304 research outputs found
Music of the twenty-first century disporas: research and problems, edited by Serena Facci and Giovanni Giuriati, Venezia, Cini Foundation, 2022, free online publication.
No full textThe book takes inspiration from a seminar organized by the Intercultural Institute for Comparative Music Studies in January 2020. It contains a methodological contribution by Adelaida Reyes to whose memory this volume is dedicated, and one by the anthropologist Francesco Remotti. These contributions are followed by a presentation of original research conducted by mainly Italian scholars who offer a multi-voiced reflection on the musical life of the many migratory contexts that can be observed in Italy. A vivid and varied picture emerges both in terms of the particularities of the musical cultures involved and of the research themes. In the papers, the reader may find several links to audio and video documents illustrating the research.
Chapters by Adelaida Reyes, FracescoRemotti, Fulvia Caruso, Linda Cimardi, Vanna Viola Crupi, Ortensia Giovannini, Blanche Lacoste, Maria Rizzuto, Francesco Serratore, Nico Staiti, Thea Tiramani. Introduction by Serena Facci, Afterword by Giovanni Giuriati
Chants d'Italie
No full textIl libro propone una selezione di dieci canti della tradizione popolare italiana, provenienti da varie regioni e corredati da proposte per il loro scolastico in contesti internazionali, e dunque con finalità interculturali. Nel CD allegato, oltre alle versioni originali dei canti, sono comprese anche versioni semplificate a uso didattico. Serena Facci ha curato i paragrafi introduttivi (pp. 7-10; 15-19; 21-23) e i canti: 5 - Senti le rane che cantano (56-60); 6 - Ohi che bellâ aria (62-67); 9 - Cando lappo connotta (pp. 86-90); 10 - La partenza (92-100)
Introducion
No full textThe paper is Introduction to: Music of the twenty-first century disporas: research and problems, edited by the author and Giovanni Giuriati. It contains a contribution to some nodal questions about music and migration studies, applied to the Italian situation. In particular: 1. Who are we talking about; 2. Ethnomusicology and migration studies; Music: from migrants to the new “us”. The themes touched by the articles of the book are particularly considered and presented
Choir transhumance in the Filipino Catholic community in Rome
No full textThe article is part of a research project (2014-2018) among Christian immigrants in Rome and focuses particularly on the Filipino community. Serena Facci presents the general context of the migrant church experience of Rome, a city historically considered as central to the wider transnational community of Catholic Christians, where, thanks to the hosting politics of the Vicariate, there are several ‘national’ and ‘multinational’ churches, characterised by liturgies in different languages and by repertoires of chants in different geocultural styles. The migrants’ position in the holy city is juxtaposed with the multicentricity of the diaspora and the mediation between the motherland and the new places of residence. Grazia Tuzi shows how the Filipinos in Rome represent this multicentricity through the liturgical services of musical groups and choirs from the peripheral churches surrounding Rome. On Sundays, the Filipino micro-communities proceed in a kind of “transhumant” movement according to a predetermined schedule, from their parishes to the Chaplaincy located in the Basilica of Santa Pudenziana, which is the gathering place of all Filipinos living in Rome. Here they accompany the Sunday liturgy and religious Festivals in performances that bear witness to a remarkable musical variety.
The analysis of these musical practices and the complex organization of the choir’s "transhumance" from the periphery to the centre can facilitate the understanding of the processes used by this migrant community in the re-articulation and maintenance of their own identity in the new socio-cultural spheres.
The article is part of a research project (2014-2018) among Christian immigrants in Rome and focuses particularly on the Filipino community. Serena Facci presents the general context of the migrant church experience of Rome, a city historically considered as central to the wider transnational community of Catholic Christians, where, thanks to the hosting politics of the Vicariate, there are several ‘national’ and ‘multinational’ churches, characterised by liturgies in different languages and by repertoires of chants in different geocultural styles. The migrants’ position in the holy city is juxtaposed with the multicentricity of the diaspora and the mediation between the motherland and the new places of residence. Grazia Tuzi shows how the Filipinos in Rome represent this multicentricity through the liturgical services of musical groups and choirs from the peripheral churches surrounding Rome. On Sundays, the Filipino micro-communities proceed in a kind of “transhumant” movement according to a predetermined schedule, from their parishes to the Chaplaincy located in the Basilica of Santa Pudenziana, which is the gathering place of all Filipinos living in Rome. Here they accompany the Sunday liturgy and religious Festivals in performances that bear witness to a remarkable musical variety.
The analysis of these musical practices and the complex organization of the choir’s "transhumance" from the periphery to the centre can facilitate the understanding of the processes used by this migrant community in the re-articulation and maintenance of their own identity in the new socio-cultural spheres.
The Akazehe of Burundi: Polyphonic Interlocking Greetings and the Female Ceremonial / by Serena Facci. ; translated by Alessandra Ciucci
No full textAkazehe is one of the names in Burundi for forms of sung greeting performed exclusively by women. Studies carried out during the colonial era (in particular Rodegem 1965, 1973) and in more recent times (Ndimurwanko 1985-6) have shown how the contents of these greetings among women are closely linked to the feminine world in which these greetings are used—in specific private and public spaces in accordance with rural tradition. Although these greetings were becoming less common at the time the research for this article was conducted, the author was able to record a number of akazehe after listening to examples of them in the sound archives of the Centre de civilisation burundaise.
A greeting is defined by linguists as a formalized parenthesis that defines, reiterates, and encloses the relation between two participants. The formulaic character of a greeting makes it different from ordinary speech. In the case of the akazehe, the greeting emphasizes gestural and sound qualities to such an extent that it creates a veritable musical texture.
This article presents transcriptions and analysis of some models of akazehe, focusing on one that features procedures of vocal interlocking. The two parts—gutera and kwakira—are organized according to musical rules that manifest a strong spirit of cooperation between the two women who sing the two parts in dialogue. Furthermore, well-defined rules of exchange for the two roles semantically remind us of the social equality between the two participants. The musical enrichment of the time reserved for the greeting is experienced as amusing by the performers. The greeting also represents an opportunity for artistic expression in a social reality that otherwise allows few performance spaces for women
Le clausole claims made nella legge di riforma Gelli Bianco, in La tutela della persona nella nuova responsabilità sanitaria, a cura di G. Iudica, Milano, 2019, 307
No full textLa garanzia assicurativa e la clausola claims made - il giudizio di meritevolezza - la retroattività ed i possibili vuoti di copertura - Il ruolo dell'art. 1892 c.c. - Il principio di buona fede - I moduli e questionari - Le dichiarazioni inesatte e reticenti
Un canto sulla collina di Mubende
No full textIl kubandwa è un culto di possessione diffuso in Africa Centro-orientale e attualmente in rispresa anche presso le popolazioni cristianizzate. Si basa su un pantheon molto ampio. Tra gli spiriti più importanti ci sono i Bacwezi, una mitica stirpe regnante sull'area. A Mubende, uno dei siti sacri più importanti in Uganda, l'autrice ha incontrato la medium di uno spirito femminile, Nyakahima, che, durante un'intervista ha intonato un canto particolarmente suggestivo anche in quanto testimonianza di sincretismo religioso.Kubandwa is a possession cult in the Great Lake Region in Africa. The most important spirits are the Bacwezi, an ancient mythic dynasty of kings. In Mubende, an important sacred site, the author met a medium of the spirit of Nyakahima. She sang a song particularly interesting, because was an exemple of the syncretism between this cult and the Christian religion
Mille canzoni per un burattino che canzonava
No full textThe article considers some of the many songs inspired by Collodi\u27s book, in particular those that are part of film soundtracks. The author distinguishes the songs of Pinocchio from those about Pinocchio.
Pinocchio doesn\u27t sing much in the novel, rather he jokes, he is intrigued by shows and loves to party, he pollutes the soundscape with his wooden feet, in short he is noisy like a naughty child. Generally, Italian films respect philologically this spontaneous childish musicality of Pinocchio. Instead, foreign musical films as those of Disney and Del Toro have used the episode of Mangiafuoco\u27s theater to underline Pinocchio\u27s identity as a real puppet, as a showman.
Moreover, even the authors of songs about Pinocchio have interpreted and celebrated him (as on the occasion of the inauguration of the park in Collodi) in many ways, highlighting the ambiguity and richness of the character and of his adventures. Even the music (melodies, arrangements, sounds) are affected by the bittersweet complexity of the elusive puppet.The article examines some of the many songs inspired by Collodi’s book, in particular those that are part of film soundtracks. The author distinguishes between the songs about Pinocchio and those song by Pinocchio. Pinocchio does not sing much in the novel, he mainly likes mocking and is easy-go- ing, interested in plays and loves partying. He furthermore pollutes the soundscape with his wooden feet and is altogether a noisy and naughty child. Italian films generally respect Pinocchio’s sponta- neous childish musicality, whereas foreign musical films, such as those produced by Disney and Del Toro have used the episode of Mangiafuoco’s theater to underline Pinocchio’s identity as a showman, who is actually a puppet. Moreover, also the authors of the songs about Pinocchio interpreted and celebrated him in many ways (e.g.the inauguration of the park in Collodi) highlighting the ambiguity and richness of the character and his adventures. Even the music (melodies, arrangements, sounds) are influenced by the bittersweet complexity of the elusive puppet
Ruwenzori 1906-2006: la storia musicale di una montagna africana
No full textLa ricerca è stata condotta in relazione alla mostra "Ruwenzori 1906-2006". L'articolo ricostruisce la storia della documentazione etnomusicale delle culture del Ruwenzori, in particolare Batoro, Banande, Bakonzo, Bamba, a partire dalle prime foto di Vittorio Sella e dall'etnografia di Jan Czekanowski fino alle ricerche dell'autrice, passando per Celis, Tracey, Wachsmann, Cooke, Kubik e altri
La responsabilità civile nello svolgimento dell'attività sciistica
No full textSommario: 1. La legge n. 363 del 2003. - 2. La responsabilità del gestore dell'impianto sciistico. - 3. La responsabilità dello sciatore. - 4. La responsabilità del maestro di sci
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