La canzone sociale in Italia e in Francia tra protesta, nazione e rivoluzione (1830-1870)

La tesi di ricerca si propone di esaminare due tipologie della canzone sociale nel XIX secolo, ed in particolare attorno al 1848. Lo studio del canto nei contesti presi in esame (l’Italia e la Francia) viene analizzato attraverso due piste di ricerca parallele tra loro. Da una parte si è utilizzato il concetto di sociabilité per conoscere i luoghi di produzione e di diffusione del canto (l’importanza della strada, dell’osteria, delle goguette parigine, degli chansonniers des rues e dei cantastorie) e le circostanze di utilizzazione della canzone (la canzone in quanto forma d’espressione orale ma anche come scrittura murale, foglio volante e volantino). Dall’altra l’analisi si è focalizzata sui contenuti dei testi musicali per mette in luce le differenti tematiche, le immagini linguistiche e le figure retoriche cantate dall’artigiano-operaio per far emergere le differenze dell’idea di nazione tra i due contesti presi in esame. L’attenzione posta alla comparazione condurrà all’evidenziazione di punti di contatto tra le due nazioni. Il canto, infatti, costituisce un terreno privilegiato per comprendere l’immagine dell’“altro”: quale immagine possedevano i lavoratori francesi dell’Italia risorgimentale? E gli artigiani italiani come percepivano la nazione francese? Il canto viene analizzato non solamente come un “testo” ma anche come una “pratica sociale”. Queste operazioni permetteranno di sondare più in profondità la funzione sociale svolta dalla canzone all’interno della cultura popolare e la sua importanza in quanto forma d’espressione e vettore di politicizzazione. La duplice utilizzazione del canto, in quanto “testo” e “pratica”, consente di inserire la ricerca all’interno di un filone storiografico che dalla storia sociale si muove a quella culturale. La canzone sociale rappresenta un fertile terreno di ricerca, non solamente all’interno di un singolo territorio nazionale, ma possiede un prezioso valore euristico in funzione comparativa.

«Einige Zeit aufs Singen verwendet». Musik als Kernressource dörflicher Kultur am Beispiel des schweizerischen 18. Jahrhunderts

Dealing with popular music in premodern times historical research usually focuses on so called “Volksmusik”. But already in the 18th century researchers were disappointed to find only few traces of imaginary “traditional” music in Switzerland. They unfortunately overlooked that common people kept on with their own stubborn musical culture: Beginning with the Reformation the authorities encouraged the communities to employ schoolmasters who were able to teach music. Their goal was that everybody should be able to participate in liturgical music actively. Over generations even people with no special musical talent adopted their own repertoire of psalms plus techniques of reading music and polyphonic singing. Spontaneous choral singing evolved into a common everyday practice. The most ambitious and brightest teachers even taught instrumental lessons at home on their proper pianos and chamber organs or encouraged the villagers to build new prestigious organs in their churches. The financial burden of such instruments weighted heavily on the communities. Some of them received financial support from the government, albeit unwillingly because it was obvious to the rulers that the villages just wanted to overtop each other. Homemade music was the most important issue in the cultural life of most parishes. Rich communes spent a lot of money to win the best voices on-site for their church choirs. Belonging to an elitists’ singer association paved the way to the farmer-village’s highlevel sociability.

Na 1 Nachlass Max Horkheimer, 651 - "Vorwort zu Alfred Schmidt: Der Begriff der Natur in der Lehre von Marx"; "Vorlesungen über Autorität und Gesellschaft"; "Über Logik"; "Vorlesungsankündigungen" (p. IX 32.1-3-IX 35)

Vorwort von Horkheimer, Max und Ardorno, Theodor W. zu: Schmidt, Alfred: Der Begriff der Natur in der Lehre Marx. Frankfurt am Main 1962, Frankfurter Beiträge zur Soziologie Band 11. Mehrere Typoskripte und zwei Entwürfe, Typoskrip c mit eigenhändigen Korrekturen von Theodor W. Adorno, 2 Blatt; zweiter Entwurf mit handschriftlichen Korrekturen von Friedrich Pollock, 1 Blatt; Schmidt, Alfred: Gutachten über die Inauguraldissertation 'Die Rolle der Natur in der Marxschen Konzeption der Gesselschaft'. Typoskript mit eigenhändigen Korrekturen, 4 Blatt; Typoskript, 7 Blatt; Pollock, Friedrich: Eigenhändige Notize und Korrekturvorschläge zur Dissertation von Alfred Schmidt, 24 Blatt; Vorlesungen über Autorität und Gesellschaft [Columbia University New York]; 1936-37 "Authority and Status in Modern Society"; 1937-38 "Authoritarian Thought and Institutions in Europe"; 1938-39 "Authoritarian Doctrines and modern European Institutions"; Einleitende Vorlesung über Autorität und Gesellschaft, 1936/37 (Max Horkheimer). Drei englsiche Fassungen, eine deutsche Fassung (GS 12, S.39-68); Zweite Vorlesung über Autorität und Gesellschaft (Max Horkheimer). Englische Fassung, Typoskript mit eigenhändigen Korrekturen, 27 Blatt; deutsche Fassung, Typoskript mit eigenhändigen Korrekturen, 20 Blatt (GS 12, S.39-68); "History" (Herbert Marcuse). Typoskript mit eigenhändigen Korrekturen, 7 Blatt; "Empirical Research" (Paul Lazarfeld). Typoskript, 7 Blatt; "Economica" (Friedrich Pollock). Typoskript, 9 Blatt; "Authoritarian State" (Franz Neumann). Typoskript mit handschriftlichen Korrekturen, 18 Blatt; Teilstück, Typoskript mit handschriftlichen Korrekturen, 1 Blatt; "Education" (Leo Löwenthal ?). Typoskript, 6 Blatt; Einleitung in den psychologischen Teil (Fromm). Englische Fassung, Typoskript, 5 Blatt; Abschlußvorlesung: Zusammenfassung (Max Horkheimer). Englische Fassung, Typoskript mit eigenhändigen und handschriftlichen Korrekturen, 9 Blatt; deutsche Fassung, Typoskript, 5 Blatt (GS 12, S. 39-68); Teilstücke (Entwürfe ?) zu den Vorlesungen. Typoskript mit eigenhändigen Korrekturen, 5 Blatt; Eigenhändige Notizen zu den Vorlesungen, 6 Blatt; Literaturlisten. Als Typoskript vervielfältigt, 3 Blatt; Vorlesungsankündigungen. Als Typoskript vervielfältigt, 4 Blatt; Typoskript, 2 Blatt; Ohne Namen: "Errors in Professor Horkheimers Lecture". Stichworte zu sprachlichen Fehlern Max Horkheimers, 4 Blatt; "Über Logik": Vorlesung von Max Horkheimer, 1939. Typoskript mit handschriftlichen Ergänzungen von Herbert Marcuse, 17 Blatt; Typoskript mit eigenhändigen Korrekturen, 10 Blatt (GS 12, S. 69-74); Vorlesungsankündigungen der Institutsmitglieder (1941 ?); Horkheimer, Max: "The Social Psychology of Mass Movements"; Horkheimer, Max: "Modern Utopias and their Social Background"; Adorno, Theodor W.: "Sociology of Art"; Adorno, Theodor W.: "Sociology of Popular Music"; Marcuse, Herbert: "Social and Intelectual Foundations of Modern European Democracy"; Marcuse, Herbert: "The Development of Social Thought in der Modern Era"; Neumann, Franz: "History of Modern Political Thought"; Neumann, Franz: "Sociology of Legal Institutions"; Löwenthal, Leo: "Sociology of Modern Popular Literature"; Löwenthal, Leo: "Social Trends in European Literature since the Renaissance"; Kirchheimer, Otto: "Sociology of Political Institutions"; Kirchheimer, Otto: "Development of Criminological Thought". Typoskript, 13 Blatt; Typoskript, 7 Blatt; Typoskript mit handschriftlichen Korrekturen, 14 Blatt;

Entrevista a Angela McRobbie : los estudios culturales y el imperativo de entender y explicar los cambios sociales

Angela McRobbie es socióloga y dirige el Departamento de Comunicación en Goldsmiths College, Universidad de Londres. En la actualidad, se encuentra entre las referentes más destacadas de los Estudios Culturales británicos. Ha publicado numerosos ensayos en revistas internacionales sobre problemáticas vinculadas con la juventud, los estilos musicales y los consumos culturales, así como ha indagado en los cambios sociales y políticos ocurridos desde los tiempos del thatcherismo. Entre sus libros, sobresalen: Postmodernism and Popular Culture (Routledge, 1994); Feminism and Youth Culture (Macmillan, 1994); Back to Reality? Social Experience and Cultural Studies (Manchester University Press, 1997); British Fashion Design (1998), In the Culture Society. Art, Fashion and Popular Music (Routledge, 1999) y compiló junto a Paul Gilroy y Lawrence Grossberg, Without Guarantees. In Honour of Stuart Hall (Verso, 2000), con motivo del retiro de éste de la Open University en 1997.

Liedersammlung.

Title from cover.

Treasury of favorite song : in three volumes, ; songs and hymns of the millions of yesterday, to-day and to-morrow, /

Arr. for 4 voices (SATB) on two staves.

Recueil de chansons populaires /

Each vol. includes index of first lines.

The complete entertainment discography, from the mid-1890s to 1942

Mode of access: Internet.

The American dance band discography 1917-1942 /

Includes index.

Canti popolari romani : con un saggio di canti del Lazio /

On cover: Tradizioni popolari romane.

"Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent

Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value.

Música, igreja e juventude: Um estudo comparativo dos Vencedores por Cristo (anos 1970) e Ministério de Louvor Diante do Trono (anos 2000

Este texto é uma apresentação da pesquisa que fizemos sobre a música cristã protestante brasileira de duas décadas, representadas respectivamente, por dois grupos musicais diferentes. A década de 1970 é analisada a partir dos cânticos gravados pelo grupo musical Vencedores por Cristo. Para o estudo da década de 2000 escolhemos o Ministério de Louvor Diante do Trono, cuja discografia é atualmente consumida em quase todas as igrejas evangélicas do País, tendo sido objeto de contrato com a Som Livre, gravadora da Rede Globo de Televisão. A meta estabelecida para a investigação foi a de comparar os diferentes tipos de cânticos, de letras, e de contexto, ressaltando-se que o gosto musical dos evangélicos, tanto dos produtores como dos consumidores, sofreram mudanças significativas ao longo de três décadas. Por meio da pesquisa percebemos que as finalidades do cântico dos jovens evangélicos evoluíram do proselitismo para uma inserção no circuito das celebridades, dos megashows, e da formação de um mercado evangélico, cuja abrangência vai além dos produtos musicais (discos, CDs ou DVDs), para incluir outros produtos recomendados ou usados por membros ou liderança da banda musical ancorada no fenômeno da megachurch que é a Igreja Batista da Lagoinha.

AS FEIAS (E OS FEIOS) QUE ME DESCULPEM, MAS BELEZA É FUNDAMENTAL : O USO CONTEMPORÂNEO DA IMAGEM E SUA INFLUÊNCIA NA MUDANÇA DOS PARADIGMAS ESTÉTICOS UTILIZADOS NA MÚSICA GOSPEL NO BRASIL

Este trabalho analisa sociologicamente na contemporaneidade o campo imagético na música gospel e de que forma, este influencia na mudança dos paradigmas imagético - estéticos utilizados pelas produtoras fonográficas em seu marketing religioso para a comercialização da música gospel no mercado da música evangélica brasileira, proporcionando neste modelo atual um crescimento qualitativo e quantitativo dos produtos destinados ao público evangélico. A pesquisa identifica nas produções visuais de divulgação e comercialização de CDs, DVDs, sites das produtoras fonográficas, feiras e premiações musicais, os mecanismos utilizados para a construção de um novo paradigma imagético que proporciona no campo religioso, o surgimento de um novo imaginário evangélico mimeticamente construído para alimentar um mercado gospel fomentado pela tríade social: espetáculo, consumo e entretenimento. Desta forma, a analise tem o seu recorte nas mudanças paradigmáticas que surgem a partir dos primeiros cantores e cantoras da década de 1950 até culminar na explosão da música gospel no início da década de 1990.(AU)

Adieu New York, bonjour Paris ! : l es enjeux esthétiques et culturels des appropriations du jazz dans le monde musical savant français (1900-1930)

Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne et l'Université de Montréal. Composition du jury : M. Laurent Cugny (Université Paris-Sorbonne) ; M. Michel Duchesneau (Université de Montréal) ; M. Philippe Gumplowicz (Université d'Evry-Val d'Essonne) ; Mme Barbara Kelly (Keele University - Royal Northern College of Music) ; M. François de Médicis (Université de Montréal) ; M. Christopher Moore (Université d'Ottawa)

Kevin Barry and the Anglo-Irish Propaganda War

Most Irish people, when asked what they know of the life and death of Kevin Barry, will pause for a moment while they recall the words of a famously maudlin ballad. A few points will emerge: ‘a lad of eighteen summers’ … ‘British soldiers tortured Barry’ … ‘refused to turn informer’ … ‘hanged him like a dog’ … ‘another martyr for old Ireland, another murder for the crown’. That they know anything at all about Kevin Barry is testimony, among other things, to the power of popular music for the making of political propaganda. Along with Father Murphy, Seán South and Fergal O’Hanlon, Kevin Barry figures in the pantheon of nationalist Ireland’s popular historical heroes, largely because somebody happened to write a good song about him. In many ways this is unfortunate, for Barry and the rest were once living people, and the process of iconographifying them in popular balladry, like all forms of political propaganda, serves not to clarify their roles in the historical events in which they played a part, but rather to obscure and distort them. So it is worth reconsidering the story of Kevin Barry, for a number of reasons. To begin with, his short life reached its climax at a vital moment in the long struggle for Irish self-government, a moment when the violence unleashed in 1916 burst forth again with renewed savagery on both British and Irish sides, involving in the Barry case the deaths of four young men aged between fifteen and twenty.