Category Archives: Politics

by | March 16, 2025 · 6:00 am

Music education and citizenship in Venezuela

From 2007 to 2017, El Sistema–Venezuela’s national music education system–experienced a remarkable rise, followed by an equally dramatic decline. While it may be tempting to dismiss this decade as an anomaly in the history of music education, it more accurately represents a significant return to a long-standing rationale for music education: social activism. By placing this brief yet impactful period of El Sistema’s influence within a broader historical context, including Venetian Ospedali, British Brass Bands, and American Settlement Music Houses, El Sistema and similar music education initiatives highlighted the potential of music education to directly address societal inequities.

Cover of a DVD featuring performances of the National Children´s Symphony Orchestra of Venezuela at a European festival in 2013.

Research on El Sistema-inspired (ES-i) programs has identified key program characteristics and potential outcomes for students, such as fostering student pride and persistence, creating a sense of community within ensembles, providing low-barrier access, promoting peer mentoring, offering frequent performance opportunities, and enhancing emotional regulation skills and psychosocial well-being. However, despite these positive impacts, El Sistema and its derivatives remain highly controversial. Reports of abuse within El Sistema in Venezuela have been described as an open secret, and philosophical critiques highlight issues with the model’s ties to the Venezuelan government, its failure to address deep structural problems in society, and its reliance on propaganda to exaggerate claims of social change.

Jose Luis Alvaray, age 11, a Venezuelan musician in the Simon Bolivar Youth Orchestra, performs as director during a presentation at a ceremony in Caracas on 8 June 2013. Photo: Juan Barreto/AFP/Getty Images.

In this context, post-El Sistema programs may provide an additional lens through which to view musical contexts for citizenship education. These programs must confront the challenge of redefining the El Sistema model, determining whether the program serves to normalize and reproduce social structures or to foster political participation.

This according to “Ritornello: El Sistema, music education, and a centuries-long narrative of socio-musical activism” by Stephen Fairbanks (Music education research 24/1 [2022] 18–30; RILM Abstracts of Music Literature, 2022-21042) and “Teaching citizenship through music education: A case study of a community youth orchestra program” by Amanda E. Ellerbe (Bulletin of the Council for Research in Music Education 236 [spring 2023] 43–57; RILM Abstracts of Music Literature, 2023-14178).

The week of 17 March is International Teach Music Week.

Below, a performance by the Teresa Carreño Youth Orchestra, featuring some of Venezuela’s best high school musicians, led by Gustavo Dudamel, playing Shostakovich’s symphony no. 10, 2nd movement.

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by | February 28, 2025 · 6:00 am

Nusantara heavy metal and Malaysia’s long hair ban

In 1989, the Malaysian band Search became a cultural phenomenon across the maritime Southeast Asia region (locally known as nusantara, or archipelago), successfully exporting their unique style of Malaysian hard rock and heavy metal, which came to be known retrospectively in the Malay language as rock kapak (literally “axe rock”). Their success paved the way for cross-border collaborations in Indonesia and elsewhere, including recordings, tours, and a feature-length film. Following the release of their 1985 debut album Cinta buatan Malaysia (Love made in Malaysia), Search emerged as leaders in the emerging Malay hard rock scene. As heavy metal and rock music gained popularity among youth across the country, Malaysian authorities attempted to limit its spread by imposing a ban on long-haired rockers in 1992. The government justified this measure by associating rock and metal with antisocial behavior, drug use, and other undesirable activities. Search found themselves at the heart of this controversy, as the ban restricted the broadcast of their music on national radio and television. Instead of altering their appearance, Search chose to defy the ban, leading to concert permit denials by government officials.

The Cinta buatan Malaysia cassette tape.

This episode underscores the connections and tensions stirred by Malay rock, which acted as both a crossing of nation-state borders and a challenge to religious and moral boundaries. The former can be understood in the context of inter-regional popular music exchanges within the nusantara region, while the latter reflects Malay rock’s resistance to authoritarian moral policing. The boundary crossings enacted by Search illustrate how the mobility of Malay rock, seen as an informal cross-nusantara movement predominantly led by male, working-class youth, opposed the conservative policies of ethnonational states. While Search’s movement across the region represented a porous crossing of domestic and regional borders, it was the emotionally resonant aspects of their popular ballads that attracted a wide audience across maritime Southeast Asia and even influenced politicians who sought to control their public image.

Search in 2022.

Despite the challenges posed by the long hair ban, Search persevered, consistently releasing albums and singles throughout the 1990s and 2000s, even as rock’s popularity declined in favor of pop, hip hop, and R&B across Asia. Their most recent album, Katharsis, was released in 2017.

This according to “Crossing borders and crossing the line: Nusantara mobilities of Search and the Malay rock phenomenon (1980s and 1990s)” by Adil Johan (Indonesia and the Malay world 51/151[2023] 257–278; RILM Abstracts of Music Literature, 2023-16963).

Below are links to two classic Search music videos:

https://www.youtube.com/watch?v=YM-5hmqKXPY

https://www.youtube.com/watch?v=rGDvEJJfwH4

Other Bibliolore posts on international heavy metal:

https://bibliolore.org/2019/07/11/martyrdom-and-mapuche-metal/ https://bibliolore.org/2018/07/02/karinding-attacks-heavy-metal-bamboo/ https://bibliolore.org/2018/01/25/extreme-metal-in-iraq-and-syria/

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by | February 25, 2025 · 6:00 am

William Grant Still sounds African American life in the early 20th century

The U.S. composer and conductor William Grant Still, whose maternal grandmother had been a slave on a plantation in Georgia, attended Wilberforce University in Ohio from 1911 to 1915 after attending high school in Little Rock, Arkansas, where his mother taught English literature. Still learned to play the violin, cello, and oboe and wrote his first arrangements and began to compose as an autodidact. In 1917, he enrolled at Oberlin Conservatory, where he studied composition and theory. After eight months of service in the Navy during World War I, Still briefly resumed his studies but in 1919, went to work in New York as an arranger for the Pace and Handy Music Publishing Company, for which he arranged, among other things the song Saint Louis blues, which was recorded by James Reese Europe’s Hellfighters (369th Infantry Regiment Band). In 1936, he conducted the Los Angeles Symphony Orchestra and in 1955, the New Orleans Symphony Orchestra. In both instances, Still was the first African American conductor to do so.

A mural outside the William Grant Still Art Center in Los Angeles.

As many of the titles reveal, nearly all of Still’s work reflected African American life. His first orchestral compositions were Darker America (1924), From the journal of a wanderer (1925), and From the Black belt (1926). Two major orchestral pieces, Africa (1930) and the popular Afro-American symphony (1930), established his wide reputation and helped him earn a Guggenheim Fellowship in 1933. At this time, Still turned his attention to the stage with two ballets for the Ruth Page Company of Chicago: La guiablesse (1927), set in Martinique, and Sahdji (1930), with an African background. A third ballet, Miss Sally’s party, dates from 1940. In 1934, Still received another Guggenheim Fellowship for composition and moved from New York to Los Angeles, where he completed his first opera, Blue steel (1934).

Still with Verna Arvey and their two children. Photo courtesy Judith Anne Still.

This marked the beginning of a series of stage works characterized by close collaboration with Verna Arvey, a white Jewish pianist, librettist, and writer, and Still’s second wife, which became high points of his career. Almost all these works addressed racial problems in the U.S., with Troubled island being the most notable example. Created in collaboration with Langston Hughes, it premiered in 1949 at the New York City Center. Still’s dedication to African American themes resulted in three notable text settings: And they lynched him from a tree (1940); Plainchant for America (1941), and Pages from Negro history (1943). He was awarded the Guggenheim Fellowship again in 1935 and 1938. During this time, Still composed for film and television while also pursuing his aspirations as a composer of serious music.

This according to the Dictionary of American classical composers (2005). Find it in RILM Music Encylopedias.

Listen to two of William Grant Still’s better known compositions below.

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by | February 19, 2025 · 6:00 am

Capoeira and social justice

Capoeira, as a martial art, was created by enslaved Afro-Brazilians. Today, it blends song, dance, acrobatics, and theatrical improvisation, inspiring many practitioners to become active in social causes. Capoeira often serves as a gateway for individuals to transition from physical training to social justice activities, highlighting its deep roots in resistance and subversion. For instance, practitioners in the United States, both as individuals and as communities, engage in activism by marching against racial discrimination, celebrating Martin Luther King Jr. Day and Juneteenth, organizing clothing drives for job seekers, and advocating for economic and environmental justice in their communities. For these capoeiristas, the practice becomes a form of serious leisure that fosters personal growth, a sense of belonging, and an enhanced sense of self, while also carrying social duties and responsibilities. In this way, capoeira exemplifies how participation in a leisure community—often regarded as trivial—can profoundly reshape one’s worldview and positions capoeira itself as a powerful model for civic engagement.

Using Robert Stebbins’s concept of “serious leisure” helps illuminate how capoeira fosters social activism. Stebbins defines serious leisure as a mix of amateur pursuits, hobbyist activities, and career volunteering that individuals engage in outside of their work life, deriving personal satisfaction from it. In this context, capoeira, as a relational Afro-Brazilian martial art, encourages practitioners to leave with a heightened awareness of, and concern for, the societal structures surrounding them. Capoeira’s African roots, both as a martial art and a cultural expression, touch on themes such as authenticity, gentrification, Afrocentrism, and nationalism. These elements implicitly and explicitly engage with the social dynamics of race, influencing the practice and the ways practitioners interact with their broader societal context.

This according to Graceful resistance: How capoeiristas use their art for activism and community engagement by Lauren Miller Griffith (Urbana: University of Illinois Press, 2023; RILM Abstracts of Music Literature 2023-5114).

Celebrate the UN World Day of Social Justice on February 20.

Watch a performance of capoeira music and solo techniques by children below.

Read a related post in Bibliolore:

https://bibliolore.org/2021/02/28/capoeiras-hidden-history/

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by | January 28, 2025 · 6:00 am

The rubāb’s cultural heritage in Afghanistan

Afghanistan’s national instrument, the rubāb, a short-necked lute, is also popular in northwest India and Pakistan and may be the ancestor of the sarod. Carved from a single piece of mulberry wood and covered with skin, the instrument has a lively and percussive sound. The Afghan rubāb is often decorated with mother-of-pearl inlay, which accentuates the wood’s deep tones and textures.

The sound of the Afghan rubāb is easily distinguished from that of other Central Asian lutes, due to its unique construction and sympathetic (or resonance) strings. An unusually shaped instrument often richly ornamented with inlaid bone or mother-of-pearl, the rubāb is appreciated by musicians and collectors alike. Although the instrument first appeared between the 18th and 19th centuries, its sound as we know it today emerged in the 20th century. The musician and teacher Ustad Mohammad Omar, a singer from Kabul, led a highly prestigious band for many years and made the rubāb famous in Afghanistan and internationally. Legend has it that, inspired by another lute, the sarod, he altered the instrument to better suit the aesthetics of kiliwali, another genre of Afghan music. Luthiers in Kabul, most notably the celebrated Juma Khan Qaderi, began reproducing Mohammad Omar’s rubāb alterations. Distinct from other Afghan rubābs in the way it is played and its characteristic sound, the Kabuli rubāb quickly took hold in Central Asia, gradually supplanting all other Afghan rubāb practices.

In December 2024, UNESCO recognized the art of building and playing the rubāb as intangible cultural heritage in Afghanistan, Iran, Tajikistan, and Uzbekistan. Master players of the rubab are deeply respected as elders within their communities, often taking the lead in initiating specific ceremonies and rituals. The craft of making a rubāb traditionally involves carpentry, woodcarving, marquetry, and inlay work, typically passed down as a family tradition through hands-on practice. Although rubāb craftsmanship is predominantly done by men, performers are of all genders, ages, ethnicities, and religious backgrounds. The rubāb has long been referenced in poems and literature, with various cultures sharing myths and stories about the instrument, which are often narrated by elders and masters during social gatherings.

An older woman teaches teaches a boy to play the rubāb.

This cultural heritage, however, is currently threatened in Afghanistan under the Taliban authorities’ near-total ban on music, considered corrupting in their strict interpretation of Islamic law. Since coming to power in 2021, Taliban authorities have banned music in public, from performances to playing tracks in restaurants, in cars or on radio and TV broadcasts. They have shuttered music schools and smashed or burned musical instruments and sound systems. Taliban authorities have encouraged former musicians to turn their talents to Islamic poetry and unaccompanied vocal chants–also the only forms of music allowed under their previous rule from 1996 to 2001. There is local resistance to the Taliban’s decrees, however. As a rubāb builder named Sakhi asserts, the cultural value of the rubāb in Afghanistan must not be lost. He states, “The value of this work for me is . . . the heritage it holds. The heritage must not be lost.”

This according to The Garland encyclopedia of world music. South Asia: The Indian Subcontinent (2013, find it in RILM Music Encyclopedias) and “Le timbre du rubāb de Kaboul” by Roy Sylvain (Cahiers d’ethnomusicologie 34 [2021] 77–94; RILM Abstracts of Music Literature, 2021-10988).

Below is a performance of an Afghani folksong by Quraishi on rubāb and accompanied by Samir Chatterjee on tabla.

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by | December 18, 2024 · 6:00 am

Arabic language and music of the Middle East

Today, 18 December, marks UNESCO’s World Arabic Language Day, commemorating the date in 1973 when the United Nations General Assembly recognized Arabic as the sixth official language of the Organization. Arabic, one of the most widely spoken languages in the world, has inspired a rich and diverse aesthetic across fields such as architecture, poetry, philosophy, and song. UNESCO highlights that Arabic provides access to a vast array of identities and beliefs, with a history that showcases its deep connections with other languages. The language has played a crucial role in the spread of knowledge, facilitating the transmission of Greek and Roman sciences and philosophies to Renaissance Europe. Arabic has also been a bridge for cultural exchange along the silk roads, linking cultures from the coast of India to the Horn of Africa.

The Arabic language also has played a crucial role in shaping the musical practices of the Middle East. The arrival of the Arabs in North Africa, for example, had a profound impact, leading to the widespread adoption of Islam throughout the region and the expansion of the Arabic language in cities, towns, and rural areas. While some groups, like the Berbers, maintained their own language, they adopted Arabic for use in public spaces such as shops, schools, and businesses. This linguistic shift influenced the development of musical traditions and practices across the region, with Arabic becoming a key component in the cultural and musical landscape.

From the 1930s to the 1950s, both Algerians and Moroccans were deeply involved in anticolonial struggles against France. Revolutionaries from both nations used the Arabic language as a tool to unite the population around the vision of a nation standing together against colonial rule. Following their respective independences–Morocco in 1956 and Algeria in 1962–both countries declared Arabic as the national language and positioned it as a key element of their cultural identity.

In this regard, the music of the Arab world—a vast region stretching from western North Africa to the Arabian Peninsula and Mesopotamia—can be studied as a unified domain, especially when considering common factors such as the prevalence of Islam and Islamic institutions, the widespread use of the Arabic language, and the historical, political, and artistic connections that link the various Arab communities. However, music also exhibits significant internal diversity, reflecting the rich cultural variations across the region.

This according to The Garland encyclopedia of world music. The Middle East. Find it in RILM Music Encyclopedias. The volume on the Middle East features expert writers on the region who present the major traditions of North Africa, the Middle East, and Central Asia, together with personal accounts of performers, composers, teachers, and ceremonies. Also included are dozens of brief essays that offer stories of typical musicians and genres, along with first-person descriptions of specific music performances and events, maps, and music examples.

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by | December 16, 2024 · 6:00 am

The sonic weaponization of Saydnaya prison

The complex intersections of carceral violence and acoustics are particularly evident in the case of Saydnaya, the infamous military prison in Syria, known for its state-run torture practices under Bashar al-Assad’s regime. Often referred to as “the slaughterhouse”, the prison witnessed the hanging of as many as 13,000 individuals between 2011 and 2015. Survivor testimonies, along with the recent digital reconstruction of the prison’s interior, reveal that sound played a pivotal role in shaping the power dynamics within the Syrian prison system. Much of the violence inflicted in Saydnaya was acoustic in nature, intentionally designed around specific elements of the aural experience. The weaponization of sound in Saydnaya suggests that listening itself was manipulated as a mechanism of surveillance and torture, while paradoxically, it also became a means of resistance and survival.

Image credit: https://www.lightwork.org/archive/political-listening-the-forensic-acoustics-of-lawrence-abu-hamdan/

The Syrian prison can be conceptualized as an acoustically surveilled site, marked by intentional sensory deprivation, weaponized silence, extreme listening practices, and acousmatic violence–violence whose sound lacks a visible source. Such practices were not isolated but part of a broader pattern of sonic warfare, which some critical sound theorists have increasingly highlighted in their exploration of the role of sound in incarceration.

This according to “Prisonniers du son: La prison de Saydnaya en Syrie” by Maria Ristani, Lieux de mémoire sonore: Des sons pour survivre, des sons pour tuer, ed. by Luis Velasco-Pufleau and Laëtitia Atlani-Duault (Paris: Maison des Sciences de l’Homme, 2021, 21–35; RILM Abstracts of Music Literature, 2021-107654).

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by | December 6, 2024 · 6:00 am

North Korean pop, dictator celebrity, and the “big family”

After more than a decade of silence, the South Korean Ministry of Defense resumed its propaganda broadcasts into North Korea in August 2015. Although an agreement between North and South Korea led to the cessation of these broadcasts two weeks later, South Korea restarted its loudspeaker campaign in early January 2016 in response to North Korea’s latest nuclear test. Since then, South Korea has escalated its efforts along the Demilitarized Zone (DMZ), installing additional loudspeakers and broadcasting a variety of content, including popular K-pop songs from South Korea. While it is debatable whether South Korea’s K-pop broadcasts have had a direct impact on North Korean soldiers stationed at the DMZ, the sound of K-pop forced Kim Jong-un’s regime to address the globalization of the genre. More specifically, it showed how external cultural influences, particularly those from the south, could act as a threat to the regime’s authority and control over its citizens.

Although K-pop’s themes of love, desire, erotic pleasure, and physical attraction are not overtly provocative, its lyrics challenge North Korea’s ideological demand that expressions of affection be reserved solely for the leader, rather than between ordinary citizens. Although some North Korean pop songs aired on state media incorporate elements of romance and courtship, these are often stylized with a mix of electronic synthesizers, Western instruments, and an upbeat tempo. North Korean propaganda has historically emphasized the leader as the central object of affection, often promoting images of adoring citizens jubilantly rejoicing in his presence. In this context, the North Korean leader can be understood as what the French theorist Guy Debord calls “absolute celebrity”, where his image and authority dominate public devotion.

The Moranbong Band performs in front of an image of North Korea’s leader, Kim Jong-un.

Overt displays of affection for the North Korean leader are framed as demonstrations of familial love, positioning the leader as a father figure of the Korean race and all citizens as his children. In recent years, however, North Koreans have become more accustomed to expressing affection in public, with some young men and women serenading each other with South Korean pop songs. Kim Jong-un, the current leader, has not been oblivious to such behavioral changes among the younger generation, especially toward the libidinal pleasures offered by K-pop. In 2012, his establishment of the Moranbong Band could be seen as a strategic effort to draw North Korean youth back into the orbit of state-controlled entertainment, while channeling their enthusiasm in a way that reasserts the cult of absolute celebrity.

The band, dressed in military-inspired outfits, on the way to a performance.

The Moranbong Band has a number of distinct characteristics that make it appealing to a generation already familiar with foreign pop music. As North Korea’s first and only all-girl pop group, the band was modeled on South Korea’s popular all-girl groups. Although their fashion has been significantly toned down, with the adoption of more conservative dresses and military-inspired outfits, they still bear a striking resemblance to the sartorial styles of South Korean K-pop acts. This blend of familiar pop aesthetics with state-controlled messaging makes the Moranbong Band both accessible and captivating to many North Korean youth.

Despite employing many of the stylistic elements of K-pop, one key aspect noticeably absent from the Moranbong Band’s repertoire is the lyrical incitement to libidinal pleasure. Instead, their songs focus on the familiar themes of party loyalty, military prowess, national prosperity, and the benevolence of the leader. For example, North Korean state media reported that the Moranbong Band’s concert commemorating the 1953 armistice agreement with South Korea featured a song titled Our beloved leader, which portrayed Kim Jong-un caring for the “big family” of the country and providing it with happiness. This song reinforced the state’s effort to align popular culture with its ideological framework, emphasizing devotion to the leader rather than personal desires or individual expression.

This according to “Rockin’ in the unfree world: North Korea’s Moranbong Band and the celebrity dictator” by David Zeglen (Celebrity studies 8/1 [2017] 142–150; RILM Abstracts of Music Literature, 2017-64247).

Below, the Moranbong Band performs Our beloved leader in 2012.

Read a related post in Bibliolore:

https://bibliolore.org/2020/10/26/k-pop-and-political-activism/

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by | November 14, 2024 · 6:00 am

Zitkala Ša, Dakota composer and activist

At the end of the 19th century, a series of narrative essays published in The Atlantic Monthly by Dakota composer and activist Gertrude Bonnin, better known by her self-chosen name Zitkala Ša, focused on the violence of compulsory U.S. boarding schools. Existing research on her activism, however, has overlooked the subversive role of music, dance, and sound in her literary and musical projects, which reveal Zitkala Ša’s sophisticated sonic politics.

The historical tension between the prohibition and appropriation of Indigenous sounds highlights how the boarding school press functioned as a powerful engine for assimilation projects. A close reading of Zitkala Ša’s essay, The Indian dance: A protest against its abolition, along with an examination of its reception, reveals her reverse-gaze strategy and demonstrates her effectiveness in challenging aggressive assimilationists. Similarly, her collaboration on The sun dance opera resulted in a project that defied neat categorization and withheld complete disclosure of the ceremony, establishing its own sonic politics of self-determination. Zitkala Ša wrote the libretto and the songs for the opera, while William F. Hanson, a professor of music at Brigham Young University, composed the score. The songs were inspired by a sacred ritual that was federally outlawed from 1904 to 1978. The opera was groundbreaking, allowing Zitkala Ša to bridge her worlds through music. It premiered in February 1913 at Orpheus Hall in Vernal, Utah, featuring performances by members of the Ute Nation residing on the Uintah-Ouray Reservation.

Zitkala Ša’s years on the Uintah-Ouray Reservation, often mischaracterized as a period of domesticity in her literary career, were marked by significant creative sonic productivity, representing an important phase in her evolving activism that bridged her earlier years of serial publication with the sophisticated vocal activism of her later work.

This according to “Tiny taps and noisy hacks: Listening to Zitkala Ša’s sonic politics” by Kristen Brown (Resonance: The journal of sound and culture 2/1 [spring 2021] 348–362; RILM Abstracts of Music Literature, 2021-7615).

Watch a short documentary on Zitkala Ša’s life in music and activism below.

https://www.pbs.org/video/zitkala-sa-american-indian-composer-author-activist-qqjsyq/

Related Bibliolore posts:

https://bibliolore.org/2022/11/03/national-native-american-heritage-month-an-annotated-bibliography/

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by | October 28, 2024 · 6:00 am

RILM Launches DEUMM Online

RILM cordially invites you to join us for the release of DEUMM Online on Wednesday, 30 October 2024, at 7:30 pm CET / 1:30 pm EST. Co-sponsored by the Associazione fra i Docenti Universitari Italiani di Musica (ADUIM) and IAML-Italia, the event will take place in the Teatro Palladium auditorium in Rome, Italy.

Teatro Palladium, Ph. © Francesco Ciccone

DEUMM Online digitizes, enhances, and extends the Dizionario enciclopedico universale della musica e dei musicisti (DEUMM), the most important modern music dictionary in the Italian language. Comprising a broad range of entries (persons, topics, dances, genres, geographical locations, institutions, instruments, and works), DEUMM Online uses advanced and intuitive search and translation functionalities. This venerable music encyclopedia, which has set the standards in modern Italian music lexicography, is, in its new online format, once again an indispensable node in a comprehensive, international, networked research experience.

For those unable to join the Rome event in person, the event will be live streamed on YouTube by Fondazione Roma Tre Teatro Palladium, accessible directly from the following QR code:

The program (below) will include Daniele Trucco’s DEUMM-inspired music, greetings from Luca Aversano (President, ADUIM), Marcoemilio Camera (President, IAML Italia), and Tina Frühauf (Executive Director, RILM), as well as presentations by Zdravko Blažeković (Executive Editor, RILM), Stefano Campagnolo (Director, Biblioteca Nazionale Centrale di Roma), Alex Braga (composer), and DEUMM Online’s general editors Antonio Baldassarre and Daniela Castaldo. Pianist Giuseppe Magagnino will also perform works by Ellington, Beethoven, The Beatles, and more.

And mark your calendars: DEUMM Online will be featured again at the following events:  

  • 19 November 2024: Turin, hosted by Istituto per i Beni Musicali di Piemonte at the Teatro Regio
  • 21 November 2024: Milan, hosted by the Archivio Storico Ricordi in the Biblioteca Nazionale Braidense

Hear more about DEUMM Online and download the DEUMM Online brochure and logo.

DEUMM Online trailer (Italian)

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