Appunti : We`re back for another term! upon us so


Appunti : We`re back for another term! upon us so
Co.As.It. Resource Centre Newsletter
44 University Street, Carlton Vic 3053 Tel: 9349 9022 Fax: 9349 9091, email: [email protected] Vol.18, Issue 3, July 2010
(Open 10.00 a.m. –
2.00 p.m.)
14th August
6th November
Opening hours :
Tues 9.00am-5pm
Wed 9.00 pm- 9.00 pm*
Thurs 9am-5pm
Fri 9am-5pm
Note: Same hours apply during
school holidays with the
exception that Wednesday
closure is at
5.00 p.m.
Geelong Italian Language
Resource Centre
Belmont High School,
108 Gieromghan Street,
Geelong, 3220
Phone : 5243 5355
This edition of “Il Centro” is
published by Co.As.It.
Resource Centre, Carlton
and is compiled by
Advertising of products and
services is not necessarily
endorsed by Co.As.It.
Appunti : We’re back for another term!
We hope that you all have had an opportunity to
relax and rejuvenate during the break. Winter is
upon us so….Cerchiamo di riscaldarci
con l’italiano!
A reminder of our opening hours on the side panel.
Please feel free to come in and browse and if you
need assistance with resources in any way please
email or ring us.
All resources may be borrowed for 4 weeks and
DVDs for 2 weeks. To avoid an overdue notice
please ring or email us to renew on 9349 9000 and
[email protected] or [email protected] .
The next Orizzonti - “La musica
italiana” will be sent via hyperlink
to current subscriber schools only. This
should be available by the end
of September.
Take a moment to read the article on the new
Museo italiano which will be housed at Co.As.It. in
the area that was once the Grollo Theatre. “The museum
will represent the possibility for ItaloAustralians to remember and preserve their history
and presence in this country” as stated by the Minister
assisting the Premier on Multicultural Affairs, James
Merlino. Expected opening is in September.
Who said?
“I am a proud Australian. However, people laugh at me
when I’m working out figures because I still recite the
multiplication tables in Italian.”
Answer : Page 18
Il Centro – Co.As.It Resource Centre Newsletter Volume 18 Issue 3
(Office Use only)
Identification number:
Classification code:
Co. As. It. Italian Resource Centre
This Order Form is also a Tax Invoice for GST purposes
Co.As.It Italian Assistance Association ABN 85 005 596 485
School/ Teacher Subscription $88.00 (inc GST)
Name of School:
Please print clearly the e-mail addresses to which you would like all
correspondence to be sent. (This is the main form of communication.)
Postal Address:
Locational Address:
Please list names of all teachers who may use this borrowing card
Funding Source:
Catholic primary
Catholic secondary
State primary
State secondary
Independent primary
Independent secondary
DEET Regional Zone / CEO Diocese:_______________________________
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
School Subscription Conditions for Italian Resource Centre
I, the undersigned, hereby apply for subscription of Co.As.It. Italian Resource Centre
Library for the person/s named above.
Whilst a subscriber of the Library I agree to:
Take responsibility for all items issued on the subscription card until returned to the library and discharged
by library staff.
Accept responsibility for the choice of library materials if intended for applicants under 18 years.
Pay replacement and processing costs for any item/s lost, destroyed or damaged by any cause while on
loan, except such damage as is caused by reasonable and fair use.
Notify the Library Staff immediately if the subscription card is lost.
Pay the cost of any fine incurred for overdue materials.
Use borrowed materials only for educational purposes within the above named school, and not for profit.
Failure to comply with these conditions may result in the suspension of access or borrowing privileges.
I have read and understood the borrowing conditions and agree to abide by them.
                     
Conditions for viewing material at the Italian Historical Society
1. The IHS reserves the right to refuse access to its collection
2. Smoking, eating and drinking is not permitted in the IHS.
3. No ink may be used in the archive, use pencil only. Computers may be brought in and used at the
discretion of the IHS.
4. All archival material must be handled with care. Do not write on the material or trace illustrations or
maps. Do not fold documents or place books face down. Do not lean on material or place other
documents or objects on the material.
5. No material may be removed form the archive.
6. It is the responsibility of persons requesting a copy of material (Other than small amounts for the
purposes of research) to first have permission from the creator of the document.
7. Use of cameras or scanners in the IHS is forbidden.
8. Copying and reproduction of materials in the IHS archive are subject to charges.
9. The material is not to be absorbed into another repository nor added to any database without the written
consent of the Italian Historical Society.
Please make cheques payable to Co.As.It. and mail to:
Co.As.It. Resource Centre
Level 1, 189 Faraday Street,
Carlton, Victoria 3053
Card Barcode:
Cheque No:
Paid Cash:
Receipt No:
Date Processed:
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
I 26 assistenti linguistici 2010 sono stati assegnati ad un totale di 27 scuole (25
individuali e un cluster di due scuole), 14 cattoliche e 13 statali.
Siena College;
St.Monica College;
Santa Maria College;
Penola College;
Salesian College, Sunbury;
Caroline Chisholm College;
Whitefriars College;
Marcellin College;
St.Joseph College, Ferntree Gully;
Emmaus College;
Mt.Lilydale Mercy College;
Loyola College;
Galen College, Wangaratta;
Notre Dame College, Shepparton.
Glen Waverley SC;
East Doncaster SC;
St,Helena SC;
Strathmore SC;
Bayside SC;
Mill Park SC;
Sandringham PS;
Malvern PS;
North Fitzroy PS;
Mont Albert PS;
Caulfield South PS;
Brighton PS;
Wangaratta High.
L’assegnazione viene effettuata secondo criteri stabiliti dal Co.As.It in collaborazione con il
Catholic Education Office (CEO) e il Department of Education and Childhood Development
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
ABN 85 005 596 485
Anche quest’anno il COASIT organizzerà una serie di incontri di conversazione diretti agli studenti
dell’anno 12, per permettere loro di “allenarsi” in vista dell’esame orale di italiano. Gli incontri sono
organizzati dal COASIT di Melbourne e non sono né collegati con, né sponsorizzati da, la Victorian
Curriculum and Assessment Authority.
Gli incontri saranno condotti da Nicolas Panayotis, (certificazione VIT) consulente per le scuole
secondarie presso il COASIT.
agosto e settembre. Gli incontri di due ore ciascuno avranno luogo durante l’orario
scolastico. Ogni scuola dovrà scegliere la sessione che
meglio le conviene:
Sessione 1
Sessione 2
Sessione 3
9.00 am - 11.00 am
11.30 am - 1.30 pm
2.00 pm - 4.00 pm
COASIT 189 Faraday Street, Carlton. Recarsi alla Reception.
$13.20 (GST inclusa) per studente, pagabili con assegno complessivo, intestato al
 Select 2 dates or sessions and establish a firm number of students.
 Ensure that the dates do not clash with other school activities BEFORE booking
 e-mail [email protected] - please leave your school and mobile or home telephone number.
 Bookings will be dealt with in the order they are received and confirmed by e-mail
 Queries can be rung through on 9349 9019 – Mondays only
 Once booking is confirmed, send form and cheque (made out to Co.As.It.) to:
Nicolas Panayotis
C/- Co.As.It.
189 Faraday Street
 Remittance and form must reach COASIT 7 days before the ‘Incontri’ date.
 Cancellation and late payment fees apply.
 It is not possible to change sessions times.
 It is requested that a teacher accompany school groups and attend the session.
 Students should be prepared to answer questions on the Conversation and Detailed Study.
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
Complete and mail to: Nicolas Panayotis, Co.As.It., 189 Faraday Street , Carlton, 3053
Name and Surname:
Address: ------------------------------------------------------------------------------------------School Telephone: -----------------
Mobile: ------------------------------------
Number of student ----------------- @ $13.20 each
Total: $-------------------------
Lunedì 9:
Sessione 1 
Sessione 2 
Sessione 3 
Giovedì 12:
Sessione 1 
Sessione 2 
Sessione 3 
Lunedì 16:
Sessione 1 
Sessione 2 
Sessione 3 
Lunedì 23:
Sessione 1 
Sessione 2 
Sessione 3 
Lunedì 30:
Sessione 1 
Sessione 2 
Sessione 3 
Lunedì 6:
Sessione 1 
Sessione 2 
Sessione 3 
Martedì 7:
Sessione 1 
Sessione 2 
Sessione 3 
Giovedì 9:
Sessione 1 
Sessione 2 
Sessione 3 
Venerdì 10:
Sessione 1 
Sessione 2 
Sessione 3 
Lunedì 13:
Sessione 1 
Sessione 2 
Sessione 3 
Martedì 14:
Sessione 1 
Sessione 2 
Sessione 3 
Giovedì 16:
Sessione 1 
Sessione 2 
Sessione 3 
Signature-------------------------------------------------------- Date: --------------------------
Have you included payment and form ?
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
Do you have an area in which you would like an in-service?
This could include: assessment / preparation of materials / course outlines / workshops.
Get together with other teachers, or work on your own.
Contact Nicolas Panayotis on a Monday between 9.00am and 5.30 pm on 9349 9019
Discuss your requirements with him, being as specific as possible.
Alternatively e-mail [email protected]
If leaving a message, please leave 2 telephone numbers and an e-mail address.
Decide on a possible date. Monday sessions are the cheapest!
Student groups are $13.20 per student including GST for 2 hours.
Teacher sessions vary from free (general advice) to $16.50 per person on a Monday.
Workshop activity sheets.
Find and collate materials for Detailed Studies / other topics.
Assistance with the teaching of grammar.
Sessions for students on specific grammar points / skills / tasks.
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
In Italia ci sono molte feste popolari chiamate “sagre”. Spesso sono legate alle feste religiose
del santo patrono della citta` o del paese. Le sagre sono occasioni per fare festa insieme e
molte di queste hanno origini non nella religione ma nella vita contadina. Sono feste legate a
diversi prodotti della terra. Ad esempio, in Piemonte, ad Alba si celebra la festa del tartufo
bianco, prodotto tipico di questa regione. Tanta gente va in gita fuori Roma, ad Ariccia per la
Sagra della Porchetta. Si festeggiano Sagre dei Carciofi, degli Asparagi, della Patata. Tutto,
naturalmente, e` gustato insieme ai vini locali in ristoranti all’aperto. Ci sono mercati, sfilate,
processioni accompagnati dal suono delle bande di paese.
(adattato dal libro “CiviltàpuntoIt by M. Mezzardi and L.Pederzani)
Riempite la tabella, trovando per ogni regione una sagra un po` particolare.
Friuli Venezia Giulia
Paese/ citta`
San Vito al Tagliamento Sagra del Pan-Zal(pane giallo) ottobre
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
‘Migration ! Migration !’ 1 and 2
For Primary and Secondary students
 Available on Mondays – and by arrangement on some Tuesdays and Thursdays.
 The 2 separate courses are aimed at Year 4-12 students and are presented in either
English or Italian. Course 1 is a general introduction. Course 2 focuses on problems
and solutions.
 The presentation lasts about 1 hour . It engages students in interactive / problem-solving
 The course is based on VELS and covers a number of strands, domains and dimensions.
 The program makes use of photographs and objects from the Italian Historical Society.
 Cost: $55.00 per class / per course including GST ($77.00 for non-members). Fees for
visits to outer suburban schools are available upon application.
 Teachers will receive a free activities kit. The kit is not available separately.
 Upon receipt of remittance the kit is sent to schools so that the pre-visit activities can be
 Although focusing on Italian migration to Australia, general immigration issues are
included. This helps to engage new migrant students and develop skills of comparison
and promote acceptance and tolerance.
Select a date and time –– allow for travel to Carlton.
Contact Nicolas Panayotis, Secondary Schools Adviser, at [email protected] or on
9349 9019 on Mondays. If leaving a message please leave name, school name and
telephone and a mobile number.
After confirmation of date, mail completed form and remittance. A receipt will be
issued on the day or sent with the kit.
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
ABN 85 005 596 485
School Name: ______________________________________________________________________
_________________________________________ Post code: _________________
___________________ Other contact number: (essential) ______________________
Name of accompanying teacher/s: ______________________________________________________
Class level: _________________________ Number of students: ____________________________
Language of presentation required:
Preferred dates of in-service – Mondays – some bookings can be taken on Tuesdays and Thursdays
(Please ring first if not a Monday sessions)
*** Cost: $44.00 per class, including GST and a copy of the kit. ($66.00 for non-members)***
 This form and remittance must accompany all bookings
 Any enquiries – [email protected] / 9349 9019
 Cheques made out to Co.As.It. - $44.00 per class – incl GST ($66.00 for non-members)
 Address envelope to:
Nicolas Panayotis
Co.As.It. – 189 Faraday Street
 Payment should reach us 7 days prior to session
 10% late and cancellation fees apply
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
We are pleased to bring you the newspaper article written by Gabriella G. Hubbard which appeared in “Il Globo”
newspaper on Monday 3 May 2010. Co.As.It. Resource Centre wishes to thank Gabriella G. Hubbard for giving us the
opportunity to publish her article in “Il Centro”.
Museo dedicato agli Italiani d’Australia
Visita del ministro James Merlino al futuro Italian Cultural Heritage Centre, Co.As.It., Carlton
“È un progetto particolarmente entusiasmante e importante per la storia della città e per la numerosa
comunità di origine italiana di Melbourne e del Victoria” ha affermato il ministro che assiste il Premier negli
Affari Multiculturali, James Merlino, durante una visita al Co.As.It. di Melbourne per vedere come procedono i
lavori in corso di quello che sarà il museo italiano di Melbourne. Il progetto fa parte di una iniziativa del
governo del Victoria che ha stanziato 10 milioni di dollari, amministrati dalla Victorian Multicultural
Commission, per la creazione di Cultural Precincts, zone cioè di particolare significato per le comunità
multiculturali della città.
Per quanto riguarda l’Italian Precinct di Carlton sono stati stanziati $1.45 milioni per la creazione di un Italian
Cultural Heritage Centre: il museo che ospiterà una mostra permanente sugli Italiani in Australia illustra e
racconta le storie, le esperienze, il contributo degli immigrati di origine italiana oltre che promuovere la cultura
del paese d’origine. Jenni Klempfner, manager del progetto, ha mostrato al ministro Merlino il plastico di
quello che sarà l’Italian Cultural Heritage Centre. “Il progetto comprende diverse sezioni, la prima sarà
dedicata alla partenza degli immigrati dalla loro terra d’origine, il viaggio, l’arrivo in Australia; la seconda
illustrerà come i nuovi arrivati si sono stabiliti nel nuovo Paese, con particolare riferimento a Carlton: i
personaggi, i negozi, le storie, le feste, la cultura. La terza sezione è dedicata a oggetti e altro materiale donati
da numerosi italo-australiani di particolare significato storico quali oggetti di interesse culturale o religioso,
articoli di viaggio, utensili di cucina, attrezzi di lavoro ecc. La quarta sezione illustrerà il contributo della
comunità italiana e il suo sviluppo nella più ampia comunità australiana. Inoltre sono stati progettati spazi
riservati a spettacoli o a mostre comunitarie e a come la cultura italiana venga mantenuta nella società
contemporanea specialmente per quanto riguarda le nuove generazioni”, ha spiegato Jenni Klempfner
mostrando il modello di quello che sarà un moderno e dinamico museo che attraverso le nuove tecnologie
digitali e interattive permetterà ai visitatori,grandi e piccoli, di fare un’esperienza reale e unica. “Il museo
rappresenta la possibilità per gli italo-australiani di ricordare e conservare la loro storia e la loro presenza in
questo paese, ma forse ancora di più è per le nuove generazioni un mezzo importante per conoscere e
comprendere le loro radici e celebrarne la cultura e allo stesso tempo celebrare la comunità italo-australiana”,
ha affermato il ministro Merlino a conclusione della sua visita.
Gabriella G. Hubbard
Il ministro James Merlino (al centro),
con Giancarlo Martini-Piovano,
direttore esecutivo del Co.As.It. e
Jenni Klempfner manager del
(Foto: Gabriella G. Hubbard)
La Comica Variety Productions
New Primary School Show
Un’avventura romana (A Roman Adventure)
Ristorante Mangiabanane and Trattoria Mangiabanane
Still on offer!
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
Book Now!
Phone : 0409 932 014
Email : [email protected]
‘Migration Migration’ laminated posters
ABN 85 005 596 485
School Name: ______________________________________________________________
Post code: ____________________
Other contact number: ______________________________
Set of 14 laminated posters: 12 x A3 size / 2 X A4 size –
b & w. photos of the Italian Historical Society
$44.00 per set including GST + $7.00 postage
Cheques only, please
Made out to Co.As.It.
Payment is required within 14 days of invoice
Late payment will incurr a 10% surcharge
 Address envelope to
Nicolas Panayotis
c/- Co.As.It.
189 Faraday Street
Carlton 3053
 Please give a copy of form to accountant to include with payment
 Please ring 9349 9019 if there are incorrect details and leave a message
 Quote the reference number
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
Thank you and ‘buon lavoro’
See sample picture! Originals may be viewed at Co.As.It.
Time does not fade some resources and they can still be as effective today as when they were first
Avanti : a fun-filled Italian Course for Beginners,
Elio Guarnuccio & Michael Sedunary, CIS Educational,
A comprehensive Italian course with reading passages,
(some in cartoon format), games, written exercises and songs.
The “ How Italian Works” sections outline grammar in a clear,
concise manner which is still relevant today. The songs, only
available in cassette, have a controlled vocabulary and are
still as appealing today as when first published.
Currently out of print but still a favourite.
Suitable for senior primary as well as junior secondary.
“Dario è sempre in ritardo.”
Buongiorno Italia! : a BBC course for beginners
in Italian, by Joseph Cremona, BBC, 1982
A course intended as an introduction to simple,
everyday Italian and offering authentic texts of
conversations. Now available in a new up-dated
edition on CD the course book includes language
notes, information about Italy, exercises and reading
passages. Sections of the texts can be adapted for
senior primary and / or junior secondary.
Italian Italiano : stage A, B & C, Goprint and
Department of Education, Queensland, 1991.
An initiative of the Queensland Department of Education,
each of these kits comprises an activity book, instruction
booklets and cassettes. Basic Italian language is highlighted
through topics such as the family, letter writing, clothes, colour,
travel in Italy. A “Focus” section presents clear explanations
of grammar, and vocabulary. For primary students, with
Stage C suitable for secondary students.
Momento Ragazzi, 1, 2 & 3 by
By M.R. Finelli & P. Kapatu, Edizioni ,
Athens, 1994.
Zodiac signs, diary writing, postcards, mass
media, cartoons & pop stars.....all topics
covered in these kits. Dialogues are still in
cassette format but still ring of authenticity as
do the graded texts and even the illustrations
have not dated greatly. Still a great resource
for junior and senior secondary students.
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
Music in Italy : the Sounds of Italy
Introduction :
The history of Italian music is conditioned by the social and cultural events that reflect the
history of Italy itself and its people – the political movements, historical events, the migration
experience. The following text is a brief look into certain periods of time and their influence on
Italian songs – the changes in melody, meaning and structure.
La Belle Epoque (1880 – 1941)
A first step in time begins with the era known as the “Belle Epoque” (1880 – 1914). Certain
events of the time brought about much change, some being –
 Italy conquers key African colonies : Somalia, Eritrea, Libya
 The year 1893 sees the beginning of soccer in Italy
 With Guglielmo Marconi (1895) the radio is born
 1899 sees the emergence of some major industries : FIAT, Olivetti, Pirelli
 In 1914 Mussolini establishes a political newspaper “Il Popolo d’Italia”.
Many advances in science led to the mechanical revolution with fewer people needed to work
the land. People were becoming redundant and were forced to leave Italy to find work. The
first wave of migration took them to America, Brazil and Argentina.
Here enters the tradition of the Neapolitan songs whose melodies
capture the anxiety, the pain, the sadness of leaving one’s
homeland for an unbeknown country. One such song that
highlights the hardship of leaving is “Torna a Surriento” (De
Curtis, 1904).
The First World War (1914 – 1918)
On the 24th June 1914, in Sarajevo a young Bosnian student killed the heir to the
Austrian/Hungarian Empire. Those shots were the first to be heard before the First World
War was officially declared on the 28th June, 1914. Italy entered the War almost a year later
on 24th May, 1915. Three years later, on the 4th November, 1918, the armistice was signed
(Australia signed the armistice on 11th November, 1918) and the War was over. Europe lost
8 million people, Italy 654,000 men. Many of the songs from this era express the pain and
the fear of soldiers who had left loved ones behind and a song typical of this was “O
surdato ‘nnammuratu” (Cannio-Califano, 1915).
The 1930s
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
This next era in music is influenced by the Arts, in particular cinema. The music used to
enhance the storylines at the time followed two main paths :
 Operatic songs sung by lyrical singers used to singing on stage and therefore
uncomfortable on the screen, and
 Modern tunes sung by actors who were not always accustomed to lyrical knowledge.
At times, a good compromise was found between film and music, and a new structure was
born. One such film, “Gli uomini che mascalzoni”, stars Vittorio De Sica, who sings a famous
song “Parlami d’amore Mariù” (Neri-Bixio, 1932).
The 1940s
From the war years, Italy absorbed many cultural and social American values and once
again, music mirrors society’s cultural change. America brings to Italy the sounds of Jazz
and Swing. The rhythm and beat is reflected in melodies such as “Baciami piccina”,
“Tullipan” and “Mille lire al mese.”
Italians looked for new ideas and new ways and to the sounds of other nations.The LatinAmerican beat gains popularity and the “Cha-cha-cha” sound is an instant hit as is
highlighted in the song “Besame Mucho”.
The Sanremo Festival
The year 1951 sees the birth of the Italian Song Festival (Il Festival di Sanremo”). Everything
American is seen as fashionable, as Renato Carosone demonstrates in the song “Tu vuo’
fa’ l’americano.”
The mid 1950s
1954 heralds the birth of television, a phenomenon in a magical box which will change the
way of life and habits of everyone worldwide. The “Festival of Sanremo” is now watched by
millions. In 1958 Domenico Modugno brings to Sanremo the hit song “Nel blu dipinto di
blu” (Modugno – Migliacci). The song better known as “Volare” sold 22 million records
worldwide, the highest selling song in history after Bing Crosby’s “White Christmas”.
The Economic Boom
The beginning of the 1960s has Italy back on its feet and becoming a very powerful
industrialized country. The Italians are enjoying a different quality of life with most
households owning a television, a refrigerator, a washing machine, and cars becoming the
main form of transport. Radios at the beginning of this decade are blurting out music
reflecting these fun loving times with songs such as “Tintarella di luna” (Mina) and
“Sapore di sale” (Gino Paoli).
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
The late 1960s
As all over the world, Italy also experiences the 1968 protests of the youth. They are seeing
hope and change, are becoming more aware of social justice and fighting against the nuclear
threat and the Vietnam war. While the world is adjusting to the musical phenomenon of the
Beatles and to Rock and Roll, Italy discovers its own new talents such as “La bambola”
(Patti Pravo) and “C’era un ragazzo che come me, amava i Beatles e Rolling Stones”
(Gianni Morandi).
The 1970s
In the 1970s Italy is in more unstable times with the emergence of “political terrorism”.
Extreme ideological groups emerge and threaten Italy’s political structure. Innocent people
die in indiscriminate bombings, and kidnappings become commonplace. The music industry
also accommodates different rhythms, different beats, different moods – from Lucio Battisti to
the new Neapolitan songs of Pino Daniele. “Un’avventura” (Lucio Battisti) and “I’ so’
pazzo” (Pino Daniele) are songs indicative of this period.
The 1980s and 1990s
In the 1980s and 1990s computers become the electronic means of communication and
immediately infiltrate the music industry. English becomes the main language and
discotheques becomes the new hangout. Via America and England to Italy and the rest of
the world, we hear the sounds of funk, disco, house, techno and rap. “Mi hanno regalato
un sogno“ (Jovanotti) reflects this era.
La musica in Italia
From : Civiltà by M. Mezzardi and L.Pederzani
L’Italia è un paese ricco di cultura e cultura significa anche musica. Da sempre l’Italia ha un
ruolo centrale nella storia della musica mondiale.
La musica italiana (e non solo) nel Medioevo era soprattutto sacra e religiosa, ma nel
Trecento inizia anche una forma di musica non sacra, cioè profana. Lo sviluppo della musica
porta lentamente verso la musica classica : ci sono compositori e violinisti molto famosi come
Antonio Vivaldi (1678 – 1741) o Tomaso Giovanni Albinoni (1671 – 1751).
Con Claudio Monteverdi (1567 – 1643) nasce invece il melodramma, cioè la musica lirica.
In questo genere musicale gli italiani sono diventati sicuramente i più importanti nel mondo.
La musica lirica italiana
La musica lirica, cioè la musica cantata, diventa molto famosa in Italia nell’Ottocento e
continua anche nel Novecento, grazie a diversi compositori. In ordine di tempo troviamo
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
Gaetano Donizetti (1797 – 1848) con le sue famose opere Elisir d’amore e Lucia di
Lammermoor, Vincenzo Bellini (1801 – 1835) con Norma, Pietro Mascagni (1863 –
1945) famoso per la sua prima, grande opera Cavalleria Rusticana.
Ci sono però due compositori che più degli altri hanno portato la musica lirica italiana nel
mondo : Giacomo Puccini (1858 – 1924) con le sue opere più famose Tosca, La Bohème,
Manon Leascaut e Madama Butterfly e, sopratutto, Giuseppe Verdi (1813 – 1901).
Giuseppe Verdi
Verdi è sicuramente il compositore lirico italiano più famoso
nel mondo. Nasce a Roncole di Busseto, in provincia di
Parma, il 10 ottobre 1813.
Inzia la sua grande produzione operistica nel 1838.
Ancora oggi i teatri di tutto il mondo rappresentano grandi
opere come Nabucco, Rigoletto, Il Trovatore, La
Traviata, Aida, Otello e altre.
Dal 1861 al 1865 Giuseppe Verdi è stato anche deputato
del primo parlamento del Regno d’Italia e nel 1874 è
diventato senatore. Verdi è sempre stato a favore
dell’unità d’Italia e anche le sue opere a volte dimostrano il
suo amore per la patria : molto famoso per questo è il coro
Va’pensiero dell’opera Nabucco.
Verdi muore a Milano il 27 gennaio 1901.
La musica leggera
Si è cominciato a parlare di musica leggera tempo fa, quando la musica “pesante” cioè quella
importante, era la musica classica e lirica o, un po’ dopo, il jazz. La musica leggera era la
musica popolare, cioè le musica che tutti ascoltano, molto commerciale e poco colta, o così
almeno dicevano gli amanti della musica “più seria”.
Con il passare del tempo anche l’idea sulla musica pop è cambiata, ha preso molte strade e
molti significati diversi. Pensiamo a tanti generi come il rock, il funky, il punk, l’hip hop, lo
ska, il reggae, la disco music, la house music, e tanti altri.
Così l’idea di musica pop è ora collegata solo a una musica commerciale e di facile ascolto,
come ad esempio le canzoni di Madonna.
Finora abbiamo usato parole inglesi per descrivere la musica di oggi. Ma anche la musica
italiana esiste.
La canzone italiana si sviluppa soprattutto dopo la Seconda Guerra
Mondiale. Nel 1951 nasce il Festival di Sanremo, il festival della
canzone italiana.
Nel 1958 vince il Festival di Sanremo Domenico Modugno, con la
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
canzone Nel blu dipinto di blu, che tutti conoscono come Volare, sicuramente
la canzone italiana più cantata nel mondo.
Alla fine degli anni ’50 si presenta sulla scena musicale italiana un personaggio nuovo, che
porta in Italia i suoni e lo stile del rock’n’roll : Adriano Celentano. Negli anni successivi
Celentano ha cambiato stili musicali e argomenti delle canzoni, ma è sempre rimasto uno dei
cantanti più originali del panorama musicale italiano.
Anche Gino Paoli comincia a scrivere le prime canzoni alla fine degli anni’50 : famosissima
è la sua canzone Sapore di Sale.
Cantanti come Mina e Gianni Morandi diventano famosi in quegli anni e lo resteranno
anche nei decenni successivi.
Gli anni passano e radio e televisione sono in tutte le case. Nascono le prime discoteche
con i gruppi musicali che suonano dal vivo. Le lore canzoni e le loro musiche spesso
arrivano dagli Stati Uniti e dall’Inghilterra.
Dagli anni ’70 ai giorni nostri ci sono stati tanti cantanti che hanno reso famosa la canzone
italiana : autori come Lucio Battisti o Claudio Baglioni, fino ad arrivare a personaggi
conosciuti in tutto il mondo come Toto Cutugno, Eros Ramazotti o Laura Pausini.
Nello stesso periodo si sviluppa anche il rock italiano con gruppi come la PFM (Premiata
Forneria Marconi) o i Nomadi, fino ad arrivare a cantautori come Zucchero, Pino Daniele,
Vasco Rossi or Luciano Ligabue.
I Cantautori
Le canzoni di Bob Dylan e degli chansonniers francesci influenzano la cultura italiana e
questo porta alla nascita di un nuovo fenomeno musciale : i cantautori.
Il primo che si ricorda è senz’altro Luigi Tenco, morto suicida nel 1967 durante il Festival di
I temi politici e sociali, le guerre, la vita e i problemi di tutti i giorni entrano nella canzone
d’autore italiano e per questo si comincia a parlare di cantautori “impegnati.”
Fabrizio De Andrè, morto nel 1999, e Francesco Guccini sono considerati i maestri della
canzone d’autore italiana e con le loro canzoni migliaia di ragazzi italiani hanno imparato a
suonare la chitarra. Alcune loro canzoni sono ora nei libri di scuola dei giovani italiani.
De Andrè ha cantato le condizioni di vita dei più deboli, ha parlato della tragedia delle
guerre, ha ricercato le musiche del Mediterraneo con testi in dialetto, ha trattato tutti gli
aspetti dell’uomo in questa società.
Questi temi si trovano anche nella canzoni di Francesco Guccini, cantautore e scrittore
molto importante nella storia della musica italiana.
In Italia però ci sono anche altri cantautori molto famosi, come Paolo Conte (il vero autore di
Azzurro, un canzone famosa in tutto il mondo grazie a Celentano), Enzo Jannacci, Giorgio
Gaber, Francesco De Gregori, Lucio Dalla, Ivano Fossati e Vinicio Capossela.
From : Civiltà.it : civiltà e cultura italian per ragazzi, Guerra Edizioni, Perugia, 2007
Answer : John Borghetti, CEO Virgin Blue (Source Virgin Blue Voyeur Magazine, June 2010.)
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
Born just outside of Rome, Borghettis’ family immigrated to Australia in the early 1960’s when he was
seven years old; none of the family spoke English. “My parent’s decision to move their young family across
the world in search of a brighter future is the bravest thing I’ve ever seen anyone do,” he says.
Adding credence to Melbourne’s motto “She gathers strength as she goes” is the discovery of a
masterpiece at the NGV.
The Finding of a Tiepolo Masterpiece by Raymond Gill
(The Age, June 12, 2010) Reproduced with permission from The Age
The National Gallery of Victoria thought it had two works by 18th-century
master Italian painter Giambattista Tiepolo (1696-1770) on its walls,
but now it can boast three.
Decades of suspicion that a work on display since 1958 might be
a Tiepolo have been confirmed after a year of investigation by the
NGV’s conservation department. Senior conservators John Payne
and Carl Villis spent a combined 2500 hours in a light-filled studio
facing Southbank Boulevard with scalpels, solvents, X-ray technology
and tiny swabs of cotton wool as they cleaned the “particularly dirty”
three-by-2.3 metre painting, last cleaned in 1948.
Now the NGV is confident enough to declare that The Finding of Moses
is not by an earlier Venetian painter, Sebastian Ricci (1659-1734), but by Tiepolo.
“This is absolutely mind-blowing,” NGV director Gerard Vaughan said yesterday. “There are only a tiny
handful of museums in the world which would have a wall of major works by Tiepolo of this size and
importance,” he said, showing off the Tiepolos in the newly rearranged 18th century European paintings
Whereas once the gallery’s most famous masterpiece, Tiepolo’s The Banquet of Cleopatra, took centre
stage, it now hangs to the right of The Finding of Moses. On the other side is Marriage Allegory, on
permanent loan from Canberra’s National Gallery of Australia.
The NGV bought The Banquet of Cleopatra from the Soviet government in 1932 for the then staggering
price of 25,000 pounds, making it one of the most expensive works sold that year. It is regarded as one
of Tiepolo’s greatest masterworks and is indisputable Australia’s most valuable painting, although
Jackson Pollock’s Blue Poles at the NGA might be running a close second.
While industry estimates put the value of The Banquet of Cleopatra at well above $100 million, the
change of authorship on The finding of Moses from a Ricci to a Tiepolo has probably increased the
latter work’s value twentyfold. The work was bought by the NGV for 3,000 pounds in 1958 from an
English dealer, but nothing is known about its provenance before 1899 when it entered the collection of
Sir William Ingram.
Dr Vaughan said protocol prevented him discussing financial values but conceded the NGV’s insurance
would now need some readjustment. ”We revalue the collection every three years and obviously we are
in discussions about the next contract and the (new Tiepolo) will be an issue,” he said.
He described The Finding of Moses as an “offbeat” Tiepolo because it was done as a “homage” to his
artistic hero, the great Renaissance Venetian painter Paulo Veronese (1528-1588).
“Normally a Tiepolo jumps off the wall but this is him imitating Veronese,” Dr Vaughan said, explaining
why this The Finding of Moses was once attributed to Veronese himself. Complicating the issue was the
fact that there were various copies of Veronese’s “Moses” painting with some done by Ricci and at least
two known to be by Tiepolo.
When the NGV acquired its The Finding of Moses in 1958, British scholars declared it was by Ricci,
citing its frame, priming paint and that some paint used in it predated Tiepolo’s time.
But a year later Italian art historian Antonio Morassi wrote to the NGV arguing that brushstrokes and
“crystalline design” was evidence that it was by Tiepolo. The NGV”s detective work confirmed
Morassi’s opinion.
Il Centro – Co.As.It Resource Centre Newsletter Volume 18, Issue 3
Mr Villis and Mr Payne spent about 3000 hours in 2001 cleaning and restoring The Banquet of Cleopatra
and said they identified the same flourishes, characteristics and idiosyncrasies in the brush work in The
Finding of Moses.
“If you look at the brocade in the central figure in each painting, you can see that the way he drags the
impasto brushwork across the top to create this shimmering effect is exactly the same,” said Mr Payne.
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