{"id":23039,"date":"2014-11-05T00:00:00","date_gmt":"2014-11-04T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2014\/11\/05\/les-symphonies-du-nouveau-monde\/"},"modified":"2024-08-16T14:43:44","modified_gmt":"2024-08-16T12:43:44","slug":"les-symphonies-du-nouveau-monde","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde","title":{"rendered":"Le sinfonie del Nuovo Mondo"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/AaronCopland.jpg\" alt=\"\" width=\"554\" height=\"371\" \/><figcaption class=\"wp-caption-text\">Aaron Copland. Foto: Biblioteca del Congresso, wikimedia commons<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Nel XVII secolo, la musica europea era rappresentata principalmente dal canto dei salmi protestanti, ma la musica strumentale, inizialmente per uso privato, inizi\u00f2 a diffondersi nel secolo successivo. Come i colonizzatori, i primi compositori provenivano dall'Europa, mentre quelli nati negli Stati Uniti rimasero a lungo dilettanti con una scarsa formazione formale. A partire dall'indipendenza (1783), i principali centri culturali furono Boston, New York e Filadelfia. Nella seconda met\u00e0 del XIX secolo, alcuni musicisti americani (tra cui John K. Paine e Edward MacDowell) tornarono a insegnare sulla East Coast dopo aver studiato in Europa. La principale fonte di reddito per molti compositori americani in questo periodo fu l'insegnamento universitario.<\/p>\n<p>La scoperta e lo studio del folklore amerindio e nero attenuarono l'accademismo un po' ristretto dei sostenitori del romanticismo tedesco. Poich\u00e9 la Prima guerra mondiale aveva sostituito il gusto per l'arte tedesca con un'ovvia francofilia, negli anni Venti molti compositori iniziarono a formarsi a Parigi con Nadia Boulanger. Come la generazione precedente, ottennero posti in universit\u00e0 prestigiose, dove si formarono personalit\u00e0 diverse come Leroy Anderson, Leonard Bernstein e Conlon Nancarrow.<\/p>\n<p>Basandosi sulla figura centrale di Aaron Copland, deliziosamente di ampie vedute (era convinto che la pluralit\u00e0 stilistica fosse costitutiva della musica americana), Nicolas Southon descrive sinteticamente la vita e l'opera di compositori post-romantici come Samuel Barber, Howard Hanson, Roy Harris, Gian Carlo Menotti e William Schuman, compositori eclettici come David Diamond e Ned Rorem, \"modernisti come Ruth Crawford e Carl Ruggles; serialisti come Milton Babbitt; sperimentatori come Henry Cowell, Charles Ives e Harry Partch; liberi pensatori come John Cage, George Crumb, Conlon Nancarrow e Edgard Var\u00e8se; minimalisti come John Adams, Philip Glass e Steve Reich; e fusionisti jazz\/classici come Leonard Bernstein, George Gershwin e Gunther Schuller\".<\/p>\n<p>L'autore esamina anche l'influenza pi\u00f9 o meno profonda dei musicisti europei sulle tourn\u00e9e americane, dei compositori ospiti come Dvorak, e dei compositori che si erano rifugiati o stabiliti negli Stati Uniti per lungo tempo, come Bart\u00f3k, Bloch, Milhaud, Sch\u00f6nberg, Var\u00e8se e molti altri. Capitoli speciali sono dedicati all'opera, alla musica da film (che, da Erich Wolfgang Korngold a John Williams, perpetua lo stile post-romantico tedesco, compreso l'uso di leitmotiv) e al musical, incentrato su Broadway e illustrato da compositori come Bernstein, Gershwin, Jerome Kern, Cole Porter e Kurt Weill, le cui melodie furono rapidamente riutilizzate come \"standard\" per il jazz.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Southon_Klein.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Nicolas Southon, Les symphonies du Nouveau Monde - La musique aux Etats-Unis, 200 p., \u20ac 15,00, Fayard\/Mirare, Parigi 2014, ISBN 9782213681009<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Il piccolo libro di Nicolas Southon ha il merito di riassumere la vita musicale negli Stati Uniti, concentrandosi sui compositori e coprendo la musica popolare (menestrelli, ragtimes, musical, ecc.).<\/strong><\/p>","protected":false},"author":1,"featured_media":23040,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1616],"tags":[],"class_list":["post-23039","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Les symphonies du Nouveau Monde - Revue Musicale Suisse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Les symphonies du Nouveau Monde - Revue Musicale Suisse\" \/>\n<meta property=\"og:description\" content=\"Le petit ouvrage de Nicolas Southon a le m\u00e9rite de r\u00e9sumer la vie musicale aux Etats-Unis en se concentrant sur les compositeurs, tout en abordant la musique populaire (minstrels, ragtimes, musicals, \u2026).\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde\/\" \/>\n<meta property=\"og:site_name\" content=\"Revue Musicale Suisse\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/SchweizerMusikzeitung\/\" \/>\n<meta property=\"article:published_time\" content=\"2014-11-04T23:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-08-16T12:43:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/AaronCopland.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"554\" \/>\n\t<meta property=\"og:image:height\" content=\"371\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Musikzeitung-Redaktion\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@smusikzeitung\" \/>\n<meta name=\"twitter:site\" content=\"@smusikzeitung\" \/>\n<meta name=\"twitter:label1\" content=\"Scritto da\" \/>\n\t<meta name=\"twitter:data1\" content=\"Musikzeitung-Redaktion\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tempo di lettura stimato\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minuti\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde\"},\"author\":{\"name\":\"Musikzeitung-Redaktion\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#\\\/schema\\\/person\\\/b2fd892c800856270b9dcc6001265712\"},\"headline\":\"Les symphonies du Nouveau Monde\",\"datePublished\":\"2014-11-04T23:00:00+00:00\",\"dateModified\":\"2024-08-16T12:43:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde\"},\"wordCount\":506,\"publisher\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.revuemusicale.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/AaronCopland.jpg\",\"articleSection\":[\"Critiques\",\"Livres et partitions\"],\"inLanguage\":\"it-IT\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde\",\"url\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde\",\"name\":\"Les symphonies du Nouveau Monde - Revue Musicale Suisse\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.revuemusicale.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/AaronCopland.jpg\",\"datePublished\":\"2014-11-04T23:00:00+00:00\",\"dateModified\":\"2024-08-16T12:43:44+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde#breadcrumb\"},\"inLanguage\":\"it-IT\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"it-IT\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde#primaryimage\",\"url\":\"https:\\\/\\\/www.revuemusicale.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/AaronCopland.jpg\",\"contentUrl\":\"https:\\\/\\\/www.revuemusicale.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/AaronCopland.jpg\",\"width\":554,\"height\":371},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/critiques\\\/livres-et-partitions\\\/2014\\\/11\\\/les-symphonies-du-nouveau-monde#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.revuemusicale.ch\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Les symphonies du Nouveau Monde\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#website\",\"url\":\"https:\\\/\\\/www.revuemusicale.ch\\\/\",\"name\":\"Revue Musicale Suisse\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.revuemusicale.ch\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"it-IT\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#organization\",\"name\":\"Revue Musicale Suisse\",\"url\":\"https:\\\/\\\/www.revuemusicale.ch\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"it-IT\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/www.revuemusicale.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/logo_revuemusicale_musikzeitung.jpg\",\"contentUrl\":\"https:\\\/\\\/www.revuemusicale.ch\\\/wp-content\\\/uploads\\\/2023\\\/01\\\/logo_revuemusicale_musikzeitung.jpg\",\"width\":1200,\"height\":243,\"caption\":\"Revue Musicale Suisse\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/SchweizerMusikzeitung\\\/\",\"https:\\\/\\\/x.com\\\/smusikzeitung\",\"https:\\\/\\\/www.instagram.com\\\/musikzeitung.ch\\\/?hl=de\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.revuemusicale.ch\\\/#\\\/schema\\\/person\\\/b2fd892c800856270b9dcc6001265712\",\"name\":\"Musikzeitung-Redaktion\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"it-IT\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/0c7e6a405862e402eb76a70f8a26fc732d07c32931e9fae9ab1582911d2e8a3b?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/0c7e6a405862e402eb76a70f8a26fc732d07c32931e9fae9ab1582911d2e8a3b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/0c7e6a405862e402eb76a70f8a26fc732d07c32931e9fae9ab1582911d2e8a3b?s=96&d=mm&r=g\",\"caption\":\"Musikzeitung-Redaktion\"},\"sameAs\":[\"http:\\\/\\\/wundo-docker.io\"],\"url\":\"https:\\\/\\\/www.revuemusicale.ch\\\/it\\\/author\\\/admin\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Les symphonies du Nouveau Monde - Revue Musicale Suisse","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde\/","og_locale":"it_IT","og_type":"article","og_title":"Les symphonies du Nouveau Monde - Revue Musicale Suisse","og_description":"Le petit ouvrage de Nicolas Southon a le m\u00e9rite de r\u00e9sumer la vie musicale aux Etats-Unis en se concentrant sur les compositeurs, tout en abordant la musique populaire (minstrels, ragtimes, musicals, \u2026).","og_url":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde\/","og_site_name":"Revue Musicale Suisse","article_publisher":"https:\/\/www.facebook.com\/SchweizerMusikzeitung\/","article_published_time":"2014-11-04T23:00:00+00:00","article_modified_time":"2024-08-16T12:43:44+00:00","og_image":[{"width":554,"height":371,"url":"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/AaronCopland.jpg","type":"image\/jpeg"}],"author":"Musikzeitung-Redaktion","twitter_card":"summary_large_image","twitter_creator":"@smusikzeitung","twitter_site":"@smusikzeitung","twitter_misc":{"Scritto da":"Musikzeitung-Redaktion","Tempo di lettura stimato":"3 minuti"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde#article","isPartOf":{"@id":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde"},"author":{"name":"Musikzeitung-Redaktion","@id":"https:\/\/www.revuemusicale.ch\/#\/schema\/person\/b2fd892c800856270b9dcc6001265712"},"headline":"Les symphonies du Nouveau Monde","datePublished":"2014-11-04T23:00:00+00:00","dateModified":"2024-08-16T12:43:44+00:00","mainEntityOfPage":{"@id":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde"},"wordCount":506,"publisher":{"@id":"https:\/\/www.revuemusicale.ch\/#organization"},"image":{"@id":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde#primaryimage"},"thumbnailUrl":"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/AaronCopland.jpg","articleSection":["Critiques","Livres et partitions"],"inLanguage":"it-IT"},{"@type":"WebPage","@id":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde","url":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde","name":"Les symphonies du Nouveau Monde - Revue Musicale Suisse","isPartOf":{"@id":"https:\/\/www.revuemusicale.ch\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde#primaryimage"},"image":{"@id":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde#primaryimage"},"thumbnailUrl":"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/AaronCopland.jpg","datePublished":"2014-11-04T23:00:00+00:00","dateModified":"2024-08-16T12:43:44+00:00","breadcrumb":{"@id":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde#breadcrumb"},"inLanguage":"it-IT","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde"]}]},{"@type":"ImageObject","inLanguage":"it-IT","@id":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde#primaryimage","url":"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/AaronCopland.jpg","contentUrl":"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/AaronCopland.jpg","width":554,"height":371},{"@type":"BreadcrumbList","@id":"https:\/\/www.revuemusicale.ch\/critiques\/livres-et-partitions\/2014\/11\/les-symphonies-du-nouveau-monde#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.revuemusicale.ch\/"},{"@type":"ListItem","position":2,"name":"Les symphonies du Nouveau Monde"}]},{"@type":"WebSite","@id":"https:\/\/www.revuemusicale.ch\/#website","url":"https:\/\/www.revuemusicale.ch\/","name":"Rassegna musicale svizzera","description":"","publisher":{"@id":"https:\/\/www.revuemusicale.ch\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.revuemusicale.ch\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"it-IT"},{"@type":"Organization","@id":"https:\/\/www.revuemusicale.ch\/#organization","name":"Rassegna musicale svizzera","url":"https:\/\/www.revuemusicale.ch\/","logo":{"@type":"ImageObject","inLanguage":"it-IT","@id":"https:\/\/www.revuemusicale.ch\/#\/schema\/logo\/image\/","url":"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/logo_revuemusicale_musikzeitung.jpg","contentUrl":"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/logo_revuemusicale_musikzeitung.jpg","width":1200,"height":243,"caption":"Revue Musicale Suisse"},"image":{"@id":"https:\/\/www.revuemusicale.ch\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/SchweizerMusikzeitung\/","https:\/\/x.com\/smusikzeitung","https:\/\/www.instagram.com\/musikzeitung.ch\/?hl=de"]},{"@type":"Person","@id":"https:\/\/www.revuemusicale.ch\/#\/schema\/person\/b2fd892c800856270b9dcc6001265712","name":"Musikzeitung-Redaktion","image":{"@type":"ImageObject","inLanguage":"it-IT","@id":"https:\/\/secure.gravatar.com\/avatar\/0c7e6a405862e402eb76a70f8a26fc732d07c32931e9fae9ab1582911d2e8a3b?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/0c7e6a405862e402eb76a70f8a26fc732d07c32931e9fae9ab1582911d2e8a3b?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/0c7e6a405862e402eb76a70f8a26fc732d07c32931e9fae9ab1582911d2e8a3b?s=96&d=mm&r=g","caption":"Musikzeitung-Redaktion"},"sameAs":["http:\/\/wundo-docker.io"],"url":"https:\/\/www.revuemusicale.ch\/it\/author\/admin"}]}},"publishpress_future_action":{"enabled":false,"date":"1970-01-01 01:00:00","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/posts\/23039","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/comments?post=23039"}],"version-history":[{"count":3,"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/posts\/23039\/revisions"}],"predecessor-version":[{"id":30815,"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/posts\/23039\/revisions\/30815"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/media\/23040"}],"wp:attachment":[{"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/media?parent=23039"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/categories?post=23039"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revuemusicale.ch\/it\/wp-json\/wp\/v2\/tags?post=23039"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}