History and historiography of music

The course provides the acquisition of methodological foundations of music historiography and particular instances of musicological research, joined with a few general historical trends in the artistic, socio-cultural and political field. Different historiographical orientations applied to research areas especially relevant to Musicology will be analyzed, and analysis of the main conceptual and operational tools to evaluate the results of different historical and critical trends.

According to the Dublin descriptors, students, at the end of the course, will demonstrate:

1. knowledge and understanding: know the main topics of the course and understand the theoretical concepts;

2. ability to apply knowledge and understanding: express considerations on historical debate and in particular on different historical and critical trends;

3. autonomy of judgment: integrate the knowledge of the course and formulate interpretative hypotheses on the proposed case studies;

4. communication skills: development of the specialized lexicon referring to the proposed field of study;

5.  ability to carry out research autonomously.

Module A -  The construction of historic-musical knowledge (2 ECTS)

Texts:

- C. Dahlhaus, Fondamenti di storiografia musicale, Fiesole, Discanto, 1980 (pp. 211).

- H. H. Eggebrecht, La scienza come insegnamento, in «Il Saggiatore musicale», XII, 2005, pp. 231-237.

- M. De Luca, Opera, evento e storytelling. Costruire la storia con la musica d’arte, «Musica Docta», 9, 2019, pp. 151-171.

Module B     - Text status in the contemporary opera staging (4 ECTS)

Texts:

P. Gossett, Dive e maestri. L’opera italiana messa in scena, Milano, il Saggiatore, 2009, pp. 250;

- W. Osthoff, L’opera d’arte e la sua riproduzione: un problema d’attualità per il teatro d’opera, in La drammaturgia musicale, a cura di L. Bianconi, Bologna, il Mulino, 1986, pp. 383-409;

- G. Guccini, Direzione scenica e regìa, in Storia dell’opera italiana, a cura di L. Bianconi e G. Pestelli, vol. V (La spettacolarità), Torino, EDT, 1988, pp. 125-174;

- P. Fabbri, «Di vedere e non vedere»: lo spettatore all’opera, «Il Saggiatore musicale», XIV, 2007, pp. 359-367.

One essay (at your choice) from Focus ARIE #1 La regia come ipertesto, in «Arabeschi», n. 19, 2022 (http://www.arabeschi.it/numbers/arabeschi-n-19/)

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).

All the books listed in the programs can be consulted in the Library; same essays will be available by STUDIUM.