The Tenco effect. Suicide, San Remo, and the social construction of the<i>canzone d'autore</i>

Santoro, Marco

doi:10.1080/13545710600806862

Cited by 39 publications

(17 citation statements)

References 23 publications

(14 reference statements)

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“…A neologism invented in 1960 by two executives of Italian RCA, the word quickly became one of the most employed terms of the Italian music vocabulary (see Santoro 2002;Fabbri 2005). A neologism invented in 1960 by two executives of Italian RCA, the word quickly became one of the most employed terms of the Italian music vocabulary (see Santoro 2002;Fabbri 2005).…”

Section: On Songs and Boundariesmentioning

confidence: 99%

“…Ionio Prevignano-Rapetti 1962;Straniero et al 1964). It is in this context, which we could define as a 'cultural field in the making' (Bourdieu 1993), characterised by struggles organised around the two axes of new/old and commercial/artistic, that the figure of the cantautore emerges as a distinct (and distinctive) social identity (Santoro 2002(Santoro , 2006. It is in this context, which we could define as a 'cultural field in the making' (Bourdieu 1993), characterised by struggles organised around the two axes of new/old and commercial/artistic, that the figure of the cantautore emerges as a distinct (and distinctive) social identity (Santoro 2002(Santoro , 2006.…”

Section: Sketches From a Long History: The Rise Of Canzone D'autorementioning

confidence: 99%

“…And more generally, what is the position of rap within the Italian popular music scene, in which canzone d'autore is one of the most crucial and typical cultural forces (see Fabbri 1989;Jachia 1998;Santoro 2000;? Too many questions remain unanswered: Are Italian rappers of the 1990s intentional followers of cantautori (nuovi) of the 1970s?…”

Section: Introductionmentioning

confidence: 99%

“…However, this article has had a more limited focus on Italian music culture, and we must defer this question to another occasion. Italian rap at Club Tenco, 1993-2004: Targhe and(Hip Hop/posse) Santoro (2002Santoro ( , 2006. Italian rap at Club Tenco, 1993-2004: Targhe and(Hip Hop/posse) Santoro (2002Santoro ( , 2006.…”

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confidence: 99%

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Authors and Rappers: Italian Hip Hop and the Shifting Boundaries of Canzone d’Autore

Santoro¹,

Solaroli²

2007

Pop. Mus.

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By offering a historical reconstruction of the process of contextualisation of hip hop culture in Italy over the last fifteen years, the article assesses the current status of canzone d'autore and its changing configuration under the impact of rap music. From a theoretical point of view, the conceptual framework combines the sociological definition of 'field of cultural production' elaborated by Pierre Bourdieu with the related literature on social and symbolic boundaries. From a methodological point of view, the analysis is based on the data collected by Club Tenco (a cultural organisation which plays an institutional role within the field of canzone d'autore) as well as on a series of qualitative interviews carried out with a number of Italian rappers and cantautori. Special attention is paid to a very few crucial figures that can be considered paradigmatic examples in the dynamic process of boundary-making of the two cultural (sub-)fields of Italian rap and canzone d'autore.Solo giocando si possono cambiare le regole del gioco . . . Solo cambiando le regole del gioco si può continuare a giocare 1 (Frankie Hi Nrg MC, Verba Manent)

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Section: On Songs and Boundariesmentioning

confidence: 99%

Section: Sketches From a Long History: The Rise Of Canzone D'autorementioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

mentioning

confidence: 99%

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Authors and Rappers: Italian Hip Hop and the Shifting Boundaries of Canzone d’Autore

Santoro¹,

Solaroli²

2007

Pop. Mus.

Self Cite

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“…It's like believing in the Easter Bunny! (Giovetti 1967) 25 Some scholars have considered Tenco's death as a crucial moment in the definition of an aesthetic of popular music based on authorship, which later proved to be decisive in establishing the canzone d'autore ('auteur song') genre (Santoro 2006 andTomatis 2013). As noticed by Santoro, the left-wing press (but also youth magazines) gave the suicide a sociological dimension.…”

Section: Teen Pop Press and Its Rhetoric: Abstract And Stylementioning

confidence: 99%

“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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The Cambridge Companion to the Singer-Songwriter

Williams

Williams²

2016

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The Tenco effect. Suicide, San Remo, and the social construction of thecanzone d'autore

Abstract: Journal of Modern Italian StudiesPublication details, including instructions for authors and subscription information:

Cited by 39 publications

References 23 publications

Authors and Rappers: Italian Hip Hop and the Shifting Boundaries of Canzone d’Autore

Authors and Rappers: Italian Hip Hop and the Shifting Boundaries of Canzone d’Autore

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

The Cambridge Companion to the Singer-Songwriter

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