, decline, and revitalization between the late nineteenth century and the present. In... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_63347301" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">An archaeologically grounded history of six legendary places in Detroit.<br /><br />The city of Detroit has endured periods of unprecedented industrial growth,<br />decline, and revitalization between the late nineteenth century and the present.<br /><br />In Detroit Remains: Archaeology and Community Histories of Six Legendary<br />Places, Krysta Ryzewski presents six archaeological case studies of<br />legendary Detroit institutions—Little Harry speakeasy, the Ransom Gillis<br />house, the Blue Bird Inn, Gordon Park, the Grande Ballroom, and the Halleck<br />Street log cabin—that trace the contours of the city’s underrepresented<br />communities and their relationship to local currents of capitalism and<br />social justice. Through a combination of rigorous historical archaeological<br />research and narrative storytelling, Ryzewski deftly contextualizes the cases within the city’s current struggles, including recovery from bankruptcy, and future-oriented recovery efforts.<br /><br />Detroit Remains is is the first historical archaeology book focused on Detroit and one of the few to foreground the archaeology of the Great Migration era (ca. 1915–1970). The archaeological scholarship is rooted in collaborative, community-involved, and public-facing initiatives. The case studies examine how power is and has been exercised in Detroit’s communities over the past century: how it was stripped from the city’s twentieth- and twenty-first-century residents, but also how they acquired alternative sources of agency by establishing creative and illicit economies, most of which still operated within the city’s capitalist framework.<br /><br />Throughout this book, connections run deep between archaeology, heritage, politics, historic preservation, and storytelling. Detroit Remains<br />demonstrates how the city’s past, present, and future lie not in ruins but<br />in the tangible archaeological traces of the everyday lives of Detroiters and<br />their legacies.<br /><br />Published by University of Alabama Press</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/63347301" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="96853076412701e174ade92694015987" rel="nofollow" data-download="{"attachment_id":75807148,"asset_id":63347301,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/75807148/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1162077" href="https://wayne.academia.edu/KrystaRyzewski">Krysta Ryzewski</a><script data-card-contents-for-user="1162077" type="text/json">{"id":1162077,"first_name":"Krysta","last_name":"Ryzewski","domain_name":"wayne","page_name":"KrystaRyzewski","display_name":"Krysta Ryzewski","profile_url":"https://wayne.academia.edu/KrystaRyzewski?f_ri=685","photo":"https://0.academia-photos.com/1162077/411295/10084130/s65_krysta.ryzewski.jpg"}</script></span></span></li><li class="js-paper-rank-work_63347301 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="63347301"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 63347301, container: ".js-paper-rank-work_63347301", }); 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Through a combination of rigorous historical archaeological\nresearch and narrative storytelling, Ryzewski deftly contextualizes the cases within the city’s current struggles, including recovery from bankruptcy, and future-oriented recovery e\u001dfforts.\n\nDetroit Remains is is the first historical archaeology book focused on Detroit and one of the few to foreground the archaeology of the Great Migration era (ca. 1915–1970). \u001fThe archaeological scholarship is rooted in collaborative, community-involved, and public-facing initiatives. \u001fThe case studies examine how power is and has been exercised in Detroit’s communities over the past century: how it was stripped from the city’s twentieth- and twenty-first-century residents, but also how they acquired alternative sources of agency by establishing creative and illicit economies, most of which still operated within the city’s capitalist framework.\n\nThroughout this book, connections run deep between archaeology, heritage, politics, historic preservation, and storytelling. Detroit Remains\ndemonstrates how the city’s past, present, and future lie not in ruins but\nin the tangible archaeological traces of the everyday lives of Detroiters and\ntheir legacies.\n\nPublished by University of Alabama Press","downloadable_attachments":[{"id":75807148,"asset_id":63347301,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1162077,"first_name":"Krysta","last_name":"Ryzewski","domain_name":"wayne","page_name":"KrystaRyzewski","display_name":"Krysta Ryzewski","profile_url":"https://wayne.academia.edu/KrystaRyzewski?f_ri=685","photo":"https://0.academia-photos.com/1162077/411295/10084130/s65_krysta.ryzewski.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=685","nofollow":false},{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":958,"name":"Historical Archaeology","url":"https://www.academia.edu/Documents/in/Historical_Archaeology?f_ri=685","nofollow":false},{"id":969,"name":"Public Archaeology","url":"https://www.academia.edu/Documents/in/Public_Archaeology?f_ri=685"},{"id":2132,"name":"Cultural Heritage","url":"https://www.academia.edu/Documents/in/Cultural_Heritage?f_ri=685"},{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies?f_ri=685"},{"id":22422,"name":"Archaeology of the Contemporary Past","url":"https://www.academia.edu/Documents/in/Archaeology_of_the_Contemporary_Past?f_ri=685"},{"id":45934,"name":"Community Archaeology","url":"https://www.academia.edu/Documents/in/Community_Archaeology?f_ri=685"},{"id":59316,"name":"Midwest Archaeology","url":"https://www.academia.edu/Documents/in/Midwest_Archaeology?f_ri=685"},{"id":77109,"name":"Great Migration period","url":"https://www.academia.edu/Documents/in/Great_Migration_period?f_ri=685"},{"id":279642,"name":"Detroit","url":"https://www.academia.edu/Documents/in/Detroit?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11968668" data-work_id="11968668" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11968668/Die_Unordnung_der_Dinge_Das_musikalische_Groteske_in_der_Wiener_Moderne_1885_1914_Franz_Steiner_Verlag_Stuttgart_2006_Archiv_f%C3%BCr_Musikwissenschaft_Beihefte_56_">Die Unordnung der Dinge. Das musikalische Groteske in der Wiener Moderne (1885 – 1914), Franz Steiner Verlag: Stuttgart 2006 (Archiv für Musikwissenschaft – Beihefte, 56).</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11968668" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f8896353ef60605cf37efb375a149b1b" rel="nofollow" data-download="{"attachment_id":37322068,"asset_id":11968668,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37322068/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="21268556" href="https://uibk.academia.edu/FedericoCelestini">Federico Celestini</a><script data-card-contents-for-user="21268556" type="text/json">{"id":21268556,"first_name":"Federico","last_name":"Celestini","domain_name":"uibk","page_name":"FedericoCelestini","display_name":"Federico Celestini","profile_url":"https://uibk.academia.edu/FedericoCelestini?f_ri=685","photo":"https://0.academia-photos.com/21268556/7991854/8952418/s65_federico.celestini.jpg"}</script></span></span></li><li class="js-paper-rank-work_11968668 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11968668"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11968668, container: ".js-paper-rank-work_11968668", }); 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It was central to his ambition to attain status as a European composer, but he abandoned the project halfway through. La... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38994530" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In 1850, after five years of planning, Liszt began composing music for his Italian opera, _Sardanapalo_, after Byron. It was central to his ambition to attain status as a European composer, but he abandoned the project halfway through. La Mara (1911), Humphrey Searle (1954) and others declared the manuscript fragmentary and partially illegible, but in 2016 this verdict was categorically overturned when work began on an edition of what Liszt notated: almost the entirety of Act 1. This article draws on an array of sources – published and unpublished – significantly to update our knowledge of the circumstances surrounding Liszt’s composition and abandonment of _Sardanapalo_. In light of his inconsistently Italianate music and idiosyncratic treatment of the libretto, it also reinterprets Liszt’s mid-century aesthetic orientation, as a confidant of Wagner and would-be pillar of Franz Brendel’s future neudeutsche Schule. By contextualizing key aspects of the uncovered musical score and libretto within Liszt’s mid-century writings on aesthetics, it posits character, declamatory melody and the visuality of the stage as (initially) critical criteria in the communication of a literary narrative, and suggests that Liszt’s impulse towards symphonic poetry may first have been kindled within the aesthetic potential of opera.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38994530" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7a43e407cf2f4182ae01b854e727f954" rel="nofollow" data-download="{"attachment_id":59101374,"asset_id":38994530,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59101374/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="194341" href="https://cambridge.academia.edu/DavidTrippett">David Trippett</a><script data-card-contents-for-user="194341" type="text/json">{"id":194341,"first_name":"David","last_name":"Trippett","domain_name":"cambridge","page_name":"DavidTrippett","display_name":"David Trippett","profile_url":"https://cambridge.academia.edu/DavidTrippett?f_ri=685","photo":"https://0.academia-photos.com/194341/46531/42831/s65_david.trippett.jpg"}</script></span></span></li><li class="js-paper-rank-work_38994530 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38994530"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38994530, container: ".js-paper-rank-work_38994530", }); 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By contextualizing key aspects of the uncovered musical score and libretto within Liszt’s mid-century writings on aesthetics, it posits character, declamatory melody and the visuality of the stage as (initially) critical criteria in the communication of a literary narrative, and suggests that Liszt’s impulse towards symphonic poetry may first have been kindled within the aesthetic potential of opera.","downloadable_attachments":[{"id":59101374,"asset_id":38994530,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":194341,"first_name":"David","last_name":"Trippett","domain_name":"cambridge","page_name":"DavidTrippett","display_name":"David Trippett","profile_url":"https://cambridge.academia.edu/DavidTrippett?f_ri=685","photo":"https://0.academia-photos.com/194341/46531/42831/s65_david.trippett.jpg"}],"research_interests":[{"id":685,"name":"Music 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class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5445933/Musical_narratology_an_outline">Musical narratology - an outline</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5445933" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="542deb9887232f48772abc751ad94909" rel="nofollow" data-download="{"attachment_id":32569484,"asset_id":5445933,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" 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href="https://www.academia.edu/Documents/in/Narratology">Narratology</a><script data-card-contents-for-ri="5513" type="text/json">{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5445933]'), work: {"id":5445933,"title":"Musical narratology - an outline","created_at":"2013-12-16T06:50:58.666-08:00","url":"https://www.academia.edu/5445933/Musical_narratology_an_outline?f_ri=685","dom_id":"work_5445933","summary":null,"downloadable_attachments":[{"id":32569484,"asset_id":5445933,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7631330,"first_name":"Malgorzata","last_name":"Pawlowska","domain_name":"uken","page_name":"GosiaPawlowska","display_name":"Malgorzata 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href="https://www.academia.edu/30289221/Anton%C3%ADn_Reichenauer_Concerto_in_G_per_oboe_due_violini_viola_e_basso_a_critical_edition_">Antonín Reichenauer: Concerto in G per oboe, due violini, viola e basso [a critical edition]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Concerto in G Major for oboe, strings and basso continuo by Antonín Reichenauer (c. 1694-1730), which is edited for the first time, is a significant and rare sights instrumental works by Czech composers of the late Baroque. The work was... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30289221" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Concerto in G Major for oboe, strings and basso continuo by Antonín Reichenauer (c. 1694-1730), which is edited for the first time, is a significant and rare sights instrumental works by Czech composers of the late Baroque. The work was composed probably in the third decade of the 18th century for Count Wenceslas Morzin band for whom Reichenauer worked at that time. This ensemble was one of the best bands in the Czech Republic and as "Maestro di Musica in Italia" for him composed music also Antonio Vivaldi, who dedicated this Morzin a collection of the Concertos op. 8 with the famous "Le quattro stagioni". Also, the Reichenauer's handwriting on the Concerto in G major is obvious direct influence of Vivaldi's music. This critical edition prepared a music historian and musician Lukáš M. Vytlačil to satisfy the scholarly community and also meet the needs of musicians. The score is therefore complemented by Czech and English commentary, complete facsimile copy of the Dresden manuscript and instrumental parts. The concerto is possible without transposition also play on the flute.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30289221" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c19c5343f53ff92381852268fd8f07f4" rel="nofollow" data-download="{"attachment_id":61028101,"asset_id":30289221,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61028101/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50273408" href="https://cas-cz.academia.edu/lukasvytlacil">Lukáš M Vytlačil</a><script data-card-contents-for-user="50273408" type="text/json">{"id":50273408,"first_name":"Lukáš","last_name":"Vytlačil","domain_name":"cas-cz","page_name":"lukasvytlacil","display_name":"Lukáš M Vytlačil","profile_url":"https://cas-cz.academia.edu/lukasvytlacil?f_ri=685","photo":"https://0.academia-photos.com/50273408/14908739/80245706/s65_luk_.vytla_il.jpg"}</script></span></span></li><li class="js-paper-rank-work_30289221 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30289221"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30289221, container: ".js-paper-rank-work_30289221", }); 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$(".js-view-count[data-work-id=30289221]").text(description); $(".js-view-count-work_30289221").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30289221").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="30289221"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">25</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20720" href="https://www.academia.edu/Documents/in/Performance_Practice">Performance Practice</a>, <script data-card-contents-for-ri="20720" type="text/json">{"id":20720,"name":"Performance Practice","url":"https://www.academia.edu/Documents/in/Performance_Practice?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="24065" href="https://www.academia.edu/Documents/in/Czech_music">Czech music</a><script data-card-contents-for-ri="24065" type="text/json">{"id":24065,"name":"Czech music","url":"https://www.academia.edu/Documents/in/Czech_music?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30289221]'), work: {"id":30289221,"title":"Antonín Reichenauer: Concerto in G per oboe, due violini, viola e basso [a critical edition]","created_at":"2016-12-06T11:17:16.811-08:00","url":"https://www.academia.edu/30289221/Anton%C3%ADn_Reichenauer_Concerto_in_G_per_oboe_due_violini_viola_e_basso_a_critical_edition_?f_ri=685","dom_id":"work_30289221","summary":"Concerto in G Major for oboe, strings and basso continuo by Antonín Reichenauer (c. 1694-1730), which is edited for the first time, is a significant and rare sights instrumental works by Czech composers of the late Baroque. The work was composed probably in the third decade of the 18th century for Count Wenceslas Morzin band for whom Reichenauer worked at that time. This ensemble was one of the best bands in the Czech Republic and as \"Maestro di Musica in Italia\" for him composed music also Antonio Vivaldi, who dedicated this Morzin a collection of the Concertos op. 8 with the famous \"Le quattro stagioni\". Also, the Reichenauer's handwriting on the Concerto in G major is obvious direct influence of Vivaldi's music. This critical edition prepared a music historian and musician Lukáš M. Vytlačil to satisfy the scholarly community and also meet the needs of musicians. The score is therefore complemented by Czech and English commentary, complete facsimile copy of the Dresden manuscript and instrumental parts. The concerto is possible without transposition also play on the flute.","downloadable_attachments":[{"id":61028101,"asset_id":30289221,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50273408,"first_name":"Lukáš","last_name":"Vytlačil","domain_name":"cas-cz","page_name":"lukasvytlacil","display_name":"Lukáš M Vytlačil","profile_url":"https://cas-cz.academia.edu/lukasvytlacil?f_ri=685","photo":"https://0.academia-photos.com/50273408/14908739/80245706/s65_luk_.vytla_il.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=685","nofollow":false},{"id":20720,"name":"Performance Practice","url":"https://www.academia.edu/Documents/in/Performance_Practice?f_ri=685","nofollow":false},{"id":24065,"name":"Czech music","url":"https://www.academia.edu/Documents/in/Czech_music?f_ri=685","nofollow":false},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=685"},{"id":32414,"name":"Performance Practice (Music)","url":"https://www.academia.edu/Documents/in/Performance_Practice_Music_?f_ri=685"},{"id":38990,"name":"Bohemia","url":"https://www.academia.edu/Documents/in/Bohemia?f_ri=685"},{"id":71008,"name":"Flute Music","url":"https://www.academia.edu/Documents/in/Flute_Music?f_ri=685"},{"id":119105,"name":"Flute","url":"https://www.academia.edu/Documents/in/Flute?f_ri=685"},{"id":150093,"name":"Baroque Flute","url":"https://www.academia.edu/Documents/in/Baroque_Flute?f_ri=685"},{"id":163107,"name":"Facsimiles","url":"https://www.academia.edu/Documents/in/Facsimiles?f_ri=685"},{"id":176995,"name":"Oboe","url":"https://www.academia.edu/Documents/in/Oboe?f_ri=685"},{"id":303820,"name":"Critical edition","url":"https://www.academia.edu/Documents/in/Critical_edition?f_ri=685"},{"id":304169,"name":"Baroque oboe","url":"https://www.academia.edu/Documents/in/Baroque_oboe?f_ri=685"},{"id":304261,"name":"Saxon Court at Dresden","url":"https://www.academia.edu/Documents/in/Saxon_Court_at_Dresden?f_ri=685"},{"id":354306,"name":"Musical Edition","url":"https://www.academia.edu/Documents/in/Musical_Edition?f_ri=685"},{"id":389492,"name":"Editions of Music","url":"https://www.academia.edu/Documents/in/Editions_of_Music?f_ri=685"},{"id":537731,"name":"Editing Early Music","url":"https://www.academia.edu/Documents/in/Editing_Early_Music?f_ri=685"},{"id":563036,"name":"Scholarly Editing of Music","url":"https://www.academia.edu/Documents/in/Scholarly_Editing_of_Music?f_ri=685"},{"id":570924,"name":"Music Manuscripts","url":"https://www.academia.edu/Documents/in/Music_Manuscripts?f_ri=685"},{"id":614344,"name":"Musical culture of Central Europe","url":"https://www.academia.edu/Documents/in/Musical_culture_of_Central_Europe?f_ri=685"},{"id":888666,"name":"Facsimile Editions","url":"https://www.academia.edu/Documents/in/Facsimile_Editions?f_ri=685"},{"id":1027208,"name":"Critical edition of music","url":"https://www.academia.edu/Documents/in/Critical_edition_of_music?f_ri=685"},{"id":1215186,"name":"Oboe Concerti","url":"https://www.academia.edu/Documents/in/Oboe_Concerti?f_ri=685"},{"id":1992229,"name":"Czech Baroque Music","url":"https://www.academia.edu/Documents/in/Czech_Baroque_Music?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10339814 coauthored" data-work_id="10339814" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10339814/Understanding_small_music_venues_An_interim_findings_report_for_the_Music_Venue_Trust_and_Arts_Council_England">Understanding small music venues: An interim findings report for the Music Venue Trust and Arts Council England</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This report summarizes the interim findings of a research project undertaken by the Institute of Contemporary Music Performance (The Institute) investigating the experiences of small music venues in the UK. The project was commissioned by... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10339814" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This report summarizes the interim findings of a research project undertaken by the Institute of Contemporary Music Performance (The Institute) investigating the experiences of small music venues in the UK. The project was commissioned by the Music Venue Trust (MVT) and funded by Arts Council England (ACE) via an allocation of a grant awarded to MVT (Grant for the Arts ref. 27555752) and by The Institute. A more extensive report is in preparation and will form part of a submission to Parliament on 9 March.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10339814" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="29fdf3269ee0ea848861d9d5307b878a" rel="nofollow" data-download="{"attachment_id":36405217,"asset_id":10339814,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36405217/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1730671" href="https://mdx.academia.edu/MikeDines">Mike Dines</a><script data-card-contents-for-user="1730671" type="text/json">{"id":1730671,"first_name":"Mike","last_name":"Dines","domain_name":"mdx","page_name":"MikeDines","display_name":"Mike Dines","profile_url":"https://mdx.academia.edu/MikeDines?f_ri=685","photo":"https://0.academia-photos.com/1730671/595886/16069711/s65_mike.dines.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-10339814">+1</span><div class="hidden js-additional-users-10339814"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/MusicTrust">Music Trust</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-10339814'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-10339814').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_10339814 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="10339814"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10339814; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10339814]").text(description); $(".js-view-count-work_10339814").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10339814").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10339814"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1018" href="https://www.academia.edu/Documents/in/Music_Technology">Music Technology</a>, <script data-card-contents-for-ri="1018" type="text/json">{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10339814]'), work: {"id":10339814,"title":"Understanding small music venues: An interim findings report for the Music Venue Trust and Arts Council England","created_at":"2015-01-26T08:55:17.482-08:00","url":"https://www.academia.edu/10339814/Understanding_small_music_venues_An_interim_findings_report_for_the_Music_Venue_Trust_and_Arts_Council_England?f_ri=685","dom_id":"work_10339814","summary":"This report summarizes the interim findings of a research project undertaken by the Institute of Contemporary Music Performance (The Institute) investigating the experiences of small music venues in the UK. 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Property Law and the Music Industry","url":"https://www.academia.edu/Documents/in/Intellectual_Property_Law_and_the_Music_Industry?f_ri=685"},{"id":446308,"name":"Strategic Management Music Industry","url":"https://www.academia.edu/Documents/in/Strategic_Management_Music_Industry?f_ri=685"},{"id":537523,"name":"NEW BUSINESS MODELS IN THE MUSIC INDUSTRY","url":"https://www.academia.edu/Documents/in/NEW_BUSINESS_MODELS_IN_THE_MUSIC_INDUSTRY?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2711673" data-work_id="2711673" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2711673/ANTONELLA_NIGRO_OBSERVATIONS_ON_THE_TECHNIQUE_OF_ITALIAN_SINGING_FROM_THE_16TH_CENTURY_TO_THE_PRESENT_DAY">ANTONELLA NIGRO: OBSERVATIONS 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42277889/Romanticismo_e_Neoromanticismo_sintesi_tra_anime_inquiete_in_viaggio_nel_tempo">Romanticismo e Neoromanticismo: sintesi tra anime inquiete in viaggio nel tempo</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Il dibattito fra idealismo universalista e materialismo individualista ha avuto inizio più di duemila anni fa nell’Antica Grecia con Platone e Aristotele, ed è giunto fino all’epoca moderna con la contrapposizione fra Classicismo e... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42277889" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Il dibattito fra idealismo universalista e materialismo individualista ha avuto inizio più di duemila anni fa nell’Antica Grecia con Platone e Aristotele, ed è giunto fino all’epoca moderna con la contrapposizione fra Classicismo e Romanticismo. Nella prima metà dell’Ottocento i tumulti sociali e i malcontenti che portarono alla Rivoluzione Francese si scontrarono prima con le sue conseguenze dirette e poi con i meccanismi della Restaurazione; il senso di “nulla di fatto” portò a quella serie di atteggiamenti collettivi che nell’arte si traducono nei temi topici del Romanticismo, nello specifico: la fuga dalla realtà verso mondi lontani nello spazio e nel tempo; la fuga intimista introspettiva; l’esaltazione della coscienza e dell’autodeterminazione individuale in luogo di grandi ideali collettivisti sempre validi; e infine la scoperta dei concetti di infinito e di eterno ritorno, che applicati alla storia e all’evoluzione della società, danno vita a una concezione circolare del tempo, contrapposta a quella giudaico-cristiana finalistica del tempo lineare. A causa dello smontaggio di alcuni valori fondativi della società, che iniziava il suo cammino verso il moderno capitalismo, tali concetti portarono gli intellettuali e gli artisti da un lato a operare con maggior libertà espressiva, dall’altro a dover scendere a continui compromessi con i gusti dei committenti. Per alcuni ciò era in qualche misura sopportabile, ma la mercificazione dell’arte e la perdita del ruolo sociale dell’intellettuale causate dal ceto borghese sempre più plutocratico, generarono dapprima un atteggiamento caricaturale e provocatorio nei confronti delle sue conseguenze, e subito dopo ad una netta opposizione conflittuale. È l’inizio della variegata stagione delle Avanguardie storiche, che spaziano dall’Espressionismo alla Nuova Oggettività. Ancora una volta però, gli atteggiamenti provocatori sfociarono in aspri conflitti sociali fra le varie anime del “Modernismo”, inteso come coesistenza del tardo Romanticismo decadente, delle Avanguardie e del Positivismo; essi portarono rapidamente alle due guerre mondiali, che sanciscono rispettivamente la fine della stagione borghese, e la fine delle “grandi narrazioni” e l’inizio del Postmodernismo. Esso si profila come l’ennesima crisi dell’idealismo, aggravata però dalla totale liquefazione globalizzante della società e delle informazioni fino alla rottura del logocentrismo, sintomo che rappresenta l’unica grossa differenza con il Modernismo. Nell’arte postmoderna, la contrapposizione tra Postavanguardie e Neoromanticismo si presenta per la prima volta dopo duemila anni non come scontro ma come dialettica non-violenta tra idealismo e materialismo. Le prime si presentano come voglia di rivoluzionare il pensiero tramite una rivoluzione del linguaggio tramite il metodo dell’apprendimento sperimentale. Il secondo accetta in realtà la globalizzazione, ma non in maniera rassegnata: bensì vuole sfruttare romanticamente i linguaggi stilistici di epoche passate, decontestualizzati e fusi in una sinergia eclettica promossa ad elemento strutturante e armonizzante nelle opere d’arte. Esse diventano quindi immagini di un’idea nascosta nell’anima mundi, la “memoria collettiva eterna”, aperte tra l’altro a varie interpretazioni come le opere postavanguardiste. La differenza sta invece<br />6<br />nell’intento di salvaguardia di una complessità non elitaristica in un’epoca privata del logocentrismo e in cui l’arte ha perso non solo ogni fine etico, ma anche la pretesa che possa averlo.<br />Analizzando tre brani con il corno, di cui uno per corno e pianoforte e due concerti per corno e orchestra, si sono andati a ricercare gli elementi che dimostrano l’appartenenza non al Romanticismo o ad un semplice “stile personale”, bensì ad uno stile nuovo legittimato da una nuova idea musicale, facendo tesoro della distinzione operata da Arnold Schönberg fra stile e idea. Ognuno di questi brani si colloca in modo diverso nella musica del Neoromanticismo corni stico, della quale in particolare si identifica il Secondo Concerto per Corno e Orchestra di Richard Strauss come uno dei precursori, in quanto sebbene lo stile non abbracci ancora un largo eclettismo storico, le idee sono già presenti in toto. En forêt di Eugène Bozza si configura come il più accademico e “antecedente” dei tre brani, che tuttavia si colloca perfettamente negli ideali neoromantici, mentre il Concerto per Corno e orchestra di John Williams, anch’esso assolutamente neoromantico, costituisce fra i tre il più complesso e sperimentale, caratterizzato da uno stile particolare e del tutto originale.<br />Il Neoromanticismo si afferma quindi non come revival del Romanticismo - tramontato assieme alle grandi narrazioni del passato - e neanche come sua semplice attualizzazione, ma come un’idea artistica nuova, figlia dell’epoca contemporanea postmoderna, che testimonia la possibilità non solo di entrare in polemica senza andare a cercare scontri ideologici, atteggiamento coerente del resto con l’accettazione della condizione di società liquida, ma anche di poter costruire la novità rimanendo legati alla totalità del passato collettivo eterno e all’anima mundi.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42277889" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e80eb471e068f22cc0ba1d2a2e941677" rel="nofollow" data-download="{"attachment_id":62430652,"asset_id":42277889,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62430652/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7032864" href="https://independent.academia.edu/AFGalopp">A.F. Galopp</a><script data-card-contents-for-user="7032864" type="text/json">{"id":7032864,"first_name":"A.F.","last_name":"Galopp","domain_name":"independent","page_name":"AFGalopp","display_name":"A.F. Galopp","profile_url":"https://independent.academia.edu/AFGalopp?f_ri=685","photo":"https://0.academia-photos.com/7032864/25051535/23853979/s65_a.f..galopp.jpg"}</script></span></span></li><li class="js-paper-rank-work_42277889 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42277889"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42277889, container: ".js-paper-rank-work_42277889", }); });</script></li><li class="js-percentile-work_42277889 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42277889; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_42277889"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_42277889 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="42277889"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42277889; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42277889]").text(description); $(".js-view-count-work_42277889").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42277889").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42277889"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9720" href="https://www.academia.edu/Documents/in/Philosophy_of_Music">Philosophy of Music</a>, <script data-card-contents-for-ri="9720" type="text/json">{"id":9720,"name":"Philosophy of Music","url":"https://www.academia.edu/Documents/in/Philosophy_of_Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="39090" href="https://www.academia.edu/Documents/in/Richard_Strauss">Richard Strauss</a>, <script data-card-contents-for-ri="39090" type="text/json">{"id":39090,"name":"Richard Strauss","url":"https://www.academia.edu/Documents/in/Richard_Strauss?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="65746" href="https://www.academia.edu/Documents/in/French_horn">French horn</a><script data-card-contents-for-ri="65746" type="text/json">{"id":65746,"name":"French horn","url":"https://www.academia.edu/Documents/in/French_horn?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42277889]'), work: {"id":42277889,"title":"Romanticismo e Neoromanticismo: sintesi tra anime inquiete in viaggio nel tempo","created_at":"2020-03-21T04:24:46.425-07:00","url":"https://www.academia.edu/42277889/Romanticismo_e_Neoromanticismo_sintesi_tra_anime_inquiete_in_viaggio_nel_tempo?f_ri=685","dom_id":"work_42277889","summary":"Il dibattito fra idealismo universalista e materialismo individualista ha avuto inizio più di duemila anni fa nell’Antica Grecia con Platone e Aristotele, ed è giunto fino all’epoca moderna con la contrapposizione fra Classicismo e Romanticismo. Nella prima metà dell’Ottocento i tumulti sociali e i malcontenti che portarono alla Rivoluzione Francese si scontrarono prima con le sue conseguenze dirette e poi con i meccanismi della Restaurazione; il senso di “nulla di fatto” portò a quella serie di atteggiamenti collettivi che nell’arte si traducono nei temi topici del Romanticismo, nello specifico: la fuga dalla realtà verso mondi lontani nello spazio e nel tempo; la fuga intimista introspettiva; l’esaltazione della coscienza e dell’autodeterminazione individuale in luogo di grandi ideali collettivisti sempre validi; e infine la scoperta dei concetti di infinito e di eterno ritorno, che applicati alla storia e all’evoluzione della società, danno vita a una concezione circolare del tempo, contrapposta a quella giudaico-cristiana finalistica del tempo lineare. A causa dello smontaggio di alcuni valori fondativi della società, che iniziava il suo cammino verso il moderno capitalismo, tali concetti portarono gli intellettuali e gli artisti da un lato a operare con maggior libertà espressiva, dall’altro a dover scendere a continui compromessi con i gusti dei committenti. Per alcuni ciò era in qualche misura sopportabile, ma la mercificazione dell’arte e la perdita del ruolo sociale dell’intellettuale causate dal ceto borghese sempre più plutocratico, generarono dapprima un atteggiamento caricaturale e provocatorio nei confronti delle sue conseguenze, e subito dopo ad una netta opposizione conflittuale. È l’inizio della variegata stagione delle Avanguardie storiche, che spaziano dall’Espressionismo alla Nuova Oggettività. Ancora una volta però, gli atteggiamenti provocatori sfociarono in aspri conflitti sociali fra le varie anime del “Modernismo”, inteso come coesistenza del tardo Romanticismo decadente, delle Avanguardie e del Positivismo; essi portarono rapidamente alle due guerre mondiali, che sanciscono rispettivamente la fine della stagione borghese, e la fine delle “grandi narrazioni” e l’inizio del Postmodernismo. Esso si profila come l’ennesima crisi dell’idealismo, aggravata però dalla totale liquefazione globalizzante della società e delle informazioni fino alla rottura del logocentrismo, sintomo che rappresenta l’unica grossa differenza con il Modernismo. Nell’arte postmoderna, la contrapposizione tra Postavanguardie e Neoromanticismo si presenta per la prima volta dopo duemila anni non come scontro ma come dialettica non-violenta tra idealismo e materialismo. Le prime si presentano come voglia di rivoluzionare il pensiero tramite una rivoluzione del linguaggio tramite il metodo dell’apprendimento sperimentale. Il secondo accetta in realtà la globalizzazione, ma non in maniera rassegnata: bensì vuole sfruttare romanticamente i linguaggi stilistici di epoche passate, decontestualizzati e fusi in una sinergia eclettica promossa ad elemento strutturante e armonizzante nelle opere d’arte. Esse diventano quindi immagini di un’idea nascosta nell’anima mundi, la “memoria collettiva eterna”, aperte tra l’altro a varie interpretazioni come le opere postavanguardiste. La differenza sta invece\n6\nnell’intento di salvaguardia di una complessità non elitaristica in un’epoca privata del logocentrismo e in cui l’arte ha perso non solo ogni fine etico, ma anche la pretesa che possa averlo.\nAnalizzando tre brani con il corno, di cui uno per corno e pianoforte e due concerti per corno e orchestra, si sono andati a ricercare gli elementi che dimostrano l’appartenenza non al Romanticismo o ad un semplice “stile personale”, bensì ad uno stile nuovo legittimato da una nuova idea musicale, facendo tesoro della distinzione operata da Arnold Schönberg fra stile e idea. Ognuno di questi brani si colloca in modo diverso nella musica del Neoromanticismo corni stico, della quale in particolare si identifica il Secondo Concerto per Corno e Orchestra di Richard Strauss come uno dei precursori, in quanto sebbene lo stile non abbracci ancora un largo eclettismo storico, le idee sono già presenti in toto. En forêt di Eugène Bozza si configura come il più accademico e “antecedente” dei tre brani, che tuttavia si colloca perfettamente negli ideali neoromantici, mentre il Concerto per Corno e orchestra di John Williams, anch’esso assolutamente neoromantico, costituisce fra i tre il più complesso e sperimentale, caratterizzato da uno stile particolare e del tutto originale.\nIl Neoromanticismo si afferma quindi non come revival del Romanticismo - tramontato assieme alle grandi narrazioni del passato - e neanche come sua semplice attualizzazione, ma come un’idea artistica nuova, figlia dell’epoca contemporanea postmoderna, che testimonia la possibilità non solo di entrare in polemica senza andare a cercare scontri ideologici, atteggiamento coerente del resto con l’accettazione della condizione di società liquida, ma anche di poter costruire la novità rimanendo legati alla totalità del passato collettivo eterno e all’anima mundi.","downloadable_attachments":[{"id":62430652,"asset_id":42277889,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7032864,"first_name":"A.F.","last_name":"Galopp","domain_name":"independent","page_name":"AFGalopp","display_name":"A.F. 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Reviews in: Romanischen Forschungen 117/4 (2005); Speculum (2004); Revista Portuguesa de Musicología XIII (2003); Revista de Literatura medieval XV (2003); Musicology Australia XXVI (2003); Revista Musical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11461981" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">(Kassel, Reichenberger, 2001). Reviews in: Romanischen Forschungen 117/4 (2005); Speculum (2004); Revista Portuguesa de Musicología XIII (2003); Revista de Literatura medieval XV (2003); Musicology Australia XXVI (2003); Revista Musical Catalana 222 (2003); Revista de Musicología XXV (2002); Goldberg XX (2002); La Vanguardia (8 marzo 2002);</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11461981" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8eddfb05bac73817ed19a6ef76a5d8af" rel="nofollow" data-download="{"attachment_id":38907043,"asset_id":11461981,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38907043/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8581059" href="https://uab.academia.edu/MaricarmenG%C3%B3mezMuntan%C3%A9">Maricarmen Gómez Muntané</a><script data-card-contents-for-user="8581059" type="text/json">{"id":8581059,"first_name":"Maricarmen","last_name":"Gómez Muntané","domain_name":"uab","page_name":"MaricarmenGómezMuntané","display_name":"Maricarmen Gómez Muntané","profile_url":"https://uab.academia.edu/MaricarmenG%C3%B3mezMuntan%C3%A9?f_ri=685","photo":"https://0.academia-photos.com/8581059/7934244/8888312/s65_maricarmen.g_mez_muntan_.jpg"}</script></span></span></li><li class="js-paper-rank-work_11461981 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11461981"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11461981, container: ".js-paper-rank-work_11461981", }); 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$(".js-view-count[data-work-id=11461981]").text(description); $(".js-view-count-work_11461981").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11461981").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11461981"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="681" href="https://www.academia.edu/Documents/in/Early_Music">Early Music</a>, <script data-card-contents-for-ri="681" type="text/json">{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6859" href="https://www.academia.edu/Documents/in/Medieval_Iberian_History">Medieval Iberian History</a><script data-card-contents-for-ri="6859" type="text/json">{"id":6859,"name":"Medieval Iberian History","url":"https://www.academia.edu/Documents/in/Medieval_Iberian_History?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11461981]'), work: {"id":11461981,"title":"LA MÚSICA MEDIEVAL EN ESPAÑA","created_at":"2015-03-16T08:13:45.681-07:00","url":"https://www.academia.edu/11461981/LA_M%C3%9ASICA_MEDIEVAL_EN_ESPA%C3%91A?f_ri=685","dom_id":"work_11461981","summary":"(Kassel, Reichenberger, 2001). Reviews in: Romanischen Forschungen 117/4 (2005); Speculum (2004); Revista Portuguesa de Musicología XIII (2003); Revista de Literatura medieval XV (2003); Musicology Australia XXVI (2003); Revista Musical Catalana 222 (2003); Revista de Musicología XXV (2002); Goldberg XX (2002); La Vanguardia (8 marzo 2002); \r\n\r\n","downloadable_attachments":[{"id":38907043,"asset_id":11461981,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8581059,"first_name":"Maricarmen","last_name":"Gómez Muntané","domain_name":"uab","page_name":"MaricarmenGómezMuntané","display_name":"Maricarmen Gómez Muntané","profile_url":"https://uab.academia.edu/MaricarmenG%C3%B3mezMuntan%C3%A9?f_ri=685","photo":"https://0.academia-photos.com/8581059/7934244/8888312/s65_maricarmen.g_mez_muntan_.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false},{"id":6859,"name":"Medieval Iberian History","url":"https://www.academia.edu/Documents/in/Medieval_Iberian_History?f_ri=685","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40402235 coauthored" data-work_id="40402235" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40402235/Montale_a_cura_di_Paolo_Marini_e_Niccol%C3%B2_Scaffai_Roma_Carocci_2019">Montale, a cura di Paolo Marini e Niccolò Scaffai, Roma, Carocci, 2019</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La centralità di Montale nella storia della poesia italiana è dovuta alla capacità di acquisire elementi tematici e formali della tradizione rielaborandoli in un linguaggio nuovo. L’esperienza di un autore che ha attraversato il Novecento... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40402235" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La centralità di Montale nella storia della poesia italiana è dovuta alla capacità di acquisire elementi tematici e formali della tradizione rielaborandoli in un linguaggio nuovo. L’esperienza di un autore che ha attraversato il Novecento letterario diventandone spartiacque e insieme punto di riferimento ineludibile è indagata in questo volume da 14 studiosi che si misurano in una ricognizione globale di testi e questioni aggiornata alle più recenti acquisizioni: da Ossi di seppia agli ultimi libri di poesie degli anni ’70, alle prose narrative; e quindi, trasversalmente, dai nodi filologici alle specifiche linguistiche e metriche, dal rapporto con gli antichi (Dante in testa) e coi contemporanei (in Italia e fuori d’Italia) all’immensa produzione critica, sino al confronto fecondo con le arti figurative e con la musica.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40402235" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f2ebfec0e08da00204706c6f695a096a" rel="nofollow" data-download="{"attachment_id":60654731,"asset_id":40402235,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60654731/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="953884" href="https://unitusdistu.academia.edu/PaoloMarini">Paolo Marini</a><script data-card-contents-for-user="953884" type="text/json">{"id":953884,"first_name":"Paolo","last_name":"Marini","domain_name":"unitusdistu","page_name":"PaoloMarini","display_name":"Paolo Marini","profile_url":"https://unitusdistu.academia.edu/PaoloMarini?f_ri=685","photo":"https://0.academia-photos.com/953884/852249/52384890/s65_paolo.marini.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-40402235">+4</span><div class="hidden js-additional-users-40402235"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unisi.academia.edu/Niccol%C3%B2Scaffai">Niccolò Scaffai</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unipi.academia.edu/IdaCampeggiani">Ida Campeggiani</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unige-it1.academia.edu/PaoloZublena">Paolo Zublena</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unisi.academia.edu/RiccardoCastellana">Riccardo Castellana</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-40402235'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-40402235').html(); 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L’esperienza di un autore che ha attraversato il Novecento letterario diventandone spartiacque e insieme punto di riferimento ineludibile è indagata in questo volume da 14 studiosi che si misurano in una ricognizione globale di testi e questioni aggiornata alle più recenti acquisizioni: da Ossi di seppia agli ultimi libri di poesie degli anni ’70, alle prose narrative; e quindi, trasversalmente, dai nodi filologici alle specifiche linguistiche e metriche, dal rapporto con gli antichi (Dante in testa) e coi contemporanei (in Italia e fuori d’Italia) all’immensa produzione critica, sino al confronto fecondo con le arti figurative e con la musica.","downloadable_attachments":[{"id":60654731,"asset_id":40402235,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":953884,"first_name":"Paolo","last_name":"Marini","domain_name":"unitusdistu","page_name":"PaoloMarini","display_name":"Paolo 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Literature","url":"https://www.academia.edu/Documents/in/Nobel_Prize_in_Literature?f_ri=685"},{"id":703114,"name":"Novecento","url":"https://www.academia.edu/Documents/in/Novecento?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7023803" data-work_id="7023803" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7023803/_La_folia_in_Late_Eighteenth_and_Early_Nineteenth_Century_Vienna">"La folia" in Late Eighteenth- and Early Nineteenth-Century Vienna</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" 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InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11962340" href="https://independent.academia.edu/JohnRice9">John A Rice</a><script data-card-contents-for-user="11962340" type="text/json">{"id":11962340,"first_name":"John","last_name":"Rice","domain_name":"independent","page_name":"JohnRice9","display_name":"John A Rice","profile_url":"https://independent.academia.edu/JohnRice9?f_ri=685","photo":"https://0.academia-photos.com/11962340/3437188/83456666/s65_john.rice.jpg"}</script></span></span></li><li class="js-paper-rank-work_7023803 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7023803"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7023803, container: 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type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="35133" href="https://www.academia.edu/Documents/in/Eighteenth-Century_Music">Eighteenth-Century Music</a><script data-card-contents-for-ri="35133" 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Rice","profile_url":"https://independent.academia.edu/JohnRice9?f_ri=685","photo":"https://0.academia-photos.com/11962340/3437188/83456666/s65_john.rice.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false},{"id":35133,"name":"Eighteenth-Century Music","url":"https://www.academia.edu/Documents/in/Eighteenth-Century_Music?f_ri=685","nofollow":false},{"id":107368,"name":"Vienna","url":"https://www.academia.edu/Documents/in/Vienna?f_ri=685"},{"id":152366,"name":"Opera Buffa","url":"https://www.academia.edu/Documents/in/Opera_Buffa?f_ri=685"},{"id":697428,"name":"Arcangelo Corelli","url":"https://www.academia.edu/Documents/in/Arcangelo_Corelli?f_ri=685"},{"id":880382,"name":"Theme and Variations","url":"https://www.academia.edu/Documents/in/Theme_and_Variations?f_ri=685"},{"id":1438646,"name":"Antonio Salieri","url":"https://www.academia.edu/Documents/in/Antonio_Salieri?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37408970" data-work_id="37408970" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37408970/A_Mediterranean_Triangle_Naples_Smyrna_Athens">A Mediterranean Triangle: Naples, Smyrna, Athens.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Naples, Smyrna (Izmir), and Athens are currently among the most populous and modern cities in the Mediterranean. During the last two decades of the nineteenth century, when “classic” Neapolitan song was born, Naples was the former capital... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37408970" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Naples, Smyrna (Izmir), and Athens are currently among the most populous and modern cities in the Mediterranean. During the last two decades of the nineteenth century, when “classic” Neapolitan song was born, Naples was the former capital of a backward-looking absolute monarchy evolving with the rest of the region into unified capitalist Italy; Smyrna was a cosmopolitan assembly of cultures and diverging imperialist interests; and Athens was little more than a small rural town.<br />It is feasible that Neapolitan songs—either performed by visiting Italian artists or in the form of gramophone records—were part of Smyrna’s lively musical scene at least until 1922, when the “Great Catastrophe” brought the cosmopolitan character of the city to an abrupt end. By 1923, about a million and a half Orthodox Greeks and former Ottoman citizens were forced to leave Asia Minor. Many came to live on the outskirts of Athens, which suddenly became a large city. Rebetiko, a marginal song genre apparently born in Ottoman Turkey and developed in suburban districts<br />around Athens and Piraeus, became the most popular urban-music style in Greece. From its supposedly original “oriental” (anatolikós, in Greek) character, rebetiko evolved in the 1940s and 1950s into a milder Westernized style, where song forms, harmony, and the singing style were influenced by Italian—mostly Neapolitan—models. Although ethnomusicologists and rebetiko historians seem to agree that<br />Italian and Neapolitan models were important in the stylistic evolution of the genre from the 1940s onward (Manuel 1989), it can also be argued that they had an influence even from the very beginning of the rebetiko era.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37408970" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8b6341481c8d0ed2c1e98f71b337e2c0" rel="nofollow" data-download="{"attachment_id":57372966,"asset_id":37408970,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57372966/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2427951" href="https://hud.academia.edu/FrancoFabbri">Franco Fabbri</a><script data-card-contents-for-user="2427951" type="text/json">{"id":2427951,"first_name":"Franco","last_name":"Fabbri","domain_name":"hud","page_name":"FrancoFabbri","display_name":"Franco Fabbri","profile_url":"https://hud.academia.edu/FrancoFabbri?f_ri=685","photo":"https://0.academia-photos.com/2427951/2177906/35063148/s65_franco.fabbri.jpg"}</script></span></span></li><li class="js-paper-rank-work_37408970 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37408970"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37408970, container: ".js-paper-rank-work_37408970", }); 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During the last two decades of the nineteenth century, when “classic” Neapolitan song was born, Naples was the former capital of a backward-looking absolute monarchy evolving with the rest of the region into unified capitalist Italy; Smyrna was a cosmopolitan assembly of cultures and diverging imperialist interests; and Athens was little more than a small rural town.\nIt is feasible that Neapolitan songs—either performed by visiting Italian artists or in the form of gramophone records—were part of Smyrna’s lively musical scene at least until 1922, when the “Great Catastrophe” brought the cosmopolitan character of the city to an abrupt end. By 1923, about a million and a half Orthodox Greeks and former Ottoman citizens were forced to leave Asia Minor. Many came to live on the outskirts of Athens, which suddenly became a large city. Rebetiko, a marginal song genre apparently born in Ottoman Turkey and developed in suburban districts\naround Athens and Piraeus, became the most popular urban-music style in Greece. From its supposedly original “oriental” (anatolikós, in Greek) character, rebetiko evolved in the 1940s and 1950s into a milder Westernized style, where song forms, harmony, and the singing style were influenced by Italian—mostly Neapolitan—models. Although ethnomusicologists and rebetiko historians seem to agree that\nItalian and Neapolitan models were important in the stylistic evolution of the genre from the 1940s onward (Manuel 1989), it can also be argued that they had an influence even from the very beginning of the rebetiko era.","downloadable_attachments":[{"id":57372966,"asset_id":37408970,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2427951,"first_name":"Franco","last_name":"Fabbri","domain_name":"hud","page_name":"FrancoFabbri","display_name":"Franco Fabbri","profile_url":"https://hud.academia.edu/FrancoFabbri?f_ri=685","photo":"https://0.academia-photos.com/2427951/2177906/35063148/s65_franco.fabbri.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=685","nofollow":false},{"id":325941,"name":"Rebetika","url":"https://www.academia.edu/Documents/in/Rebetika?f_ri=685","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_394976" data-work_id="394976" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/394976/_Beethoven_Instrumentalized_Richard_Wagner_s_Self_Marketing_and_Media_Image_Music_and_Letters_89_2_May_2008_195_211">“Beethoven Instrumentalized: Richard Wagner’s Self-Marketing & Media Image,” Music & Letters 89.2 (May 2008): 195-211. </a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/394976" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d51e8bc8faadb06a590e71538af30f84" rel="nofollow" data-download="{"attachment_id":1891865,"asset_id":394976,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/1891865/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="264608" href="https://clemson.academia.edu/NicholasVazsonyi">Nicholas Vazsonyi</a><script data-card-contents-for-user="264608" type="text/json">{"id":264608,"first_name":"Nicholas","last_name":"Vazsonyi","domain_name":"clemson","page_name":"NicholasVazsonyi","display_name":"Nicholas Vazsonyi","profile_url":"https://clemson.academia.edu/NicholasVazsonyi?f_ri=685","photo":"https://0.academia-photos.com/264608/60495/127045995/s65_nicholas.vazsonyi.jpg"}</script></span></span></li><li class="js-paper-rank-work_394976 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="394976"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 394976, container: ".js-paper-rank-work_394976", }); 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$(".js-view-count[data-work-id=394976]").text(description); $(".js-view-count-work_394976").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_394976").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="394976"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4039" href="https://www.academia.edu/Documents/in/Opera">Opera</a>, <script data-card-contents-for-ri="4039" type="text/json">{"id":4039,"name":"Opera","url":"https://www.academia.edu/Documents/in/Opera?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9024" href="https://www.academia.edu/Documents/in/Wagner_Studies">Wagner Studies</a>, <script data-card-contents-for-ri="9024" type="text/json">{"id":9024,"name":"Wagner Studies","url":"https://www.academia.edu/Documents/in/Wagner_Studies?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15622" href="https://www.academia.edu/Documents/in/German_Literature_and_Culture">German Literature and Culture</a><script data-card-contents-for-ri="15622" type="text/json">{"id":15622,"name":"German Literature and Culture","url":"https://www.academia.edu/Documents/in/German_Literature_and_Culture?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=394976]'), work: {"id":394976,"title":"“Beethoven Instrumentalized: Richard Wagner’s Self-Marketing \u0026 Media Image,” Music \u0026 Letters 89.2 (May 2008): 195-211. ","created_at":"2010-12-22T03:41:22.063-08:00","url":"https://www.academia.edu/394976/_Beethoven_Instrumentalized_Richard_Wagner_s_Self_Marketing_and_Media_Image_Music_and_Letters_89_2_May_2008_195_211?f_ri=685","dom_id":"work_394976","summary":null,"downloadable_attachments":[{"id":1891865,"asset_id":394976,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":264608,"first_name":"Nicholas","last_name":"Vazsonyi","domain_name":"clemson","page_name":"NicholasVazsonyi","display_name":"Nicholas Vazsonyi","profile_url":"https://clemson.academia.edu/NicholasVazsonyi?f_ri=685","photo":"https://0.academia-photos.com/264608/60495/127045995/s65_nicholas.vazsonyi.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":4039,"name":"Opera","url":"https://www.academia.edu/Documents/in/Opera?f_ri=685","nofollow":false},{"id":9024,"name":"Wagner Studies","url":"https://www.academia.edu/Documents/in/Wagner_Studies?f_ri=685","nofollow":false},{"id":15622,"name":"German Literature and Culture","url":"https://www.academia.edu/Documents/in/German_Literature_and_Culture?f_ri=685","nofollow":false},{"id":29911,"name":"Wagnerism","url":"https://www.academia.edu/Documents/in/Wagnerism?f_ri=685"},{"id":42172,"name":"Richard Wagner","url":"https://www.academia.edu/Documents/in/Richard_Wagner?f_ri=685"},{"id":62703,"name":"German national identity formation","url":"https://www.academia.edu/Documents/in/German_national_identity_formation?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_22590397" data-work_id="22590397" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/22590397/Who_actually_played_the_Almenr%C3%A4der_Bassoon_Remarks_on_the_Spread_of_Evolu_tionary_Bassoons_in_German_Speaking_Countries_during_the_Middle_of_the_Nineteenth_Century">Who actually played the Almenräder Bassoon? Remarks on the Spread of ‘Evolutionary Bassoons’ in German-Speaking Countries during the Middle of the Nineteenth Century</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Today's dominance of the Almenräder-Heckel bassoon combined with the fact that it has basically been in existence since the 1820s may easily lead one to the assumption that this type of bassoon quickly and continuously gained acceptance... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_22590397" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Today's dominance of the Almenräder-Heckel bassoon combined with the fact that it has basically been in existence since the 1820s may easily lead one to the assumption that this type of bassoon quickly and continuously gained acceptance immediately after it was first introduced. However, this presumption proves to be incorrect especially for regions of Europe with a preference for the French bassoon. In England, as is well known, it was not until about 1930 that the Almenräder-Heckel bassoon gained acceptance, and in Italy and Spain it was not accepted until after World War II. In German-speaking countries too the performance of the Almenräder-Heckel bassoon was not widespread until the last third of the nineteenth Century. This article is intended to give an overview describing the existence of numerous Instrument makers, who in spite of all of their diversity had one thing in common: well into the nineteenth Century they were making "evolutionary bassoons." These bassoons were further developed derivatives of the classical bassoon of about 1800 without fundamental changes to the traditional bore and therefore the sound of the instrument.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22590397" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e48656a9e9f15bfd90cd952b3e71c28a" rel="nofollow" data-download="{"attachment_id":43193848,"asset_id":22590397,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43193848/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="40019310" href="https://bsb-muenchen.academia.edu/SebastianWerr">Sebastian Werr</a><script data-card-contents-for-user="40019310" type="text/json">{"id":40019310,"first_name":"Sebastian","last_name":"Werr","domain_name":"bsb-muenchen","page_name":"SebastianWerr","display_name":"Sebastian Werr","profile_url":"https://bsb-muenchen.academia.edu/SebastianWerr?f_ri=685","photo":"https://0.academia-photos.com/40019310/10969692/12242363/s65_sebastian.werr.jpg_oh_3fd6101dc9b165e1f9346a7e9130ca06_oe_56dbd0ad"}</script></span></span></li><li class="js-paper-rank-work_22590397 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22590397"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22590397, container: ".js-paper-rank-work_22590397", }); 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Remarks on the Spread of ‘Evolutionary Bassoons’ in German-Speaking Countries during the Middle of the Nineteenth Century","created_at":"2016-02-29T03:58:41.322-08:00","url":"https://www.academia.edu/22590397/Who_actually_played_the_Almenr%C3%A4der_Bassoon_Remarks_on_the_Spread_of_Evolu_tionary_Bassoons_in_German_Speaking_Countries_during_the_Middle_of_the_Nineteenth_Century?f_ri=685","dom_id":"work_22590397","summary":"Today's dominance of the Almenräder-Heckel bassoon combined with the fact that it has basically been in existence since the 1820s may easily lead one to the assumption that this type of bassoon quickly and continuously gained acceptance immediately after it was first introduced. However, this presumption proves to be incorrect especially for regions of Europe with a preference for the French bassoon. In England, as is well known, it was not until about 1930 that the Almenräder-Heckel bassoon gained acceptance, and in Italy and Spain it was not accepted until after World War II. In German-speaking countries too the performance of the Almenräder-Heckel bassoon was not widespread until the last third of the nineteenth Century. This article is intended to give an overview describing the existence of numerous Instrument makers, who in spite of all of their diversity had one thing in common: well into the nineteenth Century they were making \"evolutionary bassoons.\" These bassoons were further developed derivatives of the classical bassoon of about 1800 without fundamental changes to the traditional bore and therefore the sound of the instrument.","downloadable_attachments":[{"id":43193848,"asset_id":22590397,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":40019310,"first_name":"Sebastian","last_name":"Werr","domain_name":"bsb-muenchen","page_name":"SebastianWerr","display_name":"Sebastian Werr","profile_url":"https://bsb-muenchen.academia.edu/SebastianWerr?f_ri=685","photo":"https://0.academia-photos.com/40019310/10969692/12242363/s65_sebastian.werr.jpg_oh_3fd6101dc9b165e1f9346a7e9130ca06_oe_56dbd0ad"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":4843,"name":"Organology","url":"https://www.academia.edu/Documents/in/Organology?f_ri=685","nofollow":false},{"id":4848,"name":"Woodwinds","url":"https://www.academia.edu/Documents/in/Woodwinds?f_ri=685","nofollow":false},{"id":53272,"name":"Musical Instruments","url":"https://www.academia.edu/Documents/in/Musical_Instruments?f_ri=685","nofollow":false},{"id":83412,"name":"Bassoon","url":"https://www.academia.edu/Documents/in/Bassoon?f_ri=685"},{"id":83417,"name":"History of Bassoon","url":"https://www.academia.edu/Documents/in/History_of_Bassoon?f_ri=685"},{"id":101853,"name":"History of musical instruments makers","url":"https://www.academia.edu/Documents/in/History_of_musical_instruments_makers?f_ri=685"},{"id":106222,"name":"19th Century Music","url":"https://www.academia.edu/Documents/in/19th_Century_Music?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26548371" data-work_id="26548371" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26548371/The_Finality_of_Stories_Such_as_These_Exploring_Narrative_and_Concept_in_Stephen_Sondheims_Into_the_Woods">The Finality of Stories Such as These: Exploring Narrative and Concept in Stephen Sondheim's Into the Woods</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26548371" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fba2921552902eec9175b4c93af11905" rel="nofollow" data-download="{"attachment_id":46841287,"asset_id":26548371,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46841287/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2723672" href="https://ucla.academia.edu/AlexandraGrabarchuk">Alexandra Grabarchuk</a><script data-card-contents-for-user="2723672" type="text/json">{"id":2723672,"first_name":"Alexandra","last_name":"Grabarchuk","domain_name":"ucla","page_name":"AlexandraGrabarchuk","display_name":"Alexandra Grabarchuk","profile_url":"https://ucla.academia.edu/AlexandraGrabarchuk?f_ri=685","photo":"https://0.academia-photos.com/2723672/878051/1096309/s65_alexandra.grabarchuk.jpg"}</script></span></span></li><li class="js-paper-rank-work_26548371 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26548371"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26548371, container: ".js-paper-rank-work_26548371", }); 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$(".js-view-count[data-work-id=26548371]").text(description); $(".js-view-count-work_26548371").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26548371").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26548371"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="947" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9900" href="https://www.academia.edu/Documents/in/Cultural_Musicology">Cultural Musicology</a><script data-card-contents-for-ri="9900" type="text/json">{"id":9900,"name":"Cultural Musicology","url":"https://www.academia.edu/Documents/in/Cultural_Musicology?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26548371]'), work: {"id":26548371,"title":"The Finality of Stories Such as These: Exploring Narrative and Concept in Stephen Sondheim's Into the Woods","created_at":"2016-06-27T15:28:04.933-07:00","url":"https://www.academia.edu/26548371/The_Finality_of_Stories_Such_as_These_Exploring_Narrative_and_Concept_in_Stephen_Sondheims_Into_the_Woods?f_ri=685","dom_id":"work_26548371","summary":null,"downloadable_attachments":[{"id":46841287,"asset_id":26548371,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2723672,"first_name":"Alexandra","last_name":"Grabarchuk","domain_name":"ucla","page_name":"AlexandraGrabarchuk","display_name":"Alexandra Grabarchuk","profile_url":"https://ucla.academia.edu/AlexandraGrabarchuk?f_ri=685","photo":"https://0.academia-photos.com/2723672/878051/1096309/s65_alexandra.grabarchuk.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=685","nofollow":false},{"id":9900,"name":"Cultural Musicology","url":"https://www.academia.edu/Documents/in/Cultural_Musicology?f_ri=685","nofollow":false},{"id":71569,"name":"Cultural History of Music","url":"https://www.academia.edu/Documents/in/Cultural_History_of_Music?f_ri=685"},{"id":85319,"name":"Broadway Musical Theatre","url":"https://www.academia.edu/Documents/in/Broadway_Musical_Theatre?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9464570 coauthored" data-work_id="9464570" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9464570/M%C3%BAsica_barroca_boliviana_Romances_y_villancicos_en_el_s_XVIII">Música barroca boliviana. Romances y villancicos en el s. XVIII</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Edición y estudio histórico-artístico.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9464570" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0fa9bd327d7232ab16fc43186a30647b" rel="nofollow" data-download="{"attachment_id":38991775,"asset_id":9464570,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38991775/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7755185" href="https://unizar.academia.edu/SusanaSarfsonGleizer">Susana Sarfson Gleizer</a><script data-card-contents-for-user="7755185" type="text/json">{"id":7755185,"first_name":"Susana","last_name":"Sarfson Gleizer","domain_name":"unizar","page_name":"SusanaSarfsonGleizer","display_name":"Susana Sarfson Gleizer","profile_url":"https://unizar.academia.edu/SusanaSarfsonGleizer?f_ri=685","photo":"https://0.academia-photos.com/7755185/2811976/3280624/s65_susana.sarfson_gleizer.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-9464570">+1</span><div class="hidden js-additional-users-9464570"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ucv-es.academia.edu/RodrigoMadrid">Rodrigo Madrid</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-9464570'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-9464570').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_9464570 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="9464570"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9464570; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9464570]").text(description); $(".js-view-count-work_9464570").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9464570").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9464570"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="88523" href="https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography">Musicology, Spanish Music Historiography</a><script data-card-contents-for-ri="88523" type="text/json">{"id":88523,"name":"Musicology, Spanish Music Historiography","url":"https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9464570]'), work: {"id":9464570,"title":"Música barroca boliviana. Romances y villancicos en el s. XVIII","created_at":"2014-11-23T18:01:59.283-08:00","url":"https://www.academia.edu/9464570/M%C3%BAsica_barroca_boliviana_Romances_y_villancicos_en_el_s_XVIII?f_ri=685","dom_id":"work_9464570","summary":"Edición y estudio histórico-artístico.","downloadable_attachments":[{"id":38991775,"asset_id":9464570,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7755185,"first_name":"Susana","last_name":"Sarfson Gleizer","domain_name":"unizar","page_name":"SusanaSarfsonGleizer","display_name":"Susana Sarfson Gleizer","profile_url":"https://unizar.academia.edu/SusanaSarfsonGleizer?f_ri=685","photo":"https://0.academia-photos.com/7755185/2811976/3280624/s65_susana.sarfson_gleizer.jpg"},{"id":8371641,"first_name":"Rodrigo","last_name":"Madrid","domain_name":"ucv-es","page_name":"RodrigoMadrid","display_name":"Rodrigo Madrid","profile_url":"https://ucv-es.academia.edu/RodrigoMadrid?f_ri=685","photo":"https://0.academia-photos.com/8371641/2842275/3318482/s65_rodrigo.madrid.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=685","nofollow":false},{"id":88523,"name":"Musicology, Spanish Music Historiography","url":"https://www.academia.edu/Documents/in/Musicology_Spanish_Music_Historiography?f_ri=685","nofollow":false},{"id":187488,"name":"Spanish Renaissance and Baroque Art","url":"https://www.academia.edu/Documents/in/Spanish_Renaissance_and_Baroque_Art?f_ri=685"},{"id":697891,"name":"Arte Barroco Español","url":"https://www.academia.edu/Documents/in/Arte_Barroco_Espa%C3%B1ol?f_ri=685"},{"id":1168891,"name":"Barroque Music","url":"https://www.academia.edu/Documents/in/Barroque_Music?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34647151" data-work_id="34647151" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34647151/Mystic_circles_Theosophy_in_Scriabins_Philosophy_and_Music">Mystic circles: Theosophy in Scriabin's Philosophy and Music</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Scriabin's fascination with Theosophy was common amongst artists during Russia's Silver Age. This paper examines how interest in Theosophy emerged at this time in reaction to disillusionment with established religious norms, as well as to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34647151" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Scriabin's fascination with Theosophy was common amongst artists during Russia's Silver Age. This paper examines how interest in Theosophy emerged at this time in reaction to disillusionment with established religious norms, as well as to growing social and political tensions. In this context the research presented examines why the theosophical notion of cyclical evolution may have appealed to Scriabin, and attempts to establish a connection between theosophical dogma and Scriabin's highly personal eschatology, as expressed in the text to his unfinished 'Prefatory Act'. Scriabin's music is examined in a similar context, with particular consideration given to how the shape of the circle may be understood as inherent in certain musical structures and patterns, with examples drawn from Scriabin's Sonata No. 6, Op. 62, and Guirlandes, Op. 73, No. 1.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34647151" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="97a5ce471868c73006686cae7d059388" rel="nofollow" data-download="{"attachment_id":54507524,"asset_id":34647151,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54507524/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1957365" href="https://independent.academia.edu/JamesKreiling">James Kreiling</a><script data-card-contents-for-user="1957365" type="text/json">{"id":1957365,"first_name":"James","last_name":"Kreiling","domain_name":"independent","page_name":"JamesKreiling","display_name":"James Kreiling","profile_url":"https://independent.academia.edu/JamesKreiling?f_ri=685","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_34647151 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34647151"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34647151, container: ".js-paper-rank-work_34647151", }); 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$(".js-view-count[data-work-id=34647151]").text(description); $(".js-view-count-work_34647151").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34647151").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34647151"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="26469" href="https://www.academia.edu/Documents/in/Theosophy">Theosophy</a><script data-card-contents-for-ri="26469" type="text/json">{"id":26469,"name":"Theosophy","url":"https://www.academia.edu/Documents/in/Theosophy?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34647151]'), work: {"id":34647151,"title":"Mystic circles: Theosophy in Scriabin's Philosophy and Music","created_at":"2017-09-22T08:59:12.059-07:00","url":"https://www.academia.edu/34647151/Mystic_circles_Theosophy_in_Scriabins_Philosophy_and_Music?f_ri=685","dom_id":"work_34647151","summary":"Scriabin's fascination with Theosophy was common amongst artists during Russia's Silver Age. This paper examines how interest in Theosophy emerged at this time in reaction to disillusionment with established religious norms, as well as to growing social and political tensions. In this context the research presented examines why the theosophical notion of cyclical evolution may have appealed to Scriabin, and attempts to establish a connection between theosophical dogma and Scriabin's highly personal eschatology, as expressed in the text to his unfinished 'Prefatory Act'. Scriabin's music is examined in a similar context, with particular consideration given to how the shape of the circle may be understood as inherent in certain musical structures and patterns, with examples drawn from Scriabin's Sonata No. 6, Op. 62, and Guirlandes, Op. 73, No. 1.","downloadable_attachments":[{"id":54507524,"asset_id":34647151,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1957365,"first_name":"James","last_name":"Kreiling","domain_name":"independent","page_name":"JamesKreiling","display_name":"James Kreiling","profile_url":"https://independent.academia.edu/JamesKreiling?f_ri=685","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false},{"id":26469,"name":"Theosophy","url":"https://www.academia.edu/Documents/in/Theosophy?f_ri=685","nofollow":false},{"id":32240,"name":"Alexander Scriabin","url":"https://www.academia.edu/Documents/in/Alexander_Scriabin?f_ri=685"},{"id":274930,"name":"Aleksandr Scriabin","url":"https://www.academia.edu/Documents/in/Aleksandr_Scriabin?f_ri=685"},{"id":590664,"name":"Scriabin","url":"https://www.academia.edu/Documents/in/Scriabin?f_ri=685"},{"id":885130,"name":"Music Theory, Scriabin","url":"https://www.academia.edu/Documents/in/Music_Theory_Scriabin?f_ri=685"},{"id":2668281,"name":"Scriabin and his music","url":"https://www.academia.edu/Documents/in/Scriabin_and_his_music?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 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}); });</script></span><script>$(function() { $(".js-view-count-work_10464570").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10464570"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a><script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10464570]'), work: {"id":10464570,"title":"Highlife and 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7051771/Music_Thought_and_Feeling_Understanding_the_Psychology_of_Music">Music, Thought, and Feeling: Understanding the Psychology of Music</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7051771" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6b38b7a852168c1198a84994243cbfcf" rel="nofollow" data-download="{"attachment_id":33901312,"asset_id":7051771,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33901312/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12007202" href="https://cryptextechnologies.academia.edu/BillThompson">Bill Thompson</a><script data-card-contents-for-user="12007202" 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type="text/json">{"id":179,"name":"Ethology","url":"https://www.academia.edu/Documents/in/Ethology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="221" href="https://www.academia.edu/Documents/in/Psychology">Psychology</a>, <script data-card-contents-for-ri="221" type="text/json">{"id":221,"name":"Psychology","url":"https://www.academia.edu/Documents/in/Psychology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="237" href="https://www.academia.edu/Documents/in/Cognitive_Science">Cognitive Science</a><script data-card-contents-for-ri="237" type="text/json">{"id":237,"name":"Cognitive Science","url":"https://www.academia.edu/Documents/in/Cognitive_Science?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7051771]'), work: {"id":7051771,"title":"Music, Thought, and Feeling: Understanding the Psychology of 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Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3173144]'), work: {"id":3173144,"title":"Criticism Lighting His Fire: Perspectives on Jim Morrison from the Los Angeles Free Press, Down Beat, and The Miami Herald","created_at":"2013-03-31T09:58:22.429-07:00","url":"https://www.academia.edu/3173144/Criticism_Lighting_His_Fire_Perspectives_on_Jim_Morrison_from_the_Los_Angeles_Free_Press_Down_Beat_and_The_Miami_Herald?f_ri=685","dom_id":"work_3173144","summary":null,"downloadable_attachments":[{"id":31066493,"asset_id":3173144,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3623723,"first_name":"Melissa Ursula Dawn","last_name":"Goldsmith","domain_name":"ma","page_name":"MelissaUrsulaDawnGoldsmith","display_name":"Melissa Ursula Dawn 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Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=685"},{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=685"},{"id":4032,"name":"Development communication","url":"https://www.academia.edu/Documents/in/Development_communication?f_ri=685"},{"id":6410,"name":"Music and Politics","url":"https://www.academia.edu/Documents/in/Music_and_Politics?f_ri=685"},{"id":6423,"name":"Media Education","url":"https://www.academia.edu/Documents/in/Media_Education?f_ri=685"},{"id":7196,"name":"Journalism History","url":"https://www.academia.edu/Documents/in/Journalism_History?f_ri=685"},{"id":8280,"name":"Media Literacy","url":"https://www.academia.edu/Documents/in/Media_Literacy?f_ri=685"},{"id":9900,"name":"Cultural Musicology","url":"https://www.academia.edu/Documents/in/Cultural_Musicology?f_ri=685"},{"id":11357,"name":"Music 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Criticism","url":"https://www.academia.edu/Documents/in/Rock_Criticism?f_ri=685"},{"id":393470,"name":"Music Reception","url":"https://www.academia.edu/Documents/in/Music_Reception?f_ri=685"},{"id":610822,"name":"Alternate Media","url":"https://www.academia.edu/Documents/in/Alternate_Media?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29909447" data-work_id="29909447" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29909447/Le_dernier_style_de_Chopin_Contexte_analyse_et_strat%C3%A9gies_narratives_des_oeuvres_tardives_Chopins_last_style_context_analysis_and_narrative_strategies_of_the_late_works_">Le dernier style de Chopin Contexte, analyse et stratégies narratives des oeuvres tardives [Chopin's last style: context, analysis and narrative strategies of the late works]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29909447" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer.<br /><br />Cette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux oeuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29909447" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d1f6f7b84bf2e137f1576494502c0099" rel="nofollow" data-download="{"attachment_id":50371193,"asset_id":29909447,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50371193/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=685","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_29909447 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29909447"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29909447, container: ".js-paper-rank-work_29909447", }); 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The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer.\n\nCette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux oeuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais.","downloadable_attachments":[{"id":50371193,"asset_id":29909447,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=685","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=685","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=685"},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=685"},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=685"},{"id":10339,"name":"Semiotics of Music","url":"https://www.academia.edu/Documents/in/Semiotics_of_Music?f_ri=685"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=685"},{"id":51195,"name":"Esthetics","url":"https://www.academia.edu/Documents/in/Esthetics?f_ri=685"},{"id":89812,"name":"Topic theory","url":"https://www.academia.edu/Documents/in/Topic_theory?f_ri=685"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=685"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=685"},{"id":386642,"name":"Semiología Musical","url":"https://www.academia.edu/Documents/in/Semiologia_Musical?f_ri=685"},{"id":436794,"name":"Chopin","url":"https://www.academia.edu/Documents/in/Chopin?f_ri=685"},{"id":1822796,"name":"Chopin Studies","url":"https://www.academia.edu/Documents/in/Chopin_Studies?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35450133" data-work_id="35450133" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35450133/_I_got_I_got_I_got_I_got_History_Identity_Memory_inside_my_DNA">“I got, I got, I got, I got”: History, Identity, Memory, inside my DNA</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper explores the importance of Kendrick Lamar in the entertainment industry, in hip-hop and in American History. The essence of this paper explores his celebrity black body in relation to history, identity and his contribution to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35450133" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper explores the importance of Kendrick Lamar in the entertainment industry, in hip-hop and in American History. The essence of this paper explores his celebrity black body in relation to history, identity and his contribution to rich black historical archives on the black experience. At large, this paper examines his performance in his DNA music video, to see how his lived body, equipped with its historical DNA, informs our modern perception of the black body. <br /><br />This paper, written from a feminist perspective, seeks to understand the oppressed black body in popular culture to see how public figures like Kendrick Lamar are reclaiming their history. By creating a rich archive of soulful music and meaningful videos, Kendrick is mainstreaming the black reality in a time where the African-American body is at a political crossroads. <br /><br />Kendrick Lamar is writing history with his embodied performances and his profound written reflections and ensuring that future generations have a reference point in understanding, participating with and learning from their collective history.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35450133" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e83c25d5da77416d7f6f68a2eefe005c" rel="nofollow" data-download="{"attachment_id":55311808,"asset_id":35450133,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55311808/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12378499" href="https://yorku.academia.edu/BrandonBoileau">Brandon Boileau</a><script data-card-contents-for-user="12378499" type="text/json">{"id":12378499,"first_name":"Brandon","last_name":"Boileau","domain_name":"yorku","page_name":"BrandonBoileau","display_name":"Brandon Boileau","profile_url":"https://yorku.academia.edu/BrandonBoileau?f_ri=685","photo":"https://0.academia-photos.com/12378499/10741297/18654909/s65_brandon.boileau.jpg"}</script></span></span></li><li class="js-paper-rank-work_35450133 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35450133"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35450133, container: ".js-paper-rank-work_35450133", }); 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$(".js-view-count[data-work-id=35450133]").text(description); $(".js-view-count-work_35450133").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35450133").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35450133"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">26</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="136" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="296" href="https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies">Black Studies Or African American Studies</a><script data-card-contents-for-ri="296" type="text/json">{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35450133]'), work: {"id":35450133,"title":"“I got, I got, I got, I got”: History, Identity, Memory, inside my DNA","created_at":"2017-12-17T07:22:49.203-08:00","url":"https://www.academia.edu/35450133/_I_got_I_got_I_got_I_got_History_Identity_Memory_inside_my_DNA?f_ri=685","dom_id":"work_35450133","summary":"This paper explores the importance of Kendrick Lamar in the entertainment industry, in hip-hop and in American History. The essence of this paper explores his celebrity black body in relation to history, identity and his contribution to rich black historical archives on the black experience. At large, this paper examines his performance in his DNA music video, to see how his lived body, equipped with its historical DNA, informs our modern perception of the black body. \n\nThis paper, written from a feminist perspective, seeks to understand the oppressed black body in popular culture to see how public figures like Kendrick Lamar are reclaiming their history. By creating a rich archive of soulful music and meaningful videos, Kendrick is mainstreaming the black reality in a time where the African-American body is at a political crossroads. \n\nKendrick Lamar is writing history with his embodied performances and his profound written reflections and ensuring that future generations have a reference point in understanding, participating with and learning from their collective history.","downloadable_attachments":[{"id":55311808,"asset_id":35450133,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12378499,"first_name":"Brandon","last_name":"Boileau","domain_name":"yorku","page_name":"BrandonBoileau","display_name":"Brandon Boileau","profile_url":"https://yorku.academia.edu/BrandonBoileau?f_ri=685","photo":"https://0.academia-photos.com/12378499/10741297/18654909/s65_brandon.boileau.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=685","nofollow":false},{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=685","nofollow":false},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=685","nofollow":false},{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=685","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685"},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685"},{"id":972,"name":"Self and Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity?f_ri=685"},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=685"},{"id":2938,"name":"Black/African Diaspora","url":"https://www.academia.edu/Documents/in/Black_African_Diaspora?f_ri=685"},{"id":3141,"name":"Music Video","url":"https://www.academia.edu/Documents/in/Music_Video?f_ri=685"},{"id":3277,"name":"Race and Racism","url":"https://www.academia.edu/Documents/in/Race_and_Racism?f_ri=685"},{"id":3870,"name":"African Diaspora Studies","url":"https://www.academia.edu/Documents/in/African_Diaspora_Studies?f_ri=685"},{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=685"},{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=685"},{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=685"},{"id":6527,"name":"Celebrity Culture","url":"https://www.academia.edu/Documents/in/Celebrity_Culture?f_ri=685"},{"id":7216,"name":"The Body","url":"https://www.academia.edu/Documents/in/The_Body?f_ri=685"},{"id":7513,"name":"Archives","url":"https://www.academia.edu/Documents/in/Archives?f_ri=685"},{"id":14904,"name":"Hip-Hop/Rap","url":"https://www.academia.edu/Documents/in/Hip-Hop_Rap?f_ri=685"},{"id":15567,"name":"Diaspora Studies","url":"https://www.academia.edu/Documents/in/Diaspora_Studies?f_ri=685"},{"id":26227,"name":"Entertainment","url":"https://www.academia.edu/Documents/in/Entertainment?f_ri=685"},{"id":34139,"name":"Hip-Hop Studies","url":"https://www.academia.edu/Documents/in/Hip-Hop_Studies?f_ri=685"},{"id":59346,"name":"Blackness","url":"https://www.academia.edu/Documents/in/Blackness?f_ri=685"},{"id":131068,"name":"Hip Hop Culture","url":"https://www.academia.edu/Documents/in/Hip_Hop_Culture?f_ri=685"},{"id":182936,"name":"Oppression","url":"https://www.academia.edu/Documents/in/Oppression?f_ri=685"},{"id":1856584,"name":"Kendrick Lamar","url":"https://www.academia.edu/Documents/in/Kendrick_Lamar?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12345975" data-work_id="12345975" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12345975/%C5%9Eerif_Muhiddin_Targan_As_The_Actor_and_Indicator_of_Modern_Compounds">Şerif Muhiddin Targan : As The Actor and Indicator of Modern Compounds</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div 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data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="184" href="https://www.academia.edu/Documents/in/Sociology">Sociology</a>, <script data-card-contents-for-ri="184" type="text/json">{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a><script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12345975]'), work: {"id":12345975,"title":"Şerif Muhiddin Targan : As The Actor and Indicator of Modern Compounds","created_at":"2015-05-12T02:22:52.505-07:00","url":"https://www.academia.edu/12345975/%C5%9Eerif_Muhiddin_Targan_As_The_Actor_and_Indicator_of_Modern_Compounds?f_ri=685","dom_id":"work_12345975","summary":null,"downloadable_attachments":[{"id":37609862,"asset_id":12345975,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7957273,"first_name":"Bilen","last_name":"Işıktaş","domain_name":"istanbul","page_name":"bilenisiktas","display_name":"Bilen Işıktaş","profile_url":"https://istanbul.academia.edu/bilenisiktas?f_ri=685","photo":"https://0.academia-photos.com/7957273/2792061/95878445/s65_bilen.i_kta_.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=685","nofollow":false},{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=685","nofollow":false},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685"},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=685"},{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=685"},{"id":2015,"name":"Middle East 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u-pv7x u-mb0x js-work-card work_32923402" data-work_id="32923402" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32923402/MA_thesis_Universit%C3%A0_di_Milano_2007_Meco_trarrotti_a_riveder_le_stelle_Lettura_comparata_delle_trascrizioni_novecentesche_dell_Orfeo_di_Monteverdi">MA thesis, Università di Milano (2007): «Meco trarrotti a riveder le stelle». Lettura comparata delle trascrizioni novecentesche dell’Orfeo di Monteverdi</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A comparative study of the transcriptions and editions of Monteverdi's Orfeo within the 20th century.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32923402" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="47984f010e72e922df56d035eb1caef2" rel="nofollow" data-download="{"attachment_id":53057811,"asset_id":32923402,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53057811/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2149566" href="https://unifr-ch.academia.edu/FedericoLazzaro">Federico Lazzaro</a><script data-card-contents-for-user="2149566" type="text/json">{"id":2149566,"first_name":"Federico","last_name":"Lazzaro","domain_name":"unifr-ch","page_name":"FedericoLazzaro","display_name":"Federico Lazzaro","profile_url":"https://unifr-ch.academia.edu/FedericoLazzaro?f_ri=685","photo":"https://0.academia-photos.com/2149566/695395/863359/s65_federico.lazzaro.jpg"}</script></span></span></li><li class="js-paper-rank-work_32923402 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32923402"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32923402, container: ".js-paper-rank-work_32923402", }); 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$(".js-view-count[data-work-id=32923402]").text(description); $(".js-view-count-work_32923402").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32923402").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32923402"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4039" href="https://www.academia.edu/Documents/in/Opera">Opera</a>, <script data-card-contents-for-ri="4039" type="text/json">{"id":4039,"name":"Opera","url":"https://www.academia.edu/Documents/in/Opera?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="39088" href="https://www.academia.edu/Documents/in/Claudio_Monteverdi">Claudio Monteverdi</a><script data-card-contents-for-ri="39088" type="text/json">{"id":39088,"name":"Claudio Monteverdi","url":"https://www.academia.edu/Documents/in/Claudio_Monteverdi?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32923402]'), work: {"id":32923402,"title":"MA thesis, Università di Milano (2007): «Meco trarrotti a riveder le stelle». 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I Don't Get Classical Music: A Self-Help Desperation Guide</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">“Whaaaaaaaaat!? I Don’t Get Classical Music: A Self-Help Desperation Guide” is a tonic for the perplexed, and a companion guide for those who feel classical music is forbidding, complex and grandiose. It is a concise and helpful book with... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31330042" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">“Whaaaaaaaaat!? I Don’t Get Classical Music: A Self-Help Desperation Guide” is a tonic for the perplexed, and a companion guide for those who feel classical music is forbidding, complex and grandiose. It is a concise and helpful book with humor and insight written by a composer and performer with a lifetime of experience. Beginning with patterns, pitches and instruments, author Dennis Bathory-Kitsz covers topics from performers to shrieking singers to the mysterious classical codes, from Beethoven (“the great hulk of a man”) through space music, tone poems, nationalism, and even composers insulting each other. Written in response to a student’s plea for help (“I’m desperate! I don’t get classical music!”), the book is not stuck in the distant past. Instead, “Whaaaaaaaaat!?” includes classical music—which the composer prefers to call “nonpop”—from ancient times right up to the present day, from Gregorian chant through electrons and gongs to nonpop fused with pop. Writes one of his students, “it accomplishes what a textbook does without being a textbook.” Another says, “It gets right into the dirty details of Western music and does so in a way that makes even the most novice listener feel like a professional.” Explored and critiqued by more than two dozen readers from complete amateurs to working professionals, “Whaaaaaaaaat!?” is insightful, exuberant, funny and, according to one music professor, “terrifically valuable as a corrective to bad thinking and its offspring, bad teaching.” In a short, readable 100 pages, Bathory-Kitsz shares the madness and mystery of classical music.<br /><br />Note: This book is available in printed form here. Your purchase will help support the second edition. <br /><a href="https://www.amazon.com/Whaaaaaaaaat-Classical-Music-Self-Help-Desperation/dp/1530729521/" rel="nofollow">https://www.amazon.com/Whaaaaaaaaat-Classical-Music-Self-Help-Desperation/dp/1530729521/</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31330042" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d981efa875e2e9bf16e049c5e7cce639" rel="nofollow" data-download="{"attachment_id":51717362,"asset_id":31330042,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51717362/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13078419" href="https://northernvermont.academia.edu/DennisBathoryKitsz">Dennis Bathory-Kitsz</a><script data-card-contents-for-user="13078419" type="text/json">{"id":13078419,"first_name":"Dennis","last_name":"Bathory-Kitsz","domain_name":"northernvermont","page_name":"DennisBathoryKitsz","display_name":"Dennis Bathory-Kitsz","profile_url":"https://northernvermont.academia.edu/DennisBathoryKitsz?f_ri=685","photo":"https://0.academia-photos.com/13078419/3689392/4324458/s65_dennis.bathory-kitsz.jpg"}</script></span></span></li><li class="js-paper-rank-work_31330042 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31330042"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31330042, container: ".js-paper-rank-work_31330042", }); 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I Don't Get Classical Music: A Self-Help Desperation Guide","created_at":"2017-02-09T07:05:43.021-08:00","url":"https://www.academia.edu/31330042/Whaaaaaaaaat_I_Dont_Get_Classical_Music_A_Self_Help_Desperation_Guide?f_ri=685","dom_id":"work_31330042","summary":"“Whaaaaaaaaat!? I Don’t Get Classical Music: A Self-Help Desperation Guide” is a tonic for the perplexed, and a companion guide for those who feel classical music is forbidding, complex and grandiose. It is a concise and helpful book with humor and insight written by a composer and performer with a lifetime of experience. Beginning with patterns, pitches and instruments, author Dennis Bathory-Kitsz covers topics from performers to shrieking singers to the mysterious classical codes, from Beethoven (“the great hulk of a man”) through space music, tone poems, nationalism, and even composers insulting each other. Written in response to a student’s plea for help (“I’m desperate! 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Your purchase will help support the second edition. \nhttps://www.amazon.com/Whaaaaaaaaat-Classical-Music-Self-Help-Desperation/dp/1530729521/\n","downloadable_attachments":[{"id":51717362,"asset_id":31330042,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13078419,"first_name":"Dennis","last_name":"Bathory-Kitsz","domain_name":"northernvermont","page_name":"DennisBathoryKitsz","display_name":"Dennis Bathory-Kitsz","profile_url":"https://northernvermont.academia.edu/DennisBathoryKitsz?f_ri=685","photo":"https://0.academia-photos.com/13078419/3689392/4324458/s65_dennis.bathory-kitsz.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":40754,"name":"Classical Music","url":"https://www.academia.edu/Documents/in/Classical_Music?f_ri=685","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37453638" data-work_id="37453638" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37453638/Kandinskij_La_qualit%C3%A0_musicale_dei_colori_2004_">Kandinskij. 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Glivinsky","last_name":"Валерий Викторович Гливинский","domain_name":"conservatory-ru","page_name":"ValeryGlivinsky","display_name":"Valery V. Glivinsky Валерий Викторович Гливинский","profile_url":"https://conservatory-ru.academia.edu/ValeryGlivinsky?f_ri=685","photo":"https://0.academia-photos.com/34204050/11265453/161934426/s65_valery_v._glivinsky._.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false},{"id":347047,"name":"история музыки","url":"https://www.academia.edu/Documents/in/%D0%B8%D1%81%D1%82%D0%BE%D1%80%D0%B8%D1%8F_%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B8?f_ri=685","nofollow":false},{"id":2300544,"name":"Музыковедение","url":"https://www.academia.edu/Documents/in/%D0%9C%D1%83%D0%B7%D1%8B%D0%BA%D0%BE%D0%B2%D0%B5%D0%B4%D0%B5%D0%BD%D0%B8%D0%B5?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9844602" data-work_id="9844602" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9844602/FUSION_OF_BAROQUE_AND_CLASSICISM_IN_DOMENICO_SCARLATTI_S_SONATA_K_141_TOCATTA_IN_D_MINOR_">FUSION OF BAROQUE AND CLASSICISM IN DOMENICO SCARLATTI’S SONATA K. 141 “TOCATTA IN D MINOR”</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9844602" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="390f493aa0d68d9f97edc32a18371400" rel="nofollow" data-download="{"attachment_id":36010095,"asset_id":9844602,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36010095/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="21735155" href="https://boisestate.academia.edu/MytchEvangelista">Mytch Evangelista</a><script data-card-contents-for-user="21735155" type="text/json">{"id":21735155,"first_name":"Mytch","last_name":"Evangelista","domain_name":"boisestate","page_name":"MytchEvangelista","display_name":"Mytch Evangelista","profile_url":"https://boisestate.academia.edu/MytchEvangelista?f_ri=685","photo":"https://0.academia-photos.com/21735155/6438718/17252716/s65_mytch.evangelista.jpg"}</script></span></span></li><li class="js-paper-rank-work_9844602 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9844602"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9844602, container: ".js-paper-rank-work_9844602", }); 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$(".js-view-count[data-work-id=9844602]").text(description); $(".js-view-count-work_9844602").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9844602").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9844602"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="138730" href="https://www.academia.edu/Documents/in/Classicism">Classicism</a>, <script data-card-contents-for-ri="138730" type="text/json">{"id":138730,"name":"Classicism","url":"https://www.academia.edu/Documents/in/Classicism?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="198242" href="https://www.academia.edu/Documents/in/Domenico_Scarlatti">Domenico Scarlatti</a><script data-card-contents-for-ri="198242" type="text/json">{"id":198242,"name":"Domenico Scarlatti","url":"https://www.academia.edu/Documents/in/Domenico_Scarlatti?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9844602]'), work: {"id":9844602,"title":"FUSION OF BAROQUE AND CLASSICISM IN DOMENICO SCARLATTI’S SONATA K. 141 “TOCATTA IN D MINOR”","created_at":"2014-12-20T00:49:58.298-08:00","url":"https://www.academia.edu/9844602/FUSION_OF_BAROQUE_AND_CLASSICISM_IN_DOMENICO_SCARLATTI_S_SONATA_K_141_TOCATTA_IN_D_MINOR_?f_ri=685","dom_id":"work_9844602","summary":null,"downloadable_attachments":[{"id":36010095,"asset_id":9844602,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":21735155,"first_name":"Mytch","last_name":"Evangelista","domain_name":"boisestate","page_name":"MytchEvangelista","display_name":"Mytch Evangelista","profile_url":"https://boisestate.academia.edu/MytchEvangelista?f_ri=685","photo":"https://0.academia-photos.com/21735155/6438718/17252716/s65_mytch.evangelista.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=685","nofollow":false},{"id":138730,"name":"Classicism","url":"https://www.academia.edu/Documents/in/Classicism?f_ri=685","nofollow":false},{"id":198242,"name":"Domenico Scarlatti","url":"https://www.academia.edu/Documents/in/Domenico_Scarlatti?f_ri=685","nofollow":false},{"id":389466,"name":"Keyboard Sonata","url":"https://www.academia.edu/Documents/in/Keyboard_Sonata?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37998026" data-work_id="37998026" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37998026/_The_Americanization_of_Arnold_Schoenberg_Theory_Analysis_and_Reception_Zeitschrift_der_Gesellschaft_f%C3%BCr_Musiktheorie_15_2_2018_155_75">"The Americanization of Arnold Schoenberg? Theory, Analysis, and Reception," Zeitschrift der Gesellschaft für Musiktheorie 15/2 (2018): 155-75.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37998026" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how Heinrich Schenker's ideas were modified to conform to the American music-theoretical discourse ("Americanization"). The question then arises: Were Schoenberg's theoretical ideas also similarly modified? After a preliminary overview of the availability of Schoenberg's theoretical writing in English translation, four topics in Schoenberg's thought are traced, with a focus on the postwar era: 1) harmony; 2) form; 3) thematic and motivic transformation ; and 4) aesthetics. The American reception of Schoenberg's theoretical ideas has tended to focus on the music-technical dimension of his theoretical texts and has, to a significant extent, ignored the more philosophical and aesthetic aspects of his thought. It has tended to place emphasis on how music is structured and how that structure is unified; there has been less concern with why such unity is important in a broader sense. Dieser Aufsatz gibt einen Überblick über die Rezeption von Arnold Schönbergs theoretischem Denken in der englischsprachigen Musiktheorie, wobei der Fokus, wenn auch nicht ausschließ-lich, auf der Rezeption in den Vereinigten Staaten liegt. William Rothstein hat dargestellt wie Heinrich Schenkers Theorie im Zuge einer Anpassung an den amerikanischen musiktheoretischen Diskurs modifiziert wurde (»Americanization«). Dies legt die Frage nahe, ob auch Schönbergs theoretisches Denken in ähnlicher Weise modifiziert worden ist. Nach einer einführenden Über-sicht über die Verfügbarkeit von Schönbergs Schriften in englischen Übersetzungen werden vier Themenbereiche von Schönbergs Denken in der anglophonen Musiktheorie verfolgt, wobei der Schwerpunkt auf der Nachkriegszeit liegt: 1) Harmonik; 2) Form; 3) thematische und motivische Transformation; 4) Ästhetik. Die amerikanische Rezeption von Schönbergs Theorien tendierte dazu, die technischen Aspekte in seinen Schriften herauszuheben, und vernachlässigte dabei in einem signifikanten Ausmaß die stärker philosophischen und ästhetischen Aspekte seines Den-kens. Die Schönberg-Rezeption in den USA hat also ein starkes Gewicht auf Fragen musikalischer Struktur und struktureller Einheit gelegt; weniger wurde hingegen danach gefragt, warum eine solche Einheit in einem umfassenderen Sinn erstrebenswert ist. In his 1986 article entitled "The Americanization of Heinrich Schenker," William Roth-stein explores the development of Schenkerian theory and analysis in North America in the decades following the Second World War. Reflecting on how Schenker's ideas had been absorbed, disseminated, and, to a certain extent, adapted by the English-speaking academic community in the United States, Rothstein remarks: 1 I would like to thank Severine Neff and Jonathan Dunsby for reading an earlier version of this article and offering useful comments. I would also like to thank the editors of the journal and the anonymous readers for their valuable feedback and suggestions.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37998026" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e36d71afaf1b44cf7c4d460e8b16620f" rel="nofollow" data-download="{"attachment_id":58017361,"asset_id":37998026,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58017361/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5080019" href="https://rochester.academia.edu/JohnCovach">John Covach</a><script data-card-contents-for-user="5080019" type="text/json">{"id":5080019,"first_name":"John","last_name":"Covach","domain_name":"rochester","page_name":"JohnCovach","display_name":"John Covach","profile_url":"https://rochester.academia.edu/JohnCovach?f_ri=685","photo":"https://0.academia-photos.com/5080019/3833500/99455055/s65_john.covach.jpeg"}</script></span></span></li><li class="js-paper-rank-work_37998026 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37998026"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37998026, container: ".js-paper-rank-work_37998026", }); });</script></li><li class="js-percentile-work_37998026 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37998026; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_37998026"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37998026 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37998026"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37998026; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37998026]").text(description); $(".js-view-count-work_37998026").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37998026").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37998026"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="28879" href="https://www.academia.edu/Documents/in/Music_analysis">Music analysis</a>, <script data-card-contents-for-ri="28879" type="text/json">{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="48316" href="https://www.academia.edu/Documents/in/Arnold_Schoenberg">Arnold Schoenberg</a>, <script data-card-contents-for-ri="48316" type="text/json">{"id":48316,"name":"Arnold Schoenberg","url":"https://www.academia.edu/Documents/in/Arnold_Schoenberg?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="170697" href="https://www.academia.edu/Documents/in/Musical_Analysis">Musical Analysis</a><script data-card-contents-for-ri="170697" type="text/json">{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37998026]'), work: {"id":37998026,"title":"\"The Americanization of Arnold Schoenberg? Theory, Analysis, and Reception,\" Zeitschrift der Gesellschaft für Musiktheorie 15/2 (2018): 155-75.","created_at":"2018-12-17T18:00:12.940-08:00","url":"https://www.academia.edu/37998026/_The_Americanization_of_Arnold_Schoenberg_Theory_Analysis_and_Reception_Zeitschrift_der_Gesellschaft_f%C3%BCr_Musiktheorie_15_2_2018_155_75?f_ri=685","dom_id":"work_37998026","summary":"This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how Heinrich Schenker's ideas were modified to conform to the American music-theoretical discourse (\"Americanization\"). The question then arises: Were Schoenberg's theoretical ideas also similarly modified? After a preliminary overview of the availability of Schoenberg's theoretical writing in English translation, four topics in Schoenberg's thought are traced, with a focus on the postwar era: 1) harmony; 2) form; 3) thematic and motivic transformation ; and 4) aesthetics. The American reception of Schoenberg's theoretical ideas has tended to focus on the music-technical dimension of his theoretical texts and has, to a significant extent, ignored the more philosophical and aesthetic aspects of his thought. It has tended to place emphasis on how music is structured and how that structure is unified; there has been less concern with why such unity is important in a broader sense. Dieser Aufsatz gibt einen Überblick über die Rezeption von Arnold Schönbergs theoretischem Denken in der englischsprachigen Musiktheorie, wobei der Fokus, wenn auch nicht ausschließ-lich, auf der Rezeption in den Vereinigten Staaten liegt. William Rothstein hat dargestellt wie Heinrich Schenkers Theorie im Zuge einer Anpassung an den amerikanischen musiktheoretischen Diskurs modifiziert wurde (»Americanization«). Dies legt die Frage nahe, ob auch Schönbergs theoretisches Denken in ähnlicher Weise modifiziert worden ist. Nach einer einführenden Über-sicht über die Verfügbarkeit von Schönbergs Schriften in englischen Übersetzungen werden vier Themenbereiche von Schönbergs Denken in der anglophonen Musiktheorie verfolgt, wobei der Schwerpunkt auf der Nachkriegszeit liegt: 1) Harmonik; 2) Form; 3) thematische und motivische Transformation; 4) Ästhetik. Die amerikanische Rezeption von Schönbergs Theorien tendierte dazu, die technischen Aspekte in seinen Schriften herauszuheben, und vernachlässigte dabei in einem signifikanten Ausmaß die stärker philosophischen und ästhetischen Aspekte seines Den-kens. Die Schönberg-Rezeption in den USA hat also ein starkes Gewicht auf Fragen musikalischer Struktur und struktureller Einheit gelegt; weniger wurde hingegen danach gefragt, warum eine solche Einheit in einem umfassenderen Sinn erstrebenswert ist. In his 1986 article entitled \"The Americanization of Heinrich Schenker,\" William Roth-stein explores the development of Schenkerian theory and analysis in North America in the decades following the Second World War. Reflecting on how Schenker's ideas had been absorbed, disseminated, and, to a certain extent, adapted by the English-speaking academic community in the United States, Rothstein remarks: 1 I would like to thank Severine Neff and Jonathan Dunsby for reading an earlier version of this article and offering useful comments. I would also like to thank the editors of the journal and the anonymous readers for their valuable feedback and suggestions.","downloadable_attachments":[{"id":58017361,"asset_id":37998026,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5080019,"first_name":"John","last_name":"Covach","domain_name":"rochester","page_name":"JohnCovach","display_name":"John Covach","profile_url":"https://rochester.academia.edu/JohnCovach?f_ri=685","photo":"https://0.academia-photos.com/5080019/3833500/99455055/s65_john.covach.jpeg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=685","nofollow":false},{"id":48316,"name":"Arnold Schoenberg","url":"https://www.academia.edu/Documents/in/Arnold_Schoenberg?f_ri=685","nofollow":false},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=685","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35603567" data-work_id="35603567" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35603567/Domenichino_e_la_musica">Domenichino e la musica</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">According with Giovan Pietro Bellori, Domenichino was especially interested in the musical theories of the time and showed great musical competency. His works speak for themselves: Domenichino depicted with considerable precision... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35603567" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">According with Giovan Pietro Bellori, Domenichino was especially interested in the musical theories of the time and showed great musical competency. His works speak for themselves: Domenichino depicted with considerable precision contemporaries musical instruments, instrumental complexes consistent with practice of the time, scores that attest his knowledge of musical notation. The painter bonded fruitful relations with musicians and composers. <br />Moving from ancient sources and continuing footsteps of Benvenuto Disertori, Richard Spear, Patrizio Barbieri and Renato Meucci, this essays proposes to place Domenichino in his musical time, crossing organically and in a unified manner his creative course, and highlighting his interests’ versatility: on one side aimed to harmony mathematical study, that is purely theoretical, on the other side focused on performance practice instead. Plurality of interests animated by a deeply modern attitude towards music of his time. Musical ‘clues’ in some paintings, witnesses of his adherence to the most innovative musical instances: the “seconda prattica”, instrumental music’s gradual claim of autonomy, enharmonic experiments. It will emerge a renewed figure of the painter: a classicist Domenichino, but also a great “modernist”.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35603567" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="84a73b7dd8e047816136ca53cb9fcb4d" rel="nofollow" data-download="{"attachment_id":55470838,"asset_id":35603567,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55470838/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="35489692" href="https://uniroma3.academia.edu/AriannaDeSimone">Arianna De Simone</a><script data-card-contents-for-user="35489692" type="text/json">{"id":35489692,"first_name":"Arianna","last_name":"De Simone","domain_name":"uniroma3","page_name":"AriannaDeSimone","display_name":"Arianna De Simone","profile_url":"https://uniroma3.academia.edu/AriannaDeSimone?f_ri=685","photo":"https://0.academia-photos.com/35489692/10306414/18639214/s65_arianna.de_simone.jpeg"}</script></span></span></li><li class="js-paper-rank-work_35603567 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35603567"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35603567, container: ".js-paper-rank-work_35603567", }); });</script></li><li class="js-percentile-work_35603567 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35603567; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35603567"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35603567 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35603567"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35603567; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35603567]").text(description); $(".js-view-count-work_35603567").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35603567").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35603567"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a><script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35603567]'), work: {"id":35603567,"title":"Domenichino e la musica","created_at":"2018-01-07T12:50:16.264-08:00","url":"https://www.academia.edu/35603567/Domenichino_e_la_musica?f_ri=685","dom_id":"work_35603567","summary":"According with Giovan Pietro Bellori, Domenichino was especially interested in the musical theories of the time and showed great musical competency. His works speak for themselves: Domenichino depicted with considerable precision contemporaries musical instruments, instrumental complexes consistent with practice of the time, scores that attest his knowledge of musical notation. The painter bonded fruitful relations with musicians and composers. \r\nMoving from ancient sources and continuing footsteps of Benvenuto Disertori, Richard Spear, Patrizio Barbieri and Renato Meucci, this essays proposes to place Domenichino in his musical time, crossing organically and in a unified manner his creative course, and highlighting his interests’ versatility: on one side aimed to harmony mathematical study, that is purely theoretical, on the other side focused on performance practice instead. Plurality of interests animated by a deeply modern attitude towards music of his time. Musical ‘clues’ in some paintings, witnesses of his adherence to the most innovative musical instances: the “seconda prattica”, instrumental music’s gradual claim of autonomy, enharmonic experiments. It will emerge a renewed figure of the painter: a classicist Domenichino, but also a great “modernist”. \r\n","downloadable_attachments":[{"id":55470838,"asset_id":35603567,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":35489692,"first_name":"Arianna","last_name":"De Simone","domain_name":"uniroma3","page_name":"AriannaDeSimone","display_name":"Arianna De Simone","profile_url":"https://uniroma3.academia.edu/AriannaDeSimone?f_ri=685","photo":"https://0.academia-photos.com/35489692/10306414/18639214/s65_arianna.de_simone.jpeg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=685","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33398935" data-work_id="33398935" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33398935/Musica_clasica_para_Dummies_pdf">Musica clasica para Dummies.pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Musica</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33398935" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="25a2b9130475ff356c6a240e4188d9a6" rel="nofollow" data-download="{"attachment_id":53454308,"asset_id":33398935,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53454308/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="63966616" href="https://independent.academia.edu/DanielLentinelo">Daniel Lentinelo</a><script data-card-contents-for-user="63966616" type="text/json">{"id":63966616,"first_name":"Daniel","last_name":"Lentinelo","domain_name":"independent","page_name":"DanielLentinelo","display_name":"Daniel Lentinelo","profile_url":"https://independent.academia.edu/DanielLentinelo?f_ri=685","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_33398935 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33398935"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33398935, container: ".js-paper-rank-work_33398935", }); 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$(".js-view-count[data-work-id=33398935]").text(description); $(".js-view-count-work_33398935").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33398935").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33398935"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33398935]'), work: {"id":33398935,"title":"Musica clasica para Dummies.pdf","created_at":"2017-06-10T00:28:47.083-07:00","url":"https://www.academia.edu/33398935/Musica_clasica_para_Dummies_pdf?f_ri=685","dom_id":"work_33398935","summary":"Musica ","downloadable_attachments":[{"id":53454308,"asset_id":33398935,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":63966616,"first_name":"Daniel","last_name":"Lentinelo","domain_name":"independent","page_name":"DanielLentinelo","display_name":"Daniel Lentinelo","profile_url":"https://independent.academia.edu/DanielLentinelo?f_ri=685","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=685","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_49200819 coauthored" data-work_id="49200819" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/49200819/Artistic_Research_in_Jazz_Positions_Theories_Methods_Preview_PDF_">Artistic Research in Jazz: Positions, Theories, Methods (Preview PDF)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book presents the recent positions, theories, and methods of artistic research in jazz, inviting readers to critically engage in and establish a sustained discourse regarding theoretical, methodological, and analytic perspectives. A... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49200819" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book presents the recent positions, theories, and methods of artistic research in jazz, inviting readers to critically engage in and establish a sustained discourse regarding theoretical, methodological, and analytic perspectives. A panel of eleven international contributors presents an in-depth discourse on shared and specific approaches to artistic research in jazz, aiming at an understanding of the specificity of current practices, both improvisational and composed. The topics addressed throughout consider the cultural, institutional, epistemological, philosophical, ethical, and practical aspects of the discipline, as well as the influence of race, gender, and politics. The book is structured in three parts: first, on topics related to improvisation, theory and history; second, on institutional and pedagogical positions; and third, on methodical approaches in four specific research projects conducted by the authors. In thinking outside established theoretical frameworks, this book invites further exploration and participation, and encourages practitioners, scholars, students, and teachers at all academic levels to shape the future of artistic research collectively. It will be of interest to students in jazz and popular music studies, performance studies, improvisation studies, music philosophy, music aesthetics, and Western art music research.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49200819" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c7a01173447bde05cdad6993233d3237" rel="nofollow" data-download="{"attachment_id":67588540,"asset_id":49200819,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67588540/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="524148" href="https://kug.academia.edu/MichaelKahr">Michael Kahr</a><script data-card-contents-for-user="524148" type="text/json">{"id":524148,"first_name":"Michael","last_name":"Kahr","domain_name":"kug","page_name":"MichaelKahr","display_name":"Michael Kahr","profile_url":"https://kug.academia.edu/MichaelKahr?f_ri=685","photo":"https://0.academia-photos.com/524148/185109/26142051/s65_michael.kahr.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-49200819">+3</span><div class="hidden js-additional-users-49200819"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://leidenuniv.academia.edu/MarcelCobussen">Marcel Cobussen</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://stavanger.academia.edu/PetterFrostFadnes">Petter Frost Fadnes</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unisouthafr.academia.edu/MarcDuby">Marc Duby</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-49200819'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-49200819').html(); 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u-mb0x js-work-card work_10465223" data-work_id="10465223" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10465223/S%C3%B6zl%C3%BC_ve_Yaz%C4%B1l%C4%B1_Aktar%C4%B1mda_%C5%9Earaganlar_2014_">Sözlü ve Yazılı Aktarımda Şaragan'lar (2014)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10465223" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2f2bada139180dd8259cefc76b9a5e38" rel="nofollow" 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$(".js-view-count-work_10465223").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10465223"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1707" href="https://www.academia.edu/Documents/in/Armenian_Studies">Armenian Studies</a><script data-card-contents-for-ri="1707" type="text/json">{"id":1707,"name":"Armenian Studies","url":"https://www.academia.edu/Documents/in/Armenian_Studies?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10465223]'), work: {"id":10465223,"title":"Sözlü ve Yazılı Aktarımda Şaragan'lar 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Studies","url":"https://www.academia.edu/Documents/in/Armenian_Studies?f_ri=685","nofollow":false},{"id":14554,"name":"Armenian Culture","url":"https://www.academia.edu/Documents/in/Armenian_Culture?f_ri=685"},{"id":1643521,"name":"Transmission musicale","url":"https://www.academia.edu/Documents/in/Transmission_musicale?f_ri=685"},{"id":1797574,"name":"Armenian Liturgical Chant","url":"https://www.academia.edu/Documents/in/Armenian_Liturgical_Chant?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26049084" data-work_id="26049084" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26049084/M%C3%9CZ%C4%B0%C4%9E%C4%B0N_K%C4%B0LOMETRE_TA%C5%9ELARI_2013_Z%C4%B0NDE_YAYINLARI_">MÜZİĞİN KİLOMETRE TAŞLARI (2013 – ZİNDE YAYINLARI)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26049084" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="62143a9d006ae86d0b9402b5754628f3" rel="nofollow" data-download="{"attachment_id":46387387,"asset_id":26049084,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46387387/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3052205" href="https://galata.academia.edu/ProfDrMichaelMihalisKuyucu">Prof. Dr. Michael (Mihalis) Kuyucu</a><script data-card-contents-for-user="3052205" type="text/json">{"id":3052205,"first_name":"Prof. Dr. Michael (Mihalis)","last_name":"Kuyucu","domain_name":"galata","page_name":"ProfDrMichaelMihalisKuyucu","display_name":"Prof. Dr. Michael (Mihalis) Kuyucu","profile_url":"https://galata.academia.edu/ProfDrMichaelMihalisKuyucu?f_ri=685","photo":"https://0.academia-photos.com/3052205/10582603/11811700/s65_michael.kuyucu.jpg"}</script></span></span></li><li class="js-paper-rank-work_26049084 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26049084"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26049084, container: ".js-paper-rank-work_26049084", }); });</script></li><li class="js-percentile-work_26049084 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 26049084; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = 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style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26049084"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a><script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26049084]'), work: {"id":26049084,"title":"MÜZİĞİN KİLOMETRE TAŞLARI (2013 – ZİNDE 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js-work-link" href="https://www.academia.edu/43248236/IL_CLARINETTO_ALLOPERA">IL CLARINETTO ALL'OPERA</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Attraverso le ricerche riportate in questa tesi si è voluto approfondire nelle sue diverse sfaccettature il ruolo del clarinetto e dei clarinettisti nella composizione delle Fantasie su temi d'Opera, genere molto diffuso all'inizio... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43248236" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Attraverso le ricerche riportate in questa tesi si è voluto approfondire nelle sue diverse sfaccettature il ruolo del clarinetto e dei clarinettisti nella composizione delle Fantasie su temi d'Opera, genere molto diffuso all'inizio dell'Ottocento.<br /><br />Si sono visti nel dettaglio il Potpourri n. 2 per clarinetto e orchestra su Là ci darem la mano di Franz Danzi, le Variazioni su Euer Liebreiz, eure Schönheit in Sib maggiore dall'Opera Alruna di Louis Spohr e la Fantasia da Concerto su motivi del Rigoletto di Luigi Bassi. Per ogni brano si sono analizzate le origini storiche ponendo grande attenzione al contatto e talvolta alla collaborazione avvenuta tra compositore e strumentista.<br /><br />Lo scopo di tale lavoro non è quello di riportare semplicemente nozioni di valore storico, ma di riuscire a fornire al lettore l'idea di una corretta interpretazione filologica grazie al supporto della ricostruzione della vita dei personaggi coinvolti nella storia di questi brani; tenendo conto del fatto che il paesaggio sonoro in cui viviamo è diverso da quello di duecento anni fa e che le caratteristiche acustiche del clarinetto hanno subito numerose modifiche nel corso del tempo.<br /><br />La tesi è articolata in quattro capitoli e un'appendice in cui si può trovare una breve storia del clarinetto. Ogni capitolo è strutturato in maniera indipendente e può essere letto separatamente dal resto della tesi. Per ogni capitolo viene fornita un'introduzione al contesto storico e geografico a cui si fa riferimento, una storia dell'autore e dell'esecutore del pezzo e una breve analisi del brano considerato.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43248236" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="87154eb4e5563dd34532db486e578b7a" rel="nofollow" data-download="{"attachment_id":63519014,"asset_id":43248236,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63519014/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26995553" href="https://unive.academia.edu/MatteoSpanio">Matteo Spanio</a><script data-card-contents-for-user="26995553" type="text/json">{"id":26995553,"first_name":"Matteo","last_name":"Spanio","domain_name":"unive","page_name":"MatteoSpanio","display_name":"Matteo Spanio","profile_url":"https://unive.academia.edu/MatteoSpanio?f_ri=685","photo":"https://0.academia-photos.com/26995553/61140178/49412541/s65_matteo.spanio.jpg"}</script></span></span></li><li class="js-paper-rank-work_43248236 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43248236"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43248236, container: ".js-paper-rank-work_43248236", }); 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$(".js-view-count[data-work-id=43248236]").text(description); $(".js-view-count-work_43248236").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43248236").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43248236"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16531" href="https://www.academia.edu/Documents/in/Clarinet">Clarinet</a><script data-card-contents-for-ri="16531" type="text/json">{"id":16531,"name":"Clarinet","url":"https://www.academia.edu/Documents/in/Clarinet?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43248236]'), work: {"id":43248236,"title":"IL CLARINETTO ALL'OPERA","created_at":"2020-06-03T13:03:22.796-07:00","url":"https://www.academia.edu/43248236/IL_CLARINETTO_ALLOPERA?f_ri=685","dom_id":"work_43248236","summary":"Attraverso le ricerche riportate in questa tesi si è voluto approfondire nelle sue diverse sfaccettature il ruolo del clarinetto e dei clarinettisti nella composizione delle Fantasie su temi d'Opera, genere molto diffuso all'inizio dell'Ottocento.\n\nSi sono visti nel dettaglio il Potpourri n. 2 per clarinetto e orchestra su Là ci darem la mano di Franz Danzi, le Variazioni su Euer Liebreiz, eure Schönheit in Sib maggiore dall'Opera Alruna di Louis Spohr e la Fantasia da Concerto su motivi del Rigoletto di Luigi Bassi. Per ogni brano si sono analizzate le origini storiche ponendo grande attenzione al contatto e talvolta alla collaborazione avvenuta tra compositore e strumentista.\n\nLo scopo di tale lavoro non è quello di riportare semplicemente nozioni di valore storico, ma di riuscire a fornire al lettore l'idea di una corretta interpretazione filologica grazie al supporto della ricostruzione della vita dei personaggi coinvolti nella storia di questi brani; tenendo conto del fatto che il paesaggio sonoro in cui viviamo è diverso da quello di duecento anni fa e che le caratteristiche acustiche del clarinetto hanno subito numerose modifiche nel corso del tempo.\n\nLa tesi è articolata in quattro capitoli e un'appendice in cui si può trovare una breve storia del clarinetto. Ogni capitolo è strutturato in maniera indipendente e può essere letto separatamente dal resto della tesi. Per ogni capitolo viene fornita un'introduzione al contesto storico e geografico a cui si fa riferimento, una storia dell'autore e dell'esecutore del pezzo e una breve analisi del brano considerato.","downloadable_attachments":[{"id":63519014,"asset_id":43248236,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26995553,"first_name":"Matteo","last_name":"Spanio","domain_name":"unive","page_name":"MatteoSpanio","display_name":"Matteo Spanio","profile_url":"https://unive.academia.edu/MatteoSpanio?f_ri=685","photo":"https://0.academia-photos.com/26995553/61140178/49412541/s65_matteo.spanio.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=685","nofollow":false},{"id":16531,"name":"Clarinet","url":"https://www.academia.edu/Documents/in/Clarinet?f_ri=685","nofollow":false},{"id":563034,"name":"Louis Spohr","url":"https://www.academia.edu/Documents/in/Louis_Spohr?f_ri=685"},{"id":610356,"name":"Storia della musica","url":"https://www.academia.edu/Documents/in/Storia_della_musica?f_ri=685"},{"id":1278328,"name":"Clarinetto","url":"https://www.academia.edu/Documents/in/Clarinetto?f_ri=685"},{"id":1726386,"name":"Compositori","url":"https://www.academia.edu/Documents/in/Compositori?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1160541" data-work_id="1160541" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1160541/Same_tune_different_words_The_creative_destruction_of_the_music_industry_revised_">Same tune, different words: The creative destruction of the music industry (revised)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this paper, we experiment and adopt „new‟ economic approaches to interrogate some of the fundamental changes and continuities in the music industry „system‟ that have been produced as a result of digitalisation. In this experiment, we... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1160541" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this paper, we experiment and adopt „new‟ economic approaches to interrogate some of the fundamental changes and continuities in the music industry „system‟ that have been produced as a result of digitalisation. In this experiment, we also include established techniques of media industries‟ analysis like a value-chain analysis (e.g. Küng, Picard and Towse 2008) and the distinction between audience and users markets, following the seminal work by Picard (1989). However, not only we consider the music industry as composed by three segments: (1) the digitalisation of content production in the music industry stage; (2) the distribution and marketing stage; (3) the delivery and exhibition stage, but we also attempt to provide a map of the increasing variety of activities in each segment. Moreover, we embrace a service activity perspective and pay particular attention to changing relationships between these activities. Our account of the main changes to the music industry relies on evidence derived from the findings of a recent empirical research study of the music industry in Ireland, and in the conclusions we discuss the significance of the effects of unauthorised downloads of music and provide arguments on how the industry could deal with this issue.<br /><a href="http://obs.obercom.pt/index.php/obs/article/view/514/471" rel="nofollow">http://obs.obercom.pt/index.php/obs/article/view/514/471</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1160541" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8499f8b145e77a960d968dffe3803c68" rel="nofollow" data-download="{"attachment_id":16811649,"asset_id":1160541,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/16811649/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="53000" href="https://sbg.academia.edu/SergioSparviero">Sergio Sparviero</a><script data-card-contents-for-user="53000" type="text/json">{"id":53000,"first_name":"Sergio","last_name":"Sparviero","domain_name":"sbg","page_name":"SergioSparviero","display_name":"Sergio Sparviero","profile_url":"https://sbg.academia.edu/SergioSparviero?f_ri=685","photo":"https://0.academia-photos.com/53000/15951/4237697/s65_sergio.sparviero.jpg"}</script></span></span></li><li class="js-paper-rank-work_1160541 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1160541"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1160541, container: ".js-paper-rank-work_1160541", }); });</script></li><li class="js-percentile-work_1160541 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1160541; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_1160541"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_1160541 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="1160541"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1160541; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1160541]").text(description); $(".js-view-count-work_1160541").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1160541").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="1160541"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6559" href="https://www.academia.edu/Documents/in/Music_and_Media">Music and Media</a>, <script data-card-contents-for-ri="6559" type="text/json">{"id":6559,"name":"Music and Media","url":"https://www.academia.edu/Documents/in/Music_and_Media?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6621" href="https://www.academia.edu/Documents/in/Media_Industries">Media Industries</a><script data-card-contents-for-ri="6621" type="text/json">{"id":6621,"name":"Media Industries","url":"https://www.academia.edu/Documents/in/Media_Industries?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1160541]'), work: {"id":1160541,"title":"Same tune, different words: The creative destruction of the music industry (revised)","created_at":"2011-12-15T21:42:32.816-08:00","url":"https://www.academia.edu/1160541/Same_tune_different_words_The_creative_destruction_of_the_music_industry_revised_?f_ri=685","dom_id":"work_1160541","summary":"In this paper, we experiment and adopt „new‟ economic approaches to interrogate some of the fundamental changes and continuities in the music industry „system‟ that have been produced as a result of digitalisation. In this experiment, we also include established techniques of media industries‟ analysis like a value-chain analysis (e.g. Küng, Picard and Towse 2008) and the distinction between audience and users markets, following the seminal work by Picard (1989). However, not only we consider the music industry as composed by three segments: (1) the digitalisation of content production in the music industry stage; (2) the distribution and marketing stage; (3) the delivery and exhibition stage, but we also attempt to provide a map of the increasing variety of activities in each segment. Moreover, we embrace a service activity perspective and pay particular attention to changing relationships between these activities. Our account of the main changes to the music industry relies on evidence derived from the findings of a recent empirical research study of the music industry in Ireland, and in the conclusions we discuss the significance of the effects of unauthorised downloads of music and provide arguments on how the industry could deal with this issue.\nhttp://obs.obercom.pt/index.php/obs/article/view/514/471","downloadable_attachments":[{"id":16811649,"asset_id":1160541,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":53000,"first_name":"Sergio","last_name":"Sparviero","domain_name":"sbg","page_name":"SergioSparviero","display_name":"Sergio Sparviero","profile_url":"https://sbg.academia.edu/SergioSparviero?f_ri=685","photo":"https://0.academia-photos.com/53000/15951/4237697/s65_sergio.sparviero.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":6559,"name":"Music and Media","url":"https://www.academia.edu/Documents/in/Music_and_Media?f_ri=685","nofollow":false},{"id":6621,"name":"Media Industries","url":"https://www.academia.edu/Documents/in/Media_Industries?f_ri=685","nofollow":false},{"id":228869,"name":"Creative Destruction","url":"https://www.academia.edu/Documents/in/Creative_Destruction?f_ri=685"},{"id":228871,"name":"Schumpter's creative destruction","url":"https://www.academia.edu/Documents/in/Schumpters_creative_destruction?f_ri=685"},{"id":244928,"name":"Digitalisation","url":"https://www.academia.edu/Documents/in/Digitalisation?f_ri=685"},{"id":323193,"name":"Value Chains","url":"https://www.academia.edu/Documents/in/Value_Chains?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_369628" data-work_id="369628" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/369628/Music_of_the_Romantic_Era">Music of the Romantic Era</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/369628" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="73aa4c3d0b79c37f3d51980146a2d970" rel="nofollow" data-download="{"attachment_id":36327712,"asset_id":369628,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36327712/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="132274" href="https://eiu.academia.edu/LuminitaFlorea">Luminita Florea</a><script data-card-contents-for-user="132274" type="text/json">{"id":132274,"first_name":"Luminita","last_name":"Florea","domain_name":"eiu","page_name":"LuminitaFlorea","display_name":"Luminita Florea","profile_url":"https://eiu.academia.edu/LuminitaFlorea?f_ri=685","photo":"https://0.academia-photos.com/132274/35224/15386726/s65_luminita.florea.jpg"}</script></span></span></li><li class="js-paper-rank-work_369628 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="369628"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 369628, container: ".js-paper-rank-work_369628", }); });</script></li><li class="js-percentile-work_369628 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 369628; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_369628"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_369628 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="369628"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 369628; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=369628]").text(description); $(".js-view-count-work_369628").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_369628").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="369628"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="685" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9911" href="https://www.academia.edu/Documents/in/Nineteenth-Century_Music">Nineteenth-Century Music</a>, <script data-card-contents-for-ri="9911" type="text/json">{"id":9911,"name":"Nineteenth-Century Music","url":"https://www.academia.edu/Documents/in/Nineteenth-Century_Music?f_ri=685","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="30530" href="https://www.academia.edu/Documents/in/History_of_music">History of music</a><script data-card-contents-for-ri="30530" type="text/json">{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=685","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=369628]'), work: {"id":369628,"title":"Music of the Romantic Era","created_at":"2010-11-16T08:30:26.947-08:00","url":"https://www.academia.edu/369628/Music_of_the_Romantic_Era?f_ri=685","dom_id":"work_369628","summary":null,"downloadable_attachments":[{"id":36327712,"asset_id":369628,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":132274,"first_name":"Luminita","last_name":"Florea","domain_name":"eiu","page_name":"LuminitaFlorea","display_name":"Luminita Florea","profile_url":"https://eiu.academia.edu/LuminitaFlorea?f_ri=685","photo":"https://0.academia-photos.com/132274/35224/15386726/s65_luminita.florea.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":9911,"name":"Nineteenth-Century Music","url":"https://www.academia.edu/Documents/in/Nineteenth-Century_Music?f_ri=685","nofollow":false},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=685","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12968837 coauthored" data-work_id="12968837" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12968837/Kinyras_The_Divine_Lyre_Hellenic_Studies_70_Full_electronic_text">Kinyras: The Divine Lyre (Hellenic Studies 70). Full electronic text.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Dear Friends and Colleagues, Kinyras: The Divine Lyre is also available online through the CHS website: <a href="http://chs.harvard.edu/CHS/article/display/6329" rel="nofollow">http://chs.harvard.edu/CHS/article/display/6329</a>. The web version, however, does not have page numbers, so that internal... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12968837" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dear Friends and Colleagues, <br /> <br />Kinyras: The Divine Lyre is also available online through the CHS website: <a href="http://chs.harvard.edu/CHS/article/display/6329" rel="nofollow">http://chs.harvard.edu/CHS/article/display/6329</a>. The web version, however, does not have page numbers, so that internal cross-references cannot be easily followed. 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polymath-as he is an entrepreneur, award-winning veteran of the music industry, technologist, producer, engineer, author, and perhaps most fundamentally, a drummer. He is the Founder... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40491521" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dr. Chris Stout Influencer David Frangioni is quite the polymath-as he is an entrepreneur, award-winning veteran of the music industry, technologist, producer, engineer, author, and perhaps most fundamentally, a drummer. He is the Founder of Audio One and CEO of Frangioni Media and All Access IDA (Inspire and Develop Artists). He has dedicated his life to designing and building world-class studios, production facilities, and innovative music technology solutions in order to produce music and develop artists, and just recently he became the publisher of Modern Drummer Magazine.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40491521" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="55c98a83596603485d372247a4a868e3" rel="nofollow" data-download="{"attachment_id":60759983,"asset_id":40491521,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60759983/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="157547" href="https://centerforglobalinitiatives.academia.edu/ChrisStout">Chris Stout</a><script data-card-contents-for-user="157547" type="text/json">{"id":157547,"first_name":"Chris","last_name":"Stout","domain_name":"centerforglobalinitiatives","page_name":"ChrisStout","display_name":"Chris Stout","profile_url":"https://centerforglobalinitiatives.academia.edu/ChrisStout?f_ri=685","photo":"https://0.academia-photos.com/157547/86968/94913/s65_chris.stout.jpg"}</script></span></span></li><li class="js-paper-rank-work_40491521 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40491521"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40491521, container: ".js-paper-rank-work_40491521", }); 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He has dedicated his life to designing and building world-class studios, production facilities, and innovative music technology solutions in order to produce music and develop artists, and just recently he became the publisher of Modern Drummer Magazine.","downloadable_attachments":[{"id":60759983,"asset_id":40491521,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":157547,"first_name":"Chris","last_name":"Stout","domain_name":"centerforglobalinitiatives","page_name":"ChrisStout","display_name":"Chris Stout","profile_url":"https://centerforglobalinitiatives.academia.edu/ChrisStout?f_ri=685","photo":"https://0.academia-photos.com/157547/86968/94913/s65_chris.stout.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=685","nofollow":false},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":923,"name":"Technology","url":"https://www.academia.edu/Documents/in/Technology?f_ri=685","nofollow":false},{"id":1139,"name":"Publishing","url":"https://www.academia.edu/Documents/in/Publishing?f_ri=685"},{"id":9817,"name":"Humanitarian Intervention","url":"https://www.academia.edu/Documents/in/Humanitarian_Intervention?f_ri=685"},{"id":10249,"name":"Writing","url":"https://www.academia.edu/Documents/in/Writing?f_ri=685"},{"id":25455,"name":"Drumming and Percussion","url":"https://www.academia.edu/Documents/in/Drumming_and_Percussion?f_ri=685"},{"id":577435,"name":"Drumming","url":"https://www.academia.edu/Documents/in/Drumming?f_ri=685"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27525259" data-work_id="27525259" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27525259/Critically_Popular_Adorno_and_The_Turkish_Second_New_Music_">Critically Popular: Adorno and "The Turkish Second New Music"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper investigates the position and nature of a newly forming musical movement in Turkish popular music scene, which I will call The Second New Music for reasons to be explained as well as convenience, through the work and critique... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27525259" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper investigates the position and nature of a newly forming musical movement in Turkish popular music scene, which I will call The Second New Music for reasons to be explained as well as convenience, through the work and critique of music of 20th century philosopher, sociologist and composer Theodor W. Adorno. The study will centralize around his extensive musical works mainly but not limited to Philosophy of Music originally published in 1949, then edited by Robert Hullot-Kentor and republished by Polity Press in 2009 under the name Current of Music and Night Music: Essays on Music 1928-1962 originally published in 1964 and then republished by Seagull Books in 2009. <br /><br />The terms popular music, serious and unserious music, standardization and individualization will be discussed under the socio-cultural context of modern, urban Turkey and The Second New Music. The bands included in the movement and the cultural background that binds them together will be argued as possibly valuable meaning through lyrical importance (and resemblance to the 1950's Turkish poetry movement, The Second New) as opposed to the technical and musical lack of sophistication they may possess with respect to the " serious music " understanding and definition of Adorno. The meaning of musical language and function of music as a conveyor to critical meaning through language will be argued through Adorno's philosophical propositions. Effects of individualization and possibility of personal choice will be asserted against the potency of cultural hegemony through explanation of newly formed social, cultural and technological circumstances around the musical sphere of the society. The meaning of Adorno's definitions of popular music and mainstream will be remarked in terms of cultural significance and critical stance as opposed to standardized content and commodity nature of music. The importance of the individual and the current social state of the nature of freedom of choice will be approached and discussed with regards to Adorno's pseudo-individualization.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27525259" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a8a8310277452d0962d553a4259d7a7a" rel="nofollow" data-download="{"attachment_id":47780231,"asset_id":27525259,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47780231/download_file?st=MTczMjc0NjE3OSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31035681" href="https://khas.academia.edu/OnurSesig%C3%BCr">Onur Sesigür</a><script data-card-contents-for-user="31035681" type="text/json">{"id":31035681,"first_name":"Onur","last_name":"Sesigür","domain_name":"khas","page_name":"OnurSesigür","display_name":"Onur Sesigür","profile_url":"https://khas.academia.edu/OnurSesig%C3%BCr?f_ri=685","photo":"https://0.academia-photos.com/31035681/9096739/36749193/s65_onur.sesig_r.jpg"}</script></span></span></li><li class="js-paper-rank-work_27525259 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27525259"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27525259, container: ".js-paper-rank-work_27525259", }); 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Adorno. The study will centralize around his extensive musical works mainly but not limited to Philosophy of Music originally published in 1949, then edited by Robert Hullot-Kentor and republished by Polity Press in 2009 under the name Current of Music and Night Music: Essays on Music 1928-1962 originally published in 1964 and then republished by Seagull Books in 2009. \n\nThe terms popular music, serious and unserious music, standardization and individualization will be discussed under the socio-cultural context of modern, urban Turkey and The Second New Music. The bands included in the movement and the cultural background that binds them together will be argued as possibly valuable meaning through lyrical importance (and resemblance to the 1950's Turkish poetry movement, The Second New) as opposed to the technical and musical lack of sophistication they may possess with respect to the \" serious music \" understanding and definition of Adorno. The meaning of musical language and function of music as a conveyor to critical meaning through language will be argued through Adorno's philosophical propositions. Effects of individualization and possibility of personal choice will be asserted against the potency of cultural hegemony through explanation of newly formed social, cultural and technological circumstances around the musical sphere of the society. The meaning of Adorno's definitions of popular music and mainstream will be remarked in terms of cultural significance and critical stance as opposed to standardized content and commodity nature of music. The importance of the individual and the current social state of the nature of freedom of choice will be approached and discussed with regards to Adorno's pseudo-individualization.","downloadable_attachments":[{"id":47780231,"asset_id":27525259,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31035681,"first_name":"Onur","last_name":"Sesigür","domain_name":"khas","page_name":"OnurSesigür","display_name":"Onur Sesigür","profile_url":"https://khas.academia.edu/OnurSesig%C3%BCr?f_ri=685","photo":"https://0.academia-photos.com/31035681/9096739/36749193/s65_onur.sesig_r.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=685","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=685","nofollow":false},{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=685","nofollow":false},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=685","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12427088" data-work_id="12427088" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12427088/GLI_ANNI_DEL_FOSCOLO_1778_1827_">GLI ANNI DEL FOSCOLO (1778 - 1827)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a 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