Popular music studies rarely consider genres as cultural concepts both historically and socially contingent. From a diachronic perspective, music journalistic discourse can be used to examine how music categories are created, named and negotiated between music industry, musicians, critics and fans, either for practical or aesthetic purposes. Italian teen pop magazines in the mid1960s provide a valuable case study. This article will focus on two Italian teen publications, Ciao amici and Big, between 1964 and 1967, and will connect the rhetoric they used to the rise of youth community in the same period. The genre of musica nostra (music of our own) was introduced to describe the music teenagers were listening to, and suggested the pride of belonging to a community of peers. In the last section I will outline how such an ideology of youth community was connected to authenticity and to specific aesthetic values.
Bella ciao is the album which kick-started Italian folk revival in the mid-1960s, by Nuovo Canzoniere Italiano, a group of researchers, musicians and radical intellectuals. Based on a contested music show that debuted in 1964, Bella ciao also featured a double version of the popular song with the same title, an anti-Fascist anthem from War World II, destined to become one of the most sung political song in the world and translated in more than 40 languages. The book reconstructs the history and the reception of the Bella ciao project in 1960s Italy and, more broadly, explores the origins and the distinctive development of the Italian folk revival movement through the lens of this pivotal album.
Archiv für Textmusikforschung "'O sole mio" e l'habanera: napoletanità e cosmopolitismo nella prima era della popular music Jacopo TOMATIS (Torino) 1 Summary "'O sole mio" is considered the quintessential Neapolitan song, a widely popular musical icon of 'Neapolitanness'. And yet, the song also raises questions about the nature of 'Neapolitanness' in music, as it is based on a habanera pattern, a rhythm originated in Cuba which became very popular in Europe in the late XIX century. The article reflects on how music could sound 'Neapolitan' (and thus 'Italian'), and how these features are established, observing the case of "'O sole mio" from a cultural historical perspective.
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