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The goal of this study is to present an overview of issues related to subject indexing of musical resources and also to describe what ‘subject’ access means in this domain. In other Countries subject indexing is realized with a lot of initiatives throughout the years, such as LCSH, the Music Thesaurus Project, Musaurus, and Rilm; in Italy the Nuovo Soggettario Thesaurus could be the tool for this practice. As a matter of fact, The Nuovo Soggettario Thesaurus comply with international standards and is freely accessible on the Web. It is steadily growing thanks to the efforts of the National Library of Florence (BNCF) as well as the external collaboration of several institutions. The Thesaurus, organized in a hierarchical arrangement, with a thoroughly faceted and synthetically list of terms, provides many links which allow connections to other knowledge organization tools as well as archival and museum resources. The Thesaurus structure is based on four conceptual categories which contain classes of concepts with common characteristics. Furthermore, terms are provided with a rich apparatus of notes and a dense network of semantic relationships (BT, NT, RT) that clarify the meaning of the terms. The Thesaurus is integrated with the BNCF’s opac and other libraries’ one, which use it in the Servizio Bibliotecario Nazionale (SBN) and users can browse through vocabulary to the bibliographic records. A large number of terms has a cross-language equivalence relationship with Library of Congress Subject Headings (LCSH) preferred terms, linked at “Equiv. LCSH”. This article aims to present the possibility of enriching the terminological heritage of the Thesaurus with musical terminology. In addition, a case study (Sinfonie term) is presented which describes some interesting peculiarities about the musical terms. The management of the term has involved the examination of the scope note (SN) which is usually used for polysemi-terms. The case of Sinfonie is a significant example of this because of the evolution that the form has undergone over the centuries. This study also illustrates how a general thesaurus could be profitably employed also in a specific domain as well as how the results could be improved if librarians and specialists collaborate.

Early Christian writers often use musical metaphors. In particular, in the opening chapter of Clemens of Alexandria's Protrepticus Christ is presented as the 'new son (ᾀ̃σμα καινόν) which brings order and harmony to the universe. This paper aims to demonstrate that there is more to this image than a display of rhetorical ability: Clemens' vocabulary and the way in which he describes the different steps of the tuning process show that he was aware of music theory and conceived of the action of the divine logos as the making of a real musical scale, perhaps not very different from the ones used by the musicians of his time.

This pioneering book reveals how the music classroom can draw upon the world of popular musicians' informal learning practices, so as to recognize and foster a range of musical skills and knowledge that have long been overlooked within music education. It investigates how far informal learning practices are possible and desirable in a classroom context; how they can affect young teenagers' musical skill and knowledge acquisition; and how they can change the ways students listen to, understand and appreciate music as critical listeners, not only in relation to what they already know, but beyond. It examines students' motivations towards music education, their autonomy as learners, and their capacity to work co-operatively in groups without instructional guidance from teachers. It suggests how we can awaken students' awareness of their own musicality, particularly those who might not otherwise be reached by music education, putting the potential for musical development and participation into their own hands. Bringing informal learning practices into a school environment is challenging for teachers. It can appear to conflict with their views of professionalism, and may at times seem to run against official educational discourses, pedagogic methods and curricular requirements. But any conflict is more apparent than real, for this book shows how informal learning practices can introduce fresh, constructive ways for music teachers to understand and approach their work. It offers a critical pedagogy for music, not as mere theory, but as an analytical account of practices which have fundamentally influenced the perspectives of the teachers involved. Through its grounded examples and discussions of alternative approaches to classroom work and classroom relations, the book reaches out beyond music to other curriculum subjects, and wider debates about pedagogy and curriculum. Contents: Introduction; The project's pedagogy and curriculum content; Making music; Listening and appreciation; Enjoyment: making music and having autonomy; Group cooperation, ability and inclusion; Informal learning with classical music; Afterword; Appendices; Bibliography; Index. Lucy Green is Professor of Music Education in The Institute of Education, University of London, UK.

Theorists define false relation as an incongruent pair of pitches occurring in different voices that imply a relationship of chromatic alteration. It is the lack of relationship between these pitches, however, that affords its name. Theorists have alternatively referred to this compositional device as cross relations (simultaneous/non-simultaneous), non-harmonic relationships, and “English clash”. This article addresses the terminological inconsistencies and relative vagueness of definition regarding this compositional device. Although theoretically rendered today, the term has a rhetorical/diegetic significance within the musica poetica tradition (parrhesia; licentia), according to documentation from the Cinquecento/Seicento. In identifying fundamental differences between variants of the chromatic false relation that these terms collectively denote in dialogue with regular modulations, this article makes a conceptual distinction between modes of false relations stemming from novel analytical terminology: synchronous/asynchronous, direct/indirect, etc. The article concludes with explanatory analyses of William Byrd’s Ne irascaris domine and Orlando Gibbons’s The Silver Swanne. Los teóricos definen la falsa relación como un par de notas incongruentes que aparecen en voces diferentes, lo que implica una relación de alteración cromática. Sin embargo, es la falta de relación entre estas notas que producen su nombre. Los documentos teóricos se refieren a este recurso como cross relations (simultáneas/no simultáneas), relaciones no armónicas y “English clash”. Este artículo aborda las inconsistencias terminológicas y la relativa imprecisión en la definición de esta herramienta compositiva. Si bien el término tiene una definición teórica hoy, tiene un significado retórico/diegético en la tradición de la musica poetica (parrhesia; licentia), como se documenta en el Cinquecento/Seicento. Al identificar diferencias fundamentales entre las variantes de falsa relación en diálogo con modulaciones “normales”, este artículo distingue entre sus variantes, derivadas de una nueva terminología analítica: sincrónica/asincrónica, directa/indirecta, etc. El artículo concluye con análisis de Ne irascaris domine (Byrd) y The Silver Swanne (Gibbons). Teóricos definem falsa relação como um par incongruente de notas que ocorre em vozes diferentes, implicando em uma relação de alteração cromática. Entretanto, é a falta de relação entre essas notas que origina seu nome. Documentos teóricos se referem alternadamente a este dispositivo como cross relations (simultâneas/não simultâneas), relações não-harmônicas e “English clash”. Este artigo aborda inconsistências terminológicas e a relativa imprecisão na definição dessa ferramenta compositiva. Embora o termo apresente uma definição teórica hoje, ele tem um significado retórico/diegético na tradição da musica poetica (parrhesia; licentia), conforme documentação do Cinquecento/Seicento. Ao identificar diferenças fundamentais entre as variantes da falsa relação cromática que estes termos denotam coletivamente em diálogo com modulações “normais”, este artigo distingue entre suas variantes—decorrentes de uma nova terminologia analítica: síncrona/assíncrona, direta/indireta, etc. O artigo conclui com análises de Ne irascaris domine, de William Byrd, e The Silver Swanne, de Orlando Gibbons.

Thinning fosters individual tree growth by increasing the availability of water, light and nutrients. At sites where water rather than light is limiting, thinning also enhances soil evaporation and might not be beneficial. Detailed knowledge of the short- to long-term physiological response underlying the growth responses to thinning is crucial for the management of forests already suffering from recurrent drought-induced dieback. * We applied a dual isotope approach together with mechanistic isotope models to study the physiological processes underlying long-term growth enhancement of heavily thinned Pinus sylvestris in a xeric forest in Switzerland. This approach allowed us to identify and disentangle thinning-induced changes in stomatal conductance and assimilation rate. * At our xeric study site, the increase in stomatal conductance far outweighed the increase in assimilation, implying that growth release in heavily thinned trees is primarily driven by enhanced water availability rather than increased light availability. * We conclude that in forests with relatively isohydric species (drought avoiders) that are growing close to their physiological limits, thinning is recommended to maintain a less negative water balance and thus foster tree growth, and ultimately the survival of forest trees under drought.

• We explore here our mechanistic understanding of the environmental and physiological processes that determine the oxygen isotope composition of leaf cellulose (δ18Ocellulose) in a drought-prone, temperate grassland ecosystem. • A new allocation-and-growth model was designed and added to an 18O-enabled soil–vegetation–atmosphere transfer model (MuSICA) to predict seasonal (April–October) and multi-annual (2007–2012) variation of δ18Ocellulose and 18O-enrichment of leaf cellulose (Δ18Ocellulose) based on the Barbour–Farquhar model. • Modelled δ18Ocellulose agreed best with observations when integrated over c. 400 growing-degree-days, similar to the average leaf lifespan observed at the site. Over the integration time, air temperature ranged from 7 to 22°C and midday relative humidity from 47 to 73%. Model agreement with observations of δ18Ocellulose (R² = 0.57) and Δ18Ocellulose (R² = 0.74), and their negative relationship with canopy conductance, was improved significantly when both the biochemical 18O-fractionation between water and substrate for cellulose synthesis (ϵbio, range 26–30‰) was temperature-sensitive, as previously reported for aquatic plants and heterotrophically grown wheat seedlings, and the proportion of oxygen in cellulose reflecting leaf water 18O-enrichment (1 – p ex pₓ, range 0.23–0.63) was dependent on air relative humidity, as observed in independent controlled experiments with grasses. • Understanding physiological information in δ18Ocellulose requires quantitative knowledge of climatic effects on p ex pₓ and ϵ bio.

In the writings of Nicola Vicentino (1555) and Gioseffo Zarlino (1558) is found, for the first time, a systematic means of explaining music's expressive power based upon the specific melodic and harmonic intervals from which it is constructed. This \"theory of interval affect\" originates not with these theorists, however, but with their teacher, influential Venetian composer Adrian Willaert (1490-1562). Because Willaert left no theoretical writings of his own, Timothy McKinney uses Willaert's music to reconstruct his innovative theories concerning how music might communicate extramusical ideas. For Willaert, the appellations \"major\" and \"minor\" no longer signified merely the larger and smaller of a pair of like-numbered intervals; rather, they became categories of sonic character, the members of which are related by a shared sounding property of \"majorness\" or \"minorness\" that could be manipulated for expressive purposes. This book engages with the madrigals of Willaert's landmark Musica nova collection and demonstrates that they articulate a theory of musical affect more complex and forward-looking than recognized currently. The book also traces the origins of one of the most widespread musical associations in Western culture: the notion that major intervals, chords and scales are suitable for the expression of happy affections, and minor for sad ones. McKinney concludes by discussing the influence of Willaert's theory on the madrigals of composers such as Vicentino, Zarlino, Cipriano de Rore, Girolamo Parabosco, Perissone Cambio, Francesco dalla Viola, and Baldassare Donato, and describes the eventual transformation of the theory of interval affect from the Renaissance view based upon individual intervals measured from the bass, to the Baroque view based upon invertible triadic entities.

A COMPANION TO ANCIENT GREEK AND ROMAN MUSIC A comprehensive guide to music in Classical Antiquity and beyond Drawing on the latest research on the topic, A Companion to Ancient Greek and Roman Music provides a detailed overview of the most important issues raised by the study of ancient Greek and Roman music. An international panel of contributors, including leading experts as well as emerging voices in the field, examine the ancient 'Art of the Muses' from a wide range of methodological, theoretical, and practical perspectives. Written in an engaging and accessible style, this book explores the pervasive presence of the performing arts in ancient Greek and Roman culture—ranging from musical mythology to music theory and education, as well as archaeology and the practicalities of performances in private and public contexts. But this Companion also explores the broader roles played by music in the Graeco-Roman world, examining philosophical, psychological, medical and political uses of music in antiquity, and aspects of its cultural heritage in Mediaeval and Modern times. This book debunks common myths about Greek and Roman music, casting light on yet unanswered questions thanks to newly discovered evidence. Each chapter includes a discussion of the tools or methodologies that are most appropriate to address different topics, as well as detailed case studies illustrating their effectiveness. This book * Offers new research insights that will contribute to the future developments of the field, outlining new interdisciplinary approaches to investigate the importance of performing arts in the ancient world and its reception in modern culture * Traces the history and development of ancient Greek and Roman music, including their Near Eastern roots, following a thematic approach * Showcases contributions from a wide range of disciplines and international scholarly traditions * Examines the political, social and cultural implications of music in antiquity, including ethnicity, regional identity, gender and ideology * Presents original diagrams and transcriptions of ancient scales, rhythms, and extant scores that facilitate access to these vital aspects of ancient music for scholars as well as practicing musicians Written for a broad range of readers including classicists, musicologists, art historians, and philosophers, A Companion to Ancient Greek and Roman Music provides a rich, informative and thought-provoking picture of ancient music in Classical Antiquity and beyond.

The musicological study of popular music has developed, particularly over the past twenty years, into an established aspect of the discipline. The academic community is now well placed to discuss exactly what is going on in any example of popular music and the theoretical foundation for such analytical work has also been laid, although there is as yet no general agreement over all the details of popular music theory. However, this focus on the what of musical detail has left largely untouched the larger question - so what? What are the consequences of such theorization and analysis? Scholars from outside musicology have often argued that too close a focus on musicological detail has left untouched what they consider to be more urgent questions related to reception and meaning. Scholars from inside musicology have responded by importing into musicological discussion various aspects of cultural theory. It is in that tradition that this book lies, although its focus is slightly different. What is missing from the field, at present, is a coherent development of the what into the so what of music theory and analysis into questions of interpretation and hermeneutics. It is that fundamental gap that this book seeks to fill. Allan F. Moore presents a study of recorded popular song, from the recordings of the 1920s through to the present day. Analysis and interpretation are treated as separable but interdependent approaches to song. Analytical theory is revisited, covering conventional domains such as harmony, melody and rhythm, but does not privilege these at the expense of domains such as texture, the soundbox, vocal tone, and lyrics. These latter areas are highly significant in the experience of many listeners, but are frequently ignored or poorly treated in analytical work. Moore continues by developing a range of hermeneutic strategies largely drawn from outside the field (strategies originating, in the most part, within psychology and philosophy) but still deeply r