{"id":10,"date":"2026-06-09T12:14:56","date_gmt":"2026-06-09T10:14:56","guid":{"rendered":"https:\/\/www.ilsileno.it\/suoni\/?page_id=10"},"modified":"2026-10-19T16:11:39","modified_gmt":"2026-10-19T14:11:39","slug":"home","status":"publish","type":"page","link":"https:\/\/www.ilsileno.it\/suoni\/","title":{"rendered":"Home"},"content":{"rendered":"\t\t
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Suoni. Journal on Soundscapes and Musico-Literary Studies, Vol. 1, n. 1 (Luglio 2026)<\/em><\/p>


FEMININE SOUNDSCAPES<\/strong><\/h3>

Editors:<\/strong><\/p>

Pamela Parenti<\/strong> (Universit\u00e0 degli Studi Niccol\u00f2 Cusano)<\/p>

Ellen Patat<\/strong> (\u0130stanbul \u00dcniversitesi)<\/p>

Daniela Bombara<\/strong> (University of the Witwatersrand)<\/p>

Editorial<\/a>
Daniela Bombara & Ellen Patat<\/strong><\/p>

Prefazione \u201cUn atto d\u2019amore\u201d<\/a>
Alessandra Calanchi<\/strong><\/p>

Introduzione<\/a>
Pamela Parenti<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Articles \/ Articoli<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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A Feminine Narration of the Phonosphere? Women Travellers and Sound in Nineteenth-Century Italy<\/a>
H\u00e9lo\u00efse Faucherre-Buresi<\/strong><\/p>

\u201cEra sempre quella voce.\u201d Forme sonore della soggettivit\u00e0 nella Marion di Annie Vivanti<\/a>
Annunziata Zevola<\/strong><\/p>

La folla, la festa, i rituali sociali: antropofonie nella narrativa di Matilde Serao<\/a>
Loredana Palma<\/strong><\/p>

Paesaggi sonori e processi cognitivi nel racconto Viaggio meraviglioso di Gianni nel paese delle parole di Laura Orvieto<\/em><\/a>
Pamela Parenti<\/strong><\/p>

Melodie della solitudine. Indagini sulla sonorit\u00e0 nascosta dei racconti di Anna Banti<\/a>
Simone Pettine<\/strong><\/p>

\u2018Per sempre sirena\u2019: musiche al femminile nella Napoli di Anna Maria Ortese<\/a>
Francesca Favaro<\/strong><\/p>

Il paesaggio come eco dell\u2019anima: le donne \u201cspecchio\u201d della ricerca esistenziale in Gozzano e Guccini<\/a>
Lucas Asmaron<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Saggi<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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\u00a0<\/p>

  1. Una narrazione della fonosfera al femminile? Le viaggiatrici e il suono nell\u2019Italia dell\u2019Ottocento \/ A Narrative of the Phonosphere from a Female Perspective? Women Travelers and Sound in 19th-Century Italy
    Faucherre-Buresi H\u00e9lo\u00efse (Universit\u00e9 Lyon 3)<\/em><\/strong><\/strong><\/li>
  2. \u201cRumori di voci e di musiche.\u201d Paesaggi sonori e identit\u00e0 femminile in Annie Vivanti \/ \u201cNoises of Voices and Music\u201d: Soundscapes and Female Identity in Annie Vivanti
    Zevola Annunziata (University of Toronto)<\/strong><\/em><\/em><\/li>
  3. Antropofanie. La folla, la festa, i rituali sociali nella narrativa di Matilde Serao \/ Anthrophanies: Crowds, Festivities, and Social Rituals in the Fiction of Matilde Serao
    Palma Loredana (Universit\u00e0 di Napoli \u201cFederico II\u201d)<\/em><\/strong><\/strong><\/li>
  4. Laura Cantoni Orvieto e il fascino creativo del linguaggio. Viaggio meraviglioso di Gianni nel paese delle parole: fantasia grammaticale \/ Laura Cantoni Orvieto and the Creative Allure of Language: Gianni\u2019s Marvelous Journey in the Land of Words \u2013 Grammatical Fantasy
    Pamela Parenti (Universit\u00e0 Niccol\u00f2 Cusano)<\/strong><\/em><\/em><\/li>
  5. Melodie della solitudine. Indagini sulla sonorit\u00e0 nascosta dei racconti di Anna Banti \/ Melodies of Solitude: Investigating the Hidden Soundscape of Anna Banti\u2019s Short Stories
    Pettine Simone (Universit\u00e0 \u201cG. d\u2019Annunzio\u201d Chieti – Pescara)<\/strong><\/em><\/em><\/li>
  6. \u201cPer sempre sirena\u201d: musiche al femminile nella Napoli di Anna Maria Ortese \/ \u201cPer sempre sirena\u201d: Women\u2019s Music in Anna Maria Ortese\u2019s Naples
    Favaro Francesca (Universit\u00e0 di Venezia)<\/strong><\/em><\/em><\/li>
  7. Un paesaggio sonoro al femminile come eco dell\u2019anima: le donne \u2018specchio\u2019 della ricerca esistenziale in Gozzano e Guccini \/ A Feminine Soundscape as an Echo of the Soul: Women as \u2018Mirrors’ of Existential Quest in Gozzano and Guccini
    Asmaron Lucas (Universit\u00e0 Niccol\u00f2 Cusano)<\/strong><\/em><\/li><\/ol>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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    Interviste e recensioni<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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    Intervista a Silvia Colasanti (compositrice) \/ An interview with Silvia Colasanti (composer)<\/a>
    Daniela Bombara<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    Ascolti Musicali Vol.1 No. 1 2026\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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    Feminine Soundscapes \/ Paesaggi sonori al femminile<\/strong><\/em><\/p>

    Ascolti musicali accompagna la lettura di Feminine Soundscapes, primo numero di Suoni. Journal on Soundscapes and Musico-Literary Studies, attraverso una selezione delle musiche richiamate nei contributi. Alle composizioni esplicitamente citate o discusse, come le canzoni di Francesco Guccini e Anna A. di Silvia Colasanti, si affiancano suggestioni d\u2019ascolto legate a riferimenti pi\u00f9 generici: quando viene menzionata un\u2019opera senza indicarne un brano preciso, la scelta proposta non trova pertanto un riscontro puntuale nei saggi o nei testi esaminati.<\/p>

    L\u2019identificazione di Penso! di Francesco Paolo Tosti, su versi di Rocco Emanuele Pagliara, deriva dal confronto con il testo integrale di Nella lava, nel Romanzo della fanciulla di Matilde Serao. Il racconto riporta infatti alcuni versi della romanza omessi nell\u2019estratto citato da Loredana Palma: \u201cpenso alla prima volta\u201d e, poco dopo, \u201cMa tu, tu l\u2019hai scordato \/ Dici che un sogno fu\u2026\u201d.<\/p>

    Il canto popolare citato da Gozzano come \u201cO mio carino, tu mi piaci tanto\u201d, attestato in diverse varianti, \u00e8 proposto nella versione interpretata da Orietta Berti, Meglio sarebbe, che reca \u201cO mia Rosina, tu mi piaci tanto\u201d.<\/p>

    Nel saggio di Francesca Favaro si trova un riferimento alla canzone \u2019O carcerato, citata da Ortese nel Monaciello come \u201cla canzone allora tanto in voga che s\u2019intitolava \u2019O carcerato\u201d. Si suppone che si tratti di Sto carcerato, musicata da Eduardo Di Capua, ma l\u2019identificazione resta probabile, non certa. Il video proposto presenta una registrazione al mandolino realizzata a partire da uno spartito la cui musica \u00e8 associata a due testi: \u2019O sentimento, di Pasquale Cinquegrana, e Sto carcerato, di Diodato Del Gaizo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    Listening Notes Vol.1 No.1 2026\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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    Feminine Soundscapes \/ Paesaggi sonori al femminile<\/strong><\/em><\/p>

    Listening Notes accompanies the reading of Feminine Soundscapes, the first issue of Suoni. Journal on Soundscapes and Musico-Literary Studies, with a selection of musical pieces mentioned in its contributions. Alongside compositions explicitly discussed, such as songs by Francesco Guccini and Silvia Colasanti\u2019s Anna A., it offers additional listening suggestions inspired by more general references. Where a composer or musical work is mentioned without reference to a specific piece, the selection is necessarily more interpretative, and the suggested recording should not be taken as a direct match for the discussion in the essay.<\/p>

    The identification of Penso! by Francesco Paolo Tosti, with lyrics by Rocco Emanuele Pagliara, emerged from a comparison with the full text of Nella lava, a story in Matilde Serao\u2019s Romanzo della fanciulla. Serao\u2019s text includes two lines from the song that are omitted from the passage quoted by Loredana Palma: \u201cpenso alla prima volta\u201d and, shortly afterwards, \u201cMa tu, tu l\u2019hai scordato \/ Dici che un sogno fu\u2026\u201d.<\/p>

    The folk song quoted by Gozzano as \u201cO mio carino, tu mi piaci tanto\u201d exists in several variants. The version included here is Orietta Berti\u2019s Meglio sarebbe, which features the line \u201cO mia Rosina, tu mi piaci tanto\u201d.<\/p>

    Francesca Favaro\u2019s essay refers to the song \u2019O carcerato, which Ortese describes in Il Monaciello as \u201cla canzone allora tanto in voga che s\u2019intitolava \u2019O carcerato\u2019\u201d (the song that was so popular at the time, entitled \u2019O carcerato\u2019). This is likely to be Sto carcerato, set to music by Eduardo Di Capua, although the identification remains tentative. The video presented here features a mandolin performance based on a score associated with two different sets of lyrics: \u2019O sentimento, by Pasquale Cinquegrana, and Sto carcerato, by Diodato Del Gaizo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    Suoni. Journal on Soundscapes and Musico-Literary Studies, Vol. 1, n. 1 (Luglio 2026) FEMININE SOUNDSCAPES Editors: Pamela Parenti (Universit\u00e0 degli Studi Niccol\u00f2 Cusano) Ellen Patat (\u0130stanbul \u00dcniversitesi) Daniela Bombara (University of the Witwatersrand) EditorialDaniela Bombara & Ellen Patat Prefazione \u201cUn atto d\u2019amore\u201d Alessandra Calanchi IntroduzionePamela Parenti Articles \/ Articoli A Feminine Narration of the Phonosphere? […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-10","page","type-page","status-publish","hentry"],"yoast_head":"\nSuoni. 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