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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.
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.
This book examines the arrival of jazz in Italy, its reception and development, and how its distinct style influenced musicians in America.
This book is the first collection of multi-disciplinary research on the experience of Italian-Jewish musicians and composers in Fascist Italy. Drawing together seven diverse essays from both established and emerging scholars across a range of fields, this book examines multiple aspects of this neglected period of music history, including the marginalization and expulsion of Jewish musicians and composers from Italian theatres and conservatories after the 1938–39 Race Laws, and their subsequent exile and persecution. Using a variety of critical perspectives and innovative methodological approaches, these essays reconstruct and analyze the impact that the Italian Race Laws and Fascist Italy’s musical relations with Nazi Germany had on the lives and works of Italian Jewish composers from 1933 to 1945. These original contributions on relatively unresearched aspects of historical musicology offer new insight into the relationship between the Fascist regime and music.
Looks at the ways Mussolini's government attempted to control music, describes the reactions of individual composers and musicians, and examines Mussolini's own musical pretenstions
From the 1930s to the 50s in Italy commercial cultural products were transformed by new reproductive technologies and ways of marketing and distribution, and the appetite for radio, films, music and magazines boomed. This book uses new evidence to explore possible continuities between the uses of mass culture before and after World War II.
Analyzes the various stages by which the fascist regime passed from anti-racialism to racial antisemitism on the German model, by focusing on the impact of German-Italian relations on the evolution of the racial question in Italy. Shows how fascist antisemitic policy was shaped by the necessities of the Axis agreement from the beginning, despite the fundamental conflicts of interest and the different positions toward racism. Examines direct and indirect German interference in Italian policy, as well as the reaction of Italian Jews to fascism. Based on unpublished records.
The compelling story of Pope Pius XI's secret relations with Benito Mussolini. A ground-breaking work, based on seven years of research in the Vatican and Fascist archives by US National Book Award-finalist David Kertzer, it will forever change our understanding of the Vatican's role in the rise of Fascism in Europe.
Following France’s defeat, the Nazis moved forward with plans to reorganize a European continent now largely under Hitler’s heel. Some Nazi elites argued for a pan-European cultural empire to crown Hitler’s conquests. Benjamin Martin charts the rise and fall of Nazi-fascist soft power and brings into focus a neglected aspect of Axis geopolitics.
A vividly written portrait of Benito Mussolini, whose passion for the theatre profoundly shaped his ideology and actions as head of fascist Italy This consistently illuminating book transforms our understanding of fascism as a whole, and will have strong appeal to readers in both theatre studies and modern Italian history.