Llegó la murga: una tradición carnavalesca del Uruguay by Héctor Sommaruga

“…Se analiza el fenómeno cultural de la murga, género musical cuyo ori - gen se remonta a la chirigota española y que evolucionó hasta conformar una las tradiciones más ricas del carnaval de Montevideo, en Uruguay. …”
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Polyphonies coloniales by Caroline Déodat

“…Thus, using the concept of polyphony is heuristic in order to show the irreducibly indexical dimension of this social practice — a poetic, musical and danced ritual — in that it refers to other discourses that have preceded it in history and belong to other enunciative times and spaces — i.e., the archives of the slavery and colonial period.…”
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Klangfarbe und musikalischer Zusammenhang. Beobachtungen zum Orchestersatz Richard Wagners by Johannes Kohlmann

“…With reference to the idea of sound dramaturgy conceived by Tobias Janz, three short examples from Tristan und Isolde are analysed in order to show how Wagner’s concept of musical coherence comprises the technique of instrumentation. …”
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Olivers Twisted: Urban Milieu from Text to Media by Mario Martino

“…, by Carol Reed, and the Walt Disney cartoon Oliver & Company, both of which are musicals. Both films underscore a crucial interest in the urban milieu and enthusiastically explore it, stressing an optimistic culmination in happy ending. …”
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Ronnie Von: de ídolo da juventude a artista psicodélico (1966-1970) by Marcelo Garson, Herom Vargas

“…Utilizandose de materiais de época – reportagens, entrevistas, canções, capas de disco e fotografias – e sua biografia, a análise busca reconstruir esse percurso peculiar no cenário musical da segunda metade dos anos 1960, em suas oportunidades, constrangimentos e convenções, a fim de compreender o campo de possibilidades, escolhas e impasses que moldaram esse período na carreira singular de Ronnie Von.…”
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LE MASQUE COMIQUE DE L’OPÉRA DANS L’ITALIE DU XVIIIe SIÈCLE by Diana TODEA

“…Opera performances are characterized in the seventeenth century by heterogeneity which brings together in the musical-drama perspective, both tragic and comic situations. …”
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Être dansé by Lydia Zeghmar

“…In Turkey’s Aegean hinterland, the musical and choreographic repertoire of the zeybek celebrates the heroism of maquis rebels of the Ottoman period, the efe. …”
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Aradıınız kişi (şu anda) ulaşılamıyor! The Turkish vowel system, (the so-called) 'Yumuşak g' (ğ), and Turkish phonology: On a missed opportunity by Nicolas Royer-Artuso

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Participación deportiva, capacidad espacial motriz y autoeficacia percibida en jóvenes con altas capacidades intelectuales by Celia Marcen, Francisco David López Centeno, Amador J. Lara Sánchez, Alberto Quílez Robres

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El canto de Alicia Maguiña Málaga en “El veneno” de 1976: Un análisis de su estilo e interpretación vocal by Josué Daniel Salvio Aldana

“… El aporte que se presenta en este artículo es la realización de un análisis musical del estilo y la interpretación vocal de Alicia Maguiña Málaga en el triste con fuga de tondero “El Veneno”, pieza recopilada por la misma intérprete en Piura en 1968, y grabada su primera versión en 1976, para Odeón–IEMPSA en el LP Te adoro tierra mía (ELD 02.01.538), con el acompañamiento de la guitarra de Carlos Hayre. …”
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Wilde’s French Salomé by Emily Eells

“…He uses the French language as if it were a system of signs divorced from their semantic meaning, creating as pure a musical notation as verbal language can allow. A study of the manuscript versions of his play reveals his limited knowledge of French, though this paper interprets the mistakes as key to his poetic achievement. …”
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Jarring Voices: Preserving and Releasing Memory in Suzan-Lori Parks’ Pickling (1988) by Marie Pecorari

“…The playlet Pickling, presented by its author as an irresolvable equation between “spending time/saving time”, features a single character post-poning the beginning of her own performance, surrounded by jars containing memories and used as musical instruments to resurrect lost voices. Parks builds the work around a series of contradictions: refusing to perform still amounts to performing, albeit a different production, preserving pickled parts implies a physical transformation, then casting doubts as to the quality and legitimacy of the artifact compared to the original, etc. …”
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Le plurilinguisme dans The Professor de Charlotte Brontë : entre fascination et neutralisation de l’altérité by Hélène Collins

“…Their function does not only consist in producing a foreign reality effect (to borrow from Roland Barthes), that is to say in musically evoking a foreign reality, but also in constructing meaning, since their signified is not bypassed. …”
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A FLÂNERIE MANGUEBEAT NA MANGUETOWN: construindo imagens de si e da cidade by Cláudio Morais de Souza

“… Este artigo realiza uma reflexão sobre o Manguebeat, visualizando-o enquanto fenômeno musical, fruto da experiência estética e social de um grupo de jovens que, através da música, produzem um certo olhar sobre a cidade do Recife. …”
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“Haciendo un freestyle con los qompas”: juegos verbales y recontextualización de géneros discursivos en el rap qom by Victoria Beiras del Carril, Paola Cúneo

“…In a context of striking language shift, it shows how this musical genre condenses the indigenous language repertoire of this generation whose first language is Spanish. …”
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Secular-Believing Diasporic Jews: The Grassroots Theology of Paul Simon and Leonard Cohen by Hagar Lahav

“…By analyzing the musical works of Paul Simon and Leonard Cohen, this study examines the theological expressions of secular Jews in the diaspora who retain elements of belief. …”
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Le Paris d’Hemingway : une question de style by Clara Mallier

“…The author’s idiosyncratic syntax tends to blur the semantic frontiers between juxtaposed words, and his use of repetition enhances the musicality of sentences, which constitutes the city as an object of experience rather than of mere significance. …”
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SPELLBOUND BY SOUNDTRACKS. AN INTERVIEW WITH FILM SCORE COMPOSER AARON FAZAKAS by Adél FEKETE

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HYMNS OF REPENTANCE IN THE WORSHIP PRACTICE OF THE REFORMED CHURCH OF TRANSYLVANIA by Éva PÉTER

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Finding a rhythm within by Jan-Albert van den Berg

“…In this regard, polyphony serves as the central metaphor in this article. Initially, this musical metaphor acquired theological meaning in the Christological reflection of the well-known German theologian Dietrich Bonhoeffer. …”
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