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Hardcover, .xiv + 527 p., 0 b/w ill., 20 col. ills 210 x 270 mm , English, ISBN 9782503589510. This book explores the relationship between music and the figurative arts in the XIX century. In 1795 Friedrich Schiller wrote: «Die bildende Kunst in ihrer höchsten Vollendung muss Musik werden und uns durch unmittelbare sinnliche Gegenwart rühren» (Schiller, Über die ästhetische Erziehung des Menschen, Letter XXII, 1795). This sentence underlines the fundamental aesthetic change that coincided at the onset of the nineteenth century. According to «ut musica pictura», music becomes the model for an art able to express and communicate feelings. Even as music no longer necessarily has to embody order, so does painting move away from pure imitation to encompass emotional affect. Music and painting thus converge in embodying a sensual conception of the arts: music is capable of expressing emotions and arousing them in the audience; painting can do the same through visual perception. The present volume, which brings together 21 essays, focuses on encounters between composers and painters, but also on the relationship between music, literature and the figurative arts, as well as on the concurrence of musical and artistic aesthetics. Sections of the book are devoted to iconography, to the relationship with the theatrical arts (in particular the scenic aspect) and in one instance, to Franz Liszt. ROBERTO ILLIANO is General Secretary of the Centro Studi Opera Omnia Luigi Boccherini (Lucca) and President of the Italian National Edition of Muzio Clementi?s Complete Works. He is also a member of the scholarly committee of the Italian National Edition of Luigi Boccherini?s Complete Works. A founder of the journal «Ad Parnassum», he has published a variety of writings on 19th- and 20th-century music, in particular on Luigi Dallapiccola and Italian music under Italian fascism. 0 g.

Hardback, xxxiii + 382 pages, Size:216 x 280 mm, Illustrations:Musical examples and figures, Languages: English, French, Italian. ISBN 9782503585703. Summary Music and mathematics have been connected since ancient times. During the twentieth century, however, many composers consciously started using many mathematical concepts, algebraic operations and theorems as bases for their creative processes. The first part of this volume deals with the relationship between music and mathematics in the music of composers such as Olivier Messiaen, Iannis Xenakis, Franco Evangelisti, Pierre Boulez, Arvo Pärt, Steve Reich and Philip Glass. A chapter is then dedicated to Spanish composers of the last forty years (Francisco Guerrero, Alberto Posadas, José María Sánchez-Verdú, Iluminada Pérez Frutos, Nuría Gimenez Comas, Helga Arias and José López Montes). The theme continues in the second part of the book through the examination of prominent theories (Neo-Riemannian theory, diatonic set theory, theory of musical kaleidocycles), the use of diagrams and charts in music, the algorithmic evolution of music, contemporary compositional practices inspired by mathematical concepts; it arrives at studies on double canons and trichords. We publish a philosophical study in order to ask what the future of the relationship between music and mathematics will be at the beginning of the 21st century. Includes an introduction by Massimiliano Locanto. TABLE OF CONTENTS Roberto Illiano Preface Massimiliano Locanto Music Composition, Mathematics, and the Modernist Legacy Twentieth-Century Composers and Mathematics Athanase Papadopoulos Messiaen et les mathématiques Ronald Squibbs Xenakis's Method of Stochastic Composition: A Brief Introduction Peter Hoffmann «My Music Makes no Revolution»: Thoughts on the Role of Mathematics in the Work of Iannis Xenakis Alessandro Mastropietro Simboli matematici nei titoli delle composizioni di Franco Evangelisti C. Catherine Losada Boulez and Mathematics Andrew Shenton 1 + 1 = 1: The Elengant Mathematics of Arvo Pärt's Tintinnabulation Joel Haack Mathematical Considerations of the Rhythmic Patterns in the Music of Steve Reich Richard Cohn Glass Graphs Pedro Ordóñez Eslava Ars combinatoria: poéticas del número en la composición española contemporánea (1980-2018). Breve antología inacabada Music and Mathematics: Theories, Practices, Future Henry Klumpenhouwer Neo-Riemannian Theory Franck Jedrzejewski Graphes et diagrammes, l'en-deçà de la composition Angelo Orcalli L'evoluzione algoritmica della musica. Omaggio a Jean-Claude Risset José L. Besada Where Science-Based Music Comes From: Some Cognitive Remarks upon Contemporary Compositional Practices Inspired by Mathematical Concepts, Operations, and Objects Richard Hermann On Near Maximally Even Set-Classes Guerino Mazzola The Role of Mathematics for Music in Theory, Composition, and Performance Luigi Verdi Due esempi di Chim(us)ica Dodici canoni tricordali e loro combinazioni. Caleidocicli e canoni ritmici François Nicolas Du partage moderne/contemporain en mathématiques et en musique à la lumière de Fernando Zalamea (Philosophie systématique de la mathématique contemporaine) Abstracts Biographies Index of Names 0 g.

Hardback, xxx + 416 pages, Size:210 x 280 mm, Illustrations:30 b/w, 4 tables b/w., 10 musical examples, Language(s):English, Italian. ISBN 9782503611846. Summary In the 1920s and 1930s, the entire process of renovation of the cultural institutions conducted by the Fascists, implemented through the Ministry of National Education, imposed a strong concentration of power on the Italian school administrations, especially the universities, and created new national institutions. At the same time, the Fascist Cultural Institute (IFC), which under the leadership of Giovanni Gentile aspired to be a charitable organisation for the promotion of the culture typical of pre-Fascist associations, was placed after 1937 directly under the National Fascist Party, which changed its name to the National Institute of Fascist Culture (INCF), with the aim of giving the party itself the task of educating the new leadership. The relationship between intellectuals and power under Fascism was aligned into a perspective of orientation that attributed the party with the role of educator of homo novus, summarised in a phrase from Mussolini himself: «Fascism is a great orchestra, where everyone plays a different instrument». A particular concern of the ruling class was to develop a production-fruition process involving all social classes, in order to offer them the feeling of being part of a solid, free and fair system. However, this conception was not explicit in the artistic expressions of the regime: the construction of a social apparatus proceeded underground through the channels of the productive and hierarchical apparatus of the institutions, rather than through the creation of a tangible aesthetic of the regime. In summary: culture had to be the expression of a common heritage belonging both to the people and to the intellectuals; it bore the task of providing a fascist conception of the world. TABLE OF CONTENTS Luca Lévi Sala, Pre-Fascist Ideology, Politics and the Seizure of Culture Music and Institutions Davide Ceriani, Italian Instrumental Music as Fascist Propaganda in the United States during the Interwar Period: The View from the Ministero degli affari esteri and from the Press Isabella Abbonizio, «Le armi dello spirito». Music in Mussolini's Imperialist Propaganda: Competitions and Awards in the Mid-1930s Beatrice Birardi, Corporate State and Musical Organization: The Action of the Fascist Syndicate of Musicians in Apulia between Bureaucracy and Search for Consensus Paola Cossu, Venetian Musical Institutions in the Transition from Fascism to the Republic Dario De Cicco, «Educating and Refining the Pupils»: Music Education and Fascist Culture (1921-1943) Music and Mass Media Francesco Finocchiaro, Music in the Luce Films of the Fascist Ventennio Antonio Ferrara, «Che non sia tolto il pane al musicista italiano». Propaganda e corporativismo del Sindacato Fascista dei Musicisti a contatto con cinema di regime Valerio Morucci, Tuning in Radio Fascism: Censorship, Race, and Music in Fascist Propaganda Propaganda and Reception Erik Levi, The Ambiguous Reception of Alfredo Casella's Music in Nazi Germany Franco Sciannameo, Stile littorio as Research between Music and Architecture: Goffredo Petrassi and Nino Rota Giorgio Farabegoli - Piero Garofalo, Fascism's Influence on Catholic Faith Sites: A Case Study of Aielli's Church of Sant'Adolfo Jewish Composers and Musicians Annalisa Capristo, Primary Sources for the History of Fascist Persecution against Jewish Musicians, Composers, Singers, and Music Critics Raffaele Deluca, Musica internata. Nuove acquisizioni biografiche sul compositore Isko Thaler nel carteggio con Joachim Stutschewsky Jesse Rosenberg, The Teatro delle Novità and Mario Jacchia's La Stella d'Oriente Abstracts and Biographies Index of Names 0 g.