MUSICAL COMMUNICATION

1) Knowledge and understanding:

Consciousness of the linguistic and semiotic nature of communication in music. Acquisition of fundamentals of musical language and theory of form in the epoch of tonality, with references to other epochs in the history of western music (Middle Ages, Renaissance, 20^th Century).

2) Applying knowledge and understanding:

Ability in projecting the acquired knowledge, within a path of works to be listened to, which is structured according both to typological and historical purposes. Ability in retrieving (especially on the web) primary musical sources and documents, regarding authors, concepts, works and repertoires from various genres and epochs.

3) Making judgements:

Solicitation of the student to reasoned and conscious reactions to the listened works, also thanks to their systematic and historic presentation.

4) Communication:

Learning and mastering, theoretical as well as in explaining, of terms and concepts directly bound to the sphere of musical language, nonetheless applicable to other artistic domains.

5) Learning skills:

Widening of competences and epistemic abilities, within a form of art where the time-sensorial experience is relevant. Improvement of a conscious listening in music, and of a capacity of framing persuasive interdisciplinary links; projection of them into a possible following advanced learning.

The Issue of Music as Language – Musical Genres and Forms

1. Social-historical change of the category of ‘Music’.

2. Music as discourse-language in the tonal epoch.

3. Harmonic plan of the language and Sonata-Form

4. The Sonata as a genre

5. Metrics, Rhythm, Movement of the body in the dance. Suite genre.

6. Instruments within the orchestra; the Symphony.

7. Concerto genre

8. Monody - Polyphonies. XIV Century Caccia.

9. Fugue. String Quartet.

10. Old and new forms in XIX Century Music

11. Vocal Music and Poetic Text  I: strophic forms.

12. Vocal Music and Poetic Text  II: refrain forms; continuous forms. Renaissance Madrigale

13. Vocal Music and Poetic Text  III: musical drama/comedy in XVIII Century.

14. Musical Theatre in XIX Century.

Fundamental Texts:

- J.J. Nattiez, Musica e significato, in Enciclopedia della musica, ed. by J-J Nattiez, Torino, Einaudi, 2001, vol. II: Il sapere musicale, pp. 206-238. *
- P. Petrobelli, Il discorso della musica, Roma, Edizioni Nuova Cultura, 2005, pp. 5-101, to be integrated by A. Mastropietro, Collection of unpublished texts by the teacher on Il problema della musica come linguaggio – Le forme musicali, both available on Studium after the beginning of the course, 50 pp.*

-  Baroni-Fubini-Petazzi et alii, Storia della musica, Torino, Einaudi, 1988-1999, only pp. 26-60; pp. 66-69; pp. 87-102; pp. 159-171; pp. 177-186; pp. 210-269; pp. 276-295; pp. 303-326.

 

Texts on specific subjects (see Programmazione within Syllabus):

- R. Murray Schafer, Musica / non musica, lo spostamento delle frontiere, in Enciclopedia della musica, ed. by J.J. Nattiez, Torino, Einaudi, 2001, vol. I: Il Novecento, pp. 348-359.*

- U. Michels, Atlante di musica, Milano, Sperling & Kupfer, 1994, pp. 14-49, 54-55.*

- P. Russo, In ascolto. Mappe onore per la storia della musica, Lucca, LIM, 2022, pp. 91-98.

- C. Fertonani, Orchestre e stili orchestrali, in Enciclopedia della musica, ed. by J.J. Nattiez, Torino, Einaudi, 2004, vol. IV: Storia della musica europea, pp. 498-511.*

- W. Drabkin, La musica da camera da Haydn alla fine dell’Ottocento, in Enciclopedia della musica, ed. by J.J. Nattiez, Torino, Einaudi, 2004, vol. IV: Storia della musica europea, pp. 698-710.*

- S. La Via, Poesia per musica e musica per poesia, Carocci, 2007, pp. 135-143 e 189-197, plus the analytical pages on P. McCartney, Yesterday (parte II, pp. 229-241).*

- F. Fabbri, La canzone, in Enciclopedia della musica, ed. by J.J. Nattiez, Torino, Einaudi, 2001, vol. I: Il Novecento, pp. 551-561.*

- R. Strohm, Aria e Recitativo. Dalle origini all’Ottocento, in Enciclopedia della musica, ed. by J.J. Nattiez, Torino, Einaudi, 2004, vol. IV: Storia della musica europea, pp. 416-427.*

- M. Beghelli, Morfologia dell’opera italiana da Rossini a Puccini, in Enciclopedia della musica, ed. by J.J. Nattiez, Torino, Einaudi, 2004, vol. IV: Storia della musica europea, pp. 894-918.*

Bibliographical items followed by the sign * will be available on Studium.

 

Listening of musical works that renard the texts above (the list of works will be at the beginning of Raccolta di testi didattici inediti del docente).

 

Propedeutic text for students who need a refresh about current basic terms of musical theory and praxis in the modern epoch:

- O. Karolyi, Grammatica della musica, Einaudi, 239 pp.

 

Please remember that in compliance with art 171 L22.04.1941, n. 633 and its amendments, it is illegal to copy entire books or journals, only 15% of their content can be copied.

For further information on sanctions and regulations concerning photocopying please refer to the regulations on copyright (Linee Guida sulla Gestione dei Diritti d’Autore) provided by AIDRO - Associazione Italiana per i Diritti di Riproduzione delle opere dell’ingegno (the Italian Association on Copyright).

The books listed in the programs can be consulted in the Library, when present there.