The study focuses on newly found sources documenting the financing of the liturgical and musical practice of the Silesian pilgrimage church of the Assumption of the Virgin Mary in Hrabyně. It focuses on the heyday of Hrabyně in the 18th century, when the estate belonged to the Mitrovsky family, as well as on the establishment of foundations and the role of patrons. Financial donations and foundations not only ensured the activities of the chaplain and teacher, but also enabled the purchase of new musical instruments and the construction of an organ. No less important was the introduction of Marian devotions in front of the image of Our Lady of Hrabyně, during which the Salve Regina was sung at the donor's request by six boys in the Czech language accompanied by the organ. The paper aims to highlight one of the aspects connected with the musical-liturgical practice of the pilgrimage site and thus lay a foundation for further research on the musical events of Silesian and Moravian pilgrimage sites.

Greek art music has made a significant and enduring contribution to the symphonic genre within European art music, serving not only as a site of stylistic development but also as a repository of cultural memory. Since the 18th century, beginning with Michele Stratico's (1728-1783) thirty-five (35) sinfonias, Greek composers have engaged in a continuous dialogue with the symphonic form, each work echoing both contemporary influences and inherited legacies. This evolving tradition - passed from generation to generation - embodies not merely musical innovation but also the collective memory of a nation navigating modernity, exile, identity, and continuity. Key figures such as Nikolaos Chalikiopoulos-Mantzaros (1795-1872), with twenty (20) sinfonias, and later Alkis Panagiotopoulos (1950) and Athanasios Simoglou (1954), each with ten (10) symphonies, contribute to a sonic lineage in which memory is not just thematic but structural - embedded in forms, modes, and motives. Petros Petridis (1892-1977), Dimitris Dragatakis (1914-2001), Mikis Theodorakis (1925-2021), Dinos Constantinides (1929-2021), and Dimitris Themelis (1931-2017) each composed six (6) symphonies, acts of remembrance as much as composition, often drawing on national, historical, or personal pasts. The lifespans and works of Giannis A. Papaioannou (1910-1989), Christos Samaras (1956), and Stelios Coucounaras (1936) (each with five symphonies) mark successive stages in a shared memoryscape, demonstrating the genre's increasing weight in Greek musical culture as both a formal discipline and a vessel for cultural reflection.

The Olomouc opera stage (as was, after all, true for all of those in Austria) was part of a network of provincial theatres, characterised by constant changes in membership. It was typical that, following the end of a season, theatre director would go to Vienna and other larger cultural centres to seek new talented singers. Another decisive factor in getting a contract was the successfulness of the artists' guest performances throughout the season. For small theatres, it was advantageous to establish contracts mainly with talented newcomers who had lower demands in terms of their salaries. Operating a successful theatre business was largely connected with the ability of directors to recognise the latent abilities of inexperienced singers. During certain periods, the German municipal theatre in Olomouc was a seedbed of future stars, helping kick off their glamorous careers. However, national disputes, the hostility of city council members, fires, and epidemics as well as the fickle tastes of the audience could thwart the efforts of even the most experienced theatre entrepreneur and make them decide to try their chances elsewhere. The aim of this paper is to document, through several examples of singers or directors, the usual direction of artistic mobility in Central Europe in the 19th and early 20th century.

This study considered how music affects social capital within Istanbul's social fabric. Taking into account Istanbul's specific socio-cultural structure and research on the social outcomes of music participation, we developed a set of potential mechanisms through which personal social networks, thick ties, particularized ties and trust, and generalized trust might be affected by concert attendance at free concerts in the Istanbul district of Üsküdar. This article focuses on statistical analysis of audience survey results. The concerts proved to be lively social environments, and all types of social capital seemed to benefit from concert attendance, although outcomes depended especially on the genre of music.

This article presents a hermeneutic and analytical study of Nikos Skalkottas's Sixteen Songs (1941), focusing particularly on the first song of the cycle. After an outline of Skalkottas's biography and cultural context, the work explores the complex interplay between poetic text, musical rhetoric, and dramaturgical structure within the song cycle, emphasizing their roots in both Greek tradition and European modernism. Employing tools of topical, textual, and serial analysis, the study demonstrates how Skalkottas fuses dodecaphonic techniques with references to folk music, popular contemporary dances, and rhetorical devices, creating a unique and ironic sound world that transcends the boundaries of tonality, atonality, and genre. The article highlights the cycle's oscillation between lyrical and agitato moments, its dense web of literary and musical topoi, and the innovative handling of form and voice. In addition to presenting a detailed analysis of the first song - including its motivic, harmonic, and structural features - the article provides new English translations of the cycle's lyrics and offers a broader dramaturgical and interpretive perspective on the work as a whole. By considering the technical, symbolist, and expressive dimensions together, the study situates Skalkottas's songs as a singular synthesis of tradition and avant-garde, urging greater recognition of their artistic quality and significance for both Greek and international repertoire. Nikos Skalkottas; Hermeneutic analysis; Sixteen Songs (1941); Musical rhetoric; Musical dramaturgy

Classical sonata cycles often end with effervescent dance-like movements. From the eighteenth century into the nineteenth, composers developed a taste for more substantial finales of serious character and reconceived the arrangement of multi-movement works altogether. This article examines a small collection of finales written at the turn of the century by Paul Wranitzky and Jan Dussek that occupy a unique position in these transformations and integrate slow movement and fast finale into an inseparable unit. The last movements of Wranitzky's String Quartets Op. 30 Nos. 2 and 5 and Dussek's Piano Sonata Op. 39 No. 1 constitute an original type of finale defined by the following features. (1) The opening suggests that a slow movement is underway. (2) A shift to a fast tempo signals an attacca transition to the finale. (3) The slow section returns. (4) The fast tempo resumes and provides closure. The formal design of these movements includes elements of rondo ­and/­or sonata and require frequent re-evaluation on the part of the listener. These movements also display resemblances in their expressive content: the slow sections feature a solemn tone provided by the hymn topic. The return of the slow section - the most striking feature of these cyclic finales - will support two interpretations: a memory from the past and a musical analogy of Schiller's cyclical journey of human growth. The comparative study of these works provides a springboard to address the varying aesthetic demands of final movements, examine the evolution of the sonata cycle, and illustrate how form and expression interact in standardized ways.

The Czech composer Vítězslava Kaprálová (1915–1940) maintained a profound connection with Paris throughout her career, undertaking studies at the École Normale de Musique. As both a composer and conductor, Kaprálová distinguished herself within domains traditionally dominated by men, and integrated successfully into the artistic milieu of her era. Despite her achievements, however, her legacy in France diminished after her premature death, remaining largely confined to brief and sporadic references until the early 21st century. This article critically assesses Kaprálová’s position within French music programming since 2001. Many aspects are explored, such as the evolution of the number of concerts that include opuses of Kaprálová, her most interpreted works according to the musical genre, or her place in the French musical institutions. Finally, a broader critique reveals how these observations fit in the institutional structures within the French musical landscape and the negative impact these structures have for the visibility of women composers.

On January 10, 1873, the journal Dalibor predicted for Zdeněk Fibich’s Meluzína that its success would help to spread Fibich’s name within the ‘wider circles of the artistic world’. In retrospect, this prediction might have been a little too optimistic, as, up until this day, Fibich has been acknowledged primarily for his innovative approach to music-dramatic genres. This paper aims to close this research lacuna by shedding light on both Meluzína’s reception and selected compositional-aesthetic features.

The following study focuses on cultural transfer and the formation of theatre networks between the towns of Olomouc and Pressburg in the latter half of the nineteenth century. At that time, German-speaking theatre directors, namely Ignacz Czernitz and Emanuel Raul, worked in the municipal theatres of both these provincial towns. Their artistic activities in these two theatres share several features. What differed was the relationship of the urban elite (mainly members of the municipal council, the local press, and cultural societies) and their support of the director. Another important factor for the success of a theatre enterprise was the attractiveness of the theatre building, which decreased with its growing wear and tear. This manifested itself most prominently in the activities of Emanuel Raul, who encountered major financial difficulties in the fifty-year-old Olomouc theatre, whereas he was highly successful in the newly erected theatre in Pressburg.

The paper discusses the importance of micro-historiography in music history research, which involves studying the everyday lives of individuals and events to uncover forgotten details and gaps in traditional historical approaches. Reading the main source, the daily Pest-Ofner Localblatt und Landbote it is especially important to emphasize the significance of shorter news, reports, and advertisements in newspapers as valuable sources of information for reconstructing everyday musical life in Pest-Buda. The Pest-Ofner Localblatt und Landbote mentions several guest performers on the stages of Pest-Buda, including the visits of traveling national or folk companies, the performances of the successful Spanish folk dance company at the National Theater in Pest, the tour of the popular Tyrolean folk music company for several months, the supposedly Viennese singing company, marked by the names of Mutzbauer, Honetz, and Lasky, which clearly represented the Wienerlied repertoire on the stage of popular cafés, the guest performances of singer Babette (Betty) Gundy, or Sigismund Thalberg's student, the pianist Rosa Kastner. The present paper also discusses the sources that can be used to list the guest performers, such as the surviving archive material of the National Theater in Pest, the theatre pocket books of German theaters, and the period's press, especially the Pesth-Ofner Localblatt und Landbote. By studying the lives of everyday individuals and the events of everyday life, researchers can uncover information that may have been overlooked or ignored by traditional historical approaches. In the context of music history, micro-historiography can help to shed light on the functioning of an entire city or region, as well as the structure of musical life from a variety of perspectives. It can also help to reveal the realities of everyday musical life, including the network of contacts through which musicians could reach their audience, and how this was reflected in the period's sources.

Richard Taruskin describes the German choral movement as the hotbed of German nationalist unification, the musical precursor of a new nation-building ideology. However, the Liedertafel movement did not stop in Germany, but spread to the whole of Europe, practically without exception the founding of choirs had a national-political dimension, including Hungary. It is interesting to examine how nationalism overtones could take hold in the multiethnical Hungary, especially in the German-dominated cities. Sopron is an excellent case study, since this town, which lies in the western corner of the country, bordering Austria, had a large part of German population, and as a consequence had a German theatre and German speaking press. Christian Altdörfer, the choirmaster of the Lutheran church and founder of the Dalfüzér/Liederkranz, came from Württemberg to set up a singing group in the 1840s that sang in both German and Hungarian. This situation gives us an opportunity to examine how the association saw itself and how others saw it, and in doing so to highlight what national identity meant in mid-19th-century Hungary.

The Kounitz family archive, housed in the Moravian Provincial Archive, contains a very extensive fund of correspondence with Wenzel Anton of Kounitz-Rietberg, consisting of interesting sets of letters with various personalities of his time. A set of letters by the Italian poet and librettist Ranieri Calzabigi, which is stored here, represents almost the complete surviving correspondence of both persons. Two other letters are stored in another folder of the same archive, and one letter is stored for unknown reasons in the Morgan Library and Museum in New York. We also know of the existence of one letter from Kounitz to Calzabigi, which has survived only in its published form, and a draft of one of Kounitz's replies is also part of the Grosse Korrespondenz collections of the Austrian State Archives. The correspondence thus assembled, comprising over 300 folios of manuscripts mostly in French and partly in Italian (49 letters and 16 enclosures in total), is a very valuable source of information for 18^th century cultural history and is now the subject of a modern edition supplemented by English translations of the originals. The surviving correspondence consists mainly of letters from Calzabigi to Kounic, which can be divided into three time periods, among which no letters have survived: ca 1764-1775, 1780-1784 and 1789-1791. The letters written while both were in Vienna are more technical in content, relating to the operations of the French theatre in Vienna and to lotteries. After Calzabigi's departure for Italy in 1774, the letters become a very comprehensive glossary of contemporary events, in which the writer draws Kounitz's attention with information about musical theatre or the visual arts, but does not neglect to comment onthe broader interests of both protagonists. This correspondence thus becomes an invaluable source of information about contemporary events not only in Italy.

The study examines the forms of institutionalized popularization of Anglo-American rock in the context of Brno music clubs at the time of normalization (1969-1989). Based on unpublished sources and oral historical research, the text shows the specifics of the rock scene in the south Moravian region, while contradicting the dominant interpretation of the history of rock music behind the Iron Curtain primarily as a political force.

The text first of all gives a broader comparison of the development of two traditions that significantly influenced Czech society in the 19th century. Political, national and religious influences, together with the development of historical research, were reflected in artistic creation, including music. Both traditions were connected by many features: a place in Czech history, a religious basis, the element of Czech-German coexistence, partly also their incorporation into the interpretation of the Blaník legend, etc. The selection of compositions serves not only to understand the parallel coexistence of both traditions, but it is also beneficial in terms of finding compositions whose authors attempted to merge the two ideological currents. In addition to the compositions themselves, other valuable information on this confrontation is provided by contemporary materials (reviews, memoirs). The text reveals much about the composers’ motivations, the risks of choosing the themes, the reception by audiences, opportunities for performances, competitors’ opinions, etc. One of the main conclusions is the statement that Hus-Hussite compositions quantitatively predominated in the second half of the 19th century and that they were a symbol of the progressive current of Czech political representation. Compositions of a synthesising nature were united by an appeal to reconcile the confessionally, linguistically and politically divided nation, and, in this sense, they are closer to Saint Wenceslas compositions. As a whole, all compositions can then also be understood as a suitable addition to the reconstruction of the subject represented by the question “Wenceslas or Hus/Žižka”.

Receiving a contract with a well-known publisher provided composers with an opportunity to promote their works in the concert hall or theatre, which was of course also in the interest of the publishers – each successful performance of a composition amounted to a higher demand for the piece. Last but not least, the publishing contract provided composers with a significant source of income, although in the case of Czech composers by no means the sole one. By using the examples of one generation of Czech composers ( J. B. Foerster, V. Novák, J. Suk) the aim of this paper is to demonstrate the specific features and differences in the conditions and relations that these figures had with the renowned publishing house Universal-Edition in Vienna.

A new methodology for the analysis of the concert melodrama in the Romantic period divided work through the identification of boundaries between music and text, also where in the concert melodrama only musical or purely poetic sections were found. In connection with previous knowledge, new unique types of connection and context were defined. Because important structural aspects of the new methodology were introduced in Fibich's melodramas Štědrý den, Vodník and Hakon, a representative sample of analysis demonstrates the effort of the composer to support not only the meaning of the text and to give it its contextual climate but also to keep the actual musical flow. Great works also show that the degree of originality of the music in relation to the text is very finely differentiated and that the consolidation of the musical material is constructed not only on a motive of concentration, but also on a more general level of its organization.

The Missa brevis in F Major op. 21 Hud 279 (1885) was composed by Fibich during his two-year compositional crisis. The composition was frequently performed in Bohemian and Moravian churches and remained part of their repertory up until the 1940s. The composition manifests the influence of compositional techniques of Renaissance vocal polyphony, basso continuo, the harmonization technique of the Protestant chorale, as well as elements of contemporary figural music. Apart from an analysis of the composition's style and evaluation of Fibich's relationship to liturgical music, this paper also presents the reception of the composition and reflections on it, and classifies it within the context of the liturgical repertory performed in the Czech Lands in the 1870s and 1880s. Particular attention is paid to the characteristics of two contemporary tendencies: figural music and the reformation of the Cyril (Cecilian) Movement.

This study provides a brief outline of the development of mainstream music and popular music content since the fall of the Iron Curtain in Slovakia, mapping the rise of specific music styles, such as club, hip-hop, and electronic music, and providing a brief description of the infrastructure, including recording studios and currently active music producers. In studying the nature of the creative process, it focuses on selected popular musicians (Štefan Královič and Martin Kavulič) who have been active on the music scene in the recent years. The study deals with the nature of various sources of influence on musicians' decision-making, addressing issues such as the role of their education versus their innate musicality and intuitive sensitivity to current trends, the role of globalisation and the media, and certain specific features related to Slovak artists' mainstream music production.

This study explores Jörg Widmann's operatic compositional approach found in his Viola Concerto (2015). He has created a refreshing and intriguing way of presenting the composition that differs from a conventional concerto. In it, Widmann delivers ideas and new approaches through the visual and auditory senses, allowing audiences to effectively engage in the manner he designed of the fictional world. The music takes on several roles so as to create atmosphere, emotion, dialogues, and abstract protagonists in a "story" he designed. He makes the music as dramatic and as theatrical as possible, giving a new presentation fashion in his concerto, keeping the Concerto genre alive.

Although Ilse Weber's compositions have become central to the "Terezín canon", very few of her musical manuscripts are available. My study argues that the lack of sources actually serves Weber's popularity, as her Terezín songs can be tailored to the needs of individual performers to represent manifold notions of Terezín. Furthermore, my research juxtaposes Terezín's current status as a memorial site with its original function as a "Potemkin Village." Considering that much of the complexity of Terezín's original soundscape has been ignored or suppressed, I argue that it has become a simplified mirror image of the "model ghetto" it originally was.

Through the figure of the singer Prince, Roger Nelson (1958-2016), LoveSymbol, we can reflect complex relationships between the artist and the game of celebrity. The fact of becoming popular, of being a known singer on a world scale, involved automatically and systematically desire to control his image, to come into conflict with his record company and to propose new marketing formulas to sell his music. Now, the tourism and the visit of Paisley Park (Minneapolis - Chanhassen) become a new stage of the memory's construction and of this popularity. This avant-garde singer in his way of communicating and expressing himself on the stage offers future generations a wide range of academic research in multiple fields. He proposes a continuation of his musical art through Paisley Park and cultural tourism.

The study deals with the aesthetics of singer-songwriters, namely the aesthetic category of authenticity. The aim of the text is to introduce a discussion of "authenticity" with regard to the worldwide singer-songwriters movement, especially its top female representatives (namely Carole King from the first phase in the sixties and seventies). The theoretical treatise is complemented by model analyzes of selected musical and extra-musical (textual, dance, etc.) elements that constitute what music critics call "authentic expression" - what they traditionally understand as a key criterion of musical/artistic quality (beauty, value) and on what they eventually build the canon of popular and rock music history.

Our paper investigates the emergence of pop music in Romania against the background of the demise of state socialism and the implementation of neoliberal policies after 1989.
Romanian pop music is the most listened to genre among young people nationwide in Romania. The paper traces the evolution of the Romanian musical industry from a single state-owned label, Electrecord, during the socialist period, to the private initiatives, large or small, of post-socialism. We argue that the development of the Romanian pop music industry is tightly linked with particular processes of Romanian post-socialism. Hence, analysing this development enables us to shed light upon the specificities of post-socialism in Romania (but also in the broader Eastern European context). Furthermore, the paper delineates the relationship between pop music in Romania after 1989, post-socialism and global neoliberalism as a hegemonic discourse.
In the late 1990s and early 2000s, Romanian pop music meant private enterprises promoting teen stars playing simple compositions and improvised music videos produced on a low budget, dedicated exclusively to a Romanian audience, whereas more recently pop songs by Romanian stars have gained international recognition, and entered the international charts. Thus, Romanian pop music seems to portray the ethos of neoliberalism as described by Comaroff & Comaroff, with wealth being attained almost miraculously.

This article represents an attempt to describe the use of a sequence of three-chord, comprising the sub-mediant, followed by the dominant and thirdly, the tonic by composers from 1610 (Monteverdi) to 1948 (Richard Strauss). During that time, this three-chord sequence has been used sparingly - by just nine composers - but is used in two of the most well-known and loved orchestral works. The author poses the questions: why has it been used so infrequently? What is the contextual meaning of this chord sequence by each composer? Is there anything significantly similar between the meaning of the chord sequence across all the works of these nine composers? Surprisingly, there was no use of this chord sequence between Monteverdi and Beethoven. After investigation, the author shows that the reverse of the sequence, tonic, dominant, sub-mediant chords, was a standard sequence in works from the Baroque through to the present day, often as an ostinato pattern. From Pachelbel's Canon in D to songs by the Beatles, Bob Marley, and many other famous, contemporary singer-song writers. On the other hand, the author shows that the use of the three-chords, is either as cadence or at the beginning of a phrase; it can also be used as a means of modulating, from a minor to a Major key. From Monteverdi on through the list, the contextual meaning of the sequence, sometimes with a text, and sometimes without, has a religio-philosophical spiritual meaning and use. Most of the composers set the sequence to a Christian text (Magnificat, Easter hymns, Resurrection) while others use folk texts or celebrated poetry, to describe philosophically the journey of the soul from birth to death and beyond.

The symbol of languor is a counterpart of the symbol of flight. It represents the erotic element which occurs in Scriabin's personality, philosophy and compositions very significantly. Melodically, the symbol of languor stands for the indirect melody ending with chromatic descent of three notes. The most frequently it is expressed by the "sigh" of twice or three times repeated two-tone figure in which the first note has a longer duration. If the motifs contain this "sigh figure", we can call them as "sigh" motifs which has the tendency to descend. Whereas the motifs lacking this figure we call as "floating" motifs which tend to rise. However, the sphere of the symbol of languor is defined by its texture rather than by its melody. The texture is characterized by significant or even polyphonic independence of the middle voices and the closeness of melody and accompanying figures.

This study addresses the music-related aspects of the works of Claude Lévi-Strauss within the context of musicology and with a specific focus placed on his Mythologiques tetralogy. The aim is to define thematic categories for the individual theses within which they are further contextually understood. Selected references to music from Lévi-Strauss's work were analysed, compared, and interpreted, taking into consideration the theories of structural linguistics and anthropology. The topics chosen for the investigation include the system of relationships between language, mythology, and music, the analysis of myths using musical scores, the thesis that both music and myth are instruments that suppress time, the mythical nature of musical forms, and an analysis of Maurice Ravel's Bolero. The study takes into account current musicological applications that use the structural analysis of myths, and also critical reflections regarding Lévi-Strauss's theories. The individual categories were defined as structural homologies of myth and music, methodological tools of a metaphorical type to analyse myths using music, and the area commenting on the principles governing the styles and forms in the development of European art music and composed poetry.

Petr Eben was one of the few internationally renowned composers embracing the implications of the Second Vatican Council on writing music for the liturgy designed for the active participation of the entire congregation. He took up this challenge and succeeded in meeting both liturgical and artistic requirements. This paper discusses technical and aesthetic questions involved in composing for congregations and exemplifies these questions in analysing three works by Petr Eben: Deutsches Ordinarium (1965), Marien-Vesper (1968) and Missa cum populo (1981-1982).

The technologies of the 20th century represent an important milestone for the concept of musical work in history that concerns not only music composition itself but also its conservation and transmission.
It might have been in the field of music composition that these tendencies have become apparent first - in the construction of first electronic musical instruments; the integration of civilization, primarily non-musical sounds into classical music compositions; and after World War II, also in the new composition methods that record media started employing (e.g. magnetic tapes used for sound collage or phase shifts); furthermore, in the algorithmic composition mathematical formulae and computers applied (as digital support for the restoration of music scores or even as the proper creator of the composition that the computer either reproduces or conveys its graphical notation) or so-called live electronic music (in the sense of the flexibility of technical operations during live performances - reproductions of the work). However, computer music has also brought up new questions on the conception of the work of art and the scope and definition of music itself. These specific traits of so-called new music from the point of view of copyright are the subject of the Appraisal of the Institute of Copyright, Industrial Property and Competition Law of the Faculty of Law of Charles University (abbreviated Appraisal UPAPP) that reflects on the works of electronic and experimental music.
The study also touches on the possibilities of mass distribution of works, mainly related to the Internet and the development of new digital media with which can help to preserve (or fixate) and distribute recordings. These relatively new digital platforms and formats are on the one hand a way to liberalise and shift the distribution of music. On the other hand, they mean some flattening of the quality (technical and content) and a corresponding sharp increase in the quantity of recorded music. These aspects are also reflected in copyright law, where they have caused an increase of the specific problems related mainly to illegal distribution of musical works. Copyright law already regulates so-called indirect means of copyright protection (e.g. § 43). In the future, today's strategy of no responsibility for what content customers are offered on the side of website operators is threatened, since the advocates of stricter protection promote new harsher laws, for example liability of owners and operators of Websites for their content and trying to de facto introduce some form of Internet censorship.

The article, based on the long-term research of music events in contemporary Prague, aims to find the ways whereby various Prague communities remember their pasts through music. The theoretical background comes from Jan Assmann (2011), according to whom communities are bound together by the co-called connective structure; its time dimension can be understood as a way of remembrance. In the first part of the article, the author aims to elaborate an analytical approach providing a categorization of types - "modalities" - of recollection. In the second part, three such modalities created by different communities are presented: an official modality of "national heroes", the dynamic modality of the underground, and the nostalgic modality of "the children of a socialist paradise".

Aleksandër Peçi (born 1951) is at the moment one of the most active and successful Albanian composers living in Albania. His music language is very specific and well appreciated in the international music scene. Lately Peçi developed a compositional logo named Polygravité CC2. Planetears is a composition where he uses for the first time his compositional logo, along with other music elements such as an Oi-interval originating in the Albanian folklore, or the Double Lacrimosa which is a combination of the cadence of Mozart's Lacrimosa and the seventh interval from the Albanian lament. The name Planetears is made of two words planet and tears. The inspiration came from a speech by the U. S. president Barack Obama at the 2009 summit on global warming, and also from a poem by Al Gore about climate change and its effect on our planet. Every music element used expresses a specific non-music content and it is carefully chosen by the author. The analysis highlights the main music elements and techniques, and their effect on the piece. The climate problem is expressed by a combination of Albanian music elements (from the Albanian lament), western music (W. A. Mozart) and Peçi's original techniques (Polygravité CC2).