›Thematicism‹: Geschichte eines analytischen Konzepts in der nordamerikanischen Musiktheorie by Felix Wörner

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“PASSACAGLIA” IN THE OPERA OF THE 20ᵗʰ CENTURY. THE INTERLUDE NO.4 FROM THE OPERA “PETER GRIMES” BY BENJAMIN BRITTEN by Gabriela COCA

“…On the podium, we can meet it as an independent work. Musical-dramatic, Passacaglia, by basso ostinato and by the variations which are going on this sound basement, materialized the persistence of the fix idea in the mind of the main character. …”
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Kulturelle Diversität in der empirischen Rhythmusforschung. Drei Analysen eines Audio-Korpus von Percussion-Ensemblemusik aus Mali by Rainer Polak, Nori Jacoby, Justin London

“…Discussions of cultural variation, both between and within societies, suffer from the disposition to conceive of one’s own cultural environment as ›natural.‹ This disposition is still present not least as a euro-centric bias in the study of music. …”
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Die Aufnahme bestätigt die Regel. Analyse als Interpretation (Response) by Julian Caskel

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Überlieferte Tempoangaben im 17. und 18. Jahrhundert und ihre mögliche Übertragung auf Bachs ›Goldberg-Variationen‹ by Michael Hell

“…Originally planned as a lecture recital with musical demonstrations, this article focuses on the author’s experience with the traditional absolute and relative tempo indications of the seventeenth and eighteenth centuries (especially those given by Michel L’Affilard, Raoul-Auger Feuillet, and Louis-Léon Pajot, but also those given by Johann Joachim Quantz and Johann Philipp Kirnberger) and their transferability to selected variations from Johann Sebastian Bach’s “Goldberg Variations,” BWV 988. …”
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Die schiefe Folie. Komplexität zwischen Metrik und Performance in Beethovens ›Diabelli-Variationen‹ by Jakob Raab

“…In a second step, a method of metrical analysis outlined by Carl Dahlhaus is expanded and systematically applied to various examples from the “Diabelli Variations.” This article demonstrates how cross-references within the work influence metrical perception and create degrees of complexity that only become understandable through a detailed analysis of all the musical parameters of the work.…”
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Anton Diabellis Variationenprojekt (1819 bis 1824). Geschichtlichkeit und ästhetische Normativität by Tobias Janz

“…Its goal is the reconstruction of music’s changing aesthetic normativity, around which first the composition, then its evaluation, and (last but not least) the interpretation of the variations continue to be oriented.…”
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Formgestaltung aus aufführungspraktischer Perspektive. Zur Interpretationsgeschichte von Beethovens 33 Veränderungen über einen Walzer von A. Diabelli op. 120 by Thomas Glaser

“…In this article, a performance analysis of Beethoven’s “Diabelli Variations” op. 120 is presented, based on a corpus of recordings made between 1937 and 2018. …”
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Wiederholung und Symmetrie im Kopfsatz von Johannes Brahms’ Sonate Es-Dur op. 120/2 by Jan Philipp Sprick

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Chord Types and Figuration: A Bayesian Learning Model of Extended Chord Profiles by Christoph Finkensiep, Petter Ericson, Sebasian Klassmann, Martin Rohrmeier

“…This model is trained on two datasets using Bayesian variational inference, comprising scores of Western classical and popular music, respectively, and containing harmonic annotations as well as heuristically determined note-type labels. …”
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Does Frankie Go to Hollywood? From American influence to articulatory phonetics: the singing pronunciation of 1980s pop artists by Coline Caillol, Emmanuel Ferragne

“…Traditional sociocultural arguments pertaining to the influence of the American music industry and American-born music genres are presented, supported by some of the artists’ own viewpoints collected interviews freely available online. …”
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ALFRED SCHNITTKE’S POLYSTYLISTIC JOURNEY: “THE THIRD STRING QUARTET” by Oana ANDREICA

“…Often associated with the postmodern orientation, Alfred Schnittke is the exponent of the complex concept of polystylism, bringing the idea of borrowings of musical material to a superior level. Integrating them into the organic structure of his works and subjecting them to variation up to the loss of their identity, they receive a double significance: on the one hand, they represent testimonies of an ancient world, on the other elements that symbolize the ever changing contemporary musical scenery. …”
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Voix de revenants dans les Pièces pour danseurs de W.B. Yeats. L’exemple de Ce que rêvent les os by Pierre Longuenesse

“…The play is merely a poetic variation on the question “Who’s there ?”.…”
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The Harmony of Meter and Emotion in the Odes of Anvari Abivardi (With a Look at the Poems of His Master, Abol Faraj Runi) by Maryam Khalili Jahantigh, Mohammad Barani, Leila Shakibaei

“…In this study, harmony is used in the general sense of compromise, coordination, and unity. Music is one of the constructive elements in the formation and structure of poetry, which highlights the speech and has a close relationship with the poet's emotions and intentions. …”
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HISTORICAL MELODIES IN GALLUS HUSZÁR’S HYMNAL OF 1560 by Ágnes TÖRÖK

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António e as Variações identitárias da cultura portuguesa contemporânea by Paula Guerra

“…This article is focused on the preliminary analysis of a set of music lyrics by António Variações [Anthony Variations] (1983a, 1983b, 1984), which we consider representative of the multiple and plural identities that mark Portuguese cultural contemporaneity from the 1980s on. …”
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Students’ cross-domain mindset profiles and academic achievement in Finnish lower-secondary education by Jenni Laurell, Ita Puusepp, Kai Hakkarainen, Kirsi Tirri

“…The Fixed profile was linked to the lowest achievement, except in reading, foreign languages, and music, where Mixed and Fixed profiles performed similarly. …”
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Sisyawaytii tarawaytii : sifflements serpentins et autres voix d’esprits dans le chamanisme quechua du haut Pastaza (Amazonie péruvienne) by Andréa-Luz Gutierrez-Choquevilca

“…The article analyzes the sound symbolic and musical means of addressing spirits in Quechua ritual songs, in both therapeutical and cynegetical contexts. …”
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