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Background: Stroke in childhood presents a serious rehabilitation challenge since it leads to physical, cognitive and psychosocial disability. The objective of our study was to describe the effectiveness of robot-mediated therapy (RMT) with Gloreha Sinfonia in addition to a conventional treatment in the recovery of the sensory-motor capabilities of the paretic hand and the quality of life in a ten-year-old child after a stroke. Methods: The girl was enrolled to undergo 10 sessions of RMT with Gloreha Sinfonia. She was evaluated with functional scales and with upper limb kinematic analysis at pre-treatment (T0) and at the end of treatment (T1). Outcome measures were Fugl-Meyer Assessment-Upper Extremity (FMA-UE), Visual Analogic Scale (VAS) and Activities and Participation of Daily Life (ADL). In addition, a Force Assessment System based on Virtual Reality games was used to assess the force control and modulation capability at T0 and T1. Results: At the end of treatment, the patient improved in functional scales and in quality of life for greater involvement in some activity of daily living. Force control and modulation capability significantly increased after the treatment. Conclusions: This clinical case highlights possible positive effects of a combined (conventional plus robotic) rehabilitation treatment for the upper limb in pediatric stroke outcomes from both a sensorimotor and functional point of view, also improving the motivational and affective aspects of the patient and of family members. Further studies are needed to validate these results and to identify the most appropriate modalities and doses.

Neste artigo apresentamos as convergências temáticas existentes em duas obras representativas do compositor Cláudio Santoro: Canto de amor e paz e a Sinfonia 4 “sinfonia da paz”. As peças foram escritas durante o período em que o compositor esteve influenciado pela estética do realismo socialista, no início da década de 1950. As temáticas convergentes se referem a aspectos ideológicos e musicais. O uso da ideia da paz, presente nos títulos das peças e no programa da sinfonia, atua como conteúdo extramusical e está relacionado ao significado que o termo possuía nos meios socialistas ao qual Santoro pertencia. Por outro lado, as obras também apresentam grandes similaridades entre os conteúdos melódicos empregados na construção dos temas principais das duas peças. Concluímos que Santoro utilizou um mesmo tema, embora tenha sido tratado de maneira diferenciada em cada uma delas. In this article we present the thematic convergences in two representative works composed by Cláudio Santoro: Canto de amor e paz and “The Fourth Symphony “symphony of peace”. The pieces were written during the period in which the composer was influenced by the aesthetics of socialist realism, in the early 1950s. The converging themes refer to ideological and musical aspects. The use of the idea of peace, present in the titles of the both works and in the symphony’s program, acts as extra musical content and is related to the meaning that the term had in the socialist circles to which Santoro belonged. On the other hand, the works also present great similarities between the melodic content used in the construction of the main themes of the two pieces. We conclude that Santoro used the same theme, although they were treated differently in each of them. En el presente trabajo presentamos las convergencias temáticas en obras representativas del compositor Cláudio Santoro: \"Canción de Amor y Paz\" y la Sinfonía 4, \"Sinfonía de la Paz\". Las piezas fueron escritas durante el período en que el compositor se vio influenciado por la estética del realismo socialista, a principios de la década de 1950. Los temas convergentes se refieren a aspectos ideológicos y musicales. El uso de la idea de paz, presente en los títulos de las piezas y en el programa de la sinfonía, funciona como contenido extramusical y se relaciona con el significado que el término tenía en los círculos socialistas a los que pertenecía Santoro. Por otro lado, las obras también presentan fuertes similitudes entre el contenido melódico empleado en la construcción de los temas principales de ambas piezas. Concluimos que Santoro utilizó el mismo tema, aunque fue tratado de forma diferente en cada obra.

In the past decade the National Theatre has presented two restagings of earlier productions, now featuring an onstage orchestra (the Southbank Sinfonia) that has been choreographed and made a key part of the spectacle: Every Good Boy Deserves Favour, by Tom Stoppard, with a musical score by André Previn, performed in 2009 and 2010, and Peter Shaffer’s Amadeus, performed in 2016 and 2018. Contemporaneously, a vanguard of British orchestras has begun to explore how concerts can be presented in ways that are more theatrically sophisticated than the standard concert format. Here Adrian Curtin investigates ‘orchestral theatre’ as an aesthetic proposition by examining the collaborations between the Southbank Sinfonia and the National Theatre, and their legacy in a series of experimental concerts staged by the Southbank Sinfonia entitled #ConcertLab. He aims to identify the artistic and cultural significance of these collaborations and #ConcertLab so as to better understand contemporary efforts to present orchestras (and, more broadly, classical music) in a theatrically innovative manner. Adrian Curtin is a senior lecturer in the Drama Department at the University of Exeter. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and Death in Modern Theatre: Stages of Mortality (Manchester University Press, 2019), and principal investigator of the AHRC research network ‘Representing “Classical Music” in the Twenty-First Century’.

The article is situated in the area of inter-religious dialogue, one of the great paradigms of actual theology. After Vatican Council II, which treated about the salvation of non Christians and of the members of other religions, theology deepened this theme and appeared several proposals for an inter-religious dialogue. For theologians it imposed the challenge of joining the constructive necessity of Jesus Christ for the salvation of all and the place of other religious traditions in God’s salvation plan. The proposal of the French Catholic theologian, Christian Duquoc, which he called postponed symphony, arouses attention to its singularity in affirming the positive side of the divisions and fragments. His approach is situated within the Catholic Theology that emerged after Vatican II, in which there are several prospects for interreligious dialogue. His theology emphasizes the role of the Holy Spirit in building the possible unity in diversity of fragments. The present article evaluates the theological importance of the French theologian’s proposal in favor of inter-religious dialogue. 

O objetivo deste texto é examinar analiticamente a utilização da forma sonata por Alberto Nepomuceno na sua Sinfonia em Sol menor. Três dos quatro movimentos claramente utilizam a forma sonata como sua base estrutural que envolve não somente o esquema formal geral, mas também sua retórica interna. Para tal objetivo, utiliza-se uma abordagem analítica híbrida que aborda a forma sonata no seu aspecto geral por meio da teoria da sonata de Hepokoski e Darcy, seu detalhamento funcional-formal interno (teoria das funções formais de Caplin), e suas relações temático-motívicas (Grundgestalt e variação progressiva de Schoenberg). Além do aspecto analítico, se realiza uma contextualização de avaliações críticas desta obra de Nepomuceno, passando por críticas da época da estreia em 1897 até avaliações mais recentes.

Applying the model of “entangled histories” to music historiography, this article takes up discussions on the Cold War’s relevance to globalized art music of the 1950s and 60s. Technique and aesthetics in works by Henry Cowell, Toshirō Mayuzumi, and Luciano Berio from this period may be understood as resulting from entanglements between socio-political and artistic discourses, especially since these composers were closely associated with institutions and events of the Cold War. Idiosyncrasies in their works and aesthetics, however, cannot merely be explained by recourse to the institutionalized politics of the time. They testify to the composers’ increased awareness of global interconnectedness, addressing a (potentially) worldwide audience and reflecting the multipolarity of post-war modernity.

Applying the model of “entangled histories” to music historiography, this article takes up discussions on the Cold War’s relevance to globalized art music of the 1950s and 60s. Technique and aesthetics in works by Henry Cowell, Toshirō Mayuzumi, and Luciano Berio from this period may be understood as resulting from entanglements between socio-political and artistic discourses, especially since these composers were closely associated with institutions and events of the Cold War. Idiosyncrasies in their works and aesthetics, however, cannot merely be explained by recourse to the institutionalized politics of the time. They testify to the composers’ increased awareness of global interconnectedness, addressing a (potentially) worldwide audience and reflecting the multipolarity of post-war modernity.

Applying the model of “entangled histories” to music historiography, this article takes up discussions on the Cold War’s relevance to globalized art music of the 1950s and 60s. Technique and aesthetics in works by Henry Cowell, Toshirō Mayuzumi, and Luciano Berio from this period may be understood as resulting from entanglements between socio-political and artistic discourses, especially since these composers were closely associated with institutions and events of the Cold War. Idiosyncrasies in their works and aesthetics, however, cannot merely be explained by recourse to the institutionalized politics of the time. They testify to the composers’ increased awareness of global interconnectedness, addressing a (potentially) worldwide audience and reflecting the multipolarity of post-war modernity.

1970 was the 200th anniversary of Ludwig van Beethoven's birth and, to mark the occasion, Daniel Barenboim and Christopher Nupen collaborated on a thirteen-part series about the man and his music. Close friends at the time, Barenboim as artist and Nupen as film-maker, were on the cusp of long and illustrious careers in music. Much of the material they shot has never been broadcast and, until recently, the footage had lain dormant for half a century. Now, as we celebrate the 250th anniversary in 2020, the series has been resurrected in its original form. It was recorded when Daniel Barenboim was in his late twenties, full of talent, charisma and early authority. During the episodes, he talks and plays extracts at the piano, illustrating the defining characteristics of Beethoven's compositions and sharing his personal insight into the composer's mindset. Throughout, he addresses the camera directly as presenter, adding to the intensity of the narrative. For orchestral pieces, he conducts the New Philharmonia Orchestra or plays at the piano with Sir Adrian Boult taking the conductor's baton. Barenboim On Beethoven is a musical journey charting Beethoven's progression in the context of his contemporaries such as Mozart and Haydn. Over twenty key compositions are performed and dissected, making this a unique body of work. Composition: Ludwig van Beethoven, Piano Concerto No. 4 in G Major, Op. 58 1. Allegro moderato.