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.
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.
Learning skill: autonomy in the recognition of bibliographic
sources and in the integration of contents.
The module A Musical Theater in
History (3 ECTS) addresses the objects, languages, and methods used
in constructing the history of music reception.
The module B Towards a medial history of musical theater (3 ECTS) explores some issues related to the contemporary
musical staging from a historical perspective.
A Musical Theater in History (3 ECTS)
Text:
·
C. Steffan-L. Zoppelli, Nei pachi e sulle sedie. Il teatro musicale nella
società italiana dell’Ottocento, Roma, Carocci, 2023, pp. 330.
B Towards a medial history of musical theater: a focus on the contemporary opera staging (3 ECTS)
Texts:
- P.
Gallarati, Musica e regia: l’interpretazione scenica della
partitura teatrale, in Luchino Visconti: la macchina e le
muse, a cura di F. Mazzocchi, Bari, Edizioni di Pagina,
2008, pp. 93-113.
·
G. Guccini, La regìa lirica, livello contemporaneo della regìa
teatrale, «TurinDamsReview», 2010, [22 pp.].
- G.
Staffieri, Il rapporto tra testi e rappresentazione,
in G. Staffieri, Un teatro tutto cantato. Introduzione all’opera
italiana, Roma, Carocci, 2012, pp. 41-53.
- P. Fabbri, «Di vedere e non vedere»: lo spettatore
all’opera, «Il saggiatore musicale», XIV, 2007, pp. 359-367.
- P. Gallarati,
Mozart e Shakespeare nel «Don
Giovanni» di Peter Brook, «Il saggiatore musicale», VIII/2
(2001), pp. 261-294.
- B. Majorana, Nella contemporaneità del teatro: note su Robert
Carsen regista di «Don Giovanni», «Comunicazioni sociali»,
XXXVIII/1 (2015), pp. 104-122.
- A.
Roma, Defamiliarisation and Resignification on the
Contemporary Operatic Stage: Claus Guth’s «Don Giovanni» (2008),
«Biblioteca teatrale», CXIX-CXX (luglio-dicembre 2016), pp. 85-104.
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.
