394 research outputs found
Al coll de Merolla (1.090 m.)
No full textBoItinerari: Coll de Merolla (1090 m.) - Collada del Pla de l'Espluga (1230 m.) - Ermita de Sant Joan Baptista de Mataplana (1140 m.) - Baga de la Molina - Santuari de Montgrony (1392 m.) - Coll de la Pardinella (1260 m.) - La Pardinella (1160 m.) - Pont de l'Empalme (840 m.) - Campdevànol (738 m.
Correction to: Pediatric elbow arthroscopy: clinical outcomes and complications after long-term follow-up (Journal of Orthopaedics and Traumatology, (2021), 22, 1, (55), 10.1186/s10195-021-00619-2)
No full textFollowing publication of the original article [1], the authors identified an error in the author names. The given name and family name were erroneously transposed. The incorrect author names: Micheloni Gian Mario, Tarallo Luigi, Negri Alberto, Giorgini Andrea, Merolla Giovanni and Porcellini Giuseppe. The correct author names: Gian Mario Micheloni, Luigi Tarallo, Alberto Negri, Andrea Giorgini, Giovanni Merolla, Giuseppe Porcellini. The author group has been updated above and the original article [1] has been corrected
Serres de Puig Lluent i Catllaràs des de Can Merolla
No full textBoItinerari: Coll de Merolla (1090 m.) - Collada del Pla de l'Espluga (1230 m.) - Ermita de Sant Joan Baptista de Mataplana (1140 m.) - Baga de la Molina - Santuari de Montgrony (1392 m.) - Coll de la Pardinella (1260 m.) - La Pardinella (1160 m.) - Pont de l'Empalme (840 m.) - Campdevànol (738 m.
Simone Varriale, Globalization, Music and Cultures Of Distinction, The Rise of Pop Music Criticism in Italy, London, Palgrave Macmillan, 2016
No full textThis review - of the volume by Simone Varriale, Globalization, Music and Cultures Of Distinction, The Rise of Pop Music Criticism in Italy, London, Palgrave Macmillan, 2016- focuses on the rise of Italian pop music criticism as a new cultural institution which, according to the author, contributed to the “artistic legitimation” of popular music and culture between 1969 and 1977, particularly of American and British pop-rock in Italy. It is a study which, using an interdisciplinary approach, also aims to promote an historical research about the rise of the Italian music press
American Bandstand, the Italian way
No full textIn the late 50’s, the contagion of rock’n’roll music spread throughout the Italian national territory.Through the diffusion among the young people of the new juke boxes, of the gleaming new cover of the 45 records rpm and of the portable record-players, rock’n’roll became the soundtrack of the Italian “great transformation”, the sudden and powerful economic boom.Those who felt the impact of modernization more than anyone else were the teenage girls and boys, who grew up during the hard years of the economic reconstruction of the country. Unlike their parents and older siblings, they had not experienced the traumas of the Second World War and of the civil war that, between 1943 and 1945, had split Italy in two between the fascists and the anti-fascists. In many cases these young people had passed part of their childhood in the athletic and recreational organizations of the parishes or the political parties, but still, for the most part, outside any militant party organizing. So they had not absorbed the culture of ideological conflict between the communists and the anti-communists that poisoned the Italian political atmosphere during the 1940s and for all of the 1950s. It is not hard to believe, therefore, that these young people who came of age in a more democratic Italy, that assured them the novelty of freedom of thought, were more open to accept the myths of the new prosperity synthesized in the “American way of life”. Rock‘n’roll music, with its transgressive charge, accelerated the teenage takeover of the music industry and, in a striking contrast with the melodic tradition that was still prevalent, marked a cultural discontinuity. As this break was perceived as a threat by the political class they tried to devitalize it by promoting an “Italian way of rock and roll” that became mass produced, harmonious in many ways to the national musical tradition. A sort of provincial rock with a little echo abroad, but with a large success among the Italian consumers and coherent with the values promoted by the Italian government led by the catholic majority party of the Christian Democrats (who throughout the Fifties and Sixties controlled all the radio and television broadcasting and part of the music industry).
Hence in the mid-1950s, in the new context of economic prosperity, along with the “red scare”, there was for the government a new concern: a too rapid modernization which was breaking the traditional values. The government took prudent measures to control the symbols and rhythms of such a disruptive modernity, trying to contain them in traditional frames related to the new rhythms. RAI-TV -the public radio and television broadcasting controlled by the government- tried to reconcile the unstoppable push of modernization that arrived from the American media with the more reassuring conservative national traditions. One of the significant examples of the role of RAI-TV was the musical television program “Alta pressione” broadcasted in 1962, inspired by American Bandstand the television show that had brought rock’n’roll music into American television. In Italy, “Alta Pressione” was geared toward young people maintaining the traditional pedagogical context of original national TV. As a result, in the last episode of “Alta Pressione”, broadcasted on October 1962, the singer Adriano Celentano performed his rendition of the Ben E King’s tune Stand by me, which in the Italian cover was entitled Pregherò(I will pray). Renouncing in its lyrics any sexual or physical reference, which belonged to the original African-American version, Adriano Celentano’s song Pregherò perfectly interpreted the “Italian way of rock’n’roll” promoted by the catholic majority party of the government
Little Steven, il rock fa scuola
No full text“We learned more from a three minute record than we ever learned in school”.
Bruce Springsteen
E se quei tre minuti custodissero un’importante chiave di lettura o addirittura alcune delle componenti essenziali della storia del 900? È forse questa l’intuizione che ha spinto Bruce Springsteen, Martin Scorsese, Jackson Browne, Bono Vox a unirsi a Steven Van Zandt nel fondare Rock and Roll: An American Story (RRAS), il progetto didattico che abbatte il muro che separa la pedagogia, e finanche l’accademia, dall’ “entertainment”, e lo fa con autorevolezza avvalendosi di partner quali New York University, ABC News, Grammy Museum, National Council For The Social Studies, Reelin’ in the Years Productions, Rock’s Backpages, National Association for Music Education; e si apre ora alla collaborazione con Music Making History Research Unit della “Sapienza” Università di Roma. RRAS si presenta al pubblico come una piattaforma web (www.teachrock.org) che si dirama in grandi aree – temi, problemi, momenti storici - accumunate dal protagonismo del Rock and Roll non solo nell’evoluzione musicale, ma anche e soprattutto in quella sociale, politica, economica degli Stati Uniti; e da queste si snodano lezioni e capitoli che forniscono approfondimenti, sollecitazioni, contributi bibliografici e documenti archivistici coevi (fonti sonore, video e a stampa) sul problema affrontato. È un progetto creato per gli educatori, con l’obiettivo innanzi tutto di far fronte al problema del “drop out”, il sempre più diffuso abbandono scolastico. Dal 2013, alcuni istituti scolastici di New York City hanno rodato il progetto sotto la diretta supervisione della Rock and Roll Forever Foundation e dello stesso Steven Van Zandt che ne è il fondatore, utilizzandolo come fulcro degli insegnamenti di storia, letteratura, arte, scienza e tecnologia, musica; e poi il battesimo nelle scuole del New Jersey a cominciare dalla Middletown High School South – tra i cui banchi sedeva l’adolescente Little Steven – e da qui introdotto in classi “pilota” in Pennsylvania, Colorado, California; per approdare alla New York University e alla Sapienza Università di Roma, attraverso la Music Making History Research Unit (MMH) che ha il ruolo di declinare il progetto in chiave europea. È in occasione dell’avvio di questa collaborazione, che ho incontrato a Roma Steven Van Zandt per discutere sul senso di questo progetto e delle sue prospettive in Europa
La "rivoluzione" di Hobsbawm
No full textLa Storia sociale del jazz di Eric J. Hobsbawm è recentemente ricomparsa in libreria, grazie alla ristampa della Res Gestae, con il sottotitolo Una rivoluzione di suoni. E’ il 1960 quando il volume appare per la prima volta sulla scena editoriale: il titolo è The Jazz Scene e l’autore si firma Francis Newton. Dietro uno pseudonimo ispirato al trombettista di Billie Holiday - Frankie Newton - si cela uno dei più autorevoli storici del Novecento
Ashley Kahn, a lezione di rock
No full textPop, Criticism and the Cold War è stato il tema di quattro incontri promossi dall’unità di ricerca Music Making History della “Sapienza” con Ashley Kahn, produttore e professore della New York University, vincitore di un Grammy Award. Kahn in qualità di membro del comitato scientifico di Music Making History ne ha raccolto la sfida: insegnare pagine significative della storia del Novecento usando il suono e la musica pop come fonti e agenti in grado di accelerare processi politico-sociali, ma anche diplomatico-militari in divenire, negli Stati Uniti così come nel contesto europeo e mediterraneo
Quando anche i granelli di sabbia facevano boom
No full textIl centenario dell'unità nazionale tra boom economico e musica legger
Elvis Outside the U.S.A.: A Dark Shadow in the Early Italian Cultural Cold War
No full textExamining the Italian case, this chapter moves from two separate perspectives: one inspired by the psychological interpretation of Elvis’ impact as a sort of White archetype of the blues on European societies, and another one anchored to the current debate among historians about music and international relations during the Cold War. I will use these two separate categories to investigate the impact of Elvis’ rock‘n’roll music on the Italian landscape just after World War II, when—with the Eisenhower’s People to People Program—blues, jazz, soul and rock’n’roll were used by the US Department of State as “sonic weapons” to combat the perception of the US as a racist society. In fact, paradoxically, a more authentic representation of Elvis as the “dark side” of the American way of life arrived in its raw version through the military model launched by the soldiers in charge at the NATO command center for the defense of France, Greece, Italy and Turkey: the Headquarters of AFSOUTH (Allied Forces Southern Europe). Overcoming filters and censorship of the local political and cultural institutions through the military model, Elvis embodied the explosion of rock‘n’roll, which was considered a real threat by Italian political parties (Catholic, Socialist and Communist). In the political contest of the Cold War, the threat for the main, traditional political parties was the laicization or secularization of local youth
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