Open-access and peer-reviewed journal, curated by the Centre for Comparative Studies of Civilisations and Spiritualities at the Fondazione Giorgio Cini.
With an interdisciplinary approach, Religiographies fosters dialogue between historians, sociologists, anthropologists, philosophers, and psychologists on three main themes: mysticism, esotericism, and spirituality.
Around the mid-20th century there was a significant change of perspective among Italian composers interested in the production of Claudio Monteverdi. The preceding phase, dominated by the figure of Gian Francesco Malipiero, had been characterised by a gradual approach to Monteverdi’s music through transcriptions and productions of the works that pursued to varying degrees the ideal of reconstructing the original, with a strong tendency to historical accuracy, but which nevertheless did show some reworkings in the instrumentation. From the 1950s onwards, the approach became much more “creative” and took the form of structural reinterpretations of some of the Cremonese composer’s masterpieces and the updating of the original instrumentation. Monteverdi is no longer revived with the overarching nationalistic intentions of the immediately preceding generations, who saw him as the father of Italian opera, but for the modernity of his thought and his compositional technique.
The essays in this book, which focus on compositions that have not been investigated in musicological literature to date or on repertoire pieces that are now approached from a new perspective, show how, from Luigi Dallapiccola’s transcription of Ritorno di Ulisse in patria in 1942 up to the dawn of the new millennium, we have witnessed a varied process of both inte-gration and transcription of Monteverdi’s works making use of traditional instruments (Luciano Berio, Fausto Razzi) and of rewriting, also with the aid of new technologies (Bruno Maderna, Giorgio Battistelli, Ivan Fedele). In all cases, the work of “readapting” the music is underpinned by a careful analysis of Monteverdi’s production, also with a view to transferring features of his craft into works that are completely independent from it in terms of content and poetics (Luigi Nono). Composers who have directed Monteverdi’s operas have achieved equally diverse results (Sylvano Bussotti, Egisto Macchi) as have those who have enhanced the original model with prequels and sequels (Domenico Guaccero, Claudio Ambrosini).
The seven essays are by Rodolfo Baroncini, Angela Carone, Michele Chiappini, Paolo Dal Molin, Mila De Santis, Alessandro Maras and Federica Marsico.
The volume Music of the Twenty-First Century Diasporas: Research and Methods is the third in a series of online publications by the IISMC, stemming from the international ethnomusicology seminars that the Institute organises each year. It is a series that addresses current and original research topics, contributing to an international debate on the discipline and at the same time constituting an important educational tool, especially at university level. Edited by Serena Facci and Giovanni Giuriati, the volume derives from the seminar bearing the same title organised in San Giorgio in 2020, just before the outbreak of the pandemic. Through the contributions of various authors, mostly Italian, it aims at providing a multi-voiced reflection on the musical life of the many migratory contexts that can be observed in Italy.
A vivid and varied picture emerges from the contributions, both in terms of the particularities of the musical cultures called into play and of the research themes: interaction with Italians, transmission of musical knowledge among second generations, role of musicians and their dynamic relationship with the ‘motherland’, transnationalism of sacred musics, use of technologies that are increasingly involved in – and determining – the construction of feelings of belonging in the broad and everchanging diasporic borders.
An extensive introduction by Serena Facci and two important chapters by Adelaida Reyes and Francesco Remotti lucidly contribute to tackling the theoretical issues underlying the volume. This initial theoretical part is followed by the presentation of original research conducted by young scholars on the musical practices of various diasporic communities that have settled in Italy recently or for a long time, including Armenians, Chinese, Ukrainians, Eritreans and Sikhs. The last part of the volume takes up, in the light of the research presented, questions of method concerning this peculiar and intrinsically transnational object of research.
In the papers the reader may find several links to audio and video examples that illustrate the research by means of audiovisual documentation, making this volume fully multimedia.
Founded in 1957 under the direction of Giuseppe Fiocco, Saggi e Memorie di Storia dell’Arte stands as one of the most important scholarly publications in the field of Art History with a historical-critical approach. The journal is distinguished by an interdisciplinary framework that extends beyond the confines of Venetian art, allowing for an in-depth exploration of topics related to Italian and European art.
The journal is directed by Luca Massimo Barbero and coordinated by the Institute of Art History. It is recognised by ANVUR as a Class A scientific journal for Ancient Sciences, Philological-Literary Studies, and Historical-Artistic Research.
[accordion][/accordion]
[accordion_entry title=”Complete List”]
Saggi e Memorie di Storia dell’Arte 1 (1957)
Saggi e Memorie di Storia dell’Arte 2 (1959)
Saggi e Memorie di Storia dell’Arte 3 (1960)
Saggi e Memorie di Storia dell’Arte 4 (1965)
Saggi e Memorie di Storia dell’Arte 5 (1966)
Saggi e Memorie di Storia dell’Arte 6 (1968)
Saggi e Memorie di Storia dell’Arte 7 (1970)
Saggi e Memorie di Storia dell’Arte 8 (1972)
Saggi e Memorie di Storia dell’Arte 9 (1974)
Saggi e Memorie di Storia dell’Arte 10 (1976)
Saggi e Memorie di Storia dell’Arte 11 (1978)
Saggi e Memorie di Storia dell’Arte 12 (1980)
Saggi e Memorie di Storia dell’Arte 13 (1982)
Saggi e Memorie di Storia dell’Arte 14 (1984)
Saggi e Memorie di Storia dell’Arte 15 (1986)
Saggi e Memorie di Storia dell’Arte 16 (1988)
Saggi e Memorie di Storia dell’Arte 17 (1989)
Saggi e Memorie di Storia dell’Arte 18 (1993)
Saggi e Memorie di Storia dell’Arte 19 (1995)
Saggi e Memorie di Storia dell’Arte 20 (1996)
Saggi e Memorie di Storia dell’Arte 21 (1997)
Saggi e Memorie di Storia dell’Arte 22 (1998)
Saggi e Memorie di Storia dell’Arte 23 (1999)
Saggi e Memorie di Storia dell’Arte 24 (2000)
Saggi e Memorie di Storia dell’Arte 25 (2001)
Saggi e Memorie di Storia dell’Arte 26 (2003)
Saggi e Memorie di Storia dell’Arte 27 (2005)
Saggi e Memorie di Storia dell’Arte 28 (2004)
Saggi e Memorie di Storia dell’Arte 29 (2005)
Saggi e Memorie di Storia dell’Arte 30 (2008)
Saggi e Memorie di Storia dell’Arte 31 (2009)
Saggi e Memorie di Storia dell’Arte 32 (2008)
Saggi e Memorie di Storia dell’Arte 33 (2011)
Saggi e Memorie di Storia dell’Arte 34 (2012)
Saggi e Memorie di Storia dell’Arte 35 (2011)
Saggi e Memorie di Storia dell’Arte 36 (2012)
Saggi e Memorie di Storia dell’Arte 37 (2013)
Saggi e Memorie di Storia dell’Arte 38 (2014)
Saggi e Memorie di Storia dell’Arte 39 (2015)
Saggi e Memorie di Storia dell’Arte 40 (2016)
Saggi e Memorie di Storia dell’Arte 41 (2019)
Saggi e Memorie di Storia dell’Arte 42 (2018)
Saggi e Memorie di Storia dell’Arte 43 (2020)
Saggi e Memorie di Storia dell’Arte 44 (2020)
Saggi e Memorie di Storia dell’Arte 45 (2021)
Saggi e Memorie di Storia dell’Arte 46 (2022)
Saggi e Memorie di Storia dell’Arte 47 (2023)
[/accordion_entry]
[accordion][/accordion]
