Parole nuove. Il neologismo “cantautore” e l'ideologia del genere nella canzone italiana degli anni Sessanta

Tomatis, Jacopo

doi:10.5429/2079-3871(2010)v1i2.11it

Cited by 1 publication

(2 citation statements)

References 3 publications

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“…In the same years, two new music genres emerged: the urlatori (shouters) and the cantautori ('singer-songwriters': for a discussion of this term see Tomatis 2010 and. In spite of the many differences between the two, music press and fans interpreted both genres as a challenge to the Italian old-style canzone establishment and to the Italian tradition of the melodia (melody).…”

Section: Music Genres and Teen Pop Press In The 1960smentioning

confidence: 99%

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“This Is Our Music”: Italian Teen Pop Press and Genres in the 1960s

Tomatis

2014

I@J

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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.

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Section: Music Genres and Teen Pop Press In The 1960smentioning

confidence: 99%

“…2 See, for instance, Looseley 2003 on French popular music. 3 As an example we can consider the differences between the concepts of cantautore and singer-songwriter: see Tomatis 2010 and2013. 4 For an overview of authenticity in popular music studies see Weisethaunet and Lindberg 2010.…”

Section: Endnotesmentioning

confidence: 99%