Acusfere. suoni_culture_musicologie

Presentazione

Maurizio Agamennone — 2025-01-05

Eccoci, dunque, al n. 2 di «acusfere», nuova rivista con periodicità annuale pubblicata dalla Libreria Musicale Italiana di Lucca.
Il transito dal primo al secondo numero ci consente di mettere ulteriormente a punto il progetto e di consolidare alcune istanze programmatiche.

Professionismo e sussistenza

Gianluca Chelini — 2023-10-10

This article examines the relationship between the expansion of mass tourism and the paradigm shifts that have occurred in the interventions of the main Non-Governmental Organisations (NGOs) operating in the arts and music sector in Cambodia. Against the theoretical background of Jean-Pierre Olivier de Sardan’s methodological reflections on the study of development projects, the paper describes the process of negotiation that takes place between development professionals and the recipients of their projects. Describing programmes implemented over the last decade, the article shows how the expansion of tourism has been taken by NGOs as an opportunity to shift interest from reconstruction and arts revival projects to plans to professionalise artists. What emerges is how a neo-liberal logic has taken hold in arts organisations, favouring policies that turn artists into self-entrepreneurs capable of creating employment opportunities for themselves. However, this perspective clashes with the economic logic of subsistence prevalent among the beneficiaries of the programmes, who are reluctant to embrace the concept of musical professionalism, preferring instead food security objectives and a general work eclecticism.

https://www.lim.it/it/acusfere/6706-professionismo-e-sussistenza-9788855433617.html

Audiotactile spaces of interaction and tertiary neo-auratic encoding

Fabiano Araújo Costa — 2023-10-10

This work outlines the original concepts of Audiotactile Spaces of Interaction and Tertiary Neo-Auratic Encoding (NAE). Contemplating the interactional dimension of music making in the age of New Media, the notions reflected upon in this essay are grounded in the conceptual framework of Vincenzo Caporaletti’s Audiotactile Theory. General questions about musical interaction facing a transcultural problematic as well as a research panorama on musical interaction in audiotactile perspective and its rapport with 20^th century media will be initially reviewed. Then, through the concepts of Primary and Secondary NAE and the idea of audiotactile spaces of interaction, we will further examine the relations between modes of interaction and the aesthetic image of musical products in the 20^th century. Finally, we will look at examples of 21^st century musical interaction poetics using new media, thus underlining the notion of Tertiary NAE, through which new aesthetic values of interaction are specified, considering new audiotactile spaces of interaction in the post-digital era.

https://www.lim.it/it/acusfere/6707-audiotactile-spaces-of-interaction-and-tertiary-neo-auratic-encoding-9788855433617.html#/1-tipo_prodotto-pdf_lim

Improvvisazione collettiva durante il lockdown

Ludovico Peroni — 2023-10-10

The pandemic of 2020 has forced musicians to rethink their work in order to fully exploit the potential of the digital media in everyone’s home. Many technological tools, previously used only for the marketing of artistic products, have suddenly become the true formative medium of the performative experience. This picture also includes a phenomenon that needs to be carefully problematised: the practice of musical improvisation. I will therefore reflect on the technical possibilities and the aesthetic paradoxes associated with practices of collective improvisation informed by telematic media. Arguably, the lockdown has given rise to a new category of improvisational phenomena capable of articulating autonomous lines of research. In addition, this new category, thanks to the characteristics of the digital medium, may have fostered an expansion of the atmospheric, timbral, and agential possibilities within the field of musical improvisation.

https://www.lim.it/it/acusfere/6708-improvvisazione-collettiva-durante-il-lockdown-9788855433617.html#/1-tipo_prodotto-pdf_lim

Il Guru è pop!

Thea Tiramani — 2023-10-10

This article stems from a study of the Sikh musical reality in some Italian diaspora communities, with a focus on the new generation of musicians and music users. In particular, it examines the recent phenomenon of the production of religious music videos by young people living in Northern Italy. The production of religious music videos is already well established in India and other diasporic territories, but it is a new phenomenon in the recent migration to Italy. This study reveals the first results of the search for a new form of prayer by young people far from their motherland, relying on media and new forms of expression to reconcile an important cultural background with the new context — local but also global — that they inhabit. The musical performance of the Gurus’ prayers resembles that of a pop song and leads to a personal affirmation of the musicians, while remaining within the “safe and socially accepted zone” of religious music.

https://www.lim.it/it/acusfere/6709-il-guru-e-pop-9788855433617.html#/1-tipo_prodotto-pdf_lim

Sostituzioni e riarmonizzazione alla luce di un nuovo approccio funzionale all’armonia tonale

Paolo Rosato — 2023-10-10

Chord substitutions and reharmonisation in jazz music are often approached on the basis of stereotypical formulae based on the three Riemannian tonal functions of tonic, dominant, and subdominant. The aim of this article is to present a simpler and more cogent functional tonal model that allows a more conscious and creative approach to the above techniques, thus enabling tonal jazz music to be both explained and produced in a similar way to classical music. Once this new way of studying the harmonic system has been explained, the historical — modal and tonal — origins of the most used substitutions (tritone, backdoor, and the others) become clear. The so-called functional approach to harmony, on the other hand, completely obscures the distinction between modal and tonal harmony because of the unlimited extensions of chord relations. The Riemannian interpretation of harmony is more concerned with weakening cultural connotations than with revealing the combinatory nature of chords. The model is also compared with some transformational approaches to the study of bebop and postbop music. To date, scholars have mostly presented reharmonisation and chord substitution as a mechanical process, similar to, for example, mathematical studies. In contrast, this article develops a new model — the MHU-R Model— to approach reharmonisation in a dynamic way. Furthermore, the article aims to develop a logic of music production in which the “deviation from rules” is the basic behaviour in music as an art language. The creative process can and must be the goal of active learning.

https://www.lim.it/it/acusfere/6710-sostituzioni-e-riarmonizzazione-alla-luce-di-un-nuovo-approccio-funzionale-allarmonia-tonale-9788855433617.html#/1-tipo_prodotto-pdf_lim

La quadriglia in Toscana

Marco Magistrali — 2023-10-10

This article examines the phenomenon of the quadriglia dance in traditional rural Tuscan culture, focusing on central-eastern Tuscany. There, the quadriglia is the only group dance, in contrast to neighbouring areas where there is a variety of dances; our paper aims to clarify the reasons for this minimalism of forms. To this end, we discuss evidence collected in the area of interest, and draw comparisons with data from other parts of Italy. We then present the elements that characterise the choreographic action, as well as the different functions that quadriglia fulfils within communities. Finally, the paper includes the analysis and transcription of a series of sonatas for quadriglia. The choreutic analysis reveals how the quadriglia, an open-form dance, is driven by a modular collective thought inspired by the value of extemporaneity. The musical phrases, in turn, can be traced back to typologies corresponding to sonatas for specific danze and balli, widely documented throughout Italy. The quadriglia of central-eastern Tuscany, therefore, does not represent a specific dance form, but rather a genre category in which a plurality of materials of different origins have converged, both musically and choreographically, through a process of reworking and reappropriation that was largely shaped by the communities that performed it.

https://www.lim.it/it/acusfere/6711-la-quadriglia-in-toscana-9788855433617.html#/1-tipo_prodotto-pdf_lim