CuboDAQ is a custom data acquisition system to read out SiPM-based detectors.It features electronic boards to digitize the SiPMs signal, an FPGA-basedsystem-on-module board, the connectivity to transmit the data to a centralserver, and all the software necessary to operate them. The front-end is basedon the TOFPET2 ASIC, produced by PETsys, connected to a custom board, featuringan Enclustra Mercury SA1 module with a Cyclone~V FPGA. Multiple boards can beoperated synchronously by distributing the clock and synchronous reset signalsfrom a central source. The system features a complete software framework tocalibrate and monitor the detectors, to acquire and process data and to performtrack reconstruction. The CuboDAQ system performance has been evaluated indifferent scenarios and can cope with sustained rates of above $4\cdot 10^6$hits/s, with peaks of more than $7\cdot 10^6$ hits/s. This system has beenemployed for the readout of the SND@LHC detector at CERN, a testbeam telescopeand lab setups.
This contribution aims to analyse the role of music in the revival of Greek theatre that characterized twentieth-century Italy. In particular, it explores and compares the music composed for INDA productions between 1921 and 1939. From the beginning of the festival, music occupied a crucial role, thanks to Ettore Romagnoli’s emphasis on the musical component in reviving ancient Greek drama. The years from 1921 to 1927 were characterized by the collaboration between Romagnoli and Giuseppe Mulè, who attempted to revive ancient Greek music according to modern criteria. By 1930, the festival, run by an entirely Fascist committee, had taken on a nationalistic character, and music was integral to this. Indeed, during these years (1930–39), music acquired a pivotal role in emphasizing the heroic instances of ancient drama that had become functional to the Regime’s policy. Moreover, it was considered indispensable for this increasingly mass-oriented type of performance.