Considerations sur le Folklore Musical Italien dans ses Rapports avec la Structure Sociale du Pays

Carpitella, Diego

doi:10.2307/834862

J. Int. Folk Music Counc.

1959

DOI: 10.2307/834862

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Considerations sur le Folklore Musical Italien dans ses Rapports avec la Structure Sociale du Pays

Diego Carpitella¹

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“…Despite the derogatory use in common speech, folclore musicale was used by Diego Carpitella (1959 and1976) to define his primary subject of study: folk, peasant and pastoral musics conceived as clearly differentiated from 'high' music, as well as from artisan urban musical expressions. Pioneer of ethnomusicology in Italy, since the 1950s Diego Carpitella worked at the Centro Nazionale di Studi di Musica Popolare (National Centre for Folk Music Studies) in Rome and conducted fieldwork with the anthropologist Ernesto De Martino and with 5 Leydi (1996: 5) notes that the OND opposed especially the activities of some musical associations, like brass bands, which were rooted in local communities and had Socialist, Republican and Catholic traditions.…”

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confidence: 99%

Folklore and tradition in ethnomusicology

Cimardi

2018

Raspr. Inst. hrvat. jez. jezikosl. (Online)

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The terms folklore and tradition (and the derived adjectives) in relation to music have been employed to define the subject of ethnomusicologists’ study. In this article, the meaning of these words is considered in their historical use in ethnomusicology and akin disciplines, as well as in the common sense in English, Italian and Croatian, trying to identify the main shared elements as well as the differences. While folklore is a word of foreign origin integrated in several languages, where it assumes diverse connotations also in terms of esthetical and moral value, the related adjective folk has local equivalents in Italian (popolare) and Croatian (narodni), which have been employed with reference to national musical expressions. Tradition is semantically partly overlapping with folklore, and in recent years the derived adjectives (tradicionalan, tradicijski) have been preferred in Croatian, while in Italian the word traditional (tradizionale) can be used to refer to non-European musics, and in general the locution musiche di tradizione orale is today favoured to define the subject of ethnomusicology. It appears that the national use of these words has marked their local understanding, as well as the related scholarship, and thus a reflection on the use of English in present academic and non-academic contexts is necessary.

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Folklore and tradition in ethnomusicology

Cimardi

2018

Raspr. Inst. hrvat. jez. jezikosl. (Online)

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Italian Ethnomusicology

Giuriati¹

1995

Yearbook for Traditional Music

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Today Italian ethnomusicologists participate in international meetings and contribute to the main journals of the field. Personal experience leads me to believe, however, that the peculiar history of ethnomusicological studies in Italy as well as the extremely rich and diverse repertories of Italian folk music are little known outside Italy. This is due to a number of reasons. The first one is language. Italian ethnomusicologists have written — and mostly write — in Italian, an international language of musicology, albeit not widely spoken in the ethnomusicological milieu. But the main reason, I believe, lies in the peculiarity of Italian research, focused on the musical traditions of its own country. The history of Italy and the cultural developments of the last century have prompted this situation of self-reflection in a spcific way that I will make an attempt to describe presently.

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Considerations sur le Folklore Musical Italien dans ses Rapports avec la Structure Sociale du Pays

Cited by 2 publications

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Folklore and tradition in ethnomusicology

Folklore and tradition in ethnomusicology

Italian Ethnomusicology

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