Teaching code

4S012408

Teacher

Licia Mari

Credits

6

Language

Italian

Scientific Disciplinary Sector (SSD)

L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC

Period

CuCi 2 A, CuCi 2 B

Courses Single

Not Authorized

Lessons timetable Moodle Seminars 0

Learning objectives

The course aims at providing the students with an introduction to the history of music and, more generally, to musicology, presenting some of the various aspects in which these disciplines are articulated. The course offers a historical, cultural and social analysis of musical pieces chosen among the great masterpieces of the classical music repertoire. Listening to these pieces with comments will contribute to deepen the students’ knowledge about their historical and socio-cultural meanings. At the end of the course the student will have acquired capacity of orientation both in reading texts on music historiography and in the critical listening of music.

Prerequisites and basic notions

No specific knowledge of musical language is required. The course aims to develop critical listening skills in western culture.

Program

The course aims to provide students with knowledge and critical tools to insert music in different cultural and social contexts, both by historical period and by geographical region, presenting greater attention to the Western, to vocal music and opera, to the music of XIX-XXI centuries.
It can be divided into three parts:
1: Analysis of the main characteristics of musical language: basic elements of music theory, affective character (also of self-knowledge, with some element of neuroscience), social functions, some conventions, communicative and relational force, depth of thought underlying.
2. Proposal for a series of commented listenings to provide useful elements for understanding the cultural and social aspects of music
3. A focus on melodrama, with particular attention to Italy: characteristics, function of music, production system, enjoyment in the twentieth century through cinema and television, experiments in recent decades

Bibliography:
MARIO BARONI, L’orecchio intelligente. Guida all’ascolto di musiche non familiari, Lucca, LIM, 2004, pp. 3-93 (using the Glossary in Appendix); section tabs: pp. 99-101; 11-113; 121-123; 132-133; 139-142; 151-153; 165-167; 179-181;193-195;
the following listenings with relative tabs: Cd. 1, nn. 1, 6, 8, 9, 13, 14, 17, 19, 20: Cd. 2: 1, 2, 3, 5, 7, 13
Two listenings from the remaining, chosen by the student.
DANIELE SCHÖN, Il cervello musicale. Il mistero svelato di Orfeo, Il Mulino, Bologna, 2018, pp. 7-25; 57-64
GILLES DE VAN, L’opera italiana, Roma, Carocci, 20126, pp. 15-52 (with Glossary)
FERRUCCIO TAMMARO, La funzione della musica nel teatro d’opera, «Musica Docta», I, 2011, pp. 49-57, https://musicadocta.unibo.it/article/view/2145/1527
PAOLO GALLARATI, Il melodramma ri-creato. Verdi e la ‘Trilogia popolare’, in Finché non splende in ciel
notturna face. Studi in memoria di Francesco Degrada, a cura di Cesare Fertonani, Emilio Sala e Claudio Toscani. Milano, Edizioni Universitarie di Lettere Economia Diritto (“Cantar sottile” 1), 2009, pp. 171- 185, https://www.ledonline.it/CantarSottile/allegati/studi-degrada.pdf
MICHEL VEILLEUX, L’opera dal teatro allo schermo televisivo, in Enciclopedia della Musica, diretta da Jean-Jacques Nattiez, con la collaborazione di Margaret Bent, Rossana Dalmonte e Mario Baroni, vol I, Il Novecento, Torino, Einaudi, 2001, pp. 849-870
LICIA MARI, Oltre il melodramma. L’opera-video di Adriano Guarnieri, in Attori all’opera. Coincidenze e tangenze tra recitazione e canto lirico, a cura di S. Brunetti e N. Pasqualicchio (Atti del Convegno di Studi, Verona 2013), Bari, ed. di Pagina, 2015, pp. 175-186
ANDREA MALVANO, ‘La via della musica’. Rischi e trasformazioni del ‘live film opera’ nelle produzioni Rai di Andrea Andermann, «Gli spazi della musica», vol. 9, 2020, pp. 85-103, https://ojs.unito.it/index.php/spazidellamusica/article/view/5393/4817

Bibliography

Didactic methods

Lectures in presence, with analysis of audio and audiovisual material (concerts, opera, opera-video, etc.). On request, supports and/or integrations are provided for any difficulties.

Learning assessment procedures

Oral exam on the three points of the program, with a question for each.
The bibliography is the same for attending and non-attending students.

Evaluation criteria

Ability to organize responses, to analyze the pieces in the program according to the criteria presented during the lessons, ability of critical reasoning on what is studied, properties of language. Final assessment is expressed by a vote in thirtieth

Exam language

italiano