LIGETI’S ROMANIAN CONCERTO: FROM WAX CYLINDERS TO SYMPHONY ORCHESTRA by Bianca ŢIPLEA TEMEŞ

“… Beneath the Romanian Concerto’s colourful orchestral surface, evoking the folk-inspired music of both Bartók and Enescu, lies Ligeti’s early activity as a researcher (1949-1950) at the Folklore Institute in Bucharest. …”
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Computerised adaptive method for assessing university undergraduates’ mental well-being within an African context: An open-source set-up with Concerto by Jumoke I. Oladele

Subjects: “…A computerised adaptive method for assessment administration using Concerto…”
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La performance énergétique des bâtiments à l’ère des politiques européennes de démonstration. Le cas du programme CONCERTO et du projet de la ZAC De Bonne (Grenoble, France) by Olivier Labussière

“…To do so, it looks at the European CONCERTO program and the French project of Caserne De Bonne, the first french eco-district. …”
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›Subthematische Arbeit‹. Komponieren mit mehrstimmigen Satzmodellen bei Mozart by Hans-Ulrich Fuss

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Rotationsprinzip und synthetische Reprisenfunktion im Klavierkonzert des späten 18. und frühen 19. Jahrhunderts by Pascal Schiemann

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Zur Deutung von Dokumenten kompositorischen und analytischen Denkens. Béla Bartóks Arbeit mit zyklischen Themen by László Vikárius

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Zwei ›Wege‹ in Beethovens drittem Klavierkonzert. Aus Anlaß des zweihundertjährigen Jubiläums der Uraufführung am 5. April 1803 in Wien by Tihomir Popovic

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›Tonfelder‹ und traditionelle Tonalität. Beobachtungen zu Schuberts Lied Der Atlas by Markus Sotirianos

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Beethovens Selbstkritik. Zum Kompositionsprozeß des Klavierkonzerts B-Dur op. 19 by Rudolf Kotz

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Mozart, Ravel, die imperfizierte Kadenz und die perfekte Melodie. Zwei Melodien aus Mozarts Klarinettenquintett KV 581 und Ravels Klavierkonzert G-Dur by Hans Peter Reutter

Subjects: “…Lars Ulrich Abraham; Äolische Kadenz, Aeolian cadence; Carl Dahlhaus; Fortspinnungstypus; Christoph Hohlfeld; Klavierkonzert, piano concerto; Klarinettenquintett, clarinet quintet; Wolfgang Amadeus Mozart; Neoklassik, neoclassicism; Maurice Ravel;…”
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Fauxbourdon bei Bartók by Laura Krämer

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PERCEPTIONS AND EXPERIENCES OF M-HEALTH TECHNOLOGIES AND SOCIAL MEDIA: A QUALITATIVE STUDY IN PATIENTS WITH SCHIZOPHRENIA by Pasquale Caponnetto, Maria Salvina Signorelli, Jennifer Tiralongo, Alessandro Rodolico, Carmen Concerto, Antonino Petralia, Lucio Inguscio

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Exploring the Psychological Side of Fentanyl: A Scoping Review to Disclose the Psychosocial Dimensions of Illicitly Manufactured Fentanyl Users by Pasquale Caponnetto, Sergio Triscari, Graziella Chiara Prezzavento, Giorgia Farrugio, Chiara Farrauto, Simona Lanzafame, Giulia Schilirò, Eleonora Uccelli, Noemi Maria Vitale, Abdulnaser Fakhrou, Karim Nagi, Carmen Concerto

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APPROACHES TO THE AMPLE-FORM WORKS IN MUSIC SCHOOLS by Cătălina GUŢANU

“…Prior to exercising the concerto, the professor must explain to the student what an ample form is and what the specifics of this form are, that is its phrasing mode and its method of interpreting hatches, accents, nuances, the melodic course and rhythm. …”
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Form und Dramaturgie in Beethovens Violinkonzert . Zur Interpretation des Kopfsatzes durch Rudolf Kolisch und René Leibowitz by Jan Philipp Sprick

“…In this article, a discussion between René Leibowitz and Rudolf Kolisch from 1964 about “Aufführungsprobleme im Violinkonzert von Beethoven” (“Problems of Performance in Beethoven’s Violin Concerto”) is contextualized with the studio recording of the violin concerto by the two artists from the same year. …”
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Beethovens Violinkonzert als Modellfall. René Leibowitz’ und Rudolf Kolischs Projekt einer ›werkgerechten Interpretation‹ by Thomas Glaser

“…In their 1964 radio conversation “Aufführungsprobleme im Violinkonzert von Beethoven” (“Problems of Performance in Beethoven’s Violin Concerto”), produced around the time of their recording of Beethovenʼs violin concerto, Leibowitz and Kolisch aim to expose the performance practice problems of their day for which Beethoven’s violin concerto serves them as a model. …”
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WHERE TWO WORLDS MEET: LIGETI AND ROMANIAN FOLK MUSIC by Bianca Ţiplea TEMEŞ

“…From early pieces, such as the Romanian Concerto and Baladă şi Joc, to Hora lungă (from the Viola Sonata), Hamburgisches Konzert, Automne à Varsovie and further on to the „mash up” of folk influences from all over the world which he promoted in his works from the beginning of the 1980s onwards, leit-motifs such as „bucium”, „bocet”, „hora lungă”, „Romanian folk instruments” etc., they all mark constant references in Ligeti’s manuscripts stored at the Paul Sacher Fondation in Basel. …”
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The Seasons by James Thomson and the Baltic German Poetry about the Seasons in the Era of Baltic Enlightenment by Kairit Kaur

“…Some years before Thomson the famous Italian composer Antonio Vivaldi had created his violin concerto The Four Seasons (1718) and a German poet and senator from the city of Hamburg, Barthold Hinrich Brockes, had started to publish his series Irdisches Vergnügen in Gott (Earthly Delight in God) (1721–1748) in which he meticulously described many objects from and views of nature as God’s creations, inspired by English and Dutch physical theology. …”
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O lugar da voz na clínica psicanalítica by Elizabeth Chacur Juliboni

“…Desde então, sabemos que a emergência do sujeito e a sua inscrição no grupo humano devem ser compreendidas como estando estritamente ligadas aos móbeis do concerto das vozes que o cercam. Os desenvolvimentos de Lacan sobre o objeto voz, todavia, são raros e esparsos, sobretudo se comparados às diversas lições de O Seminário, livro 11; os quatro conceitos fundamentais da psicanálise (1964) consagradas ao olhar como objeto da pulsão escópica. …”
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O lugar da voz na clínica psicanalítica by Elizabeth Chacur Juliboni

“…Desde então, sabemos que a emergência do sujeito e a sua inscrição no grupo humano devem ser compreendidas como estando estritamente ligadas aos móbeis do concerto das vozes que o cercam. Os desenvolvimentos de Lacan sobre o objeto voz, todavia, são raros e esparsos, sobretudo se comparados às diversas lições de O Seminário, livro 11; os quatro conceitos fundamentais da psicanálise (1964) consagradas ao olhar como objeto da pulsão escópica. …”
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