In a recent think piece for the new-music media site I Care If You Listen, the London-based writer and director Jessica Bailey advocates for accessible notation practices in classical-music pedagogy (‘Earned, Not Learned: How Classical Music Notation is Not Built for Neurodivergent Students’ https://icareifyoulisten.com/2024/06/classical-music-notation/ (18 June 2024)). As an avid pianist with Nonverbal Learning Disorder, Bailey finds numbers and symbols more challenging than words and letters, and she recounts how forbidding conventional music notation was for her. Bailey developed her own workarounds, but advanced music study was essentially off limits. She now wonders what doors might be opened to her and other neurodivergent musicians through even small adjustments to notation systems. Drawing a connection between the accessible pre-grade piano-method books of her childhood and modern digital solutions like Lime Lighter and the Odla tactile console, Bailey ponders how notation technologies might help us ‘reimagine and re-programme the sheet music model’.

Comic opera from the first half of the eighteenth century borrowed many of the structural and formal features of the dramma per musica. The arias of early comic opera were almost exclusively set in da capo form, which had become ubiquitous near the end of the seventeenth century. Although commentators and librettists frequently lamented the banality of this inherited convention, it persisted until about 1750, when, over the course of approximately a decade, it was replaced by a much more flexible approach to the formal organization of arias. This article investigates that period of experimentation and identifies the individuals who drove the innovations. I argue that two singers in particular, Francesco Baglioni and Serafina Penna, provided the impetus to break away from da capo form. Their desire for arias that displayed their dramatic and musical abilities to the greatest advantage led the librettist Carlo Goldoni to provide them with textual prompts that required new approaches to musical form. By emphasizing the connection between singers and librettists, I draw attention to the collaborative nature of operatic production. This approach also demonstrates the ways in which musical form, usually considered the purview of the composer, is in fact rooted in the features of the libretto and inspired by the inclinations and abilities of singers.

Music historiography generally describes opera seria as an archetypal genre built on two premises: role typology and the number and placement of arias. Approaches from the perspective of theatre scholarship (Gilles de Van) and musical dramaturgy (Dahlhaus, Bianconi, Feldman, Heller), however, highlight the importance of the constellation of characters and the complementarity of actions in the construction of the drama. Adopting the latter perspective, this article explores the distinctive characteristics of the twenty-six dramas written by Metastasio, considering the singular constellations found in each of them (in terms of status, kinship and emotions) as well as the convenienze teatrali imposed by the business of opera. We show how Metastasio built a twofold dramaturgy in his dramas to meet both the expectations of dramatic literature and the requirements of musical expression of emotions. This explains why the primo uomo (Poro) could be the antagonist of the hero (Alessandro) in Metastasio's Alessandro nell'Indie.

After its launch on 30 November 2022 ChatGPT (or Chat Generative Pre-Trained Transformer) quickly became the fastest-growing app in history, gaining one hundred million users in just two months. Developed by the US-based artificial-intelligence firm OpenAI, ChatGPT is a free, text-based AI system designed to interact with the user in a conversational way. Capable of answering complex questions with sophistication and of conversing in a breezy and impressively human style, ChatGPT can also generate outputs in a seemingly endless variety of formats, from professional memos to Bob Dylan lyrics, HTML code to screenplays and five-alarm chilli recipes to five-paragraph essays. Its remarkable capability relative to earlier chatbots gave rise to both astonishment and concern in the tech sector. On 22 March 2023 a group of more than one thousand scientists and entrepreneurs published an open letter calling for a six-month moratorium on further human-competitive AI development – a moratorium that was not observed.

While examining diverse archival sources relating to eighteenth-century Italian opera, I have come across references to the practice of singers, composers and theatre agents exchanging information about ‘corde’, ‘tuoni’, ‘virtuoso di cantabile’ and ‘abbilità’. To what were they referring with these words? In this essay, I show that the notes that singers were able to produce were termed ‘corde’ or ‘tuoni’; and that the quality of their voices, including their virtuoso singing capabilities, was designated by the expressions ‘virtuoso di cantabile’ and ‘abbilità’. Additionally, I show that this information was sent by mail to facilitate a composer's work in absentia.

The name of James William Windsor (1779–1853) is not widely known in scholarly circles today; yet as a pianist, organist and all-round music director, he was instrumental in guiding the musical world of Bath through a turbulent period of economic decline and societal change over the course of a career that spanned nearly six decades. Much of what may be discovered about his activities is gleaned from his large and important music collection, bequeathed to the Royal College of Music (RCM) in 1890 by his eldest daughter, Elizabeth (1805–1890). This collection of printed and manuscript music reveals much about its former owner's interests, activities and friendships, and many of its most significant items lend value to modern editions and musicological research. Of particular relevance to this study is Windsor's own transcription of Bach's Das wohltemperirte Clavier (RCM MS 743, dated 1801), identified by Yo Tomita as being both textually unique and the second earliest known complete English source of this work.