Federico Spinetti
University of Cologne, Musikwissenschaftliches Institut, Faculty Member
- Music and identity, Post-Socialism, Space and Music, Documentary Film, Music and Politics, Architectural History, and 11 moreArchitectural Theory, Political Philosophy, Central Asia, Soviet Union (History), Russian & Soviet Art, Culture in the Soviet Union, Italian Music, Italian Music and Politics during fascism, Resistenza italiana, Anticolonialism, and Antifascismedit
- alternate profile: https://uni-koln.academia.edu/FedericoSpinettiedit
Research Interests:
Research Interests:
I devoted myself to the study of the enigmatic role of Apm Napt in the religious worlds of the RÕ gveda and of the Young Avestan texts in occasion of my graduation thesis. It is obvious that this study is far from being the exhaustive... more
I devoted myself to the study of the enigmatic role of Apm Napt in the religious worlds of the RÕ gveda and of the Young Avestan texts in occasion of my graduation thesis. It is obvious that this study is far from being the exhaustive answer we are still waiting for. It is an attempt to focus the main problems concerning the nature of Apm Napt and it intends to make the basic tools available for further research. All the passages where Apm Napt is mentioned have been gathered and analyzed from a linguistic and philological point of view. They have been then discussed in order to outline some possible interpretations about the role and the importance of Apm Napt in the mythology of the Avesta and of the RÕ gveda.
If there is one question that the study of Tajik popular music has repeatedly raised to my attention, it is about the relevance of classical distinctions of musical genres to the complex soundscape I have become acquainted with in... more
If there is one question that the study of Tajik popular music has repeatedly raised to my attention, it is about the relevance of classical distinctions of musical genres to the complex soundscape I have become acquainted with in Tajikistan since I began field research in 2002. The widespread intersection of traditional music and its role in shaping perceived cultural belonging on the one hand, and a popular music involving new technologies, transformed compositional practices and global or transnational flows on the other, speaks to the need of finding flexible ways to talk about these ostensibly distinct domains. One important aspect is stylistic intermingling, which I shall address in this paper by looking specifically at how electrified Tajik popular music incorporates features rooted in traditional idioms, and represents, in many respects, a creative continuation of traditional sensibilities. I will focus on lyrics and aspects of musical vocabulary, and address some of the con...
This article discusses the influence of staged folklore and popular music upon the musical life of a Central Asian rural community – that of the Dashtijum mountain valley in Tajikistan. I trace the musical history of the Dashtijumis... more
This article discusses the influence of staged folklore and popular music upon the musical life of a Central Asian rural community – that of the Dashtijum mountain valley in Tajikistan. I trace the musical history of the Dashtijumis across the late-Soviet and post-Soviet periods, following their experiences of migration away from and back to the mountains. In the process, I highlight how the cross-fertilization between grassroots musical practices, and staged and mediated traditional and popular musics, has offered a terrain for the articulation of collective identifications, memories and everyday lifeworlds among the Dashtijumis, illuminating more broadly their position and response vis-à-vis changing historical, technological and ideological frameworks.
Research Interests:
The Silk Road: A Musical Caravan. Compilation of various artists. 2 CD set, 47 tracks, 146 minutes. Booklet, 38 pages, with notes by Yo-Yo Ma, Jean During, Ted Levin and Shayna Silverstein, bibliography and discography, glossary, color photographs. Produced by Smithsonian Folkways Recordings in p...more
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The punk-rock band Consorzio Suonatori Indipendenti (CSI) exemplifies a wider movement of musical memorialization of the World War II antifascist Resistenza in contemporary Italy. Considering music as communicative medium, affective... more
The punk-rock band Consorzio Suonatori Indipendenti (CSI) exemplifies a wider movement of musical memorialization of the World War II antifascist Resistenza in contemporary Italy. Considering music as communicative medium, affective experience and social practice hatched within networks of engaged citizenship, I probe its contribution to public debates about the Resistenza since the 1990s until today. Perspectives from memory studies, art history, critical historiography, and political philosophy assist me in elucidating through CSI’s example how antifascist memories are creatively reformulated and reinterpreted in Italian popular music, such that the Resistenza comes to animate an interrogation of present inequalities and emancipatory struggles.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
This article discusses the influence of staged folklore and popular music upon the musical life of a Central Asian rural community-that of the Dashtijum mountain valley in Tajikistan. I trace the musical history of the Dashtijumis across... more
This article discusses the influence of staged folklore and popular music upon the musical life of a Central Asian rural community-that of the Dashtijum mountain valley in Tajikistan. I trace the musical history of the Dashtijumis across the late-Soviet and post-Soviet periods, following their experiences of migration away from and back to the mountains. In the process, I highlight how the cross-fertilization between grassroots musical practices, and staged and mediated traditional and popular musics, has offered a terrain for the articulation of collective identifications, memories and everyday lifeworlds among the Dashtijumis, illuminating more broadly their position and response vis-à-vis changing historical, technological and ideological frameworks.