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Exploring Canzone Napoletana and Southern Italian Migration Through Three Lenses
Exploring Canzone Napoletana and Southern Italian Migration Through Three Lenses John L. Vitale Preamble and Purpose As a first-generation Italian-Canadian, the southern Italian immigrant experience has figured centrally in my upbringing. I have vivid memories of the rich and vibrant conversations that transpired at the dinner table every day. There were countless tales of my parents’ childhood, which included living in impoverished conditions and surviving the devastation of the Second World War. Other common topics of conversation included crossing the Atlantic, being separated from family, and the daily struggles of immigrating to an English-speaking country. At the very core of these conversations, however, was music, particularly the form of popular song that emanated out of Naples in the 19th and 20th centuries, otherwise known as the canzone napoletana. These songs of love, laughter, sorrow, and pain—famous the world over— have always been a genuine and sincere portal into the heart, mind, and soul of the southern Italian immigrant experience in Canada. The purpose of this article is threefold. First, through a biographical lens, this article investigates my own personal experiences as a first-generation Italian-Canadian and explores how post-World War II southern Italian immigrants in Toronto, Canada used the canzone napoletana as a coping mechanism for the daily hardships and struggles of immigrant life. Second, through the lens of the Italian Diaspora, this article investigates how Neapolitan song became the metaphorical voice for the vast majority of southern Italian immigrants around the world. Lastly, through the lens of non-Italians, this article examines how the canzone napoletana influenced non-Italian perceptions about Italy on a global scale. -
A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs Mark Aaron Kano University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.192 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Kano, Mark Aaron, "A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs" (2016). Theses and Dissertations--Music. 59. https://uknowledge.uky.edu/music_etds/59 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
THE Song of a LIFE · Volume 2
TOSTI the song of a life · volume 2 Malinconia · Due melodie · Altre pagine d’album · Quattro melodie FRANCESCO PAOLO TOSTI 1846-1916 The Song of a Life Complete performance of songs for voice and piano by Francesco Paolo Tosti on the occasion of the first centenary of the composer’s death. 1. Apri!..., serenata popolare (1886 – versi di Lorenzo Stecchetti, CS81) 5’40 11. Love Ties (1887 – versi di Henry Brougham Farnie, CS91) 4’24 2. At the Convent Gate, song (1886 – versi di Frederic E. Weatherly, CS82) 4’59 12. Malìa, melodia (1887 – versi di Rocco Emanuele Pagliara, CS92) 2’48 3. In mare, melodia (1886 – versi di Lorenzo Stecchetti, CS83) 4’38 13. Segreto, melodia (1887 – versi di Lorenzo Stecchetti, CS93) 4’56 4. Prière (1886 – versi di Théophile Gautier, CS84) 5’04 14. Vieni…, piccola barcarola (1887 – versi di Carmelo Errico, CS94) 2’28 5. Sogno, melodia (1886 – versi di Lorenzo Stecchetti, CS85) 3’05 15. We Have Loved, song (1887 – versi di John Muir, CS95) 4’15 6. Marechiare, canto napolitano (1886 – versi di Salvatore di Giacomo, CS86) 3’31 7. Pepìta, vecchia canzone spagnuola (1887 – versi di Enrico “Malinconia” (melodie) (1887 – versi di Gabriele d’Annunzio, CS96) Panzacchi, CS87) 4’12 16. I. Dorme la selva 2’12 8. Lutto, melodia (1886 – versi di Lorenzo Stecchetti, CS88) 4’49 17. II. Quand’io ti guardo 1’24 9. L’ultimo bacio, romanzetta (1887 – versi di Emilio Praga, CS89) 2’19 18. III. L’ora è tarda 1’49 10. Chanson de Fortunio (1887 – versi di Alfred de Musset, CS90) 4’31 19. -
SORRENTO Annual Congress
Annual Congress 1-4 OCTOBER 2020 SORRENTO TOWARDS A NEW WORLD MAIN SPONSOR Welcome from the President Connect IRL! In these times, where communication channels are FaceBook, Snapchat, Instagram, WhatsApp, Twitter, etc, we sometimes forget how enriching it is to meet one another in person, talk about work, business opportunities, challenges, war stories, Piya Mukherjee digress on to likes and dislikes, family, food, holidays, pets etc. Unplugged communication! President INSOL Europe It is with great pleasure that I invite you to our next and 39th Annual Congress from 1 to 4 October 2020 in Sorrento (Italy) on the breathtaking Amalfi coast and the perfect venue for unplugged communication. Expect lemon groves, implausibly clear waters, a spectacular Further view of the Gulf of Naples and marvellous sunsets. It was Information here, though, that Ulysses resisted the tempting chants of the Sirens, tied to the mast of his ship and with his ears Details on plugged with wax! how to obtain Expect a tempting technical programme. An enriching our discounted plethora of debates and discussions under the visionary hotel corporate overall theme “ Towards a New World ”. In this new world, rates will be Brexit would have happened (…or would it?), Member advertised in States will be in the process of transposing the Directive on our registration Pre-Insolvency Restructuring and the new groundbreaking brochure (due reform of Italian insolvency law would have come into force. to be mailed in These and many more visions will be the topics of the March 2020). sessions in the technical programme put together expertly by our hardworking Congress Technical Committee with Details will also co-chairs Giorgio Corno (Studio Corno Avvocati) and be available on Simeon Gilchrist (Edwin Coe) at the helm. -
La Canzone Napoletana
La canzone napoletana. Tra memoria e innovazione a cura di Anita Pesce e Marialuisa Stazio La canzone napoletana. Tra memoria e innovazione a cura di Anita Pesce e Marialuisa Stazio Culture e Società del Mediterraneo, 1 Collana del Cnr-Issm, Responsabile Paola Avallone I contributi di questa pubblicazione sono stati sottoposti a un double blind peer reviewing Progettazione e sviluppo dei testi e dei contenuti multimediali a cura di Antonio Marra ISBN 978-88-909500-0-1 Copyright © 2013 by Consiglio Nazionale delle Ricerche (CNR), Istituto di Studi sulle Società del Mediterraneo (ISSM). INDICE PAOLA AVALLONE Prefazione pag. 7 MARIALUISA STAZIO I motivi di un progetto » 11 GIANFRANCO PLENIZIO I Passatempi Musicali da Guglielmo Cottrau a » 25 Francesco Florimo. Due diverse concezioni nell’elaborazione del ‘popolare’. Modalità di fruizione ed evoluzione dei linguaggi musicali. GIOVANNI AULETTA Canti paralleli » 41 MASSIMO LEOCATA Memoria ovvero rimembranza. Analisi dell’opera » 71 Rimembranza di Napoli di Giovanni Caramiello CARLA CONTI Schedare per credere. Analisi dei repertori della canzone » 87 napoletana per la configurazione di una scheda condivisa GIORGIO RUBERTI Presentazione e primi risultati di un’analisi stilistica » 97 sulla canzone napoletana classica ROSSELLA DEL PRETE La città del loisir. Il sistema produttivo dello spettacolo » 121 dal vivo a Napoli tra ‘800 e ‘900 MASSIMO PRIVITERA La nostra musica: «Fortunio» tra vecchie e nuove » 165 canzoni (1888-1899) PAOLO SOMMAIOLO Il café-chantant e la spettacolarizzazione della canzone a » 183 Napoli tra la fine dell’Ottocento e la prima guerra mondiale ANNAMARIA SAPIENZA Grandi interpreti della canzone napoletana tra musica e » 205 teatro: il caso di Gilda Mignonette GIULIANA MUSCIO Tra nostalgia e memoria: da Francesco Pennino a » 217 Francis Coppola GINO FREZZA Lacreme napulitane. -
Storia Disordinata Della Canzone Napoletana Nel 187° Anniversario Della Nascita Di Teodoro Cottrau
edizione Università Popolare 2014 Biellese Storia disordinata della canzone napoletana nel 187° anniversario della nascita di Teodoro Cottrau Biella, Chiesa di S. Nicola al Vernato mercoledì 18 giugno ore 21.00 Magnano, Chiesa di S. Marta venerdì 20 giugno ore 21.00 Comune di Magnano Pro Loco di Magnano Storia disordinata della canzone napoletana nel 187° anniversario della nascita di Teodoro Cottrau Dal 2011 i laboratori musicali di UPBeduca hanno portato in scena alcuni concerti-spettacoli, puntando sulla narrazione musicale di storie ed eventi. Quest’anno si è deciso di affrontare il tema della canzone napoletana, non solo quella “d’autore” consegnataci dai grandi interpreti del passato e del presente ma attingendo anche alla tradizione anteriore a quel fatidico 1839 che con Te voglio bene assaie segna lo spartiacque tra la tradizione, appunto, e quel che ne è seguito. Le scelte musicali sono cadute su titoli noti e altri meno noti al grande pubblico, collocati sia aldilà che aldiqua dello spartiacque, in una sorta del voluto, ma controllato, “disordine” che dà il titolo allo spettacolo. Scelte “disordinate” che non voglio chiarire oltre: l’ascoltatore se ne faccia una ragione cercando di cogliere i sottintesi, aiutandosi anche con gli intermezzi poetici. Affrontando tale spettacolo, la sfida è stata come sempre musicale, ma ancor più “linguistica”: non è proprio cosa così usuale che voci piemontesi si cimentino con la lingua napoletana... Le edizioni adottate sono quelle originali che, sia testualmente che musicalmente, si scostano da quelle correnti. Non vi sono i “rigonfiamenti” e gli abbellimenti introdotti all’inizio del Novecento e alcuni termini sono caduti in disuso, tanto da essere oggi di difficile comprensione anche per chi il napoletano lo conosce e lo parla. -
Tosti the Song of a Life, Vol. 2
95429 TOSTI the song of a life · volume 2 Malinconia · Due melodie · Altre pagine d’album · Quattro melodie Sung texts available on www.brilliantclassics.com FRANCESCO PAOLO TOSTI 1846-1916 “Malinconia” (melodie) (1887 – versi di Gabriele d’Annunzio, CS96) The Song of a Life 6. I. Dorme la selva 2’12 Complete performance of songs for voice and piano by Francesco Paolo Tosti 7. II. Quand’io ti guardo 1’24 on the occasion of the first centenary of the composer’s death. 8. III. L’ora è tarda 1’49 9. IV. Or dunque addio! 3’45 10. V. Chi sei tu che mi parli? 2’45 CD1 42’55 1. Apri!..., serenata popolare (1886 – versi di Lorenzo Stecchetti, CS81) 5’40 11. La viuletta. Si na scingiate te putesse dà 2. At the Convent Gate, song (1886 – versi di Frederic E. Weatherly, CS82) 4’59 (1888 – versi di Tommaso Bruni, CS97) 2’06 3. In mare, melodia (1886 – versi di Lorenzo Stecchetti, CS83) 4’38 12. Luce d’amore!, melodia (1888 – versi di Rocco Emanuele Pagliara, CS98) 3’54 4. Prière (1886 – versi di Théophile Gautier, CS84) 5’04 5. Sogno, melodia (1886 – versi di Lorenzo Stecchetti, CS85) 3’05 “Due melodie” (CS 100) 6. Marechiare, canto napolitano (1886 – versi di Salvatore di Giacomo, CS86) 3’31 13. I. Deh, ti desta, serenata (1875) 3’20 7. Pepìta, vecchia canzone spagnuola (1887 – versi di Enrico 14. II. Au cimetière, mélodie (1875 – versi di Armand Renaud) 3’01 Panzacchi, CS87) 4’12 8. Lutto, melodia (1886 – versi di Lorenzo Stecchetti, CS88) 4’49 15. -
C C (Composition from Deux Poemes De Louis Aragon [Dö Paw-Emm Duh Lôô-Ee Ah-Rah-Gaw6] — Two Poems by Louis Aragon — Set T
C C (composition from Deux poemes de Louis Aragon [dö paw-emm duh lôô-ee ah-rah-gaw6] — Two Poems by Louis Aragon — set to music by Francis Poulenc [frah6-seess pôô-lah6k]) C dur C C Dur C TSAY DOOR C (key of C major, German designation) C moll C c Moll C TSAY MAWL C (key of c minor, German designation) Ca the yowes C Ca’ the Yowes C KAH (the) YOHZ C (poem by Robert Burns [RAH-burt BURNZ] set to music by Ralph Vaughan Williams [RALF VAWN WILL-lihummz]) C (In Britain, Ralph may be pronounced RAYF) Caamano C Roberto Caamaño C ro-VEHR-toh kah-MAH-n’yo Caba C Eduardo Caba C ay-dooAR-doh KAH-vah Cabaletta C {kah-bah-LETT-tah} kah-bah-LAYT-tah Caballe C Montserrat Caballé C mawnt-sehr-RAHT kah-vah-l’YAY Caballero C Manuel Fernández Caballero C mah-nooELL fehr-NAHN-dehth kah-vah-l’YAY- ro Cabanilles C Juan Bautista José Cabanilles C hooAHN bahoo-TEESS-tah ho-SAY kah-vah- NEE-l’yayss Cabecon C Antonio de Cabeçon C ahn-TOH-neeo day kah-vay-SAWN C known also as Antonio de Cabezon [kah-vay-THAWN]) Cabello mas sutil C Del cabello más sutil C dell kah-VELL-l’yo MAHSS soo-TEEL C (Of That Softest Hair) C (song by Fernando J. Obradors [fehr-NAHN-doh (J.) o-VRAH-thawrss]) Cabezon C Antonio de Cabezón C ahn-TOH-neeo day kah-vay-THAWN C (known also as Antonio de Cabeçon [ahn-TOH-neeo day kah-vay-SAWN]) Cabrito C Un cabrito C oon kah-VREE-toh C (a medieval song of the Passover sung by the Jews who were expelled from Spain in 1492 and who settled in Morocco) Caccia C La caccia C lah KAH-chah C (The Hunt) C (allegro [ahl-LAY-gro] number in L’autunno [lahoo-TOON-no] -
Napoli E La Sua Canzone Ii
http://www.eleaml.org – Luglio 2013 NAPOLI E LA SUA CANZONE II. L' ULTIMO CANTO. La canzone napoletana, degenerata, come abbiamo visto in rapido esame, noi pletorici sdilinquimenti di tutta una turba di belatori volgari, invocava urgentemente la sua purificazione. E a purificarla venne un poeta. Chi, come me, ricorda la ribellione dei ranocchi del pantano genoiniano, determinatasi alla discesa di Salvatore di Giacomo sul campo della letteratura napoletana, può bene intendere e vagliare i benefici apportati da codesto elegante riformatore alla nostra poesia casalinga. Bendici di forma e di sostanza: ingentilimento di veste e calor di vita. Trovò il di Giacomo al suo apparire l'anima paesana agonizzante nell'adipe abbondantissimo di una retorica triviale e goffa; andò per case e piazze e chiassuoli, e in quelli ambienti respirò aria muffita, ma scorse una siepe inesplorata di sentimento, appena intuita, più che avvistata, da Velardiniello e da Marco d'Arienzo; intese il poeta tutta la bellezza di un'opera di epurazione e di esplorazione: ossigeno e indagine; e a quella si accinse, armato di grande volontà e di buona coltura. La reazione era inevitabile: tutti i fanatici del «vecchio stile» insorsero contro l'innovatore, e videro, naturalmente, nell'opera di lui una profanazione scellerata e una rivoluzione violenta. Che cosa voleva e di dove era sbucato quel giovanotto, che aveva tutta l'aria dello sbarazzino, e andava per le vie della città arditamente, col bavero del matiné rialzato fino a toccare il sincipite, le mani nelle saccocce dei calzoni a maglia, il cappellino floscio di sghembo, il mozzicone di sigaretta fra le labbra, e due occhi dai quali tralucevano una volontà insolente, una ostentazione di suffìsance e una preoccupante melanconia? Credeva, forse, quel piccolo uomo, scappato alla scuola universitaria di medicina e penetrato di fresco nel cenacolo giornalistico di. -
Sing Your City: Local Stories of Global Artifacts
Sociology Study, March 2019, Vol. 9, No. 3, 116-127 doi: 10.17265/2159-5526/2019.03.004 D DAVID PUBLISHING Sing Your City: Local Stories of Global Artifacts Alexander Rosenblatt Zefat Academic College, Zefat, Israel The article discusses five local stories that, without being connected to each other, tell about the socio-cultural circumstances accompanying creation of works of art that have received significant (but not the highest) recognition on a global scale. The discussion concerns three songs about cities: Torna a Surriento, Moscow Nights, and Li Beirut; a famous Soviet painting Low Marks Again; and the design features of Audi cars for the US market over the past decade. The approach to each certain artifact, be it song, painting, or the design of rear turn signals, is developed on the basis of disciplinary affiliation, whereas a discipline is more sociology, anthropology, or history of an appropriate art, than its theory. Another research method places a local context into the test tube of globalization. Experience shows that these two methods are applicable to different arts, places, and periods enriching the scientist with more detailed information about the era studied. Keywords: global artifact, second echelon, songs about cities, dog in a painting, rear turn signals Introduction Life in a global era dictates its own laws. One of those is undoubtedly the increasing level of standardization of life, especially in cities, and even more so in megacities. Houses, apartments, cars, food, and work—all this is almost unified. Nature and weather seem to strongly resist standardization, although the microclimate in residential, industrial, and commercial premises, as well in cars, is practically equalizing this part of the differences in the lives of people at different continents and latitudes. -
The Recorded Legacy of Enrico Caruso and Its Influence on the Italian Vocal Tradition
THE RECORDED LEGACY OF ENRICO CARUSO AND ITS INFLUENCE ON THE ITALIAN VOCAL TRADITION John Dee Garst, B.S.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Dr. Jeffrey Snider, Major Professor Dr. Stephen F. Austin, Chair of the Division of Vocal Studies Dr. Carol Wilson, Committee Member Dr. Benjamin Brand, Director of Graduate Studies in the College of Music Dr. James Scott, Dean of the College of Music Dr. Costas Tsatsoulis, Dean of the Toulouse Graduate School Garst, John Dee. The Recorded Legacy of Enrico Caruso and Its Influence on the Italian Vocal Tradition. Doctor of Musical Arts (Performance). May 2016, 68 pp., 1 table, references, 145 titles. This dissertation presents evidence for the influence which tenor Enrico Caruso had on the Italian Vocal Tradition. This impact was clearly boosted by the revolution realized in the fledgling recording industry, and the recordable disc. In the years of 1902-1920, gramophones became commonplace, and collecting recordings became a growing interest for many. This new technology required specialized skills, and was especially suited to certain qualities of voice. Caruso enjoyed immense success in this medium, in recording over 250 records. Italian vocal style at the turn of the century was changing, and Caruso employed a new “modern” style in his singing. His interpretive decisions, vocal method, and repertoire which he championed had an impact on the vocal tradition of future generations. Comparison of his recordings with tenors Fernando De Lucia, Giuseppe Anselmi, and Alessandro Bonci shows a marked contrast in styles of “the old school” and Caruso’s “more straightforward” approach. -
Studia Culturae: Вып. 2 (28): Conventus: Ч. Карбоне. С.109–113
STUDIA CULTURAE: ВЫП. 2 (28): CONVENTUS: Ч. КАРБОНЕ. С.109–113 Ч. КАРБОНЕ музыкант, филолог и историк музыки (Неаполь) ЭХО СРЕДИЗЕМНОМОРЬЯ. ОТ НЕАПОЛИТАНСКОЙ МУЗЫКИ К ИТАЛЬЯНСКОЙ ПЕСНЕ. Существует то общее, что связывает воедино классическую Неаполитанскую песню с итальянской, и это – пение Эллинов, греческая песня, которая передава- лась изустно через «а ffronne» – напевы, в которых узнается музыкальный строй Древней Греции (Дорийского, Фригийского и Лидийского тетрахордов). Неаполитанская песня представляет собой важный объект культурного наследия города; один из его элементов, наиболее известных во всем мире. Нет такого дру- гого места, где процесс идентификации между городом и его музыкально– поэтической традицией являлся бы настолько полным и завершенным, где он настолько глубоко укоренен в его истории и повседневной жизни обитателей. Неаполитанская песня как жанр возникла в XIX веке как результат долгого куль- турно–исторического развития, начатого в XIII веке с «Канто делле лавандайе дель Вомеро» – Песни вомерских прачек, и связанного с массовым переселением крестьян, обусловившим связь деревенской и городской культур. В репертуарах исполнителей легкого жанра тогда появились и первые фрагменты на итальянском языке, и первые итальянские песни. Все они были написаны в Неаполе, потому что именно там, и только там до 1920 года в Италии создавались песни. В Неаполе работали авторы и издатели, которые затем разъезжались по всей стране, выступая в самых знаменитых кафе и театрах. Ключевые слова: музыка, музыкальная культура, Неаполитанская песня, культура Неаполя, культура Италии, древнегреческая музыка. C. CARBONE musician, philologist and musicologist (Naples) ECHOES OF THE MEDITERRANEAN. FROM NEAPOLITAN MUSIC TO THE ITALIAN SONG. There is a common thread that ties together the classic Neapolitan song to the Italian one, and that is the Hellenic song that has been passed down orally through the «a ffronne» chants where we can identify the scales of the music of Ancient Greece (Dori- an, Phrygian and Lydian tetrachords).