Abstract
My goal in what follows is to trace the role of avant-garde music in the rise and development of the Italian counter-culture from the early 1960s until its destruction at the end of the 1970s. Instead of approaching this issue along quantitative, sociological lines, I will focus on one figure whose simultaneous engagement with musical innovation and sociopolitical revolution was exemplary in its intent (though exceptional in its extent): the avant-garde composer Luigi Nono, whose career parallels the rise of the Italian counter-culture during the 1960s and early 1970s. I will also briefly examine how the forcible destruction of the Italian counter-culture in 1979 is reflected in the last phase of Nono’s musical career.
Highlights
At the outset of this discussion I would like to propose a definition or two that will hold throughout it
I would like to define the term ‘counter-‐culture’, which appears in my title, as the organised and self-‐conscious articulation of an alternative to hegemonic capitalist culture—alternative in terms of values, institutions and sign systems
ISSN 1837-8692 that was based upon a long-‐term political alliance of workers and students, which later expanded—not without difficulty—to include feminists and other activist groups.[1]
Summary
At the outset of this discussion I would like to propose a definition or two that will hold throughout it.
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