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Franco Oppo
No full textBiographical and artistic profile of the composer Franco Oppo, with catalog of his works and bibliography
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
Autorappresentazione e poetica della convergenza “colto-popolare” negli scritti di Franco Oppo: studio diacronico e prospettive critiche (1953-2005)
No full textLa prima parte del saggio ricostruisce la rappresentazione che il compositore Franco Oppo ha fornito di sé nei propri scritti (editi e inediti) e interviste dai primi anni Ottanta al 2005, e ne considera le trasformazioni nel tempo e nei contesti di destinazione. Agli estremi di questo periodo si registrano due fenomeni. Inizialmente una riflessione pubblica di Oppo sul rapporto tra composizione musicale e musiche di tradizione orale della Sardegna (MTO) sembra prendere avvio in ritardo rispetto alla poetica implicita e in relazione a una autocollocazione distintiva nel campo della musica d’arte contemporanea europea (MAC). Alla fine si genera nel contesto sardo il giudizio corrente del rapporto creativo di Oppo con le MTO in termini di naturalità e autenticità, secondo un tipo di discorso allografo, forse ufficioso e subito dall’autore stesso, che sembra intercettare le codificazioni dell’identità promosse dalle istituzioni locali.
La seconda parte rintraccia nell’archivio del compositore forme del rapporto tra MAC e MTO, risalenti agli anni Cinquanta-Settanta, escluse dall’autorappresentazione analizzata. In particolare getta luce su un’impresa collettiva coordinata da Oppo nella prima metà degli anni Settanta, che promuove un incontro fra culture musicali “subalterne” e presumibilmente catalizza la ricerca di sintesi perseguita dal compositore negli anni successivi.The first part of the essay reconstructs the self-representation provided by the composer Franco Oppo in his writings (both published and unpublished) and interviews from the early 1980s to 2005, and considers its transformations over time and across different contexts. Two phenomena are observed at the extremes of this period. Initially, Oppo's public reflection on the relationship between musical composition and Sardinian oral tradition music (MTO) seems to emerge belatedly in comparison to his implicit poetics and in relation to a distinctive self-positioning within the field of European contemporary art music (MAC). By the end of this period, a prevailing view of Oppo's creative relationship with MTO arises within the Sardinian context, framed in terms of naturalness and authenticity. This discourse, seemingly allographic and perhaps unofficial, yet endorsed by the composer himself, appears to align with identity codifications promoted by local institutions. The second part of the essay traces in the composer's archive various forms of the relationship between MAC and MTO dating back to the 1950s-1970s, which are absent from the self-representation analyzed. In particular, it sheds light on a collective endeavor coordinated by Oppo in the early 1970s, which fostered a meeting between “subaltern” musical cultures and presumably catalyzed the search for synthesis pursued by the composer in the following years
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Variazioni e varianti nell' oralità creazione musicale sperimentale : il linguaggio musicale di Franco Oppo, Horatiu Radulescu e Alessandro Milia
No full textCette thèse de doctorat se situe à la frontière entre deux disciplines : la musicologie et la composition musicale. Nous proposons d'aborder l'étude de quelques systèmes compositionnels axés sur la notion de variation et plus particulièrement sur le processus de modification d'une unité sonore de sens par des variantes. L'un des objectifs est d'observer comment les courants expérimentaux les plus importants du XXe siècle – en particulier le spectralisme et la cybernétique – ont été synthétisés, vers la fin du siècle dernier, avec des aspects de la tradition. L'oralité et l'expérimentation récente ont en commun le procédé de composition par variantes. Cette notion est au centre de notre étude musicologique et caractérise également la partie de notre thèse consacrée à la pratique compositionnelle et à la transmission du savoir compositionnel. Après une recherche sur la technique des variantes dans les langages musicaux de Horatiu Radulescu (Bucarest 1942-Paris 2008) et de Franco Oppo (Nuoro 1935) ainsi que dans l'oralité sarde et roumaine, nous avons expérimenté d'autres possibilités de composition en essayant de dépasser les notions étudiées et d'en proposer une utilisation personnelle. Nous aborderons notre approche compositionnelle par variantes en analysant notre pièce pour piano Sonata (2013), « lieu » spatio-temporel où la mémoire de l'auditeur est appelée à reconstruire une linéarité temporelle transformée par notre stratégie des répétitions variées éparpillées dans l'œuvre. Notre démarche compositionnelle a quelque chose de similaire à la figure rhétorique classique de la digressionThis Ph.D thesis is placed half way between two disciplines: musicology and musical composition. We propose to take up the study of compositional systems based on the notion of variation and more precisely on the process of modification of one sound meaning unit by variants. One of the objectives is to observe how the experimental currents of the XXth century- the Spectralism and the Cybernetic in particular- have been synthesized, at the end of the last century, by some aspects of the tradition. Orality and recent experimentation share the same composition process by variants. This notion is central in our musicology study and characterizes the chapters of the thesis dedicated to the compositional practice and to the transmission of the compositional knowledge. After having investigated the technique of variants in the musical language of Horatiu Radulescu(Bucarest 1942-Paris 2008) and Franco Oppo (Nuoro 1935). as well as the Sardinian and Romanian orality, we could test other possibilities of composition by trying to go beyond the notions studied and by proposing a personal usage. We will take up our compositional approach by variants by analyzing our piece Sonata for piano, spatio-temporal space where the memory of the audience is called to rebuild a temporal linearity transformed by our strategy of variable repetitions spread all over the work. Our compositional method shares the classical rhetorical figure of digression
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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