Music and Institutions in Fascist Italy

Edited by Roberto Illiano Edited by Luca Levi Sala

Extent: 416 pages

Publisher: Brepols Publishers

Subjects: Italian Studies, Music & Performing Arts

Series: Music, Criticism & Politics

Series volume number: 10

Language: English

Hardback (Published)

(August 2024)

ISBN: 9782503611846

Price: $150.00

In stock

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Synopsis
Contributing Authors

This book explores the relationship between music, institutions and composers during the Fascist period.

In the 1920s and 1930s, the entire process of renovation of the cultural institutions conducted by the Fascists, implemented through the Ministry of National Education, imposed a strong concentration of power on the Italian school administrations, especially the universities, and created new national institutions. At the same time, the Fascist Cultural Institute (IFC), which under the leadership of Giovanni Gentile aspired to be a charitable organisation for the promotion of the culture typical of pre-Fascist associations, was placed after 1937 directly under the National Fascist Party, which changed its name to the National Institute of Fascist Culture (INCF), with the aim of giving the party itself the task of educating the new leadership. The relationship between intellectuals and power under Fascism was aligned into a perspective of orientation that attributed the party with the role of educator of homo novus, summarised in a phrase from Mussolini himself: “Fascism is a great orchestra, where everyone plays a different instrument”. A particular concern of the ruling class was to develop a production-fruition process involving all social classes, in order to offer them the feeling of being part of a solid, free and fair system. However, this conception was not explicit in the artistic expressions of the regime: the construction of a social apparatus proceeded underground through the channels of the productive and hierarchical apparatus of the institutions, rather than through the creation of a tangible aesthetic of the regime. In summary: culture had to be the expression of a common heritage belonging both to the people and to the intellectuals; it bore the task of providing a fascist conception of the world.

Edited by Roberto Illiano
Edited by Luca Levi Sala

Other Titles in this Series

Music Criticism 1900-1950

Volume 7

Edited by Jordi Ballester Edited by German Gan Quesada

Music Criticism 1950-2000

Volume 8

Edited by Roberto Illiano Edited by Massimiliano Locanto

Music and War in Europe from the French Revolution to WWI

Volume 2

Edited by Etienne Jardin

Nineteenth-Century Music Criticism

Volume 3

Edited by Teresa Cascudo Garcia-Villaraco

Opera in Search of the Just Ruler for a Unified Italy

Volume 4

Edited by Jehoash Hirshberg

Protest Music in the Twentieth Century

Volume 1

Edited by Roberto Illiano

Dance, Ideology and Power in Francoist Spain (1938-1968)

Volume 5

Edited by Beatriz Martinez del Fresno Edited by Belen Vega Pichaco

Music and Colonialism in Fascist Italy

Identity, Propaganda, and Ethnographic Representation

Volume 13

By (author) Isabella Abbonizio

Luigi Dallapiccola between Politics, Text and Musical Thought

With an Appendix of New Sources

Volume 11

Edited by Roberto Illiano

Music and the Politics of Censorship

From the Fascist Era to the Digital Age

Volume 12

Edited by James Garratt

Music and Resistance

From 1900 to the Present

Volume 9

Edited by Contreras Zubillaga Edited by Helena Martin Nieva

Music and Power in the Baroque Era

Volume 6

Edited by Rudolf Rasch

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