Livio Ticli
University of Huddersfield, Music, Humanities and Media, Department Member
- Renaissance music, Baroque Music, Vocal performance, Medieval and Renaissance Music Theory, Medieval Music, Renaissance Music Theory, and 9 moreEarly Music Pedagogy, Early music and historically informed performance practice, Early Music, Music, Musicology, Gesture, Vocal Music, Historical Musicology & Vocal Pedagogy, and Philologyedit
Mazzetti, Marcello, and Livio Ticli. ‘«I Raggi Della Chiarissima Casa Gambaresca». The Gambaras’ Music Patronage and the Performance Practice in 15th-17th-Century Brescia’. In Music Patronage in Italy, edited by Galliano Ciliberti,... more
Mazzetti, Marcello, and Livio Ticli. ‘«I Raggi Della Chiarissima Casa Gambaresca». The Gambaras’ Music Patronage and the Performance Practice in 15th-17th-Century Brescia’. In Music Patronage in Italy, edited by Galliano Ciliberti, 267–314. Studies on Italian Music History 15. Turnhout: Brepols, 2021.
ABSTRACT. Although for the last three decades music historiography has been reconsidering the role of Brescia within a broader musical landscape, there is still a lack of scholarship on noble patronage within Terraferma’s territories devoid of courts. In a city like Brescia, where a strong aristocracy built up a complex web between religious and civic institutions, the role of music as an instrument of assertion of power should not be underestimated.
The chapter will focus on some members of the patrizio-veneto branch of the Gambara family who surrounded themselves with musical goods à la mode – increasing their instrument and book collections – and with a great number of musicians, who were appointed as family tutors and/or composers of sacred and secular works dedicated to the family. In this complex web, important names for the history of keyboard music come to light such as Fiorenzo Maschera, Costanzo Antegnati and Claudio Merulo. A central role was played by noblewomen of the Maggi and Gambara families choosing and buying instruments, hiring music teachers, organising private challenges and games based on poetry-music-dance synergies.
New archival findings show an extended network between Brescia and other important cities across northern Italy. We will discuss the career of the count Francesco Gambara, who developed his musical and artistic preferences in Brescia by hosting at his palace the Accademia dei Rapiti (1590-1598), and in Bologna by attending the Accademia dei Gelati. These connections shed light on the genesis of important musical works by Banchieri and Bottrigari which Francesco Gambara directly patronised.
The Gambara family is also an excellent case study for investigating how the patronage influenced ecclesiastic institutions such as Santa Maria delle Grazie in Brescia and its music chapel. Thanks to the cardinal Uberto Gambara, the San Girolamo congregation from Fiesole settled in Santa Maria delle Grazie at the beginning of the sixteenth century. The importance of this religious order in Brescia becomes clear if we consider that Pietro Lappi worked there as a kapellmeister and, benefitting from Gambara sponsorship for over thirty years, he could hire some of the most famous musicians of his time such as Cesario Gussago, Giovani Francesco Capello and Giovani Battista Fontana.
Lastly, we will explore the reflection of Gambara patronage on music genres and forms strictly related to Brescia (canzona da sonare and canzonetta) by considering some works of Brescian Canons Regulars Floriano Canale and Giovanni Paolo Caprioli.
BOOK ABSTRACT. During the Renaissance and throughout the Baroque and Classical periods, musical production is linked to patronage. There are essentially two types of patronage. The first relates to political institutions, to public life, and aims to promote musical events that highlight the wealth and power of the patron in the eyes of rival courts and subjects – hence the birth of the court chapels.
The second type belongs to the private sphere, in which the patron, of noble birth and as such in possession of high moral and intellectual virtues, possesses a discriminating artistic sensibility — hence the promotion of chamber music activities, the collecting of rare and valuable musical instruments, and the compilation and collection of musical manuscripts, possibly in deluxe or personalized copies. This musical production system, as described, lasted until the middle of the nineteenth century, when the advent of capitalism and the rise of the bourgeois class caused the decline of patronage. This book focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century.
The papers collected here deal with musical patronage and its relations with contemporary society from different points of view, offering new reserch perspectives.
ABSTRACT. Although for the last three decades music historiography has been reconsidering the role of Brescia within a broader musical landscape, there is still a lack of scholarship on noble patronage within Terraferma’s territories devoid of courts. In a city like Brescia, where a strong aristocracy built up a complex web between religious and civic institutions, the role of music as an instrument of assertion of power should not be underestimated.
The chapter will focus on some members of the patrizio-veneto branch of the Gambara family who surrounded themselves with musical goods à la mode – increasing their instrument and book collections – and with a great number of musicians, who were appointed as family tutors and/or composers of sacred and secular works dedicated to the family. In this complex web, important names for the history of keyboard music come to light such as Fiorenzo Maschera, Costanzo Antegnati and Claudio Merulo. A central role was played by noblewomen of the Maggi and Gambara families choosing and buying instruments, hiring music teachers, organising private challenges and games based on poetry-music-dance synergies.
New archival findings show an extended network between Brescia and other important cities across northern Italy. We will discuss the career of the count Francesco Gambara, who developed his musical and artistic preferences in Brescia by hosting at his palace the Accademia dei Rapiti (1590-1598), and in Bologna by attending the Accademia dei Gelati. These connections shed light on the genesis of important musical works by Banchieri and Bottrigari which Francesco Gambara directly patronised.
The Gambara family is also an excellent case study for investigating how the patronage influenced ecclesiastic institutions such as Santa Maria delle Grazie in Brescia and its music chapel. Thanks to the cardinal Uberto Gambara, the San Girolamo congregation from Fiesole settled in Santa Maria delle Grazie at the beginning of the sixteenth century. The importance of this religious order in Brescia becomes clear if we consider that Pietro Lappi worked there as a kapellmeister and, benefitting from Gambara sponsorship for over thirty years, he could hire some of the most famous musicians of his time such as Cesario Gussago, Giovani Francesco Capello and Giovani Battista Fontana.
Lastly, we will explore the reflection of Gambara patronage on music genres and forms strictly related to Brescia (canzona da sonare and canzonetta) by considering some works of Brescian Canons Regulars Floriano Canale and Giovanni Paolo Caprioli.
BOOK ABSTRACT. During the Renaissance and throughout the Baroque and Classical periods, musical production is linked to patronage. There are essentially two types of patronage. The first relates to political institutions, to public life, and aims to promote musical events that highlight the wealth and power of the patron in the eyes of rival courts and subjects – hence the birth of the court chapels.
The second type belongs to the private sphere, in which the patron, of noble birth and as such in possession of high moral and intellectual virtues, possesses a discriminating artistic sensibility — hence the promotion of chamber music activities, the collecting of rare and valuable musical instruments, and the compilation and collection of musical manuscripts, possibly in deluxe or personalized copies. This musical production system, as described, lasted until the middle of the nineteenth century, when the advent of capitalism and the rise of the bourgeois class caused the decline of patronage. This book focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century.
The papers collected here deal with musical patronage and its relations with contemporary society from different points of view, offering new reserch perspectives.
Research Interests:
For thirty years, studies have been shedding light on the Brescian environment by re-evaluating its role within European music culture. Although twentieth century literature focussed mostly on great composers and important centres,... more
For thirty years, studies have been shedding light on the Brescian environment by re-evaluating its role within European music culture. Although twentieth century literature focussed mostly on great composers and important centres, considering aristocratic circles, patronage and domestic music is essential to fully understand musical contexts in a city such as Brescia, which had no court and was apparently marginal compared to Venice, Florence and Rome.
In light of these considerations, we discuss new archival findings (ASBs, ASC, AGV) and sources in order to investigate the music circles of the Gambara family and the Count Francesco Gambara, as a case study. Since the early sixteenth century, the Gambaras were increasingly playing an important role on the Brescian music scene by purchasing musical instruments (since 1522), recruiting household mu-sic tutors (since 1585) and hosting the Accademia dei Rapiti, which had weekly gatherings with a concert of music (1590-98).
The survey shows that Brescian aristocrats’ musical taste was closely related to patronage and their connections with accademie. Further, the performance of particular vocal-instrumental genres (canzonetta and canzona da sonare) was strongly connected to the music instruments available at home, and this directly influenced the music market through the choices of composers and publishers.
In light of these considerations, we discuss new archival findings (ASBs, ASC, AGV) and sources in order to investigate the music circles of the Gambara family and the Count Francesco Gambara, as a case study. Since the early sixteenth century, the Gambaras were increasingly playing an important role on the Brescian music scene by purchasing musical instruments (since 1522), recruiting household mu-sic tutors (since 1585) and hosting the Accademia dei Rapiti, which had weekly gatherings with a concert of music (1590-98).
The survey shows that Brescian aristocrats’ musical taste was closely related to patronage and their connections with accademie. Further, the performance of particular vocal-instrumental genres (canzonetta and canzona da sonare) was strongly connected to the music instruments available at home, and this directly influenced the music market through the choices of composers and publishers.
Research Interests:
Ticli, Livio. ‘Glossario’. In Organo dei cantori. Prefazione di Marcello Mazzetti. Postfazione di Livio Ticli, by Giovanni Battista Rossi, 199–206. edited by Giovanni Caprioli. Antichi Maestri. Ivrea: LeMus Edizioni, forthcoming.
Research Interests:
Ticli, Livio. ‘L’«Organo de’ cantori» e il lessico, vocale e strumentale di G.B. Rossi’. In Organo dei cantori. Prefazione di Marcello Mazzetti. Postfazione di Livio Ticli, by Giovanni Battista Rossi, 188–98. edited by Giovanni Caprioli.... more
Ticli, Livio. ‘L’«Organo de’ cantori» e il lessico, vocale e strumentale di G.B. Rossi’. In Organo dei cantori. Prefazione di Marcello Mazzetti. Postfazione di Livio Ticli, by Giovanni Battista Rossi, 188–98. edited by Giovanni Caprioli. Antichi Maestri. Ivrea: LeMus Edizioni, forthcoming.
Research Interests:
Mazzetti, Marcello, and Livio Ticli. ‘«Quando de quintis terzisque calabat in unam octavam». Per una storia della prassi esecutiva della musica sacra a Brescia nel tardo Cinquecento’. In Cultura musicale bresciana. Reperti e testimonianze... more
Mazzetti, Marcello, and Livio Ticli. ‘«Quando de quintis terzisque calabat in unam octavam». Per una storia della prassi esecutiva della musica sacra a Brescia nel tardo Cinquecento’. In Cultura musicale bresciana. Reperti e testimonianze di una civiltà, edited by Maria Teresa Rosa Barezzani and Mariella Sala, 223–93. Annali di storia bresciana, 5 (2017). Brescia: Morcelliana, 2017.
Research Interests:
Mazzetti, Marcello, and Livio Ticli. ‘Prassi esecutiva del Canto Fratto in alcuni trattati italiani (secoli XVI-XIX)’. In Il Canto Fratto. Un repertorio da conservare e da studiare. Atti dei convegni tenuti a Radda in Chianti dal 2005 al... more
Mazzetti, Marcello, and Livio Ticli. ‘Prassi esecutiva del Canto Fratto in alcuni trattati italiani (secoli XVI-XIX)’. In Il Canto Fratto. Un repertorio da conservare e da studiare. Atti dei convegni tenuti a Radda in Chianti dal 2005 al 2008, edited by Giacomo Baroffio and Michele Manganelli, 2:89–110. Radda in Chianti: Corale S. Niccolò, 2010.
BOOK ABSTRACT
Questo secondo volume di Atti raccoglie alcuni contributi sul Canto Fratto che riflettono le relazioni tenute negli anni 2005 e 2008, nell VI, VII, VIII e IX convegno di Radda in Chianti.
Quello che ormai per dieci anni è divenuto un appuntamento autunnale, si configura come un momento opportuno d’incontro tra giovani ed anziani musicologi, liturgisti e cantori interessati alla storia della liturgia e del canto liturgico cristiano. Tutti desiderosi di imparare gli uni dagli altri. Con il mettere in comune, in grande libertà, le ultime acquisizioni nella ricerca. Con il proporre sul piano vocale la realizzazione di molte melodie a una o più voci, sottratte al silenzio dell’oblio. Con l’individuare nuove metodologie di studio e di analisi per far uscire allo scoperto un diffusissimo repertorio che rischia di rimanere sommerso nel limbo della produzione grigia.
Appuntamento musicale, quello di Radda, dove si crea e si rinsalda un vincolo di collaborazione che, nel suo piccolo (per il numero dei partecipanti e per la materia trattata) permette di rivivere esperienze analoghe di maggior respiro, quali le giornate di Kopenhagen che hanno segnato la storia della fisica moderna. Sottovoce e senza pretese, Radda tenta di ricuperare alla coscienza della storiografia musicologica ed ecclesiale il capitolo Canto Fratto che ha avuto particolari momenti di attenzione negli stessi incontri in terra di Chianti e nel convegno di Parma –Arezzo. Senza dimentica le ricerche promosse nell’ambito del progetto Raphael e l’esplicito riferimento nei due relativi siti. Al lettore delle pagine che seguono va la simpatia degli organizzatori che con gratitudine pensano all’aiuto fattivo elargito dal Comune di Radda in Chianti, dal Monte de’ Paschi di Siena, dai membri del coro S. Niccolò. Giacomo Baroffio
BOOK ABSTRACT
Questo secondo volume di Atti raccoglie alcuni contributi sul Canto Fratto che riflettono le relazioni tenute negli anni 2005 e 2008, nell VI, VII, VIII e IX convegno di Radda in Chianti.
Quello che ormai per dieci anni è divenuto un appuntamento autunnale, si configura come un momento opportuno d’incontro tra giovani ed anziani musicologi, liturgisti e cantori interessati alla storia della liturgia e del canto liturgico cristiano. Tutti desiderosi di imparare gli uni dagli altri. Con il mettere in comune, in grande libertà, le ultime acquisizioni nella ricerca. Con il proporre sul piano vocale la realizzazione di molte melodie a una o più voci, sottratte al silenzio dell’oblio. Con l’individuare nuove metodologie di studio e di analisi per far uscire allo scoperto un diffusissimo repertorio che rischia di rimanere sommerso nel limbo della produzione grigia.
Appuntamento musicale, quello di Radda, dove si crea e si rinsalda un vincolo di collaborazione che, nel suo piccolo (per il numero dei partecipanti e per la materia trattata) permette di rivivere esperienze analoghe di maggior respiro, quali le giornate di Kopenhagen che hanno segnato la storia della fisica moderna. Sottovoce e senza pretese, Radda tenta di ricuperare alla coscienza della storiografia musicologica ed ecclesiale il capitolo Canto Fratto che ha avuto particolari momenti di attenzione negli stessi incontri in terra di Chianti e nel convegno di Parma –Arezzo. Senza dimentica le ricerche promosse nell’ambito del progetto Raphael e l’esplicito riferimento nei due relativi siti. Al lettore delle pagine che seguono va la simpatia degli organizzatori che con gratitudine pensano all’aiuto fattivo elargito dal Comune di Radda in Chianti, dal Monte de’ Paschi di Siena, dai membri del coro S. Niccolò. Giacomo Baroffio
Research Interests:
Ticli, Livio. ‘Cantanti, strumentisti e improvvisatori. La poesia in musica e l’«esecuzione integrata» fra Cinque e Seicento’. Il libro di rime tra secondo Cinquecento e primo Seicento, Italique. Poésie italienne de la Renaissance, 24... more
Ticli, Livio. ‘Cantanti, strumentisti e improvvisatori. La poesia in musica e l’«esecuzione integrata» fra Cinque e Seicento’. Il libro di rime tra secondo Cinquecento e primo Seicento, Italique. Poésie italienne de la Renaissance, 24 (2021): 157–90. https://doi.org/10.4000/italique.871.
Tratto dall'introduzione al volume a cura di Valeria di Iasio e Franco Tomasi:
Il saggio di Livio Ticli è dedicato al multiforme tema degli aspetti performativi che accomunano poesia e musica, nei riguardi dei quali il Cinquecento rappresenta ancora una volta una specola privilegiata, sia dal punto di vista storico che dal punto di vista della prassi esecutiva. Con la sua ampia analisi lo studioso intende dunque sia problematizzare il fenomeno della performance poetico-musicale, sia proporre un diverso paradigma utile a comprendere la complessa figura del virtuoso nell'epoca tardo rinascimentale. Viene così preso in esame un eterogeneo insieme di fonti che, comprendendo poesie, cronache, trattati e repertori musicali, consente di definire le componenti espressive della performance e l'insieme delle competenze - coreutiche, improvvisatorie, melico-poetiche, attoriali e oratorie - dei virtuosi rinascimentali. I casi di studio attraversati concernono di volta in volta specifici ambienti, come quello veneziano (in cui rientrano personaggi come Irene di Spilimbergo, Gaspara Stampa e Veronica Franco), personaggi singolari (come Tarquinia Molza, Laura Peperara e Giulio Caccini) e pratiche rappresentative (come il 'concerto segreto', l'improvvisazione, l'intonazione poetica al liuto), all'interno delle quali l'esecuzione musicale e attoriale assume i contorni di un vero e proprio atto esegetico nei confronti del testo. A coronamento di questo quadro critico lo studioso, oltre ad intavolare una interessante riflessione sulla modernità e sulla percezione della figura dell'artista 'eclettico', propone nuovo paradigma con cui descrivere e riattualizzare il fenomeno complesso della performance poetico musicale-coreutica («esecuzione integrata»).
Tratto dall'introduzione al volume a cura di Valeria di Iasio e Franco Tomasi:
Il saggio di Livio Ticli è dedicato al multiforme tema degli aspetti performativi che accomunano poesia e musica, nei riguardi dei quali il Cinquecento rappresenta ancora una volta una specola privilegiata, sia dal punto di vista storico che dal punto di vista della prassi esecutiva. Con la sua ampia analisi lo studioso intende dunque sia problematizzare il fenomeno della performance poetico-musicale, sia proporre un diverso paradigma utile a comprendere la complessa figura del virtuoso nell'epoca tardo rinascimentale. Viene così preso in esame un eterogeneo insieme di fonti che, comprendendo poesie, cronache, trattati e repertori musicali, consente di definire le componenti espressive della performance e l'insieme delle competenze - coreutiche, improvvisatorie, melico-poetiche, attoriali e oratorie - dei virtuosi rinascimentali. I casi di studio attraversati concernono di volta in volta specifici ambienti, come quello veneziano (in cui rientrano personaggi come Irene di Spilimbergo, Gaspara Stampa e Veronica Franco), personaggi singolari (come Tarquinia Molza, Laura Peperara e Giulio Caccini) e pratiche rappresentative (come il 'concerto segreto', l'improvvisazione, l'intonazione poetica al liuto), all'interno delle quali l'esecuzione musicale e attoriale assume i contorni di un vero e proprio atto esegetico nei confronti del testo. A coronamento di questo quadro critico lo studioso, oltre ad intavolare una interessante riflessione sulla modernità e sulla percezione della figura dell'artista 'eclettico', propone nuovo paradigma con cui descrivere e riattualizzare il fenomeno complesso della performance poetico musicale-coreutica («esecuzione integrata»).
Research Interests:
Ticli, Livio. ‘Peering into the 19th-Century Tradition of the Miserere: Traces of the Italian Falsobordone. Part 2’, Rivista Internazionale di Musica Sacra, I–II, no. 40 (2019): 349–96.
Research Interests:
Ticli, Livio. ‘Peering into the 19th-Century Tradition of the Miserere: The Music Collection of the Basilica della B.V. delle Grazie in Brescia. Part 1’, Rivista Internazionale di Musica Sacra, I–II, no. 39 (2018): 321–68.
Research Interests:
Mazzetti, Marcello, and Livio Ticli. ‘Le Sacræ Cantiones a 4 voci di Floriano Canale (1581)’. Edited by Maria Teresa Rosa Barezzani, Antonio Delfino, and Rodobaldo Tibaldi. Rinascimento musicale bresciano. Studi sulla musica e la cultura... more
Mazzetti, Marcello, and Livio Ticli. ‘Le Sacræ Cantiones a 4 voci di Floriano Canale (1581)’. Edited by Maria Teresa Rosa Barezzani, Antonio Delfino, and Rodobaldo Tibaldi. Rinascimento musicale bresciano. Studi sulla musica e la cultura a Brescia tra il Quattrocento e il Seicento, Philomusica on-line - Journal of the Musicology and Cultural Heritage Department, University of Pavia, Italy, 15, no. 1 (2016): 701–58.
–––ENGLISH. This article aims to continue Oscar Mischiati’s studies (1985, 1991) about the Congregation of Canonici Regulares Ss. Salvatoris, analysing four-voice Sacrae Cantiones (1581) by Floriano Canale. Through a Textual Criticism approach, we point out the essential role which this collection plays within Vincenzo Sabbio’s production. By studying and drawing comparisons between paratexts, we contextualise the print within the Congregation’s environment and the coeval music production from Brescia, as well. Textual sources, stylistic features and composition techniques employed – which we discuss extensively in preparation for the critical edition of Canale’s opera omnia –, show the importance to further investigate the post-Tridentine Motet before the Basso Continuo Age.
–––ITALIANO. Questo contributo intende portare avanti gli studi di Oscar Mischiati (1985, 1991) sulla Congregazione dei Canonici Regolari del Ss. Salvatore partendo dall';analisi delle Sacrae Cantiones a 4 voci (1581) di Floriano Canale. L'analisi bibliografica ha permesso di rilevare, a livello quantitativo e qualitativo, il ruolo particolare della raccolta all'interno della produzione di Vincenzo Sabbio. Allo stesso modo, lo studio dei paratesti ha offerto la possibilità di contestualizzare la stampa sia nel contesto particolare della Congregazione sia nella più ampia produzione musicale bresciana. Per quanto concerne le fonti testuali, le caratteristiche stilistiche e le tecniche compositive impiegate nella raccolta, di cui si dà ampio resoconto in previsione dell'edizione critica dell'intero corpus canaliano, emerge l'assoluta necessità di una indagine a più ampio respiro del panorama mottettistico post-tridentino prima dell'avvento del basso continuo.
–––ENGLISH. This article aims to continue Oscar Mischiati’s studies (1985, 1991) about the Congregation of Canonici Regulares Ss. Salvatoris, analysing four-voice Sacrae Cantiones (1581) by Floriano Canale. Through a Textual Criticism approach, we point out the essential role which this collection plays within Vincenzo Sabbio’s production. By studying and drawing comparisons between paratexts, we contextualise the print within the Congregation’s environment and the coeval music production from Brescia, as well. Textual sources, stylistic features and composition techniques employed – which we discuss extensively in preparation for the critical edition of Canale’s opera omnia –, show the importance to further investigate the post-Tridentine Motet before the Basso Continuo Age.
–––ITALIANO. Questo contributo intende portare avanti gli studi di Oscar Mischiati (1985, 1991) sulla Congregazione dei Canonici Regolari del Ss. Salvatore partendo dall';analisi delle Sacrae Cantiones a 4 voci (1581) di Floriano Canale. L'analisi bibliografica ha permesso di rilevare, a livello quantitativo e qualitativo, il ruolo particolare della raccolta all'interno della produzione di Vincenzo Sabbio. Allo stesso modo, lo studio dei paratesti ha offerto la possibilità di contestualizzare la stampa sia nel contesto particolare della Congregazione sia nella più ampia produzione musicale bresciana. Per quanto concerne le fonti testuali, le caratteristiche stilistiche e le tecniche compositive impiegate nella raccolta, di cui si dà ampio resoconto in previsione dell'edizione critica dell'intero corpus canaliano, emerge l'assoluta necessità di una indagine a più ampio respiro del panorama mottettistico post-tridentino prima dell'avvento del basso continuo.
Research Interests:
It has been 30 years since our late lamented Oscar Mischiati highlighted in his studies the importance of carrying on with research on music and musical context of Ss. Salvatore’s Canons Regular. Responding to his invitation, our paper... more
It has been 30 years since our late lamented Oscar Mischiati highlighted in his studies the importance of carrying on with research on music and musical context of Ss. Salvatore’s Canons Regular. Responding to his invitation, our paper has:
1.1) Filled the still existing bio- and bibliographical gap (e.g. the Venetian period of education between 1559 and 1563) about the multifaceted figure of Floriano Canale (1541?-1616) – wrongly considered a minor composer, comapred to his contemporaries from Brescia and known almost exclusively from his instrumental work Canzoni da sonare a 4, et 8 voci;
1.2) Analyzed F. Canale’s motet-production through textual, stylistic and liturgical peculiarities of Sacrae Cantiones quatuor vocibus decantandae (1581) and performance practice issues with relation to first motet collections with Bassus pro organo.
2) In the light of Canons Regular patronage, so evident in the mid-16th cent. Venice – reconsidered the figure of F. Canale and other musicians of the Congregation thanks to a systematic review of their artistic and musical productions through the new Corpus Canonicorum Regularium Ss. Salvatoris: a publishing project under the auspices of the Committee for the Celebration of the 4th Centenary of F. Canale’s death (2016, Brescia, Italy) expecting to arouse intense interest and gathering new contributions among scholars.
*
After Mischiati’s study, we are carrying out research on Floriano Canale and working on the critical edition of his Sacrae Cantiones which will open a new collection named Corpus Canonicorum Regularium Ss. Salvatoris. This article will shed some light on different issues about Canale’s biography, late 16th cent. motets performance practice and the role of Canons Regular within the musical landscape of northern Italy between 16th and 17th century.
1.1) Filled the still existing bio- and bibliographical gap (e.g. the Venetian period of education between 1559 and 1563) about the multifaceted figure of Floriano Canale (1541?-1616) – wrongly considered a minor composer, comapred to his contemporaries from Brescia and known almost exclusively from his instrumental work Canzoni da sonare a 4, et 8 voci;
1.2) Analyzed F. Canale’s motet-production through textual, stylistic and liturgical peculiarities of Sacrae Cantiones quatuor vocibus decantandae (1581) and performance practice issues with relation to first motet collections with Bassus pro organo.
2) In the light of Canons Regular patronage, so evident in the mid-16th cent. Venice – reconsidered the figure of F. Canale and other musicians of the Congregation thanks to a systematic review of their artistic and musical productions through the new Corpus Canonicorum Regularium Ss. Salvatoris: a publishing project under the auspices of the Committee for the Celebration of the 4th Centenary of F. Canale’s death (2016, Brescia, Italy) expecting to arouse intense interest and gathering new contributions among scholars.
*
After Mischiati’s study, we are carrying out research on Floriano Canale and working on the critical edition of his Sacrae Cantiones which will open a new collection named Corpus Canonicorum Regularium Ss. Salvatoris. This article will shed some light on different issues about Canale’s biography, late 16th cent. motets performance practice and the role of Canons Regular within the musical landscape of northern Italy between 16th and 17th century.
Research Interests: Baroque Music, Renaissance music, Religious congregations and monastic orders, Adrian Willaert, Organ Music, and 13 moreHistory of Regular Canons, Music Theory and Music Analysis, Italian late medieval and Renaissance devotional art, ritual, and patronage, 16th century Venice, Council of Trent, Motets, Brescia, San Salvador Venice, History of Liturgy, History of Brescia, Vittore Carpaccio, Renaissance and Baroque Music, and Adriaen Willaert and the Late Flemish Polyphonic School
Livio Ticli (University of Huddersfield, Palma Choralis, Early Music Department ‘Città di Brescia’), «Basso Continuo» as a «Concertato» Practice: Improvisation, Ornamentation and Counterpoint. Basso continuo owes its great success to... more
Livio Ticli (University of Huddersfield, Palma Choralis, Early Music Department ‘Città di Brescia’), «Basso Continuo» as a «Concertato» Practice: Improvisation, Ornamentation and Counterpoint.
Basso continuo owes its great success to many factors such as its extreme versatility, which stands out as to performance and editorial needs. The written forms, which the accompanying practices could take between the sixteenth and seventeenth centuries, are indeed abundant — from scores (more or less complete) to intabulations, alphabetic notation (e.g. in the case of the chitarrina), and even the simple bass line (more or less ciphered). Interestingly, these practices could be employed by both enthusiasts and professionals, clearly according to a different degree of music skills. The context could also influence the performance. Continuo players could accompany a voice or an instrument, but more often they sang to their instrument as in the case of ‘integrated performances’ (Ticli 2020), or they performed along with other multi-skilled musicians — singingplaying in concerto either music works that formally did not contemplate any basso continuo part, or later pieces that usually included a part-book of Bassus generalis. Musicology recently took a new interest in early basso continuo practices by acknowledging that contrapuntal and chordal elements were features already to be found in the late 1580s, occasionally bringing up issues specifically on Del sonare sopra ’l basso con tutti li stromenti e dell’uso loro nel conserto (1607) by Agostino Agazzari (Nuti 2007, Dragosits 2012, Campagne 2014, De Goede 2014, Rotem 2019). While some scholars refers to Agazzari’s practice as a new and free kind of accompaniment, some others tend to highlight the relation between this practice and intabulations/written-out examples. Here, the concept of playing the thorough bass in concerto is explored as a series of complex techniques, which display elements of improvisation, ornamentation and counterpoint at the same time. The whole spectrum of possibilities will be assessed for both bassisti — so severely criticised by Adriano Banchieri and Girolamo Diruta — and for those expert musicians, who had skills in counterpoint and employed intabulations/spartiture. The second category will be the specific focus of this contribution, starting from Giovanni Maria Artusi’s account of what he witnessed in Ferrara and Ercole Bottrigari’s definition of concert as a dialogue. In particular, Anthony Newcomb (1978) argued that singing to one’s own instrument is a concertato performance in itself, and Laurie Stras (2018) showed in her in-depth work on the Concerto segreto and Ferrarese performance contexts that are no clear boundaries between concerted music and the so-called traditional polyphonic repertoire. By reconsidering Newcomb and Stras’ conclusions and giving practical examples from treatises and repertoires of different instruments, this paper tests hypotheses in the field and examines in detail the huge variety of practices presented by Agazzari.
Basso continuo owes its great success to many factors such as its extreme versatility, which stands out as to performance and editorial needs. The written forms, which the accompanying practices could take between the sixteenth and seventeenth centuries, are indeed abundant — from scores (more or less complete) to intabulations, alphabetic notation (e.g. in the case of the chitarrina), and even the simple bass line (more or less ciphered). Interestingly, these practices could be employed by both enthusiasts and professionals, clearly according to a different degree of music skills. The context could also influence the performance. Continuo players could accompany a voice or an instrument, but more often they sang to their instrument as in the case of ‘integrated performances’ (Ticli 2020), or they performed along with other multi-skilled musicians — singingplaying in concerto either music works that formally did not contemplate any basso continuo part, or later pieces that usually included a part-book of Bassus generalis. Musicology recently took a new interest in early basso continuo practices by acknowledging that contrapuntal and chordal elements were features already to be found in the late 1580s, occasionally bringing up issues specifically on Del sonare sopra ’l basso con tutti li stromenti e dell’uso loro nel conserto (1607) by Agostino Agazzari (Nuti 2007, Dragosits 2012, Campagne 2014, De Goede 2014, Rotem 2019). While some scholars refers to Agazzari’s practice as a new and free kind of accompaniment, some others tend to highlight the relation between this practice and intabulations/written-out examples. Here, the concept of playing the thorough bass in concerto is explored as a series of complex techniques, which display elements of improvisation, ornamentation and counterpoint at the same time. The whole spectrum of possibilities will be assessed for both bassisti — so severely criticised by Adriano Banchieri and Girolamo Diruta — and for those expert musicians, who had skills in counterpoint and employed intabulations/spartiture. The second category will be the specific focus of this contribution, starting from Giovanni Maria Artusi’s account of what he witnessed in Ferrara and Ercole Bottrigari’s definition of concert as a dialogue. In particular, Anthony Newcomb (1978) argued that singing to one’s own instrument is a concertato performance in itself, and Laurie Stras (2018) showed in her in-depth work on the Concerto segreto and Ferrarese performance contexts that are no clear boundaries between concerted music and the so-called traditional polyphonic repertoire. By reconsidering Newcomb and Stras’ conclusions and giving practical examples from treatises and repertoires of different instruments, this paper tests hypotheses in the field and examines in detail the huge variety of practices presented by Agazzari.
Research Interests:
International conference - Polifonie Journal Singing polyphony from Josquin to Philippe de Monte, Arezzo, Sala Vasariana, 25-27 agosto 2021 Organising Committee: Cecilia Luzzi (Fondazione Guido d'Arezzo), Stefano Mengozzi (University of... more
International conference - Polifonie Journal
Singing polyphony from Josquin to Philippe de Monte, Arezzo, Sala Vasariana, 25-27 agosto 2021
Organising Committee: Cecilia Luzzi (Fondazione Guido d'Arezzo), Stefano Mengozzi (University of Michigan) e Arnaldo Morelli (Università dell'Aquila)
Scientific Committee: David Burn (KU Leuven), Philippe Canguilhem (CESR - Université de Tours), Mauro Casadei Turroni Monti (Università di Modena-Reggio Emilia), Camilla Cavicchi (CESR - Université de Tours), Cesarino Ruini (Università di Bologna), Thomas Schmidt (University of Manchester)
Singing polyphony from Josquin to Philippe de Monte, Arezzo, Sala Vasariana, 25-27 agosto 2021
Organising Committee: Cecilia Luzzi (Fondazione Guido d'Arezzo), Stefano Mengozzi (University of Michigan) e Arnaldo Morelli (Università dell'Aquila)
Scientific Committee: David Burn (KU Leuven), Philippe Canguilhem (CESR - Université de Tours), Mauro Casadei Turroni Monti (Università di Modena-Reggio Emilia), Camilla Cavicchi (CESR - Université de Tours), Cesarino Ruini (Università di Bologna), Thomas Schmidt (University of Manchester)
Research Interests:
Research Interests:
Within Panel Discussion: The Presentation of the Results of the Reconstruction of Missing Parts in Performance, Recording, and Critical Edition Niels Berentsen; Philippe Canguilhem (Université de Tours); Richard Freedman; Marcello... more
Within Panel Discussion: The Presentation of the Results of the Reconstruction of Missing Parts in Performance, Recording, and Critical Edition
Niels Berentsen; Philippe Canguilhem (Université de Tours);
Richard Freedman; Marcello Mazzetti; Jessie Ann Owens;
Dario Poljak; Livio Ticli; Marina Toffetti.
Niels Berentsen; Philippe Canguilhem (Université de Tours);
Richard Freedman; Marcello Mazzetti; Jessie Ann Owens;
Dario Poljak; Livio Ticli; Marina Toffetti.
Research Interests:
Research Interests:
Research Interests: Improvisation, Baroque Music, 16th Century Counterpoint, Renaissance music, Polyphony, and 11 morePerformance Practice, Instrumental Music, Ornamentation (Baroque Music), Performance Practice (Music), Ornamentation, Vocal Polyphony, Vocal performance, 16th-Century Polyphony, Concertato Music, Early Vocal Performance Practice, and Renaissance and Baroque Music
Research Interests:
Storia e forme del libro di rime tra secondo Cinquecento e primo Seicento. Università degli Studi di Padova, 28-29 novembre 2019 Comitato scientifico: Franco Tomasi, Valeria Di Iasio Most of the material presented was published in... more
Storia e forme del libro di rime tra secondo Cinquecento e primo Seicento. Università degli Studi di Padova, 28-29 novembre 2019
Comitato scientifico: Franco Tomasi, Valeria Di Iasio
Most of the material presented was published in
https://www.academia.edu/73140777/Cantanti_strumentisti_e_improvvisatori_La_poesia_in_musica_e_l_esecuzione_integrata_fra_Cinque_e_Seicento
Comitato scientifico: Franco Tomasi, Valeria Di Iasio
Most of the material presented was published in
https://www.academia.edu/73140777/Cantanti_strumentisti_e_improvvisatori_La_poesia_in_musica_e_l_esecuzione_integrata_fra_Cinque_e_Seicento
Research Interests: Baroque Music, Renaissance music, Polyphony, Performance Practice, Instrumental Music, and 11 moreLute Music, Vocal performance, Poetry and Music, Renaissance lute music, Italian madrigal of late 16th century, Poetry Music, Madrigals, Basso Continuo, Renaissance and Baroque Music, Canzonetta, and Intabulations
XXIII Colloquio di Musicologia del «Saggiatore musicale», Università di Bologna, 22-24 novembre 2019
Research Interests:
Workshop at the Conservatorio "A. Pedrollo" di Vicenza
Organised by Università degli Studi di Padova - Prof. Marina Toffetti
Reconstruction of incomplete Madrigals and Canzonas by Costanzo Antegnati
Organised by Università degli Studi di Padova - Prof. Marina Toffetti
Reconstruction of incomplete Madrigals and Canzonas by Costanzo Antegnati
Research Interests:
https://www.luigiboccherini.org/2021/11/15/early-music-pedagogy-then-and-now-from-the-classical-antiquity-to-the-renaissance/ The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Palma Choralis® Research Group are pleased to... more
https://www.luigiboccherini.org/2021/11/15/early-music-pedagogy-then-and-now-from-the-classical-antiquity-to-the-renaissance/
The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Palma Choralis® Research Group are pleased to invite submissions of proposals for the symposium «Early Music Pedagogy Then and Now. From the Classical Antiquity to the Renaissance», to be held in Brescia from 9 to 11 December 2022.
In the past few decades, scholars have increasingly shown an interest in investigating historical sources in relation to music teaching, exploring new ground for an extended discussion on teaching practices of the past. Similarly, the early music education of today is fostering a fruitful dialogue within the scholarly community. Within this strand of research, a central role is played by the re-evaluation of mnemonics, the reconsideration of theoretical sources, composition and analysis of music notation as descriptive and non-prescriptive elements.
Both practitioners’ and scholars’ perspectives become crucial to rethink contents and methodology of early music pedagogy because investigating historical sources through a pedagogical lens reveals the necessary knowledge to teach a specific topic or a music skill. As recent studies suggest that recreating historical methods of improvisation is a form of reverse engineering, performance can be considered as both an embodied knowledge and a learning process through practice. Indeed, researching historical pedagogy can inform modern pedagogy and practice, just as modern pedagogy and practice can inform historical research.
The conference explores the multicultural mosaic of early music education, by pinpointing any affinity or difference in the way music was taught and learnt across Europe (Western and Eastern) and the Mediterranean area. This perspective covers Classical Antiquity, the Middle Ages and the Renaissance (until 1650) and the subject of investigation includes chant, vocal/instrumental and sacred/secular music, dance, and theatre.
The symposium is open to musicologists, performers, and music teachers and aims to reassess the role of music pedagogy as a bridge between historical research and performance practice, applying this discussion to today’s challenges of music education and reshaping modern pedagogical reflection.
Topics:
The relationship between music theory and education in writings, treatises, non-musical sources
Notation, mnemonics and other pedagogical tools as facilitators of learning and oral transmission of music (e.g. melismas, echemata, etc.)
Contexts, roles and duties in educational institutions of the past
Learning process of dance, gestures and instrumental music and the relationship between orality and writing
Pedagogical systems for learning, reading and improvising music (e.g. Solmisation, Guidonian hand, etc.)
Specific educational resources and projects focussing or employing historical precepts applied to today’s music education and/or performance
Reading early music today in educational contexts: original notation vs. modern scores
How the education-performance-market triangle fosters/embeds the research on historical music pedagogy
Collective aural memory and pedagogy
Music pedagogy and enculturation
Programme Committee:
Isaac Alonso de Molina (Koninklijk Conservatorium Den Haag)
Elsa De Luca (CESEM – FCSH, NOVA University of Lisbon)
Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
Marcello Mazzetti (University of Huddersfield UK, Istituto Italiano di Musica Antica, Palma Choralis)
Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
Livio Ticli (University of Huddersfield UK, Istituto Italiano di Musica Antica, Palma Choralis)
Keynote Speakers:
Barnabé Janin (Conservatoire National Supérieur de Musique et de Danse de Lyon)
Laurie Stras (University of Huddersfield, UK)
The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Palma Choralis® Research Group are pleased to invite submissions of proposals for the symposium «Early Music Pedagogy Then and Now. From the Classical Antiquity to the Renaissance», to be held in Brescia from 9 to 11 December 2022.
In the past few decades, scholars have increasingly shown an interest in investigating historical sources in relation to music teaching, exploring new ground for an extended discussion on teaching practices of the past. Similarly, the early music education of today is fostering a fruitful dialogue within the scholarly community. Within this strand of research, a central role is played by the re-evaluation of mnemonics, the reconsideration of theoretical sources, composition and analysis of music notation as descriptive and non-prescriptive elements.
Both practitioners’ and scholars’ perspectives become crucial to rethink contents and methodology of early music pedagogy because investigating historical sources through a pedagogical lens reveals the necessary knowledge to teach a specific topic or a music skill. As recent studies suggest that recreating historical methods of improvisation is a form of reverse engineering, performance can be considered as both an embodied knowledge and a learning process through practice. Indeed, researching historical pedagogy can inform modern pedagogy and practice, just as modern pedagogy and practice can inform historical research.
The conference explores the multicultural mosaic of early music education, by pinpointing any affinity or difference in the way music was taught and learnt across Europe (Western and Eastern) and the Mediterranean area. This perspective covers Classical Antiquity, the Middle Ages and the Renaissance (until 1650) and the subject of investigation includes chant, vocal/instrumental and sacred/secular music, dance, and theatre.
The symposium is open to musicologists, performers, and music teachers and aims to reassess the role of music pedagogy as a bridge between historical research and performance practice, applying this discussion to today’s challenges of music education and reshaping modern pedagogical reflection.
Topics:
The relationship between music theory and education in writings, treatises, non-musical sources
Notation, mnemonics and other pedagogical tools as facilitators of learning and oral transmission of music (e.g. melismas, echemata, etc.)
Contexts, roles and duties in educational institutions of the past
Learning process of dance, gestures and instrumental music and the relationship between orality and writing
Pedagogical systems for learning, reading and improvising music (e.g. Solmisation, Guidonian hand, etc.)
Specific educational resources and projects focussing or employing historical precepts applied to today’s music education and/or performance
Reading early music today in educational contexts: original notation vs. modern scores
How the education-performance-market triangle fosters/embeds the research on historical music pedagogy
Collective aural memory and pedagogy
Music pedagogy and enculturation
Programme Committee:
Isaac Alonso de Molina (Koninklijk Conservatorium Den Haag)
Elsa De Luca (CESEM – FCSH, NOVA University of Lisbon)
Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
Marcello Mazzetti (University of Huddersfield UK, Istituto Italiano di Musica Antica, Palma Choralis)
Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
Livio Ticli (University of Huddersfield UK, Istituto Italiano di Musica Antica, Palma Choralis)
Keynote Speakers:
Barnabé Janin (Conservatoire National Supérieur de Musique et de Danse de Lyon)
Laurie Stras (University of Huddersfield, UK)
Research Interests:
The Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Research Group Palma Choralis® and the Dipartimento di Musica Antica ‘Città di Brescia’ – are pleased to invite submissions of proposals for the symposium «The Figured Bass... more
The Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Research Group Palma Choralis® and the Dipartimento di Musica Antica ‘Città di Brescia’ – are pleased to invite submissions of proposals for the symposium «The Figured Bass Accompaniment in Europe», to be held from 10 to 12 September 2021.
The basso continuo phenomenon, as a practice for accompanying one or more vocal and/or instrumental lines, spread throughout Europe and colonies from the end of the sixteenth century to the threshold of the nineteenth century, including several stylistic and notational peculiarities, according to different contexts and repertoires.
As a halfway between composition and performance, which can integrate and/or substitute other notational systems, continuo was born as a shorthand of a contrapuntal texture that was extemporaneously reconstructed by performers. Nevertheless, continuo practice and partimento from the late eighteenth century became also pedagogical tools essential to the composition training.
The conference, open to musicologists, performers, and music teachers intends to explore developments, stylistic features, similarities and idiosyncrasies of the figured bass across different geographical areas and periods of time. We investigate any kind of sources, documentation, music instruments (e.g. organological features, line-ups, doublings) as well as performative contexts, both professional (e.g. theatre, church, court) and amateur (e.g. domestic enjoyment of certain social classes).
Special attention is paid to improvisation issues and the complexity of cognitive resources and mental representations related to perception/imagination of the musical discourse. Furthermore, as continuo notation turns out to be particularly versatile, it leaves it open to a broad spectrum of possibilities (e.g. from tasto solo to big chords, or instrumental gestures) to be used by performers as a means for musical expression and creativity.
Topics:
New discoveries and evidence from treatises, musical and non-musical sources
Stylistic features and performance practice issues of accompaniment – solo, ensemble and integrated performance (self-accompaniment)
Basso continuo and opera
Music instruments: influence of organological peculiarities on continuo style
Accompaniment notation and its use in continuo instruments (figures, alphabet letters, intabulation)
Written-out accompaniments and intavolature, and their relationship with actual performance practice
Liturgical chant accompaniment: cantus planus and cantus fractus as unfigured and figured bass
The music and social contexts: differences between practices amongst amateurs/beginners and professionals
Pinnacle and decline: partimenti and the compositional training
Training: performance skills, improvisation and aural teachings
Composer, performer and improvisation: the relationship between basso continuo practice and res facta
Programme Committee:
Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
Marcello Mazzetti (Palma Choralis, Early Music Department “Città di Brescia”)
Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
Livio Ticli (Palma Choralis, Early Music Department “Città di Brescia”)
Keynote Speakers:
Thérèse de Goede (Conservatorium van Amsterdam, NL)
Thomas Christensen (University of Chicago, USA)
The basso continuo phenomenon, as a practice for accompanying one or more vocal and/or instrumental lines, spread throughout Europe and colonies from the end of the sixteenth century to the threshold of the nineteenth century, including several stylistic and notational peculiarities, according to different contexts and repertoires.
As a halfway between composition and performance, which can integrate and/or substitute other notational systems, continuo was born as a shorthand of a contrapuntal texture that was extemporaneously reconstructed by performers. Nevertheless, continuo practice and partimento from the late eighteenth century became also pedagogical tools essential to the composition training.
The conference, open to musicologists, performers, and music teachers intends to explore developments, stylistic features, similarities and idiosyncrasies of the figured bass across different geographical areas and periods of time. We investigate any kind of sources, documentation, music instruments (e.g. organological features, line-ups, doublings) as well as performative contexts, both professional (e.g. theatre, church, court) and amateur (e.g. domestic enjoyment of certain social classes).
Special attention is paid to improvisation issues and the complexity of cognitive resources and mental representations related to perception/imagination of the musical discourse. Furthermore, as continuo notation turns out to be particularly versatile, it leaves it open to a broad spectrum of possibilities (e.g. from tasto solo to big chords, or instrumental gestures) to be used by performers as a means for musical expression and creativity.
Topics:
New discoveries and evidence from treatises, musical and non-musical sources
Stylistic features and performance practice issues of accompaniment – solo, ensemble and integrated performance (self-accompaniment)
Basso continuo and opera
Music instruments: influence of organological peculiarities on continuo style
Accompaniment notation and its use in continuo instruments (figures, alphabet letters, intabulation)
Written-out accompaniments and intavolature, and their relationship with actual performance practice
Liturgical chant accompaniment: cantus planus and cantus fractus as unfigured and figured bass
The music and social contexts: differences between practices amongst amateurs/beginners and professionals
Pinnacle and decline: partimenti and the compositional training
Training: performance skills, improvisation and aural teachings
Composer, performer and improvisation: the relationship between basso continuo practice and res facta
Programme Committee:
Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
Marcello Mazzetti (Palma Choralis, Early Music Department “Città di Brescia”)
Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
Livio Ticli (Palma Choralis, Early Music Department “Città di Brescia”)
Keynote Speakers:
Thérèse de Goede (Conservatorium van Amsterdam, NL)
Thomas Christensen (University of Chicago, USA)
Research Interests:
The Figured Bass Accompaniment in Europe – Centro Studi Opera Omnia Luigi Boccherini (Lucca), Early Music Department “Città di Brescia” (Italy), Palma Choralis · Research Group & Early Music Ensemble. Virtual Conference 9th-12th... more
The Figured Bass Accompaniment in Europe – Centro Studi Opera Omnia Luigi Boccherini (Lucca), Early Music Department “Città di Brescia” (Italy), Palma Choralis · Research Group & Early Music Ensemble. Virtual Conference 9th-12th September 2021
REVIEW BY LIVIO TICLI (UNIVERSITY OF HUDDERSFIELD)
REVIEW BY LIVIO TICLI (UNIVERSITY OF HUDDERSFIELD)