No. 2.
Muse
Muse is an open and shared digital space where the arts meet without disciplinary barriers. The name is inspired by the Muses of ancient Greece, guardians of an eternal knowledge that unites gesture, word, and vision. The journal gathers and weaves together diverse perspectives, inviting exploration of the totality of the arts, much like a choir harmonizing the plurality of expressive forms.
In the second issue of Muse: from Frederick Delius's poetics analyzed through the lens of ecomusicology and the relationship between music, word, early 20th-century aesthetics, and nature (Testa), to historically designed soundscaping and the immersive artistic-museum experience of a Tuscan art venue (Fialà); from the relationship between music and dance in early 17th-century Rome (Panzanaro) to the delicate balance among the critic, the curator, the contemporary artist, and the exhibition space (Bronzino); from the relationship between intellectual property and AI (Munno) to Monteverdi's echoes in Il combattimento di Tancredi e Clorinda within 20th-century English music (Salcito); from Jean-Maurice Cébron's peculiar legacy in contemporary choreographic art (Marchese) to the links between pedagogy and design devices (Damiano). Furthermore, the issue features contributions ranging from Maurizio Baglini's piece on the ontological dimension of the performer and interpretation in relation to the composer-author's written page, to Patrizia Florio's exploration of the extraordinary musical heritage preserved and handed down by Conservatory libraries and their future prospects; from Tiziana Carpinteri's overview tracing the evolution of the concept of tangible and intangible cultural heritage, to the contribution by Dell'Aversana, Parente, Marchese, and Menale, which addresses the notion of the work of art as a data string of diverse nature and discusses how copyright legal protection can meet the challenges posed by AI. The issue is rounded out by reviews by Marta D'Atri, Giovanna Carugno, Patrizia Bertolini, Maria Luigia Gioffrè, and Federica Zianni.
Cover — The grid, as a symbol of order, structure, and method, is brought into relation with the organic and mutable form of the cloud, creating a dialogue between geometric and figurative elements. This represents the AFAM disciplines and their heterogeneous language within the journal, which connects diverse perspectives on artistic and design reality.
Cover design by Giovanni Capoccia.