Category Archives: Sound

by rilm | February 12, 2026 · 9:47 am

Voicing Innocence: An annotated bibliography

On 6 April 2026, Innocence, the final opera by the late Finnish composer Kaija Saariaho, receives its Metropolitan Opera premiere in New York, marking a significant moment in the work’s ongoing international circulation and scholarly reception. Coinciding with this event, the Barry S. Brook Center for Music Research and Documentation hosts the conference Voicing Innocence: Trauma, Memory, and Contemporary Opera in the Work of Kaija Saariaho (7–8 April 2026) at the Graduate Center of the City University of New York. Inspired by the Metropolitan Opera’s presentation of Simon Stone’s original production—first staged at the Aix-en-Provence Festival in 2021—the conference situates Innocence within broader critical conversations on contemporary opera, trauma, memory, and the limits of forgiveness.

This annotated bibliography is shaped by the shared mission of the Brook Center and RILM, a project housed within the Center: to document, organize, and make accessible the global circulation of music scholarship across languages, disciplines, and cultural contexts. That mission resonates directly with Innocence itself, an opera conceived as a transnational and multilingual work, unfolding across multiple temporalities and perspectives. Saariaho and librettists Sofi Oksanen and Aleksi Barrière construct a dramaturgy in which characters sing in their native languages—Finnish, French, German, Czech, Spanish, Swedish, Greek, and English—without translation within the world of the opera, foregrounding linguistic difference as both a narrative and ethical condition.

In this sense, Innocence offers not only a subject for scholarly inquiry but also a methodological analogue for bibliographic work. Just as the opera resists a single linguistic or cultural vantage point, this bibliography assembles scholarship produced across national traditions, disciplinary frameworks, and languages, tracing how Innocence and the topics at the heart of the opera can be interpreted, historicized, and mobilized within diverse intellectual communities. By mapping these intersecting strands of research, the bibliography reflects the broader commitment of the Brook Center and RILM to foster dialogue across borders—linguistic, cultural, and scholarly—mirroring the opera’s own insistence on global entanglement and shared responsibility.

Innocence: Moving Moment with Vilma Jää

RILM Abstracts offers over 1200 bibliographic records that touch on Saariaho and her work, but surprisingly little has been written about Innocence to date. This is also evident from the website saariaho.org—the official hub for the composer. The select bibliography below draws from publications represented by RILM across all of its resources and draws together various topics relevant to a deeper understanding of the opera:

Liisamaija Hautsalo. “Whispers from the past: Musical topics in Saariaho’s operas”, in Kaija Saariaho: Visions, narratives, dialogues, ed. Tim Howell, Jon Hargreaves, Michael D. Rofe, Tim Howell (Farnham: Ashgate, 2011) 107–129. [RILM Abstracts of Music Literature, 2011-6218]

Examines the role of musical topics in Kaija Saariaho’s operatic works, focusing on the incorporation of historical and cultural musical references within a contemporary compositional language. Drawing on Raymond Monelle’s theory of musical topics, the study analyzes how recognizable stylistic gestures function semantically and hermeneutically in Saariaho’s operas. It traces the composer’s development as an opera composer and centers on detailed analyses of her two full-length operas, L’amour de loin and Adriana Mater. Musical semantics, semiotics, and hermeneutics are employed to demonstrate how topics mediate between past musical traditions and modern techniques, contributing to themes of memory, intimacy, and cultural resonance. Saariaho’s operatic practice is situated within broader interdisciplinary and narrative contexts, establishing a foundational framework for subsequent topic-based studies of her operatic repertoire. (Frühauf, Tina)

Tomi Mäkelä “Kaija Saariaho (1952–2023): Kunst zwischen Mensch und Maschine—Erste Gedanken post mortem”, Musik & Ästhetik XXVII/108 (2023): 5–11. [RILM Abstracts of Music Literature, 2023-25374]

Pays tribute to the Finnish composer Kaija Saariaho, who died in her home in Paris on 2 June 2023. More than a necrology, it serves as a topography of agendas that are or could be relevant to the reception of her works, from Bruden (1977) to Hush (2023), as well as her essays. Special emphasis is given to her Finnish environment—heritage, language, and professional surroundings. (journal)

Anni Katariina Oskala. “The voice in Kaija Saariaho’s music, 1977–2000” (Ph.D. diss, University of Oxford, 2008) (p. x, 418). [RILM Abstracts of Music Literature, 2008-19184]

Examines the use of the voice in Kaija Saariaho’s works composed between 1977 and 2000, including her first opera L’amour de loin (2000). The term voice refers to all live, recorded, and/or processed vocal sounds as well as synthesized sounds modeled on vocal timbres. (author)

Éva Pintér. “Was die Träume erzählen: Textdeutungen in den Vokalwerken von Kaija Saariaho”, in Woher? Wohin? Die Komponistin Kaija Saariaho, ed. Hans-Klaus Jungheinrich. Edition Neue Zeitschrift für Musik (Main: Schott Musik International, 2007) 75–84. [RILM Abstracts of Music Literature, 2007-25840]

Kaija Saariaho bekennt sich zu den psychoanalytischen Traumdeutungen in ihren Kompositionen. So erwähnt sie beispielsweise in ihrer Einführung zu Grammaire des rêves (1988) auch Aspekte der Traumforschung, hebt jedoch insgesamt die musikalische Ausformulierung hervor. Die psychoanalytische Traumdeutung kann folglich die inhaltlich-musikalische Grundlage solcher Werke wie Im Traume, L’amour de loin, From the grammar of dreams oder Grammaire des rêves beleuchten. Auf der anderen Seite werden diese Traumdeutungen in einen souveränen musikalischen Stil eingebettet, der ein ganz entscheidend charakteristisches “Geflecht” in vielen Werken Kaija Saariahos bildet und damit ein eigenes, autonomes kompositorisches Verfahren aufweist.

Kaija Saariaho acknowledges the psychoanalytical interpretations of dreams in her compositions. For example, in her introduction to Grammaire des rêves (1988) she mentions aspects of dream research, though placing primary overall emphasis on the musical formulation. The psychoanalytic interpretation of dreams can therefore shed light on the contentual-musical basis of works such as Im Traume, L’amour de loin, From the grammar of dreams, and Grammaire des rêves. Conversely, these interpretations are integrated into a masterly musical style that creates an absolutely characteristic weave in many of Saariaho’s works and thus reveals a personal, autonomous compositional method. (Schöntube, Cornelia)

Elena Vasil’evna Kiseeva and Emma Sergeevna Korotkieva. “Traktovka žanra v opere Nevinnost’ Kaji Saariaho” [An interpretation of genre in Kaija Saariaho’s opera Innocence], Problemy muzykal’noj nauki: Rossijskij naučnyj žurnal/Music scholarship: Russian journal of academic studies 4 (January 2023) 128–141. [RILM Abstracts of Music Literature, 2023-23108]

Идея обновления оперного жанра нашла яркое претворение в многочисленных произведениях, авторами которых являются выдающиеся композиторы современности Джон Адамс, Луи Андриссен, Тан Дун, Стив Райх, Филип Гласс, Джон Кейдж, Кайя Саариахо и многие другие. В их сочинениях обнаружились трансформации, обусловленные нарушением в драматургии причинно-следственных связей, включением смысловых разрывов, прерывающих линейность повествования, а также отказом от коммуникативной функции слова в пользу музыкальности его звучания. В некоторых произведениях кардинально изменился характер взаимоотношений между автором, исполнителем и зрителем, что привело к разрушению установившихся жанровых норм. Предметом исследовательского интереса в данной статье выступили жанровые эксперименты, представленные в новой опере Кайи Саариахо «Невиновность» (2018). В них как в зеркале получила отражение гораздо более обширная и серьёзная научная проблема — трактовка оперного жанра в начале XXI века. Новизна исследуемого произведения определена соединением в нём оперы и триллера. Специфика построения либретто и музыкальной драматургии, трактовка вокальных и хоровых партий направлены на создание характерного для триллера длительного эмоционального нагнетания и погружения зрителей в состояние тревоги и страха.

The idea of a renewal of the opera genre is present in numerous works written by some of the outstanding 21st-century composers of our time: John Adams, Louis Andriessen, Tan Dun, Steve Reich, Philip Glass, John Cage, Kaija Saariaho, and many others. Their works demonstrate transformations stipulated by transgressions of cause-and-effect relationships in their dramaturgy, inclusions of semantic abruptions interrupting the linearity of the narrative, as well as a rejection of the communicative function of words in favor of the musicality of sound. In some works, the nature of the relationship between composer, performer, and audience has radically changed, leading to the disintegration of the established norms of the opera genre. The experiments in the sphere of genre demonstrated in Kaija Saariaho’s opera Innocence (2018) reflect a much more extensive and serious scholarly issue – the interpretation of the genre of opera at the beginning of the 21st century. The novelty of Saariaho’s composition lies in the combination of the genres of opera and thriller. The specific construction of the libretto and musical dramaturgy, as well as the interpretation of the vocal and choral parts, are aimed at creating a long-lasting emotional buildup, characteristic of a thriller, and immersing the audience in a state of anxiety and fear. (journal)

The full-text extension of RILM Abstracts offers several short write-ups of Innocence stagings:

Jules Cavalié. “Festival d’Aix-En-Provence 2021”, L’avant-scène: Opéra 324 (septembre-octobre 2021) 102–105. [RILM Abstracts of Music Literature, 2021-7310]

Anon. Sinfónica. “La impactante nueva ópera Innocence de Kaija Saariaho y su tan esperado debut en el Reino Unido”, 1 mayo 2023. [RILM Abstracts of Music Literature, 2023-4230]

Ingo Hoddick “Empathiemusik: Das Musiktheater im Revier bringt die meisterhafte Oper Innocence von Kaija Saariaho zur deutschen Erstaufführung”, Das Orchester: Magazin für Musiker und Management LXXII/12 (2024) 53. [RILM Abstracts of Music Literature, 2024-20273]

Lucile Desblache. “Tales of the unexpected: Opera as a new art of glocalization”, in Music, text and translation, ed. Helen Julia, Minors. Bloomsbury advances in translation (New York: Bloomsbury, 2013) 9–19. [RILM Abstracts of Music Literature, 2013-5356]

Questions how languages in opera have been used as instruments of globalization, both as agents of what was seen initially as an operatic form expressing universal messages and as tools of cultural identity which promote the value of ethnicity or of a local heritage. Multilingualism and cultural diversity are central to the discussion. (Minors, Helen Julia)

Marta Mateo. “Multilingual libretti across linguistic borders and translation modes”, in Opera in translation: Unity and diversity, ed. Adriana Şerban and Kelly Kar Yue Chan. Benjamins translation library 153 (Amsterdam: John Benjamins, 2020) 337–357. [RILM Abstracts of Music Literature, 2020-77898]

Based on research on multilingualism in opera production, reception, and translation, the relationship between translation and linguistically heterogeneous librettos is examined, focusing on the texts themselves. Plurilingual operas encourage reflection on how important it is to understand the semantic content of the various languages in order to grasp the communicative value and enjoy these works. The advisability of neutralizing the verbal diversity—integral to their meaning—in the translation process must be questioned, too. The translation strategies used in subtitling and CD inserts for some multilingual librettos are analyzed. These show varying functions and degrees of heteroglossia, in order to observe whether those textual features determine translation choices as much as the translation mode. (author)

Tomi Kiilakoski and Atte Oksanen. “Soundtrack of the school shootings: Cultural script, music and male rage”, Young: Nordic journal of youth research XIX/3 (2011) 247–269. [RILM Abstracts of Music Literature, 2011-53211]

School shootings have had an enormous cultural impact on discussions about youth worldwide. Studies on school shootings have not yet considered the complex nature of youth subcultures, often blaming particular subcultures or cultural products. School shooters use different cultural products, including books, films, and, especially, music. As a consequence, particular cultural products are woven into the fabric of the cultural script of school shootings. The music of 46 videos left by the Finnish Jokela High School shooter is analyzed in the context of the cultural script of the shootings. School shooters are not only fascinated by previous shootings but are also fans of similar cultural products. Music is actively used as a reference, as shooters actively searched for lyrics that enforce the idea of revolutionary violence. Internet videos offered a channel for shooters to interact with other people. (journal)

Jennifer M. Sokira. “Considerations for music therapy in long-term response to mass tragedy and trauma”, Music therapy today XV/1 (2019) 78–90. [RILM Abstracts of Music Literature, 2019-7832]

Aprovechando la experiencia en la prestación de musicoterapia en la comunidad de Connecticut Newtown/Sandy Hook, desde el tiroteo que hubo en la escuela en 2012, este artículo describe la evolución y las fases del trauma psicológico de la comunidad, aportando consideraciones a los musicoterapeutas que trabajan con los super vivientes en todas las fases. Con referencia a la sintonía del terapeuta con los cambios neurológicos en el cerebro y en el cuerpo que sufren los supervivientes, se hacen recomendaciones relativas a la resiliencia como prevención, a educación y entrenamiento, a pautas de trabajo, y a la propia resiliencia del terapeuta.

Drawing from experience in providing music therapy to the Newtown/Sandy Hook, Connecticut community since the 2012 school shooting, the trajectory and psychological phases of community trauma are outlined, providing considerations for music therapists serving survivors through all phases. Advocating for therapist attunement to the neurobiological brain and bodily changes which trauma survivors experience, recommendations are made regarding resilience as prevention, education and training, networking, and therapist vicarious resilience. (journal)

Clara Foglia, “Kaija Saariaho,” DEUMM Online, 2025, https://www.deumm.org.

DEUMM Online, the preeminent Italian encyclopedia online, published a fresh appraisal of Saariaho in 2025. In addition to the new entry, Foglia also contributed work-specific articles on L’amour de loin (2000), Adriana mater (2005), La passion de Simone (2006), and Émilie (2009).

RILM Music Encyclopedias, s.v. “Kaija Saariaho,” https://rme.rilm.org.

RILM Music Encyclopedias, which aggregates a wide range of music encyclopedias and dictionaries, providing authoritative biographical, stylistic, and bibliographic information on composers, performers, and music topics, covers Kaija Saariaho across several sources, including the Historical dictionary of the music and musicians of Finland, Komponisten der Gegenwart, International encyclopedia of women composers, and The 20th century violin concertante: A repertoire catalogue. These entries provide concise biographical data, overviews of her compositional style, key works, and references to further scholarly resources.

The complexities of underwater acoustics

The ecological importance of natural soundscapes is increasingly recognized, as their degradation may lead to biodiversity loss and disruptions in ecosystem functioning. The disappearance of these soundscapes poses a serious concern, underscoring the need for their preservation. Soundscape studies offer valuable insights into ecological change, enabling researchers to identify affected ecosystems and attribute shifts to factors such as anthropogenic noise. A wide array of methodologies supports this research–from auditory observation and spectrographic visualization to the computation of acoustic indices and sophisticated statistical modeling. Passive acoustic monitoring has emerged as a vital ecological tool, facilitating research, environmental surveillance, and conservation management across both terrestrial and aquatic soundscapes.

A geoacoustic imaging project studying underwater acoustic networks for services in support of the discovery of new underwater cultural heritage (UCH) sites.

In the context of aquatic environments, acoustic recording presents distinct challenges due to the complex nature of sound propagation. Unlike in air, sound does not travel in straight-line paths underwater; instead, it undergoes reflection, refraction, and diffraction. Acoustic energy interacts with uneven surfaces such as the sea surface and seafloor, as well as with suspended objects in bodies of water–including gas bubbles, fish swim bladders, and particulate matter–leading to scattering. Furthermore, some sound waves may penetrate the seafloor and eventually dissipate as heat. Misunderstandings about underwater acoustics are common, including the beliefs that (1) low-frequency sound cannot propagate in shallow water, (2) hard seafloors cause complete reflection with cylindrical spreading, and (3) soft seafloors produce spherical spreading. These oversimplifications overlook the nuanced physics of underwater sound transmission.

Water-column analysis in the Bay of Biscay using broadband acoustic technology.

Understanding sound propagation across diverse environments requires a critical evaluation of commonly used acoustic models and their limitations. Dispelling prevalent misconceptions involves recognizing the nuanced behavior of sound and the assumptions underlying sound propagation equations. To address this, sonar equations have been created for various scenarios, ranging from animal acoustic communication and noise-induced communication masking to the acoustic surveying of marine fauna. Central to these analyses is the “layered ocean” concept, which examines how variations in temperature, salinity, and depth influence sound speed, ultimately affecting propagation pathways and signal fidelity.

This according to “Introduction to sound propagation under water” by Christine Erbe, Alec Duncan, and Kathleen Vigness-Raposa, Exploring animal behavior through sound. I: Methods, ed. by Christine Erbe and Jeanette A. Thomas (Cham: Springer Nature Switzerland, 2022, 185–216; RILM Abstracts of Music Literature, 2022-27424).

July 18 is World Listening Day.

Photo credit for the first image: Douglas Klug.

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Filed under Acoustics, Animals, Geography, Sound, Space

Tagged as aquatic, bioacoustics, biodiversity, Environment, Noise, seafloor, Sound, Soundscapes, underwater sound transmission

by rilm | July 11, 2025 · 6:00 am

Black Sabbath and Joy Division channel the sounds of industrialized England

Scholars have long drawn connections between urban life and specific music genres, especially heavy metal. The British bands Black Sabbath and Joy Division serve as compelling case studies, exemplifying how their music emerged as a reflection of the bleak, industrial landscapes of 1960s and 1970s England. Despite belonging to different genres, both bands share a profound commonality: their sound was forged by—and evocative of—the desolation of these environments. This influence is particularly evident through key musical elements, including an unusually bass-heavy sonic palette, repetitive and continuous textures, austere arrangements, rigid song structures, and lyrical themes steeped in urban alienation.

Though separated by roughly a decade, Black Sabbath and Joy Division each aligned loosely with the dominant musical movements of their time. Black Sabbath emerged from the late 1960s blues rock scene, while Joy Division was a product of the post-punk wave of the late 1970s. Despite the differing genres, both bands distinguished themselves through striking originality and enduring influence. Their impact can be traced to two key sources: a strong sense of group synergy and their ability to channel shared urban-industrial experiences into music. In this sense, their music evokes a soundscape of similarly bleak and oppressive environments.

Black Sabbath in 1970. From left to right: Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward.

A defining similarity between Black Sabbath and Joy Division lies in the pervasive darkness and heaviness of both their sound and lyrical content. This shared aesthetic reflects a fascination with bleak and nihilistic themes–ranging from personal alienation and psychological turmoil to pressing social concerns such as war and drug addiction, particularly prominent in Black Sabbath’s music. This sonic and thematic weight can be traced directly to the oppressive industrial environments that shaped each band’s identity. Black Sabbath’s members, for instance, were raised in Aston, a war-scarred inner-city district of Birmingham marked by factories, soot-covered terrace houses, smoking chimneys, and remnants of World War II bomb sites. Such surroundings weren’t just the backdrop of their lives; they seeped into the music, transforming lived experience into powerful soundscapes of urban despair.

Joy Division in Manchester, 1979. Photo credit: Kevin Cummins

Joy Division’s origins closely mirrored those of Black Sabbath, shaped by similarly stark surroundings. Bassist Peter Hook and guitarist Bernard Sumner–the band’s central creative forces–grew up in Salford, a working class area near Manchester, during the 1960s and 1970s. Sumner vividly described his neighborhood as “a potted version of the entire, industrialized northwest,” listing iron works, copper works, cloth-finishing factories, paint and chemical plants, cotton mills, sawmills, and brass foundries—all within walking distance of his home. Despite a strong sense of community fostered by tightly packed terraced houses that fronted directly onto the street, the neighborhood was shadowed by frequent violence and a culture that emphasized emotional stoicism and cold, hardened masculinity.

A Manchester cotton mill, early 20th century.

The primal, bass-heavy, riff-driven sound of both Black Sabbath and Joy Division mirrors the industrial landscapes from which they emerged. Factories, conveyor belts, trains, and constant traffic created a dense low-frequency soundscape–a persistent rumble and thunder that saturated the environment. Although high-pitched noises occur in such settings, they are typically brief and peripheral, sharply contrasting with the ever-present bass tones. The absence of natural high-frequency sounds–such as birdsong or rustling leaves–further contributes to the sonic bleakness, depriving the environment of melodic brightness. This acoustic scarcity is echoed in the music: both bands emphasize low-end frequencies and a limited melodic range, effectively channeling the oppressive atmosphere of industrial life and amplifying the emotional starkness at the core of their sound.

This according to “Channelling the darkness: Group flow and environmental expression in the music of Black Sabbath and Joy Division” by Steve M. Taylor (Metal music studies 7/1[2021] 85–102; RILM Abstracts of Music Literature, 2021-4270).

Black Sabbath played their final concert last week on 5 July 2025 at Villa Park in Aston, Birmingham, England. They are widely considered the pioneers of contemporary heavy metal.

Below, Black Sabbath performs Electric funeral on their farewell tour. The next video features Joy Division performing Transmission in September 1979.

The marriage of sounds and music in the Arab world: An annotated bibliography

The library of the Institut du Monde Arabe (Arab World Institute) in Paris is home to an extensive collection of writings on music from the Arab world, a region stretching from the Atlas Mountains to the Indian Ocean. This series of blog posts highlights selections from this collection, along with abstracts written by RILM staff members contained in RILM Abstracts of Music Literature, the comprehensive bibliography of writings about music and music-related subjects. In 2026, the Institut du Monde Arabe will host an exhibition on wedding cultures in the Arab world, and the institute’s library will hold an on-site exhibition of its book collection covering this topic.

In the Arab world, weddings unfold through a series of ceremonies where daily preparations and references to the sacred intertwine to initiate and bless the union of two families. From the first promises of the engagement ceremony to the morning after the wedding night, each step is guided by social norms and enveloped in society’s ideals of generosity, community, and gender roles. Whether it takes place in a single day or over the traditional seven days, each step of the wedding is intentionally marked by specific melodies, rhythms, and sounds. Prior to the actual wedding ceremony, during the night of ḥinnaẗ, natural dye is applied to the bride’s hands and feet as women praise the her beauty and recount love’s woes in song. Then, joyous zaġārīd (trills) through the air to declare the news to all, near and far, as the cantillation of the Qur’an or other sacred prayers proclaims the couple’s union in front of God. As upbeat drums of the zaffaẗ announce and accompany the procession of the newlyweds, a subtler percussion chimes from the ẖilẖāl, the bride’s anklet, gifted from the groom to the bride to honor her femininity. These sounds intertwine with the most refined cultural expressions–skillfully crafted jewelry, intricately embroidered adornments, fragrances, and the finest cuisine, all blended together in celebration.

*Le mariage* by Tunisian painter Ahmed Hajeri. Source: Altaïr portal of the Institut du Monde Arabe. Copyright: Musée de l’Institut du monde arabe/Philippe Maillard.

Even as the rush of modern life permeates every aspect of society in the Arab world, weddings continue to preserve many of the age-old customs. The related ceremonies create a momentary pause in the relentless flow of life to mark new social bonds and a transformation from singularity to family. The writings and research related to this lifecycle event covered in the annotated bibliography below explore the enduring customs across various regions of the Arab world: from the Tuareg tribes of the Sahara Desert and the Nubian tribes of the Nile Valley to urban dwellers in Cairo and Mosul. They document lyrics, transcribe melodies, describe instruments, and detail the roles of men and women in musical performances–all in an ongoing effort to understand and preserve this rich heritage of wedding customs and music.

Annotated bibliography

ʿAlī, Muḥammad Šiḥātaẗ. أغاني النساء في صعيد مصر: الأعراس، البكائيات، التحنين [Women’s songs in Upper Egypt: Wedding, lament, and pilgrimage songs] (al-Qāhiraẗ: al-Hayʾaẗ al-Miṣriyyaẗ al-ʿĀmmaẗ li-l-Kitāb, 2015). [RILM Abstracts of Music Literature, 2015-92222; IMA catalogue reference].

Transcribing orally transmitted songs in Upper Egypt is crucial, especially as many of them are at risk of being forgotten due to the passing of older women who have memorized them. Song texts were collected as the result of ethnographic research in villages in the al-Badārī province of the Asyut governorate. The three main categories of the transcribed repertoire are songs related to rites of passage, such as weddings and their associated ceremonies, funeral and lament songs known as bukāʾiyyāt, and songs known as taḥnīn, performed in preparation for the pilgrimage. An appendix with photos capturing women’s activities in various aspects of life, including domestic chores, agricultural work, food preparation, and market activities is included.

ʿArnīṭaẗ, Yusrá Ǧawhariyyaẗ. الفنون الشعبية في فلسطين [Popular arts in Palestine] (Rāmallāh: Dār al-Šurūq li-l-Našr wa-al-Tawzīʿ, 2013). [RILM Abstracts of Music Literature, 2013-54151; IMA catalogue reference]

The tangible and intangible forms of folklore–encompassing popular musical expressions, embroidery customs, and ceremonial practices associated with marriage and celebrations–serve as testimony to the enduring heritage and cultural continuity of the Palestinian people. The present effort to document select aspects of Palestinian folklore serves several purposes: first, to safeguard these manifestations of popular culture and ensure their continuity; second, to forge a robust connection between the present and history; third, to uncover the creative dimensions inherent in Palestinian folklore; and ultimately, to inspire fellow researchers in music and the arts to undertake similar endeavors in documenting Palestinian folklore. Folk songs should be approached with the same urgency to study and preserve such as other Palestinian traditions. Popular songs’ characteristics are detailed, including the characteristics of colloquial dialects, the melodic content, maqam structure, ornaments, and more. Transcriptions of the melodies of 66 songs, along with their transcribed lyrics, are included and are chosen as hailing from different cities. The songs are grouped by topic or occasion, as follows: children’s songs and lullabies, songs of religious holidays and celebrations; love and wedding songs; songs of war and encouragement; work songs; drinking, satirical, and political songs; dance songs; funeral chants and laments; songs of stories and tales. Popular song is a reflection of the Palestinian peoples’ ways of life and social customs and is a spontaneous expression of collective feelings and aspirations.

al-ʿĀṣimī, Ğamīlaẗ. أغاني نساء مراكش: اللعابات، الطقيطقات، الهواري، التهضيرة [Women’s songs in Marrākuš: The laʿābāt, the ṭaqīṭaqāt, the hawārī, and the tahḍīraẗ] (Marrākuš: Muʾassassaẗ Āfāq li-l-Dirāsāt wa-al-Našr wa-al-Ittiṣāl, 2012). [RILM Abstracts of Music Literature, 2012-50441; IMA catalogue reference].

Women’s songs in Marrākuš are transmitted orally from one woman to another, they are unauthored and composed collectively. Based on fieldwork with professional women performers, song forms and texts are transcribed alongside documentation on the accompanying percussion instruments and the names of the women’s groups performing each piece. Twenty-four song texts from the laʿābāt, a women’s ensemble that performs during weddings and related ceremonies, are included. Additionally, 20 song texts of the ṭaqīṭaqāt, a song form that is also performed by the laʿābāt groups on festive occasions and features articulate lyrics and steady rhythms, are transcribed. Twenty-nine song texts from two types of the hawārī song form are included, and 11 song texts of the tahḍīraẗ form, performed by groups of women during weddings, promenades, or private gatherings, are presented. An appendix contains 12 transcriptions of short excerpts from songs and the notation for each percussion section of the two hawārī song forms.

al-Asyūṭī, Darwīš. أفراح الصعيد الشعبية: من طقوس ونصوص احتفاليات الزواج والحمل والولادة والختان [The weddings of Upper Egypt: Rituals, texts, and ceremonies of marriage, pregnancy, and circumcision] (al-Qāhiraẗ: al-Hayʾaẗ al-Miṣriyyaẗ al-ʿĀmmaẗ li-l-Kitāb, 2012). [RILM Abstracts of Music Literature, 2012-52032; IMA catalogue reference].

Describes the rituals and customs associated with engagement and marriage preparation in Asyut, Upper Egypt. It covers various traditions, including the dowry presentation, the shopping process for establishing a new bridal household, the ḥinnaẗ night for the bride, and the ritual shower for the groom, among other related ceremonies. It also includes transcriptions of song lyrics collected from narrators in Asyut, as well as others memorized by the author.

Bayrūk, ʿAzzaẗ. الغناء الحساني بين التنظيم والتلقائية [Hassanian singing between structure and spontaneity] (al-Rabāṭ: Markaz al-Dirāsāt al-Ṣaḥrāwiyyaẗ/Centre des Études Sahariennes, 2015). [RILM Abstracts of Music Literature, 2015-92229; IMA catalogue reference].

The singing of the Ḥassānī tribes can be categorized into two branches: structured singing, also known as the hūl, which has been shaped by the influences of Arab, African, and Berber traditions and developed during the Ḥassānī rule in the Western Sahara during the 15th and 16th centuries; and a second branch that is unstructured and spontaneous, encompassing prophetic praise, wedding songs, rain songs, work songs, and lullabies, among others. The analysis includes a selection of song texts and their social contexts.

al-Daywahǧī, Saʿīd. تقاليد الزواج في الموصل [Marriage traditions in Mosul] (al-Mawṣil: Muʾassasaẗ Dār al-Kutub, 1975). [RILM Abstracts of Music Literature, 1975-28979; IMA catalogue reference].

Explores the social customs associated with marriage in Mosul, from the etiquette of selecting a bride or groom to the week-long wedding celebrations and the social norms governing interactions between the families of the bride and groom. Transcriptions of the lyrics of 32 wedding songs are included. Thematically, these songs celebrate the bride and groom, describe their virtues and beauty, express the families’ emotions as they bid farewell to their daughters and sons, and highlight societal expectations of marriage, among other topics.

El Mallah, Issam. The role of women in Omani musical life/Die Rolle der Frau im Musikleben Omans (Tutzing: Hans Schneider, 1997). [RILM Abstracts of Music Literature, 1997-11646; IMA catalogue reference].

The role of women in the transmission and preservation of Omani traditional music is significant, as is their influence. Women take on roles as singers, drummers, dancers, instrumentalists, and leaders in organizing dance and singing groups. The participation of women in musical arts can be grouped into two categories: arts exclusively practiced by women and those practiced alongside men. The ones involving men and women include collective dance, collective drumming, and work songs. The art forms exclusively practiced by women include women’s drumming circles, women’s work songs, Bedouin dances, wedding songs and dances, traditional healing ceremonies, and arts involving young girls. A description of the setting and context of each art form is included.

Ibn Ḥarbān, Ǧāsim Muḥammad. الزواج في المجتمع البحريني عاداته، تقاليده، فنونه [Marriage in Bahraini society: Customs, traditions, and arts] (Bayrūt: al-Muʾassasaẗ al-ʿArabiyyaẗ li-l-Dirāsāt wa-al-Našr, 2000). [RILM Abstracts of Music Literature, 2000-84970; IMA catalogue reference].

Weddings in Bahrain involve a wealth of cultural expressions. The process of marriage includes various customs such as dowry arrangements and the elaborate preparation of both the groom and the bride. There are specific dress codes for men and women, along with jewelry, embellishments, and perfumes designated for each. The food prepared for weddings is also central to the ceremony. Women musician ensembles known as the ʿiddaẗ typically perform at these events. The song forms and accompanying dances, including the dizzaẗ and the zaffaẗ, are described, along with the rhythms and percussion instruments used. Related arts and customs are also discussed, such as the practice of naḍir–a ritual where individuals offer physical or symbolic gifts in hopes of fulfilling a wish or prayer; the ʿāšūrī which involves women performing drums and dance ceremonies; the ẖammārī, a women’s dance where participants are covered with a body cloth; and the naǧdī mawwāl, a song form sung by women, among other events. Transcriptions of some song texts and rhythms are included.

Mahfoufi, Mehenna. Chants de femmes en Kabylie: Fêtes et rites au village–Étude d’ethnomusicologie [Women’s songs in Minṭaqaẗ al-Qabāʾil: Celebrations and rites in the village–An ethnomusicological study]. (Paris: Ibis Press, 2005). [RILM Abstracts of Music Literature, 2005-16247; IMA catalogue reference].

A study of village song in Minṭaqaẗ al-Qabāʾil, focusing on the songs of women that accompany various festivals and the rhythm of daily life: birth, marriage, the expression of love, lullabies, bouncing (a game that consists of bouncing babies on one’s lap), death, and religious song. The songs are transcribed and translated, and their musical form is described and analyzed. The accompanying CD features wedding songs in tracks 7, 8, 9, 10, 11, 12, and 13.

Mécheri-Saada, Nadia. Musique touarègue de l’Ahaggar (sud algérien) [Tuareg music of the Ahaggar in southern Algeria] (Paris: Awal; Paris: L’Harmattan, 1994). [RILM Abstracts of Music Literature, 1995-9971; IMA catalogue reference].

The Ahaggar in southern Algeria is the homeland of Tuareg culture. Tuareg music is linked to the context of its performance, notably village festivals. Principal Tuareg instruments include the imzad (one-string fiddle), the tazamar (end-blown flute), and drums. Five musical genres are differentiated, including women’s marriage songs (āléwen) and the chanted poetry accompanied by drums, the tindé. The music’s texts, their themes, their social significance, and their poetics are analyzed.

Kamāl, Ṣafwat. “أفراح النوبة” [The weddings of the Nubia], al-Funūn al-šaʿbiyyaẗ 100 (yanāyir-dīsambir, 2015) 51–75. [RILM Abstracts of Music Literature, 2015-92886; IMA catalog reference].

In Nubia, marriage involves customs and rituals ranging from the engagement period to the ḥinnaẗ night in preparation for the wedding, the offering of a dowry, a feast on the wedding day, and the exchange of gifts, among others. The celebrations typically last for seven days. Transcriptions of selected songs that accompany these rituals were collected before the displacement of the Nubian peoples following the building of the Aswan Dam in the 1960s and thus highlight traditional Nubian social values and religious beliefs.

Puig, Nicolas. Farah: Musiciens de noces et scènes urbaines au Caire (Arles: Actes Sud, 2010). [RILM Abstracts of Music Literature, 2010-54197; IMA catalogue reference].

Faraḥ, which literally means joy or happiness, refers to the wedding ceremonies and street festivities in Egypt. Vibrant wedding nights, featuring musical ensembles, dancers, and many forms of socialization reflect social class and status. Musicians’ and singers’ negotiation of social norms and perceptions is approached as social performance. A proper understanding of marriage festivities in urban spaces is situated within the evolving attitudes towards public urban areas in Cairo, and in relation to other local festivities such as festivals and the celebration of saints’ mawlid. Since the mid-19th century, the modernizing reforms of public urban spaces have significantly influenced the venues for public music-making in Cairo, leading to changes in musical forms, the introduction of new instruments, and the adoption of new technologies. These changes have, in turn, affected the form and delivery of music during street weddings. A closer examination of the lives and work of four wedding musicians illustrates the numerous economic and social factors that shape their careers, their aspirations, and the challenges they encounter as wedding musicians in Cairo.

Written and compiled by Farah Zahra, Associate Editor, RILM

Ecoacoustics and birdsong recording

Advancements in technology have facilitated diverse research strategies in ecoacoustics (or acoustic ecology), algorithmic sound recognition, and aesthetic approaches, with significant scientific and technological applications. These developments have opened new avenues for studying the relationship between humans and their environment through sound. Portable ambisonic recorders, capable of capturing sound trajectories in a 360° sphere, have proven valuable for surround sound systems, as they accurately reproduce the acoustic environment’s spatial characteristics. This technology allows for faithful representation of the sound emitter’s unique qualities, movement patterns, and the reverberant properties of the environment. As a result, soundscape research intersects with multiple disciplines, including robotic listening, census strategies, acoustics, and algorithmic classification of fauna. Moreover, soundscape studies have increasingly contributed to environmental conservation efforts by informing strategies to mitigate the impact of human activities on natural ecosystems.

These technological advancements have facilitated the development of diverse strategies and mechanisms, ranging from traditional audio capture techniques to interactive systems that enable communication between humans and other species through sound. In all cases, soundscape studies provide valuable insights into how human activities impact the environment. This includes analyzing the effects of land and air traffic, power lines that generate electromagnetic fields, and other anthropogenic factors. By interpreting such interactions, soundscape research deepens our understanding of ecological disruptions and contributes to the development of strategies for minimizing human-induced environmental disturbances.

Algorithmic recognition plays a crucial role in identifying and classifying bird vocalizations. In ornithology, specialists undergo extensive training to recognize bird species and their songs based on region or mating season–a process that is time-consuming and requires significant expertise. To streamline this task, applications capable of recognizing and categorizing birdsong have been developed, enhancing efficiency and accuracy. The study of soundscapes has further contributed to refining algorithmic recognition strategies for cataloging wildlife within specific environments. A notable example is the Raven software, developed by Cornell University’s Center for Conservation Bioacoustics, which can analyze audio recordings to identify and classify numerous bird species. This technology has proven invaluable for tracking and documenting avian populations across different regions. As these systems continue to evolve, there is significant potential for further advancements, making automated bioacoustic analysis an increasingly powerful tool in ecological research and conservation.

This according to “Paisaje sonoro: Creatividad interdisciplinaria y tecnologías aplicadas para el registro del canto de las aves” [Soundscape: Interdisciplinary creativity and applied technologies for the recording of birdsong] by Pablo Rubio Vargas and Jorge Rodrigo Sigal Sefchovich (ANTEC: Revista peruana de investigación musical 8/2 [2024] 170–183; RILM Abstracts of Music Literature, 2024-13931).

Click the link below to watch a video titled Empowering bioacoustics research in Southeast Asia, which explains efforts at the Center for Conservation Bioacoustics to create biacoustic networks across the region.

https://www.birds.cornell.edu/ccb/empowering-bioacoustics-research-in-southeast-asia/

Electroacoustic sound, multimedia, and digital opera

Digital opera has roots in electroacoustic works that integrate spatial soundscapes into performance, such as Kaija Saariaho’s L’amour de loin (2000, pictured above). Musicologist Anna Schürmer offers a broader view, tracing its history even further, suggesting its origins may precede electroacoustic sound. Schürmer links the evolution of digitally mediated works to the construction of larger 18th century theaters, where sound connected audiences across physical divides. Earlier multimedia-infused productions, like Bernd Alois Zimmermann’s Die soldaten (1965), Harrison Birtwistle’s The mask of Orpheus (1986), Libby Larsen’s Frankenstein (1990), and Bill Viola’s The Tristan project (2004, in collaboration with the Los Angeles Philharmonic), are significant for their use of electronics. However, they fall short of utilizing digital sound sample processing. Additional antecedents include mid-20th century radio plays and performances where multimedia significantly shaped the auditory experience.

A production of Viola’s *The Tristan project*.

The most prominent use of contemporary digital technology in opera lies in sound design, where digital processing techniques shape how audiences perceive sound within the performance space. This innovation builds on earlier milestones, including IRCAM (the French institute of research on music and sound) performances employing electronic or MIDI keyboards and voice, such as Wolfgang Rihm’s Die Hamletmaschine (1987) and various works by Karlheinz Stockhausen. In the 21st century, the digital manipulation of sound samples has become a staple–though often overlooked–in both contemporary and traditional operatic productions, with subtle amplification techniques further extending its reach.

This according to the new entry on digital opera by Megan Steigerwald Ille, in DEUMM Online.

Below is a performance of Die soldaten with music by Bernd Alois Zimmermann, along with an excerpt from Kaija Saariaho’s L’amour de loin sung by the soprano, Susanna Phillips.

Read related Bibliolore posts:

https://bibliolore.org/2024/03/19/kaija-saariahos-avant-garde-sound-worlds/

https://bibliolore.org/2014/04/05/spohr-and-german-opera/

https://bibliolore.org/2011/07/10/italian-opera-manuals/

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Filed under Opera, Sound, Space, Uncategorized

Tagged as digital opera, Electroacoustic music, Electronic music, Keyboard, Opera, Radio, Sound, sound sampling

by rilm | February 7, 2025 · 6:00 am

Jose Maceda reimagines time

The Filipino ethnomusicologist and composer Jose Maceda created unique works that blended his fieldwork on Filipino and other music with his expertise in European avant-garde traditions. His compositions combined innovative techniques such as spatialization, a focus on timbre, and musique concrète with Asian instruments, rhythms, and structures. Maceda was particularly drawn to a flexible approach to time, famously commenting during a flight from New Zealand to the Philippines that a recording of a Chopin Berceuse was “so stiff that I wanted to jump out of the plane!”

In a 1975 paper presented at the Third Asian Composers’ League Conference and Festival in Manila, Maceda proposed a new concept of Asian musical time, inspired by natural phenomena like bird migration and plant flowering, rather than clocks, time signatures, or barlines. In 1971, he composed Cassettes 100, a performance featuring a hundred performers with portable cassette players in the lobby of the Cultural Center of the Philippines. The piece incorporated recordings of Indigenous instruments, natural sounds, and choreographed movements. As Maceda explained, “The recordings are my dictionary. They are a receptacle of ideas from which I can pull at any time.”

Maceda’s *Cassettes 100* was re-staged in Singapore as part of the 2019 exhibition *Suddenly turning visible: Art and architecture in Southeast Asia (1969–1989)*. Watch the video here.

After graduating from the Academy of Music in Manila in 1935, Maceda continued his studies in piano with Nadja Boulanger and Alfred Cortot in Paris. He also pursued musicology at Columbia University and Queens College in New York, anthropology at Northwestern University, and ethnomusicology at Indiana University in Bloomington, as well as at the University of California, Los Angeles, where he earned his doctorate. Between 1940 and 1957, Maceda performed as a pianist in France, and during the same period, he also worked as a conductor in both the United States and the Philippines. He conducted works by composers such as Edgard Varèse, Iannis Xenakis, Pierre Boulez, and others, including pieces from China and the Philippines. In 1958, Maceda worked as a researcher at the Groupe de Recherches Musicales in Paris, where he met influential figures such as Pierre Boulez and Iannis Xenakis.

Maceda served as a professor of piano and ethnomusicology at the University of the Philippines from 1952 to 1990. He became renowned for his extensive fieldwork, which spanned diverse settings, including urban areas, remote mountain villages, and island communities across the Philippines. Maceda’s research also took him to musician communities in Sarawak (Malaysia), Thailand, Kalimantan (Indonesia), Africa, Brazil, and Australia, with his findings published in numerous international journals. His work focused on documenting Southeast and East Asian musical practices and folk traditions, particularly prehistorical Indigenous music. Maceda’s field recordings, which encompass 51 language groups and include music, instruments, photographs, text transcriptions, and translations, are archived at the University of the Philippines in Quezon City. From 1997 to 2004, Maceda served as the executive director of the UP Center for Ethnomusicology in the Department of Music Research at the university.

The floorplan for Maceda’s *Pagsamba*, performed by 241 musicians at the Parish of Holy Sacrifice in Quezon City, Philippines (1968). Image courtesy of the UP Center for Ethnomusicology.

He received numerous prestigious scholarships and awards throughout his career, recognizing his contributions to music and ethnomusicology. He was awarded research scholarships for his work in Africa and Brazil by the Guggenheim Foundation and the Rockefeller Foundation in 1968. Maceda also received the Ordre des Palmes Académiques in France (1978), the Outstanding Research Award from the University of the Philippines (1985), the John D. Rockefeller Award from the Asian Cultural Council in New York (1987), and the Fondazione Civitella Ranieri Award in Italy (1997). In 2000, he was honored as a Filipino National Artist for Music by the Philippine government. Additionally, three of his albums–Gongs and bamboo (2001), Drone and melody (2007), and Ugnayan (2009)–were released on John Zorn’s Tzadik label.

This according to the entry on Jose Maceda in MGG Online.

Listen to excerpts of Ugnayan and Pagsamba below.

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Filed under 20th- and 21st-century music, Asia, Ethnomusicology, Musicology, Nature, Performers, Sound, World music

Tagged as avant-garde, Composers, Composition, Ethnomusicology, Field recording, Jose Maceda, Philippines, Time

by rilm | 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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Filed under Acoustics, Asia, Politics, Sound, Space

Tagged as acousmatics, aural experience, incarceration, prisons, Saydnaya, Sound design, surveillance, Syria

by rilm | October 31, 2024 · 6:00 am

Vocality and the Frankenstein complex

A monster’s vocality and capacity for communication have been complicated themes since the earliest adaptations of the novel. The evolution of the monster’s speech, along with the dynamics of its silence, reveals how essential vocality is to forming a sympathetic portrayal of the character. Each new version highlights this relationship, demonstrating that even in adaptations where the monster’s voice is largely absent, vocality remains crucial to shaping audience empathy.

This dynamic mirrors what performance theorist Marvin Carlson describes as “ghosting”, a phenomenon where theater productions are infused with multiple layers of history. This creates interpretations linked to the audience’s memories of the written text, the performers, props, and even the performance space. In the case of Mary Shelley’s Frankenstein, these layers are even more complex and elusive, reflecting its extensive and varied influence over the two centuries since the novel’s publication.

Within this context, the monster is frequently depicted as dim-witted and inarticulate, if not entirely silent. Restoring the creature’s voice–along with the eloquence and insight it can convey–highlights an often-overlooked aspect of Shelley’s novel, particularly in relation to the pop culture narrative surrounding the “Frankenstein complex”, which influences how we interpret all Frankenstein texts, from film adaptations to staged dramas and the original novel. In this sense, the silencing of the monster significantly affects our capacity to empathize with them and shapes our understanding of their connection to our own humanity.

This according to “Listening to the monster: Eliding and restoring the creature’s voice in adaptations of Frankenstein” by Jude Wright (Journal of adaptation in film & performance 8/3 [2015] 249–266; RILM Abstracts of Music Literature, 2015-90335).

The scene below from the 1931 film Frankenstein (directed by James Whale), illustrates how vocality can shape character empathy.

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Filed under Curiosities, Dramatic arts, Literature, Reception, Sound, Voice

Tagged as adaptations, Film, Frankenstein, Mary Shelley, monsters, Silence, Sound, vocality, Voice

by Michael Lupo | 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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Filed under 20th- and 21st-century music, Africa, Analysis, Antiquity, Asia, Australia and Pacific islands, Baroque era, Black studies, Central America, Classic era, Dance, Dramatic arts, Ethnomusicology, Europe, Film music, Geography, Iconography, Iconography, Instruments, Jazz and blues, Literature, Mass media, Middle Ages, Musicologists, Musicology, North America, Opera, Opera, Politics, Popular music, Religion, Religious music, Renaissance, RILM news, Romantic era, Sound, South America, Visual art, West Indies, World music

Tagged as DEUMM, Italy, music dictionary, music lexicography, online

Category Archives: Sound

Voicing Innocence: An annotated bibliography

The complexities of underwater acoustics

Black Sabbath and Joy Division channel the sounds of industrialized England

The marriage of sounds and music in the Arab world: An annotated bibliography

Annotated bibliography

Ecoacoustics and birdsong recording

Electroacoustic sound, multimedia, and digital opera

Jose Maceda reimagines time

The sonic weaponization of Saydnaya prison

Vocality and the Frankenstein complex

RILM Launches DEUMM Online

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