Stefano A. E. Leoni
Former Full professor in Systematic Musicology, former Head Dep. of Theory, Analysis and Musicology (DiTAM), member of the Management Board, I. S. S. M. Conservatorio Statale di Musica "G. Verdi", Torino (Italy), ; Visiting lecturer at the Winter School "The Italian Renaissance: Art, Literature, Political Thought", Università degli Studi di Urbino "C.Bo"; former Adjunct Professor in History of Music, Università degli Studi di Urbino "C. Bo" (Italy), DiSCUm, Scuola di Lettere, Arti e Filosofia. Former Director Lab for Music and Sociology of Arts, Fac. of Sociology, University of Urbino.
Former Adjunct professor of Musical Aesthetics, CAM, University of Torino
CURRICULUM VITAE
Stefano Agostino Emilio Leoni (Italian musicologist; Genoa, 1958), had Music and Classical studies in Italy and Spain.
He completed his academic program in "Lettere" (i.e. “Humanities”) ‘summa cum laude’ in 1981 (University of Genoa) with the dissertation: “Aestetics and Physics of Sound at the dawning of Scientific Revolution”.
Since his first researches, he was strongly influenced by the epistemological perspective, so he started working for a long time till now on Theory of Music in Renaissance and Late Middle Age, on European and Arabic musical treatises, on the relationship between Science and Music, on the Music Imagery and on the “Orientalistic” view of Middle East music.
Contemporaneously he studied musical anthropology, mythology, the connections between composition-performer and user-listener, from the point of view of sociology and of aesthetics too.
Researches on acoustics and psychoacoustics encouraged joyful doubts on the relationship between arousal and perception and questions on topics as tuning, temperaments, HIP, musical philology and authenticity, and so on. Then: the Cultural Studies and the strong influence of American New Musicology.
He wrote and published articles and essays for journals and books in Italy, Austria, Croatia, France, UK, USA, Switzerland, and he gave lectures in Italy, France, Spain, Switzerland and Turkey, taking part with papers in meetings and conferences on Music History, Orientalistic Studies and History of Ideas.
Since 1983 he was professor of History of Music and Musical Aesthetics in Alessandria State Conservatory (from 1989 with tenure), then he passed to Turin State Conservatory of Music “G. Verdi” where's now full professor in Systematic Musicology.
Form master of the “Permanent Forum of Philosophy and Sociology of Music” in Forlì, he was the Director of the Laboratory for Music and Sociology of Arts in the Faculty of Sociology (Univ. of Urbino) from 2004 to 2010, and now is member of the Lab for the Culture of the Artificial - LCA.
At the University of Urbino he teaches History of Music as an adjunct professor.
In 2007 he was Visiting Professor at the Real Conservatorio Superior de Musica Victoria Eugenia in Granada and at the Real Conservatorio Superior de Musica in Madrid and in 2013 at the ITU Conservatory of Music of Istanbul.
personal website: www.stefanoleoni.altervista.org
Phone: +39 3494488416
Former Adjunct professor of Musical Aesthetics, CAM, University of Torino
CURRICULUM VITAE
Stefano Agostino Emilio Leoni (Italian musicologist; Genoa, 1958), had Music and Classical studies in Italy and Spain.
He completed his academic program in "Lettere" (i.e. “Humanities”) ‘summa cum laude’ in 1981 (University of Genoa) with the dissertation: “Aestetics and Physics of Sound at the dawning of Scientific Revolution”.
Since his first researches, he was strongly influenced by the epistemological perspective, so he started working for a long time till now on Theory of Music in Renaissance and Late Middle Age, on European and Arabic musical treatises, on the relationship between Science and Music, on the Music Imagery and on the “Orientalistic” view of Middle East music.
Contemporaneously he studied musical anthropology, mythology, the connections between composition-performer and user-listener, from the point of view of sociology and of aesthetics too.
Researches on acoustics and psychoacoustics encouraged joyful doubts on the relationship between arousal and perception and questions on topics as tuning, temperaments, HIP, musical philology and authenticity, and so on. Then: the Cultural Studies and the strong influence of American New Musicology.
He wrote and published articles and essays for journals and books in Italy, Austria, Croatia, France, UK, USA, Switzerland, and he gave lectures in Italy, France, Spain, Switzerland and Turkey, taking part with papers in meetings and conferences on Music History, Orientalistic Studies and History of Ideas.
Since 1983 he was professor of History of Music and Musical Aesthetics in Alessandria State Conservatory (from 1989 with tenure), then he passed to Turin State Conservatory of Music “G. Verdi” where's now full professor in Systematic Musicology.
Form master of the “Permanent Forum of Philosophy and Sociology of Music” in Forlì, he was the Director of the Laboratory for Music and Sociology of Arts in the Faculty of Sociology (Univ. of Urbino) from 2004 to 2010, and now is member of the Lab for the Culture of the Artificial - LCA.
At the University of Urbino he teaches History of Music as an adjunct professor.
In 2007 he was Visiting Professor at the Real Conservatorio Superior de Musica Victoria Eugenia in Granada and at the Real Conservatorio Superior de Musica in Madrid and in 2013 at the ITU Conservatory of Music of Istanbul.
personal website: www.stefanoleoni.altervista.org
Phone: +39 3494488416
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Una ricca produzione di letteratura critica ha messo a tema negli ultimi anni l’industria culturale del fascismo, prendendo in esame i meccanismi di costruzione del consenso, l’esercizio della censura, la cinematografia “di tendenza”, la cultura popolare, l’apparato industriale e amministrativo, l’immaginazione coloniale, l’attività giornalistica e radiofonica ecc. Da questa operazione di riscoperta storiografica è stata inspiegabilmente tagliata fuori finora la componente musicale: è mancato in altre parole di guardare al ruolo svolto dalla musica nell’industria culturale del fascismo. Ciò ha portato a ignorare la grande parte di un paesaggio musicale quanto mai variegato, stratificato, polistilistico, che pervade il Ventennio in un fluire di parate militari, pellicole, grammofoni, radio ecc. Il presente volume intende colmare questa lacuna storiografica. L’obiettivo comune è promuovere, a cento anni dalla Marcia su Roma, una meditazione collettiva sul ruolo precipuo svolto dalla musica nella edificazione e divulgazione dei miti fondativi del fascismo e nei processi retorici di legittimazione e difesa del regime.