Un excursus di forme canoniche esemplari o anomale degli ultimi cinque secoli, che dimostrano la flessibilità formale e ricchezza di significato di tale forma, con delle proposte problematiche di tabelle per un metodo compositivo... more
Un excursus di forme canoniche esemplari o anomale degli ultimi cinque secoli, che dimostrano la flessibilità formale e ricchezza di significato di tale forma, con delle proposte problematiche di tabelle per un metodo compositivo generale. Nella seconda parte, anche autonoma, vengono approfonditi e comparati diversi cicli su Cantus firmus, in gran parte inediti (Soriano, Del Buono, Bull, Bevin). Sommario I-UN CANONE INTERAMENTE OBBLIGATO. E ALTRI CANONI GENERALIZZATI Un canone interamente obbligato, p.3 I nostri Tempi, p.7 Canoni dal punto di vista dell'ascoltatore, p.8
This article seeks to illuminate the relationship between instrumental practice and musical structure in Aldo Clementi’s Ricercare for solo guitar. It is the claim of the article that Clementi’s take on instrumental practice raises the... more
This article seeks to illuminate the relationship between instrumental practice and musical structure in Aldo Clementi’s Ricercare for solo guitar. It is the claim of the article that Clementi’s take on instrumental practice raises the question of interpretation itself as an individual strand of the composition and that the performative negotiation of musical structure is at the heart of the work. In this way, Clementi represents a new paradigm of composition where musical structure cannot be seen outside of the performative context. Thus, in necessarily having to negotiate notation and performance, the performer is invited to question his own musical practice, sensibility and perception.
The occasion of the polemic of the title was the request addressed to the readers of the weekly supplement of the review l'Espresso by the young founders of a musical club of a little town of Sicily entitled to Wilhelm Furtwängler in... more
The occasion of the polemic of the title was the request addressed to the readers of the weekly supplement of the review l'Espresso by the young founders of a musical club of a little town of Sicily entitled to Wilhelm Furtwängler in order to get documents and books useful for their activity. Against my objections about the foundation of a musical club of young amateurs dedicated to a German conductor who accepted the Nazism maintaining that he was merely interested in making his duty as a musician, D’Amico opposed the usual, misleading argument of all the Italian musicians and musicologists who built, like him, their own careers under Fascism. That is the separation of the value of their activity from the nationalistic values imposed by the extant regime, without realizing that at the time the very possibility of doing successfully their careers implied the acceptance of the status quo.
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