The musical, cultural and financial life and legacy of Tito Schipa

Titolo Rivista CONTABILITÀ E CULTURA AZIENDALE
Autori/Curatori Stefano Adamo, David Alexander, Roberta Fasiello, Tito Junior Schipa
Anno di pubblicazione 2023 Fascicolo 2022/2 Lingua Inglese
Numero pagine 37 P. 53-89 Dimensione file 180 KB
DOI 10.3280/CCA2022-002004
Il DOI è il codice a barre della proprietà intellettuale: per saperne di più clicca qui

Qui sotto puoi vedere in anteprima la prima pagina di questo articolo.

Se questo articolo ti interessa, lo puoi acquistare (e scaricare in formato pdf) seguendo le facili indicazioni per acquistare il download credit. Acquista Download Credits per scaricare questo Articolo in formato PDF

Anteprima articolo

FrancoAngeli è membro della Publishers International Linking Association, Inc (PILA)associazione indipendente e non profit per facilitare (attraverso i servizi tecnologici implementati da CrossRef.org) l’accesso degli studiosi ai contenuti digitali nelle pubblicazioni professionali e scientifiche

Introduction: The article, multidimensional and multi-media in scope and sources, represents, from an accounting history perspective, the social, economic and polit-ical events influencing opera theatre and the opera tenor Tito Schipa. Aim of the work: The study presents a social and cultural real accounting-based story, linking accounting, patronage, politics, artistry and heritage, referring to ac-countability in both financial and non-financial terms. Methodological approach: The article uses a qualitative research method explor-ing, from both primary and secondary data, the epiphanies having a significant im-pact on Tito Schipa’s personal and professional life. Main findings: The work develops and applies a framework of accountability in the context of opera theatre considering the influences of patronage and Fascism, and represents an example of the effects of economic and political changes on artists and of the relations of power within which accounting is embedded. Originality: The research adopts an exploratory and creative multi-media approach in using oral/aural, financial and private archive sources and it explores the Tito Schipa’s life and career, largely unknown, and the related ‘accounting’ information.

Keywords:music, patronage, accountability, decision-making, investments, opera

  1. Agid P. and Tarondeau J.C. (2010). Funding Opera Houses. In the Management of Opera. London: Palgrave Macmillan, DOI: 10.1057/9780230299276_7
  2. Alexander D. (2016). The accountant as a nobody. Accounting and Cultures, XVI, 2: 45-63.
  3. Antliff M. (2002). Fascism, Modernism, and Modernity. The Art Bulletin, 84, 1: 148-169, DOI: 10.1080/00043079.2002.10787015
  4. Antonelli V., D’Alessio R., Rossi R. and Funnell W. (2018). Accounting and the banality of evil: expropriation of Jewish property in Fascist Italy. Accounting, Auditing & Accountability Journal, 31, 8: 2165-2191, DOI: 10.1108/AAAJ-11-2016-2783
  5. Balfe J.H. (1993). Paying the piper: causes and consequences of art patronage. Urbana and Chicago: University of Illinois Press.
  6. Balluchi F., Lazzini A. and Tonelli R. (2021). Accounting and music: the role of Giuseppe Verdi in shaping the Nineteenth Century culture industry. Accounting History, 26, 4: 612-639, DOI: 10.1177/10323732211026022
  7. Barbon A. (2000). Aspetti della privacy di un dittatore: Mussolini e i musicisti del suo tempo. Milano: FrancoAngeli.
  8. Baumol W.J. and Bowen W.G. (1965). On the Performing arts: The Anatomy of Their Economic Problems. The American Economic Review, 55, 1-2: 495-502.
  9. Baumol W.J. and Bowen W.G. (1966). Performing arts: the economic dilemma. A study of problems common to theater, opera, music and dance. New York: Twentieth Century Fund.
  10. Benjamin W. (1968). The Work of Art in the Age of Mechanical Reproduction. In: Arendt H (ed.). Illuminations. New York: Harcourt.
  11. Berghaus G. and Berghaus G. (Eds.) (1996). Fascism and theatre: comparative studies on the aesthetics and politics of performance in Europe, 1925-1945. Oxford: Berghahn Books Providence.
  12. Betts P. (2002). The New Fascination with Fascism: The Case of Nazi Modernism. Journal of Contemporary History, 37, 4: 541-558, DOI: 10.1177/00220094020370040301
  13. Bianconi L. and Walker T. (1984). Production, consumption and political function of seventeenth-century opera. Early Music History, 4: 209-296, DOI: 10.1017/S0261127900000450
  14. Foucault M. (1991). The Foucault effect: Studies in governmentality. In Burchell G., Gordon C. and Miller P. (Eds.). London: Harvester Wheatsheaf.
  15. Bigoni M., Funnell W.N., Deidda Gagliardo E. and Pierotti M. (2021). Accounting for control of Italian Culture in the Fascist Ethical State: The Alla Scala Opera House. Accounting, Auditing & Accountability Journal, 34, 1: 194-222, DOI: 10.1108/AAAJ-09-2019-4186
  16. Biguzzi S. (2003). L’orchestra del duce: Mussolini, la musica e il mito del capo. Torino: Utet.
  17. Blyth A. (1990). Liner notes to Schipa Edition. 1, Naxos Historical, 8.110332.
  18. Bochner A.P. and Ellis C. (1992). Personal narrative as a social approach to interpersonal communication. Communication Theory, 2, 2: 165-172.
  19. Bochner A.P. and Ellis C. (2016). Evocative autoethnography. Writing lives and telling stories. New York: Routledge.
  20. Byrnes W.J. (2009). Management and the arts. Oxford: Focal Press.
  21. Carluccio G. (2007). Tito Schipa. Un Leccese nel mondo. San Cesario di Lecce: Manni.
  22. Carnegie G.D. and Napier C.J. (2012). Accounting’s past, present and future: the unifying power of history. Accounting, Auditing & Accountability Journal, 25, 2: 328-389, DOI: 10.1108/09513571211198782
  23. Carnegie G.D. and Walker S.P. (2007). Household accounting in Australia: prescription and practice from the 1820s to the 1960s. Accounting, Auditing & Accountability Journal, 20, 1: 41-73, DOI: 10.1108/09513570710731209
  24. Ceriani D. (2017). Mussolini, la critica musicale italiana e i festival della Società Internazionale di Musica Contemporanea in Italia negli anni Venti. Journal of Music Criticism, 1, 1: 17-71.
  25. Chiaravalloti F. (2016). Performance evaluation in the arts: from the margins of accounting to the core of accountability. Groningen: University of Groningen Press.
  26. Cinquini L. (2007). Fascist corporative economy and accounting in Italy during the thirties: exploring the relations between a totalitarian ideology and business studies. Accounting, Business & Financial History, 17, 2: 209-240, DOI: 10.1080/09585200701376550
  27. Cinquini L., Giannetti R. and Tenucci A. (2016). The making of uniform costing in a war economy: the case of the Uniconti Commission in Fascist Italy. Accounting History, 21, 4: 445-471, DOI: 10.1177/1032373216652414
  28. Cross E. (1994). The Opera Theater of Count Franz Anton von Sporck in Prague. Music & Letters, 75, 3: 448-450.
  29. D’Andrea R. (1981). Tito Schipa: nella vita, nell’arte, nel suo tempo. Fasano: Schena Editore.
  30. Denzi N.K. (1989). Interpretive biography. Newbury Park CA: Sage.
  31. Denzin N.K. (2014). Interpretive autoetnography. London: Sage.
  32. Eade J.C., Kent F.W. and Simons P. (Eds.) (1987). Patronage, art, and society in Renaissance Italy. Humanities research centre. Canberra: Oxford University Press.
  33. Eley G. (2013). Nazism as fascism: violence, ideology, and the ground of consent in Germany 1930-1945. Abingdon: Routledge.
  34. Eley G. (2016). Conservatives – Radical Nationalists – Fascists. In: Abromeit J., Chesterton B.M., Marotta G. and Norman Y., Transformations of populism in Europe and the Americas: history and recent tendencies. London, New York: Bloomsbury Publishing.
  35. Ellwood S. and Greenwood M. (2016). Accounting for heritage assets: does measuring economic value ‘kill the cat’?. Critical Perspectives on Accounting, 38: 1-13,
  36. Falasca-Zamponi S. (1997). Fascist spectacle: the aesthetics of power in Mussolini’s Italy, 28. University of California Press.
  37. Ferrari F. (2012). Intorno al palcoscenico. Storie e cronache dell’organizzazione teatrale. Milano: FrancoAngeli.
  38. Fiske J. (1989). Understanding Popular Culture. London: Routledge.
  39. Funnell W. (1998). The narrative and its place in the new accounting history: the rise of the counternarrative. Accounting, Auditing and Accountability Journal, 11, 2: 142-162, DOI: 10.1108/09513579810215446
  40. Gentile E. (2006). Politics as religion. Princeton: University Press Princeton.
  41. Glixon B.L. and Glixon J.E. (2006). Inventing the Business of Opera: the Impresario and his World in Seventeenth-Century Venice. New York: Oxford University Press.
  42. Goldthwaite R.A. (1993). Wealth and the demand for art in Italy. Baltimore: Hopkins University Press.
  43. Hancock G. (1979). Home Budgeting. London: Oyez Publishing Ltd.
  44. Henstock M. (1992). Tito Schipa, little-known recordings GEMM CDS 9988 Pearl Records. Sussex.
  45. Hollingsworth M. (1994). Patronage in Renaissance Italy: from 1400 to the early sixteenth century. London: John Murray.
  46. Hopper T. and Bui B. (2016). Has management accounting research been critical?. Management Accounting Research, 31: 10-30,
  47. Hutchinson P. (2001). The Glory of Italy; liner notes to ‘Giuseppe di Stefano; early treasures’. Preiser Records PR 93432.
  48. Illiano R. and Sala M. (2012). The Politics of Spectacle: Italian Music and Fascist Propaganda. Musicology, 13: 9-25, DOI: 10.2298/MUZ120325010I
  49. Jeacle I. (2012). Accounting and popular culture: framing a research agenda. Accounting, Auditing & Accountability Journal, 25, 4: 580-601, DOI: 10.1108/09513571211225051
  50. Jeacle I. and Carter C. (2012). Fashioning the popular masses: accounting as mediator between creativity and control. Accounting, Auditing & Accountability Journal, 25, 4: 719-751, DOI: 10.1108/09513571211225114
  51. Jeacle I. and Miller P. (2016). Accounting, culture, and the state. Critical Perspectives on Accounting, 37: 1-4,
  52. Kempers B. and Jackson B. (1992). Painting, power and patronage: the rise of the professional artist in the Italian Renaissance. London: Penguin Press.
  53. King T. (2001). Patronage and market in the creation of opera before the institution of intellectual property. Journal of Cultural Economics, 25, 1: 21-45.
  54. Llewellyn S. and Walker S.P. (2000). Household accounting as an interface activity: the home, the economy and gender. Critical Perspectives on Accounting, 11, 4: 447-478,
  55. Lytle G.F. and Orgel S. (Eds.) (2014). Patronage in the Renaissance. Princeton: Princeton University Press.
  56. Mariani M.M. and Zan L. (2011). The economy of music programs and organizations. A micro analysis and typology. European Accounting Review, 20, 1: 113-148, DOI: 10.1080/09638181003729356
  57. Martinelli D. (2013). Da Yeah a Ueee senza passare dal MinCulPop-Strategie di coesistenza e resistenza del jazz italiano durante il fascismo. California Italian Studies, 4, 1: 1-15, DOI: 10.5070/C341015922
  58. Miller P., Laughlin R.C. and Hopper T. (1991). The New Accounting History: an introduction. Accounting, Organizations and Society, 16, 5-6: 395-403, DOI: 10.1016/0361-3682(91)90036-E
  59. Mosse G. (1996). Fascist Aesthetics and Society: some considerations. Journal of Contemporary History, 31, 2: 245-252, DOI: 10.1177/002200949603100202
  60. Nørreklit H. (2011). The art of managing individuality. Qualitative Research in Accounting & Quality, 8, 3: 265-291, DOI: 10.1108/11766091111162089
  61. Paoletti M. (2015). Mascagni, Mocchi, Sonzogno. La Società Teatrale Internazionale (1908-1931) e i suoi protagonisti. Arti della performance: orizzonti e culture, 4, Bologna: AlmaDL.
  62. Papi L., Bigoni M., Gobbo G. and Deidda Gagliardo E. (2020). Using accounting as a political weapon. The University of Ferrara and Italian Fascism. Accounting and Cultures, XX, 1: 7-32.
  63. Passmore K. (2017). Fascism as a social movement in a transnational context. In: Berger S. and Nehring H. (Eds.). The History of Social Movements in Global Perspective: A Survey. London: Springer Nature- Palgrave Macmillan.
  64. Piazzoni I. (1996). Dal ‘Teatro dei palchettisti’ all’Ente Autonomo: la Scala, 1897-1920. Firenze: La Nuova Italia Editrice.
  65. Pierce J.L. (2000). Programmatic risk-taking by American opera companies. Journal of Cultural Economics, 24, 1: 45-63.
  66. Reichardt S. (2012). Violence and consensus in Fascism. Fascism, 1, 1: 59-60, DOI: 10.1163/221162512X631206
  67. Rose N. and Miller P. (1992). Political power beyond the State: problematics of government. The British Journal of Sociology, 43, 2: 173-205, DOI: 10.2307/591464
  68. Rosselli J. (1982). Agenti teatrali nel mondo dell'opera lirica italiana dell’Ottocento. Rivista italiana di musicologia, 17, 1: 134-154.
  69. Rosselli J. (1985). L’impresario d’opera. 14. EDT srl.
  70. Rosselli J. (1989). From princely service to the open market: singers of Italian opera and their patrons, 1600-1850. Cambridge Opera Journal, 1, 1: 1-32, DOI: 10.1017/S0954586700002743
  71. Rosselli J. (1990). The opera business and the Italian immigrant community in Latin America 1820-1930: the example of Buenos Aires. Past and Present, 127: 155-182.
  72. Sargiacomo M., Ianni L., D’Andreamatteo A. and D’Amico L. (2016). Accounting and the government of the agricultural economy: Arrigo Serpieri and the Reclamation Consortia. Accounting History Review, 26, 3: 307-331, DOI: 10.1080/21552851.2016.1239710
  73. Schipa T. (1961). Tito Schipa si confessa. Roma: Pubblimusic.
  74. Schipa T. Jr. (1996). Tito Schipa: A Biography. Dallas: Baskerville.
  75. Schipa T. Jr. (2004). Tito Schipa. Lecce: Argo.
  76. Stone M.S. (1998). The Patron State: culture & politics in fascist Italy. Princeton: Princeton University Press.
  77. Towse R. (2003). A handbook of cultural economics. Northampton: Edward Elgar Publishing.
  78. Trezzini L. (2000). La formazione manageriale dello spettacolo in Europa. Roma: Bulzoni.
  79. Walker S.P. (2000). Encounters with Nazism: British accountants and the fifth international congress on accounting. Critical Perspectives on Accounting, 11, 2: 215-245,
  80. Weingrod A. (1968). Patrons, Patronage, and Political Parties. Comparative Studies in Society and History, 10, 4: 377-400, DOI: 10.1017/S0010417500005004
  81. Zan L., Blackstock A., Cerutti G. and Mayer C. (2000). Accounting for Art. Scandinavian Journal of Management, 16, 5: 335-347.
  82. Zan L. (2002). Genres and change in writing accounting history. A comparison between accounting and music historiography. In: 2nd Annual Conference of The European Academy of Management on Innovative Research in Management. May, Sweden.
  83. Zan L. (2004). Writing accounting and management history. Insights from unorthodox music historiography. Accounting History Journal, 31, 2: 171-192, DOI: 10.2308/0148-4184.31.2.171
  84. Zan L. (2006). Managerial rhetoric and arts organizations. Basingstoke: Palgrave Macmillan.

Stefano Adamo, David Alexander, Roberta Fasiello, Tito Junior Schipa, The musical, cultural and financial life and legacy of Tito Schipa in "CONTABILITÀ E CULTURA AZIENDALE" 2/2022, pp 53-89, DOI: 10.3280/CCA2022-002004