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Italian birds of passage = the diaspora of neapolitan musicians in New York /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Italian birds of passage/ Simona Frasca.
其他題名:	the diaspora of neapolitan musicians in New York /
作者:	Frasca, Simona.
出版者:	Basingstoke :Palgrave Macmillan : : 2014.,
面頁冊數:	272 p. :17 b&w, ill. :
附註:	Electronic book text.
標題:	Songs, Neapolitan - History and criticism - 19th century. -
電子資源:	Online journal 'available contents' page
ISBN:	113732242X (electronic bk.) :

Italian birds of passage = the diaspora of neapolitan musicians in New York /
Frasca, Simona.

Italian birds of passagethe diaspora of neapolitan musicians in New York /[electronic resource] :Simona Frasca. - 1st ed. - Basingstoke :Palgrave Macmillan :2014. - 272 p. :17 b&w, ill. - Italian and Italian American studies.

Electronic book text.

Introduction to the American Edition PART I: CULTURAL CONTEXT OF THE ITALIAN-AMERICAN COMMUNITY IN NEW YORK IN THE EARLY TWENTIETH CENTURY 1.1 The Italian Populations in the Neighborhoods of New York 1.2 Publishing Activity and Religious Holidays 1.3 Musical Venues: 1.3.1 Theaters, Concert Halls, and Schools 1.3.2 Radio Broadcasts PART II: ENRICO CARUSO: THE FIRST NEAPOLITAN STAR 2.1 La Follia di New York 2.2. Enrico Caruso's Recording Career with the Victor Talking Machine Company 2.3 The Neapolitan Recordings of Caruso in America 2.4 Caruso and Armstrong: the Italian-American and the African-American, Comparing Ethnicities PART III: THE MUSIC OF THE IMMIGRANT TAKES ON MASS APPEAL 3.1 From Opera to Vaudeville: The Comedians, Writers, and Singers of Caruso's Era 3.2 Eduardo Migliaccio and Tony Ferrazzano 3.3 Giuseppe De Laurentiis 3.4 Armando Cennerazzo 3.5 Raffaele Balsamo 3.6 Giuseppe Milano 3.7 Joe Masiello PART IV: BIRDS OF PASSAGE, THE IMMIGRANTS RETURN HOME 4.1 Dan Caslar 4.2 Glimpses on the Spread of American Music in Naples: From 'O Sole Mio to the Foxtrot 4.3 Two Border Authors: E.A. Mario and Gaetano Lama PART V: MUSIC IS WOMAN 5.1 From the Theaters of Naples to the Stages of New York 5.2 Mimi Aguglia 5.3 Gilda Mignonette 5.4 Teresa De Matienzo 5.5 The Other Women Performers: Ada Bruges, Amelia Bruno, Stella Bruno, Silvia Coruzzolo, Clara Stella, Rosina De Stefano, Ria Rosa, Nina de Charny, Gina Santelia PART VI: THE RECORD LABELS, THE PRODUCERS AND THE ORCHESTRA DIRECTORS 6.1 Italian-American Recording Labels 6.2 Alfredo Cibelli 6.3 The Major American Labels Record Ethnic Music 6.4 Rosario Bourdon 6.5 Nathaniel Schilkret Conclusion History Bibliography.

Document

This book reviews the period from the unification of Italy to the fascist era through significant Neapolitan performers such as Gilda Mignonette and Enrico Caruso. It traces the transformation of a popular tradition written in dialect into a popular tradition, written in Italian, that contributed to the production of American identity.More than any other regional repertoire, Neapolitan song defined the Italian popular music tradition. From international celebrities like Enrico Caruso to the most middling small-town vedette, Neapolitan musicians transcended local identity and attracted new audiences by abandoning the operatic tendencies of Italian song, introducing new subjects, and embracing new musical trends like the foxtrot, blues, and tango. In this way, they helped to create one of the first modern examples of a truly transnational musical style. This lively history spans the years from Italian unification to the fascist regime of the early twentieth century to trace the transformation of songs written in regional dialect into a wildly popular art form recognized around the world. As author Simona Frasca shows, the Neapolitan song tradition benefited from serendipitous historical circumstances: although they were forced to join the mass migration of Italians to New York and other American urban centres between 1880 and 1920, Neapolitan musicians managed to maintain strong ties with the art form's origins in Italy. By marrying a strong sense of tradition with an openness to new forms, these musicians helped to present a distinct form of 'Italianness' to the world even as they participated, along with other ethnic groups, to the production of 'American' identity.

PDF.

Simona Frasca is the History of Music Chair at University Federico II in Naples, Italy.

ISBN: 113732242X (electronic bk.) :£60.00Subjects--Topical Terms:

1009809
Songs, Neapolitan
--History and criticism--19th century.

LC Class. No.: ML1633.8

Dewey Class. No.: 782.0094573097471

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516 $a Document
520 $a This book reviews the period from the unification of Italy to the fascist era through significant Neapolitan performers such as Gilda Mignonette and Enrico Caruso. It traces the transformation of a popular tradition written in dialect into a popular tradition, written in Italian, that contributed to the production of American identity. $b More than any other regional repertoire, Neapolitan song defined the Italian popular music tradition. From international celebrities like Enrico Caruso to the most middling small-town vedette, Neapolitan musicians transcended local identity and attracted new audiences by abandoning the operatic tendencies of Italian song, introducing new subjects, and embracing new musical trends like the foxtrot, blues, and tango. In this way, they helped to create one of the first modern examples of a truly transnational musical style. This lively history spans the years from Italian unification to the fascist regime of the early twentieth century to trace the transformation of songs written in regional dialect into a wildly popular art form recognized around the world. As author Simona Frasca shows, the Neapolitan song tradition benefited from serendipitous historical circumstances: although they were forced to join the mass migration of Italians to New York and other American urban centres between 1880 and 1920, Neapolitan musicians managed to maintain strong ties with the art form's origins in Italy. By marrying a strong sense of tradition with an openness to new forms, these musicians helped to present a distinct form of 'Italianness' to the world even as they participated, along with other ethnic groups, to the production of 'American' identity.
520 1 $a Frasca combines all her talents in this thorough history and criticism of the role the Neapolitan song has played in shaping Italian and American cultures. She has done some great work digging up the facts and stories behind the songs we all know and love. But more than reveal the lives of those who composed, performed, produced and distributed such classics as 'O Sole Mio' and 'Core 'ngrato,' Frasca provides keen interpretations of the music's form and content. Illustrated with period photos, historical portraits, lyrics, playbills and posters, Birds of Passage, brings new insights of the Neapolitan song and will no doubt be the basis for future studies and analyses of this phenomenon. - Fred L. Gardaphe, Distinguished Professor of Italian American Studies, Queens College, CUNY, USA 'In this fascinating study of the transatlantic migration of Neapolitan song moving back and forth between Naples and New York in the early part of the twentieth century we hear histories and cultures sustained in sound. In a Neapolitan voice in lower Manhattan, in a tune sustained in a transatlantic passage, we catch the complex and popular fashioning of modern metropolitan life. Here music transports and translates seemingly separate historical and cultural localities into a shared and richly differentiated soundscape.' - Iain Chambers, Professor of Cultural, Postcolonial, and Mediterranean Studies, University of Naples, 'L'Orientale, Italy, and author of Migrancy, Culture, Identity (1994) and Mediterranean Crossings: The Politics of an Interrupted Modernity (2008).
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