Tu vuo fa il napoletano professional#
Such knowledge and its circulation as ethnomusicological scholarship are by no means dependent on professional academics, but rather are conditioned, as elsewhere, by complex interactions between universities, museums, amateur organizations, state agencies, and markets. This dialogue, grounded in ethnomusicology’s interdisciplinarity, will be animated by reflexive attention to the specific social configurations of knowledge of and scholarship on the musics of Europe.
Tu vuo fa il napoletano series#
The series establishes a forum that can engage scholars, musicians, and other interlocutors in debates and discussions crucial to understanding the present historical juncture. Rather, the volumes in this series move in new directions and experiment with diverse approaches.
Europea is not simply a reflection of and on the current state of research. There is also an intellectual moment to be seized as Europeans reformulate the history of the present, an opportunity to move beyond the fragmentation and atomism the later twentieth century has bequeathed and to enter into broader social, cultural, and political relationships. European unity nervously but insistently asserts itself through the political and cultural agendas of the European Union, causing Europeans to reflect on a bitterly and violently fragmented past and its ongoing repercussions in the present, and to confront new challenges and opportunities for integration. Europea challenges ethnomusicology to return to Europe and to encounter its disciplinary past afresh, and the present is a timely moment to do so.
Europe as a cultural area was banished to historical musicology, and European vernacular musics became the spoils left to folk-music and, later, popular-music studies. The comparative methodologies previously generated by Europeanist scholars to study and privilege Western musics were deliberately discarded. As the modern discipline of ethnomusicology expanded during the second half of the twentieth century, influenced significantly by ethnographic methods in the social sciences, ethnomusicology’s “field” increasingly shifted to the exoticized Other. Bohlman and Martin Stokes The new millennium challenges ethnomusicologists, dedicated to studying the music of the world, to examine anew the Western musics they have treated as “traditional,” and to forge new approaches to world musics that are often overlooked because of their deceptive familiarity. Created from nyulibrary-ebooks on 15:01:02.Įuropea: Ethnomusicologies and Modernities Neapolitan Postcards : The Canzone Napoletana as Transnational Subject, edited by Goffredo Plastino, and Joseph Sciorra, Rowman & Littlefield Publishers, 2016.
Created from nyulibrary-ebooks on 15:01:02.Ĭopyright © 2016. Bohlman Recommend PapersĬopyright © 2016. Foreword: Neapolitan PostcardsMartin StokesChapter 1: Echoes of NaplesGoffredo PlastinoChapter 2: A Mediterranean Triangle: Naples, Smyrna, AthensFranco FabbriChapter 3: The Neapolitan Sound Goes Around: Mechanical Music Instruments, Talking Machines, and Neapolitan Song (1850-1925)Anita PesceChapter 4: The Folk Within: On Some Neapolitan Productions in Early Twentieth-CenturyItalian-American RecordsGiuliana FugazzottoChapter 5: New York City Neapolitan Music from the Calandra Institute's Mark Pezzano CollectionRosangela Briscese and Joseph SciorraChapter 6: You Can Go Home Again, and Again: Santa Lucia Luntana, the FilmGiorgio BertelliniChapter 7: Diasporic Musings on Veracity and Uncertainties of "Core 'ngrato"Joseph SciorraChapter 8: Napoli in Buenos Aires: From Canzonetta to Tango CancionAna CaraChapter 9: The Good, the Bad, and the Ugly: Transatlantic Stereotypes 1880s-1950sPaolo PratoChapter 10: Blues in the Bay: The Bluesology of James Senese and RaizAlessandro Buffa and Iain ChambersAfterword:Neapolitan Postcards and Metaphorical Materiality: Ontologies of IntimacyPhilip V.