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Fondo Leydi CD 20170330
Centro di dialettologia e di etnografia - Bellinzona Fondo Roberto Leydi Elenco dei CD in ordine alfabetico di edizione (versione 30.3.2017) Titolo Anthologie de la musique arabe volume 2 Titolo The Greek tradition of Thrace Oum Kaltsoum Interprete Hronis Aidonidis Interprete Oum Kaltsoum Edizione AEM nr. 004 Edizione AAA nr.AAA 024 anno 1990 Nr. inv. BEL-2004.0002.0751 supporto CD Nr. inv. BEL-2004.0002.0180 supporto CD Titolo Traditional songs of Western Thessaly Titolo Canti popolari di Faedo (Vicenza) Interprete Hrisostomos Mitropanos Curatore Claudio Preato Edizione AEM nr. 005 EdizioneACB nr.ACB 0102 anno 2001 Nr. inv. BEL-2004.0002.0752 supporto CD Nr. inv. BEL-2004.0002.0306 supporto CD Titolo Canzoni dalla tradizione di Messolog Titolo Organetto e fisarmonica in provincia di Vicenza Edizione AEM nr. 006 Interprete Interpreti vari Nr. inv. BEL-2004.0002.0753 supporto CD Curatore Modesto Brian EdizioneACB nr.ACB 9801 anno 1998 Titolo Traditional carols of the Greeks Nr. inv. supporto BEL-2004.0002.0301 CD Edizione AEM nr. 007 Nr. inv. BEL-2004.0002.0754 supporto CD Titolo Brüzè Carvè Canti e danze tradizionali delle Langhe e del Titolo Traditional music of Crete Monferrato Edizione AEM nr. 013 Interprete Tre Martelli Nr. inv. BEL-2004.0002.0755 supporto CD Edizione ACTB nr.TM 005 anno [1991] Nr. inv. BEL-2004.0002.0250 supporto CD Titolo Traditional ballads of Epirus Titolo Ab eternu Interprete S. Siatras Curatore George Constantzos Interprete A filetta EdizioneAEM nr. AEM 008 Edizione Adda nr.591061 AD 184 anno 1992 Nr. inv. BEL-2004.0002.0089 supporto CD Nr. -
Vom Reichtum Kalabriens
SWR2 MusikGlobal Vom Reichtum Kalabriens Von Cristiana Coletti und Wolfgang Hamm Sendung: Dienstag, 25. Juni 2019 Redaktion: Anette Sidhu-Ingenhoff Produktion: SWR 2019 SWR2 MusikGlobal können Sie auch im SWR2 Webradio unter www.SWR2.de und auf Mobilgeräten in der SWR2 App hören Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de Die neue SWR2 App für Android und iOS Hören Sie das SWR2 Programm, wann und wo Sie wollen. Jederzeit live oder zeitversetzt, online oder offline. Alle Sendung stehen sieben Tage lang zum Nachhören bereit. Nutzen Sie die neuen Funktionen der SWR2 App: abonnieren, offline hören, stöbern, meistgehört, Themenbereiche, Empfehlungen, Entdeckungen … Kostenlos herunterladen: www.swr2.de/app SWR 2 MusikGlobal 25. Juni 2019, 23.03 - 24.00 Uhr Vom Reichtum Kalabriens Eine Sendung von Cristiana Coletti und Wolfgang Hamm Musik: Serenade (Stimme, surdulina) (Folk Music of Calabria, tr. 1) (3:35) Autor/in: Vom Reichtum Kalabriens - Eine Sendung von Cristiana Coletti und Wolfgang Hamm Autor/in: Kalabrien an der Südspitze des italienischen Stiefels ist reich an vielfältigen Landschaften, Gebirgszügen und Flusstälern. Ein Paradies für viele Italiener, die im Sommer dort Urlaub machen. An drei Seiten vom Meer umgeben, grenzt es im Westen an das thyrrenische, im Süden und Osten an das ionische Meer. -
Download Myriam Zerbi – a Flow of Music
FONDAZIONE GIORGIO CINI ISTITUTO ITALIANO ANTONIO VIVALDI MYRIAM ZERBI A FLOW OF MUSIC ANTONIO VIVALDI AT THE ORIGINS OF A REDISCOVERY VENEZIA FONDAZIONE GIORGIO CINI 2020 This book recounts the circumstances leading up to the foundation of the Istituto Italiano Antonio Vivaldi, established by Antonio Fanna and Angelo Ephrikian on 23 January 1947. It retraces the sometimes surprising adventures in postwar Italy that took the two protagonists from the dream of reviving the Red Priest’s music to the publication of his complete instrumental works. Using the le琀ers of the leading players, contemporary press reports and the personal memories of one of the founders, the author reconstructs the Istituto’s vicissitudes focusing especially on its first years, full of high emotions, enterprise and tenacity, in a war-torn country where a desire for renewal was everywhere palpable, through to 1978 when it was donated by Antonio Fanna to become part of the Fondazione Giorgio Cini in Venice. The story, which is enlivened with a copious apparatus of images and documents, unfolds through the personal testimonies of those involved: Angelo Ephrikian, who dreamed the original dream, Antonio Fanna, who laid the practical foundations of the Istituto and ran it for 昀fty years, Alfredo Gallinari the enabling benefactor, who until now has remained, by his own wish, anonymous, Francesco Continetto, the copyist, who transcribed over 昀ve hundred of Vivaldi’s manuscripts, Gian Francesco Malipiero, the Istituto’s artistic director and editor of the greater part of the Venetian composer’s music, and Eugenio Clause琀i the enlightened head of the music publisher Casa Ricordi. -
Cahiers D'ethnomusicologie, 6
Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 6 | 1993 Polyphonies Édition électronique URL : http://journals.openedition.org/ethnomusicologie/1369 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 31 octobre 1993 ISBN : 2-8257-0485-7 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 6 | 1993, « Polyphonies » [En ligne], mis en ligne le 18 octobre 2011, consulté le 06 mai 2019. URL : http://journals.openedition.org/ethnomusicologie/1369 Ce document a été généré automatiquement le 6 mai 2019. Tous droits réservés 1 Aujourd'hui plus que jamais, l'intensification des échanges culturels donne accès aux musiques du monde entier. Le disque, le film, le concert et le livre permettent d'apprécier les expressions musicales des civilisations les plus diverses et les plus méconnues. Afin d'approfondir l'approche de ces différences, les Cahiers de musiques traditionnelles offrent à leurs lecteurs une tribune ethnomusicologique francophone annuelle, dont chaque numéro est centré sur un dossier réunissant des auteurs d'horizons différents. Les précédents numéros ont ainsi traité des thèmes suivants: De bouche à oreille (1/1988), Instrumental (2/1989), Musique et pouvoirs (3/1990), Voix (4/1991) et Musiques rituelles ( 5/1992). Ces dossiers sont toujours complétés par des rubriques d'intérêt général, entretiens, portraits et comptes rendus. Le thème des polyphoniesoffre matière à maintes réflexions, d'ordre non seulement technique et analytique, mais aussi social et ethnographique, voire cosmologique, tant la structuration d'une pensée musicale — individuelle ou collective — répond à une conception de la place de l'être humain dans la société et dans le monde. -
MARIMBA ROSSA a Dissertation Submitted to the Temple University
MARIMBA ROSSA A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS By Louis Anthony deLise January 2009 ii © Copyright 2009 by Louis Anthony deLise iii ABSTRACT Marimba Rossa is a three-movement concert piece for marimba and symphony orchestra. The 14-minute piece is written in the spirit of the Italian Baroque concertos of Antonio Vivaldi (the “Red Priest” for whom the piece is named), using a harmonic and rhythm language that is heavily influenced by the concert and pop music of the late twentieth-century. Marimba Rossa was composed with the concept of Ars Combinatoria in mind. First espoused by George Rochberg in 1973, Ars Combinatoria is concert music that uses musical gestures drawn from any musical tradition. The accompanying monograph provides a detailed history of the modern concert marimba and an account of the evolution of its concert and popular music repertoire. Specific information about the marimba’s origins in Asia, its place in the Bible, the development of the European strohfiedel xylophone, the refinement of the instrument in America, and a discussion of the Guatemalan, Mexican, and Japanese marimba tradition is included to provide a context and rationale for the composing of Marimba Rossa . The contributions of John Calhoun Deagan, Ulysses G. Leedy, George Hamilton Green, Harry Breuer, Clair Omar Musser, and others are chronicled. Other topics include: the use of the xylophone in the symphony orchestra; polytonality; modal writing; and the folk music of Calabria, Italy. The monograph also describes the juxtaposition of the marimba and various instrumental consorts and the metaphoric class struggle these pairings represent in Marimba Rossa . -
The Impact of Jules Massenet's Operas in Milan
THE IMPACT OF JULES MASSENET’S OPERAS IN MILAN, 1893–1903 Matthew Martin Franke 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 2014 Approved by: John L. Nádas Anne MacNeil Severine Neff David Garcia Bryan Gilliam © 2014 Matthew Martin Franke ALL RIGHTS RESERVED ii ABSTRACT Matthew Martin Franke: The Impact of Jules Massenet’s Operas in Milan, 1893–1903 Under the direction of John L. Nádas The reception of French opera in Italy in the late nineteenth century has received little scholarly attention. This dissertation attempts to fill at least part of that gap through studying the reception of three operas by Jules Massenet (1842–1912), the most internationally successful French composer of the fin de siècle, in Milan, the capital of the Italian music publishing industry. Massenet’s Italian reception demonstrates that opera’s relationship to Italian identity politics in the late nineteenth century was far more complex than has been previously imagined. Massenet’s operas, performed in Italian translation, occupied an ambiguous middle ground in Italian identity politics. Italian critics described Massenet’s operas as purely French, as contributing to Italian musical culture, and as inherently cosmopolitan works. Critics thus translated Massenet’s operas into Italian culture, whether as role models for or foils to Italian musical developments. Massenet also participated directly in Italian musical culture, visiting Milan frequently to supervise productions of his operas and serving as a judge in an Italian competition for new operas.