One of the central aspects in the ideology of Italian Fascism was the emphasis on the importance ... more One of the central aspects in the ideology of Italian Fascism was the emphasis on the importance of work, mostly during the “autarchy”, a period of economical difficulties, after the international sanctions. Mussolini promoted many propagandistic campaigns in order to convince the population to increase the national agricultural and industrial production (Mussolini himself was filmed working in a wheat grass field. Many popular songs were composed on the topic of work. The article focus on two of these aspects: one is the “wonderful” life of a worker and the other will deal with the problem of accidents in the factories.. The music has an important role in the transmission of meaning. In particular there is a contrast between the emphatic style in the first song (where some symbols of the rural soundscape are used), the tragic tango in the second and, in the third, a Charleston rhythm in the “modern” American style. The songs will be analysed and contextualised in different periods ...
Dans cet essai, Simha Arom part du recit d'une experience de recherche sur le terrain pour ex... more Dans cet essai, Simha Arom part du recit d'une experience de recherche sur le terrain pour exposer une vaste definition du rythme musical, elaboree a travers des annees de travail sur la conception rythmiquedes populations d'Afrique Centrale. La reflexion s'articule autour de l'analyse d'un seul, et en apparence tres simple, morceau pour voix et sifflet qui, en fait, renferme dans sa structure une grande partie des principes metriques et rythmiques caracteristiques de cette partie du monde. L'essai est suivi par une breve note de la traductrice Serena Facci, ethnomusicologue italienne qui a travaille dans certaines regions de l'Afrique Centrale et Orientale.
... Per la secon-da, a cui possiamo ricondurre le esperienze a carattere antropologico-musicale, ... more ... Per la secon-da, a cui possiamo ricondurre le esperienze a carattere antropologico-musicale, l'uso a scuola di canti, strumenti e danze di diversa cultura è funzionale a un'esigenza educativa di tipo etico che spesso vede al centro ideali di tolleranza, fratellanza, comunanza di ...
The article is part of a research project (2014-2018) among Christian immigrants in Rome and focu... more The article is part of a research project (2014-2018) among Christian immigrants in Rome and focuses particularly on the Filipino community. Serena Facci presents the general context of the migrant church experience of Rome, a city historically considered as central to the wider transnational community of Catholic Christians, where, thanks to the hosting politics of the Vicariate, there are several ‘national’ and ‘multinational’ churches, characterised by liturgies in different languages and by repertoires of chants in different geocultural styles. The migrants’ position in the holy city is juxtaposed with the multicentricity of the diaspora and the mediation between the motherland and the new places of residence. Grazia Tuzi shows how the Filipinos in Rome represent this multicentricity through the liturgical services of musical groups and choirs from the peripheral churches surrounding Rome. On Sundays, the Filipino micro-communities proceed in a kind of “transhumant” movement acc...
Il volume collettaneo Music education in Africa, curato da Emily Achieng'Akuno presenta una r... more Il volume collettaneo Music education in Africa, curato da Emily Achieng'Akuno presenta una riflessione complessiva sugli insegnamenti musicali in Africa focalizzata sull'obiettivo di 'Africanising the Music Classroom', come recita il titolo dell'Introduzione della curatrice. La riflessione sulla decolonizzazione dei curricula e delle finalità pedagogiche, avviata fin dagli anni Settanta nel continente, accomuna dunque i ventuno articoli che si articolano in contributi teorici, ricostruzioni storiche dell'esperienza educativo-musicale in alcuni paesi e proposte concrete di attività nei variegati contesti africani. Molti autori sono ispirati sia da prospettive transculturali, sia dalla definizione di 'African musical arts' coniata da Meki Nzewi (tra gli autori del volume), uno dei padri della didattica musicale nigeriana, per definire l'inestricabile sintesi di danza, poesia cantata, musica strumentale e arti visive che caratterizza le performance ...
Akazehe is one of the names in Burundi for forms of sung greeting performed exclusively by women.... more Akazehe is one of the names in Burundi for forms of sung greeting performed exclusively by women. Studies carried out during the colonial era (in particular Rodegem 1965, 1973) and in more recent times (Ndimurwanko 1985-6) have shown how the contents of these greetings among women are closely linked to the feminine world in which these greetings are used—in specific private and public spaces in accordance with rural tradition. Although these greetings were becoming less common at the time the research for this article was conducted, the author was able to record a number of akazehe after listening to examples of them in the sound archives of the Centre de civilisation burundaise. A greeting is defined by linguists as a formalized parenthesis that defines, reiterates, and encloses the relation between two participants. The formulaic character of a greeting makes it different from ordinary speech. In the case of the akazehe, the greeting emphasizes gestural and sound qualities to such...
Over recent decades, the theoretical discourse on the voice has shifted between opposite poles th... more Over recent decades, the theoretical discourse on the voice has shifted between opposite poles that hardly satisfy the complexity of the phenomenon: vocalic vs. semantic, oral vs. written, presence vs. absence. Investigations on the musical creativity of the twentieth century show the centrality of the female voice; its material, symbolic and cultural dimensions require a multidisciplinary approach. Thus, inquiries about music may help to clarify the controversial stances in the fields of philosophy and anthropology. From Schoenberg to Berio, on the technical compositional level, the feminine voice has been set up as a catalyst for innovations and a source of new expressivity. Furthermore, it has shown its potential of becoming an object of experimentation and self-reflection, in the live dimension as well as in technological mediations. In many areas of popular music, jazz and urban folk the push towards emancipation and innovation is manifested in the construction and promotion of...
Akazehe is one of the names in Burundi for forms of sung greeting performed exclusively by women.... more Akazehe is one of the names in Burundi for forms of sung greeting performed exclusively by women. Studies carried out during the colonial era (in particular Rodegem 1965, 1973) and in more recent times (Ndimurwanko 1985-6) have shown how the contents of these greetings among women are closely linked to the feminine world in which these greetings are used-in specific private and public spaces in accordance with rural tradition. Although these greetings were becoming less common at the time the research for this article was conducted, the author was able to record a number of akazehe after listening to examples of them in the sound archives of the Centre de civilization burundaise. A greeting is defined by linguists as a formalized parenthesis that defines, reiterates, and encloses the relation between two participants. The formulaic character of a greeting makes it different from ordinary speech. In the case of the akazehe, the greeting emphasizes gestural and sound qualities to such an extent that it creates a veritable musical texture. This article presents transcriptions and analysis of some models of akazehe, focusing on one that features procedures of vocal interlocking. The two parts-gutera and kwakira-are organized according to musical rules that manifest a strong spirit of cooperation between the two women who sing the two parts in dialogue. Furthermore, well-defined rules of exchange for the two roles semantically remind us of the social equality between the two participants. The musical enrichment of the time reserved for the greeting is experienced as amusing by the performers. The greeting also represents an opportunity for artistic expression in a social reality that otherwise allows few performance spaces for women.
One of the central aspects in the ideology of Italian Fascism was the emphasis on the importance ... more One of the central aspects in the ideology of Italian Fascism was the emphasis on the importance of work, mostly during the “autarchy”, a period of economical difficulties, after the international sanctions. Mussolini promoted many propagandistic campaigns in order to convince the population to increase the national agricultural and industrial production (Mussolini himself was filmed working in a wheat grass field. Many popular songs were composed on the topic of work. The article focus on two of these aspects: one is the “wonderful” life of a worker and the other will deal with the problem of accidents in the factories.. The music has an important role in the transmission of meaning. In particular there is a contrast between the emphatic style in the first song (where some symbols of the rural soundscape are used), the tragic tango in the second and, in the third, a Charleston rhythm in the “modern” American style. The songs will be analysed and contextualised in different periods ...
Dans cet essai, Simha Arom part du recit d'une experience de recherche sur le terrain pour ex... more Dans cet essai, Simha Arom part du recit d'une experience de recherche sur le terrain pour exposer une vaste definition du rythme musical, elaboree a travers des annees de travail sur la conception rythmiquedes populations d'Afrique Centrale. La reflexion s'articule autour de l'analyse d'un seul, et en apparence tres simple, morceau pour voix et sifflet qui, en fait, renferme dans sa structure une grande partie des principes metriques et rythmiques caracteristiques de cette partie du monde. L'essai est suivi par une breve note de la traductrice Serena Facci, ethnomusicologue italienne qui a travaille dans certaines regions de l'Afrique Centrale et Orientale.
... Per la secon-da, a cui possiamo ricondurre le esperienze a carattere antropologico-musicale, ... more ... Per la secon-da, a cui possiamo ricondurre le esperienze a carattere antropologico-musicale, l'uso a scuola di canti, strumenti e danze di diversa cultura è funzionale a un'esigenza educativa di tipo etico che spesso vede al centro ideali di tolleranza, fratellanza, comunanza di ...
The article is part of a research project (2014-2018) among Christian immigrants in Rome and focu... more The article is part of a research project (2014-2018) among Christian immigrants in Rome and focuses particularly on the Filipino community. Serena Facci presents the general context of the migrant church experience of Rome, a city historically considered as central to the wider transnational community of Catholic Christians, where, thanks to the hosting politics of the Vicariate, there are several ‘national’ and ‘multinational’ churches, characterised by liturgies in different languages and by repertoires of chants in different geocultural styles. The migrants’ position in the holy city is juxtaposed with the multicentricity of the diaspora and the mediation between the motherland and the new places of residence. Grazia Tuzi shows how the Filipinos in Rome represent this multicentricity through the liturgical services of musical groups and choirs from the peripheral churches surrounding Rome. On Sundays, the Filipino micro-communities proceed in a kind of “transhumant” movement acc...
Il volume collettaneo Music education in Africa, curato da Emily Achieng'Akuno presenta una r... more Il volume collettaneo Music education in Africa, curato da Emily Achieng'Akuno presenta una riflessione complessiva sugli insegnamenti musicali in Africa focalizzata sull'obiettivo di 'Africanising the Music Classroom', come recita il titolo dell'Introduzione della curatrice. La riflessione sulla decolonizzazione dei curricula e delle finalità pedagogiche, avviata fin dagli anni Settanta nel continente, accomuna dunque i ventuno articoli che si articolano in contributi teorici, ricostruzioni storiche dell'esperienza educativo-musicale in alcuni paesi e proposte concrete di attività nei variegati contesti africani. Molti autori sono ispirati sia da prospettive transculturali, sia dalla definizione di 'African musical arts' coniata da Meki Nzewi (tra gli autori del volume), uno dei padri della didattica musicale nigeriana, per definire l'inestricabile sintesi di danza, poesia cantata, musica strumentale e arti visive che caratterizza le performance ...
Akazehe is one of the names in Burundi for forms of sung greeting performed exclusively by women.... more Akazehe is one of the names in Burundi for forms of sung greeting performed exclusively by women. Studies carried out during the colonial era (in particular Rodegem 1965, 1973) and in more recent times (Ndimurwanko 1985-6) have shown how the contents of these greetings among women are closely linked to the feminine world in which these greetings are used—in specific private and public spaces in accordance with rural tradition. Although these greetings were becoming less common at the time the research for this article was conducted, the author was able to record a number of akazehe after listening to examples of them in the sound archives of the Centre de civilisation burundaise. A greeting is defined by linguists as a formalized parenthesis that defines, reiterates, and encloses the relation between two participants. The formulaic character of a greeting makes it different from ordinary speech. In the case of the akazehe, the greeting emphasizes gestural and sound qualities to such...
Over recent decades, the theoretical discourse on the voice has shifted between opposite poles th... more Over recent decades, the theoretical discourse on the voice has shifted between opposite poles that hardly satisfy the complexity of the phenomenon: vocalic vs. semantic, oral vs. written, presence vs. absence. Investigations on the musical creativity of the twentieth century show the centrality of the female voice; its material, symbolic and cultural dimensions require a multidisciplinary approach. Thus, inquiries about music may help to clarify the controversial stances in the fields of philosophy and anthropology. From Schoenberg to Berio, on the technical compositional level, the feminine voice has been set up as a catalyst for innovations and a source of new expressivity. Furthermore, it has shown its potential of becoming an object of experimentation and self-reflection, in the live dimension as well as in technological mediations. In many areas of popular music, jazz and urban folk the push towards emancipation and innovation is manifested in the construction and promotion of...
Akazehe is one of the names in Burundi for forms of sung greeting performed exclusively by women.... more Akazehe is one of the names in Burundi for forms of sung greeting performed exclusively by women. Studies carried out during the colonial era (in particular Rodegem 1965, 1973) and in more recent times (Ndimurwanko 1985-6) have shown how the contents of these greetings among women are closely linked to the feminine world in which these greetings are used-in specific private and public spaces in accordance with rural tradition. Although these greetings were becoming less common at the time the research for this article was conducted, the author was able to record a number of akazehe after listening to examples of them in the sound archives of the Centre de civilization burundaise. A greeting is defined by linguists as a formalized parenthesis that defines, reiterates, and encloses the relation between two participants. The formulaic character of a greeting makes it different from ordinary speech. In the case of the akazehe, the greeting emphasizes gestural and sound qualities to such an extent that it creates a veritable musical texture. This article presents transcriptions and analysis of some models of akazehe, focusing on one that features procedures of vocal interlocking. The two parts-gutera and kwakira-are organized according to musical rules that manifest a strong spirit of cooperation between the two women who sing the two parts in dialogue. Furthermore, well-defined rules of exchange for the two roles semantically remind us of the social equality between the two participants. The musical enrichment of the time reserved for the greeting is experienced as amusing by the performers. The greeting also represents an opportunity for artistic expression in a social reality that otherwise allows few performance spaces for women.
The Association “Ricerca Continua. Alumni Lettere e Filosofia Tor Vergata”, in collaboration with... more The Association “Ricerca Continua. Alumni Lettere e Filosofia Tor Vergata”, in collaboration with the Department of History, Humanities and Society – University of Rome “Tor Vergata”, is glad to announce that the 1st Young Musicologists and Ethnomusicologists International Conference will be held on 27-28 April 2017 at the University of Rome “Tor Vergata” – Lettere e Filosofia, via Columbia 1, Rome.
The conference is primarily intended for early-career musicologists and ethnomusicologists (max. 40 years old). The aim of the YMEIC ROME 2017 is to encourage the circulation of knowledge and to create an opportunity to share ideas on music and its academic disciplines.
The conference is focused on the following theme: «Music, Individuals and Contexts: Dialectical Interactions». We welcome contributions which consider both the role of innovators and key figures (composers, musicians, theorists, librettists, etc.) in specific or in different cultural contexts, and/or the influence of contexts on the individual experience. The lines of investigation can assume all musicological and ethnomusicological research fields and also contributions of interdisciplinary character.
Both individual paper (20 minutes) and panel discussions (min. 3 scholars per session) are equally encouraged. The conference languages are: Italian, English, Spanish and French. All the slides (Powerpoint or pdf) must be exclusively in English.
Proposals (max. 400 words) should be sent as a Word attachment to the following e-mail address: ymeic2017@gmail.com, by using the specific application form (» http://www.ymeic.com). We plan to publish the conference proceedings, following review process.
Un libro di esperienze didattiche a partire da musiche di varie culture del mondo, scritto quand... more Un libro di esperienze didattiche a partire da musiche di varie culture del mondo, scritto quando in Italia si avviava la ricerca sulla didattica interculturale.
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Papers by Serena Facci
The conference is primarily intended for early-career musicologists and ethnomusicologists (max. 40 years old). The aim of the YMEIC ROME 2017 is to encourage the circulation of knowledge and to create an opportunity to share ideas on music and its academic disciplines.
The conference is focused on the following theme: «Music, Individuals and Contexts: Dialectical Interactions». We welcome contributions which consider both the role of innovators and key figures (composers, musicians, theorists, librettists, etc.) in specific or in different cultural contexts, and/or the influence of contexts on the individual experience. The lines of investigation can assume all musicological and ethnomusicological research fields and also contributions of interdisciplinary character.
Both individual paper (20 minutes) and panel discussions (min. 3 scholars per session) are equally encouraged. The conference languages are: Italian, English, Spanish and French. All the slides (Powerpoint or pdf) must be exclusively in English.
Proposals (max. 400 words) should be sent as a Word attachment to the following e-mail address: ymeic2017@gmail.com, by using the specific application form (» http://www.ymeic.com). We plan to publish the conference proceedings, following review process.
Organizing Committee:
Nadia Amendola
Alessandro Cosentino
Giacomo Sciommeri
Scientific Committee:
Giorgio Adamo
Nadia Amendola
Alessandro Cosentino
Serena Facci
Teresa M. Gialdroni
Giorgio Sanguinetti
Giacomo Sciommeri
Con Annarita Colaianni e Erasmo Treglia