Musical Settings Research Articles

«Архангельский и Балиев, Балиев и Архангельский»: заметки о музыке в театре-кабаре «Летучая мышь»

The article is devoted to the issue of the “sound space” of one of the leading Russian theaters of small caliber – “Letuchaya mysh’” [“The Bat”] directed by Nikita Feodorovich Baliev. The musical setting for the theatrical programs was based on two principles of work with the musical material, conditionally labelled as “the original” and “the derived.” What is meant here under “the original” is the music especially written for theatrical numbers, while “the derived” stands for quotations or derivations of other composers’ music. One of the key figures in the life and activities of the “Letuchaya mysh’” was Alexei Alexeyevich Arkhangelsky (1881–1943) – a composer who wrote regularly for the theater and performed in it the duties of its musical director. The attempt is made in the article to reconstruct the life and artistic path of Arkhangelsky, carried out, among other things, with the incorporation of materials from archives in Russia and other countries. For analytical observations the most exemplary of all his published compositions have been chosen: the vocal miniatures “Katen’ka,” the Eastern song “Na gore stoit dukhan” [“The Caucasian Tavern Stands on the Hill”] and “Songs by Nikita Baliev” set to poems by Nikolai Agnivtsev. The issue of the functioning of music in the conditions of “cabaret synthesis” is set by the example of operettas and “operas for dramatic artists” – “The Tambov Treasurer’s Wife,” “Count Nulin” and “The Queen of Spades.” Keywords : music in Russian cabarets and miniature theaters, cabaret theater “Letuchaya mysh” [“The Bat”], Le Théâtre de la Chauve-Souris, The Bat, Nikita Baliev, Alexei Arkhangelsky.

Developing a Child and Adolescent Chorister Engagement Survey: Probing Perceptions of Early Collective Experiences and Outcomes

This article describes the design and implementation of a survey instrument specifically developed for 6–17-year-old Australian choral singers to access and measure participants’ perceptions of their self-esteem, self-efficacy, musical identity and social engagement as outcomes of participation in a high-quality choral ensemble. After reviewing existing music surveys and identifying their strengths, complementarities, differences and potential weaknesses, we adapted established surveys from psychology and social science literature to the choral music setting. An initial draft survey was trialled with higher education choristers and refined prior to implementation in six young choirs that were noted for their high-quality performance. Data from 202 surveys were analysed using confirmatory factor analysis and this resulted in a four-factor model. The validated survey was implemented twice over a six-month period with 61 choristers drawn from three choirs. Results showed that social and psychological benefits of choir participation were evidenced, maintained and even improved over time. Findings support the suitability and psychometric soundness of this new survey instrument, and demonstrate the usefulness of adapting psychological/social survey instruments to music research.

Saving America

Saving America Jan Garden Castro (bio) Quichotte Salman Rushdie Random House https://www.penguinrandomhouse.com/books/612467/quichotte-by-salman-rushdie/ 416 Pages; Print, $18.99 Quichotte (pronounced key-shot) stirs up endless questions as Rushdie's fiction mirrors 2020 world events: the Black Lives Matter movement has blasted the lid off of racism in America and worldwide as targeted violence against non-whites makes headlines. In another direction, drug companies who bribe doctors to overprescribe opioids are being prosecuted: John Kapoor is the first drug company CEO convicted of criminal schemes to induce doctors to hook patients on an addictive form of fentanyl and Purdue Pharma has pleaded guilty and paid eight billion dollars—but so far no Sackler family members have been jailed. (Because they are white?) Quichotte fictionalizes Kapoor and addresses the big story that opioid suicide and overdose deaths in the United States have risen from 21,000 in 2010 to 70,237 in 2017, according to CDC and the NIH (National Institute on Drug Abuse) statistics. Enter Miss Salma R, a strong-willed Indian ex-pat and TV host who becomes a fentanyl addict. Rushdie's cautionary yet hopeful metafiction cloaks hard truths about racism and addiction in America in a tale purportedly written by a second-rate writer named Sam DuChamp or Brother, who explains it this way to his son: He tried to explain the picaresque tradition, its episodic nature, and how the episodes of such a work could encompass many manners, high and low, fabulist and commonplace, how it could be at once parodic and original, and so through its metaphoric roguery it could demonstrate and seek to encompass the multiplicity of human life. Sam's quest novel opens with allusions to Cervantes' 1505 Don Quixote, a saga in which the main character parodies those whose fantasies exceed their capabilities. First, a rambling monologue introduces the inner thoughts of Sam's fictional character Ismail Smile, who selects his own name Quichotte after remembering listening, as a boy, to his father's vinyl recording of the Jules Massenet opera Don Quichotte. In writer Sam's parallel "real" universe, his son has rejected both birth parents, now leads a cult, and wears an "original" mask from Man of La Mancha, the 1965 musical set in a prison where the fictional Cervantes is writing a fictional Don Quixote. Sam's son, or the Son of Sam, is a creepy loner involved in unspecified cult and cyber-spy activities as his character is introduced. The main characters in the novel, both good and evil, come from Bombay or other locations in India, but all are now American citizens with varied careers: Sam is a mystery writer who invents Ismail Smile, a traveling salesman who works for his rich cousin Dr. R. K. Smile, who runs the highly profitable Smile Pharmaceuticals, Inc., a company pushing a fentanyl sublingual spray. Dr. Smile's wife Happy Smile delights in being an arts patron and helping others. Salma R., a cinema star in India who moved to New York in her mid-twenties and starred in the Five Eyes spy series, now hosts a popular TV talk show. Smile is a huge Salma fan and addicted to watching TV in general when he's on the road selling drugs. Human Trampoline is Smile's sister in New York; her story has parallels with that of Sam's sister in London. These two women are sensible, have some of the best lines, and their personalities are not as inflated as the men's. Many parallel situations in the lives of Sam the writer and Quichotte have different outcomes but start with each being estranged from his son and sister, embracing a dual American-East Indian identity, and facing unprovoked racist incidents due to their brown skin and features. Ismail Smile, the tall, slender, older East Indian main character, reminds readers of the character Ishmael who opens Melville's Moby Dick (1851)—the only survivor of a captain's insane whale hunt. But Ismael uses an Americanized version of his Indian name, calling himself Smile Smile. Smile's cousin Dr. R. K. Smile is a charming con man who boasts he...

Cueurs desolez: Josquin, La Rue and a lament for Anne de Foix

Abstract Two different courtiers are mourned in laments with similar texts that begin ‘Cueurs desolez’. One is a complete rondeau that appears anonymously in a chansonnier of Margaret of Austria, and Pierre de La Rue is the probable composer. The other musical setting is ascribed to Josquin, which provides only the text of a rondeau refrain. The complete text survives in a poetry collection prepared at the French royal court around 1510, Lille, Bibliothèque Municipale, Ms. 402. The full text reveals an acrostic on the family title of Anne de Foix (d.1506), and the rondeau is apparently a lament for her. Josquin is unlikely as the composer, but the newly identified dedicatee sheds fresh light on chronology for the two laments. The study offers a brief survey of acrostics in chanson poetry, and examines particular cases of acrostics and word play in the chansons of Dionisius Prioris. The latter is proposed as a possible composer of the lament for Anne de Foix.

Tenuti all’impossibile

Faced with the impossibility of translating “music” in a broad sense into words, this contribution shifts attention to “musics”, which can be talked about by identifying relationships with codified musical forms or meanings through two main categories: music set to poetic texts, and absolute music for which a context can be outlined through recurring passages. As an example of “verbalization of a musical discourse”, the piece Chopin from Schumann’s Carnaval op. 9 is analyzed, identifying those passages that are present in both authors, and an image of Chopin condensed by Schumann as lyrical essence.

Early childhood fieldwork for music education majors

Fieldwork experiences for undergraduate music education majors provide opportunities to gain pedagogical content knowledge as well as a deeper understanding of child development and musical behaviour. Early childhood music fieldwork experiences are vital to preservice music educators in order to gain insight into the specific needs of young learners and increase preparedness to teach in a variety of musical settings. Critical examination of the fieldwork opportunities provided to undergraduate music education majors in the early childhood music setting could benefit all preservice music educators. This article will describe one early childhood fieldwork placement and its impacts on the preparation of three undergraduate music education majors. Implications related to the importance of early childhood music education fieldwork experiences for preservice music educators are discussed.

Bronisław Mirski - Polish Music Director of the Silent Film Era

Abstract Bronisław Mirski (b. 1887 as Moszkowicz in Żyrardów near Warsaw, Poland – d. 1927 in El Paso, Texas) belongs to the substantial group of Polish émigré artists of Jewish origin. A violinist and conductor educated in Europe, he permanently settled in the United States at the end of 1914 under the name of Nek Mirskey and soon began working as a music director in movie theatres. He was in charge of the musical settings for elaborate artistic programmes composed of silent films as well as music and stage attractions. His first widely acclaimed shows were presented at the Metropolitan Theatre of Harry M. Crandall's chain in Washington, D.C. Based primarily on the American press of 1921–23, this article discusses Mirski's work methods and his involvement in improving the quality of live musical accompaniment for silent films. The work that he continued till the end of his life places him among the foremost musicians of the silent film era.

Voks: Digital instruments for chironomic control of voice samples

This paper presents Voks, a new family of digital instruments that allow for real-time control and modification of pre-recorded voice signal samples. An instrument based on Voks is made of Voks itself, the synthesis software and a given set of chironomic (hand-driven) interfaces. Rhythm can be accurately controlled thanks to a new methodology, based on syllabic control points. Timing can also be controlled with other methods, including scrubbing and playback speed variation. Pitch, vocal effort, voice tension, apparent vocal tract size, voicing ratio, aperiodicity ratio of the voice samples can be modified thanks to a real-time high-quality vocoder. Different forms of chironomic control of the vocal parameters are proposed. Pitch is controlled by continuous hand motions using a stylus on a surface (C-Voks) or a theremin (T-Voks). Other interfaces can be used as well. Syllabic rhythm is controlled using a biphasic button. Scrubbing, playback speed and timbre related parameters can be controlled using the theremin, control surfaces or continuous controllers like faders. In addition to realistic imitation of speaking or singing voices, other playing modes yield new interesting sounds. Voks participated in comparative perceptual evaluation of singing synthesis systems. It has been demonstrated in a live musical settings, using different control interfaces. In addition to musical or poetic performances, applications of performative vocal synthesis to language learning and speech reeducation are foreseen.

Do poema à canção: música e musicalidade em "Vou-me embora pra pasárgada'

A poesia de Manuel Bandeira, a mais musicada de sua geração, deu origem, de 1920 até os nossos dias, a mais de 140 canções. A maior parte dessa produção, entretanto, restringe-se ao universo da canção de câmara, um dado que suscita questões a respeito da musicalidade de seus versos e de seu respectivo potencial para o canto. Nessa linha de investigação, o presente artigo oferece uma comparação entre duas canções que tiveram por base o célebre poema “Vou-me embora pra Pasárgada”, incluído no livro Libertinagem. Uma breve análise do poema de Bandeira e o confronto entre as versões de Guerra-Peixe e Gilberto Gil — levando em conta o modo como os dois artistas adaptaram os versos do poema à estrutura musical — têm por meta aprofundar o conceito de musicalidade na obra do escritor.

Gender Differences in Short-term Memory Related to Music Genres

The purpose of the present research was to examine whether different music settings could influence one’s cognitive function – particularly memory. The examined sample consisted of 168 college students with a male:female ratio of 1:2.2. The participants were asked to complete a short-term memory test regarding word recollection while exposed to auditory stimuli. They were divided into three groups, each experiencing very different auditory stimuli (classical music; heavy metal music; no music). The results indicated that gender (as a single parameter) played a significant role in the recall process, with female subjects achieving significantly higher scores than males (p-value = 0.006). Music as an external stimulus was also found to affect the recall process significantly (0.02 < p < 0.04). Gender did not present any statistically significant association with specific music genres although, based on the limitations of this study, findings are in need of further exploration. The results of the present study may direct forthcoming research to address this issue further by examining additional variables as well.

Giambattista Marino’s L’Adone: A Drama of Madrigals

ABSTRACT Giambattista Marino’s L’Adone (1623) is the longest poem written in the Italian language. Exceeding even Torquato Tasso’s Gerusalemme liberata (1581) in length, L’Adone lacks the most central characteristic of epic poetry: a coherent narrative. As the quintessential example of Italian seicentismo, L’Adone was censured by Marino’s severest critic, Tomaso Stigliani, for being a poem composed entirely of ‘a succession of madrigals’. The absence of a comprehensible story coupled with convoluted rhetoric makes L’Adone utterly impractical for musical setting. Why then was it a literary source for seventeenth-century opera? Similarly, why did madrigal composers seem to find it equally attractive? This article proposes that musical interpretations of Marino’s epic presented a challenge to the notion of dramatic verisimilitude; musical settings based on Marino’s epic demonstrate one of the principal musical debates of the century, namely the tension between the verisimilitude of opera and the artifice of the madrigal.

Effectual thinking and music education: One view of creative adaptation in an underserved urban middle school

This descriptive case study superimposed Effectuation Theory onto the experiences of an American music educator and the challenges and opportunities facing him in an economically disadvantaged teaching context. Luke Guerra, the primary participant, possessed 11 years of teaching experience in an underserved urban middle school. His military experience, lack of canonical content knowledge, social activism, and exclusive use of popular music set him apart from conventional music educators. Data collection comprised semi-structured interviews with the participant and his colleagues, direct observation and documentation of the participant’s teaching, logging of researcher memos, and analysis of artifacts and participant reflections. Four themes emerged from inductive analysis that suggested the salience of Effectuation Theory: (a) teaching ethos informed by unique personal circumstances; (b) embracing uncertainty; (c) socially conscious, student-centered teaching and learning; and (d) collaboration. Rather than allowing the limitations of his teaching context and knowledge gaps to exert control over his program, Luke created an alternative future by leveraging his means and limitations into a vision around which others could rally and invest. Luke’s story and its connections to the principles of Effectuation may provide transferable benefits to music educators working in teaching contexts hindered by uncertainty.

Mindfulness for musicians: A mixed methods study investigating the effects of 8-week mindfulness courses on music students at a leading conservatoire

Mindfulness courses are beneficial in clinical domains for anxiety and depression and are becoming more prevalent as interventions in education. However, little is known about what effects mindfulness might have on musicians. In an exploratory study, 25 music students, who completed one of four 8-week MBSR/MBCT mindfulness courses adapted for musicians at the Guildhall School of Music and Drama, completed the validated Five Facet Mindfulness Questionnaire and a bespoke Mindfulness for Musicians questionnaire pre- and post-intervention. Twenty-one music students also took part in a post-intervention one-to-one semi-structured interview. Post-intervention mindfulness scores for both questionnaires increased significantly in comparison to pre-intervention scores. In interviews, participants were reportedly more aware and focused in instrumental lessons, were less self-critical, and developed increased body awareness, which improved their learning of instrumental technique. Participants also described enhanced teacher/pupil communication. In instrumental practice sessions, participants reported more efficient, effective and creative practice, and said that mindfulness exercises helped them deal with problems experienced while practising. Participants also described enhanced listening skills and improved socio-collaboration in ensemble rehearsals. They reported that mindfulness strategies had positive effects on music performance anxiety and described changes in time perception, enhanced expressivity, and positive post-performance effects. Future researchers could adopt a more robust methodology, such as a randomised controlled trial, and incorporate further design elements, such as longitudinal follow-up. Providing more systematic evidence of the beneficial role of mindfulness for conservatoire music students as learners and performers may encourage greater provision of such opportunities in musical settings in the future.

Performing Bollywood Broadway: Shillong Chamber Choir as Bollywood’s Other

This article attempts to explore the performativity that surrounds choral music in contemporary India. 1 1 Choral music was discovered in Western civilization and Christianity. As a starting point, it had the Gregorian reforms of the 6th century. Choir primarily refers to a vocal ensemble practising sacred music inside church settings as opposed to chorus which indicates vocal ensembles performing in secular environments. Multiple singers rendered sacred polyphony 1430 onwards. By the end of the century a standardized four-part range of three octaves or more became a feature. The vocal parts were called superius (later, soprano), altus, tenor (from its function of ‘holding’ the cantus-firmus) and bassus (Unger 2010, 2–3). Moving beyond its religious functions, the Shillong Chamber Choir locates itself within various sounds. Hailing from Meghalaya in the north- eastern part of India, the Shillong Chamber Choir has many folksy and original compositions in languages such as Khasi, Nagamese, Assamese and Malayalam. However, what brought them national fame was the Bollywoodisation 2 2 Bollywood refers to the South Asian film industry situated in Mumbai. The term also includes its film music and scores. of the choir. With its win in the reality TV Show, India’s Got Talent 3 3 India’s Got Talent is a reality TV series on Colors television network founded by Sakib Zakir Ahmed, part of Global British Got Talent franchise. in 2010, the Shillong Chamber Choir introduced two things to the Indian sound-scape—reproducing and inhabiting the Bollywood sound within a choral structure, and introducing to the Indian audience a medley of songs that could be termed ‘popular’, but which ultimately acquired a more eclectic framework. Medley is explored as a genre. The purpose of this article is to understand how ‘Bollywood Broadway’ is the mode through which choral renditions and more mainstream forms of entertainment are coming together.

Influence Of A Novel Music App On Spatiotemporal Mechanics During Running

An increased running step rate (i.e., cadence) can decrease lower extremity joint loads and potentially reduce running-related injury (RRI) risk. Many gait interventions have significantly increased a runner’s cadence through a variety of external stimuli (e.g., metronome). Runners have been shown to spontaneously manipulate their cadence when listening to music with a tempo that differed ±3% from their baseline cadence. However, no study has determined whether a runner will subconsciously increase cadence > 3% when listening to up-tempo music. PURPOSE: To determine if music tempo (beats per minute, bpm) set 10% higher than baseline cadence affects spatiotemporal running mechanics. METHODS: Utilizing a blinded experimental design, twenty-two runners (15F, 7M, 18-40 yo) were recruited, granted informed consent, were randomly assigned to a control (C) or experimental (E) group, and picked four motivational songs. The Brunel Music Rating Inventory was used to rate song motivational level. Subjects ran three 5-min trials (5/10 effort) on a pressure-sensitive treadmill (Noraxon U.S.A., 100 Hz) with vertical ground reaction force and pressure recorded during the last 45 sec and lowpass filtered (40 Hz). Five-min of rest was given between trials. During the second trial, subjects listened to music via headphones with the bpm set to baseline cadence (C) or 10% higher (E). Music was administered via a novel smartphone application that permitted song tempo to be adjusted and maintained in one bpm increments. The last trial was completed without music with velocity held constant across all trials. A mixed design analysis of variance was run in JASP with a significance set apriori at 0.05. RESULTS: Baseline cadence was not significantly different between groups (C: 165.4±9.5 steps per minute, E 167.2±6.8, p=0.61). There was not a significant main effect (p=0.54, p=0.32, p=0.152, p=0.70) of music tempo between groups for cadence (F (1,20)=0.39), step width (F(1,20)=1.02), stance phase (F (1,20)=2.22), or foot rotation (F(1,20)=0.16). CONCLUSION: Spatiotemporal running mechanics do not spontaneously adjust when runners listen to motivational music set at a tempo 10% greater than baseline cadence. Listening to up-tempo music should not be considered an effective external stimulus to promote increased running cadence.

The Impact Areas Questionnaire (IAQ): A Music Therapy Service Evaluation Tool

Service evaluation is a professional requirement for music therapy practitioners and organisations. Yet service evaluation findings are rarely published within the professional literature, and there is limited documentation of the processes and methods of such evaluations, including the rationale, dilemmas, and challenges encountered. This is perhaps due to the perceived status, methodological weaknesses, and context-specificity of service evaluation work. Drawing on our engagement with service evaluation in diverse settings, we have become aware of its potential beyond its typical current uses in the field as well as of the need for open discussion and debate about the service evaluation tools that are available. This is where the aim of this paper lies: to introduce a service evaluation tool, the Impact Areas Questionnaire (IAQ), alongside the studies that led to its construction. Developed originally through a review of 27 individually designed service evaluation projects, this questionnaire contains a number of different impact areas. Adopting an ecological perspective, these areas refer to music therapy’s perceived impact not only on service users, but also on families/carers/friends, staff, and the organisational context in its entirety. Following its original development within Nordoff Robbins England and Wales, this questionnaire was tested in the context of Nordoff Robbins Scotland with the aim of exploring its applicability and transferability to other music therapy settings. In addition to presenting the findings of this testing, we discuss the potential use of the IAQ, which is included as an appendix to this article, in other settings and its relevance for knowledge and policy making in the field.

P1328EFFECTIVENESS OF MUSIC FOR ALLEVIATING PAIN DURING HAEMODIALYSIS ACCESS CANNULATION: A MULTI-FACILITY, SINGLE-BLIND, RANDOMISED CONTROLLED TRIAL

Abstract Background and Aims Repeated needle pain during haemodialysis (HD) access cannulations is a serious problem for HD patients. Although the efficacy of music for alleviating pain and anxiety is well established, there is insufficient scientific evidence related to its effectiveness in alleviating pain during access cannulations during HD. This study aimed to investigate the effects of music on reducing pain during access cannulating in HD patients. Method A prospective, multi-facility, single-blind, crossover, randomised controlled trial was conducted. The intervention included listening to Mozart and a white-noise control condition. Patients were randomly allocated to either an ‘Early-group’ or a ‘Later-group’. All patients who underwent cannulation wore headphones without sound in the first and third weeks (No-sound period). The Early-group received cannulation while listening to Mozart’s Sonata for Two Pianos in D major (K.448) during the second week (Music period), and white noise during the fourth week (White noise period). The Later-group received cannulation while listening to white noise first, followed by Mozart in the fourth week. During each period, the music or no-music protocol started 8 minutes prior to the cannulation, and participants finished listening after HD began. The Visual Analogue Scale (VAS) was used to measure pain and anxiety during cannulation and the VAS scores for pain and anxiety were compared for the music and no-music settings. We evaluated the ratio of outcome measures between the music and white noise periods with the repeated measure mixed effect regression. We analysed the effects according to the intention-to-treat principle. Two-sided-significance-level was set at 0.05. Results In total, one hundred and twenty-one patients were enrolled in this study, across four facilities. The median age was 64 years, and there were 84 males (69.4%). Sixty-five patients (53.7%) used analgesics for alleviating pain. The median VAS pain score was 28 and VAS anxiety score was 19 in No-sound period. The Mozart music setting had a 12.2% (95% confidence interval (CI): 2.3 to 21.1, p=0.017) lower VAS score than the white noise setting. On the other hand, there was no significant difference in the VAS anxiety score between the two groups, that is the Mozart music setting had a 7.96% (95% CI: -4.70 to 18.4, p=0.172) reduction compared to the white noise setting. Conclusion We examined the effects of Mozart’s music on alleviating pain using scientific methods. The music appears to reduce pain of access cannulation in HD patients. Although the trial assessed the effects of music using a single musical composition, the study did not clarify the effects of music on the physical, emotional, and cognitive status of patients. Further studies in this direction are required.

A Guide to Including Young Harpists in Student Chamber Music Settings

A Guide to Including Young Harpists in Student Chamber Music Settings

Artificial Neural Networks Solve Musical Problems With Fourier Phase Spaces

How does the brain represent musical properties? Even with our growing understanding of the cognitive neuroscience of music, the answer to this question remains unclear. One method for conceiving possible representations is to use artificial neural networks, which can provide biologically plausible models of cognition. One could train networks to solve musical problems, and then study how these networks encode musical properties. However, researchers rarely examine network structure in detail because networks are difficult to interpret, and because many assume that networks capture informal or subsymbolic properties. Here we report very high correlations between network connection weights and discrete Fourier phase spaces used to represent musical sets. This is remarkable because there is no clear mathematical relationship between network learning rules and discrete Fourier analysis. That networks discover Fourier phase spaces indicates that these spaces have an important role to play outside of formal music theory. Finding phase spaces in networks raises the strong possibility that Fourier components are possible codes for musical cognition.

The Absent Dulcinea: Joaquín Rodrigo’s Song to Music Itself

Joaquín Rodrigo wrote that music arose in response to the human need to make an image of the surrounding world. Affected by Ortegás view of life as the interaction of self and circumstance, Rodrigo would eventually attribute to music enough subtlety to paint even beings in the artist's ambience without perceptible properties, like Don Quixote's Dulcinea. The present article defines the knight´s conception of the absent Dulcinea and traces her development into Rodrigós symbol of music itself. Between the composer´s reading of Don Quixote and the composition of his symphonic poem Ausencias de Dulcinea [Dulcinea's Absences, 1948], philosopher Ortega y Gasset's vision of Dulcinea probably mediated. Ortega regarded Dulcinea as a referential reality, a reference to Don Quixote without conveying any knowledge. Rodrigo himself explained his use of four sopranos “because neither to the north, to the south, to the east, nor the west will Don Quixote find that phantom that is Dulcinea.” Phantom here means “phantasm” in Husserl's and Ortega's sense of a mere reference to the imaginer. Moreover, Rodrigo, we argue, applies that conception to music itself when making his musical setting of Don Quixote's quintillas on Dulcinea's absence (Pt. I, ch. 26). Hence, the work becomes an exercise in music making a statement on music itself, as well as an ironic example of literary criticism at the expense of the laughable “poet” Don Quixote.