CONSERVATORI DI MUSICA SEDE CODICE FISCALE Antonio Buzzolla
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Elenco Dei Licei Musicali, Dei Conservatori Di Musica Degli Istituti
ALLEGATO N. 1 – Elenco dei licei musicali, dei conservatori di musica degli istituti superiori di studi musicali e delle istituzioni di formazione musicale e coreutica autorizzate a rilasciare titoli di alta formazione musicale CONSERVATORI DI MUSICA SEDE CODICE FISCALE Antonio Buzzolla ADRIA (RO) 81004200291 Antonio Vivaldi ALESSANDRIA 80005820065 Domenico Cimarosa AVELLINO 80005510641 Niccolò Piccinni BARI 80015000724 Nicola Sala BENEVENTO 92002200621 Giovan B. Martini BOLOGNA 80074850373 Claudio Monteverdi BOLZANO 80006880217 Luca Marenzio BRESCIA 80046350171 Pierluigi da Palestrina CAGLIARI 80000960924 Lorenzo Perosi CAMPOBASSO 80008630701 Agostino Steffani CASTELFRANCO VENETO (TV) 90000250267 Bruno Maderna CESENA (FC) 90012410404 Giuseppe Verdi COMO 95050750132 Stanislao Giacomantonio COSENZA 80007270780 G.F. Ghedini CUNEO 96051810040 Giovambattista Pergolesi FERMO (AP) 90026340449 Girolamo Frescobaldi FERRARA 80009060387 Luigi Cherubini FIRENZE 80025210487 Umberto Giordano FOGGIA 80030420717 Licinio Refice FROSINONE 80007510607 Nicolò Paganini GENOVA 80043230103 Giacomo Puccini LA SPEZIA 91027910115 Alfredo Casella L'AQUILA 80007670666 Ottorino Respighi LATINA 91015440596 Tito Schipa LECCE 80010030759 Lucio Campiani MANTOVA 93001510200 Egidio R. Duni MATERA 80002900779 Arcangelo Corelli MESSINA 97002610836 Giuseppe Verdi MILANO 80096530151 Nino Rota MONOPOLI (BA) 93246150721 S. Pietro a Majella NAPOLI 80017700636 Guido Cantelli NOVARA 94005010031 Cesare Pollini PADOVA 80013920287 Vincenzo Bellini PALERMO 97169270820 Arrigo Boito -
The Taranta–Dance Ofthesacredspider
Annunziata Dellisanti THE TARANTA–DANCE OFTHESACREDSPIDER TARANTISM Tarantism is a widespread historical-religious phenomenon (‘rural’ according to De Martino) in Spain, Campania, Sardinia, Calabria and Puglia. It’s different forms shared an identical curative aim and by around the middle of the 19th century it had already begun to decline. Ever since the Middle Ages it had been thought that the victim of the bite of the tarantula (a large, non- poisonous spider) would be afflicted by an ailment with symptoms similar to those of epilepsy or hysteria. This ‘bite’ was also described as a mental disorder usually appearing at puberty, at the time of the summer solstice, and caused by the repression of physical desire, depression or unrequited love. In order to be freed from this illness, a particular ritual which included dance, music and the use of certain colours was performed. RITUAL DANCING The first written account of music as an antidote to the bite of the tarantula was given by the Jesuit scientist, Athanasius Kircher, who was also the first to notate the music and rhythm in his book Antidotum Tarantulæ in the 16th century. Among the instruments involved and used, the frame drum plays an important role together with the violin, the guitar or chitarra battente, a ten-string guitar used percussively, and the button accordion or organetto. This form of exorcism consisted in a ritual carried out in the home of the sick person and a religious ritual in the Church of San Paolo (Saint Paolo in Galatina (Lecce)) during the celebrations of the Saints Peter and Paul on the 28th June each year. -
Tarantism.Pdf
Medical History, 1979, 23: 404-425. TARANTISM by JEAN FOGO RUSSELL* INTRODUCTION TARANTISM IS A disorder characterized by dancing which classically follows the bite of a spider and is cured by music. It may involve one or many persons, and was first described in the eleventh century, but during the fifteenth to the eighteenth centuries many outbreaks were observed and recorded, notably in southern Italy. There is no doubt that it is a hysterical phenomenon closely related to the dancing mania which occurred in Europe in the Middle Ages and with which it is often confused, but unlike the dancing mania it is initiated by a specific cause, real or imagined, and occurs during the summer when the spiders are about. Music as a cure for tarantism was first used in Apulia, a southern state of Italy, where the folk dances would seem to have developed. The music used in the cure is a quick, lively, uninterrupted tune with short repetitive phrases played with increasing tempo and called a tarantella. The word "tarantella" has two meanings: the first is the name of the tune and the second is the name of the accompanying dance which is defined as: "A rapid, whirling southern Italian dance popular with the peasantry since the fifteenth century when it was supposed to be the sovereign remedy for tarantism".11 The dance form still exists, as Raffe2 points out: "The Tarantella is danced in Sicily on every possible occasion, to accompaniment of hand clapping, couples improvising their own figures. It is found in Capri and Sorrento, and in Apulia it is known as the Taranda. -
Festival Overview
MA/IN 2017 matera intermedia festival >> SUPPORT \\ _CONTENTS_ 5_ ma/in festival introduction 6_ The organizing committee 7_ Technical supervisors 8_ Selection panel 19_ MA/IN~spaziomusica commission 2017 20_ MA/IN venues 24_ festival overview 25_ awards 26_ LISTENING | visual room With the generous support of / col generoso supporto di 35_ Sound installation 36_ live concerts 56_ shots 60_ performer BIOGRAPHIES Under the patronage of / col patrocinio di 68_ COMPOSER BIOGRAPHIES 2 3 MA/IN 2017 matera intermedia festival /// INTRODUCTION ||| The LOXOSconcept and KEYHOLE organizations, with the generous support of the “CARICAL” Foundation, Casa Cava Auditorium, the “E.Duni” Conservatory in Matera, the “Fondazione Sassi”, the “Spaziomusica” oganization of Cagliari and the patronage of “Matera 2019 Foundation” promotes the second edition of MA/IN [MAtera INtermedia festival]. The MA/IN festival is aimed at the production and promotion of sonic and digital arts at an international level. Its focus is to become an annual meeting point between artists and composers, within a unique and lovely background of the city of Matera. Every year A/V performances, live electronics, electroacoustic music events, sound installations, workshops and masterclasses will be organized in several evocative venues like the ancient hypogea of Casa Cava. Within the MA/IN, an annual call for artists will be announced. It involves an international jury panel consisting of famous international composers and artists in the feld of electronic arts. The festival is composed by four diferent categories : [A] Acousmatic ~ [B] Mixed Media ~ [C] AudioVisual ~ [D] LivePerformance/SoundArt ~ With the support of SPAZIOMUSICA organization of Cagliari (Sardinia, Italy) the MA/IN has issued a special call. -
Intramoenia a Bari
BARLETTA BARI BARI BARLETTA con il patrocinio e la collaborazione di/ evento promosso da/event promoted by under the patronage of and in collaboration with evento promosso da/event promoted by intramoenia extrart con il patrocinio/under the patronage of Castelli di Puglia/Castles of Apulia Grand Tour in Terra di Bari/Grand Tour in the Land of Bari Castello Svevo di Bari/Swabian Castle of Bari 18 dicembre 2008 – 8 marzo 2009/December 18, 2008 – March 8, 2009 Comune di Bari Castello di Barletta/Castle of Barletta con il sostegno e la promozione di/ 16 maggio – 20 settembre 2009/May 16 – September 20, 2009 with the support of con il patrocinio/under the patronage of Direttore scientifi co/scientifi c director Achille Bonito Oliva Curatore generale/general curator Giusy Caroppo Curatore esecutivo/executive curator in collaborazione con/in collaboration with Rossella Meucci Reale Direttore regionale per i beni culturali e paesaggistici della Puglia/ Regional Director for Apulia’s Cultural and Natural Heritage Ruggero Martines Ideazione e organizzazione/Project and planning Eclettica_cultura dell’Arte produzione evento allestimenti uffi cio stampa catalogo Associazione Culturale, Barletta ideazione e cura generale del progetto/format and curatorship of INTRAMOENIA EXTRART guide didattiche/didactic guides Giusy Caroppo, Art director Eclettica_cultura dell’Arte, Barletta Roberta Boccuzzi, Chiara Gasparro, Giulia Anaclerio uffi cio stampa e immagine/press offi ce and image progetto allestimento mostra/exhibition design Manual comunicazione informazione immaginazione Arcotech s.r.l., Roma/Arch. Daniela Ferragni Paola Marino, Pino Pipoli in collaborazione con/in collaboration with Stefano Panero, Giovanni Musarò siti internet /web sites layout e allestimento/layout and set up www.ecletticaweb.it ROMANO EXHIBIT, Bari www.intramoeniaextrart.it si ringrazia per la collaborazione/thanks for the collaboration to web master Alessandra Lacasella, scenografa/set designer Assunta Amici - SPIM s.r.l. -
“That's Not Italian Music!”
8 “That’s Not Italian Music!” My Musical Journey from New York to Italy and Back Again John T. La Barbera s a musician with many memorable experiences of a lifelong journey through Asouthern Italian traditional music that has taken me from New York to Italy and back again, I wish here to let my memory speak by sharing my musical auto- biography. How many times have I heard, after my performances of traditional music, “That’s not Italian music!”? I have engaged with this music for over thirty years, and it is time to explain why it is Italian music, why this music has been so misunderstood in America, and most of all, what it means to me. It all began with my first guitar, a fifteen-dollar “Stella” that my father bought for me one Friday night when I was about ten years old. I had merely wanted to play and sing some of the music I had heard around the house. I never expected then that I would be dedicating my entire life to this music, traveling because of it, and reconnecting to the land of my grandparents through it. They had all come from southern Italy by steamship during the period of mass migration in the early twentieth century (ca. 1904) to the lower east side of Manhattan—known today as the East Village. My paternal grandparents, Ciro and Francesca La Barbera, came from Bolognetta (formally known as Agghiasciu), near Palermo, Sicily. My maternal grandparents, Leonardo and Adrianna Mancini, came from Itri, south of Rome, in the region of Lazio. -
The Original Documents Are Located in Box 16, Folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 16, folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 16 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library 792 F TO C TATE WA HOC 1233 1 °"'I:::: N ,, I 0 II N ' I . ... ROME 7 480 PA S Ml TE HOUSE l'O, MS • · !? ENFELD E. • lt6~2: AO • E ~4SSIFY 11111~ TA, : ~ IP CFO D, GERALD R~) SJ 1 C I P E 10 NTIA~ VISIT REF& BRU SE 4532 UI INAl.E PAL.ACE U I A PA' ACE, TME FFtCIA~ RESIDENCE OF THE PR!S%D~NT !TA y, T ND 0 1 TH HIGHEST OF THE SEVEN HtL.~S OF ~OME, A CTENT OMA TtM , TH TEMPLES OF QUIRl US AND TME s E E ~oc T 0 ON THIS SITE. I THE CE TER OF THE PR!SENT QU?RINA~ IAZZA OR QUARE A~E ROMAN STATUES OF C~STOR .... -
The Songs of Luigi Gordigiani (1806-1860), "Lo Schuberto Italiano" Thomas M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Songs of Luigi Gordigiani (1806-1860), "Lo Schuberto Italiano" Thomas M. Cimarusti Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE SONGS OF LUIGI GORDIGIANI (1806-1860), “LO SCHUBERTO ITALIANO” By THOMAS M. CIMARUSTI A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2007 Copyright © 2007 Thomas M. Cimarusti All Rights Reserved The members of the Committee approve the dissertation of Thomas M. Cimarusti defended on 28 June 2007. Douglass Seaton Professor Directing Dissertation Valerie Trujillo Outside Committee Member Charles E. Brewer Committee Member Jeffery Kite -Powell Committee Member William Leparulo Committee Member Approved: Seth Beckman, Chair, College of Music Don Gibson, Dean, College of Music The Office of Graduate Studies has verified and approved the above named committee members. ii To my parents iii ACKNOWLEDGMENTS The completion of this dissertation involved the help of many individuals. I am most grateful to my advisor Dr. Douglass Seaton, whose encouragement, patience, and inspiration have been invaluable. I am profoundly indebted to him. My deepest thanks to my committee members Drs. Charles Brewer, Jeffery Kite-Powell, and William Leparulo for their comments and suggestions regarding initial drafts. My sincere appreciation to Dr. Valerie Trujillo who, due to unforseen circumstances, stepped in to serve on the committee just prior to my defense. I am also thankful for Italian scholar Dr. -
Elenco Dei Licei Musicali, Dei Conservatori Di Musica Degli Istituti
ALLEGATO N. 1 – Elenco dei licei musicali, dei conservatori di musica degli istituti superiori di studi musicali e delle istituzioni di formazione musicale e coreutica autorizzate a rilasciare titoli di alta formazione musicale CONSERVATORI DI MUSICA SEDE CODICE FISCALE Antonio Buzzolla ADRIA (RO) 81004200291 Antonio Vivaldi ALESSANDRIA 80005820065 Domenico Cimarosa AVELLINO 80005510641 Niccolò Piccinni BARI 80015000724 Nicola Sala BENEVENTO 92002200621 Giovan B. Martini BOLOGNA 80074850373 Claudio Monteverdi BOLZANO 80006880217 Luca Marenzio BRESCIA 80046350171 Pierluigi da Palestrina CAGLIARI 80000960924 Lorenzo Perosi CAMPOBASSO 80008630701 Agostino Steffani CASTELFRANCO VENETO (TV) 90000250267 Bruno Maderna CESENA (FC) 90012410404 Giuseppe Verdi COMO 95050750132 Stanislao Giacomantonio COSENZA 80007270780 G.F. Ghedini CUNEO 96051810040 Giovambattista Pergolesi FERMO (AP) 90026340449 Girolamo Frescobaldi FERRARA 80009060387 Luigi Cherubini FIRENZE 80025210487 Umberto Giordano FOGGIA 80030420717 Licinio Refice FROSINONE 80007510607 Nicolò Paganini GENOVA 80043230103 Giacomo Puccini LA SPEZIA 91027910115 Alfredo Casella L'AQUILA 80007670666 Ottorino Respighi LATINA 91015440596 Tito Schipa LECCE 80010030759 Lucio Campiani MANTOVA 93001510200 Egidio R. Duni MATERA 80002900779 Arcangelo Corelli MESSINA 97002610836 Giuseppe Verdi MILANO 80096530151 Nino Rota MONOPOLI (BA) 93246150721 S. Pietro a Majella NAPOLI 80017700636 Guido Cantelli NOVARA 94005010031 Cesare Pollini PADOVA 80013920287 Vincenzo Bellini PALERMO 97169270820 Arrigo Boito -
Suoni E Balli: a Journey Into the Music Heritage of Southern Italy
SUONI E BALLI A journey into the music heritage of Southern Italy A 2015 International Specialised Skills Institute Fellowship. SALVATORE ROSSANO Sponsored by the Italian Services Institute of Australia. © Copyright April 2017 SUONI E BALLI | A JOURNEY INTO THE MUSIC HERITAGE OF SOUTHERN ITALY TABLE OF CONTENTS Table of Contents i. Executive Summary 3 6. Knowledge Transfer: Applying the Outcomes 26 ii. Abbreviations & Definitions 4 Video-Making 27 1. About the Fellow 5 Teaching 27 Archival 27 2. Aims of the Fellowship Program 6 7. Dissemination Activities 27 3. The Australian Context 7 8. References 28 4. Identifying the Knowledge and Skills Enhancement Areas 8 9. Acknowledgements 30 5. The International Experience 9 Governance and Management - 2016 31 Destination One: Puglia 9 Italian Services Institute Inc. – Fellowship Sponsor 31 Destination Two: Sicily 16 Organisations impacted by the Fellowship 32 Destination Three: Campania 22 Other interviews 25 SUONI E BALLI | A JOURNEY INTO THE MUSIC HERITAGE OF SOUTHERN ITALY I. EXECUTIVE SUMMAry i. Executive Summary Salvatore Rossano is a Musician, Ethnomusicologist and Music Educator. The Fellowship has allowed him to develop his skills in music research, performance, teaching, and archiving. The results of this enhancement are of benefit to the Fellow as a professional and to the arts sector in Australia. The teaching aspect of the Fellowship included taking private classes from traditional musicians that focus exclusively on music of the aural tradition. The skill enhancement specifically involved taking note of techniques used in this context, and how they differ from classical music teaching approaches. The Fellow held meetings with archivists. -
Religion and Opera in Liberal Italy from Unification to the First World War
1 Opera avanti a Dio! Religion and Opera in Liberal Italy from Unification to the First World War Andrew James Holden Thesis submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy Oxford Brookes University 25 February 2019 2 Opera avanti a Dio! Religion and Opera in Liberal Italy from Unification to the First World War Contents Abstract ..................................................................................................................... 4 List of Tables and Images ....................................................................................... 5 Acknowledgements .................................................................................................. 7 Introduction .............................................................................................................. 9 Chapter I – Adapting religion in the operatic libretto .......................................... 38 Introduction ......................................................................................................... 38 Verdian adaptations of religion after Unification ............................................. 48 Adapting History and Realism – Don Carlos .................................................... 54 Boito and Boito/Verdi ......................................................................................... 59 Sanctity and anticlericalism in Cristoforo Colombo ........................................ 63 Giving space to religion in contemporary drama ........................................... -
Periodici Dell'a.M.I.S
Periodici dell'A.M.I.S. L’A.M.I.S. pubblica tre riviste: - Quadrivium dir. responsabile Giuseppe Vecchi - Subsidia Musica Veneta dir. responsabile Silvio Montaguti - Bollettino dell’A.M.I.S. dir. responsabile Oscar Tajetti Qadrivium - Prima Serie VOL. I - FASC. I - 1956 B. M. Marti, Lucan's Invocation to Nero in the Light of the Mediaeval Commentaries. G. Vecchi, Il "planctus" di Gudino di Luxeuil: un ambiente scolastico, un ritmo, una melodia. V. Pini, La Summa de vitiis et virtutibus di Guido Faba. G. Vecchi, Sulla composizione del Pomerium di Marchetto da Padova e la Brevis Compilatio. VOL. I - FASC. 2 - 1956 A. Saiani, L'"Astrologia spiritualis" neIl'Epithalamium e nella Stella Maris di Giovanni di Garlandia. G. Vecchi, Modi d'arte poetica in Giovanni di Garlandia e il ritmo Aula vernat virginalis. E. Franceschini, Ricerche e risultati per la storia dell' Organon aristotelico nell'occidente latino. G. Massera, Un sistema teorico di notazione mensurale nell'esercitazione di un musico del '400. VOL. II - 1958 J. Carmody, The Arabic Corpus of Greek Astronomer and Mathematicians. E. Jammers, Der Vortrag des lateinischen Hexameters im Frühen Mittelalter. G. Maillard, Problèmes musicaux et littéraires du Lai. G. Cattin, Contributi alla storia della lauda spirituale. Sulla evoluzione musicale e letteraria della lauda nei secoli XlV e XV. W. Dürr, Zwei neue Belege fur die sogenannte "spielmännische" Reduction. VOL. III - 1959 L. Gherardi, Il Codice Angelica 123 monumento della Chiesa Bologuese nel sec. XI. VOL. IV - 1960 G. Cattin, Il manoscritto Venet. marc. Ital. IX, 145. G. Vecchi, Le Arenge di Guido Faba e l'eloquenza d’arte, civile e politica duecentesca.