1,721,046 research outputs found
Franco Oppo e il «suono della Sardegna»: critica della ricezione e prospettive di studio musicologico
No full textFranco Oppo is one of the best-known Sardinian composers of the Twentieth Century. Throughout his career, he showed a deep interest in Sardinian culture, which became a crucial identity marker of his compositions. This article aims to identify the main issues of the scholarly literature on Oppo and his strategies in the appropriation of Sardinian traditional music. Firstly, I discuss the references to Ennio Porrino in the historiographic discourse as a way to stress the new paths developed by Oppo. Secondly, I examine the authentication processes advocated by several scholars, underlining Oppo’s relationship to the coeval ethnomusicological research as well as his structuralist compositional approach. Finally, I propose potential future research paths, investigating Oppo’s primary sources, and possible connections with his pupils’ and other composers’ outputs
Vancini, Macchi and the Voices for the (Hi)story of Bronte
Full text linkThe name of Egisto Macchi is inseparably linked to the documentary genre, which served as a testing ground throughout his career during the 1960s. For the majority of these non-fiction films he has recourse to original soundtracks that have no clear connection with the musical culture captured on the screen. What happens then when Macchi approaches feature films that deal with Italy’s historical and ethnic heritage? Is it possible to include sounds extraneous to the reality represented without drastically altering the narrative horizon? In order to answer these questions, in this paper I will examine the case of Bronte: cronaca di un massacro che i libri di storia non hanno mai raccontato, a film by Florestano Vancini (1972), which stands out in the production of Macchi precisely because of the use of musical elements of an ethnic matrix in the soundtrack. On the basis of archival sources, I will discuss his compositional strategies with particular regard to the Sicilian-style songs used in Bronte. Macchi’s music exploits the folk repertoire as an agent of historical and ethnic authentication, but at the same time problematizes this status, putting it into dialogue with the timbric expansion of the Synket synthesizer
Alle origini del modernismo. Questioni e dibattiti intorno alla “nuova musica” di Hollywood
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«Acts of wisdom and trust»: Sheets, Tapes and Machines in Egisto Macchi’s Film Music Composition
Full text linkEgisto Macchi (1928-92) was a key figure in the renewal of late 20th century Italian musical life, as he contributed significantly to the creation of institutions such as Nuova Consonanza. During the 1960s his significant involvement in film production led him to compose scores for hundreds of short films, working with leading Italian documentary filmmakers, and for several feature films. The relationship between Macchi’s musical strategies and the film production apparatus has not hitherto received much scholarly attention. Drawing on archival sources, this essay aims at discussing the different compositional levels that are layered in Macchi’s soundtracks. The study of sketches and paratextual indications in the score allows a close look at the relation between musical ideas and their realizations from a perspective strongly influenced by film post-production technologies
Altering «A(lter)A(ction)»? Egisto Macchi Then and Now
No full textContamination among arts is a distinctive element of the avant-garde scene in Rome during the Sixties. «A(lter)A(ction)», a music theatre work composed by Egisto Macchi in 1966, is a clear example. The piece was a product of the newly founded Compagnia del Teatro Musicale di Roma (Music Theatre Company of Rome) and featured four protagonists who symbolically referenced Antonin Artaud. This work embodies the transformations of the contemporary mediascape of the twentieth century. Despite a few reprises between 1966 and 1968, the work disappeared from the stages and has never been performed in recent times. Relying on archival sources of different natures, in this essay, I investigate textual issues that need to be considered for preparing an «A(lter)A(ction)»’s performance nowadays. Firstly, I examine Macchi’s theoretical background: his unpublished writings offer a vantage point to examine the operatic genre crisis and the possible solutions through new media. Then, against the backdrop of source studies on the Italian operatic repertoire, I discuss «A(lter)A(ction)»’s key practical challenges, given its multi-authorial nature and its complex media structure that experiment with different communication strategies
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