Making a living from music is an endeavour fraught with challenges associated with building a career in a rapidly changing, digitalised world and a labour market characterised by intermittency and the need for diversification. It is difficult to achieve a sustainable career that provides sufficient income to make music one’s primary occupation. As a result, many musicians explore different opportunities beyond performance to make ends meet. This article focuses on artists working in jazz and other popular genres on Barcelona’s music scene, with the aim of analysing how contemporary musicians in these genres combine artistic and professional activities. Using a qualitative methodology, including semi-structured interviews and participant observation, the study examines musicians who have attained relative stability and recognition. It identifies three key profiles of the professional musician (the ‘musician-teacher’, the ‘musician-composer’, the ‘musician-performer’) and reveals how these roles often overlap and contribute to the complex multiactivity of artistic careers.

The eleventh-century Aquitanian troper-proser Paris, Bibliothèque nationale de France, fonds latin 887 (Pa 887) is a manuscript whose provenance has long been a matter of debate. Five features of its distinctive repertory are considered: (1) a unique relationship with the early tenth-century troper Paris, Bibliothèque nationale de France, latin 1240 (Pa 1240); (2) the inclusion of elements that have links with northern France, not all of which can be accounted for through shared material with Pa 1240; (3) material that has clearly been derived from the repertory at the Abbey of St Martial, Limoges; (4) on the other hand, concordances within Aquitaine, of tropes and proses not performed at St Martial; and (5) material unique to Pa 887. Consideration of the Translation of Saint Valeria in the year 985 to the priory of Chambon, a dependency of the Abbey of St Martial, suggests Pa 887 was produced for that monastic community.

This paper discusses Roman Jakobson’s concept of metonymy as a form of theatre and performance historiography. Following traces of elephants in Europe during the early modern period, the paper suggests that these fragmentary documents – be they textual, visual or material – do not align with a grand récit but hint at multiple layers of cultural negotiation, concerning questions of ontology, anthropology, politics and even technology. The proverbial ‘elephant in the room’ is a provocation to reflect on these larger categories, while its cultural impact is firmly grounded in its theatrical and performative qualities. Drawing on the paradigm of critical media history, fragmentary and scattered documents become legible as part of a larger process of cultural formation.

This article explores innovation in the chamber music that the internationally acclaimed composer Tan Dun (b. 1957) composed during the early 1980s, particularly his integration of traditional Chinese music elements with modern Western composition techniques. A detailed analysis of a representative selection of these early chamber music works focuses on Tan Dun’s pursuit of cultural symbols within a contemporary musical landscape. The findings highlight Tan Dun’s use of musical features such as microtones, aleatoric elements and special playing techniques to evoke traditional Chinese cultural traces in his compositions. The article also discusses his approach to polyphonic construction, which not only continues the horizontal melodic axis of Chinese music, but also creates rich vertical textures.

This article questions the recent tendency for theatre historiography to focus more on the political context of productions than on the ‘stages’ themselves. While this trend seems logical it neglects an important, visceral, aspect of the art form that was itself designed to impact and democratize politics. The paper focuses initially on a schoolchild’s attraction to strips of foam rubber litter left onstage after a Theatre in Education performance of Edward Bond’s The Under Room (2006) at his school in Bartley Green, Birmingham. It approaches this event using Lacan’s rapprochement between psychoanalysis and linguistics to explore the a priori and a posteriori temporalities of metaphor and metonymy. The paper suggests that charging trivial objects like foam strips with significance confounds the a priori logic of logos. It explores how Bond bends, but does not rupture, the theatrical boundaries instituted at the Theatre of Dionysus, to position audiences to make meaning during an event a posteriori as the boy does. It proposes that when the modernists dismantled these boundaries they destroyed an important metonymic challenge to logos. The paper tests this theory by comparing the boy captivated by foam strips with the very different effect achieved by the Royal Shakespeare Company when they confronted their audience with actual human remains, and with the hallucinatory effects of ‘bedside theatre’ on its vulnerable young audience. It suggests that form is content, that we can read the political impact of a performance through its handling of theatrical boundaries. In conclusion, in the era of artificial intelligence with logos more powerful than ever, the paper urges theatre historiographers to put the stages back in the picture.

Cinco do Oriente is Timor-Leste’s most famous band. It was active for a relatively short period (1972 to 1975) and mainly performed songs made famous by Western groups. Yet Cinco do Oriente is praised today as a pioneer of the local music scene. The band was definitely popular, but it was not the only one performing at the time, and it was not the first. It is argued here that Cinco do Oriente has become a legend, not because of its music, but as a symbol of the resistance movement against Indonesia. This is because three of its members are believed to have been killed by the Indonesian military due to alleged revolutionary activities. This is discussed referencing various popular culture theorists. The article also examines the development of other bands of the era, Portuguese and Indonesian cultural missions in Timor, the Indonesian invasion and occupation, and other matters.

This article reflects upon the nature of ornamentation and how it applies within my recent works, Passacaglia (2021), Tor (2022), Fourteen transcriptions from across the plane (plain) (2023), and Through Gates Unseen (2023). I express ornamentation as a multifaceted set of activities which include the figurative, behavioural, layered and architectural. These components broadly move from the smallest sound unit to that of macro-level concerns. I argue that this behavioural aspect of ornamentation is exemplified by states of transition, density, kinetic energy, articulation and the organic. Here, ornamentation is used to distort and destabilise, as a vehicle for modulation, and as a framework for exploratory play between global and local-level details.

David Belasco's collection of antique objects housed in his studio apartment above the Belasco Theatre and in warehouses nearby offers a rich archive of things that suggest strong metonymic readings. Drawing on Belasco's pronounced sympathies toward spiritualism, this essay offers a psychometric prism to approaching Belasco's intuitive relations with his collections. As a science for reading souls, psychometry proposed that objects held on their surfaces histories of past individuals who had touched or been in contact with the objects. Belasco often invited journalists to tour his museum-like studio and enjoyed picking up things in his hands and telling of their pasts.His storerooms and warehouses were believed to be haunted by ghosts drawn to materials of theatre history stored within them. As Belasco's collections were auctioned off following his death and that of his surviving daughter, they too passed on sorrowfully and would speak no more.