BOOK REVIEW: CIPRIAN PORUMBESCU NECUNOSCUT (CIPRIAN PORUMBESCU UNKNOWN), PUBLISHING BY ED. LIDANA, SUCEAVA, 3 EDIŢII, 2011-2013 (ISSN: 2284-712X) by Gabriela COCA

“…Among a series of notable cultural representations made to celebrate 160 years of the birth of Bucovinean composer Ciprian Porumbescu, in June 1st at Stupca (today: Ciprian Porumbescu), at the Ciprian Porumbescu Memorial Museum, also held at the National Musicological Symposium. Within it have been presented the following papers dedicated to the composer's life and activity: Leca Morariu and the Monumental Monograph Worshiped to Ciprian Porumbescu (author: Vasile Vasile – from the University of Piteşti); The Architectural and Tonal Support of the Dramaturgy of the “Crai nou” (New Philanderer) Operetta by Ciprian Porumbescu (author: Gabriela Coca – from the Babeş-Bolyai University of Cluj-Napoca); “Balada” (The Ballad) of Ciprian Porumbescu – a Representative Creation of the Art Music of Bucovina (19th century) (author: Zamfira Dănilă – from the “George Enescu” Academy of Art - Iaşi); The Reception of Ciprian Porumbescu’s Creation in Banat (author: Constantin Tufan Stan – from the Filaret Barbu School of Fine Arts of Lugoj); „Altarul Mănăstirii Putna” (The Altar of Putna Monastery) (author: Sever Paraschiv Dumitrache – from the Bucovina Cultural Center of Suceava); and The Musicological Trilogy “Ciprian Porumbescu Unknown” to an end (autor: Constanţa Cristescu – from the Bucovina Cultural Center - Suceava). …”
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L’INFLUENCE DE L’ART POPULAIRE SUR L’ART SAVANT: RÉFÉRENCES ESTHÉTIQUES AUX CRÉATIONS ROUMAINES DANS LA PREMIÈRE MOITIÉ DU XXᵉ SIÈCLE by Liliana-Isabela APOSTU HAIDER

“…It was thus necessary to study the ethno musicological aspects strictly connected to the Rumanian popular tradition, and the anthropological aspects, aiming at the relation of the art with the human society, which produces it. …”
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DÉBATS SUR LA « ROUMANITÉ » MUSICALE by Luana STAN

“…Firstly, in the 1920’s, an important musicological movement marked the appearance of the periodical Muzica of Bucharest; the two main personalities of the Romanian music, musicologist Constantin Brailoiu and composer Georges Enesco, wrote a lot of essays to defend this «romanity». …”
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Solo Songs by Count Julijan Pejačević in the Našice Local History Museum by Andrea Rakitić

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The Safeguard of Audio Collections: A Computer Science Based Approach to Quality Control—The Case of the Sound Archive of the Arena di Verona by Federica Bressan, Antonio Rodà, Sergio Canazza, Federico Fontana, Roberta Bertani

“…On the cultural side, the recovery, the safeguard, and the access to unique copies of unpublished live recordings of artists the calibre of Domingo and Pavarotti are of great musicological and economical value.…”
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Dora Pejačević and Music Salons in Continental Croatia as Hubs of Cultural Networking by Vjera Katalinić

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Perception of Dora Pejačević in Croatian Public Printed Media from 1905 to 1945 by Stanislav Tuksar

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Echoes of the Life of Dora Pejačević’s Music on Croatian Radio by Tatjana Čunko

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The Artistic Links of Dora Pejačević and Svetislav Stančić Viewed Through the Stančić Legacy in the Library of the Academy of Music in Zagreb by Vilena Vrbanić

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Zur produktionsbezogenen Perspektive bei der Analyse von Popmusik by Roland Huschner

“…It is there that songs or tracks, in the course of negotiations between producers, technicians and musicians, achieve that ›competitiveness‹ and form which are supposed to make them musically and metamusically ›accessible‹, features which are not easy to grasp musicologically. Analyses that focus exclusively on the sound configurations of pop music tend to ignore the sociocultural processes structuring the song and its sound as well as their potential effect on the song’s reception. …”
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Towards Transformation of the Nigerian Youths: The Place of Yoruba Popular Music by Kayode Olusola

“…Relying on Femi Adedeji’s Transformation musicological theory, this work explicates the song themes and other lyrical contents of selected popular music in the Yoruba language fashioned towards positive transformative direction, for the purpose of socio-cultural analysis. …”
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Yatha in Kalmyk folklore and lyrics of the 20th century: the poetics of a musical instrument by Rimma M. Khaninova

“…Comparative and comparative, historical and functional methods, as well as the method of descriptive poetics, cultural, and musicological approaches determined a comprehensive analysis of the selected works in the article. …”
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Piano Works by Dora Pejačević – A Personal Perspective of an Interpreter by Kyra Steckeweh

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The German Days of Dora Pejačević by Domagoj Marić

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Schon wieder das Lied!. Robert Schumanns »In der Fremde« und die Kriterien musikalischer Analyse by Felix Diergarten

“…Schumann’s Eichendorff songs have been the subject of many musicological studies and musical analyses: Schumann’s interventions in the lyrical text, his musical reactions to the text, the question of cyclicality and non-cyclicality, Schumann’s harmony: all this has been discussed so much that a history of song-analysis can be written on the basis of Schumann-analyses. …”
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Über den »unisonierenden Dualismus« im ersten Satz von Schuberts Streichquartett G-Dur, D. 887 by Sebastian Urmoneit

“…The contradiction between music-theoretical explanation and musicological understanding has not been resolved up to our time. …”
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Virtual choir as a kind of digital musical art by Xinbin Fu

“…Their activities are studied in modern science in many aspects: historical, technical, socio-psychological, musicological, etc. However, there is a debate about whether such a form of artistic activity can be considered a type of choral performance. …”
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»Das Geschriebene darf nicht ernst genommen werden – das Geschriebene muß todernst genommen werden«. Zur Notation und Interpretation musikalischer Gesten im Schaffen György Kurtágs... by Tobias Bleek

“…Adornoʼs unfinished theory of musical reproduction serves as a background for a discussion of fundamental questions that are central to music-theoretical and musicological studies of performativity. The final section discusses briefly Kurtág’s decade-long efforts to establish an authorially sanctioned performance tradition for his music.…”
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