Music & musicians in nineteenth-century Italy
著者
書誌事項
Music & musicians in nineteenth-century Italy
Batsford, 1991
大学図書館所蔵 全4件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Bibliography: p. 153-156
Includes index
内容説明・目次
内容説明
This book presents a grassroots view of the daily musical life of the Italian people throughout the 19th century. The author demonstrates that Italians of all walks of life, from Sicilian fisherfolk to Venetian aristocrats, shared a common and eclectic musical tradition that ranged from the rustic shepherd's pipe tunes to the greatest opera arias. This book deals with such questions as: how did ordinary people learn such music, how were musicians trained and organized, how true is it that the Italians were wholly taken up with opera, a supposedly popular and nationalistic art? Some of the conclusions of this book are that folk music in the period remained fragmented, with little notice taken of it by the educated, but that art music was unified even when the country was split up into small states. Unity and continuity were ensured, first by a strongly traditional musical profession, based on family and apprenticeship and on craft methods of work, and secondly by musicians' ceaseless travels along a circuit that took in not only many Italian towns, but also many European and American towns under Italian influence.
This traditional world was severely shaken by the political and economic changes of mid-19th century. With exceptions like semi-commercial Neopolitan song, Italian music became more European and less distinctively Italian.
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