Rock as compositional practice

Posted: December 5, 2014 in book, zappology
Giordano Montecchi, FRANK ZAPPA - Rock come prassi compositiva, Arcana, 2014, 144 pages

Giordano Montecchi, FRANK ZAPPA – Rock come prassi compositiva, Arcana, 2014, 144 pages


Arcana Edizioni has just published a new book by Giordano Montecchi, a musicologist and a teacher (see below for a short bio) who is been listening, studying, discussing, amazing people and having fun around Frank Zappa since a long time.
He was a prime contributor to the most important Italian conference devoted to Frank Zappa to date: Frank Zappa Domani, held in Tivoli (a little town not far from Rome) in 1999. A book with the same name has been edited from that conference by Gianfranco Salvatore, who also edited the new Montecchi book: FRANK ZAPPA – Rock come prassi compositiva (Arcana, 2014, 144 pages). Rock as compositional practice. The book extends the Frank Zappa Domani essay with the same title. Unfortunately the book has not been translated into other languages yet, so this blog asked Giordano and Arcana to reproduce an excerpt here, just to give an idea of it. Giordano has been extremely kind as usual, as well as the editor, and provided a short text and the truly stimulating bibliographical references and web-o-graphy for the book.



Focus on the orchestral Zappa is growing among present-day scholars, and sometimes you may get the feeling that questions like: “what is the best Zappa?” [1] circulate between the lines. It is an obnoxious question, in which dimly re-emerges the usual temptation to establish a genres based hierarchy that fatally contrasts with the idea of conceptual continuity claimed by Zappa, i.e. the total consistency of his work as a unified and continuous project, whose parts are the result of the same commitment, and have equal dignity, both those dealing with oral sex and those on the stands of the London Symphony Orchestra.
In this regard, Jonathan Bernard, perhaps the prime scholar of the music of Edgard Varèse, as well as the author of some of the most acute and revealing writings of the recent years concerning Zappa, expresses a thought to be fully endorsed, when he observes that if the author of Peaches en Regalia would be remembered for his orchestral production only, would ultimately result as a minor figure (“little more than a bit player”) of the twentieth century music.[2] This is mainly because Zappa abandons much of that formidable technical and linguistic arsenal for his orchestral music, including galvanizing sources of inspiration such as satire, sex, verbal violence, etc., whose amalgam makes his rock ensemble production so extraordinary. And yet the work of Zappa cannot be reduced to such a production only, just because the echoes and the effects of his serious compositions resonate everywhere in it, without the latter it is impossible to fully understand his music for rock bands. The orchestral compositions of Zappa, Bernard concludes, may perhaps reveal certain limits in his abilities, but their value lies in the fact that they have definitively influenced his more interesting and original music, which could not have been conceived in any other way.

Whatever one may think of the quality of these pieces, it is hard not to be reminded of such figures from our past and present as Charles Ives, George Gershwin, Henry Cowell, Harry Partch, John Cage, and La Monte Young: composers who were formed to some significant extent outside the academy, who either never acquired much in the way of formal training or eventually repudiated its lessons. In this sense, Zappa’s is a quintessentially American composer’s story.[3]

Whether or not the statements made in interviews were reliable, in all his life Frank Zappa had been repeating phrases like: “I like Chopin, I have Purcell, I have Webern, I have Varèse, I have Bulgarian music. I don’t listen to Rock and roll.”
Regardless of the public utterances of Zappa, his aesthetic concept and his criteria for judgment conveyed within a field and a practice like rock music – so far off and alien to certain premises that drove him (perhaps provocatively) to reaffirm that he was not a rock consumer, he had not been listening to the radio, etc. – have come to outline not one but a whole series of new and original answers to many of the most fascinating, but also distressing questions of contemporary composing.
Taking advantage of that uninhibited empiricism of experimentation, that is one of the most significant legacies of the United States music of the last century, Frank Zappa deals with improvisation, performance rites, editing and sound engineering with the same scrupulous and consistent approach with which he face the written page. Among all these different aspects, Zappa weaves a close-knit network able to integrate very different conceptions and practices each other, both belonging to the educated musical tradition , and to the new culture of media orality. All this while maintaining a concept clear from any ideological a priori; a vision that hooks the aesthetic judgment to the act of listening and claims the emancipation, or better yet the reinstatement of entertainment as a goal worth of absolute respect, on the aesthetic field too.
This resoluteness, such conceptual continuity reaffirmed in his own words, taken as a way of life and applied to his music, allows Zappa to subtract his creative action to the groundless experimentalism of a tamed avant-garde turned into academy, and to put together a real audience rather than fictitious, without thereby depriving his music of an artistic – and also intellectual – rigor that he considers as vital, and that, in different forms but in equal measure, is there whether it is a matter of Titties ‘n’ Beer or The Perfect Stranger.
The final question is whether Zappa managed to achieve its goal of restoring the long lost organic relation between the artist, who does not intend to give up his own individual research, and the socio-cultural context he is part of. We may outline this answer: being both far from esoteric and self-referential art pour l’art and from the rock stars big business, Zappa had been able to create an original language that speaks to a wide international community, interpreting the identity of such a group with exceptional boldness and authority, and feeding the corresponding social imaginary with a music that deserves to be told, understood and passed on as a creation of art.
To state that Zappa is essentially a “traditional” composer – as we have done in these pages – sounds like a paradox of course, but such a paradox explains precisely the ultimate meaning of that statement we already know very well: “the present-day composer refuses to die.” Zappa has done nothing but indicate a possible way, perhaps the way, to be successful in such an unquenchable challenge.

[1] Arved Ashby, Frank Zappa and the Anti-Fetishist Orchestra, «Musical Quarterly», LXXXIII, 1999, pp. 557-606; Michael Broyles, Mavericks and Other Traditions in American Music, Yale University Press, New Haven & London 2004.
[2] Jonathan W. Bernard, Listening to Zappa, «Contemporary Music Review», XVIII, 4, 2000, p. 94.
[3] Ibidem: 95.

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At the end of the book Giordano Montecchi provides a remarkable and updated list of bibliographical references and the list of the web sites quoted in the text. This blog believes they are of great interest and asked for such lists to be shared.
Here they are in the following. THANKS again to Giordano and the editor.

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Bibliographical References

Roberto Agostini, Luca Marconi (a cura di) Analisi della popular music, numero monografico della «Rivista di Analisi e Teoria Musicale», VIII, 2002, 2.
Anonymous, Absolutely Frank. First Steps in Odd Meters, «Guitar Player Magazine», XVI, 11, November 1982, pp. 114-21 (the name of the interviewer is not indicated).
Arved Ashby, Frank Zappa and the Anti-Fetishist Orchestra, «Musical Quarterly», LXXXIII, 1999, pp. 557-606.
Michail Bachtin, L’opera di Rabelais e la cultura popolare. Riso, carnevale e festa nella tradizione medievale e rinascimentale, Einaudi, Torino 1979 ( di Id., Tvorčestvo Fransua Rable i narodnaja kul’tura srednevekov’ja i Renessansa, Mosca 1965).
Jonathan W. Bernard, The Music of Edgard Varèse, Yale University Press, New Haven 1987.
Jonathan W. Bernard, Listening to Zappa, «Contemporary Music Review», XVIII, 4, 2000, pp. 63-103.
Jonathan W. Bernard, The Musical World(s?) of Frank Zappa: Some Observations of His “Crossover” Pieces, in EVERETT 2000, pp. 157-210.
Jonathan W. Bernard, From Lumpy Gravy to Civilization III: The Story of Frank Zappa’s Disenchantment, «Journal of the Society for American Music», V, 1, pp. 1-31.
James Borders, Frank Zappa’s “The Black Page”. A Case of Musical “Conceptual Continuity”, in: Walter Everett (edited by), Expression in Pop-Rock Music. A Collection of Critical and Analytical Essays, Garland, New York-London 2000, pp. 137-156.
James Borders, Form and the Concept Album: Aspects of Modernism in Frank Zappa’s Early Releases, «Perspectives of New Music», XXXIX, 1, 2001, pp. 118-60.
Georgina Born, David Hesmondhalgh (edited by), Western Music and Its Others. Difference, Representation and Appropriation in Music, University of California Press, Berkeley-Los Angeles 2000.
Pierre Boulez, Schönberg is Dead, in «The Score», 6, May 1952, pp. 18-22 (trad. it. Schönberg è morto, in Id., Note di apprendistato, Torino, Einaudi, 1968, pp.233-239).
Pierre Bourdieu, La distinzione. Critica sociale del gusto, Bologna, il Mulino, 1983 (ed. it. di Id., La distinction, Les éditions de minuit, Paris 1979).
Michael Broyles, Mavericks and Other Traditions in American Music, Yale University Press, New Haven & London 2004.
Paul Carr, Frank Zappa and the And, Ashgate, Farnham-Burlington 2013.
Eric F. Clarke, Subject-Position and the Specification of Invariants in Music by Frank Zappa and P. J. Harvey, «Music Analysis», XVIII, 3, 1999, pp. 347-74.
Brett Clement, Little Dots. A Study of the Melodies of the Guitarist/Composer Frank Zappa, Florida State University, 2004 (Master thesis); see also web-o-graphy.
Brett Clement, A Study of the Instrumental Music of Frank Zappa, University of Cincinnati, 2009 (PhD thesis); see also web-o-graphy.
Brett Clement, Modal Tonicization in Rock. The Special Case of the Lydian Scale, «Gamut. Online Journal of the Music Theory Society of the Mid-Atlantic», 6, 1, 2013; see also web-o-graphy.
Jean Cocteau, Il Gallo e l’Arlecchino, Passigli, Firenze 1987 (ed. it. di Id., Le Coq et l’Arlequin, Éditions de la Sirène, Paris 1918).
Nicholas Cook, Mark Everist (edited by), Rethinking Music, Oxford University Press, Oxford-New York 1999.
Carl Dahlhaus, Analisi musicale e giudizio estetico, Bologna, il Mulino, 1987 (ed. it. di Id., Analyse und Werturteil, Schott, Mainz 1970).
Michael Davis, Little Band We Used To Play In, «Keyboard Magazine», June 1980 (later in VV.AA., A Definitive Tribute to Frank Zappa, «Best of Guitar Player» monographic issue, III, May 1994), pp.12-23.
Michel Delville, Andrew Norris, Disciplined Excess: The Minimalist/Maximalist Interface in Frank Zappa and Captain Beefheart, «Interval(le)s», I, 1, 2004, pp. 3-15; see also web-o-graphy.
Michel Delville, Andrew Norris, Frank Zappa, Captain Beefheart, and the Secret History of Maximalism, Salt Publishing, Norfolk 2005.
Walter Everett (edited by), Expression in Pop-Rock Music. A Collection of Critical and Analytical Essays, Garland, New York-London 2000.
Steven Feld, From Schizophonia to Schismogenesis…, in Steven Feld, Charles Keil (edited by), Music Grooves, The University of Chicago Press, Chicago 1994, pp. 257-289.
Morton Feldman, Essays (edited by Walter Zimmermann), Beginner Press, Kerpen 1985.
Robert Fink, Repeating Ourselves: American Minimal Music as Cultural Practice, Berkeley-Los Angeles, University of California Press, 2005.
Dan Forte, Zappa, «Musician», 19, August 1979, pp. 34-43 (interview).
Michael Gray, Zapp! Vita, vizi, miracoli di Frank Zappa, Arcana, Milano 1986 (ed. it. di Id., Mother! Is the Story of Frank Zappa, Proteus Book, London 1985).
James Grier, The Mothers of Invention and Uncle Meat: Alienation, Anachronism and Double Variation, «Acta Musicologica», LXXIII, 1, 2001, pp. 77-95.
Martin Herraiz, O estranho perfeito. A música orquestral de Frank Zappa, Universidade Estadual Paulista Júlio De Mesquita, São Paulo, 2010 (university degree thesis); see also web-o-graphy.
David Jaffe, Orchestrating the Chimera. Musical Hybrids, Technology, and the Development of a ‘Maximalist’ Musical Style, «Leonardo Music Journal», V, 1995, pp. 11-18.
Hans Robert Jauss, Apologia dell’esperienza estetica, Einaudi, Torino 1985 (ed. it. di Id., Kleine Apologie der Ästhetischen Erfahrung, Hess, Konstanz 1972).
Rolf-Ulrich Kaiser, Guida alla musica pop, Mondadori, Milano 1971 (ed. it. di Id., Das Buch der neuen Pop-Musik, Econ Verlag, Düsseldorf-Wien 1969).
Russell M. Kneer, «Russia’s Music Surviving Turmoil is Still Supreme», says Edgard Varèse, in «Musical America», New York, 23 dicembre 1922 (trad it. in VARÈSE 1985, p. 43).
Wolfgang Ludwig, Untersuchungen zum musikalischen Schaffen von Frank Zappa: eine musiksoziologische und -analytische Studie zur Bestimmung eines musikalischen Stils (thesis, Freie Unverisität Berlin 1991), Peter Lang, Bern 1992.
Bob Marshall, An Interview, in Apocrypha. Thirty Years of Frank Zappa (Great Dane Records GDR 9405/ABCD, 1994, 4 cd); see also web-o-graphy.
Don Menn, Matt Groening, The Mother of All Interview (Part One); Belgian Waffles in Plastic (Part Two), in VV.AA., A Definitive Tribute to Frank Zappa, «Best of Guitar Player» monographic issue, III, May 1994, pp. 56-87.
Richard Middleton, Studiare la popular music, Feltrinelli, Milano 1994 (ed. it. di Id., Studying Popular Music, Open University Press, Buckingam 1990).
Barry Miles, Frank Zappa. La vita e la musica di un uomo Absolutely Free, Kowalski, Milano 2006 (ed. it. di Id., Zappa. A Biography, Grove Press, New York 2004).
Giordano Montecchi, Aspetti di intertestualità nella musica rock degli anni Sessanta, in Rossana Dalmonte (a cura di), Analisi e canzoni, Università degli Studi di Trento-Dipartimento di Scienze Filologiche e Storiche, Trento 1996, pp. 39-57.
Giordano Montecchi, Contaminazione o nuova acculturazione? Lingue e tecnologie musicali nell’epoca del post-, in Carlo de Incontrera (a cura di), Contaminazioni. La musica e le sue metamorfosi, Teatro Comunale di Monfalcone, Monfalcone 1997, pp. 31-95.
Giordano Montecchi, Ritorno all’uomo. Zappa e l’Ensemble Modern, otto anni dopo, in Angelica 2000, Catalogo del Festival, Bologna 2000, pp. 131-39.
Giordano Montecchi, Zappa: rock come prassi compositiva, in G. Salvatore (a cura di), Frank Zappa domani. Sussidiario per le scuole (meno) elementari, Castelvecchi, Roma 2000, pp. 163-227.
Giordano Montecchi, L’oralità ritrovata: paradigmi di una sfida globale, «Musica/Realtà», XXIV, 71, luglio 2003, pp. 103-123.
Giordano Montecchi, Popolo, popolare, popolarità. Radici e slittamenti di un concetto instabile, in Alessandro Rigolli, Nicola Scaldaferri (a cura di), Popular music e musica popolare. Riflessioni ed esperienze a confronto, Casa della Musica-Marsilio, Parma-Venezia 2010, pp. 57-62.
Andre Mount, “Bridging the Gap”: Frank Zappa and the Confluence of Art and Pop, University of Michigan, Ann Arbor 2011 (PhD thesis).
Tom Mulhern, Not Exactly Duane Allman, in VV.AA., A Definitive Tribute to Frank Zappa, «Best of Guitar Player» monographic issue, III, May 1994, pp. 24-36 (The 1982 Zappa interview had been already published in 1983 with a different title: Frank Zappa: “I’m different”, «Guitar Player Magazine», XVII, 2, February 1983, pp. 23-35).
Enciclopedia della musica, diretta da Jean-Jacques Nattiez, Einaudi, Torino 2001-2005.
Luigi Nono, Scritti e colloqui, a cura di Angela Ida De Benedictis e Veniero Rizzardi, 2 voll., Ricordi-LIM, Milano-Lucca 2001.
David Ocker, The David Ocker Internet Interview; see also web-o-graphy.
Walter J. Ong, Oralità e scrittura. Le tecnologie della parola, il Mulino, Bologna 1986 (ed. it. di Id., Orality and Literacy. The Technologizing of the Word, Methuen, London-New York 1982).
Max Paddison, The critique criticised: Adorno and Popular Music, «Popular Music», I, 2, 1982, pp. 2010-18.
Mario Perniola, Disgusti. Le nuove tendenze estetiche, Costa & Nolan, Genova-Milano 1998.
Thomas Phleps, Zwischen Adorno und Zappa. Semantische und funktionale Inszenierungen in Musik des 20. Jahrhunderts, Weidler, Berlin 2001.
VV.AA., A Definitive Tribute to Frank Zappa, «Best of Guitar Player» monographic issue, III, May 1994.
Walter Piston, Armonia, a cura di G. Bosco, G. Gioanola, G. Vinay, Edt, Torino 1989 (ed. it. di Id., Harmony, Norton & C., Inc., New York, 1987, 5a ediz. riveduta e ampliata da Mark De Voto).
William M. Price, An Original Composition, Symphony no. 1, Pollock and An Analysis of the Evolution of Frank Zappa’s Be-Bop Tango, Louisiana State University, Baton Rouge 2004 (PhD thesis); see also web-o-graphy.
George Russell, The Lydian Chromatic Concept of Tonal Organization for Improvisation (1953), 2a ed., New York, Concept Publishing, 1959.
Greg Russo, Cosmik Debris. The Collected History and Improvisations od Frank Zappa (The Son of Revised Edition), Crossfire Publications, New York 2006.
Curt Sachs, Le sorgenti della musica, Torino, Boringhieri, 1979 (ed. it. di Id., The Wellsprings of Music, Martinus Nijhoff, The Hague 1962).
Gianfranco Salvatore, Storia di uno che amava il ritmo, in SALVATORE 2000b, pp. 111-162.
Gianfranco Salvatore (a cura di), Frank Zappa domani. Sussidiario per le scuole (meno) elementari, Castelvecchi, Roma 2000.
Murray R. Schafer, The New Soundscape. A Handbook for the Modern Music Teacher, Berandol Music, Toronto 1969.
Tim Schneckloth, Frank Zappa: Garni Du Jour, Lizard King Poetry and Slime, «Downbeat Magazine», XLV, 10, May 18, 1978, pp. 15-17, 44-46.
Arnold Schönberg, Manuale di Armonia, Il Saggiatore, Milano (1963), 2a ed. 1973 (ed. it. di Id., Harmonielehre, Universal Edition, Vienna 1911).
Arnold Schönberg, Musica nuova, musica fuori moda, stile e idea, in Id., Stile e idea, Milano, Feltrinelli, 1975 (ed. it di Id., New Music, Outmoded Music, Style and Idea, in Style and Idea, Philosophical Library, New York 1950).
David Schwarz, Anahid Kassabian, Lawrence Siegel (edited by), Keeping Score. Music, Disciplinarity, Culture, University of Virginia Press, Charlottesville 1997.
Derek B. Scott (edited by), The Ashgate Research Companion to Popular Musicology, Ashgate, Farnham-Burlington 2009.
Pietro Scuderi, Divertimento Ensemble [intervista a Sandro Gorli], «DK. Bollettino del Centro Studi Debra Kadabra», n. 20, Mestre, febbraio 1999, pp. 10-16.
Kasper Sloot, Frank Zappa’s Musical Language. 4th Edition, July 2012. A study of the music of Fank Zappa; see also web-o-graphy.
Christopher Smith, “Broadway the Hardway”. Techniques of Allusion in Music by Frank Zappa, «College Music Symposium», XXXV, pp. 35-60.
Philip Tagg, Popular Music. Da Kojak al Rave. Analisi e interpretazioni, a cura di Roberto Agostini e Luca Marconi, Clueb, Bologna 1994.
Richard Taruskin, Music in the Early Twentieth Century, The Oxford History of Western Music, vol. 4, Oxford University Press, Oxford-New York 2005.
Edgard Varèse, Composers Form Guild to Bring New Works to Public Hearing, «Musical America», 23 luglio 1921 (trad. it. in VARÈSE 1985, pp. 40-1.
Edgard Varèse, Espace, in Henry Miller, The Air-Conditioned Nightmare, New Directions, New York 1945 (trad. it. in VARÈSE 1985, pp. 67-8).
Edgard Varèse, Il suono organizzato. Scritti sulla musica, a cura di Louise Hirbour, Ricordi-Unicopli, Milano 1985.
Ulrik Volgsten, Music, Mind and the Serious Zappa. The Passions of a Virtual Listener, Stockholms Universitet, Stockholm 1999 (thesis); see also web-o-graphy.
Florindo Volpacchio, The Mother of All Interviews: Zappa on Music and Society, «Telos», XXIV, 87, Spring 1991, pp. 124-36.
Ben Wall, Inca Roads. The Musical Worlds of Frank Zappa, University of Huddersfield, Huddersfield 2011 (Master thesis); see also web-o-graphy.
David Walley, No Commercial Potential. The Saga of Frank Zappa & The Mothers of Invention, New York, E.P. Dutton, 1972.
Ben Watson, The Negative Dialectics of Poodle Play, Quartet Books, London 1994.
Ben Watson, Esther Leslie (edited by), Academy Zappa. Proceeding of the First International Conference on Esemplastic Zappology, Saf Publishing, London 2005.
David Wragg, “Or any Art at All?” Frank Zappa meets critical theory, «Popular Music», xx, 2, 2001, pp. 205-22.
Allan Wright, Frank Zappa’s Orchestral Works: Art Music or “Bogus Pomp”?, University of Glasgow, Glasgow 2007 (Master thesis) ; see also web-o-graphy.
Michael S. Yonchak, Rehearsal Strategies and Stylistic Interpretations to Three Works for Wind Ensemble by Frank Zappa, University of Kentucky, Lexington 2009 (PhD thesis).
The Frank Zappa Songbook Vol. 1 (transcriptions by Ian Underwood), Frank Zappa Music and Munchkin Music, Los Angeles 1973.
The Frank Zappa Guitar Book (transcriptions by Steve Vai), Munchkin Music, Los Angeles 1982.
Frank Zappa, Them or Us, Barfko Swill, Los Angeles 1984.
Frank Zappa, Peter Occhiogrosso, Zappa. L’autobiografia, Arcana, Milano 1995, 2a ediz. (ed. it di Id., The Real Frank Zappa Book, Poseidon Press, New York 1989).
The Frank Zappa Interview Picture Disk, Limited Edition, Baktabak CBAK 4012, cd (1991?); see also web-o-graphy.
Frank Zappa, Hot Rats (transcriptions by Andy Aledort), Hal Leonard, Milwaukee 2001.
Frank Zappa, Apostrophe (‘) (transcriptions by Andy Aledort), Hal Leonard, Milwaukee 2002.
Frank Zappa, Overnite Sensation (transcriptions by Paul Pappas), Hal Leonard, Milwaukee 2010.
Frank Zappa, One Size Fits All (transcriptions by Addi Booth), Hal Leonard, Milwaukee 2011.

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ARF: The Home Of Frank Zappa Heritage Studies: (5/2/2014).
BARFKO-SWILL: (03/03/2014)
CLEMENT 2004: (28/02/2014).
CLEMENT 2009: (28/02/2014).
CLEMENT 2013: (22/02/2014).
DELVILLE 2004: (28/02/2014).
GARCÍA ALBERTOS: Information is not Knowledge (by Román García Albertos): (01/03/2014)
HERRAIZ 2010: (04/03/2014).
JARVINEN 1995: Art’s Comments! in OCKER 1995: (19/02/2014).
MARSHALL 1994: (25/02/2014).
MUNCHKIN MUSIC: (03/03/2014)
OCKER 1995: (03/03/2014).
PRICE 2004: (04/03/2014).
SCHOTT MUSIC: (04/03/2014).
SLOOT 2012: (22/02/2014).
TAGG: Philip Tagg: (01/03/2014)
THE ZAPPA PATIO: (01/03/2014)
ULTIMATE GUITAR: (01/03/2014)
VOLGSTEN 1999: (04/03/2014).
WALL 2011: (04/03/2014).
WRIGHT 2007: (04/03/2014)
ZAPPA 1991:,_pt.2 (26/02/2014)

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The Author

Giordano Montecchi, musicologist and music critic, is Professor of Music History and Musicology at the Conservatorio di Musica Arrigo Boito in Parma. He also taught for a few years Music and discography at the IULM University in Milan. As a scholar, he is devoted to the study and research of avant-garde and experimental music of the 20th century, both in the academic and in popular environments.
In addition to collaborations with music journals, newspapers and various music publishers, for which he wrote numerous essays and articles, he has been working as a freelance writer for music institutions and festivals such as Wien Modern, Teatro alla Scala, Festival d’Automne de Paris, Biennale di Venezia, Deutsche Grammophon, etc.
He also collaborates with The New Grove Dictionary of Music and Musicians and The New Grove Dictionary of Opera. In 1998 he published Una storia della musica. Artisti e pubblico dal Medioevo ai giorni nostri, Rizzoli.
Furthermore, he created, organized and directed performances and music festivals devoted to new experimental music and multicultural tendencies.

When he was young he was a jazz pianist, however one day his music critic self said: “forget it”!

Giordano Montecchi (photo by Giulia Generali)

Giordano Montecchi (photo by Giulia Generali)

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  1. mmbalint says:

    So… I’ve made a tiny Hungarian version as well… 🙂 (Thanks!)

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