92 research outputs found
Studi sul Novecento musicale. In memoria di Ugo Duse
No full textIl volume raccoglie una miscellanea di studi dedicati al musicologo Ugo Duse, in occasione della sua scomparsa
Diegetic and Background Music in the Cinema: Differences Between the Uses and Functions of Vocal and Instrumental Music
No full textThe traditional semiological theories of cinematographic music is based on the subdivision between diegetic and extradiegetic music, according to some well known theories of literary text assumed in film. In this article we will try to show how this division is obsolete and of limited use for the understanding of the functions of film music. The theory of levels elaborated by Sergio Miceli is instead very useful and has led to the identification of the mediated level and of the 'character music’ [mediated level and of the "music-character"]. It is indeed to this theory that we have referred in interpreting some aspects of Federico Fellini's cinema
Signs of Innovation in European Cinema. Electronic Music in Antonioni and Tarkovsky
No full textIn the process of the emancipation of film music that took place in the first decades after World War II, the filmography of Michelangelo Antonioni and Andrei Tarkovsky offers multiple points of interest. Tarkovsky’s well-established relationship with Eduard Artemyev, matured within the Moscow studio, allowed Tarkovsky to use electronic sounds in some of his films, such as Solaris, in a manner far removed from the worn-out standards of science-fiction cinema. Likewise, Antonioni found in the music of Vittorio Gelmetti a suitable aural commentary on the mental disorders of the protagonist in Deserto rosso, inserting electronic music into the palette to describe the horizons of the inner human psyche. In both cases, the presence of noise is effectively combined with music to create a very complex sound texture
Toshio Hosokawa, film musician
No full textThe article examines the film soundtracks composed by Hosokawa and highlights their characteristics. At the same time, it attempts to contextualise them within the composer’s catalogue and within the main stylistic traits of his poetics. Not least, the article contextualises Hosokawa’s position in the history of Japanese film music
Casanova e il suo tempo
No full textIl saggio analizza la ricezione della figura di Casanova all'epoca della realizzazione del film di Federico Fellini
Collaboration and/as Bricolage: Petri, Pirro, Volonté and Morricone between Standard Practice and Authentication in the Aftermath of 1968
No full textThe chapter frames the collaboration between the film director Elio Petri, the screenwriter Ugo Pirro, the actor Gian Maria Volonté, and the composer Ennio Morricone in the light of bricolage as interpretive concept. The use of the concept has been triggered by Giorgio Biancorosso’s discussions in preparation of his forthcoming book. In the chapter, bricolage connects aspects of the production and realization of Petri’s film Investigation of a Citizen above Suspicion (1970) discussed by film scholar Claudio Bisoni to Morricone’s musical contribution to this film and to Petri’s subsequent one, Lulu the Tool (1971). The score explains less in terms of an autonomous work of art of the composer-author than of common film music practice plus cultural authentication in retrospect. Not only the unavoidable heteronomy of film music practice can be seen in the light of bricolage, but also the resort to self-borrowing within the domain of Morricone’s film music in a period in which his musical activity in this field reaches the peak of all his career: the purpose is to have the work quick done, with as little effort as possible, and to the director’s full satisfaction. The discourse of the ‘difference’ of Morricone’s practice for auteur cinema with respect to popular film genres, proposed by Sergio Miceli, proves undermined by the observation that Morricone resorts to similar compositional practice in the case of Petri’s political cinema – in terms of choice and use of timbres, creation and elaboration of motifs and themes, construction of musical meaning – and in popular genres as western Italian style and comedy film. His music is authenticated in retrospect by Petri’s films, aiming at intercepting popular culture at large to spread political messages to the widest possible audience. In turn, the success of his films depends less on the individual artistic contribution of Petri as author-director than on his capability of repackaging – again, a form of bricolage – the expectations of cinema audience in the aftermath of 1968. In the end, the films emerge historically from a collective and partly technological performance that is culturally situated in relation to transmedia processes, and the music is part of the play. Its role depends in great part on the role that is allowed and given to it by the circumstances, and on the emergent result, which is beyond the will of the authors and collaborators involved
Large granular lymphocyte leukemia
No full textLarge granular lymphocyte (LGL) disorders account for several conditions characterized by the proliferation of clonal LGLs with cytotoxic activity. According to the LGL immunophenotype, most cases represent expansions of TCRα/β+ LGL, displaying a CD8+ CD4− or less frequently a CD4+ CD8−/+dim phenotype with variable expression of cytotoxic NK cell antigens, including CD57, CD16, and CD56. Clonal expansions of TCRγ/δ+ LGL are also described. Proliferations of CD3− CD16+ NK cells with a restricted pattern of NK receptors usually comprise 15% of the total. Morphologic, immunophenotypic and molecular analyses are mandatory for a correct diagnosis of disease. The JAK/STAT pathway is typically involved in sustaining LGL proliferation and recently the presence of STAT3 and STAT5B somatic mutations has been reported as a hallmark of the disease and included in the recent 2017 WHO classification. Understanding how the leukemic LGL clone survives is central to reconcile the molecular mechanisms to the clinical behavior of disease, in order to find new clues to overcome the still unacceptable limit of the conventional immunosuppressive treatments
Insights Into Genetic Landscape of Large Granular Lymphocyte Leukemia
No full textLarge granular lymphocyte leukemia (LGLL) is a chronic proliferation of clonal cytotoxic lymphocytes, usually presenting with cytopenias and yet lacking a specific therapy. The disease is heterogeneous, including different subsets of patients distinguished by LGL immunophenotype (CD8+ Tαβ, CD4+ Tαβ, Tγδ, NK) and the clinical course of the disease (indolent/symptomatic/aggressive). Even if the etiology of LGLL remains elusive, evidence is accumulating on the genetic landscape driving and/or sustaining chronic LGL proliferations. The most common gain-of-function mutations identified in LGLL patients are on STAT3 and STAT5b genes, which have been recently recognized as clonal markers and were included in the 2017 WHO classification of the disease. A significant correlation between STAT3 mutations and symptomatic disease has been highlighted. At variance, STAT5b mutations could have a different clinical impact based on the immunophenotype of the mutated clone. In fact, they are regarded as the signature of an aggressive clinical course with a poor prognosis in CD8+ T-LGLL and aggressive NK cell leukemia, while they are devoid of negative prognostic significance in CD4+ T-LGLL and Tγδ LGLL. Knowing the specific distribution of STAT mutations helps identify the discrete mechanisms sustaining LGL proliferations in the corresponding disease subsets. Some patients equipped with wild type STAT genes are characterized by less frequent mutations in different genes, suggesting that other pathogenetic mechanisms are likely to be involved. In this review, we discuss how the LGLL mutational pattern allows a more precise and detailed tumor stratification, suggesting new parameters for better management of the disease and hopefully paving the way for a targeted clinical approach
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