Relevant bibliographies by topics / Music – Australia – Italian influences

Academic literature on the topic 'Music – Australia – Italian influences'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Music – Australia – Italian influences"

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ony Mitchell, T. "Paolo Conte: Italian ‘Arthouse Exotic’." Popular Music 26, no. 3 (October 2007): 489–96. http://dx.doi.org/10.1017/s0261143007001390.

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AbstractPaolo Conte is the most internationally successful of the Italian singer-songwriters who emerged in the 1960s and 1970s. He is also among the most idiosyncratic, eclectic and unusual exponents of what Franco Fabbri has defined as the canzone d’autore (author’s song). Nonetheless he remains a rather arcane, cult figure in the Anglophone world – an example of what Simon Frith has called ‘the unpopular popular’. A combination of apparent opposites – the provincial and the cosmopolitan – his music appropriates a global sweep of influences without being definable as ‘world music’. Characteristics of both his rough, untrained singing style and wry, ironic and opaque compositions have strong affinities with US singer-songwriters like Tom Waits and Randy Newman, and he draws heavily on early American jazz influences, although he remains quintessentially Italian. This makes him difficult to categorise in the world music market.
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Furlan, Raffaello, and Laura Faggion. "Cultural influences on the yards of Italian migrants’ houses built in Brisbane (Australia)." Ethnicities 20, no. 6 (March 25, 2020): 1166–96. http://dx.doi.org/10.1177/1468796820913135.

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Italian migrants, as well as diverse migrant groups, brought with them cultural practices and a way of life, which are nowadays part of the multicultural Australian built environment and society. This research study focuses on the external yards of domestic dwellings built in the late 1980s and early 1990s in Brisbane by the Italian migrants. Namely, it is argued that the external yards of migrants’ houses are embedded by cultural meanings. The research study is of a qualitative nature and, as primary sources of data, uses (1) semi-structured interviews, (2) photo-elicitation interviews and (3) focus group discussion, which were conducted both in Australia with 21st-generation Italian migrants, and in Italy with 10 informants indigenous to the Veneto region, where they built their homes. Visual data about the houses were collected with (4) photographs and drawings. This paper explores the activities occurring inside migrants’ houses in Brisbane, highlighting the meaning of the activities and the settings where these activities are performed. Through the study of these meanings, it is revealed that the various activities are expressions of the culture, as an accepted way of doing things and/or a way of life, of the country of origin of the respondents.
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Minas, Adamantios Dionysios. "The Suppression of the Music of Ionian Islands by the Modern Greek State: Culture that did not Fit the Political Agenda." Public Voices 9, no. 1 (January 5, 2017): 125. http://dx.doi.org/10.22140/pv.207.

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Music plays an important role in social integration, often providing the vehicle for how one culture reinterprets itself in another. However, as in the case of the Ionian Islands, a peoples’ ability to incorporate outside influences and produce local culture may find itself at odds with the more nationalistic purposes of the state. The Ionian Islands came to be part of the Greek state without enduring the yoke of occupation by the Ottoman Empire or suffering in the wars that preceded the Greek free state. Therefore, the Ionian culture, in particular its popular music, has been made obscure by political elites who defined Greece as the benevolent opposite of its enemies, as the center of civilization and therefore without cultural influences – a definition that Ionian music, influenced by Italian settlers, did not meet.
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Gerasimova-Persidskaia. "ITALIAN INFLUENCES ON EAST EUROPEAN CHURCH MUSIC IN THE LATE SIXTEENTH AND THE SEVENTEENTH CENTURIES." Revista de Musicología 16, no. 1 (1993): 581. http://dx.doi.org/10.2307/20795914.

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Quinlan-McGrath (book author), Mary, and C. Cody Barteet (review author). "Influences: Art, Optics, and Astrology in the Italian Renaissance." Renaissance and Reformation 36, no. 3 (December 2, 2013): 195–97. http://dx.doi.org/10.33137/rr.v36i3.20567.

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Love, Rachel E. "Talking Italian blues: Roberto Leydi, Giovanna Marini and American Influence in the Italian folk revival, 1954–66." Popular Music 38, no. 2 (May 2019): 317–34. http://dx.doi.org/10.1017/s0261143019000114.

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AbstractThis article examines how Roberto Leydi and Giovanna Marini, two important figures of the Italian ‘folk revival’, negotiated diverse American cultural influences and adapted them to the political context of Italy in the 1950s and 1960s. I argue that American musical traditions offered them valuable models even as many Italian intellectuals and artists grew more critical of US society and foreign policy. To explore this phenomenon in greater depth, I take as examples two particular moments of exchange. I first discuss American folklorist Alan Lomax's research in Italy and its impact on Leydi's career. I then examine how Marini employed American talking blues in order to reject US society in her first ballad, Vi parlo dell'America (I Speak to You of America) (1966). These two cases provide specific examples of how American influence worked in postwar Italy and the role of folk music in this process.
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Vajs, Jernej. "′Czech-Slovene′ musicians?: On the question of national identity in Slovene music at the turn of the 19th to the 20th century." Muzikologija, no. 7 (2007): 217–30. http://dx.doi.org/10.2298/muz0707217v.

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In this article, the author observes and discusses the questions of national identity in the context of Czech and Slovenian music at the turn of the 19th to the 20th century. The Italian and German influences dominating Slovenian music in the past began from the mid 19th century onward to be replaced by predominantly Czech elements as the consequence of the numerous Czech musical immigration in Slovenia. Many of Czech musicians were naturalized in Slovenia and can therefore be included among Slovenian musicians. Although they actively supported the building of a Slovenian national style, they did not feel the need for the repeated ?esthetic evaluation of traditional frames.
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Skinner, Anthea, and Jess Kapuscinski-Evans. "Facilitate This! Reflections from Disabled Women in Popular Music." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 3–14. http://dx.doi.org/10.1525/jpms.2021.33.2.3.

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This article is a reflection by the authors on the impact that their identities as disabled women have had on their ongoing music careers. Skinner and Kapuscinski-Evans make up two-thirds of the Australian crip-folk trio, the Bearbrass Asylum Orchestra (the term “crip” is a cultural reappropriation of “cripple”). The Bearbrass Asylum Orchestra is a band that performs as part of the Disability Music Scene in Melbourne, Australia, using folk music to portray their experiences as people with disabilities. In this article Skinner and Kapuscinski-Evans discuss the formation of and philosophy behind the band, as well as the impact that growing up as disabled women had on their musical education, careers, and influences.
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Jones, Stephen. "Synthetics: A History of the Electronically Generated Image in Australia." Leonardo 36, no. 3 (June 2003): 187–95. http://dx.doi.org/10.1162/002409403321921389.

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This paper takes a brief look at the early years of computer-graphic and video-synthesizer–driven image production in Australia. It begins with the first (known) Australian data visualization, in 1957, and proceeds through the compositing of computer graphics and video effects in the music videos of the late 1980s. The author surveys the types of work produced by workers on the computer graphics and video synthesis systems of the early period and draws out some indications of the influences and interactions among artists and engineers and the technical systems they had available, which guided the evolution of the field for artistic production.
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Stollberg, Arne. "„A work so truly English in its story and its music“. Arthur Sullivans Ivanhoe und die Suche nach einer englischen Nationaloper." Studia Musicologica 52, no. 1-4 (March 1, 2011): 457–84. http://dx.doi.org/10.1556/smus.52.2011.1-4.32.

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In order to overcome the persistent cliché of a “land without music,” considerable efforts were made in Great Britain at the end of the 19th century to establish what is now labelled the English Musical Renaissance. One of the movement’s main concerns was to establish both institutionally and artistically a National Opera for the production of English works. In this context, the opening of a newly built opera house, the Royal English Opera, by the impresario Richard D’Oyly Carte in 1891 created a great stir. The Royal English Opera was inaugurated with Arthur Sullivan’s “Romantic Opera” Ivanhoe. Sullivan tried to give his score an especially English flavour without using folksongs or other overtly national musical characteristics. His composition can be seen as a synthesis of German, French and Italian influences, which intentionally mirrors the fusion of the Anglo-Saxon and Norman elements to form the English nation under King Richard the Lionheart as presented in the opera’s plot. Unfortunately the story of D’Oyly Carte’s enterprise was a short one and Sullivan’s opera quickly passed into oblivion.
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Dissertations / Theses on the topic "Music – Australia – Italian influences"

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Allori, Sonia. "Music, text, gender and notions/influences of an Italian cultural perspective as the source for original music compositions." Thesis, Edinburgh Napier University, 2011. http://researchrepository.napier.ac.uk/Output/6691.

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The folio of musical works supported by this document, explores the relationship between text and music. Using a variety of textual sources, from a single line of text to an epic poem to political speeches, has produced six pieces in which the relationship of the text to the music is figured in different ways; these range from the literal setting of a text to music to the abstracting of a text into a musical piece. In each case the form of the original text has been an important factor in influencing the form of the musical works. Gender considerations impact on this folio in two ways: firstly, gender is a key issue in some of the texts used as inspiration for the pieces, particularly Guinevere (2007) and Hilary &Maggie (2009).' Secondly, the folio explores how the position as a female composer affects engagement with both music and text. Finally, the folio works are related to the importance of Italian nationality to the composer. This supporting contextual document sets out the framework within which the folio was composed. It draws out the three main research threads that are explored in the folio: music and text, gender, and the Italian cultural perspective. Each thread of research is discussed with some contextual information given first, followed by an analysis of how this category impacts on the folio works.
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Duclos, Marie-France. "A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE REGINA CAELI OF THE FRENCH BAROQUE PERIOD." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/141.

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The French baroque petit motet was the most prolific genre of seventeenth-century France. In this study, three petits motets, specifically Regina caeli settings of French composers Marc-Antoine Charpentier, Nicolas Bernier and François Couperin are examined with an emphasis on the motets’ historical context in relation to the French monarchy and the Italian concepts that the composers incorporated into each work. All three Regina caeli settings display some Italian compositional techniques of the stile moderno in various degrees and were written in different contextual ecclesiastic milieux. The intersections of, as well as distinctions between, musical ideas of traditional French style and Italian innovations was at the center of music and musical discourse during the baroque period. The French were introduced to Italian style by travelling musicians at the court of France; however, when Louis XIV gave Jean-Baptiste Lully the important position of surintendant de la musique, the idea of an authentic unaltered French sound became prevalent among musicians and critics. Lully, strongest defender of “pure” French style, created a strict environment for musicians at court, and only after his death, did composers gain in freedom. The study suggests that a closer association to Louis XIV permitted musicians to integrate more of the Italian stile moderno techniques than those who did not have this opportunity. Crucial figures of the French monarchy, Louis XIV, Philippe II d’Orléans and the duc de Bourgogne were connected to the three composers central to this project and impacted the outcome of their work. With the musical-historical study of three Regina caeli settings, this project demonstrates the importance of the petit motet genre within the repertoire and the need for additional research to increase the accessibility of this inestimable music
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Webber, Geoffrey Andrew. "A study of Italian influences on North German church and organ music in the second half of the seventeenth century, with special reference to the collection of Gustav Dueben." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305626.

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Paolino, Annamaria. "An interdisciplinary intervention : the potential of the Orff-Schulwerk approach as a pedagogical tool for the effective teaching of Italian to upper primary students in Western Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/557.

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Since the second half of the twentieth century, Italian has been the second language spoken in Western Australia. In the primary school sector, there are over two hundred Italian teachers engaged with primary students. Many Italian teachers also use music/song as a pedagogical tool. The first part of the research examines the extent that music/song is used in primary Italian classes, as well as how and why they are used. The second part of the research centres on the use of the Orff-Schulwerk approach as an integrated music approach to teaching Italian. The research examines the success of a trialled intervention with a group of upper primary Italian language teachers, as well as exploring the support that is required to support Italian as a second language specific to upper primary contexts. The research findings conclude that the novelty of the Orff-Schulwerk approach is considered effective in the teaching and learning of Italian. However, the research also highlights a number of constraints, which need to be addressed if teachers are to provide students with a rich and engaging curriculum.
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Jones, Garry Robert. "‘Music is my Oxygen’: an Exploration of Bioecological Influences on Pathways to University Music Study in Australia." Thesis, 2020. http://hdl.handle.net/2440/124957.

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Informed by the perspectives of the participants, this study explores the influences on students’ decision to study music at university in Australia, and the music pathway learning experiences that facilitate that choice. Students’ interest in music, and what that means to them in terms of types of motivation, bio/social systems or ecologies comprised of intra- and interpersonal influences, and self-efficacy are a focus. By exploring students’ perspectives of these systems, sub-systems and their related social interfaces, I identify the enabling influences or factors that have shaped their music development journeys prior to their university music study. Consideration of the relevant literature through a policy enactment theory lens (Ball, Maguire & Braun 2012), prompted a re-conceptualisation of the bioecological systems model (Bronfenbrenner and Ceci 1994) and later social interface model (Pettigrew, Segrott, Ray & Littlecott 2018) to produce a new research model. The model positions a hierarchy of enabling influences, as revealed by the investigation, within respondents’ individual music identity, music culture and human bioecological systems conceptual framework. Exploration of participants’ enabling influences on their interest in music and their music pathways experiences were investigated using quantitative, Likert-scale data, with participants’ enabling influences regarding their decision to study music at university investigated using qualitative, open-ended data sourced from semi-structured survey and interview questions. The findings of the study were conclusive in that the most enabling influences identified by the respondents’ perspectives regarding music pathway experiences, decision to study music at university and interest in music, were ‘school music experience,’ ‘identity/passion for/love of music’ and ‘school music learning’ respectively. These were conceptually situated in the music microculture. The next most enabling influences revealed for pathways/decision/interest were ‘private music tuition,’ ‘music teachers’ and ‘listening to music at home’ respectively, and situated in the music exoculture. The third most enabling influences revealed for pathways/decision/interest were ‘private music experiences,’ ‘ambition to improve as a musician’ and ‘private music tuition’ respectively, situated in the music macroculture. Based on the findings of this phenomenological, mixed-methods study, it is intended that the active bioecological agents involved in the students’ pre-university systems will benefit from the identification of enabling influences with regard to music educational curriculum, pedagogy, and structural and policy decision-making to support those pathways. The findings of the study have major implications regarding the provision of Music education in schools across Australia. Similarly, the findings reveal important implications for the implementation of STEM (Science, Technology, Engineering, and Mathematics) subjects in schools, or more cogently, the implementation of an authentically integrated Arts STEAM (Science, Technology, Engineering, Arts and Mathematics) as a more effective means of securing increased student engagement in learning, improved learning outcomes, and the realisation of broader national social and economic policy imperatives. The potential transferability of the model for use in other micro-, exo- and macro-cultural contexts within human bioecological systems, as discovered and defined in the study, was also explored and is recommended for consideration regarding further research.
Thesis (Ph.D.) -- University of Adelaide, School of Education, 2020
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Books on the topic "Music – Australia – Italian influences"

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Convegno internazionale sulla musica italiana nei secoli XVII-XVIII (6th 1995 Loveno, Italy). Relazioni musicali tra Italia e Germania nell'età barocca: Atti del VI Convegno internazionale sulla musica italiana nei secoli XVII-XVIII, Loveno di Menaggio (Como), 11-13 luglio 1995 = Deutsch-italienische Beziehungen in der Musik des Barock : Beiträge zum Sechsten Internationalen Symposium über die Italienische Musik im 17.-18. Jahrhundert. Como: A.M.I.S., 1997.

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Berlioz, Musée Hector, ed. Berlioz et l'Italie: Voyage musical. Lyon: Libel, 2012.

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La musique religieuse en Alsace au XVIIe siècle: Réception de la musique italienne en pays rhénan. Strasbourg: Presses universitaires de Strasbourg, 2001.

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Kyïvsʹka derz︠h︡avna konservatorii︠a︡ imeni P.I. Chaĭkovsʹkoho. Muzychna kulʹtura Italiï ta Frant︠s︡iï: Vid barokko do romantyzmu : problemy styli︠u︡ ta miz︠h︡kulʹturnykh kontaktiv : zbirnyk naukovykh prat︠s︡ʹ. Kyïv: Derz︠h︡. konservatorii︠a︡ im. P.I. Chaĭkovsʹkoho, 1991.

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Reinhard, Strohm, ed. The eighteenth-century diaspora of Italian music and musicians. Turnhout, Belgium: Brepols, 2001.

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Musri, Fátima Graciela. Músicos inmigrantes: La familia Colecchia en la actividad musical de San Juan, 1880-1910. San Juan, Argentina: EFFHA, 2004.

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Musri, Fátima Graciela. Músicos inmigrantes: La familia Colecchia en la actividad musical de San Juan. San Juan: Universidad Nacional de San Juan, 2004.

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Cetrangolo, Annibale. Musica italiana nell'America coloniale: Premesse, cantate del veneto Giacomo Facco. Padova: Liviana editrice, 1989.

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Raíces italianas en la música del Uruguay =: Radici italiane nella musica dell'Uruguay. Montevideo: Ministerio de Educación y Cultura, Archivo General de la Nación, Centro de Difusión del Libro, 2003.

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Dumont, Sara E. German secular polyphonic song in printed editions, 1570-1630: Italian influences on the poetry and music. New York: Garland Pub., 1989.

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Book chapters on the topic "Music – Australia – Italian influences"

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Grant, Roger Mathew. "Teaching Music Theory in Colonial Chiquitania." In The Oxford Handbook of Public Music Theory. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197551554.013.36.

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Abstract During the eighteenth century, Jesuit mission communities among the Chiquitano Indigenous people fostered vibrant music making. Unlike the cathedral counterpoint written for Spanish colonial outposts elsewhere in South America, this music had French, Italian, and German influences. Indigenous leaders assumed the role of maestro de capilla and supervised training regimes for new young musicians. Music theory, in daily solfège lessons, was a vital part of their program. Because this type of training used novel methods to create a broad, civic musical literacy with the tools of solfège and notation, it has important resemblances to what now goes by the name of public music theory. Drawing a recent ebullient discourse into conversation with eighteenth-century colonialism, this paper asks what scholars might learn from an earlier moment when music theory was made public.
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"The influences of Italian church music on the works of Mikołaj Zieleński (fl. 17th century) and Grzegorz Gerwazy Gorczycki (?1665/7–1734)." In Kirchenmusikalisches Jahrbuch - 96. Jahrgang 2012, 21–32. Verlag Ferdinand Schöningh, 2010. http://dx.doi.org/10.30965/9783657766413_003.

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Conference papers on the topic "Music – Australia – Italian influences"

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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.

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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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