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Language Itamar, revista de investigación musical. 2025. Número 11
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- Spearing the Core of Albion: Myth, Social Identity and the Dancing Body in BalletBoyz’s England on Fire(2025) Celda Real, OlgaThis research article examines the concepts of myth, social identity and the dancing body found at the core of the multidisciplinary production of England on Fire (2023) by BalletBoyz. Taking as starting point England’s rich imaginary on the representation and corporeality of the mythical Albion and its vivid significance in the developing of collective identity, this analysis zooms in on the role of the dancing body as agent creating and shaping human agency. Spearing the core of Albion, the performativity in this collaborative artistic work brings to life ‘the many formal and conceptual ideas upon which the making of art is based’,[1] crossing borders across the semiotic spectrum and producing universal significance beyond precise time and space. In England on Fire, the symbolic across interdiscip0linary borders is embodied in the dancing bodies inhabiting a shifting – at times archaic - world imaginary saturated with significance. Now, this radical cultural product encapsulates a vivid proposal that challenges pressing issues embedded in processes of social constructionism, delivering along the way a radical lynchpin in modern dance belonging to the twentieth-first century. [1] Goldberg, RoseLee. (2001). Performance Arte. From Futurism to Present. Thames & Hudson. p.7
- Music ontology. A construction from the semantic hylo-realism of Mario Bunge(2025) Oxley Insfrán, VictorIn this research we intend to build the bases of a musical ontology, starting from the philosophical principles of scientific realism developed by the philosopher Mario Bunge. Bungean hylo-realist philosophy is based on several postulates and these allow us to build a framework to analyze certain phenomena and facts of music. It is a very common and widespread opinion that music transmits feelings, for our part, we will answer this question from our ontology.
- Síndrome de Orfeo: mitos y leyendas en la educación musical(2025) Fernández-Morante, Basilio; Lucas-Raboso, CésarLa música y su educación han sido consideradas un arte separado de cualquier otro tipo de conocimiento, resultando un contexto muy opaco y resistente a la investigación hasta fechas recientes. Este hecho proporciona un terreno prolífico para la expansión y mantenimiento de explicaciones míticas y legendarias En este trabajo se realizará una revisión de los principales mitos alrededor de la educación artística en general como los que tienen que ver específicamente con la educación musical: el mito del talento y el mito del maestro, entre otros, que se han formado tiempo atrás pero en ocasiones alcanzan todavía al presente. Por último se reflexiona acerca de la importancia de huir de la literalidad de los mitos, comprender su importancia y de ahí obtener la capacidad para dejarlos ir, permitiendo el paso al futuro y superando la continua tentación de mirar hacia atrás (síndrome de Orfeo). Aquí la psicología se erige como la ciencia que mediante la comparación de los mitos puede extraer sus significados más relevantes para la actividad artística sin perder de vista la salud mental como prioridad.
- role of the body in the contemporary definition of an intersubjective approach to music(2025) Trastevere, IsottaElectroacoustic music and sound arts are practices defined by the fundamental dimension of their sensitive relationship with matter. In this sense, they could be defined as experimental practices that involve a singular experience of the body. Listening to sound material for its own sake leads us to consider its tactile nature, which calls up a little-explored dimension of our sensitive perception. The musicologists Salomé Voegelin and Mariusz Kozak are respectively studying bodily involvement in listening to music and the involvement of the body in defining musical temporality. Their works reveal a change in trend that shifts the focus of analysis from the notion of object to that of space. Indeed, the notion of space includes the existence of the listening body as a “network of intentionalities” (Merleau-Ponty). It would therefore be interesting to revisit Pierre Schaeffer's four listening functions, ouïr, entendre, écouter and comprendre (Schaeffer) from an ecological approach to perception. Andrea Valle identifies the pivotal role of the hearing function, outlining iconic listening (Valle), where the four listening functions are constantly interconnected. It is in this constant movement of tensions involving the listener's body that we might be able to account for the musical experience and its symbolic dimension.
- Intersecazioni sonore e visive tra orizzontalità e verticalità(2025) Longo, Anna LauraResumen (en italiano) :L'articolo si sviluppa a partire da alcune considerazioni riguardanti la gestualità pianistica contemporanea. L'attenzione viene quindi portata sulla rilevanza del segno, in musica e in pittura. In tal senso viene introdotto il concetto di "attraversamento rinforzato", per alimentare una qualità e un'espansione dal punto di vista della ricezione e della percezione audio-visiva. .
- Defining and classifying music cities: Bridging the gap in music tourism research(2025) Arnau Domínguez, José Tomás; Simó Tomás, PaulaThe concept of music cities has gained considerable attention, reflecting the recognition of music's crucial role in urban development and cultural tourism. Music cities utilize their musical heritage and vibrant contemporary music scenes to drive economic growth, cultural vitality, and social cohesion. This paper defines and classifies music cities by examining their characteristics, strategies, and impacts on local economies and cultural landscapes. Through a synthesis of existing literature and case studies, it provides a comprehensive framework for understanding the dynamics of music cities and their role in the global tourism industry. Music cities are characterized by a high concentration of music-related activities and supportive infrastructure, promoting a dynamic environment for music. The study highlights examples such as Austin, Liverpool, and Nashville, showcasing diverse approaches and successes. It underscores the importance of legislative support, cultural initiatives, and economic integration in fostering thriving music cities, addressing challenges like gentrification and cultural commodification, and offering policy recommendations for sustainable development.
- El exilio de los músicos(2025) Glocer, SilviaEn marzo de 2024 se exhibió en una función privada en la D.A.C. (Directores Argentino Cinematográficos) de Buenos Aires, la película documental El exilio de los músicos, que realicé junto al director de cine Iván Cherjovsky. Luego de un recorrido por algunos festivales de cine, finalmente se estrenó en Buenos Aires el 11 de abril de 2025. Al finalizar cada una de estas exhibiciones el público realizaba interesantísimas preguntas que, en parte dieron origen a este artículo. Intento acá –respondiendo a esas inquietudes del público- poder contar cómo se efectuó este trabajo que partió de mi tesis doctoral y se convirtió en una película documental con la intención, no sólo de narrar una historia sino también de emocionar.
- La Sicilia de Carmen Consoli desde las influencias de Rosa Balistreri y Franco Battiato(2025) Montoya Rubio, Juan CarlosLa cantautora catanesa Carmen Consoli ha mostrado una fuerte inclinación por no desvincularse de sus raíces, erigiéndose en un eslabón más de la música popular urbana siciliana. Entre su obra pueden encontrarse influencias no solo no disimuladas, sino expresamente fomentadas. Es el caso de referentes como Rosa Balistreri y Franco Battiato, sicilianos dispares pero con un alto interés para Consoli, quien hace suyas sus canciones y las ejecuta con frecuencia. Este texto explora la importancia de las músicas aludidas en la obra de Consoli, explicando, a partir de dichos referentes, gran parte de las canciones de la conocida como “cantantessa”. Metodológicamente, se tiene en cuenta la escaleta y el carácter de la gira “Terra ca nun senti” (2024), como germen a partir del cual se explotan elementos propios del ámbito siciliano. El uso de la música de Balistreri y el rescate de Stranizza d’amuri de Battiato, se interpretan en relación con la producción consoliana. Como resultado, se plasma la idea de que la música de Carmen Consoli se muestra profundamente vinculada al contexto siciliano no solo por los referentes aludidos, sino, especialmente, por los aprendizajes que extrae de ellos, insuflándoles un nuevo vigor y proyectándolos a la sociedad actual.
- Entrevista a Isabel Dobarro(2025) Kleinman Goldstein, PatriciaDialogamos con la pianista Isabel Dobarro, a propósito del lanzamiento de su primer álbum discográfico solista, “Kaleidoscope” (Grand Piano GP944) dedicado a compositoras contemporáneas de todos los continentes, y que apuesta por una apertura del canon musical en varias dimensiones.
- Proyecto Compositoras: Recuperar, difundir, normalizar(2025) Kleinman Goldstein, Patricia“Proyecto Compositoras”, creado y dirigido por Patricia Kleinman, nace en 2016 con el objetivo de recuperar la creación musical de compositoras históricas, y difundir tanto estas obras como la producción de las compositoras actuales, promoviendo su normalización en la programación musical y en la investigación. Proyecto Compositoras pone en valor el trabajo musicológico, en una relación intrínseca y fructífera con la práctica musical, plasmada en videos y álbumes discográficos con primeras grabaciones de música de compositoras históricas y actuales, así como en publicaciones a cargo de Ediciones Eppure.
- À propos des œuvres de jeunesse du compositeur Henri Dutilleux (années 1940-1950)(2025) Castanet, Pierre AlbertDans l’impatience de s’attaquer à une Historia abscondita, le philosophe Friedrich Nietzsche s’est écrié dans Le Gai savoir que le passé « demeure encore tout à fait inexploré ![1]». Agréant la lourde hérédité d’un magistère savant, le compositeur français Henri Dutilleux (1916-2013) s’est ainsi distingué dans l’ordre d’une tradition non occultée. [1] Friedrich Nietzsche, « Le gai savoir », Œuvres, Paris, Robert Laffont, 1993, tome II, p. 75.
- Tra gesto, suono e virtualità: la ricerca artistica della pianista Giusy Caruso nel Metaverso(2025) Filippelli, EmanuelaGiusy Caruso è una delle pianiste più visionarie della scena contemporanea. Ricercatrice, performer e pioniera della sperimentazione artistica nel Metaverso, Caruso esplora il confine tra corporeità e suono, tra presenza scenica e identità virtuale. Il suo lavoro si sviluppa all’incrocio tra psicoacustica, neuroscienze, tecnologie immersive e pratica musicale, dando vita a un approccio artistico e scientifico profondamente integrato. La gestualità pianistica viene analizzata tramite sistemi di Motion Capture, elaborata con software di visualizzazione sonora e trasposta in ambienti digitali tridimensionali, generando nuove prospettive espressive e interpretative. In questa intervista, la pianista racconta il proprio percorso: dal dottorato in ricerca artistica all’IPEM dell’Università di Gand fino alla realizzazione di performance immersive nel Metaverso, dove suona in dialogo con il proprio avatar. Temi come l’esperienza del flow, la ricezione del pubblico, l’ibridazione tra corpo e ambiente virtuale e le potenzialità educative delle tecnologie digitali sono affrontati in modo diretto ma approfondito. L’intervista è stata realizzata nell’ambito di un progetto di ricerca sull’uso della realtà virtuale nella didattica vocale e sull’esplorazione della presenza scenica del performer nel Metaverso. Il confronto con Caruso evidenzia come la tecnologia possa diventare strumento di innovazione scenica e di trasformazione didattica, offrendo nuove possibilità di auto-osservazione e consapevolezza del gesto musicale.
- Geografía sensible y horticultura de la escucha. Un estudio de caso entre la teoría y la práctica(2025) Esclapez, Christine; Boë, Caroline; Pardo Salgado, Carmen; Taravilla Baquero, OlgaEn el mundo contemporáneo en el que lo visual parece prevalecer sobre todos los aspectos de la vida cotidiana —desde la saturación de imágenes en pantallas hasta la omnipresencia fotográfica en redes sociales—, la dimensión sonora, especialmente la escucha, tiende a quedar relegada a un segundo plano.
- Francisco Frontera de Valldemosa, Singer, and Voice Instructor(2025) Pizà, AntoniThis essay examines the career, as a singer and voice teacher, of Francisco Frontera de Valldemosa (1807-1891). Although his role as a music administrator at the service of the Spanish Royal Court, music theorist, and composer has been documented in previous studies, Frontera’s career as singer and voice instructor is less known. He learned the bel canto style directly from Rossini, whom he met in Paris, and other respected Rossinian specialists including Marco Bordogni, Antonietta, Giuseppe, and Luigi Mosca, Marianna Rossi, Domenico Vaccani, all of them Italian singers working in Barcelona and Palma. In Paris, his voice was praised by many critics, but never developed a stage career. He taught singing to most of the musically inclined members of the Spanish Royal Family, especially Queen Isabella II and her daughter the Infanta Isabel “La Chata,” among others. He was also a voice professor at the Madrid Conservatorio and had many distinguished students who became famous as opera and zarzuela singers.
- Mediterranis(2025) Pizà, AntoniRecension del libro: Mediterranean Musicscapes in Contemporary Spain: From Mosaic to Net Nova York: Bloomsbury, 2025 Índex de noms i matèries; Mapa; Il·lustracions; 272 pàgines Llibre paper, ISBN: 9798765102114 eBook (Epub & Mobi), ISBN: 9798765102121 ePDF, ISBN: 9798765102138
- Rediscovering, interpreting, sharing. Music as a quest: a conversation with Roberto Prosseda(2025) Sclafani, SalvatoreIn this interview, pianist and pedagogue Roberto Prosseda, starting from his reflections on his recent album War Silence (Hyperion, 2025), dedicated to modern and contemporary Italian music, shares insights into various aspects of his artistic activity. The conversation opens with a retrospective look at the influence of 20th-century Italian composers on the early stages of his career – an influence that continues to resonate in his current work. In this context, Prosseda highlights his efforts to rediscover underperformed repertoire, such as works by Mario Castelnuovo-Tedesco. Moreover, he discusses his parallel projects, including recordings of repertoires from the Classical period on historical pianos, which reveal his interpretive versatility. He also unveils new recording initiatives, focusing on compositions that have yet to be discovered or re-evaluated. Then, from a pedagogical perspective, Prosseda emphasizes the importance of sharing musical experience in a clear and accessible way while pursuing a deep, authentic, and personal interpretive voice. The interview underscores his strong commitment to artistic research – a field increasingly recognized within higher music education institutions in both Europe and Italy. Finally, Prosseda illustrates how music pedagogy and the most recent forms of artistic research complement each other, offering a comprehensive and enriching vision of music.
- The Italian-American Musical Experience. A Journey from Busoni to Berio, LIM, Lucca 2023. A review. Sonic Bridges between Italy and the United States: Valentina Bensi's contribution to transoceanic musicology(2025) Sclafani, SalvatoreIn the volume The Italian-American Musical Experience. A Journey from Busoni to Berio (LIM, 2023), Valentina Bensi explores the phenomenon of Italian musical migration to the United States between the 19th and 20th centuries, tracing the paths of eight Italian composers from Busoni to Berio who, for artistic or political reasons, moved to the U.S. Introduced by Harvey Sachs, the book offers an engaging and richly documented narrative that weaves together cultural history, biography, and musical analysis.Bensi highlights how these musicians not only integrated into the American context but also deeply influenced it, contributing to the development of the U.S. musical scene as performers, composers, and educators. Among the featured figures are well-known names such as Toscanini, Castelnuovo-Tedesco, Dallapiccola, and Berio, as well as less-known figures like Scalero, teacher of Barber, Menotti, and Rota.The author shows that, despite individual differences, the migratory experience proved fertile and transformative for all. The volume stands out for its scholarly rigor, stylistic elegance, and accessible tone, making it suitable for both specialists and general readers. Thanks to its extensive critical apparatus and use of epistolary sources, the book offers a major contribution to 20th-century musicology, shedding light on a little-explored chapter in the cultural relations between Italy and the United States.
- Jacotot, maître de l’écoute « complétive »(2025) Dutra, ArthurThe article focused on Joseph Jacotot's unconventional teaching method, analyzed by Jacques Rancière in his book "The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation". Such concepts as "comprehensive listening" and "listening culture" are developed as we aim to demonstrate that the allegedly ignorant escape by which Jacotot would like to establish himself as a master of comprehensive listening comes from his ultimate decision: that by which he makes the "reception of the excluded" a manifestation of his listening mastery. Thus, from an ethnological standpoint, music cultural gaps should be perceived in a way that the differences would have an intrinsic aesthetic value.
- Vedere la Musica ed ascoltare le Immagini – Arte come processo- Rappresentazione della Prima Sinfonia di Johannes Brahms(2025) Boesi, CleliaQuest’articolo propone alcune corrispondenze fra musica, pittura e scultura. Un esempio d’interlocuzione, coordinamento ed integrazione supportato dalla scienza, oltre che dalla potenzialità espressiva dell’improvvisazione. Tramite la decomposizione si sono costruite rappresentazioni in forma bidimensionale/pittura e tridimensionale/scultura, interpretate poi da musicisti. Dall’approccio sistemico-integrato del fenomeno complesso della sinestesia, sono nate nuove scritture ed interpretazioni. Centrale è stata la ricerca dell’essenza, pur guidati dal senso critico, radicato nella memoria razionale e spontanea delle Avanguardie del XX e XXI secolo. Oltrepassati i tradizionali confini disciplinari, colori e loro distribuzione nello spazio sono divenuti protagonisti, supportati da specifici strumenti costruiti ad hoc: codice colori e tavola sinottica/numerica. Codificato il quadro delle corrispondenze, ad ognuna di esse è stato attribuito un valore numerico. Si è immaginato il valore della frequenza del primo battito alla nascita e verificato quale degli strumenti musicali lo contenesse. Tramite il calcolo delle distanze si è dimostrato che solo il primo violino la conteneva. Si è quindi rappresentato con l’ellisse. L’evoluzione della ricerca s’è diretta nella ricerca plastica di onde sinusoidi, frequenze e cicli del suono, rapporto fra struttura degli strumenti musicali-velocità del suono, diversa propagazione del suono tra mezzi musicali: la rifrazione. Parole chiave: codice colori, tavola sinottica/distanze, spartito/partitura plastico.
