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Discovering Laura Coen Luzzatto means getting to the core of the musical history of the Italian 20th century, the backstage of the complex dodecaphonic crossing made by Luigi Dallapiccola; it means shedding light on the woman who illuminated the composer's path amidst the dramas of the century. Laura met Luigi in Florence in 1931, and devoted herself to him and his art since then. They married in 1938, and she became Laura Dallapiccola. She was an atheist, born in Trieste in a Jewish family, whereas he was Istrian-born and a doubtful Catholic. They both arrived in Florence following Dante's myth, and immediately connected thanks to Laura's degree dissertation (which is deservingly brought to light in this volume by the University of Florence, where she discussed it in 1932) and to their shared belief that both their birthplaces, despite being borderlands, were of Italian nationality. From that moment onwards, thanks to her, the composer's story opened to European culture, to Joyce, Proust, Mann and, again thanks to her, the Dallapiccola dodecaphony becomes rooted in the vocal style of the Italian culture, thus differentiating itself from the Viennese dodecaphony. Laura, then, to better discover Luigi Dallapiccola and to look at the 20th century with new eyes.

Music theory.

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Musicology --- Music --- Muziek.

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Giorgio Caproni is certainly among the most loved Italian poets of the 20th century. Anna Dolfi used this widespread passion to involve not only well-known scholars of Caproni, but also young researchers, in new research activities. This results in a considerably rich book which, together with an overall vision, offers a series of hermeneutical insights on themes which were not as frequently investigated until then (memory, bestiaries and so on), by combining new readings of exemplary texts with unpublished documents, with reflections on language and poetry, on musical, pictorial and mythical suggestions, never forgetting Caproni's activity for translation, self-commentary and civic commitment. The book is functionally divided into Percorsi e attraversamenti, Letture (e immediati dintorni), Risultanze tra/dalle carte d'archivio, which enhances the diversity of the critical commentaries and the close comparisons, of the surveys and experiments of comment, of explication de texte, and highlights the great technical skill and the extreme lyrical depth of an author who, between cantability and dissonances, arpeggios and apostrophes, cabalettas and cadences, flourishes and delays, vocalizations and little verses, recoveries and leave, talkativeness and aphasia, was able to interpret the contradictory research, the questions, the fears, the faults and the incurable wounds of our time.

Music --- History and criticism.

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The second volume of the "Musical Clefs" series continues the reflections started in the previous issue dedicated to 21st century art music in historical perspective. It discusses topics such as the impact of social media on musical genres, the current historiography of music, the relationship between film music and the digital universe, contemporary listening, the excesses of our epoch, the new output of string quartet in Italy, Schoenberg's ideological legacy, recent works by Francesco Filidei, Luigi Esposito and Dario Buccino. Dedicated to the memory of the musicologist Antonio Rostagno, this publication presents essays by Emanuele D’Onofrio, Tiziana Pangrazi, Roberto Calabretto, Maria Rossetti, Luigi D’Istria, Francesco Filidei, Luigi Esposito, Pietro Misuraca, Marica Coppola, Enrico Careri. The index of names also includes references to the previous book. Il secondo volume della collana “Chiavi musicali” prosegue le riflessioni avviate nel precedente quaderno sulle Musiche d’arte del XXI secolo in prospettiva storica. Tra i temi affrontati figurano l’impatto dei social media sui generi musicali, l’attuale storiografia della musica, il rapporto tra musica per film e universo digitale, l’ascolto contemporaneo, gli eccessi della surmodernità, il quartetto per archi in Italia negli anni Duemila, l’eredità ideologica di Schoenberg, recenti composizioni di Francesco Filidei, Luigi Esposito e Dario Buccino. Dedicato alla memoria del musicologo Antonio Rostagno, il libro include contributi di Emanuele D’Onofrio, Tiziana Pangrazi, Roberto Calabretto, Maria Rossetti, Luigi D’Istria, Francesco Filidei, Luigi Esposito, Pietro Misuraca, Marica Coppola, Enrico Careri. L’indice dei nomi comprende anche i riferimenti al precedente volume.

21st century art music --- music historiography --- Postmodernism --- contemporary music theatre --- film music

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La polifonia vocale del Cinquecento è un mondo musicale e letterario in cui confluiscono tutti i contrassegni del Rinascimento che ha nel madrigale la sua forma più duttile e affascinante, e dove trovano posto richiami di ogni genere fra i quali il singolare percorso di una disposizione drammatica implicita, quasi congenitamente. Sotterranei fermenti portano il genere musicale madrigalistico ad affermarsi -in un certo momento- anche come piccolo modello teatrico. Questo si deve alla vocazione di alcuni compositori di madrigali, i quali tuttavia non hanno mai voluto (o forse non hanno osato) codificare ufficialmente queste loro opere, prudentemente presentate in luoghi raccolti e non ufficiali e rapidamente dimenticate per la loro inattualità: sono infatti gli anni in cui si sviluppa la poetica dell’opera in musica. Pertanto la tradizione rappresentativa all’interno della polifonia vocale sarebbe stata quasi occultata se Adriano Banchieri, con la sua poliedrica personalità, non l’avesse disciplinata attraverso la sua produzione contrappuntistica. Come la punta di un iceberg, egli ne ha rivelato l’esistenza.

Madrigals, Italian --- Dramatic music --- History and criticism. --- Music, Dramatic --- Music, Theatrical --- Music for the stage --- Stage music --- Theatrical music --- Music --- Italian madrigals --- Madrigals (Music), Italian --- XVI century --- madrigals --- polyphony