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Luigi Dallapiccola and Musical Modernism in Fascist Italy / Ben Earle.

By: Material type: TextTextSeries: Music since 1900 | Music since 1900Publisher: Cambridge : Cambridge University Press, 2013Description: 1 online resource (316 pages) : digital, PDF file(s)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9781139033329 (ebook)
Other title:
  • Luigi Dallapiccola & Musical Modernism in Fascist Italy
Additional physical formats: Print version: : No titleDDC classification:
  • 782.1092 23
LOC classification:
  • ML410.D138 E27 2013
Online resources: Summary: Luigi Dallapiccola is widely considered a defining figure in twentieth-century Italian musical modernism, whose compositions bear passionate witness to the historical period through which he lived. In this book, Ben Earle focuses on three major works by the composer: the one-act operas Volo di notte ('Night Flight') and Il prigioniero ('The Prisoner'), and the choral Canti di prigionia ('Songs of Imprisonment'), setting them in the context of contemporary politics to trace their complex path from fascism to resistance. Earle also considers the wider relationship between musical modernism and Italian fascism, exploring the origins of musical modernism and investigating its place in the institutional structures created by Mussolini's regime. In doing so, he sheds new light on Dallapiccola's work and on the cultural politics of the early twentieth century to provide a history of musical modernism in Italy from the fin de siècle to the early Cold War.
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Title from publisher's bibliographic system (viewed on 04 Apr 2016).

Luigi Dallapiccola is widely considered a defining figure in twentieth-century Italian musical modernism, whose compositions bear passionate witness to the historical period through which he lived. In this book, Ben Earle focuses on three major works by the composer: the one-act operas Volo di notte ('Night Flight') and Il prigioniero ('The Prisoner'), and the choral Canti di prigionia ('Songs of Imprisonment'), setting them in the context of contemporary politics to trace their complex path from fascism to resistance. Earle also considers the wider relationship between musical modernism and Italian fascism, exploring the origins of musical modernism and investigating its place in the institutional structures created by Mussolini's regime. In doing so, he sheds new light on Dallapiccola's work and on the cultural politics of the early twentieth century to provide a history of musical modernism in Italy from the fin de siècle to the early Cold War.

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