NEWSLETTER OF TIlE ITALIAN FOLK ARTS FEDERATION OF AJ .. 1ERICA

Volume I

I AM PLEASED TO REPORT:

IntE:t-est and part:i.cipa­tilHl in fo lk aeLs i s mor!" t han a joyou s reCrE"a t 1. on of the past:. If allowed i.t , .... ill effect a chanqe in conscious ­ness, a r eo r ga nizat ion of prioriti es and a return to the s irnpler, mor,t nenu i n e organic l ivi ng . On a more personal basis, it frees us to explore our uniqueness a nd Ollr individual enercries , and i t faci litates getting in touch wi th ourselv('s. The ans­wer, pc.>chaps, to todLlY ' s per­sonal aJ. i enat io n and social --·~ . .. Lpqration .

1. the' (>nthll::ildstic res ­ponse to our newsletter has more than convinced us of the need for an official pu blica­tion on Ita lian folk arts; our first issue of 5,000 copies was mailed on a complimentary })asis ;

=: . tlle Consti tut ion and By-Law s have been completed and ratified; stationery de­signed and printed; a member ­ship form completed;

3 . TFAFA has been g r·a nted tax C'xempt status;

4 . IFAFA has been accepted for m(~mbership wi th voting priv­ileges in the Federazione Italiana Tradizioni Popolare. FITP has over 200 Italian groups in its membership. The U.S. and Argentina are the only groups represented outside of Italy ;

5 . two folk art perform­inq groups from the L; . S. and to)\L.

-'. from Canada have applied ~ membership j n IFAFA ;

C . If AF A has appl i.ed for a grant from the National Endow­ment for the Arts, Washington, D.C. The p u rpose of the grant is to produce a series of L.P.

Pg. 3, Col. 2

The purpose of til l" LTALIA.l\! FOLI-: ART F'EDERA'l'lON OF A'iERl CA ( I FAFA) is to preserve and foster i ntc'res t in 1 tal .ian fo lk art; to resea rcll J t .alian folklore , tradi.tion s , c u stoms , coStllIllPS , dances, sonqs , i nstr urnen ts , etc .; to act as a centee for qaLherin <;'l a nd d i s:,;erninat.i nq tho informa ­tion, and to bri n9 tO ~lether

T ta 1 ian folk pc rformin£ q rOllps and otr,er i nt~ erested individuals.

REFERRAL SERVICE AVAILABLE

] f V() ll dre interested ill having a"folk group perform at anv of your et hn ic fest ivals or so;ial affairs, contact. IFAFA for t he name of the qroup or groups nearest you .

uresspd in co lor fu l fo l k cos tume,; , each qroup can present a proqram tailored to yOllr needs. Cllaranteed your affalr \';111 bE' a Sl.lccess.

1 Ballerini , Philadelph i a, Pa.; Balli d'Jtalia, Ba l timore, Md.; I Campagnoli, Pittsburgh , Pa.; Gruppo FOlkloristico Duron1ese, USA , No. Bergen, N .J.; Itallan Folk Dancers of Padua Academy, Wilmington, Del.; Italian Folk Ensemble (Hicordi d'ILalia), For i Lee, N.J .; Italian Folklore Group Montclair , N .• T .; Ita.! ian Fo lklore group of Washington, D. C. , Arlin~~­ton, Va .; I tal ian Folk Singers o f the Lehigh Valley , Catasaqua, Pa.; 8alle~ini Rusticani, Read­ing , Pa. ; St. ~lartha 's Ita li an Dancers, Akron, 0.; Aventino Troupe Folklorique ltalienne, Montreal , Canada .

Number 2

THE REVOLU'l'IONARY SOUND

Towards an Understanding of Italian Fo lk Music

by Anna L . Chairetakis

WJ:cLller it is learninq IW doing, as in grammar s~hool , · or learning by listen­ina and analyzinq, as in col­lege, we are being programmed to a set of complicated rules and aesthetic patterns--those of Western (Euro-American) art music and popular music. We drink thpm in unconciously everYWhere as the sounds of clas~ical music, rock, coun­try, pop and musak reach our ears. The aesthetic criteria by which we judge and respond to our own mUSiC do not apply ~o most world mUS1C, nor to a oreat deal of European folk n·llisic, and this is most assur ­edly t rue of much of Ita li an folk music .

What is must important fnr our present purposes is to beqin to understand and appre~iate the enduring and vprv valid standards for the " be~utiful and the g ood" which constitute the Italian folk mus ic ian/sinqer's book of rules, in other words, the aesthetic patterns and pref­prences and the performance styles which were devploped over centuries and millenia throughout the Ita l ian penin­sula by peasants, laborers, artisans, fishermen, muleteers, hawkers, miners, and the wives and mothers of the poor. In order to do this, we have to cast aside our Western edu­cated biases. Music notation, conventionally applied, does not serve us here, nor do singing lessons or the piano, whi~h Is designed for major­minor chord progressions and accommodates primarily the diatonic scale. For learning or as mediums for pxperiencing

dnci j rlteron'L j nu fo] k music, tllcsc' ",ill lill1lt und, indeed, hinclr'r ilS. WhaL '.i(' dc) nppd is ~ good set of records (even one or two will do, especially if they are sllrveys) and a no,.; frame of reference, new wavs Ef organizing our percepti~ns of the often strange sounds, and of making sense of the . pr'ofusion of musical st \-leoo ~hich Italy has to o[[e~.

~'orLunate]v, wc do not h ave' tC) inv ('nt t}ll~; a lter-nCl­tive ~a y of listening and LJnclerstandinq. In the carlv 1<)') (; '5, Alan Lomax did an . C'xtended recordinq s u r vc:\, of I talian folk lTiLl~;ic \,ilh an 1 Ull ian col] a i)ot'cll:or , ])i cqo CClrpitella. This dn d sirr:ilar' research i n Spain and t h e L .S. inspired Lomax's thr:or:; of folk song s tyle ~hich i,; ap­plicable to ,,;orld mllsic ,H1d \"hidl is bdSC'd upon a l11assi ve quantity of recorded data from allover the world. From this research came forth a theory and an analYs i s of Italian folk music ""h i ch is today aecpptpd ::lnd IIsed by italy's for'Pl1lo:c;1. [011,10[,1" sehola rs and ethnornusi coloqi sts. l'he bcaut\· of th i s theory' 1 s that. i t is accc'ssible to nonml ls i cians and non0xpcrt-." a.s \,'cl1. ~ry o\,n work \.fith 1 Lali an [0] J.:., mu:-;j cians/ sinqers in the: U.S. IT'lakE's clea r' to me tlld t any morc' ill-depth !~tudy of the nilisi c of a part LC Illar ['e'lion or lo ca l .it.y \.fill surci y sup-po rt and refine Lomax's analysis.

Gefore conside:rinq LomdX's theory, let me sa\' tlle'lL, first Clnd foremost,­on(' must Imders tand ti':a t ] taly is a veritable mosaic ot muslcal st yo ips. 1 do not think 1 dm beir1<J dn Ltalian cliauvanist in s ayinq tl 'lat Ttilly is remarkable amonq E llropean count r-i (':s for the qreaL regional and local Vd :: iety of hf.'r mll,,:i c and for- t]1P rich and "JPry (livers Eo' cLlltlJ)'al .infl'IPncEo's, some of great dntiquity,somp reldcLvely modorn (14th ane! 18t11 century) Hhich have helpC'd to s],ap<' it. Th ink [or a moment of tllP north Albanian populat'.ion s in Calabria and Ahruzzi; of the Byzantine-Greek settle­menLs in Reggio Calabria, l'uolie and Sicily; of the l'iemontes e enclaves in

]'l asillcata; o f [I i (' U)\,'n of CLlrroi n P i ernont~p set-t.led b y Scottj,.;h soldlcrs in the ll,\il centur'y. ThL~sC' mig rant s and s uccessive \\-'aves of c on­guerors and sC'l:Llers have lC'i't, U l('i r unmistakable impr-int upon the loca lities , Inel rpqions that_ nour j shea t.!IC'm , \,'he'Lher in lonely folds of hills and mOllntains or on the' more trafficke:d and cosmopolitan agriCUltu­ral plain~.;. Think of t .he ~loor i Sll and GrClC'co-Roman ppreu",; ion bdnd~; slirvi vino in \.1)(' [jus\' Napl(\s cI i st.rict toda\' , or of the l'hoorH·'cian tj-iplc clarinc't (launedda!3) played Ln Isola ted SardInia fo r ovor tv:o mill('nia. Thi nk of tll(' dif fC' rence ~; , I.he (f Ill f

one: miql1t Sil')', between the familidr Alpine choruses and the highly decorated, mourn­ful solo singing of Sicily­and Ras .ilicdta.

!\iOvl, le t us turn t.O lhe metliod developed by Lomax and his colleaques to ana­lyze and classify sonqs accordincl to cri tf'ria "hicll can be applied to folk sonqs and other types of music, . We ste rn and non-Western. Here are some exampl('s of the important featurps which are eXilmined:

1. the composition and organization of the pcrform­Clnce CJroup and the way per­formers structure thL' music (very' roughly, solo or ctl0r'.lS, v:i th/Hi tllOut Ipader, \{i th qood or poor vocal blond, in unison or some kind of pol y ­pJ 'lony, etc.);

2. vocal techniqups or th e characteristic Hays in \,,11 i ch singers lise thei r voicC'c (P.q., 10'" and ( I '.l ttpral, nasal, narrow and hi gh ,,·jtlt embellishment; open, throaty an d rC'laxed, wi thOllt embel ...... 1 i s hnlcnt, etc.

3. melodic type and structure;

4. the reJi1tive .impor­tance of text (repetiLive or nonrepf'titive ) .

A style profil e emerges for each sonq and a reqional profile, \-lith enodgh c~xample~ from a given region. Appl yinc this method, we find that Italian folk songs fall into ~lear and very dIst l nct stylistic groupings accord­ing to whether they are from the North, the Central area or the South (Sardinian dnd ethnic musics, as \.fell as that from some of the moun­tainous interior, represent somewhat special cases over­lapping North-Central-South distinctions). These grollp­ings correspond closely "'ith differences in rpqional ecolon variat.ion!3 in agriculturdl . ' org anizat ion , org anization of work, type of lonq-prevailinr political s)'st(~m, the roleji",. and activiti("s of Homen, ,-...

U ... (LO be continll£'

( Part 2 will dpal Hith tJw larqest and most obvious contrast in Italian fo lk music, tJ1at between thf? north and tho south .)

CONFERENCE REVIEW

T},e Third Annudl Confcr-- ence and >'iorkshop of TFAFA

was hold in Baltimore , Md. , Oct.ober 3rd through 5t.h . It brouqhL tOCjcther many I taJ jdn folk groups to share their knowledne of folk songs , dan­ces, costumes and various aspects of I tal ian folk arts.

Columbia Alfonsi of Pll i 1-adelphia opened t.he conference' on F rid21v evenincl wi th a mnve ­m('nt ,,{orks!1op , empha~~i7,i.n cj the f n'cdo['", of body nlov('mpn t s to expr0ss the Vd r iouc; moods in dane-inCl'

E l ba Farabeqo l i C , lrzau of Philadplphid and 13os(' Grieco of !'lolltclair- , 1\'.,J. , reno,.;ned researchers in folk dances and ,;ongs , tau~lht S0Vf:'rdl dan ­cps , i nc l lldinc.:J trle populur q uadri g lia and tarantella . [lIaise Panizzi of PittsburClh co-rrelilt.ed some of the basic steps in folk dancing.

The song workshop by Ol ivia 130nel l i Or te ll of [,-lont ­va l e , N . ,}. , inc l uded proper breathin c:! tecllr1iques and exer -

- , i ses for j ncreas in<J lung 2apacity and eliminating voice straining. Jane Ferro o f f'ittsburgh gear e d her song workshop with tips on effec ­tiv0lv projectin g the vo i ce , part iCll l arl:.' ,vhpn performjnq for an a udiencf' .

Rruina forte of ndlt i ­more ga v e a s1ide presentation and talk on co l orfu l regiona l costumE.'S and t heir oriqins . Samue l Longo , a 1 so from Lla 1 ti -

-rilorp , charmed UIP a u dience \,ith folk tales that he is rosearc1-:ing for 11 is [orth ­comi rIg i)ooJ< .

Tllo instrument. \,:ork,;hop bv ep1est Dipietropaol o of hashingl:on , D.C ., included a demonstration on tile maran /',anl" a l so kno\{n asthescacciapen ­siero or the jaws harp .

GIJ(-'st speaker \\ ar 1 S iCjneJ 1, et1mortll1si cologist (formerly of the Smithsonian l nstitllte) , spoke of the difficu l ties in establ i shing authent ici t: 1' , provoking c:ontinued i ndividuaJ

'-"'esearch.

The conference \,as host e d by the Ba ll i d ' Ita l ia of nal ­timore , p la nned and a r ranged by Rpgina Forte , Jeanette Sias and Don Castronovo . A recep­tion \,'as given by the Order Sons of Italy , Ba l timore .

MCB

albums of Tt,alian folf.: rrlllsic and sonqs performed by first qcnprution Italian immi~lrants living in the U. S. Anna. ChairE'­takis is to supervise ~nd direct the pr:o j ect ;

7. R. A . 1. TV (L ta 1 Vis i on) donated a set of 12 audio '1"';

tapes of the foll< concert pre -:­sented hy 1'110 American I nstl ­Lute for 1 talian <:>l.l Lure of Philadelphia in cooperation "ith the offic:e of t 1-le Italian Consulate . The program was pro ­duced and directed by Anna L . Chairetakis ;

rJ. IFAFA presented a pro­qram o f Italian fol k dances and sonqs aL the Second Inter ­nation ai Conference of the Nationa l Italian American Foundation held SepLember 12 -1 3 at thf~ "iashington Hi l ton Hotpl , l'iashillc,ton , D . C. T11PWashinCjton , Da 1 t i mclre , Phi lade l phia and Port Lee ~roups participated ;

9 . t.hE' An n ua l Board ~l eetinq "as held in conjunc ­tion vIi tll the 'I'hi rd Annlla 1 Conference i.n Ba1tirnol:e , 1'ld ., October 3 - 5 , hosted by th.-. B2111i d ' Ttalia ;

1 0 . to honor its founde r, the Elba ~arabego l i Curzau Founder ' s Fun d WdS establ ished . Memoriams and otlH:~r contribu­tions specifica1 1 y earmarked for this fund wil l be used only for the artis t ic pndE-~avors of the Federation .

AL P

Condolences and sincer­e st s ympathy to Elba Gurz a u upo n the death of her hu s~and, T itus las t September. Tltus sUffe;ed a long and deb ilita­ting illness and was lov ingly cared for b y E l b a and their son Adrian.

I n lieu of flowers, the family requested contri butions to IFMA.

FROM 'I'HE ARTISTIC DIRECTOR

I was very fortunate to attend a l ecture by Prof. Giu seppe Profeta at the Italian Studies Center , lniversity 01 PAnnsylvan ia.

Prof . Profeta 1s Cha i r ­ma n of the Folkl o r e Depa r t ­ment of the University of l 'Aquilain Abruzzo , Ita l y. lie , }·lis collC'aqqes and stu­dents are con ducting rosearc l in the fic1 d of Ita l ian fo1k -10re and , in particular , of Abruzzo .

He spoke of the recent o lltstdndinq di seovery - ei qht volumes of the \..arks of S i ciliCl folJdo r ist ciuscppe pitre , Hhich havp been lost for man" years and which are now beinc republished . C i useppe Pitr0 researched folk l ore of a l l tl reqions of Italy in a Jifetin effort durinq the last cenl.ur\·.

At l ' Aqu .i la , three speci fie projects are unde r way : 1) ma r riage songs , which hereto f o r e were con si dered nonexist ent ; 2) legend s sur­roundi n g hidden treasures , and 3 ) l egen ds of sanc t ua r i e s , monu.ment s a n d churches bu i 1 t . around appari t -Lons and miraclC' Their pre l iminary conclusion in all three areas is that , a l t h ough tr1e s t ories have dif ­fercntversions , the substancE:' is simi l a r regdtdless of l o­cation .

After the lecture , \,e spoke at length. ,We found~e had several acqualntances ] n common , that he was presldent of the Federazion e Itallana Del l e Tradizioni popolarl w~en I was in Italy in 1 97R and that he is pleased \"ltl: the progress being made by the Fed erazione 1 ta l lcma under the leadership of the neIV president , Lu i gi Cab r as .

pose he l p

We' talked about_ the pur ­of IFAFA and hen, HEe' COll 11

the Federazione and how they c:an he J_p ~,rollps abroad

liKe ours.

"Te of IF AFA are most grateful that the Ita l ian ~tudies Center, headed by ,ve I l-known author , Dr- . Jerre Manqionc , is includlng Folk­lore in its cunicLi l Uln .

EfG

DEFINITION AND DOCUMENTATION OF FOLKLORE

Pr o f. Lucy N. La Port a

0n ou r previous issue , Prof. La Porta defined fulklore as the st lldy of the crenerat ion , clec!enera t ion and reqenerCl t ion 0;' tracli t.ions thro;JQll t ri1ns­format.ion , for ,,'hen' il f a c t.or chancres or d isappears , anotht'r relctor takps j t s placp so that. folklore is alwavs in <:l staLe o f flll..x '. ) ,

PART 1 ~

~requontly on our trips a b road, many hours aro spent sitting in the pia~za , SLP ­pintj coffpp and \,:atchlnq people SolO oy. el llt. my last trip to It.alv t.ook on another dimension , another purpose. 1 was determined to return to tlle \'i llage of my ancest.ors and ',iew it. a eTain in illl the numerou s reflections of it.s past , a past. ,.;hicl; briqht.ly colors thf' present t. hrollqh its provcr~~'s, sonqs , t'<'l.Lqi (J I; S

c ustoms , cllis i ne , ctc. 1'1\' colle,-u,111e, f i lolllenadL'1 Ol~(), f'rofc~ssor of Ec!uca t i on <l t Fa i rlei crh iJickinson liniver ­sitv, and 1 had no set p l an, blll He did have a tdpe; recorder and d camera . Tho plan evolved of itself, and successful l y - - d plan "hich cOllld serve as a (fuide l ine t.o those of us who are bent u pon qaining a deeper under­standing of the folk l ore t h <lt is such <l vita l part of the h uman fiber of hyphen ­at£>d AmeLi cans who do not suppress their ethnic origins.

Our first step was to contact , in person, the varjous t o u rist offices on the nation<ll , reCiional , provincial and locai levels , known respectively as Ente Nazion<llf~ del Turisrno , £nLe Req ion<lle del TUt'ismo, £nt1".' Provinci ale del T l!rismo ana Ente Comunale del Turiswo. Thp response at all levels wa s wa rm , and WE~ we re ~! iven names, addresses and tele ­phone numbers of organized folk c:!rOllps . Su , rule IHUTl ­

bel' one is the h u rniHl contact.,

. Our next ste.l? \{as to cwt In touch with the folk group leader in the village. Again, the response was warm, but this time puzzlin g -- for them.

Wh y \,;ollld two university pro ­fessors be so interested in the folklore of San "!arco in La mls, a remote village th<lt lies n(?st l ed In the CarClano , t h e Spill' of the boot, in thc' rC <;Jjon kno\,n as PU9lie. Flat ­\.prpd that tilis humble village S h Oll Ld Tccei Vf' sllch at tent ion , the qroup leader invit!?d u s to rehe arsal? held during till" subsequent four' E'vcn i nqs, dur i nq which timp we w~~n-~ not: only graciously· 'lllowed /:)l)t ent husiast. iC<llly ur~lcd to reeo rd songs sung in t. hl' local dialect. (The n ' s ­ponse to the plavbacJ-. was <l th\lndering appl<luse!)

T ile third stpp is to make sure your eqllipment IS

workin e! : have e xtra batter .i ps on hand for both your tapE: recorder and phot.ographic eqlli pmpnt:. TJlf're j s noLl'linc!

more disappo i ntinC! Lhiln to have the chance t~ take r<lrp photos of t\"r,'ntv danci nq tp~, agers attired in their fol CCJstLUnes only to discover that your batterios are dead

In step four of this process of documentation , the real l y difficult work beqins . YOll nm" have <l tapp of folk songs sunq in dia l ecl most of these songs have neve been wr i r. t.en but learned ora l ly through repetition . 1~e

t.ask of transcribinc] the lyrics and the mu sical rwLa­tion requires h ours of Li5 -teninq . Correction of this transcript i on b y a native informant is of tile essence . Our informant is Dr. Joseph i'usiani" native of San 1'-1arco in Lamis , poet and professor of Rom<lnce Lan C111ages , Herbert II . Lehman Colleqe of lilr' Cit", l~iversity of New York .

I f lhatwhich is docu ­mented is to be disseminated , then proper c":redi t must be 01ven . Folk songs and folk dances be'lone! in the p'lblic d omain. Tr1ey are not ours . They haVE' been sunq and -­danced for cent u r i ('s I n remote <lredS by millions of peop l e . As lonq a s thero have been fields to t i ll, peop l e have d2nced in them ; as long as thore have been f i res around \{hich to sit, people have sung a round tl lorn. Tl lP(f'fore , WP 11".Llst be extremely cautious t.o give proper credit. Je cer­tain to state your' SO llrce and inc l ude tlle date and p l ace the material ".:a s col­If'ct,ed, since latf"'r :l miC!ht be discover£~d th<lt a val·iil­tion of the S<lme folk pieco exists in another region .

:~' he last s t~ takes \I~;

~i n to the first - - the human touCll . You· are leav­ing wi t h something rare and precious; ~.fiv(~ sompti': i ng .in return . Offer a refreshmen t to those who dssistc'd yOll and sing alone! ;, i tl l them as they belt out thp i r folk Tll0j odies. They \verp amused that we did s o . We were gratefl,l thry CJ<l·v'e us t)w """', opportunity.

Excerpt o f a paper presented at the Second Annual Confer­ence of IFAF A . The a\1thori~ Chairman of the Langua g e De­partment, Fair l eiqh Di ckinso t.:niversity , Ru the;ford , N. ,,1.

Dear Fr;enus uf !.tailan C'llture:

YOllY' na rne ',V 3. s re c on"l rnended to us oec:::.use

.!. YJur l nter-est in things Italian. Thcll:k Y'JU LH

lettln::; us come into your h')HJe or sch ()ol.

T11e pUrpi)Se and gual of the I~ · ederatj r.)n IS LJ

dl)cument the status 'If Italian £:.>lk a.rts in UUe

L'nltf;d St3tes and [<) generate research, apprt:'­clation and interest m lLallan i,.) lk it rts. thereby oreser ...... i.ng this llnique her! tn~e.

[tai iil!'1 ,.,11tul'al pr ,Jj ects, fldtwithstancilflt; ;dJ ~o ,jd Inten[ions. ;~re nu( adequately supported

financ(ally ::tnd, SI" 1.'.'111 to estahLish " pern'lanent

recor(!. I dlll, ther<~fure, appealin~ to YUll for t"inancihl a.'j;-jj stant...:e in the Corn; fJ{ a tCi.X cledtll~tl:J lt~

c u n t r it) u ti () n.

Your l>JOperation a lso is reqilested in intro·

ducing the work ,,)1 the Federation and its news· .: .... tler tu \';)ur friends, Italian ,) rganizatiuns, town

aries, etc. Especially you, teachers of Italian, 'ire in a unique position to gen(~ r;jte interest and

pa rticipation in Italian folk sin;:;ing and dancing. 'Tl i r()u~~!-_ you, \ve in\:ite y()u r students, the Italia n

l :JiJ clnd sch\.Jt.:d. lif)rary t u subscribe to uur ne\\;s ·

J e ttf, r.

We a re sending this copy ()f 'Jur newsletter, k, we 'Hant yuu to see 'A'hat it is ,til cd)'jut. We"

'<now Y"u will not be disappointed in subscribing, a.nd we are certaln tha t you will find the range, scupe and depth of the material pre sented to be

!Inusuzd, educat!')nal,

a.'hlilable elsewhere.

ref res hill g d n d 11<) tea s i1 \I

In toriay's inflated times, a $5.00 annuai sub · scnption is the blggest bargain you can gel. TRADIZIONI can be ordered also in bulk quanti­tieS of ten or mu re at a reduced 1'a te of 25¢ pe r

c·'py.

We value and need your n1ural and financial

support. Please do not let us down,

Thank Y"lj .

,-

B U 0 N NAT ALE

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AVAILABLE x X X X X X X X X X X X X X X X X X X X X X X X X X NHJ Italian Cuitar; hand fin­ished wi ttl inlays and carvecl brid~w by~!j raqlia .':;' Fiqli of Catania; ') ~; trinq, doublc; normal si ze , 1 ute shaped; accoustic, can be c'on\/prtecJ, $42'), (Call 212-54H-~3G7),

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R E COM MEN D E D

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Professional Portable Cassel. tC' Recorder-Player by S ilperscopc of l'iarantz (world's most res­pected nallie in hi fidelity)', Mudel C-2UG LP with special \iari-Speed Control: a must- fur lRarnincl or' teaclti n 'J, Nel-i fac ­tory quarantec - whnlesa l e pri cc only $125, plus posta,]p (avai 1-able only throuC111 IFAFA).

Revised and expanded Second Edition of FOLl'; DANCES, cos­TUMES AND CUSTO~lS OF ITALY bv Elba F. Curza;l \"ill be p u b ­lished soon (\,'rite IfMA or call 12 1')) '324-1250)

IN COMING ISSUES:

Ros(' ':;rieco: (JIlt of the Uar l<;­ness: In A~ruzzo .

:V!ari. e Perona: Songs uf theAlps. Prof, LlIc\' N. La Porta: On

ltalian Folk Dances. Dorothy 1<1arrucc j: From Hc'!'

Italian l\ilcht'n. ])1', }'I, r'. I.o Pcra: La CanzolvJ

Napole tana - an extraordi­nary p llenOtnena o f the "rnusica popolarp",

~n interview with Alan Lomax, international field recordinq artist and largost contribut~r of alltl\ontic rpcordin(lS lothe Na tional Fo lk Archive of the Acad('miadi SantaC('cilia inHome ,

Hooke;

Roberto Lf!ydi, Cant i Popola-rJ Italiani; I l l73, ;-londadori.

An i tl depth, i nfonna t i '- ' e

dnd :~cl1()l(lrly work of selected sonqs and musjc with notations, \ A \' a i 1 a b I c' t )1 r nil 9 h i n tor n a-t irm a 1. ',oak dealers.)

[laln C,)lvino, i talian r 'oll,

TalC's.

Selcctod and retold bv It.alu Calvino. En<:l1isll trans­lat.ion b..,· (;eorqe l'!artin. l l )80, Wol f f Ilia rcour t [Is-ace LTavanov i ch.

According to Calvino, .. A qui v(':'r of love runs throuqh Italian Co lklorp. (:lipid and Psyche an: (~specia llY popular in Slcily and Tuscany. The Sicilian tales are filled wi th loca l color, 14it.ll many allu­sionc; t.o socia 1 cond i. t ions, Tllf.' '(uscatl tales are more fan­tasti~, closer to rhildren's f)nCillS ••• "

F i abe Ltaliane is a com­bined effort, that of the o ld I tal i an men and women, who are the traditional transmitters and revisors of tales, dnd that of Calvina, lecturer, editor, criticand, aboveall, master storyteller.

Records and Tapes

A. Traditional folk music and ceremonial dances adopted by Robprto De Simone .

La NUOVil Compagnia di Cilnto Popolare , l ive conCf'rt ilt the Teatro 8el1j di Roma, E1'11. CO(;4-17900.

Ii sarracini adorano Iu sole, El'lI, CCl64-1t102(),

8 . Anthologies of Italian folk music. * * Lomax and Carpitclla, Colum­bia World Library of Folk and Primitive Music .

Northern & Central Italy KL 5173 Vol. XV Southern Italy S, the Islands l\L 5174 Vol. XV]

**R0'j ssued by Carpi tf?1 La on_ an Italian label.

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