Camilla Poesio, Tutto è ritmo, tutto è swing. Il Jazz, il fascismo e la società italiana
Academic interest in the musical life of fascist Italy has never been strong, even among Italians. Back in the 1980s, Richard Taruskin thought he could explain the uninspiring nature of the topic, as he saw it, by reference to the poor quality of twentieth-century Italian composition. He literally...
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| Опубликовано в: : | URI:https://journals.openedition.org/transposition, |
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| Главный автор: | |
| Формат: | Article ou chapitre numérique |
| Язык: | Anglais |
| Опубликовано: |
Transposition
2019
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| Online-ссылка: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Итог: | Academic interest in the musical life of fascist Italy has never been strong, even among Italians. Back in the 1980s, Richard Taruskin thought he could explain the uninspiring nature of the topic, as he saw it, by reference to the poor quality of twentieth-century Italian composition. He literally did not know what he was talking about. How could he, when the music even of one of the most internationally successful Italian composers of the fascist ventennio, Alfredo Casella, remained largely... |
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