Assignment #3

Select one ​book, magazine or journal article​ that is connected with your research topic
from our library or another library you have access to.

a. Provide a full citation for that book (as you would include in your bibliography),
including author or editor (last name first, then first name); title; edition, if
indicated; place of publication; publisher; and date of publication.

CASTELNUOVO-TEDESCO, Mario. Una vita di musica. Autobiografía y Catálogo de su obra.

Ed.Acura de JamesWesby; introduzione di Milla De Santis. Firenze, Italia: Edizioni Cadmo, 2005.

b. Select a phrase from any page of the book/magazine/journal article. Write a

sentence in which you quote from the source, using that phrase, and add a
footnote number at the end of the sentence. Then create a footnote for the
sentence that includes author’s name; title; date of publication; and page
number(s).

Cuando he incluido el nombre completo de la pieza, la crítica ha hecho alusión de

una manera humorística; en Londres por ejemplo, en la crítica del Times, hablaron mucho de
la benignidad del diablo que te había inspirado…Todo el mundo ama tu pieza, anunciada sin
el título de «Diabolico» […]1​​ .

c. Select an idea from any page of the same book/magazine/journal article.

Paraphrase that idea in a sentence (that is, put the idea in your own words) and
add a footnote number at the end of the sentence. Then create a footnote citation
for the sentence.

ORIGINAL TEXT: “Esta obra fue muy interpretada por el maestro ya que en ella vio
muchas posibilidades para mostrar la magia de su sonido y la refinada elegancia de su fraseo al
tocarla con su encanto libre e imaginativo. Sin embargo, para favorecer estas cualidades, no dudó en
sacrificar la coherencia armónica y formal que a los ojos del compositor, era esencial”.

This work was very much interpreted by the master since he saw in it many possibilities for to
show the magic of its sound and the refined elegance of its phrasing by playing it with its free and
imaginative. However, to promote these qualities, he did not hesitate to sacrifice the harmonic and
formal coherence which, in the composer's opinion, was essential​2​.

1
​OTERO, Corazón. Mario Castelnuovo-Tedesco. Su vida y su obra para guitarra. Monterrey, México:
Ediciones Musicales Yolotl, 1987, p. 114.
2
This paragraph is based on a free translation by the author of the Preface by Angelo Gilardino.
CASTELNUOVO-TEDESCO, Mario. Preface of Capriccio diabolico, Tarantella per chitarra / Mario
CastelnuovoTedesco, Nuova edizione fondata sui manoscritti originali. [A cura di] Angelo Gilardino e Luigi
Biscaldi. Milano: Ricordi, 2006, p. 6.