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I.2 (3) Afternoon artwork Kinder-Musik in Florence
3. Afternoon artwork Kinder-Musik
[A123] 3. Florence, June 26, 1973: afternoon artwork Kinder-Musik. Participants: twenty of elementary school children and youth of media; forty teachers (not just music, not just high school). Microphone, tape recorder, speaker. Experiments: questions of approach ("you like music?" - "You have heard and where?" - "Who's you studied music? ", etc..) imitation of a storm wind (hiss and howl), rain (fingers on wood), thunder (crash at the microphone), density and intensity of events on the increase then decrease (effect approach -removal), mobile sound (see experiments of Bologna), onomatopoeic first, then self (r and running cross s), growth-increase-decrease by decreasing density (revenue driven by the opening of the arms, sounds similar or different and are intended or unexpected); improvisation of three groups (white sounds, flutes, percussion) and vocalist with a microphone (to review replay: monotone, confused, inarticulate); other improvisation, as above (universally known better, because more diverse, resulting in more associative cues etc.). improvisation to the microphone (and only small groups to rotate among all). Discussion:
3. Afternoon artwork Kinder-Musik
[A123] 3. Florence, June 26, 1973: afternoon artwork Kinder-Musik. Participants: twenty of elementary school children and youth of media; forty teachers (not just music, not just high school). Microphone, tape recorder, speaker. Experiments: questions of approach ("you like music?" - "You have heard and where?" - "Who's you studied music? ", etc..) imitation of a storm wind (hiss and howl), rain (fingers on wood), thunder (crash at the microphone), density and intensity of events on the increase then decrease (effect approach -removal), mobile sound (see experiments of Bologna), onomatopoeic first, then self (r and running cross s), growth-increase-decrease by decreasing density (revenue driven by the opening of the arms, sounds similar or different and are intended or unexpected); improvisation of three groups (white sounds, flutes, percussion) and vocalist with a microphone (to review replay: monotone, confused, inarticulate); other improvisation, as above (universally known better, because more diverse, resulting in more associative cues etc.). improvisation to the microphone (and only small groups to rotate among all). Discussion:
a) with the guys: "fun" - "time passes" - "is music" - "us used to make music together" - "us used to regulate each other, to listen, then act to organize '
b) with adults (consensus - meaning that there were no objections stated): combination Music to the problems of today ( Stockhausen, Cage , improvisation, etc..) socialized and socializing experiences, listening closely to education, stimulation of creativity, expressive activity, liberating (critical to my concepts of creativity, expression, and liberation attempt to reduce them to a relational matrix, social, because you have that expression, at least one receiver such as the interpreters, etc..) reporting similar experiences abroad, reporting similar experiences with adults; possibility of using Kinder -Musik of spastic children in education or subnormal; opportunities develop a method on the track Kinder-Musik and similar experiences; noticed and singled out for reflection and pedagogical convergence between the time when proper composition, "here has actually talked about music, something that rarely happens between the musicians' ( Paolini), recognition of the need to return to the music in the world, still has its problems as the company, to regain the primary function, communicational and Binding, in areas that the recent dispersal superstructure (culture of elites) had almost completely cleared.
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experiments, variations, discussion
[A1223] May 22, morning. Same place, same conditions, the same participants previous morning. Experiments: boys and girls Master Gardener arranged promiscuously around the room, the sound operation of mobile (first onomatopoeic, in car racing and the like, then experienced in his own quality); same experiment with two directors 'piloting' different sounds in reverse (apparent increase in participation careful) boys and girls divided into groups, each with its own sound (drumming fingers on the chair, drums, tambourines, flutes, cymbals and cimbalini, voices or whistles etc..) exercises 'composition' of sounds in a sound event (eg the 'continuous' drumming of assistance from the other groups, initially on the instructions of a director, then in a free improvisation), variant: the vocal group, headed by a director, intones comes and goes in the ' national anthem (the only tune known by almost everyone), thus contributing to the common improvisation (result excellent - in relation to the degree of selectivity music so far achieved by the participants, interest, enthusiasm, etc. required to continue.). Discussion: "I enjoyed very much" - "It is good because the music we make it from us - (master gardener)" Sounds and noises all make sense when they become part of an organized structure of a discourse " - "Clearly, the political significance of such an experience" - "You can be sensitive to the boy and use him to perceive little difference between the sounds" - "Good for the traditional teaching: learn to pay attention to the sounds and their variations "-" They learn to listen and respect each other, "etc.. 
[A1223] May 22, morning. Same place, same conditions, the same participants previous morning. Experiments: boys and girls Master Gardener arranged promiscuously around the room, the sound operation of mobile (first onomatopoeic, in car racing and the like, then experienced in his own quality); same experiment with two directors 'piloting' different sounds in reverse (apparent increase in participation careful) boys and girls divided into groups, each with its own sound (drumming fingers on the chair, drums, tambourines, flutes, cymbals and cimbalini, voices or whistles etc..) exercises 'composition' of sounds in a sound event (eg the 'continuous' drumming of assistance from the other groups, initially on the instructions of a director, then in a free improvisation), variant: the vocal group, headed by a director, intones comes and goes in the ' national anthem (the only tune known by almost everyone), thus contributing to the common improvisation (result excellent - in relation to the degree of selectivity music so far achieved by the participants, interest, enthusiasm, etc. required to continue.). Discussion: "I enjoyed very much" - "It is good because the music we make it from us - (master gardener)" Sounds and noises all make sense when they become part of an organized structure of a discourse " - "Clearly, the political significance of such an experience" - "You can be sensitive to the boy and use him to perceive little difference between the sounds" - "Good for the traditional teaching: learn to pay attention to the sounds and their variations "-" They learn to listen and respect each other, "etc..
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Attention, self-control, involvement in physical and mental
[A1222] May 21, afternoon. State school in the center. Medium-sized classroom. Approximately 20 students (males and females) of sixth grade, about 20 students Master Gardener, about 20 middle school teachers. Meeting characterized by attention, self-control, and physical participation mental (probable reasons: lower inhibitions in children who used to be considered, and also to express themselves correctly; fewer participants and a fair relationship with the size of the environment, most likely interest in music by the faculty). Experiments: preliminary discussion took place on listening to music ( Beethoven's Symphony V, "you feel that the disease progresses" - "but how does it feel?" - "There are parts of the parties calm and agitated and strong '); years of conflict between events' smooth' and events' turbulent '(in two groups, one with a sound long held, the other with percussive action or shouting), observations on the relationship of duration and the element of surprise; years of working with a sound (eg the sound 'white', if the variously filtered through s), exercise intensity on changes in a continuous song that continued off-mentally-then resumed at the right point, the dialogue between this song and the sound 'white' of a second choir conducting exercises on the basis of this material. Discussion on experiments: lively, full of new ideas. Some observations: "Useful for us to better understand the music and so also that of others, because then we learn to listen and adjust to each other ' - "This experiment is good not only for music but also for the other arts, and what you do every day" - "But it's also a model of social behavior, is a political education" (observation of a master gardener ). Objection of a senior teacher, "But where it ends," a boy replied: "If men always wondered if they were, still live in caves." 
[A1222] May 21, afternoon. State school in the center. Medium-sized classroom. Approximately 20 students (males and females) of sixth grade, about 20 students Master Gardener, about 20 middle school teachers. Meeting characterized by attention, self-control, and physical participation mental (probable reasons: lower inhibitions in children who used to be considered, and also to express themselves correctly; fewer participants and a fair relationship with the size of the environment, most likely interest in music by the faculty). Experiments: preliminary discussion took place on listening to music ( Beethoven's Symphony V, "you feel that the disease progresses" - "but how does it feel?" - "There are parts of the parties calm and agitated and strong '); years of conflict between events' smooth' and events' turbulent '(in two groups, one with a sound long held, the other with percussive action or shouting), observations on the relationship of duration and the element of surprise; years of working with a sound (eg the sound 'white', if the variously filtered through s), exercise intensity on changes in a continuous song that continued off-mentally-then resumed at the right point, the dialogue between this song and the sound 'white' of a second choir conducting exercises on the basis of this material. Discussion on experiments: lively, full of new ideas. Some observations: "Useful for us to better understand the music and so also that of others, because then we learn to listen and adjust to each other ' - "This experiment is good not only for music but also for the other arts, and what you do every day" - "But it's also a model of social behavior, is a political education" (observation of a master gardener ). Objection of a senior teacher, "But where it ends," a boy replied: "If men always wondered if they were, still live in caves."
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I.2 (2) Experimentation in Bologna last
2. Experimentation in Bologna (21-22 May 1973)
[A1221] May 21, morning. Denominational school in the suburbs. Great unadorned environment (gym, dining hall?) 40-50 boys (males) of sixth grade, about 30 Master Gardener students, small group (10-15) of middle school teachers. Meeting turbulent impossibility of obtaining the silence and the attention of kids (likely reasons: lack of authority of the teacher-performer on the trumpet too inclined to play his instrument-, social inhibitions, sense of ridicule, fear of being caught in lap too many participants and excessive size of the room; misunderstanding: music = waste of time = din, latent in Italy already in the class teacher). Experiments: collective invention of sounds and sound behavior (poor performance); years of crescendo and diminuendo, directed in turn by the participants (Poor performance due to noise); opposition groups, each with its own sound (poor performance, even for the timidity of 'directors'), attempt to re-contextualization of a melodic song known (abbreviation Eurovision, sung to 'unison with the trumpet) pretends to be a duality of performers and audience, applauding it or disapprobative, with feedback on the performers, who change their intervention (results not much better, perhaps for the obvious dramatization of the events). Discussion on experiments carried out: pretty generic, denoting interest, curiosity, mistrust and misunderstanding but also, research into the causes of limited success, whilst waiting for further tests. Boys partly amused, partly suspicious, some very bored. Upon leaving, we welcome the silence of the churchyard in front of the building. 
2. Experimentation in Bologna (21-22 May 1973)
[A1221] May 21, morning. Denominational school in the suburbs. Great unadorned environment (gym, dining hall?) 40-50 boys (males) of sixth grade, about 30 Master Gardener students, small group (10-15) of middle school teachers. Meeting turbulent impossibility of obtaining the silence and the attention of kids (likely reasons: lack of authority of the teacher-performer on the trumpet too inclined to play his instrument-, social inhibitions, sense of ridicule, fear of being caught in lap too many participants and excessive size of the room; misunderstanding: music = waste of time = din, latent in Italy already in the class teacher). Experiments: collective invention of sounds and sound behavior (poor performance); years of crescendo and diminuendo, directed in turn by the participants (Poor performance due to noise); opposition groups, each with its own sound (poor performance, even for the timidity of 'directors'), attempt to re-contextualization of a melodic song known (abbreviation Eurovision, sung to 'unison with the trumpet) pretends to be a duality of performers and audience, applauding it or disapprobative, with feedback on the performers, who change their intervention (results not much better, perhaps for the obvious dramatization of the events). Discussion on experiments carried out: pretty generic, denoting interest, curiosity, mistrust and misunderstanding but also, research into the causes of limited success, whilst waiting for further tests. Boys partly amused, partly suspicious, some very bored. Upon leaving, we welcome the silence of the churchyard in front of the building.
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Two transmissions: composition
[A1217] The last two programs will be devoted to one o'clock in the composition (as the foundation of 'making music', by then spread to all schools, obviously within the limits of competence related to the actual presence of music in school), the other, that is the last one, the realization of plans drawn up and sent to the RAI-in-response to repeated several times by groups of boys of secondary school * (text published in "Tuning," Eri, Torino, n. 3, March-April-May 1973) ·
[A1217] The last two programs will be devoted to one o'clock in the composition (as the foundation of 'making music', by then spread to all schools, obviously within the limits of competence related to the actual presence of music in school), the other, that is the last one, the realization of plans drawn up and sent to the RAI-in-response to repeated several times by groups of boys of secondary school * (text published in "Tuning," Eri, Torino, n. 3, March-April-May 1973) ·
* Contrary to the project, the last broadcast was devoted to improvisation instead.
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projects and facilities and circuits used music
[A1216] In designing now, more broadly, a second round of six broadcasts, it was decided to introduce the topics relevant for the use of music by the individual and society (the company), with regard to facilities, to the circuits that make it possible to use:
[A1216] In designing now, more broadly, a second round of six broadcasts, it was decided to introduce the topics relevant for the use of music by the individual and society (the company), with regard to facilities, to the circuits that make it possible to use:
1) the use of social music (ritual songs, work, war, religious songs, children and so on., dance music, 'consumer' etc.).
2) the aesthetic appreciation (the music 'absolute', the musical practice in the West, the institutions created by society for this purpose);
3) interpretation (the singing, the instrument, the community orchestra, the conductor);
4) musical theater.
We will try to keep these broadcasts to the 'double face' of the speech, associating each topic suggestions for a practical activity.
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General topics treated
[A1215] Topics treated in the first round were all very general (generic), and was also arbitrary (as it must) the allocation:
[A1215] Topics treated in the first round were all very general (generic), and was also arbitrary (as it must) the allocation:
1) What is the music;
2) the sound;
3) rhythm;
4) melody (the horizontal organization of sounds);
5) harmony (the vertical organization of sounds);
6) music as a language (as semiological system at many levels) .
In each broadcast we have tried to start a discourse on music and a talk with the music, the latter, given the limitations of time and preparation of students, more as guidelines than as a model of achievement.
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nine observations experience
[A1214] The experience of six broadcasts Music and boys, in its small size and with enough chance that the rest was implicit in the premises, does not allow us to draw certain conclusions, nor environmental conditions where the music is exposed in the Italian school, or addresses on the methodology best suited to those conditions. The experimental nature of this first group of programs has the final limited to some sporadic observations are not without value, however, the signs and symptoms:
[A1214] The experience of six broadcasts Music and boys, in its small size and with enough chance that the rest was implicit in the premises, does not allow us to draw certain conclusions, nor environmental conditions where the music is exposed in the Italian school, or addresses on the methodology best suited to those conditions. The experimental nature of this first group of programs has the final limited to some sporadic observations are not without value, however, the signs and symptoms:
1) boys with an interest in participating in discussions on music, especially the more feel that music is their thing and not something that is dispensed from adults
2) show, in front of an unusual musical phenomenon, clearer mind, more than ready to accept but also to critically investigate, not the mind that cultured adult;
3) do not shrink, if properly stimulated, from reflecting on the data obtained, even at the cost of removing prejudices, which were not yet deeply rooted;
4) their comments rarely are irrelevant (in fact only in those cases which are clearly repetitive, and then focus on those things too well!), In most cases it is only able to adequately understand the versatility (due to the obvious poverty) of the lexicon childhood
5) is rather less developed (contrary to what is commonly said) the so-called creativity, which is only natural, considering that the 'creative act (which, unlike the creativity, can be checked directly) is based on an existing situation and affects well known;
6) is great receptivity to the principles and organizational models, and here, if anything, should prevent the tendency to hire by coasting repetitive, appropriately stimulating spontaneous impulses 'context';
7) -to-anything can be said without regard to the 'difficult' concepts of the topic and whose use is necessary to: it's only a matter of conveniently adjust the relationship between information to be transmitted and the time actually transmitted, that is, along with enough patience all levels of analytical language, defining the elements of each level with those of the immediately lower level, without omitting any step;
8) more often than not believe that it is 'difficult' non-adult it is for the boy and of course vice versa: the frequency, in the minds of children, short-circuit logic (intuition) is amazing;
9) music is being devoted not only good and not so much to ' enrichment of the 'heritage' culture of the boy, and especially the activation of mental circuits, freeing from notional congestion and encouraging the circulation of these materials individually investigated and organized.
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Other ways to start a discourse about the music and
[A1213] We will not repeat here the attention of school authorities the irreplaceable values \u200b\u200bteaching, learning, music information, or rely on the extensive documentation that proves them (and not always necessary to refer only to foreign experience , just that we also question the principals of those schools where music is actually present), but we would rather find other ways to start a speech in schools and on the music. Rai has organized as part of the Radio for schools, a series of transmissions experimental school founded precisely on the trio, music, boys. Protagonists will be boys, and not for obvious acquiescence in a fashion that is difficult to applaud a program for young people without young people as main actors, but because the experimental time can only coincide with the time of search and discovery, and individual collective musical event by those who witness it and produce it. Quite naturally, therefore, the encounter music-school students are available in two orders of experience, complementary and intersecting in various ways, one practical, the other theoretical and speculative. Upon receipt or production of the sound or music-language link is accompanied by recognition and reflection on the data acquired, its location within a context of similar phenomena, its historical background and a possible project to use for expression or communication. So that a dialogue set to music is actually possible within the school, namely, that the analytical methodology, recognized foundation of any serious approach to things, can also usefully be applied within the space defined by these three terms-school music , boys-that you will, with our broadcasts, if not prove, at least ask the question (from the introductory text, published in 'tuning', Eri, Torino, No. 2, January-February 1973). 
[A1213] We will not repeat here the attention of school authorities the irreplaceable values \u200b\u200bteaching, learning, music information, or rely on the extensive documentation that proves them (and not always necessary to refer only to foreign experience , just that we also question the principals of those schools where music is actually present), but we would rather find other ways to start a speech in schools and on the music. Rai has organized as part of the Radio for schools, a series of transmissions experimental school founded precisely on the trio, music, boys. Protagonists will be boys, and not for obvious acquiescence in a fashion that is difficult to applaud a program for young people without young people as main actors, but because the experimental time can only coincide with the time of search and discovery, and individual collective musical event by those who witness it and produce it. Quite naturally, therefore, the encounter music-school students are available in two orders of experience, complementary and intersecting in various ways, one practical, the other theoretical and speculative. Upon receipt or production of the sound or music-language link is accompanied by recognition and reflection on the data acquired, its location within a context of similar phenomena, its historical background and a possible project to use for expression or communication. So that a dialogue set to music is actually possible within the school, namely, that the analytical methodology, recognized foundation of any serious approach to things, can also usefully be applied within the space defined by these three terms-school music , boys-that you will, with our broadcasts, if not prove, at least ask the question (from the introductory text, published in 'tuning', Eri, Torino, No. 2, January-February 1973).
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Meeting fleeting and irrelevant?
[A1212] is clear that, under these conditions, everything is resolved in a fleeting encounter, and even the most sympathetic, since its irrelevance is not to tear the veil of mutual estrangement. Do not be charged and then, teachers of music, if the results are poor: it is already very much if the boy will come to suspect the existence, in society, an area of \u200b\u200bcultural production and communication called 'music', by not necessarily identify with good sound and video drivers that gently draws him in his own liabilities. However, even if this suspicion he may be flashed in that year fearful of living, the school quickly erase the memory of him and will mark the definitive separation of the three terms, so that, in most cases, even outside of school music and kids will meet no more. 
[A1212] is clear that, under these conditions, everything is resolved in a fleeting encounter, and even the most sympathetic, since its irrelevance is not to tear the veil of mutual estrangement. Do not be charged and then, teachers of music, if the results are poor: it is already very much if the boy will come to suspect the existence, in society, an area of \u200b\u200bcultural production and communication called 'music', by not necessarily identify with good sound and video drivers that gently draws him in his own liabilities. However, even if this suspicion he may be flashed in that year fearful of living, the school quickly erase the memory of him and will mark the definitive separation of the three terms, so that, in most cases, even outside of school music and kids will meet no more.
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I.2 (1) Twelve radio
1. Music and the girl - twelve radio broadcasts for schools (January-March 1973).
[A1211] In Italy, you know and complain to the bitter end, but generally this is limited, in fact, the recording and subsequent lamentation, in Italy these three entities, school, music, boys, overlap and interact in a very narrow time frame, usually one school year, the first medium, in which case singularly fortunate are joined by two years of attendance optional, all the overwhelming rhythm of one hour per week. Before and after, nothing, if not for the bold initiative of principals pioneers. 
1. Music and the girl - twelve radio broadcasts for schools (January-March 1973).
[A1211] In Italy, you know and complain to the bitter end, but generally this is limited, in fact, the recording and subsequent lamentation, in Italy these three entities, school, music, boys, overlap and interact in a very narrow time frame, usually one school year, the first medium, in which case singularly fortunate are joined by two years of attendance optional, all the overwhelming rhythm of one hour per week. Before and after, nothing, if not for the bold initiative of principals pioneers.
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I.2 School, music, boys (One semester of teaching and educational experiments with Kinder-Musik)
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[A1113] The problem of the composition is historically and locally determined by the set of relations that bind the company to a given set of internal relationships between sounds. The technical study of any 'system' (tonal, serial, Indian classical, etc..) Is still studying the composition, as long as attention is not directed towards the functions exercised by that system in society which has led to their evolution, or in a society that for whatever reason it resumes. This would seem to contradict the traditional study, especially nineteenth-century composition, when learning of harmony, counterpoint, forms, etc.. was the only legitimate purpose of the study, which was justified by the specific place in a sense extra-(super-) occupied by Art Social (other than the justification for six-eighteenth century, the descendant of a specific concept of craftsmanship). In truth, apart from the fossilizations conservatoire, in the past the relationship between social system and its use were at the heart of the issue of composition, as evidenced by the total availability and the system works and that the status, only the technical aspect of the problem coincided almost entirely with the technique intrinsic to the system (for optimal integration into the socio-cultural context of the functions), then study and develop one o'clock meant to act automatically on the other. Not so today, where, being arbitrary, that is not socially bound and binding, the choice of the system, the technique it is intrinsically a private consequences of this choice, while the compositional problem, that of musical communication within the company, remains open in all its aspects, including technical 
[A1113] The problem of the composition is historically and locally determined by the set of relations that bind the company to a given set of internal relationships between sounds. The technical study of any 'system' (tonal, serial, Indian classical, etc..) Is still studying the composition, as long as attention is not directed towards the functions exercised by that system in society which has led to their evolution, or in a society that for whatever reason it resumes. This would seem to contradict the traditional study, especially nineteenth-century composition, when learning of harmony, counterpoint, forms, etc.. was the only legitimate purpose of the study, which was justified by the specific place in a sense extra-(super-) occupied by Art Social (other than the justification for six-eighteenth century, the descendant of a specific concept of craftsmanship). In truth, apart from the fossilizations conservatoire, in the past the relationship between social system and its use were at the heart of the issue of composition, as evidenced by the total availability and the system works and that the status, only the technical aspect of the problem coincided almost entirely with the technique intrinsic to the system (for optimal integration into the socio-cultural context of the functions), then study and develop one o'clock meant to act automatically on the other. Not so today, where, being arbitrary, that is not socially bound and binding, the choice of the system, the technique it is intrinsically a private consequences of this choice, while the compositional problem, that of musical communication within the company, remains open in all its aspects, including technical
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Technical partially
[A1112] In this first year of our course in experimental composition has been increasingly clearly shaping up to be a node (one of many) of the general musical discourse. The actual technical aspect, in its early stages, teaching, learning experience, production-, has only partially characterized, having been given ample space to discussions on music as a semiotic project, as a communicational network society. Both in production 'in the notes' in the speech is also caused and fed outside, it never lacked self-generating time, ie the exploitation of the 'background noise', dell'alea Information offered by the environment in the process of formation and transformation of the discourse itself. One of us has rightly observed that certain compositional exercises, though confined to the problem of identifying semiintuitiva elements 'style', took into account the current situation postcagiana, rather only by the conscious relationship with it drew its meaning. Other articles provide valuable insights on opportunity instead of a compositional approach rather than technically correct as of today from yesterday (perhaps to trace any case where there is interest). Even more action and self-regulating autostrutturante group has been evident in the rapid update the global discourse on music and it nell'affiorare projects 'compositional' involving the entire trajectory of communication, the production phase to the receptive, engaging, that is, a (ideal) audience. Individually each of us I think have heard the conversation turned to the passage through our group: the magnitude of change, the amount of new information produced is not something quantifiable in an absolute sense, but should be viewed in relation to local conditions. If something has been most widely used product or can be produced, it is not possible to recognize here and now, here and now we have only our personal impressions, of which I quote mine as the only one which I have actual knowledge, and the quotes are just from this report, about which there is no trust that by questioning my say-so-students. 
[A1112] In this first year of our course in experimental composition has been increasingly clearly shaping up to be a node (one of many) of the general musical discourse. The actual technical aspect, in its early stages, teaching, learning experience, production-, has only partially characterized, having been given ample space to discussions on music as a semiotic project, as a communicational network society. Both in production 'in the notes' in the speech is also caused and fed outside, it never lacked self-generating time, ie the exploitation of the 'background noise', dell'alea Information offered by the environment in the process of formation and transformation of the discourse itself. One of us has rightly observed that certain compositional exercises, though confined to the problem of identifying semiintuitiva elements 'style', took into account the current situation postcagiana, rather only by the conscious relationship with it drew its meaning. Other articles provide valuable insights on opportunity instead of a compositional approach rather than technically correct as of today from yesterday (perhaps to trace any case where there is interest). Even more action and self-regulating autostrutturante group has been evident in the rapid update the global discourse on music and it nell'affiorare projects 'compositional' involving the entire trajectory of communication, the production phase to the receptive, engaging, that is, a (ideal) audience. Individually each of us I think have heard the conversation turned to the passage through our group: the magnitude of change, the amount of new information produced is not something quantifiable in an absolute sense, but should be viewed in relation to local conditions. If something has been most widely used product or can be produced, it is not possible to recognize here and now, here and now we have only our personal impressions, of which I quote mine as the only one which I have actual knowledge, and the quotes are just from this report, about which there is no trust that by questioning my say-so-students.
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Factor permanent and universal structuring and social transformation
[A1111] An answer to these questions, perhaps the only possible today, is immediately deducible from the assumption that the moment of educational anthropology, rather than being a prerequisite to acceptance into society, is a permanent factor and universal (for humans) structuring and social transformation. They would then be sought only the most homology, the functional correspondence between school and life, between work and school, but, starting in fact from the school, social life, and every moment of every relationship between times and between them and all should be considered also in their self-regulating function in the ecosystem and human autostrutturante . Accordingly, in step didactic-pedagogical, first the loss of land reserved (exclusive of the problems of school), other coverage, differently in different areas of application, of the whole social field. Experimentation, now also common foundation of all social behavior, the identity of its area of \u200b\u200bapplication (the society as a whole) with that Late educational, produces a set of matches, from which flows its true meaning: that is not guaranteed by past or future certainty, nor distinguishes between transitional phases, preparatory and other 'most valuable and constructive', but is defined point by point infinite variability of situations and human experiences, wherever the need arise, as meaning, social usability. 
[A1111] An answer to these questions, perhaps the only possible today, is immediately deducible from the assumption that the moment of educational anthropology, rather than being a prerequisite to acceptance into society, is a permanent factor and universal (for humans) structuring and social transformation. They would then be sought only the most homology, the functional correspondence between school and life, between work and school, but, starting in fact from the school, social life, and every moment of every relationship between times and between them and all should be considered also in their self-regulating function in the ecosystem and human autostrutturante . Accordingly, in step didactic-pedagogical, first the loss of land reserved (exclusive of the problems of school), other coverage, differently in different areas of application, of the whole social field. Experimentation, now also common foundation of all social behavior, the identity of its area of \u200b\u200bapplication (the society as a whole) with that Late educational, produces a set of matches, from which flows its true meaning: that is not guaranteed by past or future certainty, nor distinguishes between transitional phases, preparatory and other 'most valuable and constructive', but is defined point by point infinite variability of situations and human experiences, wherever the need arise, as meaning, social usability.
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Experimentation? What? How? Benefits
[A1110 ] trials, and initial and temporary, in view of the gradual consolidation of decisions and orders relating to them? Testing time as methodological and pedagogical approach to music radical crisis of his age - that is, the institutionalization of the experimental phase just as with an eye aimed at overcoming the crisis and its tout-court? That initial testing as a model of continuous behavior, the only suitable to the condition of reflective thought? (A requirement that every image of certainty is a myth or utopia, to be analyzed only in its secondary meanings, mediated). In that report, the 'testing of new teaching methods ", according to the diction-Journal is the cultural experimentation now taking place everywhere, with the concept of' self-generation of speech ', replacement of that, classically bourgeois, good or cultural heritage? 
[A1110 ] trials, and initial and temporary, in view of the gradual consolidation of decisions and orders relating to them? Testing time as methodological and pedagogical approach to music radical crisis of his age - that is, the institutionalization of the experimental phase just as with an eye aimed at overcoming the crisis and its tout-court? That initial testing as a model of continuous behavior, the only suitable to the condition of reflective thought? (A requirement that every image of certainty is a myth or utopia, to be analyzed only in its secondary meanings, mediated). In that report, the 'testing of new teaching methods ", according to the diction-Journal is the cultural experimentation now taking place everywhere, with the concept of' self-generation of speech ', replacement of that, classically bourgeois, good or cultural heritage?
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too obvious
[A1109] By contrast, the immediate advantages of a composition course set on an experimental basis are all too obvious. Difficult to study 'normal', which focuses on learning Western music at its highest level of development, could give in a few months the results of compositional order, that is not limited to partial exploration of some components of the system ( elementary harmonic as links). In fact it takes several years for the rule of disparate acquisitions of various codes and rules will standardize on a combination of organic light musical communication, and even then this is for the most part as heteronomous overlay models without them being investigated, alongside systematic aspect, the self-organized. Unlike in the experimental course, which is precisely the relationship between codification and autostrutturazione what is primarily investigated, obviously examples where the debt to a 'system' is assessable - approximately - even in an analysis based on poor technical conditions. Therefore excluded, as areas of training, the phases of maximum systematic development (Flemish polyphony and sixteenth-century polyphony, baroque, nineteenth-century harmony, etc..) And limited choices in the sense here documented, the experience composition of participants in this first year was experimental space to investigate itself and on the necessity of referring to a 'system'. But it is clear that an investigation of this type, if it wants to avoid the danger of early academics and should wherever possible be based on research experience of a situation sufficiently systematic compositional internal organization evolved, and this is one of the largest difficulties, it seems, inherent in a trial conducted in large part on 'empty' technical. Individual success of this or that experiment, individual acquisitions speculation on what is music and what is its place in the world should not deceive the lability of the bases, sometimes dramatically developed in the theory and criticism, almost always, however, also conspicuously lacking in substantiality practice. This is indeed quite strange that it should come for so long (not less than seven years in the normal course) exercised in a context that language is no longer ours, it is questionable whether the bases of so laborious construction does not end up turn in the cage throughout the building and if that fact is far more dangerous than a first-stimulating inert non-transience. 
[A1109] By contrast, the immediate advantages of a composition course set on an experimental basis are all too obvious. Difficult to study 'normal', which focuses on learning Western music at its highest level of development, could give in a few months the results of compositional order, that is not limited to partial exploration of some components of the system ( elementary harmonic as links). In fact it takes several years for the rule of disparate acquisitions of various codes and rules will standardize on a combination of organic light musical communication, and even then this is for the most part as heteronomous overlay models without them being investigated, alongside systematic aspect, the self-organized. Unlike in the experimental course, which is precisely the relationship between codification and autostrutturazione what is primarily investigated, obviously examples where the debt to a 'system' is assessable - approximately - even in an analysis based on poor technical conditions. Therefore excluded, as areas of training, the phases of maximum systematic development (Flemish polyphony and sixteenth-century polyphony, baroque, nineteenth-century harmony, etc..) And limited choices in the sense here documented, the experience composition of participants in this first year was experimental space to investigate itself and on the necessity of referring to a 'system'. But it is clear that an investigation of this type, if it wants to avoid the danger of early academics and should wherever possible be based on research experience of a situation sufficiently systematic compositional internal organization evolved, and this is one of the largest difficulties, it seems, inherent in a trial conducted in large part on 'empty' technical. Individual success of this or that experiment, individual acquisitions speculation on what is music and what is its place in the world should not deceive the lability of the bases, sometimes dramatically developed in the theory and criticism, almost always, however, also conspicuously lacking in substantiality practice. This is indeed quite strange that it should come for so long (not less than seven years in the normal course) exercised in a context that language is no longer ours, it is questionable whether the bases of so laborious construction does not end up turn in the cage throughout the building and if that fact is far more dangerous than a first-stimulating inert non-transience.
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Profession: critical individual, collective discussion
[A1108] It should be noted that the return should however be compared to an experience that matches the composition of a first year student of the normal course of harmony. This is not at all wish to assert a superior technical expertise of participants in the experimental course of composition - a good job of traditional harmony is probably the best guarantee of 'craft'. But it is precisely the job, and usability cultural, social technical ability is not accompanied by historical consciousness and more restricted to a system in the process of rapid liquidation (or marginalization in the 'consumption'), to be subject, in This experimental course itself, critical experience of individual and collective discussion. Somewhat greater ease in dealing with different points of view, the problem of the music you pay with perhaps a greater degree of technical uncertainty, with an initial shift from certainty to doubt the professional sense of those certainties. 
[A1108] It should be noted that the return should however be compared to an experience that matches the composition of a first year student of the normal course of harmony. This is not at all wish to assert a superior technical expertise of participants in the experimental course of composition - a good job of traditional harmony is probably the best guarantee of 'craft'. But it is precisely the job, and usability cultural, social technical ability is not accompanied by historical consciousness and more restricted to a system in the process of rapid liquidation (or marginalization in the 'consumption'), to be subject, in This experimental course itself, critical experience of individual and collective discussion. Somewhat greater ease in dealing with different points of view, the problem of the music you pay with perhaps a greater degree of technical uncertainty, with an initial shift from certainty to doubt the professional sense of those certainties.
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second case, two approaches
[A1107] Second case (diploma in piano - shallow theoretical knowledge - sociology and political interests - the faculty of law). First Approach: Empirical imitation of styles and authors 'traditional' ( Bach, the classics) - rather poor performance. Second approach: technique, serial exercise of serialize the various parameters (models: Messiaen, Nono ), attempts to functionalize the technical direction of the result of perception, that is to make communicating - much better performance. 
[A1107] Second case (diploma in piano - shallow theoretical knowledge - sociology and political interests - the faculty of law). First Approach: Empirical imitation of styles and authors 'traditional' ( Bach, the classics) - rather poor performance. Second approach: technique, serial exercise of serialize the various parameters (models: Messiaen, Nono ), attempts to functionalize the technical direction of the result of perception, that is to make communicating - much better performance.
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first case, four approaches
[A1106] First case (theoretical knowledge base of almost nothing - the difficulty of deciphering the notes - no instrumental practice - to address scientific university studies). First approach: the tonal harmony, exercises concatenation of the agreements - are performing poorly. Second approach: the modal melody, articulation exercises horizontal - underachievement. Third approach: structural analysis at the macro-formal, graphs of the correspondences in Tetralogy el ' Monteverdi's Orfeo - although interesting results to be explored (with more technical effort). In parallel, the fourth approach: analysis of structures based on combinatorial and informational (models: some Bartók, Webern ) - yield much higher quality than in previous approaches. 
[A1106] First case (theoretical knowledge base of almost nothing - the difficulty of deciphering the notes - no instrumental practice - to address scientific university studies). First approach: the tonal harmony, exercises concatenation of the agreements - are performing poorly. Second approach: the modal melody, articulation exercises horizontal - underachievement. Third approach: structural analysis at the macro-formal, graphs of the correspondences in Tetralogy el ' Monteverdi's Orfeo - although interesting results to be explored (with more technical effort). In parallel, the fourth approach: analysis of structures based on combinatorial and informational (models: some Bartók, Webern ) - yield much higher quality than in previous approaches.
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Findings 'quality', court 'responsible'?
[A1105] difficult because the working methods adopted, a review 'quality' of what has been done and even more difficult a case 'responsible' individual participants. The attendance and the lively interest of all to work together, however, seem far more worthy of consideration that this or that better 'managed'. In some it is a prevailing approach a problem, and work in black and white, for example, was quantitatively small but very alert and critically stimulating. For others it was actively exploring large parts of evolving technology, such as serial Schönberg Darmstadt the fifties, and the work was also quantitatively important. In still other cases the apparent subordination of musical studies has reduced participation in one hour in the presence of the conservatory, not infrequently, however, the quality of their performance of these participants proved to be among the highest, for example in the debate. Each individual case, therefore, deserves to be examined in detail here: I will, however, to mention just two, because the characteristic of two very different approaches to the problem of musical composition. 
[A1105] difficult because the working methods adopted, a review 'quality' of what has been done and even more difficult a case 'responsible' individual participants. The attendance and the lively interest of all to work together, however, seem far more worthy of consideration that this or that better 'managed'. In some it is a prevailing approach a problem, and work in black and white, for example, was quantitatively small but very alert and critically stimulating. For others it was actively exploring large parts of evolving technology, such as serial Schönberg Darmstadt the fifties, and the work was also quantitatively important. In still other cases the apparent subordination of musical studies has reduced participation in one hour in the presence of the conservatory, not infrequently, however, the quality of their performance of these participants proved to be among the highest, for example in the debate. Each individual case, therefore, deserves to be examined in detail here: I will, however, to mention just two, because the characteristic of two very different approaches to the problem of musical composition.
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Composition and production of speech
[A1104] The amount of work product (number and size of the compositions) was obviously low for those who had little or nothing about knowledge of compositional technique, the most abundant in those who had already performed a task or semi-professional music. At work quantified in written notes (in some cases even designed) to be added, an activity not negligible and the production of discourse, a discourse on and the music, whose movement has spread outside of the conservatory, tapping , albeit briefly, other places, other places of society. The issues surfaced during this first year of work (which is officially testing for students, in reality it is for the course itself) have been varied and not always related to consequential or historical logic. The basic idea being to leave as much as possible free field to the initiative of the participants (including, of course, the 'teacher'), on the first job offers were crossed in bulk and routes beaten very often proved a dead end: so few attempts to imitate musical structures and processes evolved very systematically ( Bach, classical sonata, twelve-tone Schoenberg etc...) The lack of an address bias has perhaps given the impression at times that we were wasting our time. Better yet a bit 'of time spent on self-definition (albeit guarded) to a choice, not the long years spent (and perhaps lost) in learning something that others have chosen. Gradually, however, found the blind alleys (blind, of course, for the interest of the individual), traced the problems within the horizon of each technical, you have come delimiting two preferential areas, which focused participants' attention: the late-medieval music-in particular Minnesang and the Italian Trecento ( Squarcialupi Code) - and structuralism of our time, from the Bartók integral serialism and technical groups . Participants with little or no technical knowledge so they have experienced through the mediation of archaeological, a type, albeit rather simple, compositional activity, not exercise the abstract grammar of a language set, but actual production of the musical sense by coordinates freely chosen language. He thus avoided the traditional separation (if not opposed) the organizational dimensions of music (harmony = vertical, horizontal = melody-linear, horizontal = polilineare-counterpoint, form = overall), returning to productive behavior that organic unity however, is the natural activity of the corresponding perceptive organs. At the organic consciousness of both moments, the production and perception, we tried reaching through the patient work of analysis, aimed primarily at models chosen for the practical exercise of composition: one medieval models, other examples of structural engineer from Bartók to Stockhausen. Sporadically were analyzed examples taken from language 'tonal' ( Schubert, Mahler ). About the methods of analysis and testing of composition, has prevailed, after attempts in various directions, a dynamic address-transformational rather than static-structural. However, this is without prejudice to the autonomy of individual research, each experiment in composition. It is deliberately avoided a body of rules (grammar, syntax, formal) that it was not immediately deduced from the examination of historic objects, ancient or recent. In each case the criteria for the organization of sound, objectively valid in their historical position, were taken as completely arbitrary in the experiments conducted within particular areas of composition biases (language). Thus the traditional ban on the fifth and eighth in succession, as well as the prohibition of the eighth for the twelve-tone works were analyzed as negative Conventions (disqualifications) defined within semiological privileged spaces of our culture, it is nevertheless retained only in If the technical details of the experiment in question actually fell in the area of \u200b\u200binterdiction, not so in the case of two counterpoints to set more or less Ars Nova, and even (as regards the prohibition of an octave) in some experiments stockhauseniana ' Gruppentechnik '. The arbitrary choice of the systematic areas (language) and, consequently, its standards of conduct, have often made it difficult a precise definition of the error. The correction, except in cases of flagrant inconsistency, it was so understood and practiced more as an attempt to improve the performance information of a certain structure, a certain procedure, not as a replacement of the 'wrong' with the 'right'. Any proposed change was still more or less widely discussed, rejected, or sometimes even temporarily shelved. Among the ways of working, the most acceptable was the joint discussion on both historical examples that elaborate on data from individual participants. Has been attempted several times, and with satisfactory results, even a practice extemporaneous composition (eg the board) and group, both encoded materials ( ars nova, Minnesang ) and on non-encoded (groups, sound- noise, music, gesture). 
[A1104] The amount of work product (number and size of the compositions) was obviously low for those who had little or nothing about knowledge of compositional technique, the most abundant in those who had already performed a task or semi-professional music. At work quantified in written notes (in some cases even designed) to be added, an activity not negligible and the production of discourse, a discourse on and the music, whose movement has spread outside of the conservatory, tapping , albeit briefly, other places, other places of society. The issues surfaced during this first year of work (which is officially testing for students, in reality it is for the course itself) have been varied and not always related to consequential or historical logic. The basic idea being to leave as much as possible free field to the initiative of the participants (including, of course, the 'teacher'), on the first job offers were crossed in bulk and routes beaten very often proved a dead end: so few attempts to imitate musical structures and processes evolved very systematically ( Bach, classical sonata, twelve-tone Schoenberg etc...) The lack of an address bias has perhaps given the impression at times that we were wasting our time. Better yet a bit 'of time spent on self-definition (albeit guarded) to a choice, not the long years spent (and perhaps lost) in learning something that others have chosen. Gradually, however, found the blind alleys (blind, of course, for the interest of the individual), traced the problems within the horizon of each technical, you have come delimiting two preferential areas, which focused participants' attention: the late-medieval music-in particular Minnesang and the Italian Trecento ( Squarcialupi Code) - and structuralism of our time, from the Bartók integral serialism and technical groups . Participants with little or no technical knowledge so they have experienced through the mediation of archaeological, a type, albeit rather simple, compositional activity, not exercise the abstract grammar of a language set, but actual production of the musical sense by coordinates freely chosen language. He thus avoided the traditional separation (if not opposed) the organizational dimensions of music (harmony = vertical, horizontal = melody-linear, horizontal = polilineare-counterpoint, form = overall), returning to productive behavior that organic unity however, is the natural activity of the corresponding perceptive organs. At the organic consciousness of both moments, the production and perception, we tried reaching through the patient work of analysis, aimed primarily at models chosen for the practical exercise of composition: one medieval models, other examples of structural engineer from Bartók to Stockhausen. Sporadically were analyzed examples taken from language 'tonal' ( Schubert, Mahler ). About the methods of analysis and testing of composition, has prevailed, after attempts in various directions, a dynamic address-transformational rather than static-structural. However, this is without prejudice to the autonomy of individual research, each experiment in composition. It is deliberately avoided a body of rules (grammar, syntax, formal) that it was not immediately deduced from the examination of historic objects, ancient or recent. In each case the criteria for the organization of sound, objectively valid in their historical position, were taken as completely arbitrary in the experiments conducted within particular areas of composition biases (language). Thus the traditional ban on the fifth and eighth in succession, as well as the prohibition of the eighth for the twelve-tone works were analyzed as negative Conventions (disqualifications) defined within semiological privileged spaces of our culture, it is nevertheless retained only in If the technical details of the experiment in question actually fell in the area of \u200b\u200binterdiction, not so in the case of two counterpoints to set more or less Ars Nova, and even (as regards the prohibition of an octave) in some experiments stockhauseniana ' Gruppentechnik '. The arbitrary choice of the systematic areas (language) and, consequently, its standards of conduct, have often made it difficult a precise definition of the error. The correction, except in cases of flagrant inconsistency, it was so understood and practiced more as an attempt to improve the performance information of a certain structure, a certain procedure, not as a replacement of the 'wrong' with the 'right'. Any proposed change was still more or less widely discussed, rejected, or sometimes even temporarily shelved. Among the ways of working, the most acceptable was the joint discussion on both historical examples that elaborate on data from individual participants. Has been attempted several times, and with satisfactory results, even a practice extemporaneous composition (eg the board) and group, both encoded materials ( ars nova, Minnesang ) and on non-encoded (groups, sound- noise, music, gesture).
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Attendance, maximum return
[A1103 ] The experimental C bear settlement took place on a regular basis (twelve hours per week, divided into three afternoons) from the month of December (1972). To it were joined after a course of music history (run by Carlo Marinelli ) and a reading course at the piano (run by Flavio Benedetti-Michelangeli). Apart from the defections that have been mentioned, which have been joined by another, inexplicably, in recent months, the participants have complied, with regard to the composition course at an average frequency of two afternoons a week. Some have short periods of absence (travel, especially foreigners, moments of "crisis" and so on.) assiduousness others have demonstrated above average. The performance of each (or better the performance of the course against them) is very difficult to assess, given the different degree of familiarity with the music, also given different interest in the specific issue of the composition (for some the main topic was the 'analysis). However, I believe that everyone has made the maximum, depending on the time they could or thought it necessary to devote to music. As for me, I can not adduce as symptomatic that the growing interest in this type of collective and multilateral activities, and the conviction that only by moving from circulation problems, and not by their maceration private, may evolve a new condition of 'making music'. 
[A1103 ] The experimental C bear settlement took place on a regular basis (twelve hours per week, divided into three afternoons) from the month of December (1972). To it were joined after a course of music history (run by Carlo Marinelli ) and a reading course at the piano (run by Flavio Benedetti-Michelangeli). Apart from the defections that have been mentioned, which have been joined by another, inexplicably, in recent months, the participants have complied, with regard to the composition course at an average frequency of two afternoons a week. Some have short periods of absence (travel, especially foreigners, moments of "crisis" and so on.) assiduousness others have demonstrated above average. The performance of each (or better the performance of the course against them) is very difficult to assess, given the different degree of familiarity with the music, also given different interest in the specific issue of the composition (for some the main topic was the 'analysis). However, I believe that everyone has made the maximum, depending on the time they could or thought it necessary to devote to music. As for me, I can not adduce as symptomatic that the growing interest in this type of collective and multilateral activities, and the conviction that only by moving from circulation problems, and not by their maceration private, may evolve a new condition of 'making music'.
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Twelve participants (plus guests)
[A1102] During the first months of study, due to a number of withdrawals (due to commitments or new arrivals or a better evaluation of the extent of work to do), participants were actually reduced to twelve attending, plus some occasional guests, both inside and outside the academy. Among the latter, some composers, performers and teachers, passing through or living in Rome, to whom we send our heartfelt thanks for your time and work that we have dedicated ( Aldo Clementi, Franco Evangelisti , Jesús Villa Rojo , Sergio Cafaro, Paolo Castaldi , Gérard Grisey, Luca Lombardi ). The degree of specific preparation of regular participants has been extremely varied, with regard to age, profession and type of musical activity carried out previously. For two of them (foreigners), who had already studied composition, the course has been made in the contemporary update on technical issues, ie it is configured as a kind of training, while others, such as graduates in piano, have asked to be informed about the theoretical foundations of the musical discourse, while others still, almost completely devoid of experience practice of music, even though its cultural interests, have sought a structural-analytical approach or even have directed their study in analytic sense-perception, leaving a wide margin considerations psychological, sociological, communicational. Some people wanted to experiment more in the sense that is proper, that is, experimentation, not so much of new teaching methods (as the official interpretation of the course), but also new ways of organizing sound material: a they not been asked for a report on the musical studies, but we tried to move at exactly the point at which they were concentrated at their musical interests, for example, from John Cage . Most likely none or very few (two or three) of the participants cultivate the practice of composition beyond the limits of a sideline, in some cases of simple pleasure, but it is for some to believe that the investigations on the communication ¬ faces hauls, carried out here will not remain without influence on their future activity, even when they do not place themselves at the center of a face orientation of studies, rather than the composition, the placement of music in the cultural framework of society. Not specific about the qualifications of the participants, there was, apart from the obvious prevalence of students (upper secondary, university), a marked promiscuity of strands of work: theology, industry, employment and so on. 
[A1102] During the first months of study, due to a number of withdrawals (due to commitments or new arrivals or a better evaluation of the extent of work to do), participants were actually reduced to twelve attending, plus some occasional guests, both inside and outside the academy. Among the latter, some composers, performers and teachers, passing through or living in Rome, to whom we send our heartfelt thanks for your time and work that we have dedicated ( Aldo Clementi, Franco Evangelisti , Jesús Villa Rojo , Sergio Cafaro, Paolo Castaldi , Gérard Grisey, Luca Lombardi ). The degree of specific preparation of regular participants has been extremely varied, with regard to age, profession and type of musical activity carried out previously. For two of them (foreigners), who had already studied composition, the course has been made in the contemporary update on technical issues, ie it is configured as a kind of training, while others, such as graduates in piano, have asked to be informed about the theoretical foundations of the musical discourse, while others still, almost completely devoid of experience practice of music, even though its cultural interests, have sought a structural-analytical approach or even have directed their study in analytic sense-perception, leaving a wide margin considerations psychological, sociological, communicational. Some people wanted to experiment more in the sense that is proper, that is, experimentation, not so much of new teaching methods (as the official interpretation of the course), but also new ways of organizing sound material: a they not been asked for a report on the musical studies, but we tried to move at exactly the point at which they were concentrated at their musical interests, for example, from John Cage . Most likely none or very few (two or three) of the participants cultivate the practice of composition beyond the limits of a sideline, in some cases of simple pleasure, but it is for some to believe that the investigations on the communication ¬ faces hauls, carried out here will not remain without influence on their future activity, even when they do not place themselves at the center of a face orientation of studies, rather than the composition, the placement of music in the cultural framework of society. Not specific about the qualifications of the participants, there was, apart from the obvious prevalence of students (upper secondary, university), a marked promiscuity of strands of work: theology, industry, employment and so on.
Saturday, December 6, 2008
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