1.
Music of Italy
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The music of Italy ranges across a broad spectrum of opera and instrumental classical music and a body of popular music drawn from both native and imported sources. Music has traditionally one of the cultural markers of Italian national and ethnic identity and holds an important position in society. Instrumental and vocal music is an iconic part of Italian identity, spanning experimental art music and international fusions to symphonic music. Opera is integral to Italian musical culture, and has become a segment of popular music. Italian folk music is an important part of the musical heritage. Italian music has held up in high esteem in history. More than other elements of Italian culture, Italian music is generally eclectic, No parochial protectionist movement has ever attempted to keep Italian music pure and free from foreign influence, except briefly under the Fascist regime of the 1920s and 30s. As a result, Italian music has elements of the many peoples that have dominated or influenced the country, including French, German. The countrys historical contributions to music are also an important part of national pride, 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 also expressed through music in Italy. Allegiance to music is integrally woven into the identity of Italians. Most folk musics are localized, and unique to a region or city. The musical output of Italy remains characterized by diversity and creative independence a rich variety of types of expression. With the growing industrialization that accelerated during the 20th and 21st century, Italian society gradually moved from a base to an urban. Immigration from North Africa, Asia, and other European countries led to diversification of Italian music. Traditional music came to exist only in pockets, especially as part of dedicated campaigns to retain local musical identities. Music and politics have been intertwined for centuries in Italy, composers who strayed ran certain risks. Among the best known of such cases was the Neapolitan composer Domenico Cimarosa, when the republic fell, he was tried for treason along with other revolutionaries
2.
Italian opera houses
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This is a list of notable opera houses listed by continent, then by country with the name of the opera house and city. The opera company is named for clarity. ISBN 0-86565-978-8 Lynn, Karyl Charna, Opera, the Guide to Western Europes Great Houses, Santa Fe, New Mexico, ISBN 0-945465-81-5 Lynn, Karyl Charna, Italian Opera Houses and Festivals, Lanham, Maryland, The Scarecrow Press, Inc.2005. ISBN 0-8108-5359-0 Plantamura, Carol, The Opera Lovers Guide to Europe, Citadel Press,1996, ISBN 0-8065-1842-1
3.
Glossary of Italian music
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This is an article on the terminology used to describe the music of Italy. There is also an article on Italian musical terms used in English, Italian music terminology consists of words and phrases used in the discussion of the music of Italy. Some Italian music terms are derived from the common Italian language, others come from Spanish, or Neapolitan, Sicilian, Sardinian or other regional languages of Italy. The terms listed here describe a genre, song form, dance, instrument, style, quality of music, technique or other important aspect of Italian music
4.
Italian classical music
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More specific terms such as Gregorian chant, Ambrosian chant, Gallican chant are also found. Generally speaking, they all refer to a style of monophonic, unaccompanied, early Christian singing performed by monks, the differences may be marginal—or even great, in some cases. These differences reflect the ethnic, cultural and linguistic diversity that existed after the fall of the Roman Empire on the Italian peninsula. Different monastic traditions arose within the Roman Catholic Church throughout Italy, yet, in spite of the differences, the similarities are great. Obviously, where Greek rites were practiced, the chants were sung in the Greek language and not in Latin, the Trecento, from about 1300 to 1420, was a period of vigorous activity in Italy in the arts, including painting, architecture, literature, and music. The music of the Trecento pioneered new forms of expression, especially in secular song and in the use of vernacular language, secular music before the year 1500 was largely the work of jongleurs, troubadours and mimes. Thus, Dante showed with the Divine Comedy in 1300 that the language could be a vehicle for fine literature. Logically, that extended to the lyrics of the songs that people sang, two points are worth mentioning in this regard, we know much more about the words of songs than we know about the actual sound of the music. Words were written down much more ease than melodies were notated. We only know that southern French folk music, today, sounds quite a bit different from Sicilian folk music, most people do not think of music when they hear the term Renaissance. The years between 1500 and 1600 are the most revolutionary period in European musical history, it is the century in which harmony was developed and the century that gave birth to opera. Readers will have noted the move from the monophony of Gregorian chants to the complicated polyphonies of madrigals, the desire—perhaps need—for homophonic music arose from a number of factors. Thus, if you generate notes at 400,600,800, the important city in Italy in this development of music in the 16th century was Florence. Besides Florence, two other Italian cities are particularly worthy of mention in the period around 1600, there is somewhat of a friendly rivalry between advocates of the two cities as to which one is more important in the history of the development of music in Italy. The period from about 1600 to 1750 encompasses the musical Baroque, many important things happened in this period. This latter element is an extension of the concept of homophonic music, instrumental forms include such things as the sonata and fugue. Important names in music within this period in Italy are Alessandro Scarlatti, from the early 18th century to the end of that century encompasses what historians call classical music. The term classical is appropriate for this period of music in that it marks the standardization of forms such as the symphony
5.
Italian opera
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Italian opera is both the art of opera in Italy and opera in the Italian language. Opera was born in Italy around the year 1600 and Italian opera has continued to play a dominant role in the history of the form until the present day, many famous operas in Italian were written by foreign composers, including Handel, Gluck and Mozart. Dafne by Jacopo Peri was the earliest composition considered opera, as understood today, peris works, however, did not arise out of a creative vacuum in the area of sung drama. An underlying prerequisite for the creation of opera proper was the practice of monody, from this, it was only a small step to fully-fledged monody. Such spectacles were staged to commemorate significant state events, weddings, military victories, and the like. They were lavishly staged, and led the scenography of the half of the 16th century. Another popular court entertainment at this time was the madrigal comedy and this consisted of a series of madrigals strung together to suggest a dramatic narrative, but not staged. There were also two staged musical pastorals, Il Satiro and La Disperazione di Fileno, both produced in 1590 and written by Emilio de Cavalieri. Other pastoral plays had long included some musical numbers, one of the earliest, the music of Dafne is now lost. The first opera for which music has survived was performed in 1600 at the wedding of Henry IV of France, the opera, Euridice, with a libretto by Rinuccini, set to music by Peri and Giulio Caccini, recounted the story of Orpheus and Eurydice. The style of singing favored by Peri and Caccini was a form of natural speech. Recitative thus preceded the development of arias, though it became the custom to include separate songs. Both Dafne and Euridice also included choruses commenting on the action at the end of each act in the manner of Greek tragedy. The theme of Orpheus, the demi-god of music, was popular and attracted Claudio Monteverdi who wrote his first opera, La Favola dOrfeo. Monteverdi insisted on a relationship between the words and music. When Orfeo was performed in Mantua, an orchestra of 38 instruments, Opera had revealed its first stage of maturity in the hands of Monteverdi. LOrfeo also has the distinction of being the earliest surviving opera that is regularly performed today. Within a few decades opera had spread throughout Italy, in Rome, it found an advocate in the prelate and librettist Giulio Rospigliosi
6.
Progressive rock
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Progressive rock is a broad subgenre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Prog is based on fusions of styles, approaches and genres, Prog saw a high level of popularity in the early-to-mid 1970s, but faded soon after. Conventional wisdom holds that the rise of rock caused this. Music critics, who labelled the concepts as pretentious and the sounds as pompous and overblown. Early groups who exhibited progressive features are described as proto-prog. In 1967, progressive rock constituted a diversity of loosely associated style codes, the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, in the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was also accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in music and the avant-garde since the mid 1970s. The term progressive rock is synonymous with art rock, classical rock, historically, art rock has been used to describe at least two related, but distinct, types of rock music. Similarities between the two terms are that they describe a mostly British attempt to elevate rock music to new levels of artistic credibility. However, art rock is likely to have experimental or avant-garde influences. Prog was devised in the 1990s as a term, but later became a transferable adjective. Although a unidirectional English progressive style emerged in the late 1960s, by 1967, critics of the genre often limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill. Author Kevin Holm-Hudson believes that rock is a style far more diverse than what is heard from its mainstream groups. They each do so largely unconsciously, academic John S. Cotner contests Macans view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Debate about the criteria and scope of the genre continues in the 2010s. In early references to the music, progressive was partly related to progressive politics, Cotner also says that progressive rock incorporates both formal and eclectic elements, It consists of a combination of factors – some of them intramusical, others extramusical or social. One way of conceptualising rock and roll in relation to music is that progressive music pushed the genre into greater complexity while retracing the roots of romantic
7.
Italian folk music
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Italian folk music has a deep and complex history. National unification came late to the Italian peninsula, so its many hundreds of separate cultures remained un-homogenized until quite recently compared to many other European countries. Italys rough geography and the dominance of small city states has allowed quite diverse musical styles to coexist in close proximity. Today, Italys folk music is divided into several spheres of geographic influence. The Celtic and Slavic influences on the group and open-voice choral works of the north contrast with the Arabic, Greek, in central Italy these influences combine, while indigenous traditions like narrative and ballad singing remain. The music of the island of Sardinia is distinct from that of the rest of Italy, the modern understanding of Italian folk music has its roots in the growth of ethnomusicology in the 1940s and 1950s and in the resurgence of regionalism in Italy at the time. The Centro Nazionale di Studi di Musica Popolare, now part of the Accademia Nazionale di Santa Cecilia, was started in 1948 to study and archive the various musical styles throughout Italy. In the 1950s, a number of important field recordings were conducted by American Alan Lomax and Italians Diego Carpitella, Franco Coggiola, the early 1960s saw the rise of social and political popular music, including a vast number of releases by the I Dischi del Sole label. Several important groups had their birth around the time, including Cantacronache in 1958. The Italian folk revival was accelerating by 1966, when the Istituto Ernesto de Martino was founded by Gianni Bosio in Milan to document Italian oral culture and traditional music. With the emergence of the Nuova Compagnia di Canto Popolare in 1970, many of the best known Italian folk revival bands got their start in the following decade, including La Lionetta, Tre Martelli, La Ciapa Rusa, Re Niliu, Calicanto, and Baraban. The northern regions of Italy historically exhibited Celtic and Slavic influences in their cultures, roots revivalists have revived traditional songs, though, from Piedmont, Lombardy and Veneto. The Genoese docks are the home of trallalero, a vocal style with five voices. It arose in the 1920s and includes modern groups like La Squadra -- Compagnia del Trallalero, the highly urban provinces of northern and central Italy are also known for the medieval sung poetry ottava rima, especially in Tuscany, Lazio and Abruzzo. Ottava rima is performed by the poeti contadini who use the poems of Homer or Dante and it is often completely improvised, and sometimes competitive in nature. Tuscan folk poetry is closer in form and style to high-culture poetry than is typical elsewhere in Italy, the saltarello dance is also popular throughout the region. Canzoniere del Lazio is one of the biggest names from central Italy during the 1970s roots revival, with socially aware lyrics, this new wave of Italian roots revivalists often played entirely acoustic songs with influences from jazz and others. More modern musicians in the field include Lucilla Galeazzi, La Piazza
8.
Italian hip hop
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Italian hip hop started in the 1980s. The European Music Offices report on Music in Europe claimed that, in general, the first star to emerge from this scene was Jovanotti, who would rap in otherwise standard Italian pop. Also that year Marko Von Schoenberg of Stone Castle Records in Italy produced Dre n OG along with Andre Herring and Nathaniel Goodwin, with such as Ak-47, Got Damn, Do Beat. Articolo 31, who started out as a mainly East Coast rap inspired hip hop duo, the duo had always been criticized for their connection to the Italian pop-music market. In 1996, as they started their performance at Venices hip hop festival, in the next few years a dissing battle started between them and the Zero Stress Crew. Other important crews and rappers included Bolognas Porzione Massiccia Crew, Sangue Misto, with their 1994 album SXM, which has influenced all subsequent Italian hip hop. Among the most popoular Italian rappers are Kaos One, Neffa, Sacre Scuole, Fabri Fibra, Colle Der Fomento, Otierre, Inokiness, Clementino, Noyz Narcos, more recently, two young rappers reached the peak of fame, Fedez and Emis Killa. In the late 1990s the Death Rap Italian scene was born in Rome with the above-mentioned Noyz Narcos and his Crew Truceklan and the project In the Panchine. Important foreign rappers linked with Italian hip hop are the English artists Top Cat and Soul Boy, the American old-skool writer Phase 2, Kurtis Blow, in John Shepherd, David Horn, Dave Laing, Paul Oliver, Peter Wicke. Continuum Encyclopedia of Popular Music of the World, Volume 1, Media, Industry and Society
9.
Sanremo Music Festival
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Usually referred to as Festival di Sanremo, or outside Italy as Sanremo Music Festival or Sanremo Music Festival Award, it was the inspiration for the Eurovision Song Contest. Starting from 1955 all the editions of the Festival have been broadcast live by the Italian TV station Rai 1. During this era of the festival, it was custom that one version of the song was performed by a native Italian artist while the version was performed by an international guest artist. The Festival airs annually in Australia on the multicultural broadcaster SBS One, in the aftermath of World War II, one of the proposals to revitalize the economy and the reputation of Sanremo was to create an annual music festival to be held in the city. Officially titled Festival della Canzone Italiana, the first edition of the show was held at the Sanremo Casino on 29,30 and 31 January 1951, the final of the competition was broadcast by Rete Rossa, the second most important RAI radio station. Twenty songs took part in the competition, performed by three artists only–Nilla Pizzi, Duo Fasano and Achille Togliani, starting from the third edition of the festival, held in 1953, each song was performed by two different artists with different orchestras and arrangements. Two years later, in 1955, the festival made its first appearance on television, the last night of the show was also broadcast in Belgium, France, Germany, the Netherlands and Switzerland. The same rule was applied in the years contest. Between 1967 and 1971, entries were not forced to be interpreted by foreign artists, starting from 1972, each entry was sung by one artist only. The competing artists were split for the first time into Big artists, the competition had one winner only, but the entries in the Young artists category had to go through an elimination round, while Big artists were directly admitted to the final. In 1977, the Sanremo Casino, which hosted all the editions of the contest, was not available for renovations. The theater later became the location for the annual contest, hosting it every year except in 1990. In 1980, pre-recorded backing tracks replaced the orchestra, while playback performances were allowed in 1983 during the final, in 1984 and 1985, all the artists were forced to perform in playback, while live performances with the orchestra were reintroduced in 1986. During the same years, several changes were introduced in the contest. In 1982, accredited music journalists decided to create an award to recognise the best song competing in the festival, starting from 1983, the prize was officially awarded during the event. The critics prize was later entitled to Mia Martini, who was the first artist receiving it in 1982 for her entry E non finisce mica il cielo, moreover, starting from 1984, the separation between newcomers and established artists was marked introducing two different competitions with separate winners. In 1989 a third category, the Upcoming Artists Section, was introduced, only in 1998 the top three artists in the newcomers section were allowed to compete in the main competition. This led to the victory of the debuting Annalisa Minetti, which generated several controversy, the distinction among different categories was abolished again in 2004
10.
Festival di Napoli
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The Festival della Canzone Napoletana, commonly known as the Festival di Napoli, is a Neapolitan song contest. The first edition was held in 1952 and the last in 2004, from 1952 to 1970 the show was broadcast on RAI and from 1998 to 2004, in a differently spirited version, by Rete 4. A symbol of Neapolitan song of the half of the twentieth century, the Festival della Canzone Napoletana was born in Naples in 1952. As presenters the festival would see, over the years, such people as Nunzio Filogamo, Enzo Tortora, Pippo Baudo, Mike Bongiorno, Corrado, Daniele Piombi. Interrupted in 1971, after many organizational efforts it returned to the city in 1981 and it was also broadcast on the radio on Rais second station from 22.45. After that edition, the Festival, once again, was interrupted for a period of time. In 1998 it returned, though with a different spirit and different results, on Rete 4 and was held regularly until 2004, when it ceased again. 1952, Nilla Pizzi and Franco Ricci — Desiderio e Sole 1953, The Festival was not held, because it was designed to be bi-annual
11.
Luigi Tenco
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Luigi Tenco was an Italian singer, songwriter. After his alleged suicide, he became an icon of love, the true causes of his death have not yet been agreed upon. Tenco was born in Cassine in 1938, the son of Teresa Zoccola and he never knew his father, who died in unclear circumstances. It has been rumored, that Luigi Tenco was the fruit of a relationship of his mother. Tenco spent his childhood in Cassine and Ricaldone until 1948, when he moved to Liguria, first to Nervi and then to Genoa, where his mother had a wine shop. During high school, Tenco founded the Jelly Roll Morton Boys Jazz band, in which Tenco played the clarinet and another singer, later to become famous, Bruno Lauzi, the banjo. Gino Paoli, also a future famous Italian singer-songwriter, was a member of the later Tenco band, Tenco made his debut in the world of Italian professional music with the band I Cavalieri, which included Giampiero Reverberi and Enzo Jannacci amongst others. During this period he used the pseudonym Gigi Mai, in 1961 Tenco released his first single under his real name, entitled Quando. In 1962 Tenco began a cinematic experience, with Luciano Salces movie La Cuccagna. He also collaborated on the soundtrack to the film, during this period he also formed a strong friendship with the Genoese anarchist poet Riccardo Mannerini. In 1963, however, his friendship with Gino Paoli broke up, Tencos first LP was released in 1962, Ballate E Canzoni. One of the songs, Cara Maestra, was censored by the then thriving Italian media censorship, the censors struck again in the following year, against his songs Io Sì and Una Brava Ragazza. In September 1964, he released Ho capito che ti amo a song written by him with musical arrangement Ezio Leoni and it was released on the Italian record label Jolly as Side A of a 45 rpm side B being Io lo so già. In 1966, suffering through a period of military service. In Rome during the year, he met and befriended the Egypt-Italo-French singer Dalida. The two were eventually to become lovers, in 1967 he took part in the Italian Song Festival in Sanremo. It was rumored, that he participated against his will, the song he presented was Ciao Amore Ciao, which he sang together with Dalida. Tenco allegedly committed suicide on January 27,1967, he was only 28 years old, after learning, that his song had been eliminated from the final competition
12.
MTV Italian Music Awards
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The MTV Awards were established in 2006 by MTV Italy to celebrate the most popular artists and music videos in Italy. From 2006 to 2010 the show changed its host city every year, the awards are presented annually and broadcast live on MTV Italy, as well as online. First Lady, Avril Lavigne Man of the Year, Lee Ryan Best Group, Best New Artist, Hilary Duff Best Number #1, Lee Ryan - Army of Lovers Best Verrei ma non posso, Cast O. C. Best New Generation, Broken Heart College Best International Act, Justin Bieber Best Look, dARI Best Movie, Avatar Best Fan Club, Lost My TRL Best Video, Valerio Scanu - Per tutte le volte che. Best TRL History, J Ax MTV First Lady, Malika Ayane MTV Man of the Year, Marco Mengoni MTV Best Band, Muse In 2011 the show was broadcast from Florence. Best Video, LMFAO featuring Lauren Bennett and GoonRock - Party Rock Anthem MTV History Award, Subsonica For the third time, the show was broadcast from Florence. i
13.
Federazione Industria Musicale Italiana
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The Federazione Industria Musicale Italiana is an umbrella organization that keeps track of virtually all aspects of the music recording industry in Italy. It was established in 1992, when major corporate labels left the previously existing Associazione dei Fonografici Italiani, during the following years, most of the remaining Italian record labels left AFI to join the new organization. As of 2011, FIMI represents 2,500 companies operating in the music business, FIMI is a member of the International Federation of the Phonographic Industry and of the Italian employers federation, Confindustria. Its main purpose is to protect the interests of the Italian record industry, starting in March 1995, the Italian Music Industry Federation began providing the Italian official albums chart. In January 1997, FIMI also became the provider of the Italian official singles chart, due to the decrease of CD singles sales in Italy, FIMI replaced its physical singles chart with a digital downloads chart—based on legal internet and mobile downloads—on 1 January 2008. In July 2011, Enzo Mazza was confirmed as FIMI chairman, the Italian Music Industry Federation compiled its first album chart in March 1995. Issued on 7 March 1995, it was based on sales between 23 February 1995 and 1 March 1995 and this period coincided with the first week of sales for the albums released by the 45th Sanremo Music Festival contestants, the most important music event in Italy. The first number-one album was Bruce Springsteens Greatest Hits, between 1995 and 2009, the FIMI Album Chart was based on data provided by Nielsen. From January 2010, the FIMI Album Charts positions have been derived from GfK Retail, in 1995, the chart was based on data digitally gathered by 130 sellers. The number of sellers was later increased and, as of 2011, starting from 14 October 2011, the FIMI Albums Chart also includes digital sales. In March 1995, alongside the FIMI Album Chart, the Italian Music Industry Federation also began the FIMI Compilations Chart and these albums are not included in the FIMI Album Chart. The first number-one was Sanremo 95, released by RTI Music, in January 1997, the Italian Music Industry Federation also started an official singles chart. The first number-one single was Depeche Modes Barrel of a Gun, compiled by Nielsen, the chart listed the best-selling physical singles in Italy, but on 1 January 2008 it was replaced by the Top Digital Download, listing the best-selling digital singles. The last number one on the physical FIMI Singles Chart was The Singles Collection by Vasco Rossi, the Italian DVD Chart was established by the Italian Music Industry Federation in October 2003. The first Italian DVD Chart listed only the first ten positions, as of July 2011, it lists the 20 best-selling music DVDs in Italy, and is compiled by ACNielsen. On 10 April 2006, FIMI published the first chart listing the best-selling digital singles in Italy, compiled by Nielsen SoundScan, the chart was based on data provided by 10 digital stores. The first number-one single was Sei nellanima by Gianna Nannini, due to the decrease of CD singles sales in Italy, on 1 January 2008 the Top Digital Download became the Italian official singles chart, replacing the chart based on physical sales. A certification system has existed in Italy since the mid 1970s, during that period, albums had to sell 500,000 units to qualify for a Silver status, while for Gold, the requirement was 1,000,000 units
14.
Festival dei Due Mondi
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For the Spoleto Festival USA, see Spoleto Festival USA and for the Spoleto Festival Melbourne see Melbourne International Arts Festival. The Festival dei Due Mondi is a summer music and opera festival held each June to early July in Spoleto, Italy. It features a vast array of concerts, opera, dance, drama, visual arts and that twinning lasted some 15 years and, after growing disputes between the Menotti family and the board of Spoleto Festival USA, in the early 1990s a separation occurred. Under Menottis direction in 1986, an installment in the Spoleto Festival series was held in Melbourne. Melbournes Spoleto Festival changed its name to the Melbourne International Festival of the Arts in 1990 and it is also fairly close to Rome, with good rail connections. The festival developed into one of the most important cultural manifestations in Italy, with a schedule of music, theatre. List of opera festivals Francis Menotti Notes Sources Daniel Wakin, Spoleto Italy, The Menottis Are History, The New York Times, official website of the present Festival dei Due mondi Pre-2008 Festival managements website
15.
Il Canto degli Italiani
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Il Canto degli Italiani is the national anthem of Italy. It is best known among Italians as Inno di Mameli, after the author of the lyrics, or Fratelli dItalia, the words were written in the autumn of 1847 in Genoa, by the then 20-year-old student and patriot Goffredo Mameli. Two months later, they were set to music in Turin by another Genoese, the hymn enjoyed widespread popularity throughout the period of the Risorgimento and in the following decades. After the Second World War, Italy became a republic, and on 12 October 1946 and this choice was made official in law only on 23 November 2012. The first manuscript of the poem, preserved at the Istituto Mazziniano in Genoa, appears in a personal copybook of the poet, of uncertain dating, the manuscript reveals anxiety and inspiration at the same time. The poet begins with È sorta dal feretro then seems to change his mind, leaves some room, begins a new paragraph, the handwriting appears nervy and frenetic, with numerous spelling errors, among which are Ilia for Italia and Ballilla for Balilla. The second manuscript is the copy that Goffredo Mameli sent to Michele Novaro for setting to music and it shows a much steadier handwriting, fixes misspellings, and has a significant modification, the incipit is Fratelli dItalia. This copy is in the Museo del Risorgimento in Turin, the hymn was also printed on leaflets in Genoa, by the printing office Casamara. The Istituto Mazziniano has a copy of these, with annotations by Mameli himself. This sheet, subsequent to the two manuscripts, lacks the last strophe for fear of censorship and these leaflets were to be distributed on the December 10 demonstration, in Genoa. In this occasion the flag was shown and Mamelis hymn was publicly sung for the first time. After December 10 the hymn spread all over the Italian peninsula, in the 1848, Mamelis hymn was very popular among the Italian people and it was commonly sung during demonstrations, protests and revolts as a symbol of the Italian Unification in most parts of Italy. In the Five Days of Milan, the rebels sang the Song of the Italians during clashes against the Austrian Empire, in the 1860, the corps of volunteers led by Giuseppe Garibaldi used to sing the hymn in the battles against the Bourbons in Sicily and Southern Italy. During the period of Italian Fascism, the Song of the Italians continued to play an important role as patriotic hymn along with several popular fascist songs. After the armistice of Cassibile, Mamelis hymn was sung by both the Italian partisans and the people who supported the Italian Social Republic. After the Second World War, following the birth of the Italian Republic, on 23 November 2012, this choice was made official in law. This is the text of the original poem written by Goffredo Mameli. However, the Italian anthem, as performed in official occasions, is composed of the first stanza sung twice
16.
Music of Apulia
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The Music of Apulia has had some glorious history as well as some very hard times. Located along the southern Adriatic, the area was part of Magna Grecia, and 1,000 years ago, Bari, on the coast, was a privileged sanctuary for pilgrims and Crusaders on their way to the Holy Land. Later, as part of the Kingdom of Naples, Apulia produced many memorable names in music, but like elsewhere in the south, many of them gravitated to Naples, the capital of the kingdom. Yet, modern Apulia has shown itself to be resilient and has an active, if still struggling. Apulia was home to the folk song revivalist Matteo Salvatore. The healing tarantolati ritual is an important part of Apulian folk culture, the ritual is centered on Saint Paul and women who are said to have been bitten by a tarantula. The poison from the bite is said to be healed by dancing, the dances include the tarantella and tarantata, and is accompanied by tamburelli and either violin, organetto or guitar. Apulia is known for its brass band tradition, which includes the Bando Ruvo di Puglia, in recent music, this brass band tradition has involved many of the regions jazz performers. The Petruzzelli Operatic and Symphonic Foundation of Bari is the organization around which much of the life of the city revolves. It is named for the famous Teatro Petruzzelli, the center of life in the city and province. Taking up that slack, however, are venues, the Basilica of San Nicola, the premises of the Piccinni Conservatory. Brindisis new Verdi Theater had its first concert in 2002, the theater is an impressive hyper modern structure that seats 1200 and was built near the presumed place where the poet Virgil is said to have died. The area contains significant Roman archaeology, which caused delays in the completion of the new concert hall, the city and province of Foggia are noted as the birthplace of composer Umberto Giordano and much musical activity recalls that fact. The main venue for opera was built in 1828 and was renamed the Giordano Theater in 1928, the city has a secondary theater, named for Giuseppe Verdi. Lecce was the birthplace of the tenor, Tito Schipa. It also hosts a music conservatory and is the home of the Salento Chamber ensemble, the Teatro Comunale is named for Giovanni Paisiello, one of the great names in 18th century Neapolitan comic opera. The city on two seas, Taranto, recalls its connection to ancient Greece in the names of organizations such as the Magna Grecia Orchestra, the Ionian Art Orchestra. The area hosts the Association for the Music of Paisiello, sponsors the annual Nicolosi Song Competition and it takes place in July and August, during which time the entire city of Taranto becomes a collection of venues for music of various sorts
17.
Music of Calabria
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The music of Calabria is part of the Italian musical tradition. The rural Calabrian folk tradition is most closely associated with the zampogna, the Italian bagpipe, Calabria is home to at least five different kinds of zampogna. This tradition has lately been recorded and adapted by the group Re Niliu, there is also an ancient Lira tradition, pipita and tamb voice urine. It is run by the Catanzaro Foundation for the Politeama Theater and is dedicated to continuing a great operatic tradition. They have already staged Franco Zeffirellis version of Aida as well as productions of Rigoletto, there is a secondary theater, the Teatro Masciari, once famous as a vaudeville house, after the inevitable post-war decline it has known a modern rebirth as a multi-purpose facility. The Teatro Rendano, in Cosenza, is the only truly traditional theater in Calabria and it was built in 1909, severely damaged by the aerial bombardments of World War II, closed, rebuilt and finally reopened. It has a reputation for fine acoustics and being a venue for performers. Two associations are connected with the active performance schedule, the Associazione Quintieri. The city is the site of the Stanislao Giocamantonio music conservatory, particularly given to emphasizing its Greek history, Crotone takes advantage of some impressive archaeology as venues for music. Best-known is the Aurora Festival on the grounds of the ancient temple of Hera Licinia, the Teatro Comunale Cilea of Reggio di Calabria was built in 1818 and was originally one of the great royal opera houses in the Kingdom of Naples. It was severely damaged by the 1908 Messina earthquake and again by bombing in World War II and it has since been rebuilt and reopened and pursues an active operatic schedule. The city is also the site of the Francesco Cilea music conservatory, the Fausto Torrefranca music conservatory is located in Vibo Valentia. The Solisti Calabri is a chamber music ensemble, and the Cilea Association sponsors regular concerts. Suonare la tradizione, Manuale di musica popolare calabrese. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla, World Music, Vol.1, Africa, Europe, Cosenza music conservatory Rendano Theater, Cosenza Reggio Calabria music conservatory Aurora festival, Crotone Vibo Valentia music conservatory Concerts today in Calabria
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Music of Campania
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Music of Campania The capital city of the Campania region of Italy is Naples, there is a separate article dealing with the Music of Naples. This article is about musical activities elsewhere in the Campania region, as one moves away from Naples in almost any direction, there is prominent musical activity to be found. The most prominent of these is the Villa Campolieto, already restored, open, the Flavian amphitheater in Pozzuoli, one of the greatest such structures in the ancient world, has undergone extensive restoration and is the site of outdoor summer concerts. Also, since 1985, the cloister of St. Francis in the town of Sorrento has hosted the annual Summer of Music in Sorrento, various musical activities are hosted there as part of the citys ongoing self-promotion as the City of Spettacoli. The city also has a conservatory located in the large Palazzo De Simone. The city of Caserta is best known as the site of the Versailles of Italy, Caserta is the only provincial capital in the Campania region without a music conservatory. The province of Salerno includes Ravello on the Amalfi coast with the famous Ravello Festival, certainly one of the important musical, the city of Salerno has its own permanent opera company. The city is also the site of the fine Giuseppe Martucci conservatory as well as the newly reopened Verdi Theater
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Music of Emilia-Romagna
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The region, as the name implies, combines the traditions of two different, contiguous areas—Emilia and Romagna—and it is perhaps this blend that contributes to the wealth of musical culture. Bolognas Teatro Comunale is located in Piazza Verdi, in the centre of the city, near the International museum and library of music. The theatre has a permanent orchestra and the city sponsors an annual MusicaInsieme chamber music festival as well as a series of university concerts, cesena is the site of the Teatro Alessandro Bonci and the Bruno Maderna music conservatory. Musical activities in the province include sunrise concerts during the summer, ferraras Teatro Comunale was built in 1798. It is the centre of activity for the annual Ferrara Music Festival, the city has a permanent symphonic orchestra and the Association Ferrara Musica as well as the Gustav Mahler Academy, an organization that runs master classes for young musicians. Forlì is the site of the new Teatro Diego Fabbri, modena, the city of Luciano Pavarotti, has a reputation as a centre of Italian pop music, the city of agents, recording studios, publishers, etc. The Teatro Comunale is from 1841, the city has an important musical manuscript collection in the Estense Library and sponsors an annual International Festival of Military Bands. Parmas Teatro Regio di Parma is historic, having built in 1829. There is an annual Verdi Festival and a joint festival with the province of Reggio. Parma is also the site of one of the marvels of Italian theatre. Finally, Parma is the birthplace of Arturo Toscanini and the site of the Arrigo Boito music conservatory, piacenzas Teatro Municipale was built in 1798. The main theatre is the Teatro Comunale Alighieri dating from 1852, Reggio Emilias Teatro Municipale has regular opera, concert, and ballet seasons, as well as being the site for two major festivals during the year, Reggio Emilia Dance and the REC Autumn Festival. Rimini sponsors a summer music festival, the Sagra Musicale Malatestiana. Guide Cultura, i luoghi della music ed
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Music of Florence
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While Florence, itself, needs no introduction as the birthplace of the Italian Renaissance, the music of Florence may, in fact, need such an introduction. The city was at the heart of much of the entire Western musical tradition, pre-1450 Florence had a very important music history during the Italian Trecento and was one of the main centers of the Italian Ars nova. In Florence, the most substantial patron of music until the fall of the Republic was the city itself, therefore, civic musicians first appeared in civic record starting in the 13th century. These musicians were all players and worked in civic ensembles. In 1383, Florence made clear subdivisions between its civic instrumental ensembles, singling out the pifferi from the rest of the musicians. By 1390, three basic instrumental ensembles were all in formation, the pifferi, trombetti, and the trombadori, including six large trumpets,1 drummer. The Pifferi The Pifferi provided music at important civic occasions, daily at the Palazzo and this group is commonly noted as the most sophisticated of the three groups. In 1443 the Pifferi added a member, so that the group included,2 shawms,1 bombard. As with the performing groups, there was a strong preference for foreign musicians in these ensembles. When it was decided to hire a trombonist to join the pifferi forces, when he was hired, officials subsequently fired the three native, Florentine shawm players and replaced them all with German speaking musicians. At this time, city officials passed a motion declaring that only foreigners should hold positions in the pifferi. These positions generally ran in families, father to son, brother to brother, toward the end of the 15th century, string music became widely popular in Italy and all of Europe. But this development is not reflected in Florences civic financial records, instead, for example, around 1510 the pifferi expanded to 5 players. Only 10 years later, it expanded again to 6 musicians, Life for civic musicians Life for the members of these groups was very comfortable. The government provided their musicians with clothing, housing, meals, right to name their successor, and they were also the highest paid of public servants, and were allowed to dine in the private dining room at the Palazzo. Needless to say, these positions were prestigious and highly desirable, after retiring, they received a pension. The trombetti and pifferi could travel to nearby cities, always representing Florence. But only on the most special of occasions did the 3 civic ensembles all play together, however, this growing interest is not reflected in civic records
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Music of Genoa
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The music of Genoa includes a number of important musical venues. The Teatro Carlo Felice was built in 1828 and named for the monarch of the kingdom of Sardinia. The theater was the center of music and social life in the 1800s, on various occasions in the history of the theatre, presentations have been conducted by Mascagni, Richard Strauss, Hindemith and Stravinsky. On the occasion of the Christopher Columbus celebration in 1992, new life was given to the area around the old port. Additionally, the city is the site of the Teatro Gustavo Modena, the city is the site of the Niccolò Paganini music conservatory. In the town of Santa Margherita Ligure, the ancient Abbey of Cervara is often the site of chamber music concerts. The city has produced a well-known form of folk music in trallalero, a polyphonic vocal music, performed by five men. Trallalero thrived in Genoa in the early 20th century, especially the 1920s, Genoa music conservatory Concerts today in Genoa Surian, Alessio. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla, World Music, Vol.1, Africa, Europe and the Middle East, pp.189 –201
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Music of Lombardy
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This article is about the Music of Lombardy outside of the city and province of Milan. For that, see the Music of Milan, the city is also the home of the Benvenuto Terzi Guitar Association and a Society for Ancient Music. There is a jazz festival in the nearby town of Clusone. The Luca Marenzio music conservatory is located here. Cremona, the city is most famously associated with the craft of making and illustrious practitioners of that trade, such as the Amati Family, Guarneri Family. The city is still a site for aspiring craftsmen and hosts the Stradivarius Scuola internazionale di liuteria. Claudio Monteverdi was born in Cremona and was a student of MarcAntonio Ingegneri, lecco, the Harmonia Gentium association promotes significant concerts of scared music on the premises of the Basilica of San Nicolò. The main theater in the city is the Teatro della Società, lodi, the citys claim to musical fame is that a 14-year-old Mozart wrote his first string quartet here. The Teatro delle Vigne is the venue for music and is on the premises of the ancient monastery of San Giovanni e Ognisanti alle Vigne. It hosts an archive and a series of autumn concerts. Mantua, the city was home to many names in the late 16th and early 17th centuries. The prominent members of the Florentine Camerata lived here, as did Claudio Monteverdi, whose opera Orfeo, the Teatro Accademica goes back to the 1760s, when Mantua was still part of the Austrian Empire. It was built at the behest of the Empress Maria Theresa and is remembered as the venue where the child prodigy Mozart displayed his musical prowess in a series of recitals. Mantua is also the site of the Lucio Campinai music conservatory, Pavia, the Teatro Fraschini was opened in 1773, later went through a period when it served as a barracks for the Austrian army, and was later restored to its historic splendour. Currently it is the venue of the Pavia Chamber Ensemble. Sondrio, the Villa Quadrio serves as the site for chamber concerts, the Torelli auditorium hosts frequent concerts of folk choral music by the CAI Choir of Sandrio. Varese, Venues include the Palazzo Estense, the Villa Cagnola, in nearby Busto Arsizio, there is a permanent chamber music ensemble. Guide Cultura, i luoghi della musica ed
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Music of Marche
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The music of the Marche, a region of Italy, has been shaped by the fact that the entire region is a collection of small centers of population. There is no cultural giant to be found—no Florence or Naples—that might have shaped the cultural and musical expressions of the entire region. Historically, the area was home to a great number of monasteries and abbeys in the Middle Ages. That period is obscure and is currently the subject of musicological research. In the modern age, the region has a vibrant musical life, historically, the city of Ancona was known as a small center for music agencies, music printers and makers of stringed instrument. The main theater is the Teatro delle Muse, now reopened after reconstruction in the wake of a World War II bombing and it is the home of the Marche Philharmonic Orchestra. The town of Jesi has the Teatro Pergolesi and supports the Pergolesi Foundation, ascoli Piceno is the site of the historic Teatro Ventidio Basso whereas Fermo is home to Teatro dellAquila and a new music conservatory. The town of Fermo is home to the International Orchestra of Italy, macerata is the site of the remarkable Arena Sferisterio. Flanked by neo-classical columns, it is a venue for music, or almost anything else. The town of Civitanova Marche has the S. Giacomo Auditorium, the town of Pesaro is the birthplace of Rossini, one of the giants of Italian music. As one might expect, many things are named for him, including the Teatro Rossini and his birthplace is marked, as well, and the Rossini Foundation sponsors an annual festival dedicated to his music. The town of Urbino has the Teatro Sanzio, built in the 1840s, guide Cultura, i luoghi della musica ed
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Music of Molise
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While it is one of the smallest regions of Italy, the Music of Molise is active. The Teatro Savoia was built and opened in 1926 in Campobasso, the city has a Friends of Music Association and, surprisingly, a Regional Symphony Orchestra. The city is also the home of the Lorenzo Perosi music conservatory, isernia is known for its folk traditions and open-air festivals. The city is site of the university of Molise as well as, in Scapoli, the Museum of the Zampogna, guide Cultura, i luoghi della music ed. Concerts today in Molise Campobasso music conservatory Bagpipe Museum Molise Symphony Orchestra
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Music of Naples
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Naples has played an important and vibrant role over the centuries not just in the music of Italy, but in the general history of western European musical traditions. The vitality of Neapolitan popular music from the late 19th century has made such songs as O Sole mio, in the mid-16th century, the Spanish throne established church-run conservatories in its vice-realm of Naples. These institutions were on the premises of four churches in the city of Naples, Santa Maria di Loreto, Pietà dei Turchini, SantOnofrio a Capuana, at the time, these institutions were called conservatories because they conserved—that is, they sheltered and educated—orphans. This primed Naples to become one of the most important centers of training in Europe. Naples was also the birthplace of the popular Neapolitan opera buffa, the conservatory still bears the inscription Royal Academy of Music over the entrance and is still an important music school in Italy. It houses a library of manuscripts pertaining to the lives. Canzone Napoletana is what most people think of when they think of Neapolitan music and it consists of a large body of composed popular music—such songs as O sole mio, Torna a Surriento, Funiculì funiculà, etc. The winner of the first festival was a song entitled Te voglio bene assaie, it was composed by the prominent opera composer, the festival ran regularly until 1950 when it was abandoned. A subsequent Festival of Neapolitan Song on Italian state radio enjoyed some success in the 1950s but was abandoned as well. The period since 1950 has produced songs as Malafemmena by Totò, Indifferentemente by Mario Trevi. Although separated by some decades from the classics of this genre. By definition, this is largely anonymous music and it features traditional folk percussion instruments such as the putipù--consisting of a membrane stretched across a resonating chamber, like a drum. There are generally small metal jingles mounted around the perimeter of the instrument, often combining dance, music, and drama, the subject matter and approach to vocalizing are quite distinct from the composed stylings of the better-known Neapolitan song. There are various kinds of mandolins in use in Italy, they bear the names of cities or regions such as the Roman, the Lombard, the Genovese, and they may differ in size, shape, number of strings and tuning. The traditional Neapolitan mandolin is tear-shaped with a back and a uniquely cut and shaped front, it has eight strings paired into the four violin tunings of g, d, a. The strings are played with a plectrum, producing the rapid, in that configuration, the Neapolitan mandolin started to be manufactured widely in Naples in the mid-18th century. In spite of the vision of the mandolin as a quaint vehicle for older, traditional popular music such as the Canzone Napoletana. Around the start of the 20th century, they were performed in the U. S. in areas populated by Italian immigrants and it is always sung and spoken in Neapolitan dialect
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