Music of Italy
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In
Italian folk music is an important part of the country's musical heritage, and spans a diverse array of regional styles, instruments and dances. Instrumental and vocal classical music is an iconic part of
Characteristics
Italian music has been held up in high esteem in history and many pieces of Italian music are considered high art. More than other elements of Italian culture, music is generally eclectic, but unique from other nations' music. The country's historical contributions to music are also an important part of national pride. The relatively recent history of Italy includes the development of an opera tradition that has spread throughout the world; prior to the development of Italian identity or a unified Italian state, the Italian peninsula contributed to important innovations in music including the development of musical notation and Gregorian chant.
Social identity
Italy has a strong sense of national identity through distinctive culture – a sense of an appreciation of beauty and emotionality, which is strongly evidenced in the music. Cultural, political and social issues are often also expressed through music in Italy. Allegiance to music is integrally woven into the social identity of Italians but no single style has been considered a characteristic "national style". Most folk music is localized, and unique to a small region or city.[1][2] Italy's classical legacy, however, is an important point of the country's identity, particularly opera; traditional operatic pieces remain a popular part of music and an integral component of national identity. The musical output of Italy remains characterized by "great diversity and creative independence (with) a rich variety of types of expression".[2]
With the growing industrialization that accelerated during the 20th and 21st century, Italian society gradually moved from an agricultural base to an urban and industrial center. This change weakened traditional culture in many parts of society; a similar process occurred in other European countries, but unlike them, Italy had no major initiative to preserve traditional musics. Immigration from North Africa, Asia, and other European countries led to further diversification of Italian music. Traditional music came to exist only in small pockets, especially as part of dedicated campaigns to retain local musical identities.[3]
Politics
Music and politics have been intertwined for centuries in Italy. Just as many works of art in the Italian
Music also played a role in the unification of the peninsula. During this period, some leaders attempted to use music to forge a unifying cultural identity. One example is the chorus "
Later, in the Fascist era of the 1920s and 30s, government censorship and interference with music occurred, though not on a systematic basis. Prominent examples include the notorious anti-modernist manifesto of 1932[6] and Mussolini's banning of G.F. Malipiero's opera La favola del figlio cambiato after one performance in 1934.[7] The music media often criticized music that was perceived as either politically radical or insufficiently Italian.[2] General print media, such as the Enciclopedia Moderna Italiana, tended to treat traditionally favored composers such as Giacomo Puccini and Pietro Mascagni with the same brevity as composers and musicians that were not as favored—modernists such as Alfredo Casella and Ferruccio Busoni; that is, encyclopedia entries of the era were mere lists of career milestones such as compositions and teaching positions held. Even the conductor Arturo Toscanini, an avowed opponent of Fascism,[8] gets the same neutral and distant treatment with no mention at all of his "anti-regime" stance.[9] Perhaps the best-known episode of music colliding with politics involves Toscanini. He had been forced out of the musical directorship at La Scala in Milan in 1929 because he refused to begin every performance with the fascist song, "Giovinezza". For this insult to the regime, he was attacked and beaten on the street outside the Bologne opera after a performance in 1931.[10] During the Fascist era, political pressure stymied the development of classical music, although censorship was not as systematic as in Nazi Germany. A series of "racial laws" was passed in 1938, thus denying to Jewish composers and musicians membership in professional and artistic associations.[a] Although there was not a massive flight of Italian Jews from Italy during this period (compared to the situation in Germany)[b] composer Mario Castelnuovo-Tedesco, an Italian Jew, was one of those who emigrated. Some non-Jewish foes of the regime also emigrated—Toscanini, for one.[11][12]
More recently, in the later part of the 20th century, especially in the 1970s and beyond, music became further enmeshed in Italian politics.[12] A roots revival stimulated interest in folk traditions, led by writers, collectors and traditional performers.[2] The political right in Italy viewed this roots revival with disdain, as a product of the "unprivileged classes".[13] The revivalist scene thus became associated with the opposition, and became a vehicle for "protest against free-market capitalism".[2] Similarly, the avant-garde classical music scene has, since the 1970s, been associated with and promoted by the Italian Communist Party, a change that can be traced back to the 1968 student revolts and protests.[3]
Classical music
Italy has long been a center for European classical music, and by the beginning of the 20th century, Italian classical music had forged a distinct national sound that was decidedly Romantic and melodic. As typified by the operas of Verdi, it was music in which "... The vocal lines always dominate the tonal complex and are never overshadowed by the instrumental accompaniments ..."[14] Italian classical music had resisted the "German harmonic juggernaut"[15]—that is, the dense harmonies of Richard Wagner, Gustav Mahler and Richard Strauss. Italian music also had little in common with the French reaction to that German music—the impressionism of Claude Debussy, for example, in which melodic development is largely abandoned for the creation of mood and atmosphere through the sounds of individual chords.[16]
European classical music changed greatly in the 20th century. New music abandoned much of the historical, nationally developed schools of harmony and melody in favor of
Opera
Opera originated in Italy in the late 16th century during the time of the
After World War I, however, opera declined in comparison to the popular heights of the 19th and early 20th centuries. Causes included the general cultural shift away from
Sacred music
Italy, being one of Catholicism's seminal nations, has a long history of music for the
Instrumental music
Baroque and Classical
The dominance of opera in Italian music tends to overshadow the important area of instrumental music.
Romantic to Modern
The early 20th century is also marked by the presence of a group of composers called the generazione dell'ottanta (generation of 1880), including Franco Alfano, Alfredo Casella, Gian Francesco Malipiero, Ildebrando Pizzetti, and Ottorino Respighi. These composers usually concentrated on writing instrumental works, rather than opera. Members of this generation were the dominant figures in Italian music after Puccini's death in 1924.[3] New organizations arose to promote Italian music, such as the Venice Festival of Contemporary Music and the Maggio Musicale Fiorentino. Guido Gatti's founding of the periodical Il Pianoforte and then La rassegna musicale also helped to promote a broader view of music than the political and social climate allowed. Most Italians, however, preferred more traditional pieces and established standards, and only a small audience sought new styles of experimental classical music.[3]
Italy is also the homeland of important interpreters, such as Arturo Benedetti Michelangeli, Quartetto Italiano, I Musici, Salvatore Accardo, Maurizio Pollini, Uto Ughi, Aldo Ciccolini, Severino Gazzelloni, Arturo Toscanini, Mario Brunello, Ferruccio Busoni, Claudio Abbado, Ruggero Chiesa, Bruno Canino, Carlo Maria Giulini, Oscar Ghiglia and Riccardo Muti.
Ballet
Italian contributions to ballet are less known and appreciated than in other areas of classical music. Italy, particularly Milan, was a center of court ballet as early as the 15th century, which was influenced by the entertainments common in royal celebrations and aristocratic weddings. Early choreographers and composers of ballet include Fabritio Caroso and Cesare Negri. The style of ballet known as the "spectacles all’italiana" imported to France from Italy caught on, and the first ballet performed in France (1581), Ballet Comique de la Reine, was choreographed by an Italian, Baltazarini di Belgioioso,[23] better known by the French version of his name, Balthasar de Beaujoyeulx. Early ballet was accompanied by considerable instrumentation, with the playing of horns, trombones, kettle drums, dulcimers, bagpipes, etc. Although the music has not survived, there is speculation that dancers, themselves, may have played instruments on stage.[24] Then, in the wake of the French Revolution, Italy again became a center of ballet, largely through the efforts of Salvatore Viganò, a choreographer who worked with some of the most prominent composers of the day. He became balletmaster at La Scala in 1812.[23] The best-known example of Italian ballet from the 19th century is probably Excelsior, with music by Romualdo Marenco and choreography by Luigi Manzotti. It was composed in 1881 and is a lavish tribute to the scientific and industrial progress of the 19th century. It is still performed and was staged as recently as 2002.
Currently, major Italian opera theaters maintain ballet companies. They exist to provide incidental and ceremonial dancing in many operas, such as
Experimental music
Experimental music is a broad, loosely defined field encompassing musics created by abandoning traditional classical concepts of melody and harmony, and by using the new technology of electronics to create hitherto impossible sounds. In Italy, one of the first to devote his attention to experimental music was Ferruccio Busoni, whose 1907 publication, Sketch for a New Aesthetic of Music, discussed the use of electrical and other new sounds in future music. He spoke of his dissatisfaction with the constraints of traditional music:
- "We have divided the octave into twelve equidistant degrees…and have constructed our instruments in such as way that we can never get in above or below or between them…our ears are no longer capable of hearing anything else…yet Nature created an infinite gradation—infinite! Who still knows it nowadays?"[25]
Similarly,
In the 1950s, Luciano Berio experimented with instruments accompanied by electronic sounds on tape. In modern Italy, one important organization that fosters research in avantgarde and electronic music is CEMAT, the Federation of Italian Electroacoustic Music Centers. It was founded in 1996 in Rome and is a member of the CIME, the Confédération Internationale de Musique Electroacoustique. CEMAT promotes the activities of the "Sonora" project, launched jointly by the Department for Performing Arts, Ministry for Cultural Affairs and the Directorate for Cultural Relations, Ministry for Foreign Affairs with the object of promoting and diffusing Italian contemporary music abroad.
Classical music in society
Italian classical music grew gradually more experimental and progressive into the mid-20th century, while popular tastes have tended to stick with well established composers and compositions of the past.
A few recent works have become a part of the modern repertoire, including scores and theatrical works by composers such as
Folk music
Italian folk styles are very diverse, and include
Regions
Folk music is sometimes divided into several spheres of geographic influence, a classification system of three regions, southern, central and northern, proposed by Alan Lomax in 1956[31] and often repeated. Additionally, Curt Sachs proposed the existence of two quite distinct kinds of folk music in Europe: continental and Mediterranean.[32] Others have placed the transition zone from the former to the latter roughly in north-central Italy, approximately between Pesaro and La Spezia.[33] The central, northern and southern parts of the peninsula each share certain musical characteristics, and are each distinct from the music of Sardinia.[29]
In the Piedmontese valleys and some Ligurian communities of northwestern Italy, the music preserves the strong influence of ancient Occitania. The lyrics of the Occitanic troubadours are some of the oldest preserved samples of vernacular song, and modern bands like Gai Saber and Lou Dalfin preserve and contemporize Occitan music. The Occitanian culture retains characteristics of the ancient Celtic influence, through the use of six- or seven-hole flutes (fifre) or the bagpipes (piva). Much of northern Italy shares with areas of Europe further to the north an interest in ballad singing (called canto epico lirico in Italian) and choral singing. Even ballads—usually thought of as a vehicle for a solo voice—may be sung in choirs. In the province of Trento "folk choirs" are the most common form of music making.[34]
Noticeable musical differences in the southern type include increased use of interval part singing and a greater variety of folk instruments. The Celtic and Slavic influences on the group and open-voice choral works of the north yield to a stronger Arabic, Greek, and North African-influenced strident
The
Songs
Italian folk songs include ballads, lyrical songs, lullabies and children's songs, seasonal songs based around holidays such as Christmas, life-cycle songs that celebrate weddings, baptisms and other important events, dance songs, cattle calls and occupational songs, tied to professions such as fishermen, shepherds and soldiers. Ballads (canti epico-lirici) and lyric songs (canti lirico-monostrofici) are two important categories. Ballads are most common in northern Italy, while lyric songs prevail further south. Ballads are closely tied to the English form, with some British ballads existing in exact correspondence with an Italian song. Other Italian ballads are more closely based on French models. Lyric songs are a diverse category that consist of lullabies, serenades and work songs, and are frequently improvised though based on a traditional repertoire.[29]
Other Italian folk song traditions are less common than ballads and lyric songs. Strophic, religious
Instrumentation
Instrumentation is an integral part of all facets of Italian folk music. There are several instruments that retain older forms even while newer models have become widespread elsewhere in Europe. Many Italian instruments are tied to certain rituals or occasions, such as the zampogna bagpipe, typically heard only at Christmas.[37] Italian folk instruments can be divided into string, wind and percussion categories.[38] Common instruments include the organetto, an accordion most closely associated with the saltarello; the diatonic button organetto is most common in central Italy, while chromatic accordions prevail in the north. Many municipalities are home to brass bands, which perform with roots revival groups; these ensembles are based around the clarinet, accordion, violin and small drums, adorned with bells.[29]
Italy's wind instruments include most prominently a variety of folk flutes. These include duct, globular and transverse flutes, as well as various variations of the pan flute. Double flutes are most common in Campania, Calabria and Sicily.[39] A ceramic pitcher called the quartara is also used as a wind instrument, by blowing across an opening in the narrow bottle neck; it is found in eastern Sicily and Campania. Single- (ciaramella) and double-reed (piffero) pipes are commonly played in groups of two or three.[29] Several folk bagpipes are well-known, including central Italy's zampogna; dialect names for the bagpipe vary throughout Italy-- eghet in Bergamo, piva in Lombardy, müsa in Alessandria, Genoa, Pavia and Piacenza, and so forth.
Numerous percussion instruments are a part of Italian folk music, including wood blocks,
String instruments vary widely depending on locality, with no nationally prominent representative.
Dance
Dance is an integral part of folk traditions in Italy. Some of the dances are ancient and, to a certain extent, persist today. There are magico-ritual dances of propitiation as well as harvest dances, including the "sea-harvest" dances of fishing communities in Calabria and the wine harvest dances in Tuscany. Famous dances include the southern tarantella; perhaps the most iconic of Italian dances, the tarantella is in 6/8 time, and is part of a folk ritual intended to cure the poison caused by tarantula bites. Popular Tuscan dances ritually act out the hunting of the hare, or display blades in weapon dances that simulate or recall the moves of combat, or use the weapons as stylized instruments of the dance itself. For example, in a few villages in northern Italy, swords are replaced by wooden half-hoops embroidered with green, similar to the so-called "garland dances" in northern Europe.[41] There are also dances of love and courting, such as the duru-duru dance in Sardinia.[42]
Many of these dances are group activities, the group setting up in rows or circles; some—the love and courting dances—involve couples, either a single couple or more. The tammuriata (performed to the sound of the tambourine) is a couple dance performed in southern Italy and accompanied by a lyric song called a
Academic interest in the study of dance from the perspectives of sociology and anthropology has traditionally been neglected in Italy but is currently showing renewed life at the university and post-graduate level.[43]
Popular music
The earliest Italian popular music was the opera of the 19th century. Opera has had a lasting effect on Italy's classical and popular music. Opera tunes spread through
Early popular song
Regional music in the 19th century also became popular throughout Italy. Notable among these local traditions was the Canzone Napoletana—the Neapolitan Song. Although there are anonymous, documented songs from Naples from many centuries ago,
The music of
Recorded popular music began in the late 19th century, with international styles influencing Italian music by the late 1910s; however, the rise of
Under the isolationist policies of the fascist regime, which rose to power in 1922, Italy developed an insular musical culture. Foreign musics were suppressed while Mussolini's government encouraged nationalism and linguistic and ethnic purity. Popular performers, however, travelled abroad, and brought back new styles and techniques.
Modern pop
Among the best-known Italian pop musicians of the last few decades are
Social, political, psychological and intellectual themes, mainly in the wake of Gaber and De André's work, became even more predominant in the 1970s through authors such as
Film scores, although they are secondary to the film, are often critically acclaimed and very popular in their own right. Among early music for Italian films from the 1930s was the work of Riccardo Zandonai with scores for the films La Principessa Tarakanova (1937) and Caravaggio (1941). Post-war examples include Goffredo Petrassi with Non c'e pace tra gli ulivi (1950) and Roman Vlad with Giulietta e Romeo (1954). Another well-known film composer was Nino Rota whose post-war career included the scores for films by Federico Fellini and, later, The Godfather series. Other prominent film score composers include Ennio Morricone, Riz Ortolani and Piero Umiliani.[50]
-
Mina, the estimated best-selling Italian singer
-
Mia Martini, critically acclaimed singer
Modern dance
Italy has been an important country with regards to electronic dance music, especially ever since the creation of Italo disco in the late 1970s to early 1980s. The genre, originating from disco, blended "melancholy melodies" with pop and electronic music,[51] making usage of synthesizers and drum machines, which often gave it a futuristic sound. According to an article in The Guardian, in cities such as Verona and Milan, producers would work with singers, using mass-made synthesizers and drum machines, and incorporating them into a mix of experimental music with a "classic-pop sensibility"[51] which would be aimed for nightclubs.[51] The songs produced would often be sold later by labels and companies such as the Milan-based Discomagic.[51]
Italo disco influenced several electronic groups, such as the
By the latter half of the 1990s, a subgenre of Eurodance known as
Over the years, there have been several important Italian dance music composers and producers, such as
Imported styles
During the Belle Époque, the French fashion of performing popular music at the café-chantant spread throughout Europe.[58] The tradition had much in common with cabaret, and there is overlap between café-chantant, café-concert, cabaret, music hall, vaudeville and other similar styles, but at least in its Italian manifestation, the tradition remained largely apolitical, focusing on lighter music, often risqué, but not bawdy. The first café-chantant in Italy was the Salone Margherita, which opened in 1890 on the premises of the new Galleria Umberto in Naples.[59] Elsewhere in Italy, the Gran Salone Eden in Milan and the Music Hall Olympia in Rome opened shortly thereafter. Café-chantant was alternately known as the Italianized caffè-concerto. The main performer, usually a woman, was called a chanteuse in French; the Italian term, sciantosa, is a direct coinage from the French. The songs, themselves, were not French, but were lighthearted or slightly sentimental songs composed in Italian. That music went out of fashion with the advent of World War I.
The influence of US pop forms has been strong since the end of World War II. Lavish
Jazz found its way into Europe during World War I through the presence of American musicians in military bands playing syncopated music.[60] Yet, even before that, Italy received an inkling of new music from across the Atlantic in the form of Creole singers and dancers who performed at the Eden Theater in Milan in 1904; they billed themselves as the "creators of the cakewalk." The first real jazz orchestras in Italy, however, were formed during the 1920s by bandleaders such as Arturo Agazzi and enjoyed immediate success.[44] In spite of the anti-American cultural policies of the Fascist regime during the 1930s, American jazz remained popular.
In the immediate post-war years, jazz took off in Italy. All American post-war jazz styles, from bebop to free jazz and fusion have their equivalents in Italy. The universality of Italian culture ensured that jazz clubs would spring up throughout the peninsula, that all radio and then television studios would have jazz-based house bands, that Italian musicians would then start nurturing a home grown kind of jazz, based on European song forms, classical composition techniques and folk music. Currently, all Italian music conservatories have jazz departments, and there are jazz festivals each year in Italy, the best known of which is the Umbria Jazz Festival, and there are prominent publications such as the journal, Musica Jazz.
Italian pop rock has produced major stars like
The
Italy has also become a home for a number of Mediterranean fusion projects. These include
Industry
The music industry in Italy made €2.3 billion in 2004. That sum refers to the sale of CDs, music electronics, musical instruments, and ticket sales for live performances. By way of comparison, the Italian recording industry ranks eighth in the world; Italians own 0.7 music albums per capita as opposed to the US, in first-place with 2.7.[65]
Nationwide, there are three state-run and three private TV networks. All provide live music at least some of the time. Many large cities in Italy have local TV stations, as well, which may provide live folk or dialect music often of interest only to the immediate area. The largest of these book and CD chain is Feltrinelli.
Venues, festivals and holidays
Venues for music in Italy include concerts at the many
Military bands, too, are popular in Italy. At a national level, one of the best-known of these is the concert band of the Guardia di Finanza (Italian Customs/Border Police); it performs many times a year.
Many theaters also routinely stage not just Italian translations of American musicals, but true Italian musical comedy, which are called by the English term musical. In Italian, that term describes a kind of musical drama not native to Italy, a form that employs the American idiom of jazz-pop-and rock-based music and rhythms to move a story along in a combination of songs and dialogue.
Music in religious rituals, especially Catholic, manifests itself in a number of ways. Parish bands, for example, are quite common throughout Italy. They may be as small as four or five members to as many as 20 or 30. They commonly perform at religious festivals specific to a particular town, usually in honor of the town's patron saint. The historic orchestral/choral masterpieces performed in church by professionals are well-known; these include such works as the Stabat Mater by Giovanni Battista Pergolesi and Verdi's Requiem. The Second Vatican Council from 1962 to 1965 revolutionized music in the Catholic Church, leading to an increase in the number of amateur choirs that perform regularly for services; the Council also encouraged the congregational singing of hymns, and a vast repertoire of new hymns has been composed in the last 40 years.[67]
There is not a great deal of native Italian Christmas music. The most popular Italian
The Sanremo Music Festival is an important venue for popular music in Italy. It has been held annually since 1951 and is currently staged at the Teatro Ariston in Sanremo. It runs for one week in February, and gives veteran and new performers a chance to present new songs. Winning the contest has often been a springboard to industry success. The festival is televised nationally for three hours a night, is hosted by the best-known Italian TV personalities, and has been a vehicle for such performers as Domenico Modugno, perhaps the best-known Italian pop singer of the last 50 years.
Television variety shows are the widest venue for popular music. They change often, but Buona Domenica, Domenica In, and I raccomandati are popular. The longest running musical broadcast in Italy is La Corrida, a three-hour weekly program of amateurs and would-be musicians.[69] It started on the radio in 1968 and moved to TV in 1988. The studio audience bring cow-bells and sirens and are encouraged to show good-natured disapproval. The city with the highest number of rock concerts (of national and international artists) is Milan, with a number close to the other European music capitals, as Paris, London and Berlin.
Education
Many institutes of higher education teach music in Italy. About 75 music conservatories provide advanced training for future professional musicians. There are also many private music schools and workshops for instrument building and repair. Private teaching is also quite common in Italy. Elementary and high school students can expect to have one or two weekly hours of music teaching, generally in choral singing and basic music theory, though extracurricular opportunities are rare.[70] Though most Italian universities have classes in related subjects such as music history, performance is not a common feature of university education.
Italy has a specialized system of high schools; students attend, as they choose, a high school for humanities, science, foreign languages, or art—and music (in the "liceo musicale", where instruments, musical theory, composing and musical history are taught as the main subject). Italy does have ambitious, recent programs to expose children to more music. Furthermore, with the recent education reform a specific Liceo musicale e coreutico (2nd level secondary school, ages 14–15 to 18–19) is explicitly indicated by the law decrees.[71] Yet this kind of school has not been set up and is not effectively operational. The state-run television network has started a program to use modern satellite technology to broadcast choral music into public schools.[d]
Scholarship
Scholarship in the field of collecting, preserving and cataloguing all varieties of music is vast. In Italy, as elsewhere, these tasks are spread over a number of agencies and organizations. Most large music conservatories maintain departments that oversee the research connected with their own collections. Such research is coordinated on a national and international scale via the internet. One prominent institution in Italy is IBIMUS, the Istituto di Bibliografia Musicale, in Rome. It works with other agencies on an international scale through RISM, the Répertoire International des Sources Musicales, an inventory and index of source material. Also, the Discoteca di Stato (National Archives of Recordings) in Rome, founded in 1928, holds the largest public collection of recorded music in Italy with some 230,000 examples of classical music, folk music, jazz, and rock, recorded on everything from antique wax cylinders to modern electronic media.
The scholarly study of traditional Italian music began in about 1850, with a group of early philological
The earliest recordings of Italian traditional music came in the 1920s, but they were rare until the establishment of the
See also
Notes
- ^ "Racial laws" started to be issued in Italy in March 1938; specifically, the one denying Jews membership in professional organizations was the Royal Decree of 5 September 1938, XVI, n. 1390, Art. 4.
- ^ Adams 1939 claims that—on the eve of World War II—most Italians who had fled Italy for political reasons—i.e. "...membership in anti-Fascist organizations..."—were in France and puts the number at about 9,000. The author does not distinguish refugees on the basis of race or creed.
- ^ Thus, it is common to speak of the "music of Cilento," even though these names do not necessarily refer to formal administrative regions or provinces of Italy.
- ^ The program is called Verdincanto.[72]
Footnotes
- ^ New Grove Encyclopedia of Music, "Italy", pg. 664.
- ^ a b c d e Sorce Keller, Catalano & Colicci 1996, pp. 613–614.
- ^ a b c d e f g h i j New Grove Encyclopedia of Music, "Italy", pp. 637–680.
- ^ Il Mondo della musica, p. 583
- ^ Il Mondo della musica, p. 163
- ^ Sachs 1987, pp. 23–27
- ^ The episode is cited in "Underscoring Fascism", a book review of Sachs (1987) by John C. G. Waterhouse in The Musical Times, Vol. 129, No. 1744. (Jun. 1988), pp. 298–299
- ^ "Maestro v. Fascism". Time. Vol. XXX1, no. 9. 1938. The article recounts Toscanini's refusal to conduct at the Salzburg Festival in protest of the Nazi annexation of Austria.
- ^ Baldi 1935.
- ^ Sachs 2002, p. [page needed], The episode is infamous and appears in virtually all biographical accounts of Toscanini.
- ^ Niccolodi 1984
- ^ a b Sachs 1987, p. 242: "The politicization of the performing arts, so crudely initiated by the fascists, has been brought to a high level of refinement by their successors."
- ^ Garland (Sorce Keller, Catalano & Colicci 1996, p. [page needed])? refers to the "unprivileged classes" as classi subalterne, a term created by Antonio Gramsci, social philosopher and founder of the Italian Communist Party.
- ^ Ulrich and Pisk, p. 531.[full citation needed]
- ^ Crocker, p. 487.[full citation needed]
- ^ Ulrich and Pisk, pp. 581–582.[full citation needed]
- ^ Crocker, p. 517.[full citation needed]
- ^ "Giacomo Puccini – Italian composer". 11 May 2023.
- ^ Dubiaga, Michael Jr. "Musician to Five Popes: Don Lorenzo Perosi". Seattle Catholic. Retrieved 25 December 2006.
- ^ Ziegler, Jeff (3 December 1999). "Latin, Gregorian Chant, and the Spirit of Vatican II". University Concourse. V (4). Archived from the original on 11 November 2006. Retrieved 25 December 2006.
- ^ Friedland 1970 provides a complete treatment of what she calls "an almost unexplored segment" of music; that is, "…the orchestral and chamber music produced by Italian composers in the 1800s."
- ^ Cited in the New Grove Encyclopedia of Music, "Italy", pg. 659.
- ^ a b Il Mondo della musica, pp. 139–142
- ^ Bouget 1986
- ^ Busoni 1962, p. 89
- ^ Kramer 1999
- ^ Giurati 1995.
- ^ Sassu 1978.
- ^ a b c d e f g h i j k l m n o p q r s t Sorce Keller, Catalano & Colicci 1996, pp. 604–625.
- ^ Sorce Keller, Catalano & Colicci 1996, pp. 604–625 note that "during the second half of the nineteenth and part of the twentieth century, opera and so-called Neapolitan popular song served such purposes."
- ^ Lomax 1956, pp. 48–50
- ^ Sachs[full citation needed]
- ^ Magrini (1990), p. 20.[full citation needed]
- ^ Sorce Keller 1984.
- ^ "Musica popolare italiana: tradizione e storia" (in Italian). 7 January 2010. Retrieved 10 September 2022.
- ^ Leydi 1990, p. 179.
- ^ Guizzi, pp. 43–44.[full citation needed]
- ^ Olson 1967, pp. 108–109
- ^ Carpitella 1975, pp. 422–428, cited in the Sorce Keller, Catalano & Colicci 1996, p. 616.
- ^ Ricci & Tucci 1988.
- ^ Wolfram 1962
- ^ Il Mondo della musica, pp. 682–687
- ^ Sparti & Veroli 1995.
- ^ a b Mazzoletti 1983
- ^ Vajro 1962, p. 17.
- ^ Murolo 1963, notes to vol. 1.
- ^ Maiden (2)[full citation needed]
- ^ Dizionario.[full citation needed]
- ^ Bordoni & Testani 2006, p. 237
- ^ Fazzini 2006, pp. 7–19.
- ^ a b c d e McDonnell, John (1 September 2008). "Scene and heard: Italo-disco". The Guardian.
- ^ Eiffel 65 planet – Discography
- ^ "Gigi D'Agostino -Gigis Time EP".
- ^ "Giorgio Moroder: Godfather of Modern Dance Music". Time.
- ^ "Giorgio Moroder – Biography, Albums, Streaming Links". AllMusic.
- ^ Evan Cater. "Philip Oakey & Giorgio Moroder: Overview". AllMusic. Retrieved 21 December 2009.
This record was a collaboration between Philip Oakey, the big-voiced lead singer of the techno-pop band the Human League, and Giorgio Moroder, the Italian-born father of disco who spent the '80s writing synth-based pop and film music.
- ^ "The Legacy of Giorgio Moroder, the "Father of Disco"". Blisspop. 27 August 2018.
- ^ Segel 1987, p. [page needed].
- ^ Paliotti 2001, p. [page needed].
- Harlem Hellfighters"), led by James Reese Europe, the leading figure on the African American music scene in New York City in the 1910s before being commissioned as a lieutenant to serve in World War I.
- ^ Dave Laing with Olivier Julien and Catherine Budent, "Television Shows", pg. 475, in the Continuum Encyclopedia of Popular Music of the World
- ISBN 978-1-901447-13-2. "American metal such as Queensrÿche, Attacker, Jag Panzer, Iced Earth, Liege Lord, and Savatage; European bands such as Helloween, Gamma Ray, Blind Guardian, Running Wild, and Grave Digger;"
- ^ a b c Surian 2000, pp. 169–201.
- ^ Stokes 2003, p. 216.
- ^ Rapporto 2005 (in Italian). Economia della musica italiana del Centro Ask: dell’Università Bocconi.
- ^ "Chamber Opera Competition". Culturekiosque Publications. Archived from the original on 8 August 2014.
- ^ Boccardi 2001, p. [page needed].
- ^ Jeff Matthews. "Christmas (3)--Tu scendi dalle stelle, music (2)". Around Naples Encyclopedia. Archived from the original on 25 February 2007. Retrieved 31 December 2006.
- ^ Baroni 2005, p. 15
- ^ "Structure of Education System in Italy". EuroEducation.net. Retrieved 31 December 2006.
- ^ "Ministero dell'istruzione, dell'università e della ricerca, Indicazioni nazionali per i piani di studio personalizzati dei percorsi liceali – Piano degli studi e Obiettivi specifici di apprendimento – Allegato C/5 (Art. 2 comma 3) – Liceo musicale e coreutico" (PDF) (in Italian). Archived from the original (PDF) on 8 June 2006. Retrieved 12 October 2006. annex to Circolare n.11 del 1 febbraio 2006 – Trasmissione decreti di attuazione del progetto di innovazione, in ambito nazionale, ex art. 11 del D.P.R. n. 275/1999 – Istituti di istruzione secondaria superiore – "Sistema educativo e nuovi ordinamenti". MIUR (in Italian). Archived from the original on 16 July 2006. Retrieved 12 October 2006.
- ^ "Telegramma del Presidente della Repubblica ai partecipanti e agli organizzatori di Verdincanto" [Telegram from the President of the Republic to the participants and organizers of Verdincanto] (in Italian). Rai Educational. Archived from the original on 24 September 2017.
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{{cite book}}
: CS1 maint: location missing publisher (link) - Wolfram, Richard (September 1962). "Weapon Dances of Europe". Ethnomusicology. 6 (3): 186–87. JSTOR 924462.
Further reading
- Hirdt, Willi (1979). Italienischer Bankelsang (in German). Frankfurt am Main: Vittorio Klostermann.
- Bronzini, G.B. (1956). La canzone epico-lirica nell'Italia centro-meridionale (in Italian). Rome: Signorelli.
- Borgna, Gianni (1985). Storia Della Canzone Italiana (in Italian). Rome: Laterza.
- Baldazzi, Gianfranco (1989). La Canzone Italiana del Novocento: da Piedigrotta al Festival di Sanremo, dell Caffé-Concerto all'Opera Rock, una Storia della Societa Italiana Attraverso le sue Canzoni Piu Belle e i Loro Grandi Interpreti, da Enrico Caruso a Eros Ramazotti (in Italian). Rome: Newton Compton.
- Balilla Pratella, Francesco (1941). Le arti e le tradizioni popolari in Italia. Primo documentario per la storia dell'etnofonia in Italia (in Italian). Udine: Edizioni Idea.
- Brody, Elaine (1978). The Music Guide to Italy. Dodd, Mead. ISBN 0-396-07436-7.
- Gordon, Bonnie (2005). Monteverdi's Unruly Women: The Power of Song in Early Modern Italy. Cambridge University Press. ISBN 0-521-84529-7.
- Levarie, Siegmund (1963). Musical Italy Revisited. New York: MacMillan. LCCN 63016111.
- Leydi, Roberto (1967). Il folk music revival (in Italian). Palermo: Flaccovio.
- Palisca, Claude V. (1994). Studies in the History of Italian Music and Music Theory. Oxford University Press. ISBN 0-19-816167-0.
- Webb, Michael D (2008). Italian 20th Century Music. Kahn & Averill, London. ISBN 978-1-871-08289-0.
- White, Robert C. Italian Art Song. Indiana University Press.
Audio recordings
- Leydi, Roberto (1969). Italia vol. 1: i balli, gli strumenti, i canti religiosi. LP disk. Vedette-Albatros VPA 8082.
- Leydi, Roberto (1969). Italia vol. 2: la canzone narrativa lo spettacolo popolare. LP disk. Vedette-Albatros VPA 8082.
- Carpitella, Diego; Lomax, Alan (1957). "The Folk Music of Northern Italy. The Folk Music of Central Italy". The Columbia World Library of Folk and Primitive Music, 15. LP disk. Columbia KL 5173.
- Carpitella, Diego; Lomax, Alan (1957). "The Folk Music of Southern Italy and the Islands". The Columbia World Library of Folk and Primitive Music, 16 (in Italian). LP disk. Columbia KL 5174.
- Carpitella, Diego; Lomax, Alan (1958). Music and Song of Italy (in Italian). LP disk. Tradition Records TLP 1030.
- Murolo, Roberto (1963). Napoletana, antologia cronologica della canzone partenopea. 12 LPs (re-released in 9 CDs) (in Italian). Milan: Durium.
External links
- (in French) Audio clips: Traditional music of Italy. Musée d'ethnographie de Genève. Accessed 25 November 2010.
- RomanticaTours: Italian opera, tickets, concerts
- (in Italian) Rockit.it – Online database of Italian indiependent music
- (in Italian) Net Music Italia: List of major recording companies
- (in Italian) Estatica: Italian encyclopedia of music (English menu navigation)
- (in Italian) CILEA: Lombard inter-university consortium for automatic computation
- (in Italian) CEMAT: Organization to promote computer music research.
- (in Italian) SIBMAS: International Directory of Performing Arts Collections and Institutions
- (in Italian) Concertoggi: Frequently updated schedule of concerts
- (in Italian) Newsletter of Contemporary Italian Music: Archive