Sostenibilità del ‘classico’ nell’educazione musicale scolastica by Luca Aversano

“…The paper explores the possible relationship between this founding idea of Western school culture and a contemporary and global concept that is very much in vogue today, that of ‘sustainability’: how much, and in what way, is ‘classical music’ sustainable in music education in schools?…”
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ELENA MARIA ŞORBAN – BOOK QUARTET: 1. THE HISTORY OF MUSIC AND US: CREATIVE PERMANENCIES, 2. THE OLD MUSIC. A CONCISE HISTORY, 3. CLASSICAL AND ROMANTIC MUSIC, 4. THE NEW MUSIC Eik... by Anamaria Mădălina HOTORAN

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L’héritage d’OK Computer : Influence de l’esthétique de Radiohead dans les productions de Leprous by Guillaume Deveney

“…The release of OK computer in 1997 has had a huge impact on the production of rock music in the years 2000. At once a critique of Western consumer society and a foray into sound experimentation with radical musical choices, Radiohead’s album showed how important aesthetics and rhetoric could be in contemporary amplified music. …”
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DIFFERENTIATION IN MUSICAL EDUCATION by Éva PÉTER

“…In the following I will present factors that make differentiation in musical education necessary, respectively the classical local methods and new foreign methods by which differentiation in musical education can be achieved. …”
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Studying Problems of Art Interpretation in Music at University of Culture by S. Yu. Lysenko

“…The necessity of scientific understanding of the problem of the classical heritage representation and interpretation in contemporary artistic practice has now become particularly relevant. …”
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Music Drama as a Christian Parable: Mozart’s <i>Idomeneo</i> by Nils Holger Petersen

“…In modern times, ecclesiastical boundaries and religious doctrines often seem to matter little in the music and theater culture of the Western world; classical opera is often staged more in order to respond to contemporary political or social issues than to communicate the original intentions of its creators (the so-called <i>Regieoper</i>). …”
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Viewing the African Political Leadership Challenge through the Lens of Music Drama: Reflections on Duro Ladipo’s Ọba Kòso by Kayode Samuel

“… In response to the question of the relevance of ‘classical’ African Studies to the contemporary need of the continent, this article explores the dynamics of leadership challenge as portrayed in Yorùbá music drama genre, using Duro Ladipo’s most popular folk opera: Ọba Kòso (The king did not hang) as a case study. …”
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Poemas entre músicas: dialogia melopoética e(m) uma didática contemporânea by Robson Coelho Tinoco, Marília de Alexandria

“…Under the dialogical notion of a given poetic-musical language can be structured a didactic process with activities that best relate literature and music (popular and classical). …”
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A study of two Chinese-style Clarinet Works Colors from China and Hommage to China from the Perspective of Cultural Holism by Congjie Zhao

“…It was proposed mainly based on the background of increasingly frequent cultural exchanges in the world today, and contemporary Western classical music works illustrate this trend by increasingly incorporating non-Western music elements. …”
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'J.I. introduces very interesting concepts, but…': From the academic biography of J.I. Ioffe in the late 1930s by V.G. Ananiev

“…Ioffe’s ideas were perceived by his contemporaries. The institutional context of the discussion is associated with one of the most interesting centers of intellectual life in Leningrad during the 1920s – the Institute of Art History (Zubov Institute), which was called the State Research Institute of Music in the middle of 1930s. …”
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Derzhavin's dramaturgy as an artistic system by A.I. Razzhivin

“…Derzhavin's plays manifest the intensive pioneering work and reveal the spirit of polemics in relation to his contemporaries and predecessors. Therefore, G.R. Derzhavin's dramaturgy is a no less vivid and large-scale part of his literary heritage, evidencing the evolution of his creative method from classicism to pre-Romanticism.…”
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Silent Pasts and a Reconfigured Present in Histories of Chinese (New) Opera by Annie Yen-Ling Liu

“…The ‘New Chinese Opera’, which emerged in the 1940s, has become a significant part of the performance repertoire, a ‘hot’ research topic and an indispensable subject of historical surveys of Chinese music. The subject matter of these operas ranges from historical events (as in Honghu Red Guards of 1958) to stories drawn from classic Chinese novels (as in Camel Xiangzi of 2014). …”
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