focuses mainly on the music from Southern Italys oral tradition at
the same time outr eaching for a more contemporary musical idea that can
be indicated as Mediterranean World-Music. By oral tradition it is intended
music, poetry, and ritual passed on from generation to generation by untrained
musicians belonging to generally less known segments of Italian society
such as the peasants world, fishermen, or street vendors. MUSICàNTICA
finds a remarkable freshness in traditional music and believes in its contemporary
continuation despite various attempts by Italian artists to crystallize
it or confine it in more or less faithful renditions or misuse it in popular
music cultural operations. Continuity is possible because each musical process
in time is historical, part of a relentless process of development, productive
confrontation with every day life and a continuous discourse between current
innovation and past sedimentation. MUSICàNTICAs repertoire
includes, therefore, both traditional as well as original compositions.
The connection between the southern Italian tradition, the individual experiences
as immigrants in Southern California, and the symbolic remembrance of the
sounds of their respective birthplaces is evident in the artists various
improvisations and re-adaptations of older material.
Several of the instruments used by MUSICàNTICA are native Italian. These include the tamburieddhru, a frame drum used for the pizzica tarantata dance; the putipù, a friction drum; the chitarra battente, a 10 strings guitar from the Renaissance; percussion such as castanets, animal jingle collars, sheep copper bells; the benas, a single and double Sardinian reed clarinet or the marranzanu, or jaws harp. The rest of the instrumentation includes classical guitars, the mandolin, the mandola, the Greek bouzouki, the oud, the harmonica, the fina, a lamellaphone inspired by the African mbira exclusively created by Maestro Enzo Fina, and several other, mostly homemade, sound effects.
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