Music and institutions in fascist Italy:
"In the 1920s and 1930s, the entire process of renovation of the cultural institutions conducted by the Fascists, implemented through the Ministry of National Education, imposed a strong concentration of power on the Italian school administrations, especially the universities, and created new n...
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Turnhout
Brepols
2024
|
| Schriftenreihe: | Music, criticism & politics
volume 10 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "In the 1920s and 1930s, the entire process of renovation of the cultural institutions conducted by the Fascists, implemented through the Ministry of National Education, imposed a strong concentration of power on the Italian school administrations, especially the universities, and created new national institutions. At the same time, the Fascist Cultural Institute (IFC), which under the leadership of Giovanni Gentile aspired to be a charitable organisation for the promotion of the culture typical of pre-Fascist associations, was placed after 1937 directly under the National Fascist Party, which changed its name to the National Institute of Fascist Culture (INCF), with the aim of giving the party itself the task of educating the new leadership. The relationship between intellectuals and power under Fascism was aligned into a perspective of orientation that attributed the party with the role of educator of homo novus, summarised in a phrase from Mussolini himself: «Fascism is a great orchestra, where everyone plays a different instrument». A particular concern of the ruling class was to develop a production-fruition process involving all social classes, in order to offer them the feeling of being part of a solid, free and fair system. However, this conception was not explicit in the artistic expressions of the regime: the construction of a social apparatus proceeded underground through the channels of the productive and hierarchical apparatus of the institutions, rather than through the creation of a tangible aesthetic of the regime. In summary: culture had to be the expression of a common heritage belonging both to the people and to the intellectuals; it bore the task of providing a fascist conception of the world." |
| Beschreibung: | xxx, 415 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9782503611846 |
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Datensatz im Suchindex
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|---|---|
| adam_text |
Contents Luca Lévi Sala Pre-Fascist Ideology, Politics and the Seizure of Culture ix Music and Institutions Davide Ceriani Italian Instrumental Music as Fascist Propaganda in the United States during the Interwar Period: The View from the Ministero degli affari esteri and from the Press 3 Isabella Abbonizio «Le armi dello spirito». Music in Mussolini’s Imperialist Propaganda: Competitions and Awards in the Mid-1930s 39 Beatrice Birardi Corporate State and Musical Organisation: The Action of the Fascist Syndicate of Musicians in Apulia between Bureaucracy and a Search for Consensus 55 Paola Cossu Venetian Musical Institutions in the Transition from Fascism to the Republic 83 Dario De Cicco «Educating and Refining the Pupils»: Music Education and Fascist Culture (1921-1943) 103
Music and Mass Media Francesco Finocchiaro Music in the Luce Films of the Fascist Ventennio 133 Antonio Ferrara «Che non sia tolto il pane al musicista italiano». Propaganda e corporativismo del Sindacato Fascista dei Musicisti a contatto con cinema di regime 155 Valerio Morucci Tuning in Radio Fascism: Censorship, Race, and Music in Fascist Propaganda 195 Propaganda and Reception Erik Levi The Ambiguous Reception of Alfredo Casella’s Music in Nazi Germany Franco Sciannameo Stile littorio as Research between Music and Architecture: Goffredo Petrassi and Nino Rota Giorgio Farabegoli - Piero Garofalo Fascism’s Influence on Catholic Faith Sites: A Case Study of Aielli’s Church of Sant’AdoIfo 213 239 263 Jewish Composers and Musicians Annalisa Capristo Primary Sources for the History of Fascist Persecution against Jewish Musicians, Composers, Singers, and Music Critics 289
Raffaele Deluca Musica internata. Nuove acquisizioni biografiche sul compositore Isko Thaler nel carteggio con Joachim Stutschewsky 319 Jesse Rosenberg The Teatro delle Novità and Mario Jacchia’s La Stella d’Oriente 343 Abstracts and Biographies 391 Index of Names 403 |
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| spelling | Music and institutions in fascist Italy edited by Roberto Illiano, Luca Lévi Sala Turnhout Brepols 2024 xxx, 415 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Music, criticism & politics volume 10 "In the 1920s and 1930s, the entire process of renovation of the cultural institutions conducted by the Fascists, implemented through the Ministry of National Education, imposed a strong concentration of power on the Italian school administrations, especially the universities, and created new national institutions. At the same time, the Fascist Cultural Institute (IFC), which under the leadership of Giovanni Gentile aspired to be a charitable organisation for the promotion of the culture typical of pre-Fascist associations, was placed after 1937 directly under the National Fascist Party, which changed its name to the National Institute of Fascist Culture (INCF), with the aim of giving the party itself the task of educating the new leadership. The relationship between intellectuals and power under Fascism was aligned into a perspective of orientation that attributed the party with the role of educator of homo novus, summarised in a phrase from Mussolini himself: «Fascism is a great orchestra, where everyone plays a different instrument». A particular concern of the ruling class was to develop a production-fruition process involving all social classes, in order to offer them the feeling of being part of a solid, free and fair system. However, this conception was not explicit in the artistic expressions of the regime: the construction of a social apparatus proceeded underground through the channels of the productive and hierarchical apparatus of the institutions, rather than through the creation of a tangible aesthetic of the regime. In summary: culture had to be the expression of a common heritage belonging both to the people and to the intellectuals; it bore the task of providing a fascist conception of the world." Musikleben (DE-588)4075128-4 gnd rswk-swf Faschismus (DE-588)4016494-9 gnd rswk-swf Kulturpolitik (DE-588)4033581-1 gnd rswk-swf Italien (DE-588)4027833-5 gnd rswk-swf Italien (DE-588)4027833-5 g Faschismus (DE-588)4016494-9 s Musikleben (DE-588)4075128-4 s Kulturpolitik (DE-588)4033581-1 s DE-604 Illiano, Roberto (DE-588)1024916030 edt Sala, Luca (DE-588)1024338517 edt Music, criticism & politics volume 10 (DE-604)BV043468126 10 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035179842&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Music and institutions in fascist Italy |
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| title_exact_search | Music and institutions in fascist Italy |
| title_full | Music and institutions in fascist Italy edited by Roberto Illiano, Luca Lévi Sala |
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| title_full_unstemmed | Music and institutions in fascist Italy edited by Roberto Illiano, Luca Lévi Sala |
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