Italian popular music

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The innovator Domenico Modugno interprets Nel blu dipinto di blu , 1958
Pop star Eros Ramazzotti , 2015

The Italian popular music includes popular musical trends on the Italian peninsula since the mid-19th century.

The strict separation between upscale classical music and dialectal folk music prevented the emergence of national popular music in Italy for a long time. The Neapolitan folk music was the first to cross regional borders, the development of the first recording techniques and the spread of café concerts further influenced the circulation of music around the turn of the century. Events such as mass emigration and colonial wars , as well as the First World War , provided new themes for songs, and in the interwar period American influences reached the Italian music scene, which has now also found its audience on the radio . Under fascism , popular songs experienced both censorship and use as propaganda . At the same time, the advent of talkies and the emergence of radio orchestras and big bands brought with them new channels for spreading music.

The revival of the Italian music market after the Second World War took place in 1951 with the first edition of the Sanremo Festival , which from then on played a role in the further development of Italian popular music that should not be underestimated. After Domenico Modugno 's victory in Sanremo in 1958 with Nel blu dipinto di blu , tradition was increasingly abandoned: the 1960s brought new styles, new music competitions and a large number of new " stars " out. After the politically and musically turbulent 1970s, modern pop music established itself in the 1980s, particularly through the debut of Eros Ramazzotti . In addition, there was the short-lived Italo Disco and the first harbingers of Italian hip-hop , which was particularly popular from the 1990s. In the new millennium, casting shows joined the Sanremo Festival as platforms for new singers, which also had a lasting impact on the festival.

In the past, the public impact of Italian popular music took place on the one hand through the media dissemination of the Sanremo Festival (and the closely related Eurovision Song Contest ), on the other hand (mainly limited to the 1960s) through the success of foreign language cover versions of Italian songs abroad . Emigrated Italians and their descendants were also able to bring their music to foreign cultures, which was particularly noticeable in the USA . Later, with Italo Disco and music known as Italo Pop , only a few representatives made the leap across the border; important sales markets were and are Eastern Europe and Latin America .

term

In Italy, and in Italian in general, there is no generally accepted name or definition of popular music . When English-language pop reached Italy in the 1960s, musica pop was seen as an independent, foreign genre, so no Italian equivalent was felt to be necessary. From the 1970s, probably under the influence of music journalism and musicology from the English-speaking world, musica popolare was used as a literal translation of popular music , and the definition was also adopted. However, this term quickly reached its limits, as the term musica popolare had been used by ethnomusicologists and folklorists for folk music (understood as orally transmitted, traditional music) since at least the 19th century . In order to avoid misunderstandings, the term musica popolare contemporanea (“contemporary musica popolare ”) was developed for popular music . However, this changed little in terms of ambiguity (it could just as easily mean “contemporary” folk music), and the restriction to the contemporary context also seems to exclude older popular music.

Regardless of this, it had become common practice early on to speak of popular music (with the definitions possibly not being completely identical) simply pars pro toto as canzone (“song”). The term canzone , meaning a vocal composition, goes back to Dante Alighieri's De vulgari eloquentia (1303–1305), and has been used very differently throughout history (a canzone can also be an instrumental piece). In today's linguistic usage, canzone and the diminutive canzonetta, which is understood in a slightly derogatory way, are almost all-encompassing and therefore quite suitable as a conceptual equivalent of popular music, but the terms are sensitive due to the exclusion of popular music of foreign (especially Afro-American ) origin that took place under fascism and is sometimes still present today limited. For purely Italian music, however, the term is widely used, especially in the full name of the Sanremo Festival , Festival della Canzone Italiana .

Another common term is musica leggera ("light music"), which was coined at the end of the 19th century from a conservative perspective and included songs, dance music and operetta , analogous to German trivial music . During fascism, the public radio established the term, but the operetta fell out of the definition. The problem with the term is, on the one hand, the strongly derogatory aftertaste and, on the other hand, the fact that many currents within Italian popular music ( Urlatori , Cantautori or punk rocker ) resisted this designation and were thus perceived as counter-movements to musica leggera . In addition, musica d'uso ( consumer music ) and musica di consumo (consumer music) are or were also in use in the academic context . As early as the 1980s, due to these conceptual contradictions, the English term popular music began to be used in isolated cases . Although this was able to establish itself over time, it is only actually in use by a minority. The term musica moderna ("modern music") was also created in parallel (and as a delimitation ).

history

The "beginning" of Italian popular music, Santa Lucia (sung by Tino Rossi )

Italian popular music is generally believed to have its origins in the mid- 19th century . The starting point is the publication of the song Santa Lucia by Teodoro Cottrau and Enrico Cossovich : even if it was basically the translation of a barcarole from the Neapolitan , the song is considered the first attempt to follow the tradition of “upscale” music (musica colta ) to harmonize melodically as well as lyrically with the tradition of folk music . Unlike in France , where the roots of vaudeville lie in the chanson of the 16th century , or in German-speaking countries, where music and poetry came together in the art song , in Italy there was a clear separation between compositions of high-quality music ( e.g. romances or Operettas ) and the songs from folk music held in dialect. Local musical traditions found it very difficult to leave their narrowly limited area of ​​distribution; This was best achieved by the Neapolitan folk music and partly by the Roman and Milanese. It was not until 1900 , also under the influence of the French café concert , that this strict separation of musical styles slowly dissolved, a development that can finally be regarded as complete with the end of the First World War .

Folk music before Italian unification

The major Italian regions (Upper, Central and Southern Italy with islands)

Folk music research has identified a number of different traditions on the Italian peninsula, which can be roughly divided into two groups: on the one hand the "Gallic-Italic" (gallo-italica) tradition of northern Italy , which is clearly under French influence and based on syllabic and narrative singing Builds texts; on the other hand the tradition of central and southern Italy , which is characterized by melismatic singing and lyrical, descriptive texts.

The oldest surviving folk song from northern Italy is La donna lombarda , which, according to the historian Costantino Nigra, dates from the 5th century and which is probably related to the Lombard queen Rosamunde . The first traces of the central and southern Italian tradition, on the other hand, can be found in the 12th and 13th centuries with La ienti de Sion , a Jewish-Italian elegy , which was usually intoned during the fasting day of Tischa beAv and which probably originates from the Marches ; on the other hand with Turiddu, chi si 'beddu, chi si' duci , a punch that probably goes back to a bailiff singer (cantastorie) and was first recorded in Partinico .

Within the individual traditions, the Trallalero Liguria , the narrative chants from the border area between France and the Aosta Valley , the songs about individual historical personalities or events from Piedmont and Lombardy , the so-called Villotte des Triveneto , or the Emilian folk songs can be found in Northern Italy the traditions of the Po Valley . In central Italy was impromptu poetry like the Stornello important in different variants in Tuscany (as rispetto ) in Umbria and in the Abruzzo (as canzune or canzune suspette occurred), but also songs in punching , choral singing il in (from the Area of Monte Amiata , resembling the Ligurian Trallalero ) and the polyphonic Vatocco of the Marche, Umbria and Abruzzo. In the south, finally, traditions as diverse as the Saltarello dance from lower Lazio , which went over to the tarantella in Campania and Apulia and the pizzica in Salento , peasant songs from Basilicata and Calabria , or songs by the Sicilian carters; important was also the musical diversity of Sardinia , by the Tenores Barbagias on Tasgia of Gallura to the Muttos , the Muttettos and Mattorina enough.

The Neapolitan folk music

Salvatore Di Giacomo , one of the most important poets of the Neapolitan song

One of the earliest examples of traditional Neapolitan chant is the Canto delle lavandaie del Vomero , an early form of the Villanelle (also canto agreste , "rural chant") from the 13th century. Renowned composers such as Orlando di Lasso , Claudio Monteverdi and Giulio Caccini also dealt with this polyphonic form of composition ; only later did it approach folk music, taking formal and stylistic borrowings from the opera buffa of the 18th century and including wind and percussion instruments as accompaniment. The other formative influence of the southern Italian musical tradition was the tarantella, which probably originated in Apulia in the middle of the 17th century and became particularly popular in Naples in the 18th century .

The Neapolitan folk music in the form known today did not develop until the 19th century, thanks also to the work of Guglielmo Cottrau , who collected and wrote down traditional melodies (including Michelemmà , Cicerenella or 'O guarracino ). Between 1835 and 1839 the final development of the Neapolitan song took place on the basis of Te voglio bene assaje , with a text by Raffaele Sacco and music ascribed to Gaetano Donizetti : It became a bestseller with over 180,000 sheet music sold and was also widely used in other ways. This song was also the occasion for the traditional Festa di Piedigrotta , a folk festival at which the new songs of the year were presented from now on. Over the years, the festival developed into a music competition and, after a short break from 1861 to 1876, launched successful titles such as Funiculì, Funiculà , 'E spingule francese or ' O sole mio , as well as their most important authors and composers such as Francesco Paolo Tosti , Salvatore Di Giacomo , Mario Pasquale Costa , Salvatore Gambardella , Libero Bovio , Ernesto Murolo , Giovanni Capurro and Eduardo Di Capua .

Roman folk music

Giggi Zanazzo , the "father" of the Roman song

The first traces of Roman folk music date from the 13th century, with the song Sonetto (also known as Bella quanno te fece mamma tua ), which later became popularly eponymous for the Roman musical tradition. According to the composer Alessandro Parisotti, the melodic characteristics of these songs have remained practically unchanged over the centuries.

The year 1890 is widely considered to be the year of the birth of modern Roman song, with the publication of the song Feste di maggio (with a text by Giggi Zanazzo , the "father" of modern Roman song, and music by Antonio Cosattini) for a beauty contest in Rome on the occasion of the 20th anniversary of the capital city status. The success of the title aroused the interest of the Roman art scene, whereupon the publishers Pietro Cristiano and Edoardo Perino initiated the first music competitions for Roman songs in 1891. The competition tradition quickly gained a foothold here and was linked to the celebrations for St. John's Day ; it lasted until the outbreak of World War II .

From the 19th century to the First World War

The development of the Italian song took place in different lines in the 19th century, both in the upscale and in the dialectal forms of folk music. For example, the great popularity of opera in almost all strata of the population meant that the most famous arias (mostly in Italian) were literally on everyone's lips. Romance emerged from this fashion , a musical form from opera that could also be sung purely as a soloist and was shaped by composers such as Francesco Paolo Tosti , Ruggero Leoncavallo , Salvatore Gambardella , Luigi Denza and Michele Costa . Romance was also a witness to the increasing exchange between upscale and folk music, in which the old folk music tradition was brought into line with melodrama and romance. The success of some of these works can also be traced back to the development of the first recording techniques (first using the phonograph cylinder and then using the shellac record ), which enabled a real music market to emerge, with Enrico Caruso as one of the first stars.

Vincenzo Di Chiara (1906): La spagnola (sung by Beniamino Gigli , with orchestra)

At the same time, following the French model, café concerts or café chantants spread in the most important urban centers of the Italian peninsula ( Naples , Rome , Trieste , Turin and Milan ): While the French and Austrian influence was strong in the north, the music venues in the south allowed the diffusion of the most popular folk songs, especially the Neapolitan ones. In contrast to the foreign models, where a certain balance between entertainment and taste was maintained, the events in these places in Italy mainly focused on revealing, feminine beauty, ambiguity and provocation. In connection with this, the song 'A cammesella' was written in Naples in 1875 , an adaptation of an old Neapolitan nursery rhyme , which is about a chaste-reluctant wife on the wedding night, peppered with striptease elements; A few years later, the singers Maria Borsa and Maria Campi in Rome shaped the Mossa , an obscene dance movement, based on this.

The turbulent political events of the 19th century, from the Risorgimento movements to the later socialist , anarchist and nationalist movements , also played a role in the development and spread of Italian music . In music, the dualism between sophisticated songs, with selected texts, literary references and slightly melodramatic rhetoric, and the popular repertoire with direct and clear content remained. Interestingly, both the nationalist-patriotic and the socialist chants tended to use the former category, with the effect that they were barely understandable for large sections of the population. In contrast, relatively simple texts such as Garibaldi fu ferito or La bella Gigogin (in the Risorgimento) or Bandiera rossa at the end of the 19th century were more successful.

Mamma mia, dammi cento lire (che in America voglio andar) (version for synthesizer and vocals)
Quel mazzolin di fiori ( a cappella version of the Coro ICAM)
La tradotta che parte da Torino (a cappella version of the Coro ICAM)

In the years from the Italian unification to the first decade of the 20th century, two events left lasting traces in the development of popular music: On the one hand, the emigration of millions of Italians abroad (especially from Triveneto to America), which was reflected in songs as found Trenta giorni di nave a vapore and Mamma mia, dammi cento lire (che in America voglio andar) , with texts on the pain of emigration; on the other hand the colonial wars, which produced a series of songs that glorified the war or commemorate the fallen soldiers ( Canto dei soldati italiani in Africa , La partenza per l'Africa , Ai caduti di Saati e Dogali ). Especially the songs about the Tripoli War , best known A Tripoli , enjoyed great popularity in Italian café concerts .

Even the outbreak of World War I did not change the duality of the songs already described: While patriotic songs such as La canzone del Piave shone with heated texts full of artistically chosen literary references, life in the trenches and the soldiers' remoteness in dialectal texts became stronger regional Embossing recorded, for example 'O surdato' nnammurato or Regazzine, vi prego ascoltare . In the course of the war, the Italian language began to establish itself in the songs, even if it was still colloquial and dialectal: Examples are the song of the Alpini Quel mazzolin di fiori and La tradotta che parte da Torino (later known as La tradotta che parte da Novara ) or protest songs against war and military command like O Gorizia, do be maledetta .

From the end of the war to the end of the 1920s

Even before the First World War, the popularity of dance and rose Tabarin mentioned nightspots . After the war, this fashion spread rapidly, despite the intensive attempts by the Catholic Church to prevent such indecent violations of custom and morality. With tango , Charleston , foxtrot , rumba , ragtime and jazz , new sounds and rhythms reached Italy, also as a result of the stationing of allied American troops, while the Roman Liscio , a light ballroom dance to shallow dance music, by Carlo Brighi and later spread Secondo Casadei .

On the stages of Tabarins the first Italian popular singer as established Armando Gill (with Come pioveva ) which femmefatale Anna Fougez , the "ironic Gentleman" with tails, cylinders and baritone Gino Franzi and its small civil counterpart, the canzone-feuilletton the Brothers Gabrè and Miscel . At the same time, the Sceneggiata developed in Neapolitan folk music , with entire stage plays being staged based on a song. With this, the Neapolitan folk music experienced a new heyday, which was to last until the outbreak of the Second World War , and the Roman song also experienced an upswing.

Radio was broadcast in Italy at about the same time as the rise of fascism . On October 6, 1924, the state-run Radio Unione radiofonica italiana (later Ente Italiano per le Audizioni Radiofoniche , EIAR for short ) went on air for the first time. It soon became one of the most important channels for popular music, also thanks to the support of the fascist regime. However, the state broadcasts were often marked by censorship , with foreign names Italianized ( Louis Armstrong became Luigi Braccioforte or Benny Goodman became Beniamino Buonuomo ) or songs that allegedly violate public order or attack political or religious authorities were banned.

Music, be it operatic or popular, made up the majority of radio broadcasts, as the regime recognized its importance for the transport of mass messages: Fascist hymns and songs ( Giovinezza , Inno degli studenti , Canto delle donne fasciste ) were played, but also lighter ones Traditional songs with folk lyrics ( Mille lire al mese , I milioni della lotteria ) or subliminal propaganda for the population growth forced by the regime ( Signorine, sposatevi; C'è una casetta piccola ), which musically did not differ from pure entertainment music.

The 1930s and 1940s

In 1930 the first Italian sound film La canzone dell'amore by Gennaro Righelli was released : The title song Solo per te Lucia was the first song to find its way into an Italian soundtrack . In the course of the 1930s and 1940s, two approaches to this connection between film and music emerged: on the one hand, the traditional one, mostly with opera singers who were active as actors, and on the other, the more modern, where film stars tried each other as singers. An early example of the latter is Vittorio De Sica's vocal performance in Gli uomini, che mascalzoni… from 1932, which helped both him and the interpreted songparli d'amore Mariù to great success.

The radio (here an Italian Telefunken model from 1937) was an important channel for the distribution of music

In addition, the large orchestras and big bands emerged in the 1930s , especially the EIAR radio orchestra (1933), and swing found its way into the radios and dance halls, which was the first time that traditional Italian song and “modern” music collided: Carlo Buti was the main representative of the traditional direction, which in terms of content played off the calm of country life against the hustle and bustle of the city ( Reginella campagnola , Se vuoi goder la vita ); the swing, however, was performed by Natalino Otto ( Mamma… voglio anch'io la fidanzata , Ho un sassolino nella scarpa ), Alberto Rabagliati ( Mattinata fiorentina , Ba-ba-baciami piccina ), Luciana Dolliver ( Bambina innamorata , Sono tre parole , Un ' ora sola ti vorrei ) and the Trio Lescano ( Arriva Tazio , Maramao perché was morto? , Ma le gambe , Pippo non lo sa ) addressed, as well as by the songwriters Alfredo Bracchi and Giovanni D'Anzi ( non dimenticar le mie parole , No , l'amore no ) and Vittorio Mascheroni ( Bombolo , Fiorin fiorello ). The contrast was also noticeable in the orchestras, especially between Pippo Barzizza , who relied on brass band music, and Cinico Angelini , who pursued more classical melodies.

Even if often dismissed as harmless and as an escape from reality, it became clear in popular music that political songs could not hold their own against emotional and humorous songs and that even the fascist regime was at the mercy of mass taste without significantly influencing the creativity of the songwriters or the performers can. In fact, some of these supposedly harmless songs were openly directed against parts of the regime: Bombolo , an unflattering term for a small, plump man, is supposed to be dedicated to Guido Buffarini-Guidi , the refrain of Maramao perché is morto? defaced the monument erected in Livorno in 1939 for the late Costanzo Ciano , and a reference to Achille Starace was seen in Pippo non lo sa .

At the end of the 1930s, other important dialectal songs of the Neapolitan ( Signorinella , Napule ca se ne va ), Roman ( Quanto sei bella Roma , Chitarra romana ) and Milanese folk music ( La Balilla , Porta Romana ), as well as songs that deal with the Abyssinian War and fascist colonialism, in particular the battle song Faccetta nera , the text of which had to be changed several times under pressure from the government, as the original version allegedly portrayed the Abyssinians too positively. In 1938 and 1939 two successful national singing competitions took place, for which over 2,500 participants registered in the first and almost 3,000 participants in the second year; the 14 winners were given the opportunity to appear on public radio with the Orchestra Cetra by Pippo Barzizza.

The tenor Beniamino Gigli

With Italy's entry into the war, restrictions and bans on music, dance and revue theater increased, in particular due to the exclusion of Jewish songwriters (as a result of the Italian race laws ) and the total ban on jazz and American music as a whole, which, however, affected the music business in the country did not stop. Ironically, in the first years of the war two of the greatest successes of the 1940s appeared: Mamma , who Beniamino Gigli sang in the film of the same name in 1941, and Voglio vivere so, sung by Ferruccio Tagliavini in 1942 in the film of the same name by Mario Mattoli . In 1940 the vocal group Quartetto Cetra was founded, which had its big breakthrough in 1947.

After the fall of fascism in 1943, the Resistancea took up singing as a traditional form of communication for the socially disadvantaged classes and the strong connection between partisan chants and songs from folk music became clear. This was evident both in the locally limited ( Bella ciao , La daré d 'cola montagna , Il fiore di Teresina ) and in the songs still from the Risorgimento or the First World War ( Sul ponte di Perati ), in the songs of the workers' organizations and the revolutionaries ( Fischia il vento ) as well as in the currently successful and in parodies of fascist songs ( Badoglieide ).

The end of the war finally led to an invasion by jazz, boogie-woogie , rumba, and samba , to a strong French influence (by Yves Montand , Édith Piaf , Juliette Gréco ) and to a lack of material for the production of shellac records. With that, Italian music production came to an abrupt end. Despite the great success of In cerca di te (1945), which summarized the living conditions of many Italians at the end of the war, popular music initially disappeared from the national focus and withdrew to the regional level: Examples of songs from that time are Dove sta Zazà? by Raffaele Cutolo and Giuseppe Cioffi, Tammurriata nera by EA Mario and Edoardo Nicolardi, Munasterio 'e Santa Chiara by Michele Galdieri and Alberto Barberis or Vecchia Roma by Mario Ruccione and Luciano Luigi Martelli (the latter contributed to the success of Claudio Villa in the 1950s at).

The 1950s and the emergence of the great festivals

Starting from 1947 there were first attempts to launch new talents through singing contests to revive the ailing music market again, and on 29 January 1951, the kick-off for the Italian music festival in the modern form: In urban Casino Sanremo was the first edition of Festival della Canzone Italiana . It was broadcast live on public radio, moderated by Nunzio Filogamo , and had three participants ( Nilla Pizzi , Achille Togliani and the Duo Fasano ) who presented a total of 20 songs. The winner was Nilla Pizzi with Grazie dei fiori , a success that she was able to repeat the following year with Vola colomba , a song about the situation in the Allied occupied city of Trieste ; in addition, she took second and third place in the second year with Papaveri e papere and Una donna prega . The Sanremo Festival also served as a model for the Gran premio Eurovisione della Canzone Europea ( Eurovision Song Contest ), which was held for the first time in 1956 in Lugano .

The Sanremo Festival was also not spared the contrast between the rhetoric of traditional music, which moved in the narrow range of themes of God, home and family ( Vecchio scarpone , Sorrentinella , Berta filava , Il passerotto ) and more modern songs such as Canzone da due soldi (In the version by Katyna Ranieri, with around 120,000 copies sold in a few months, one of the great successes of the 1950s) or the aforementioned Papaveri e papere , whose text today is both a criticism of politicians of the Democrazia Cristiana and of the discrimination against women understood at that time.

Roberto Murolo and Renato Carosone, the stars of Neapolitan folk music Roberto Murolo and Renato Carosone, the stars of Neapolitan folk music
Roberto Murolo and Renato Carosone , the stars of Neapolitan folk music

The Festival di Napoli was founded in Naples as early as 1952 (winners of the first edition were Franco Ricci and again Nilla Pizzi ), but it never came close to the popularity of the Sanremo Festival and was often overshadowed by scandals and polemics. Nevertheless, the Neapolitan song tradition was carried on by various musicians: On the one hand by old master Roberto Murolo ( Anema e core , Luna caprese , ' Na voce,' na chitarra e 'o ppoco' e luna ), who took on the task of preserving the tradition with Sergio Bruni ( Vieneme 'n zuonno , Marechiaro marechiaro ) shared; on the other hand by the “defiler” (dissacratore) Renato Carosone and his band (originally only with Gegè Di Giacomo on drums and Peter Van Wood on guitar, later a sextet). In collaboration with lyricist Nisa, Carosone had a breakthrough in 1956 with Tu vuò fà l'americano , other of his successes were Torero , ' O sarracino , Caravan petrol as well as reinterpretations of other songs such as Chella llà by Aurelio Fierro , which is the so-called "boastful" song (canzone smargiasse) , characterized by humor and musical ease.

Claudio Villa , the "little king" of the Italian song (middle; here at the Festa di Piedigrotta in 1962 , with Mario Trevi , left)

The bridge between the regional Neapolitan and the all-Italian music was built by Claudio Villa , whose career began around 1952: Soon referred to as the "little king" ( reuccio ) of the Italian song, he won the Sanremo Festival four times in a short time, once that Festival di Napoli , celebrated great sales successes, performed internationally and remained the main representative of the gradually obsolete “melodious” Italian song (canzone melodica) in later years . Villa also made frequent negative headlines with his often arrogant behavior in public, and twice had to endure downright filthy media campaigns (with Pier Paolo Pasolini finally stepping in his defense).

In the 1950s, musical comedy also established itself , starting from the revue theaters . The main representatives at that time were the playwrights Garinei and Giovannini as well as the composers Gorni Kramer and Armando Trovajoli , who helped new actors and singers such as Delia Scala , Isa Barzizza , Gianni Agus , Tina De Mola , Elena Giusti , Carlo Dapporto and Renato Rascel to success ( the latter in particular had a number of successes as a singer, including the song Arrivederci Roma ).

Simultaneously with the boom in the theater, the public's interest in night clubs increased again. There new singers were launched who were clearly based on role models from overseas: in addition to Renato Carosone, for example, Peppino di Capri , who combined the reinterpretation of Neapolitan folk music with rock influences ( St. Tropez Twist , Nun è peccato ), Fred Buscaglione , the excessive American friendliness and ironized prevailing machism and musically revalued swing ( Che bambola ! , Teresa non sparare , Eri piccola così ) or entertainers between jazz and sentimentality such as Nicola Arigliano , Bruno Martino or Fred Bongusto .

The newly launched television (1954 in Italy), along with records and jukeboxes, also contributed to the revolution in music: from 1955 , the Sanremo Festival was broadcast live on television in addition to radio transmission, and in 1957 there was the first real music show on Italian television , Il Musichiere (the theme song Domenica è semper domenica came from Garinei and Giovannini and Gorni Kramer). After the success of this first attempt, a long series of music programs followed, including Studio Uno and Canzonissima .

In contrast to the interwar period and despite the efforts of some innovators, the 50s remained musically melodic: The people's desire for peace and security led to music that was free of ideology and rhetoric, aimed at forgetting the war and promoting reconstruction. On the other hand, popular music was still in the hands of the state, which controlled the market through public broadcasting and the state record company Cetra ; Outside of these given structures, very few were able to assert themselves successfully, such as the record companies Fonit (specialized in Natalino Otto's jazz until the forced merger with Cetra in 1958) and Compagnia Generale del Disco (founded by Teddy Reno ; one of the artists was found another jazz musician, Lelio Luttazzi ). This situation was also noticeable in the Sanremo Festival, with the establishment of the cliché of melodious and sentimental songs, which usually led to the elimination of more unconventional contributions (if the censorship did not intervene beforehand to prevent “immoral” content).

It was not until the end of the decade that the first signs of musical upheaval began to appear: On May 18, 1957, the first Italian rock 'n' roll festival was held in Milan , at which not only Adriano Celentano made public appearances for the first time , but also one whole range of rock musicians and so-called " screamers " (urlatori) , Tony Renis , Little Tony , Betty Curtis , Tony Dallara , Clem Sacco and Ghigo Agosti . In 1957, Dallara published Come prima, a veritable hymn of the Urlatori, and Urlatore Domenico Modugno , alongside Johnny Dorelli, achieved the overwhelming victory at the Sanremo Festival in 1958 with the subsequent global success Nel blu dipinto di blu (an estimated 22 million records sold). In 1958 the record company Dischi Ricordi was founded , whose first release was the single Ciao ti dirò by Giorgio Gaber and which, along with RCA Italiana, was to become one of the most important labels on the Italian music market. On the television show Lascia o raddoppia? In 1959 Mina also became famous for her aggressive musical style and was able to celebrate a number of successes based on this, such as Nessuno , Tintarella di luna or Una zebra a pois .

The 1960s between continuity and revolution

With the emergence of the Urlatori and the musical rebels, the film genre of the Musicarello also changed (musical comedies that mostly revolve around a specific song): The originally thoroughly melodic title songs (as in the films with Claudio Villa and Luciano Tajoli or in Carosello napoletano ) went through a musical revolution and were now marked by an unprecedented aggressiveness, for example in the three films I ragazzi del juke-box , Urlatori alla sbarra and I Teddy boys della canzone (from 1959 and 1960). Neither was spared swipes at Rai , Democrazia Cristiana and the music industry, nor with explicit sexual innuendos.

While the musical comedies had continued success in the theater, for example Rugantino (by Garinei and Giovannini and Armando Trovajoli; with well-known performers such as Aldo Fabrizi , Nino Manfredi , Toni Ucci , Bice Valori and Lea Massari , who was later replaced by Ornella Vanoni ), Rinaldo in campo (with Domenico Modugno as protagonist and composer) or Aggiungi un posto a tavola (with Johnny Dorelli ), the musicarelli reached their climax in the cinema with the films by Ettore Maria Fizzarotti : shot in the shortest possible time, with an extremely low budget and extremely simple actions, the flick achieved overwhelming box office results. The success was mainly due to the popularity of the singers, who were the protagonists of the films ( Gianni Morandi , Bobby Solo , Caterina Caselli , Gigliola Cinquetti , Al Bano & Romina Power , Rocky Roberts ), and their hits (mostly also giving the films their names ) ).

In the mid-1960s, a new contrast became clear in Italian popular music: the one between the multitude of new, young singers, be it lively like Gianni Morandi and Rita Pavone or melodious like Gigliola Cinquetti , Al Bano , Orietta Berti and Massimo Ranieri , and from England over geschwappten Beat wave , on the one hand in the "girls to Piper Club " in Rome, Caterina Caselli and Patty Pravo , manifested, for others in the formative bands of the time ( Equipe 84 , the Roke , Camaleonti , I Corvi , Nomadi , I Giganti , Dik Dik , Alunni del Sole ).

In addition to the already established Urlatori, more and more styles emerged: They began to experiment with new formats, and artist groups such as the Cantacronache and the Nuovo Canzoniere Italiano tried to find realism in music, while others turned to "intellectual" songs tried (there were attempts by Pier Paolo Pasolini , Giorgio Strehler , Paolo Poli , Laura Betti , Mario Soldati , Ennio Flaiano , Alberto Moravia or Alberto Arbasino ). In the Genoese school of Cantautori ( songwriters ), nonconformist and existentialist musicians such as Umberto Bindi , Gino Paoli , Bruno Lauzi , Luigi Tenco , Fabrizio De André and Sergio Endrigo gathered , while in Milan an ironic and surrealist music scene emerged, with Dario Fo , Giorgio Gaber , Enzo Jannacci , I Gufi , Nanni Svampa and Cochi e Renato . The poet Piero Ciampi found his audience as well as the great singers Ornella Vanoni , Milva and Iva Zanicchi and representatives of the Roman school such as Edoardo Vianello , Gianni Meccia and Nico Fidenco . In 1966 the successful beat band Pooh made their debut , which had their breakthrough in 1968 with Piccola Katy , and the band Ricchi e Poveri was launched at the Cantagiro singing competition in 1968 .

The change in the music scene did not leave radio and television broadcasts as well as the music competitions untouched: in 1962 the already mentioned Cantagiro began, a competition that went through the whole country and subjected the participants to the decisions of the regionally changing juries, as well as the The Festival di Castrocaro newcomer competition, initiated in 1957 , has been upgraded. In 1964 Un disco per l'estate started , from which particularly easily digestible music emerged (such as Mino Reitano , Los Marcellos Ferial or Jimmy Fontana ), as well as a festival bar , where the audience could vote directly. Between 1965 and 1966, the music programs of Renzo Arbore and Gianni Boncompagni went on the radio, Bandiera gialla and Per voi giovani .

Due to the great musical diversity of the decade, the Sanremo Festival experienced a heyday in the 1960s, with countless well-known foreign guests and participants as well as great sales successes for both the individual participant contributions and the annual festival compilation . On the festival stage, mostly melodic songs prevailed against aggressive songs influenced by rock: prime examples of this are the two victories of Gigliola Cinquetti , who won in 1964 with Non ho l'età (a success that she was able to repeat at the Eurovision Grand Prix ) and in 1966 with Dio, come ti amo , together with Domenico Modugno - but broken by the victory of the "Italian Elvis " Bobby Solo at the 1965 festival with Se piangi, se ridi . On the record market, more peppy songs like Il ragazzo della via Gluck by Adriano Celentano or Nessuno mi può giudicare by Caterina Caselli were able to prevail against the winning songs of the festival.

The year 1967 turned out to be formative for Italian popular music. Lucio Battisti and Mogol began their long-term collaboration, which found its first expression in September 29 , first interpreted by Equipe 84 . The ideas of the youth movements found their way onto the stage of the Sanremo Festival, if only in a very harmless form: Gianni Pettenati proclaimed a future without wars in La rivoluzione , and I Giganti also propagated pacifist ideals in Proposta . But caused a stir at the festival in 1967 , especially the suicide of Luigi Tenco after leaving his song Ciao amore, ciao from the competition (compare "The 'trauma' Luigi Tenco" ). In addition, at a protest concert against the Vietnam War , Francesco Guccini and the Nomadi faced insults from the audience because they were accused of having become part of the system.

The musical revolution of the Beatwelle and the euphoria of the Italian economic miracle came to an end: After the bomb attack on Piazza Fontana and the death of Giuseppe Pinelli in 1969, the musical search for youthful carelessness that had shaped the past decade left the field of a much darker rock music, the expression of The fears should become a generation that never stopped asking critical questions.

The 1970s

In the 1970s, music production became more adventurous and was no longer limited to classical records and concerts on stage. The decade was marked by the effects of the youth protests, the 1968 movement and the extremist riots during the leaden years : Singers who were close to the student and labor movements such as Ivan Della Mea , Michele Straniero , Gualtiero Bertelli , Pino Masi , Giovanna Marini , Paolo Pietrangeli or Sergio Liberovici (many of them formerly or still part of the Nuovo Canzoniere Italiano group ) fueled the protest against the system, while an alternative music of the political right emerged in the Campi Hobbit , cultural events of the youth organization of the neo-fascist Movimento Sociale Italiano Inclusion of Nordic and Celtic mythology and shaped by neo-fascist revisionism : representatives were Leo Valeriano , Massimo Morsello , the Amici del Vento and the Compagnia dell'Anello .

By the hardening of political discourse, many of the cantautori now saw strong opposition to: Representatives from the Genoese school, which only a few years earlier were still as the champion of a music which otherwise was noble and revolutionary, were now as tentative and civil chansonniers considered who sang about the moon and followed the beat of the heart. Public appearances became a daring undertaking for most of them. The climax of these clashes came in 1975, when Lou Reed's two concerts in Rome and Milan had to be interrupted, and on April 2, 1976, when Francesco De Gregori was harassed at a concert in Milan by left-wing demonstrators who paid him his high salary and accused the labor movement of lacking financial support.

The only significant representatives of the Cantautori who were spared the whistles of the audience to some extent were Fabrizio De André and Lucio Battisti , the poet and the musician, the intellectual and the bon sauvage , the "oracle of the left and the figure of identification of the right". However, the two were fundamentally different, be it in musical terms (with De André initially simple, then more and more experimental and pompous; with Battisti initially elaborately arranged, with guitar, winds, harpsichord and strings, then more and more minimalist), be it with regard to their concert activities ( Battisti stopped giving concerts in 1970, while De André only started concerts in 1975). In addition, Francesco Guccini was able to assert himself with his direct and passionate poetry, who never considered himself a “political” cantautore, but was undoubtedly strongly influenced by political songs and the cantacronache (this is proven by songs like La locomotiva or Primavera di Praga about Prague Spring 1968).

It was not until the middle of the decade that the Cantautori were able to evade politicization, sometimes harshly criticizing real socialism . Giorgio Gaber , who had abandoned the image of the "light" musician in the early 1970s and experimented with "Liedtheater" ( teatro canzone ) together with Sandro Luporini , starting in 1970 with Il signor G , attacked the movement amid public protests in the Plays Libertà obbligatoria and Polli d'allevamento (especially with the song Quando è moda è moda ). In 1976 Roberto Vecchioni wrote the song Vaudeville (ultimo mondo cannibale) , in which he addressed the incident with De Gregori in Milan and caricatured the left-wing demonstrators; Guccini followed suit in 1974 in Canzone delle osterie di fuori porta and in 1978 in Eskimo . The whole thing turned out to be an awakening from a dream that had turned into a nightmare for many artists who had initially flirted with politics and protest movements in good faith, but then found themselves harassed by it.

In addition, there was also a decidedly apolitical scene by Cantautori, including names as diverse as Lucio Dalla , who, after years of failures , made the breakthrough with 4/3/1943 (1971) and Piazza Grande (1972) and a very successful tour towards the end of the decade made together with Francesco De Gregori; the eccentric, jazzy pianist Paolo Conte ; the multi-talented musician Ivano Fossati , who first appeared with the progressive rock band Delirium and later as a soloist; or the Sicilian Franco Battiato , known for his texts full of metaphors and cross-references. However, these four different artists had a few things in common, for example that they were virtually born into music, that they had developed from interpreter to author only late (Dalla, Conte, Fossati), as well as a passion for travel and exoticism (Conte, Battiato , Fossati) and especially the ability to discover and promote new musical talents (Dalla discovered Ron , Luca Carboni and Samuele Bersani , Battiato Alice and Giuni Russo , Fossati wrote songs for Patty Pravo , Mia Martini , Loredana Bertè , Anna Oxa or Fiorella Mannoia ).

Italian progressive rock also developed in the 1970s : the polarizing bands Premiata Forneria Marconi and Banco del Mutuo Soccorso established themselves as the most important representatives , in whose slipstream groups such as New Trolls , Le Orme , I Califfi , Formula 3 , Area , Stormy Six , Matia Bazar and, towards the end of the decade, Gaznevada and Skiantos spread. Eugenio Finardi , Ivan Graziani , and Gianna Nannini , who caused a stir on their debut album with topics such as abortion and masturbation , could be placed somewhere between prog rock and cantautori .

In Rome, a new music scene with the aforementioned Francesco De Gregori, Antonello Venditti , Ernesto Bassignano and Giorgio Lo Cascio emerged around the local folk studio of the producer Giancarlo Cesaroni , to which Mimmo Locasciulli and Rino Gaetano later joined . Venditti and De Gregori released the joint album Theorius Campus in 1972 before going their own way: the former revived Roman folk music with songs about his hometown Rome (the young Franco Califano also contributed to this ); The latter, on the other hand, had his breakthrough in 1975 with the album Rimmel , which made him one of the great Cantautori. At RCA, on the other hand, the focus was increasingly on new "romantic" music with Claudio Baglioni (successes such as Questo piccolo grande amore , Amore bello , E tu ... or Sabato pomeriggio ), Riccardo Cocciante , Gianni Togni and also the nonconformist Renato Zero .

The sisters Mia Martini and Loredana Bertè (the former with early successes such as Piccolo uomo and Minuetto , the latter at the end of the decade with E la luna bussò ) and Nada , who won the Sanremo Festival, held a special position in the 1970s 1971 (with Nicola Di Bari ) surprised with the album Ho deciso che esisto anch'io and then ventured into the theater ( Il diario di Anna Frank by Giulio Bosetti and L'opera dello sghignazzo by Dario Fo ), on the other hand Roberto Vecchioni , a high school teacher for ancient languages ​​who drew attention to himself with songs like Luci a San Siro or L'uomo che si gioca il cielo a dadi (presented at the Sanremo Festival 1973 ) and made a name for himself in 1977 with the album Samarcanda .

Percussionist Tullio De Piscopo (left) with his Neapolitan music colleague Tony Esposito (1982)

Movement also came into the dialectal music scene with Angelo Branduardi , the Nuova Compagnia di Canto Popolare , the Canzoniere del Lazio , Gabriella Ferri , Dino Sarti , Raoul Casadei and Maria Carta . Meanwhile, people in Naples tried new sounds: with the jazz by James Senese , the R&B and funk by Enzo Avitabile , the percussion by Tullio De Piscopo , the fusion of blues and folk music with Pino Daniele , the mixture of folk , jazz and rock with Teresa De Sio , the non-conformist rock by Eugenio Bennato , the prog rock by Osanna and Napoli Centrale , as well as the revival of the Neapolitan Sceneggiata of the 20s by Pino Mauro , Mario Trevi and especially Mario Merola .

The 1980s

In 1980 both disco music and cantautori were in a crisis, as a result of which the record market suffered serious losses, which were soon lost due to the increased use of festivals (especially Sanremo) as marketing platforms and the emergence of the Walkman and new sound carrier formats (first the music cassette , then the CD ) could be balanced.

Vasco Rossi (1991)

The 1980s brought the return of two stars from earlier times , Gino Paoli and Gianni Morandi , as well as a stylistic change at the Cantautori, which Eugenio Finardi had already demonstrated, more strongly influenced by rock and with coarser and more spontaneous lyrics, romantically kitschy tones avoiding. Gianna Nannini (who was able to continue her success with songs such as Fotoromanza and Bello e impossibile ), Vasco Rossi (who made the breakthrough with Vita spericolata , first presented at the Sanremo Festival in 1983 ) and Zucchero (who initially Joe Cocker ) went in this direction and then developed into a successful blues musician, heard for the first time in collaboration with Gino Paoli in Come il sole all'improvviso and the album Oro, incenso e birra ). In addition, there was the punk scene with Donatella Rettore ( Splendido splendente , Kobra or Donatella ), Ivan Cattaneo ( Polisex ), Alberto Camerini ( Rock 'n' roll robot , Tanz bambolina ), Decibel ( Contessa ), Kaos Rock and Kandeggina Gang as well as representatives of the New wave movements like Litfiba , Gang and CCCP - Fedeli alla linea ein . With Death SS was an Italian metal scene, arrived in the underground with Kirlian Camera and Dark Wave on.

Eros Ramazzotti at a young age

In the 1980s, pop music in the narrower sense also caught on, especially thanks to the success of Eros Ramazzotti (winner in the newcomer category of the Sanremo festival in 1984 with Terra promessa and then in the main category of the festival in 1986 with Adesso tu ), the return of Mia Martini with Almeno tu nell'universo , Fiorella Mannoia , the solo career of Enrico Ruggeri as well as a multitude of new “easy” singers such as Amedeo Minghi , Mietta , Paola Turci , Toto Cutugno , Pupo , Anna Oxa , Alice , Marcella Bella , Mango , Fausto Leali , Eduardo De Crescenzo , Marco Ferradini , Fabio Concato , Viola Valentino , Luca Barbarossa and Mariella Nava .

There was particularly much musical activity in Bologna during this decade , where Ron ( Una città per cantare ), the band Stadio ( Chiedi chi erano i Beatles ) and Luca Carboni (initially a songwriter for Ron and Stadio, debut as a soloist in 1984 with… intanto Dustin Hoffman non sbaglia un film ), folk-heavy Cantautori like Pierangelo Bertoli and Claudio Lolli , and the “Bolognese by choice” Biagio Antonacci and the young Samuele Bersani also attracted attention.

Short- lived Italo disco groups such as Righeira with Vamos a la playa or Gruppo Italiano with Tropicana also had success . Jovanotti brought rap to Italian music for the first time with his first album Jovanotti for President and the dance was further developed by groups such as 49ers and Black Box .

The 1990s and the supremacy of pop

The end of the 20th century brought an adaptation of Italian music to international pop, as a result of which, on the one hand, Italian musicians increasingly ventured beyond national borders, but on the other hand, characteristic features of Italian song made way for international standards; even the canzone d'autore was not sure of this adaptation and was increasingly being adapted to pop: examples of this were the successes of Attenti al lupo by Lucio Dalla , Benvenuti in Paradiso by Antonello Venditti and Viva la mamma by Edoardo Bennato . The single charts of the early 90s were characterized by melodious-sentimental and hilarious, uncritical songs. The protagonists of this scene were Riccardo Cocciante , Amedeo Minghi , Mietta , Francesca Alotta , Aleandro Baldi , Marco Masini , Paolo Vallesi , Luca Carboni , Biagio Antonacci , Francesco Baccini and Ladri di Biciclette , but also the protégés of the DJ and producer Claudio Cecchetto , namely Jovanotti and the Duo 883 . The latter in particular (consisting of Max Pezzali and Mauro Repetto ) stood for a further development of Italian music to pop, even if it was mainly successful with a young audience.

In particular, some female singers achieved outstanding importance in the 1990s, for example Laura Pausini , who won the newcomer category of the Sanremo Festival in 1993 with La solitudine , followed by a third place with Strani amori in the main category of the 1994 festival , and theirs following career made her famous far beyond Italy's borders (especially in Latin America ), or Giorgia , who won the Sanremo Festival with Come saprei in 1995 , and later worked with a number of well-known artists ( Pino Daniele , Luciano Pavarotti , Lionel Richie , Herbie Hancock ) and ventured into black music in the new millennium . Other successful singers of the 90s were Irene Grandi , Marina Rei , Ivana Spagna , Tosca (on the side of Ron, winner of the Sanremo Festival 1996 ) and on the side of the Cantautrici Cristina Donà and Ginevra Di Marco as well as Elisa , who had their careers Songs in English began on the album Pipes & Flowers until she won Luce (tramonti a nord est) in Sanremo in 2001 with her first Italian song .

From the middle of the decade, a new generation of Cantautori established itself, with Massimo Di Cataldo , Alex Britti , Niccolò Fabi , Max Gazzè , Carmen Consoli , Vinicio Capossela , Samuele Bersani and Daniele Silvestri ; in addition, the group Avion Travel attracted attention, first with the Critics' Prize at the Sanremo Festival 1998 and then with the victory at the Festival 2000 with the song Sentimento . Also worth mentioning are Alex Baroni (known for his Sanremo contributions Cambiare and Sei tu o lei (Quello che voglio) ), the tenor Andrea Bocelli (newcomer winner at the 1994 festival with Il mare calmo della sera, followed in 1995 by the international success Con te partirò ) and Davide Van De Sfroos (with a combination of country and dialectal music).

Luciano Ligabue at a concert (1991)

On the rock music side, Luciano Ligabue made his final breakthrough with the album Buon compleanno Elvis , while Litfiba and Consorzio Suonatori Indipendenti were joined by new bands such as Afterhours , Subsonica and Marlene Kuntz . The rock scene experienced a lot of experimentation and ranged from alternative groups like Negrita , Timoria and Üstmamò to punk rock bands like Prozac + to groups shaped by the Cantautori like La Crus , Têtes de Bois , Bluvertigo , Marta sui Tubi and Tiromancino or to folk rock bands like Modena City Ramblers , Banda Bassotti , Bandabardò and Mau Mau . Neofolk groups such as Ataraxia or Camerata Mediolanense also emerged underground .

The first Italian hip-hop scene emerged in the 1990s, initiated in particular by the album Batti il ​​tuo tempo by the Roman crew Onda Rossa Posse , then represented by acts such as Frankie hi-nrg mc , Articolo 31 , Sottotono , 99 Posse , Almamegretta , Neffa and Er Piotta ; Ska and Reggae also established themselves with groups such as Bisca , Sud Sound System , 24 Grana , Pitura Freska and Africa Unite . Italian dance found representatives such as Robert Miles (with his international hits Children, Fable and One and One ) or Alexia , who initially pursued international projects (for example with Ice MC ) and later began a successful solo career.

Gigi D'Alessio (left), main representative of musica neomelodica

Meanwhile , Gigi D'Alessio achieved fame in the Neapolitan music scene with the album Passo dopo passo and the film Annaré and became the main representative of the Neapolitan Neomelodici ("Neomelodiker"). The so-called musica demenziale , satirical music, represented by Francesco Salvi , Giorgio Faletti , David Riondino , Marco Carena , Dario Vergassola and above all by the band Elio e le Storie Tese, which became famous through the Sanremo Festival, enjoyed great popularity in Italy .

The new millennium

With the new millennium, a large number of innovations reached the Italian music scene: On the one hand, electronic music, jazz and also classical music were rediscovered, on the other hand, in addition to the Sanremo Festival (especially the newcomer category), the casting shows (especially Amici di Maria) came De Filippi and X Factor ) as formats for the discovery of new talents, not least an indication of the “victory of the interpreter over the author”, with the shows functioning as a kind of “lottery” for the participating singers.

Amici winner Marco Carta at the 2009 Sanremo Festival

Even in the 2000s, Sanremo remained a springboard for musicians such as Dolcenera , Povia (winner 2006 ), Francesco Renga (former singer of Timoria ; winner 2005 ), Arisa (winner 2014 ), Paolo Meneguzzi , Irene Fornaciari and Sonohra . At the Sanremo Festival 2009 , the victory of Marco Carta (previously winner of the seventh season of Amici ) clearly showed the overlap between the new stages and the traditional festival, which was immediately confirmed in 2010 by the victory of Valerio Scanu (finalist of the eighth Amici season) has been; a development that has been sharply criticized from many quarters. Overall, the festival also saw more and more participation from casting show graduates, such as Karima (Amici finalist 2007), Giusy Ferreri (X-Factor finalist 2008), Noemi (X-Factor 2009), Marco Mengoni (X-Factor winner 2010 , then winner of the 2013 festival ), Emma Marrone (Amici winner 2010 and Sanremo winner 2012 ) or Francesca Michielin (X-Factor winner 2012 and second place at the 2016 festival ).

Nevertheless, there was certainly activity on the part of the Cantautori. Sergio Cammariere (who drew attention to himself in 2003 with the album Dalla pace del mare lontano after winning the critic's award at the Sanremo Festival ), the non-conformist Tricarico (made famous in 2001 by the scandalous number one hit Io sono Francesco and in 2008 ) testify to this also awarded the Critics' Prize in Sanremo), Pacifico (also known for his work in the film sector and his collaborations with Adriano Celentano and Frankie hi-nrg mc ), Simone Cristicchi , who revived the Teatro canzone founded by Giorgio Gaber and won Sanremo in 2007 , Fabrizio Moro (newcomer winner in Sanremo 2007 and winner 2018 ) and L'Aura .

In 2001 Tiziano Ferro had his breakthrough in melodic pop with the R&B- influenced title Perdono , which initiated an enormously successful career even beyond the country's borders; also Anna Tatangelo made with her victory in the newcomer category of the Sanremo Festival in 2002 and a third place in 2006 attention. Dance interpreter Alexia switched from English to Italian and was able to win in 2003 with the soul ballad Per dire di no Sanremo. A few years later two other important female voices appeared: Malika Ayane and Nina Zilli , both launched by the Sanremo Festival.

Among the bands, the new millennium produced acts as diverse as Le Vibrazioni , Velvet , Quintorigo , Baustelle , Negramaro , Finley and Zero Assoluto . The socially critical Caparezza made a name for himself in the hip-hop sector , as did the provocateur Fabri Fibra . The jazz scene was also very popular, with the pianists Stefano Bollani and Danilo Rea , the saxophonist Stefano Di Battista , the singers Nicky Nicolai , Chiara Civello and Amalia Gré and the soul singer Mario Biondi . The composers and pianists Ludovico Einaudi and Giovanni Allevi bridged the gap between classical music and pop with a touch of electronic music .

Musical development and genres

Style and Influences

The "classic" Italian song in the Neapolitan tradition initially had the following central features:

  • Division into verse (strofa) and refrain (ritornello) , mostly in different keys (e.g. minor or major parallels),
  • simple harmonies, with isolated Neapolitan sixth chords or diminished seventh chords (effect from the opera),
  • "Narrative" verse alternates with the constant refrain.

In the inter-war period, American influences, especially jazz , slowly became noticeable. "Imported" features were:

  • Melodic and harmonic components (e.g. two-bar phrases, riffs , blues or progressions derived from the blues),
  • occasional extended harmonies (e.g. major chords with sixths, dominant seventh chords with ninth or unresolved dominant seventh chords),
  • Latin American rhythms (such as tango , beguine or rumba ).

After the Second World War, the Sanremo Festival was created specifically to promote and preserve the Italian song tradition. At the beginning (1950s) the festival contributions fell into two categories:

  • melodramatic or slow lyrical songs, with operatic singing; Text, arrangement, melody and harmonies followed opera tradition and Neapolitan folk music; the rhythmic aspect was insignificant; Example: Grazie dei fiori ( Nilla Pizzi 1951);
  • easy, happy songs, with natural voices; the harmony has been reduced to the basic chords; the rhythm was based on dances or marches, sometimes with a Latin American influence; Example: Aprite le finestre ( Franca Raimondi 1956).

Overall, the music promoted by the festival represented a kind of restoration . In 1958, Domenico Modugno broke with tradition: following neither the bel canto nor the crooning , he joined the new ranks of " screamers " (urlatori) ; the arrangement of Nel blu dipinto di blu had an unusual line-up and his very extroverted appearance added to the sensation. After the renewal by the Urlatori , other significant influences in the 1960s were the “ British Invasion ” of Italy by beat bands and the establishment of the Cantautori . From songs that were initially composed of stanzas, the development went to the AABA scheme and, in the 60s, gradually changed to the stanza / refrain sequence. Beat music led to a tendency towards modes and pentatonic scales as well as the use of blue notes in the melody.

In the 1970s at the latest, the Sanremo Festival lost its supremacy in popular music in Italy. The stylistic development was spread over various newly emerging genres. The Cantautori in particular went new ways, with a particularly “rough” style that, together with the texts, took up and described socially relevant topics. Acoustic arrangements were typical here , without manipulating the mix in order to appear as authentic as possible. Lucio Battisti played a special role and brought together a rough voice, slightly out of tune vocals, unused melodies and texts that tend to be surreal. Last but not least, progressive rock , which in Italy was mainly based on British models, also brought further stylistic development , whereby the still strong influence of art music was clear.

Genres

Building on a study from the 1980s, Fabbri and Plastino identified canzone italiana ( mainstream pop) as well as the following genres of popular music currently (2016) in Italy: canzone d'autore ( Cantautori ), rock , Neapolitan folk music and neomelodici , Instrumental music , film music , dance and techno , hip-hop , jazz , canzone politica (political and protest songs ), cabaret , religious songs , children's songs , metal , progressive rock , punk , reggae and world music . Older genres, on the other hand, are either only of historical interest, have withdrawn into niches or have merged into higher-level genres.

Canzone d'autore

While the term Cantautore was used by RCA as early as the early 1960s to market new artists who turned against traditional clichés with intelligent songs and (in the further course) reached the collective consciousness of the youth movements with particularly realistic and direct texts, the genre designation "author's song" was coined by the Club Tenco in analogy to " author's cinema " only after the suicide of Luigi Tenco . This once again underlined the principle of authorship and avoided a direct political connotation, while indie rock bands or rappers could also be included in the genre in addition to the Cantautori .

Political songs

Political songs came up mainly after the end of World War II and experienced their heyday between the 1960s and the leaden years , shaped by protest movements. They resorted to folk songs and were further influenced by the cantautori as well as theater and cabaret. Later there was an exchange with new genres such as progressive rock, punk, hip-hop and reggae.

Neapolitan folk music and neo-melodic

The Neapolitan folk music went through a constant development. In 1970 the era of the Festival di Napoli came to an end, the renewal movement Naples Power experienced a brief heyday, with Pino Daniele as the most important representative, after which there were various folk revivals. At the turn of the millennium, the so-called neomelodics (neomelodici) had their breakthrough, which are especially popular in southern Italy; the most famous representative is Gigi D'Alessio . Their music is characterized by a combination of traditional singing techniques with modern pop and very colloquial, often melodramatic lyrics. The scene is also said to be close to the Camorra .

Nursery rhymes

Always represented in folk music, music for children gained a foothold in the Italian mainstream at the latest with the start of the Zecchino d'Oro singing competition in 1959. Theme tunes from television programs for children were also very popular. Successful titles in the charts included Carletto von Corrado ( number one 1983 ) or, more recently, the internationally successful Il pulcino Pio ( number one 2012 ). Piccolo Coro dell'Antoniano and Cristina D'Avena , for example, specialize in children's songs .

Italian rock , prog rock and punk

Coming to Italy from overseas at the end of the 1950s, rock 'n' roll helped Adriano Celentano, among others, to his successful career. It wasn't until the 1960s that rock spread through the beat wave , which led to the formation of a variety of new bands, some of which turned to progressive rock in the 1970s. Italian Prog-Rock was based on British models, but was very keen on stylistic independence; the most important bands Premiata Forneria Marconi and Banco del Mutuo Soccorso have also made a name for themselves internationally. Punk and satirical rock dementia followed , and New Wave reached Italy in the 1980s . Vasco Rossi has "embodied" Italian rock music since 1982 . From the 1990s onwards, Italian rock became even more similar to international trends.

Italian metal

An Italian metal scene emerged in the 1980s, early representatives were Death SS and the thrash metal bands Bulldozer and Necrodeath . The 90s brought death metal (such as the band Hour of Penance ), but ultimately the Italian metal scene showed a tendency towards classical music: Opera- like sounds with Gothic elements were formative, not least in Rhapsody of Fire or Opera IX , however also with the now well-known Italian metal band Lacuna Coil . From the very beginning, metal hardly received any media attention in Italy. This led to the fact that English became the predominant language in favor of an international audience, only Linea 77 could make Italian-language metal more popular. Despite an active scene and the major Gods of Metal festival that began in 1997, metal remained a niche phenomenon ignored by mainstream media. Only in 2018 was there a sign of a counter-development with the jury activity in the casting show The Voice of Italy by Lacuna Coil singer Cristina Scabbia .

Italian hip hop

In the second half of the 1980s, in addition to the early mainstream success of Jovanotti , the first hip-hop crews (posse) formed and initially rapped in English. Between 1989 and 1992, hip-hop spread mainly among young people in social centers, with the Italian language now coming to the fore, and it was strongly influenced by politics and social criticism. In the 1990s the genre finally became a mass phenomenon in Italy and reached the mainstream, with greater commercialization and a decline in political content. At the same time, part of the hip-hop scene, at least from the point of view of the music press, also developed a proximity to the canzone d'autore . In recent times, especially freestyling and, most recently, Trap have been very popular. Hip-Hop became the most popular music genre among young people and many rappers were able to establish themselves on television as a result of this success.

Italian dance and techno

The first harbingers of electronic dance music reached Italy in the mid-1970s with disco music , which also produced the internationally successful Italo Disco , following in the footsteps of Eurodance pioneer Giorgio Moroder . In the 90s, Italian dance boomed with representatives such as Black Box and DJ Dado, and around the turn of the millennium, Gigi D'Agostino ( L'amour toujours ), Eiffel 65 ( Blue ) and Prezioso had international success with melodic dance music.

Italian reggae

Probably the first Italian representative of reggae was the band Africa Unite , which was founded in 1981. After that, the style of music spread throughout Italy. As in hip-hop, the social centers played an important role around 1990, in which young people gathered who were politically and socially engaged through the new musical genres. A significant formation was 99 Posse , who moved between raggamuffin and rap. The Ska- influenced group Giuliano Palma & The Bluebeaters and Almamegretta also received greater attention . The Sicilian Alborosie was able to start an international career, more recently the Boomdabash group has achieved success.

Film music

In the first half of the 20th century, classical composers were initially hired for films, such as Ildebrando Pizzetti and Pietro Mascagni , who were succeeded by contemporary composers such as Goffredo Petrassi and Bruno Maderna ; In the interwar period, however, the film soundtracks were increasingly influenced by popular and folk music and composers such as Cesare Andrea Bixio . It was not until the second half that some composers began to specialize in film music: for example, Alessandro Cicognini , Giovanni Fusco , Mario Nascimbene , Carlo Rustichelli and Renzo Rossellini followed suit in the 1960s. a. Piero Piccioni , Armando Trovajoli , Piero Umiliani , Riz Ortolani and the two most influential Italian film composers Nino Rota and Ennio Morricone . Among the later representatives of Italian film music, Stelvio Cipriani , Pino Donaggio , Luis Bacalov , Nicola Piovani and Aldo and Pivio De Scalzi are worth mentioning.

jazz

Before the Second World War, big bands with a repertoire characterized by jazz had spread in Italy. However, the genre remained a marginal phenomenon until, in the 1970s, major jazz festivals such as Umbria Jazz managed to appeal to the younger generations. Thanks to the commitment of Giorgio Gaslini , the "father" of modern Italian jazz, the genre also found its way into Italian conservatories in the 1960s . In contrast to the representatives of other genres, many Italian jazzers managed to establish themselves abroad. The jazz festivals can also boast an international audience and field of participants. Important Italian jazz musicians are Enrico Rava , Enrico Pieranunzi , Patrizia Scascitelli , Paolo Fresu , Roberto Gatto and Antonello Salis .

economic aspects

In parallel to the emergence of popular music, a professional music publishing system developed, especially in Naples , in the mid-19th century . At the turn of the century, again in Naples, the first record labels emerged . In the early 1930s, the state label Cetra was founded, which later merged with Fonit to form Fonit Cetra and was bought by Warner in the 1990s . Many other large Italian record companies had also been transferred to international corporations in the 1980s. With very few exceptions, the Italian music market remained largely in the hands of the major labels , which merged in 1992 to form the Federazione Industria Musicale Italiana . With the economic dominance of the north, the Italian music industry quickly concentrated on Milan after the Neapolitan beginnings .

The Italian music industry was the ninth largest in the world and the fourth largest in Europe in 2016, with a trade value of $ 263.77 million. The market for digital music, which gradually gained a foothold in Italy from 2004 (the first attempts were made by Telecom Italia and iTunes ), has grown to 48% in the meantime (2018), most recently due to the strong increase in the use of music streaming . What is remarkable is the strong position of national productions, which make up 50% of the market. Usually the single charts have a stronger international character than the album charts (see also the list of number one hits in Italy ). Classical music accounts for 9% of the music market (2017).

In the field of live music Italy stands in sixth place in Europe in the fourth. The division generated revenue of $ 721 million in 2017, with more than half of it being rock and pop music. National and international stars held each other in balance, and DJ sets also gained significantly in popularity overall .

SIAE logo

Copyrights are exercised in Italy by the collecting society Società Italiana degli Autori e degli Editori (SIAE), whose monopoly only began to falter due to the increasing importance of the digital market and recent EU directives. In 2000, in view of the general crisis in the classical music market, with SCF Consorzio Fonografici , a corresponding body was created to exercise the related rights of music producers and labels, which significantly increased the industry's income. Most of the revenue from licensing comes from television, followed by radio and discotheques (the latter, however, are becoming increasingly less important).

Reception outside Italy

The international star Enrico Caruso 1910

Even before the unification, Italy was known abroad for its music, especially for opera and salon music , which was mainly cultivated by the middle class on the Italian peninsula. In the wake of the waves of emigration , Neapolitan folk music in particular became known throughout the world and shaped "the cliché of Italian music". An early international star from Italy was Enrico Caruso , who enjoyed great success in the United States between 1911 and 1921.

Music of the Diaspora

Italian emigrants exerted an influence on foreign musical cultures that should not be underestimated. An early genre that Italians played a role in popularizing was the French musette ( Tony Muréna is an example ). In addition to France ( Nino Ferrer , Caterina Valente , Dalida ), Italian musicians were also able to assert themselves in Belgium, such as Salvatore Adamo . The main area of ​​the Italian musical diaspora, however, formed North and South America. In Argentina, Italian immigrants shaped the early tango scene ( Astor Piazzolla and Angel D'Agostino were of Italian descent). An extensive Italian musician scene emerged in the USA, which was also supported by radios and record companies. Characteristic of the early "Italo-Sound" was the melodic singing that the Italian musicians mixed with (Afro) American styles. Others, such as Dolly Dawn or Louis Prima , stood out for their performances that were heavily influenced by opera. In the diaspora, Neapolitan folk music developed into the Italian musical tradition and the use of Neapolitan became a feature of the repertoire of Italian-American singers. In the 1950s, glamorous “Italian” music shaped social life in Las Vegas . A special phenomenon was the Italian American rock , which from the late 1950s with groups like The Crests , Dion and the Belmonts and The Four Seasons , the doo-wop era ushered in which black music and Italian bel canto met. Other important Italian-American musicians were Dean Martin , Frank Sinatra , Connie Francis , Mario Lanza , Jerry Vale and Lou Monte .

The Sanremo Effect

It was not until after the Second World War that “all-Italian” popular music was given an important platform in the form of the Sanremo Festival , which should also contribute to the spread of Italian music abroad. Entries from the festival also achieved international success via the additional showcase of the Eurovision Song Contest ; the clearest example of this is Nel blu dipinto di blu by Domenico Modugno (1958), of which more than 22 million copies were sold worldwide after the Sanremo victory and third place at the ESC, combined with number one in the US charts and two Grammys . Also Gigliola Cinquetti was in 1964 after the double victory in Sanremo and the ESC with Non ho l'età (by amarti) land an international success. However, the international influence of the Sanremo Festival declined rapidly over time: Although it is still broadcast in Eurovision , it now hardly finds an audience abroad. Conversely, Italy withdrew from the ESC in 1997 due to its own lack of interest in the European competition (the return only took place in 2011, compare Italy at the Eurovision Song Contest ).

Exports using cover versions

The first international successes were usually one-hit wonders ; In contrast to the film sector , Italian popular music lacked international stars (apart from the Italian-Americans already mentioned). Starting with the Sanremo Festival in 1964, attempts were therefore made to internationalize the festival by inviting foreign participants, including Frankie Laine , Paul Anka , Gene Pitney , Ben E. King and Antonio Prieto . This sparked a long tradition of cover versions exporting Italian successes and importing international successes to Italy. Covers of Italian (especially Neapolitan) songs abroad had occasionally been given earlier ( e.g. by Torna a Surriento , 'O sole mio or Santa Lucia ) and the great success of Modugnos Nel blu dipinto di blu attracted covers by u. a. Dean Martin, Nelson Riddle , Jesse Belvi and Alan Dale after themselves.

In the 1960s, covers of Italian songs (mostly Sanremo contributions) first conquered the British market: Joe Loss covered Tony Renis ' Quando quando quando (1962), Engelbert achieved 1968 with A Man Without Love (original: Quando m'innamoro by Anna Identici and the Sandpipers ) number three in the UK charts and Tom Jones with Help Yourself (original: Gli occhi miei by Dino and Wilma Goich ) number five. One of the greatest successes was Pino Donaggio's Io che non vivo , which was successfully covered as You Don't Have to Say You Love Me by Dusty Springfield , Elvis Presley and Jerry Vale as well as Guys 'n' Dolls . Cilla Black reached the top of the British charts with You're My World ( Il mio mondo by Umberto Bindi ) , the band Amen Corner achieved this in 1969 with Half as Nice ( Il paradiso by Lucio Battisti ). In addition, some songs and pieces of music from Italian soundtracks were covered, including The Legion's Last Patrol ( Concerto disperato by Nini Rosso and Angelo Francesco Lavagnino ) from Marschier or krepier by Ken Thorne & His Orchestra, and More by Nino Oliviero and Riz Ortolani from Mondo Cane by u. a. Perry Como or Kai Winding .

The success of covers was mainly limited to the 1960s and could not leave a lasting impression on foreign markets.

Between Italo Disco, Italo Pop and Opera

International attention has recently been and is being paid to two forms of Italian popular music: on the one hand, Italo Disco , on the other hand, melodic pop (often referred to as Italo Pop ), which is strongly influenced by the Sanremo Festival .

In the course of the disco wave , the style became popular in Italy at the end of the 1970s. The German producer Bernhard Mikulski coined the name Italo Disco for marketing reasons , which spread through some one-hit wonders of the Italian acts DD Sound , Barbados Climax or Gepy & Gepy . Music projects such as Righeira and Baltimora had great success abroad and individual producers and singers such as Giorgio Moroder or Raf also made the breakthrough with the genre. Characteristic for the reception of Italo Disco abroad, however, is the detachment from individual performers towards impersonal compilations ; In addition, the Italo-Disco sound mostly tries to serve the audience's expectations of “typically Italian” elements, although its roots cannot be considered authentic Italian. By the turn of the millennium at the latest, the so-called Italo Dance became internationally known.

In contrast, the term Italo Pop was coined abroad , which basically includes melodic pop music to the exclusion of rock influences and without cantautori (in fact, the cantautori outside Italy received little attention, with the exception of Paolo Conte , who is particularly popular in Germany and France Success). In contrast to Italo Disco, the focus in the reception of Italo Pop is on the performers and individual songs, which means that representatives of the genre often succeed in becoming superstars abroad. A characteristic feature is the play with national and regional clichés of Italy, to be found for example in Ricchi e Poveri or especially Toto Cutugno . In this context, Schlager is often used in German-speaking countries.

The Trio Il Volo 2015

In addition, to this day opera has had an influence on popular Italian music that should not be underestimated. One of the most successful Italian songs of recent times was Andrea Bocelli's Con te partirò , which was presented in Sanremo in 1995 and later became internationally known as Time to Say Goodbye as a duet with Sarah Brightman . It is an example of opera-related popular music that tries to portray itself as all-Italian, free of regionalism. Bocelli subsequently became an international star. This successor is also the trio Il Volo , which is particularly successful in the USA and was one of the favorites at the ESC in 2015 with the Sanremo winner song Grande amore . The genre is mostly referred to as Operatic Pop in English-speaking countries and was made popular not least by Luciano Pavarotti .

Distribution areas

Basically, two different forms of external impact of Italian popular music can be distinguished: on the one hand, global, mostly concentrated on Europe and Latin America ; then the one aimed at a geographically more limited area. Performers such as Eros Ramazzotti , Zucchero or Toto Cutugno , as well as individual hits such as Ti amo and Gloria ( Umberto Tozzi ), Self Control ( Raf ) or the evergreen Nel blu dipinto di blu ( Domenico Modugno ) can be considered globally successful . Geographically specific successes can be found, for example, with the brothers Guido & Maurizio De Angelis, known as Oliver Onions , who were particularly successful in Germany, or with a whole series of "melodious" singers from the 1980s in Eastern Europe , including Pupo , Drupi and Riccardo Fogli ; also Al Bano (with or without Romina Power again) and Toto Cutugno are lined up there one, but the latter are also a global success can show (Cutugno won not least the Euro Vision Song Contest 1990 ). Even Mina received much international recognition: In Germany, it could (especially with German hit Hot Sand 1962) land great success, in 1964 they had even in Japan considerable success with the single Suna ni Kieta namida . In general, Japan repeatedly turned out to be a sales market for certain Italian singers and bands, including Claudio Villa .

Laura Pausini at a concert in Barcelona 2009

The sales market Latin America (partly also connected with Spain ) has a special meaning for many newer Italian pop stars: The linguistic proximity facilitates the translation of the lyrics and thus the musical exchange. Singers such as Eros Ramazzotti, Laura Pausini or Tiziano Ferro also produce all of their albums in a Spanish version and have achieved great success through targeted marketing. As Latin pop artists, they can also position themselves more widely internationally, for example Pausini succeeded in winning a Grammy in the category Best Latin Pop Album in 2006 (for Escucha , the Spanish edition of Resta in ascolto ) - before her only one Italian artist won the Grammys, namely Domenico Modugno in 1958.

literature

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  • Leonardo Colombati (ed.): La canzone italiana, 1861-2011 . Mondadori, Milan 2011, ISBN 978-88-04-61013-7 (two volumes).
  • Franco Fabbri, Goffredo Plastino (Ed.): Made in Italy: Studies in Popular Music (=  Global Popular Music ). Routledge, London 2016, ISBN 978-1-138-21342-5 .
  • Serena Facci, Paolo Soddu: Il Festival di Sanremo . Carocci, Rome 2011, ISBN 978-88-430-5272-1 .
  • Felice Liperi: Storia della canzone italiana . 3. Edition. Rai Eri, Rome 2017, ISBN 978-88-931606-7-4 ( e-book , PDF).
  • Goffredo Plastino, Marco Santoro with John Street (Ed.): Popular Music. Special Issue on Italian Popular Music . tape 26 , no. 3 . Cambridge University Press, October 2007, ISSN  0261-1430 .

Web links

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This article was added to the list of excellent articles in this version on May 25, 2018 .