The aim of this work was to show that refined analyses of background, low magnitude seismicity allow to delineate the main active faults and to accurately estimate the directions of the regional tectonic stress that characterize the Southern Apennines (Italy), a structurally complex area with high seismic potential. Thanks the presence in the area of an integrated dense and wide dynamic network, was possible to analyzed an high quality microearthquake data-set consisting of 1312 events that occurred from August 2005 to April 2011 by integrating the data recorded at 42 seismic stations of various networks. The refined seismicity location and focal mechanisms well delineate a system of NW-SE striking normal faults along the Apenninic chain and an approximately E-W oriented, strike-slip fault, transversely cutting the belt. The seismicity along the chain does not occur on a single fault but in a volume, delimited by the faults activated during the 1980 Irpinia M 6.9 earthquake, on sub-parallel predominant normal faults. Results show that the recent low magnitude earthquakes belongs to the background seismicity and they are likely generated along the major fault segments activated during the most recent earthquakes, suggesting that they are still active today thirty years after the mainshock occurrences. In this sense, this study gives a new perspective to the application of the high quality records of low magnitude background seismicity for the identification and characterization of active fault systems. The analysis of the stress tensor inversion provides two equivalent models to explain the microearthquake generation along both the NW-SE striking normal faults and the E- W oriented fault with a dominant dextral strike-slip motion, but having different geological interpretations. We suggest that the NW-SE-striking Africa-Eurasia convergence acts in the background of all these structures, playing a primary and unifying role in the seismotectonics of the whole region.

We use data from about 700 GPS stations in the EuroMediterranen region to investigate the present-day behavior of the the Calabrian subduction zone within the Mediterranean-scale plates kinematics and to perform local scale studies about the strain accumulation on active structures. We focus attenction on the Messina Straits and Crati Valley faults where GPS data show extentional velocity gradients of ∼3 mm/yr and ∼2 mm/yr, respectively. We use dislocation model and a non-linear constrained optimization algorithm to invert for fault geometric parameters and slip-rates and evaluate the associated uncertainties adopting a bootstrap approach. Our analysis suggest the presence of two partially locked normal faults. To investigate the impact of elastic strain contributes from other nearby active faults onto the observed velocity gradient we use a block modeling approach. Our models show that the inferred slip-rates on the two analyzed structures are strongly impacted by the assumed locking width of the Calabrian subduction thrust. In order to frame the observed local deformation features within the present- day central Mediterranean kinematics we realyze a statistical analysis testing the indipendent motion (w.r.t. the African and Eurasias plates) of the Adriatic, Cal- abrian and Sicilian blocks. Our preferred model confirms a microplate like behaviour for all the investigated blocks. Within these kinematic boundary conditions we fur- ther investigate the Calabrian Slab interface geometry using a combined approach of block modeling and χ2ν statistic. Almost no information is obtained using only the horizontal GPS velocities that prove to be a not sufficient dataset for a multi-parametric inversion approach. Trying to stronger constrain the slab geometry we estimate the predicted vertical velocities performing suites of forward models of elastic dislocations varying the fault locking depth. Comparison with the observed field suggest a maximum resolved locking depth of 25 km.

L’attività nel teatro della Villa medicea di Pratolino, presso Firenze, giunse al culmine nel primo decennio del ’700, quando il principe Ferdinando de’ Medici commissionò e vi fece rappresentare, una per anno, opere in musica di Alessandro Scarlatti e di Giacomo Antonio Perti. Benché le partiture siano perdute, sopravvive un’ingente quantità di materiale documentario, in massima parte inedito, il quale dà un eccezionale resoconto sul mecenatismo del Principe e sul funzionamento della macchina teatrale. La dissertazione si concentra sulle sei opere poste in musica da Perti ("Lucio Vero", 1700, in collaborazione con Martino Bitti; "Astianatte", 1701; "Dionisio re di Portogallo", 1707; "Ginevra principessa di Scozia", 1708; "Berenice regina d’Egitto", 1709; "Rodelinda regina de’ Longobardi", 1710), sui rapporti del compositore col Principe, col librettista Antonio Salvi, col rivale Scarlatti, coi cantanti e con la corte medicea, sullo stile da lui perseguito e – per quanto è dato sapere o lecito ipotizzare – sulla fisionomia dei suoi lavori (strutture e risorse letterarie, teatrali e musicali). / Activity in the theatre of the Medici Villa of Pratolino, not far from Florence, peaked during the first decade of the 1700s. At that time, Prince Ferdinando de’ Medici commissioned Alessandro Scarlatti and Giacomo Antonio Perti to compose operas, staged in the Villa on a one-per-year basis. Although the scores of these operas have been lost, much documentary material has survived. The greater part of this is still unpublished, but it provides an exceptional account of both the Prince’s patronage and the theatre’s functioning. This dissertation focuses on the six operas set to music by Perti ("Lucio Vero", 1700, in collaboration with Martino Bitti; "Astianatte", 1701; "Dionisio re di Portogallo", 1707; "Ginevra principessa di Scozia", 1708; "Berenice regina d’Egitto", 1709; "Rodelinda regina de’ Longobardi", 1710), on the composer’s relationship with the Prince, the librettist Antonio Salvi, his rival Scarlatti, the singers and the Medici Court, on the style he pursued and – to the extent that such information is known or may be legitimately inferred – on the physiognomy of his works (structures and literary, theatrical and musical resources).

La tesi si occupa della «processione con Misteri» organizzata da Carlo Bascapè, preposito generale dei Barnabiti, a Milano, la notte del venerdì santo, a partire dal 1587. Di questo importante rito processionale sono giunte fino a noi diverse testimonianze documentarie, conservate presso l’Archivio Storico dei Barnabiti a Milano, che sono state il cuore di questa ricerca. La processione è una grande meditazione pubblica dove la musica svolge un ruolo molto importante. Il percorso che ho seguito è stato teso a rendere ragione delle motivazioni drammatiche e devozionali della processione, per poi approdare al significativo ruolo che la componente musicale svolgeva nel rito stesso. Nel primo capitolo ho rievocato la figura di Carlo Bascapè (1550-1615), inserendo la sua figura all’interno delle esperienze storiche nelle quali si è formato (la Milano di san Carlo Borromeo e l’Ordine dei Chierici regolari di San Paolo). Nel secondo capitolo ho scandagliato le radici devozionali alla base della processione (i concetti di devozione e orazione) e messo a fuoco il ruolo della musica nell’esperienza religiosa dei Barnabiti e, in particolar modo, di Carlo Bascapè. Il terzo capitolo si concentra sulle principali modalità di rappresentazione e meditazione della passione di Cristo. Nel quarto capitolo ho ricostruito, attraverso una lettura dei documenti, e con approfondimenti tratti dalla letteratura devozionale tardocinquecentesca sulla passione, i vari aspetti della processione e i suoi protagonisti (religiosi, nobili della città di Milano, musicisti), e, infine, ho messo in luce gli aspetti devozionali e drammaturgici. Nel quinto capitolo ho analizzato le musiche superstiti, pervenendo alla conclusione che ogni aspetto musicale era concepito tenendo ben presenti i due aspetti su cui era imperniata la processione: la rappresentazione della passione e l’immedesimazione dei fedeli. L’ultima parte della tesi consiste, infine, nella trascrizione dei documenti archivistici, nella loro parte testuale e musicale. / My Thesis concentrates on the processione dei misteri organized by Carlo Bascapè, superior general of the Barnabites, in Milan on the night of Good Friday since 1587. The Archivio Storico of Barnabites (Milan) contains several documents that are evidence of this important rite and represent the sources of this research. This processione was a huge public meditation in which music played a primary role. The aim of my writing is first to account for the dramatic and devotional reasons of the processione, then to investigate the significant meaning that the music would have had in the rite itself. In the first chapter I introduce Carlo Bascapè (1550-1615) emphasizing his historical constitutive experiences, that means presenting the city of Milan during Saint Carlo Borromeo and the Clerics Regular Order of Saint Paul. In the second I investigate the devotional roots under the processione, the concepts of devotion and oration, and I focus on the role of the music in relation to the religious experience of Barnabites and in particularly of Carlo Bascapè. In the third I concentrate on the main representation and meditation mode of the Christ Passion. In the fourth chapter I reconstruct the different aspects of the processione and its protagonists (religious people, Milan noblemen, musicians) through the reading of sources and deepening the late sixteenth devotional literature, and lastly I underline the devotional and dramatic features. In the fifth chapter I analyze the survivor sheets music concluding that every musical detail would have been conceived in order to respect two different aspects of the processione: on the one side, the Passion Drama and, on the other side, the believers’ identification. The last part of the thesis consists in the transcriptions of the archive documents.

La tesi esamina il codice musicale Gr. Rés Vm7 676 della Biblioteca Nazionale di Parigi, che rappresenta una fonte di grande interesse per lo studio della musica vocale italiana tra Quattro e Cinquecento. Compilato nel 1502, il codice è stato oggetto di analisi da parte di vari studiosi, che ne hanno preso in esame singoli brani o intere sezioni, allo scopo di attestare procedimenti compositivi particolari (Torrefranca) o caratteri stilistici locali, in particolare relativi alla frottola mantovana e ferrarese (Prizer). Un’accurata ricognizione sul repertorio è stata effettuata da Nanie Bridgman in un saggio degli anni Cinquanta del secolo scorso, ma non è mai stato realizzato uno studio organico sul manoscritto. Pertanto la ricerca si è proposta di riconsiderare l’intero repertorio italiano tramandato dal codice, per proporre un plausibile inquadramento stilistico nella cultura della poesia per musica coeva. La trascrizione dei testi e delle musiche, supportata dal confronto con le fonti manoscritte e a stampa, letterarie e musicali, ha consentito di formulare alcune ipotesi in merito alla circolazione del repertorio tramandato e all’ambiente di produzione del documento. L’inconsueta varietà di forme musicali riscontrate nel codice consente inoltre di assumere questo manoscritto come una delle principali fonti della tradizione musicale che precede immediatamente la ‘sistemazione’ del repertorio frottolistico effettuata da Ottaviano Petrucci, a partire dal 1504, con la pubblicazione dei suoi undici libri di frottole (1501-1514). / This thesis examines the musical manuscript Gr. Rés Vm7 676 of the National Library of Paris, which is a source of great interest for the study of Italian vocal music between the fifteenth and sixteenth. Compiled in 1502, the code has been analyzed by various scholars who have examined individual songs or entire sections, in order to certify specific compositional procedures (Torrefranca) or local stylistic features, in particular relating to the frottola of Mantua and Ferrara (Prizer). A thorough survey on the repertoire has been performed by Nanie Bridgman in an essay of the fifties of last century, but has never been a completely study on the manuscript. Therefore, research has proposed to reconsider the entire Italian repertoire handed down by the Code, to propose a plausible framework style of poetry to music in contemporary culture. The transcription of the texts and music, supported by the comparison with manuscript and printed sources, literary and musical, has allowed to formulate some hypotheses concerning the circulation of the handed repertoire and its production environment. The unusual variety of musical forms found in the code also allows us to take this manuscript as a major source of the musical tradition that immediately precedes the 'accommodation' of frottolas repertoire made by Ottaviano Petrucci, starting from 1504, with the publication of his eleven books of frottolas (1501-1514).

In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage. / On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography, and in their implications for musical time. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony.

Negli ultimi vent’anni sono state proposte al livello internazionale alcune analisi dei problemi per le scienze nella scuola e diverse strategie per l’innovazione didattica. Molte ricerche hanno fatto riferimento a una nuova nozione di literacy scientifica, quale sapere fondamentale dell’educazione, indipendente dalle scelte professionali successive alla scuola. L’ipotesi di partenza di questa ricerca sostiene che alcune di queste analisi e l’idea di una nuova literacy scientifica di tipo non-vocazionale mostrino notevoli limiti quando rapportate al contesto italiano. Le specificità di quest’ultimo sono state affrontate, innanzitutto, da un punto di vista comparativo, discutendo alcuni documenti internazionali sull’insegnamento delle scienze. Questo confronto ha messo in luce la difficoltà di ottenere un insieme di evidenze chiare e definitive sui problemi dell’educazione scientifica discussi da questi documenti, in particolare per quanto riguarda i dati sulla crisi delle vocazioni scientifiche e sull’attitudine degli studenti verso le scienze. Le raccomandazioni educative e alcuni progetti curricolari internazionali trovano degli ostacoli decisivi nella scuola superiore italiana anche a causa di specificità istituzionali, come particolari principi di selezione e l’articolazione dei vari indirizzi formativi. Il presente lavoro si è basato soprattutto su una ricostruzione storico-pedagogica del curricolo di fisica, attraverso l’analisi delle linee guida nazionali, dei programmi di studio e di alcuni rappresentativi manuali degli ultimi decenni. Questo esame del curricolo “programmato” ha messo in luce, primo, il carattere accademico della fisica liceale e la sua debole rielaborazione culturale e didattica, secondo, l’impatto di temi e problemi internazionali sui materiali didattici. Tale impatto ha prodotto dei cambiamenti sul piano delle finalità educative e degli strumenti di apprendimento incorporati nei manuali. Nonostante l’evoluzione di queste caratteristiche del curricolo, tuttavia, l’analisi delle conoscenze storico-filosofiche utilizzate dai manuali ha messo in luce la scarsa contestualizzazione culturale della fisica quale uno degli ostacoli principali per l’insegnamento di una scienza più rilevante e formativa. / Over the past twenty years there have been some international perspectives on the analysis of the problems of school science and some consequent strategies for educational change. Many studies have pointed to a new concept of scientific literacy as a fundamental knowledge, prior to career choices and relevant for every student. The starting hypothesis of this research argues that some of these analyses and the main idea of a non-vocational scientific literacy show significant limitations when related to the Italian context. The specificities of the latter are addressed, first, from a comparative point of view, discussing few international reports on science education. This comparison has highlighted the difficulty of having a set of clear and definitive evidences on the problems of science education discussed by these documents, in particular through the data concerning the crisis in scientific vocations and students’ attitudes towards science. Also the institutional framework of the Italian high schools shows how the educational recommendations and some curricular projects, discussed within the international community, find some important obstacles due to principles of selection and to different school tracks for the upper secondary level. The present work is based primarily on a historical and pedagogical reconstruction of the physics curriculum, through national guidelines, syllabi, and the analysis of some representative textbooks of the last decades. This study of the “intended” curriculum revealed, firstly, the “academic” nature of high school physics and its weak educational value, secondly, the impact, of the international issues discussed, on educational aims and learning tools embodied in textbooks. Despite the evolution of these features of the curriculum, the analysis of historical and philosophical knowledge used by textbooks has highlighted the lack of a cultural contextualization of physics as one of the main obstacles to promoting a more relevant science education.

In this study a new, fully non-linear, approach to Local Earthquake Tomography is presented. Local Earthquakes Tomography (LET) is a non-linear inversion problem that allows the joint determination of earthquakes parameters and velocity structure from arrival times of waves generated by local sources. Since the early developments of seismic tomography several inversion methods have been developed to solve this problem in a linearized way. In the framework of Monte Carlo sampling, we developed a new code based on the Reversible Jump Markov Chain Monte Carlo sampling method (Rj-McMc). It is a trans-dimensional approach in which the number of unknowns, and thus the model parameterization, is treated as one of the unknowns. I show that our new code allows overcoming major limitations of linearized tomography, opening a new perspective in seismic imaging. Synthetic tests demonstrate that our algorithm is able to produce a robust and reliable tomography without the need to make subjective a-priori assumptions about starting models and parameterization. Moreover it provides a more accurate estimate of uncertainties about the model parameters. Therefore, it is very suitable for investigating the velocity structure in regions that lack of accurate a-priori information. Synthetic tests also reveal that the lack of any regularization constraints allows extracting more information from the observed data and that the velocity structure can be detected also in regions where the density of rays is low and standard linearized codes fails. I also present high-resolution Vp and Vp/Vs models in two widespread investigated regions: the Parkfield segment of the San Andreas Fault (California, USA) and the area around the Alto Tiberina fault (Umbria-Marche, Italy). In both the cases, the models obtained with our code show a substantial improvement in the data fit, if compared with the models obtained from the same data set with the linearized inversion codes.

The primary goal of volcanological studies is to reconstruct the eruptive history of active volcanoes, by correlating and dating volcanic deposits, in order to depict a future scenario and determine the volcanic hazard of an area. However, alternative methods are necessary where the lack of outcrops, the deposit variability and discontinuity make the correlation difficult, and suitable materials for an accurate dating lack. In this thesis, paleomagnetism (a branch of Geophysics studying the remanent magnetization preserved in rocks) is used as a correlating and dating tool. The correlation is based on the assumption that coeval rocks record similar paleomagnetic directions; the dating relies upon the comparison between paleomagnetic directions recorded by rocks with the expected values from references Paleo-Secular Variation curves (PSV, the variation of the geomagnetic field along time). I first used paleomagnetism to refine the knowledge of the pre – 50 ka geologic history of the Pantelleria island (Strait of Sicily, Italy), by correlating five ignimbrites and two breccias deposits emplaced during that period. Since the use of the paleomagnetic dating is limited by the availability of PSV curves for the studied area, I firstly recovered both paleomagnetic directions and intensities (using a modified Thellier method) from radiocarbon dated lava flows in São Miguel (Azores Islands, Portugal), reconstructing the first PSV reference curve for the Atlantic Ocean for the last 3 ka. Afterwards, I applied paleomagnetism to unravel the chronology and characteristics of Holocene volcanic activity at Faial (Azores) where geochronological age constraints lack. I correlated scoria cones and lava flows yielded by the same eruption on the Capelo Peninsula and dated eruptive events (by comparing paleomagnetic directions with PSV from France and United Kingdom), finding that the volcanics exposed at the Capelo Peninsula are younger than previously believed, and entirely comprised in the last 4 ka.

During my PhD, starting from the original formulations proposed by Bertrand et al., 2000 and Emolo & Zollo 2005, I developed inversion methods and applied then at different earthquakes. In particular large efforts have been devoted to the study of the model resolution and to the estimation of the model parameter errors. To study the source kinematic characteristics of the Christchurch earthquake we performed a joint inversion of strong-motion, GPS and InSAR data using a non-linear inversion method. Considering the complexity highlighted by superficial deformation data, we adopted a fault model consisting of two partially overlapping segments, with dimensions 15x11 and 7x7 km2, having different faulting styles. This two-fault model allows to better reconstruct the complex shape of the superficial deformation data. The total seismic moment resulting from the joint inversion is 3.0x1025 dyne.cm (Mw = 6.2) with an average rupture velocity of 2.0 km/s. Errors associated with the kinematic model have been estimated of around 20-30 %. The 2009 Aquila sequence was characterized by an intense aftershocks sequence that lasted several months. In this study we applied an inversion method that assumes as data the apparent Source Time Functions (aSTFs), to a Mw 4.0 aftershock of the Aquila sequence. The estimation of aSTFs was obtained using the deconvolution method proposed by Vallée et al., 2004. The inversion results show a heterogeneous slip distribution, characterized by two main slip patches located NW of the hypocenter, and a variable rupture velocity distribution (mean value of 2.5 km/s), showing a rupture front acceleration in between the two high slip zones. Errors of about 20% characterize the final estimated parameters.