L'eredità Dei Musicisti
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The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
Thesis Submission
Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era. -
Gino Marinuzzi Jr: Electronics and Early Multimedia Mentality in Italy1 Maurizio Corbella, Università Degli Studi Di Milano
95 Gino Marinuzzi Jr: Electronics and Early Multimedia Mentality in Italy1 Maurizio Corbella, Università degli Studi di Milano In this essay I propose to consider the complex convergences between electronic music and media practices in Rome in the 1950s and 1960s, by reconstructing the experience of an almost forgotten figure, composer Gino Marinuzzi Jr (1920-96). One of the reasons that led me to deal with Marinuzzi is the fact that his engagement with technology as a structuring device of compositional processes is paramount, and brings to the fore crucial issues of ‘applied’ music’s problematic reputation in the Italian cultural debate. In reviewing Marinuzzi’s biography over the period 1949-75 – which covers the overall time-span of his activity as a composer –, my goal is to exemplify the key phases of this transitional period in Italian music history, in which technology, through the growth of media and their increasing importance in cultural representations, came to constitute a new value of musical activity and at the same time renewed old aesthetic questions concerning the autonomy of music. 1. The invisible musician Two authoritative assessments, written at a distance of 17 years, historically frame Marinuzzi’s work and reputation among Italian musicologists and critics. During the 1 This essay was developed as a part of my postdoctoral fellowship at the Dipartimento di Beni culturali e ambientali, Università di Milano, which is co-financed by the «Dote ricerca»: FSE, Regione Lombardia. The following abbreviations for archives and collections are used throughout this essay: GMC (Gino Marinuzzi’s private home collection, Rome); FMN (Fondo Marinuzzi at Nomus, Milan); ASFM (Archive of the Studio di Fonologia della Rai, Museo degli Strumenti Musicali, Castello Sforzesco, Milan); FFC (Fondo Filippo Crivelli, Biblioteca del Dipartimento di Beni culturali e ambientali, University of Milan). -
2011 Def 03:Sezioni 9-03-2011 18:36 Pagina 1
FILM IN CONCORSO 2011 def 03:Sezioni 9-03-2011 18:36 Pagina 1 REGOLAMENTO GIURIA 2010/2011 Art. 1 La Giuria dell’Accademia del Cinema Italiano, assegna 19 Premi David per il cinema italiano (film, regia, regista esordiente, sceneggiatura, produttore, attrice protagonista, attore protagoni- sta, attrice non protagonista, attore non protagonista, direttore della fotografia, musicista, can- zone originale, scenografo, costumista, truccatore, acconciatore, montatore, fonico di presa diretta, effetti speciali visivi), un Premio David per il cinema dell’Unione Europea e un Premio David per il cinema straniero. Art. 2 Concorrono ai Premi David tutti i film italiani e stranieri usciti in Italia nel periodo 20 marzo 2010 – 18 marzo 2011, in almeno 5 città capozona, con una tenuta minima di 7 giorni con programmazione piena. Art. 3 La Giuria dei Premi David di Donatello è formata: - dai candidati e dai premiati con il David di Donatello; - dai componenti il Consiglio Direttivo dell’Accademia; - da esponenti della cultura, dell’arte, dell’industria, dello spettacolo -con particolare attenzione alle sue varie categorie tecniche e artistiche- e da personalità rappresentative della società ita- liana. Art. 4 Le designazioni e le assegnazioni dei Premi David sono decise dalla Giuria in due tempi diversi: a - una prima volta -nei tempi e nei modi che verranno fissati di anno in anno dal Consiglio Direttivo- possono votarsi anche più nomi per ogni categoria, se indicati sulla scheda tra- smessa dall’Accademia, ad eccezione delle 4 categorie di interpreti a favore dei quali può indi- carsi un solo voto per ogni singola candidatura. Salvo nel caso di interpreti che si propongo- no abitualmente in coppia o in trio. -
Ofmusic PROGRAM
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DSpace at Rice University THE MURDER OF JUDGE BORSELLINO THE FIGHT AGAINST THE MAFIA IN ITALY AND A MOTHER'S GRIEF American premiere performance of Stabat mater A sacred and secular cantata by Matteo D 'Amico, member of the Accademia Nazionale di Santa Cecilia Friday, October 17, 2008 8:00 p.m. Lillian H Duncan Recital Hall ~herd RICE UNIVERSITY Sc~ol ofMusic PROGRAM Stabat mater (1999) (US. Premiere) Matteo D'Amico Cantata sacra e profana per soprano, (b. 1955) mezzo-soprano, voce recitante, archi e percussione. Testi di Vincenzo Consolo e de! Liber Usualis. 1. Lento 2. Moderato 3. J = 54 4. J = 54 5. J = 60 6. Tempo di Valzer 7. J = 60 8. J = 80 9. J = 76 10. J = 66 11. J = 60 12. J = 84 Amanda Grooms, soprano Susanne Mentzer, mezzo-soprano Alfonso Veneroso, narrator Cristian Mdcelaru, conductor Violin I Viola (cont.) j Sonja Harasim Nicholas Mauro Andrew Ling Julia Immel Joseph Maile Kaoru Suzuki Cello Meta Weiss ' Violin II Rosanna Butterfield Sarah Ludwig Heidi Amundson Double Bass Christina Wilke Edward Botsford Kaaren Fleisher Viola Percussion Marissa Winship Andres Pichardo The reverberative acoustics of Duncan Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use ofrecording equipment are prohibited. PRESENTED IN COLLABORATION BY The Shepherd School ofMusic Rice University Robert Yekovich, Dean RICE The School of Humanities Rice University Gary Wihl, Dean The Consulate General of Italy in Houston The Honorable Cristiano Maggipinto, Consul General Consolato Generale d'Italia Houston Istituto Italiano di Cultura in Los Angeles Francesca Valente, Director ..c lItalianostituto II di Cultura Los Angeles Everyone is invited to meet Matteo D 'Amico at a reception in the Grand Foyer following the performance. -
Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941
Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941 by Elizabeth Crisenbery Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Advisor ___________________________ Benjamin Earle ___________________________ Philip Rupprecht ___________________________ Louise Meintjes ___________________________ Roseen Giles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2020 ABSTRACT Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941 by Elizabeth Crisenbery Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Advisor ___________________________ Benjamin Earle ___________________________ Philip Rupprecht ___________________________ Louise Meintjes ___________________________ Roseen Giles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2020 Copyright by Elizabeth Crisenbery 2020 Abstract Roger Griffin notes that “there can be no term in the political lexicon which has generated more conflicting theories about its basic definition than ‘fascism’.” The difficulty articulating a singular definition of fascism is indicative of its complexities and ideological changes over time. This dissertation offers -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film Permalink https://escholarship.org/uc/item/9385t0bs Author Nadir, Erika Marina Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Erika Marina Nadir 2017 © Copyright by Erika Marina Nadir 2017 ABSTRACT OF THE DISSERTATION Prima La Musica o Prima La Parola? Textual and Musical Intermedialities in Italian Literature and Film by Erika Marina Nadir Doctor of Philosophy in Italian University of California, Los Angeles, 2017 Professor Luigi Ballerini, Chair This dissertation is a comparative study of Italian opera, literature, and film, and traces the textual and musical intermedialities among the art forms. Using the analytical prisms of Elio Vittorini’s linguaggio unitario del musicista and Giuseppe Verdi’s notion of verità, I examine the myriad ways that literature, film, and music interact and the effects on the respective arts. Chapter 1 focuses on literature that is written in such a way as to evoke music. I analyze three texts and their musical components: Vittorini’s Italian Resistance novel, Uomini e no; the postmodern novel Passavamo sulla terra leggeri by Sergio Atzeni—a soundscape of text that mimics contemporary opera structure; and Manzoni’s I promessi sposi, which was the inspiration for Giuseppe Verdi’s notion of verità in art. -
AMS/SMT Indianapolis 2010: Abstracts
AMS_2010_full.pdf 1 9/11/2010 5:08:41 PM ASHGATE New Music Titles from Ashgate Publishing… Adrian Willaert and the Theory Music, Sound, and Silence of Interval Affect in Buffy the Vampire Slayer The Musica nova Madrigals and the Edited by Paul Attinello, Janet K. Halfyard Novel Theories of Zarlino and Vicentino and Vanessa Knights Timothy R. McKinney Ashgate Popular and Folk Music Series Includes 69 music examples Includes 20 b&w illustrations Aug 2010. 336 pgs. Hbk. 978-0-7546-6509-0 Feb 2010. 304 pgs. Pbk. 978-0-7546-6042-2 Changing the System: The Musical Ear: The Music of Christian Wolff Oral Tradition in the USA Edited by Stephen Chase and Philip Thomas Anne Dhu McLucas Includes 1 b&w illustration and 49 musical examples SEMPRE Studies in The Psychology of Music Aug 2010. 284 pgs. Hbk. 978-0-7546-6680-6 Includes 1 b&w illustration, 2 music examples and a CD Mar 2010. 218 pgs. Hbk. 978-0-7546-6396-6 Shostakovich in Dialogue Form, Imagery and Ideas in Quartets 1–7 Music and the Modern Judith Kuhn Condition: Investigating Includes 32 b&w illustrations and 99 musical examples Feb 2010. 314 pgs. Hbk. 978-0-7546-6406-2 the Boundaries Ljubica Ilic Harrison Birtwistle: Oct 2010. 140 pgs. Hbk. 978-1-4094-0761-4 C The Mask of Orpheus New Perspectives M Jonathan Cross Landmarks in Music Since 1950 on Marc-Antoine Charpentier Includes 10 b&w illustrations and 12 music examples Edited by Shirley Thompson Y Dec 2009. 196 pgs. Hbk. 978-0-7546-5383-7 Includes 2 color and 20 b&w illustrations and 37 music examples Apr 2010. -
The Congress for Cultural Freedom, La Musica Nel Xx Secolo, And
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2012 The onC gress for Cultural Freedom, La Musica Nel XX Secolo, and Aesthetic "Othering": An Archival Investigation Shannon E. Pahl University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History Commons, and the Music Commons Recommended Citation Pahl, Shannon E., "The onC gress for Cultural Freedom, La Musica Nel XX Secolo, and Aesthetic "Othering": An Archival Investigation" (2012). Theses and Dissertations. 40. https://dc.uwm.edu/etd/40 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE CONGRESS FOR CULTURAL FREEDOM, LA MUSICA NEL XX SECOLO, AND AESTHETIC “OTHERING”: AN ARCHIVAL INVESTIGATION by Shannon E. Pahl A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee December 2012 ABSTRACT THE CONGRESS FOR CULTURAL FREEDOM, LA MUSICA NEL XX SECOLO, AND AESTHETIC “OTHERING”: AN ARCHIVAL INVESTIGATION by Shannon E. Pahl The University of Wisconsin-Milwaukee, 2012 Under the Supervision of Professor Dr. Gillian Rodger Between 1950 and 1967, the Congress for Cultural Freedom, an organiZation of anti- totalitarian intellectuals funded by the United States government, hosted conferences and festivals regarding the pursuit of intellectual freedom. In 1952 and 1954, the Congress for Cultural Freedom hosted two music events. While the first festival has been researched considerably, the 1954 conference has not been documented comparably. -
Acts of Wisdom and Trust»: Sheets, Tapes and Machines in Egisto Macchi’S Film Music Composition1 Marco Cosci, Università Degli Studi Di Pavia
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Firenze University Press: E-Journals 135 «Acts of wisdom and trust»: Sheets, Tapes and Machines in Egisto Macchi’s Film Music Composition1 Marco Cosci, Università degli Studi di Pavia I am delighted with Macchi as composer, arranger and conductor. I think the music will add greatly to the film, though it most certainly will not and cannot provide an exploitable theme song. He works very fast and very well and closely with me, and the sounds he is producing have extraordinary tension, richness and beauty2. On 4 February 1972 Joseph Losey sent a detailed memorandum to his producer Joseph Shaftel, updating him on his progress with The Assassination of Trotsky (J. Losey 1972). These words of appreciation for Egisto Macchi (1928-92) came after several months in which Losey had been deeply dissatisfied with the musical aspect of his film. He had come to an impasse in choosing an Italian composer for his film, an Anglo-Italian-French co-production. As he confessed to his faithful script supervisor Pamela Davies, deciding on a composer was beginning to be a thorn in his side: the contemporary scene of Italian film composers evidently did not meet Losey’s needs3, as we can see from a tentative list of people that he considered for the score, includ- ing some illustrious names such as Nino Rota, Ennio Morricone, Luis Bacalov, Carlo Rustichelli and Angelo Francesco Lavagnino4. He eventually commissioned a piece 1 I wish to express particular gratitude to Sylvaine Couquet Macchi, Ombretta Macchi and Lam- berto Macchi for their kindness in allowing me to consult the materials of Egisto Macchi preserved in their private collections in Rome. -
Mercato Di Natale De a Croce Rossa I Taliana
November - December 2018 www.florenceisyou.com 20.000 Certified Copies Published map inside free copy , L’attore Giovanni Guidelli racconta la Congiura dei Pazzi nel suo nuovo spettacolo teatrale “Medici: Gangs of Florence The Pazzi Conspiracy” di Lorenzo favorirono però solo il rafforzamento della Signoria medicea e determinarono lo by ANNA BALZANI scoppio della guerra tra Firenze e Papa Sisto IV, Editor in chief il più importante alleato della famiglia Pazzi; @AnnaBalzani inoltre da quel momento Lorenzo de’ Medici diventò “l’ago della bilancia” della politica del tempo grazie anche alle sue straordinarie doti diplomatiche e politiche. Il 13 dicembre, nella ra il 26 aprile 1478 quando si consumò prestigiosa Sala Vanni, in Piazza del Carmine, a Firenze la Congiura ordita dalla 14, a Firenze, la compagnia AVATAR porterà famiglia Pazzi per estromettere i Medici in scena una versione contemporanea della dal potere che esercitavano su Firenze. congiura, una rielaborazione moderna e attuale, ELorenzo de’ Medici, detto il Magnifico, e un po’ come Baz Luhrmann fece per Giulietta suo fratello Giuliano furono assaliti durante e Romeo ambientando in America la storia la messa nella Cattedrale di Firenze e mentre originariamente concepita a Verona, o Kenneth Giuliano fu ucciso nell’agguato, Lorenzo riuscì Branagh con il suo adattamento dell’Amleto nell’800. miracolosamente a salvarsi chiudendosi nella Giovanni Guidelli Sagrestia. L’uccisione di Giuliano e il ferimento CONTINUED IN ITALIAN AND ENGLISH ON PAGE 22 Con gli occhi 4 Novembre 1966 di donna L’alluvione di Firenze Veronica Atkins by EUGENIO GIANI Her generous donation by LUDOVICA SEBREGONDI Presidente del Consiglio Storica dell’arte Regionale della Toscana to the Uffizi Gallery CONTINUED IN ITALIAN AND ENGLISH ON PAGE 9 CONTINUED IN ITALIAN AND ENGLISH ON PAGE 16 by ISABELLA CAMMARATA Student in Florence L’evoluzione del cappello di paglia Veronica Atkins is a member of the Friends of the in Toscana fra ‘700 e ‘800 Uffizi, the non-profit sister association of the Amici by COSIMO CECCUTI degli Uffizi.