Canti della nuova resistenza Spagnola 1939-1961: acercamiento a las canciones de resistencia en la España franquista
Canti della nuova resistenza spagnola (1939-1961) is, without a doubt, one of the books dedicate to music that has generated the most controversy after its publication. Produced by three members of the Italian Cantacronache ensemble, Michele L. Straniero and Sergio Liberovici with the collaboration...
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| Formato: | artículo |
| Fecha de publicación: | 2021 |
| País: | España |
| Recursos: | Universidad Camilo José Cela (UCJC) |
| Repositorio: | RUIdeRA. Repositorio Institucional de la UCLM |
| OAI Identifier: | oai:ruidera.uclm.es:10578/44641 |
| Acesso em linha: | https://revista.uclm.es/index.php/cuadernosdeinvestigacionmusical/article/view/2567 https://hdl.handle.net/10578/44641 |
| Access Level: | acceso abierto |
| Palavra-chave: | Canción protesta Cancionero Canciones de resistencia Canti della nuova resistenza spagnola Dictadura franquista Franco dictatorship Protest songs Resistance song Songbook |
| Resumo: | Canti della nuova resistenza spagnola (1939-1961) is, without a doubt, one of the books dedicate to music that has generated the most controversy after its publication. Produced by three members of the Italian Cantacronache ensemble, Michele L. Straniero and Sergio Liberovici with the collaboration of Margot, it was published by the Einaudi publishing house in Turin in 1962. It included a good number of songs and some poems against the Franco regime that they were collected on a trip that this Italian team made on a trip to Spain in the summer of 1961. In this paper we will try to define what they understood by songs of resistance. To do this, we will start from a brief approach to the genesis and characteristics of the songbook and then try to narrow down the terms of song, popular song and resistance, analyze their objective functions and try to differentiate, if possible, between the terms protest song, author, political or resistance song. Finally, we will attend to the importance that politics and propaganda had in the genesis and interpretation of a good number of songs. |
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