The book aims to reconstruct the main lines of the history of musical dissemination on Rai-tv, from 1954, the year of the beginning of television broadcasts in Italy, until the early nineties, a period in which the television scenario changed radically, also as a result of the spread of pay-tv. In its first thirty years of activity, RAI-TV popularised music not only by airing opera and symphonic events, but also by designing and producing pedagogical and educational programmes, led by important musicologists: it is the case of Specchio sonoro (1964), in which Roman Vlad illustrates the life and works of great composers from the twentieth century, setting them in their historical and cultural context and explaining their style. Between the 1970s and 1980s, programmes with explicit educational goals, led by expert-lecturers, give way to programmes that are more related to the genre of “investigation”, where in-depth news analysis and the investigation of current dimension prevailed. In Tutto è musica (1980) Vittorio Gelmetti attempts an analysis of the musical phaenomenon, avoiding qualitative distinctions between genres, periods of time and civilisations. In the following decade, broadcastings with educational goals tend to use a lesser specific language and to favour the connections between music and other life domains: in L’amore è un dardo (1993) Alessandro Baricco illustrates the plot of an opera piece, and enriches his discourse through digressions and free associations with topics from the daily life. Through a reasoned mapping and an in-depth examination of numerous television programs on music, this book wishes to offer an analysis of such programmes seen as “texts” to be read and interpreted not only under a sociological perspective, but also from a historical-musicological and historical-pedagogical point of view. The research started from two essential questions: to establish if and in what way some television programmes have contributed to the diffusion and development of the musical culture of Italians, if and for what reason some types of programmes have had a longer life than others.
Il libro intende ricostruire le linee principali della storia della divulgazione musicale in Rai-tv, dal 1954, anno d’inizio delle trasmissioni in Italia, fino ai primi anni Novanta, periodo in cui lo scenario televisivo muta radicalmente, in conseguenza anche del diffondersi delle pay-tv. Nei primi trent’anni di attività, la divulgazione della musica in RAI-TV si esplica, oltre che con la messa in onda di eventi operistici e sinfonici, anche con l’ideazione e realizzazione di programmi pedagogico-educativi, affidati a importanti musicologi: è il caso di Specchio sonoro (1964), in cui Roman Vlad illustra vita e opere di grandi compositori del Novecento, inquadrandoli nel contesto storico-culturale e illustrandone le caratteristiche tecnico-compositive. Fra gli anni Settanta e Ottanta i programmi con espliciti intenti educativi, dominati dalla figura del docente-esperto, cedono il passo a programmi più vicini al genere “inchiesta”, in cui predomina l’approfondimento della notizia, l’indagine della dimensione attuale. In Tutto è musica (1980) Vittorio Gelmetti affronta il fenomeno musica, evitando distinzioni qualitative di generi, epoche e civiltà. Nel decennio successivo nelle trasmissioni con intenti divulgativi si tende a impiegare un linguaggio sempre meno specifico e a prediligere i legami tra la musica e le altre dimensioni della vita: in L’amore è un dardo (1993) Alessandro Baricco illustra la trama di un’opera lirica, arricchendo il discorso mediante divagazioni e libere associazioni con temi tratti dalla vita quotidiana. Mediante una mappatura ragionata e l’approfondimento di numerose trasmissioni televisive sulla musica, il libro vuole offrire un’analisi dei programmi intesi come “testi”, da leggere e interpretare in un’ottica non solo sociologica, ma anche storico-musicologica e storico-pedagogica. La ricerca è partita da due questioni essenziali: stabilire se e in che modo alcune rubriche televisive di divulgazione musicale hanno contribuito alla diffusione e allo sviluppo della cultura musicale degli italiani, se e per quale ragione alcune tipologie di programmi hanno avuto più lunga vita rispetto ad altre.
Musica in programma. Quarant'anni di divulgazione musicale in Rai-tv (1954-94)
Scalfaro A.
2020
Abstract
The book aims to reconstruct the main lines of the history of musical dissemination on Rai-tv, from 1954, the year of the beginning of television broadcasts in Italy, until the early nineties, a period in which the television scenario changed radically, also as a result of the spread of pay-tv. In its first thirty years of activity, RAI-TV popularised music not only by airing opera and symphonic events, but also by designing and producing pedagogical and educational programmes, led by important musicologists: it is the case of Specchio sonoro (1964), in which Roman Vlad illustrates the life and works of great composers from the twentieth century, setting them in their historical and cultural context and explaining their style. Between the 1970s and 1980s, programmes with explicit educational goals, led by expert-lecturers, give way to programmes that are more related to the genre of “investigation”, where in-depth news analysis and the investigation of current dimension prevailed. In Tutto è musica (1980) Vittorio Gelmetti attempts an analysis of the musical phaenomenon, avoiding qualitative distinctions between genres, periods of time and civilisations. In the following decade, broadcastings with educational goals tend to use a lesser specific language and to favour the connections between music and other life domains: in L’amore è un dardo (1993) Alessandro Baricco illustrates the plot of an opera piece, and enriches his discourse through digressions and free associations with topics from the daily life. Through a reasoned mapping and an in-depth examination of numerous television programs on music, this book wishes to offer an analysis of such programmes seen as “texts” to be read and interpreted not only under a sociological perspective, but also from a historical-musicological and historical-pedagogical point of view. The research started from two essential questions: to establish if and in what way some television programmes have contributed to the diffusion and development of the musical culture of Italians, if and for what reason some types of programmes have had a longer life than others.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
