It was released a few days ago “Viaggio in Italia”, a collection of essays and reflections on Italian folk music and the research and the themes that have concerned in recent years and which are still at the center of Italian and international debate. In other words, a set of critical eyes on the production of expressive oral tradition and the many forms that they have taken and are taking through the complex process of re-working of groups and artists. The result is a complex frame very different on the inside, to the interpretation of which contribute some of the most authoritative voices (scholars, musicians, researchers) of the scenario tied to the expressions of popular traditions: Maurizio Agamennone, Giovanna Marini, Sandro Portelli, Gualtiero Bertelli, Roberto de Simone, Gastone Pietrucci, Simona Frasca, Ettore Castagna, Luigi Chiriatti, Bruno Grulli, Roberto Sacchi, Marco Lutzu.
The volume is an ebook, can be downloaded for free in ePub format from the site of the publisher Squilibri, and celebrates 150 issues of the online magazine Blogfoolk, now probably the more important space (in our country) dedicated to popular music and beyond (rock – thanks to “Taglio Basso” by Antonio “Rigo” Righetti -, roots music, jazz, blues, songwriting, etc.). It is edited by the founder and editorial director of Blogfoolk Salvatore Esposito and Ciro De Rosa, director of the magazine, anthropologist and historic signing of major magazines that for many years now dealing with traditional and world music (including World Music Magazine, Songlines, FolkBulletin and the Giornale della Musica). As you can argue scrolling through the index of the volume, the topics are varied and all of extreme interest: from the introductory essay by Agamennone “What do we call our studies, and what we think of it?”, to the reflections on the Marian repertoires in Sardinia by Marco Lutzu, from “questua” songs by Pietrucci to the fifties Italian-American rock by Simona Frasca, from the reflections of De Simone on the repertoires of Campania and the recordings that he has done over the years, to the music of migrants in Rome.
In short, as the editors remind us, a rich volume imagined with an overview of our country: “the contributions start from observation points too far apart and could not be otherwise, given the heterogeneity of the interlocutors. However, it is a difference in healthy, determined by subjects but also by the fact that the traditional music issues are the subject of debate, discussion and even intellectuals controversy. Of course, a common denominator is that the essays collected thoughts on alive musical expressions and practices that involve various cultural environments, going beyond the traditional culture and investing areas of the folk revival and popular music”.
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