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The analysis of creative process in music through written sources intertwines often with hermeneutics [Kinderman 2009], in a way not dissimilar from philological studies, whose basic purpose ―although many attempts to delimit or to unbind it― remains ‘making sense of texts’ [Pollock 2009: 934]. An interesting field for music philology in order to investigate the ways a musical text took form seems to be the study of musical texts transcribing unwritten music, since they, facing music notation with music conceived out of a notation system, allow to explore the rationale underpinning the choices made by the transcriber, whose act encloses undoubtedly a creative activity [Arom 2002; Nettl 2005; Scaldaferri 2005].
A significant case study for this kind of enquiry in “music transcription philology” could be that of Alberto Favara (18631923), who is considered the first scholar approaching the Sicilian folk music not only through the transcription of the melodies and/or their texts but also through the study of the multiverse whereof they were part and expression [Leydi 1996: 26]. Born in Salemi, near Trapani (Sicily), and trained as composer, Favara had a multifaceted personality: composer, teacher for composition and sing, speech therapist, musicologist, music critic, concert manager, and proto-ethnomusicologist. He became interested in Sicilian folk music after being appointed as professor for composition at Palermo Conservatory, having already composed two operas, cantatas, and symphonic works. Between 1898 and 1905 he collected more than one thousand folk songs, travelling at his own expenses through Sicily and coming in contact with cultural fields far away from his milieu, both in urban and in non-urban contexts.
Although he was not able to raise funds for publishing the song collection, he presented part of his work, both as musicological essasys, appeared between 1898 and 1905 [Favara 1959]], and as compositions for voice and piano based on the transcription of the collected material [Favara 1907, 1921]. It is interesting to note that he was perfectly aware of his creative approach to Sicilian folk music, as in his essays he declares that this ‘natural’ music could allow a basic regeneration of Italian national music. Clearly influenced from Nietzschean philosophy ―as the references to Friedrich Nietzsche’s The Birth of Tragedy in his essays testifies―, he was interested in the search for ancient Greek roots as statement of and means for a music founded on interaction of gesture, voice and melos as expression of natural forces effecting on the singing body embedded in the world.
The songs were first transcribed in modern Western musical notation but without segmentation through bars and without accompaniment (in this form were edited only posthumously by Ottavio Tiby [Favara 1957]). On the basis of this transcriptions Favara achieved the artistic transcriptions for voice and piano, in which he realised the desired rekindling of Italian music.
The published sources display a broad range of creative acts that can be systematized in three main groups:
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