BOOKS
BOOKS BY SONUS EDIZIONI MUSICALI

SERIES OF PHENOMENOLOGY AND MUSICAL HERMENEUTICS
Sonus Edizioni Musicali features a series of studies of "Phenomenology
and Musical Hermeneutics" directed by
Antonio De Lisa (coordinator), Giacomo Manzoni
Angelo Orcalli, Paolo Petazzi

Angelo Orcalli, Fenomenologia della musica sperimentale, pg. 328, 28,000 Lire
In this book Angelo Orcalli focuses on one problem: is experimental music led by its own aesthetic or since it is characterised by experimentalism can we venture that it is searching for its own aesthetic? As usual when the problem is considered from a phenomenological point of view, the question is much more fruitful than
the answer. An opinion about it can't be therefore expressed. The resulting study, which has been carried out strictly focusing on the connected works, is therefore extensive. Orcalli realizes that there are basically two musical trends considered as ars et scientia: the first one is represented by the logic-formal universe of Iannis Xenakis while the second and opposite one is represented by Gérard Grisey and by the Bergson idea of time as "durée réelle". His study consists then in a painstaking analysis of the means the two composers use to create artistic works that, though performed with modern technique, still express an ancient question posed by music as regards the mystery of time and space (1993).

Paolo Petazzi, Percorsi viennesi e altro Novecento. Pg. 258, 28,000 Lire
The essays included in this book deal with many subjects such as some important 1900 mixes of music and literature in music theatre and in other disciplines. For example we quote Debussy and Mallarmè, Zemlinsky
and Wilde, Bartòk and Balasz, Berg and Büchner, Wedeking and Baudelaire, Sciarrino and Laforgue, uarnieri and Pasolini. Other essays deal with some aspects of the works by Schönberg, Webern and Nono or with the
relationship between Schönberg and Stravinsky and Bach. Written in different periods, these essays offer suggestions, thorough studies and considerations of some of the protagonists of the first and second half of the 20th century. This book represents a sort of musical essay based on the fact that it is necessary to analyse even modernity to fully understand the music of this century. Furthermore, this book is a meaningful example of a kind of criticism that combines measure, wide cultural references and listening skill (1997).