Naslov
Impact of Italian Music on European Culture

Autori
Tuksar, Stanislav

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, pregledni

Skup
Congress of the International Society for European Ideas (ISSEI)

Mjesto i datum
Pamplona, Španjolska, 02.08.2004. - 06.08.2004

Vrsta sudjelovanja
Pozvano predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
Italy; Italian musical culture; European musical culture; art music; popular music; musical styles

Sažetak
The impact of Italian music on European culture is a well known topos in the history of European music. The phenomenon itself is spread out in a vast space and time span: in geographical terms, it encompasses areas from Scandinavia and Russia in the North to Portugal and Croatia in the south of Europe, and from Ireland and Britain in the West to Romania and again Russia in the East of the continent ; in terms of time, it started with early Mediaeval Christian (Ambrosian, Gregorian, etc.) liturgical music mostly originating from Italian lands, via all stylistic changes from the Renaissance to Romantic music, until the 20th century and its contemporary avant garde art and pop music. It also encompasses various genres and types of music: sacral and secular musics ; vocal and instrumental musics ; art, folk and popular musics ; music for connoisseurs and music for broad less educated groups of listeners, etc. And yet, there have been, throughout the history of European West and East, different rhythms in time and intensity, waves of fashion and attraction as well as those of disliking and refusal of what has been understood as Italian music, or Italianized music produced by non-Italians. Structurally and phenomenologically, both by experts and broad audiences, the &laquo ; ; Italian in music&raquo ; ; has perpetually been connected with the idea and impression of &laquo ; ; bel canto&raquo ; ; , i.e. of an outstanding melody (sung or played 'cantilena'), mostly supported by a less important instrumental accompaniment. Historically, this encompasses the Italian 'ars nova' music of Trecento ; the early 16th-century frottola ; the genre of opera from early Baroque pastorals of Caccini, Peri and Monteverdi via the 18th-century opera seria (only c. 1, 000 works composed on Metastasio's librettos) and opera buffa to the 19th-century and early 20th-century Romantic output of Rossini, Bellini, Donizetti, Verdi, Leoncavallo and Puccini ; the popular canzona of the 20th century (from 'O sole mio' to Domenico Modugno and Fabrizio de André), etc. Thus it can be stated that Italian music has always been standing for one of the two great principles in structuring sounds into polyphonic music (the other one being equal treatment of parts, as represented by e.g. Franco-Flemish Renaissance vocal polyphony and Austro-German Classicist and Romantic instrumental music). This paper will trace the characteristic aspects of Italian music and their ramification in various musical cultures throught Europe: for example, the late Renaissance impact in Germany ; Baroque in England, Germany and France ; Classicism in Spain ; late 18th-century opera in Russia ; 19th-century opera in Croatia and other Slavic lands ; Italian 20th-century popular canzona in Europe and worldwide ; etc. It will be shown that Italian music has played a paramount role in shaping the musical soundscape in European history of at least the last five centuries, transcending socio-psychological barriers and economical-political frontiers owing to both its internal musical qualities and general human substance.

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti

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