HISTORY OF MUSIC

Training in listening. Basic music-historical framing of relevant composers. Training in audiovisual analysis, and interactive discussion on the role of music in audio-visual complex texts.

Guided listening, with the aim of giving to the student consciousness of linguistic and formal characteristics in musical works from different periods and genres, with reference to the coeval history of Art. Fundamentals about theory and analysis of the sound- and musical-organizations in the movies. Guided audio-vision of relevant (also under the artistic point of view) movies, with music hearings. The list of musical works to listen to is included on the handouts of the main course. The list of audio-visual texts (movies) is given in the ‘referential texts’ field.

Fundamentals

The Issue of Music as Language – Musical Forms (3 CFU)

Bibliography

- J.J. Nattiez, Musica e significato, in Enciclopedia della musica - vol. II, Il sapere musicale, Einaudi, pp. 206-238.
- P. Petrobelli, Il discorso della musica, Edizioni Nuova Cultura, 108 pp.
- A. Mastropietro, Unpublished didactical handouts on Il problema della musica come linguaggio – Le forme musicali, available on Studium web-platform after the start of the course, 38 pp.

- listening of musical works mentioned in Petrobelli’s text and in professor’s handouts (the list is at the beginning of the handouts).

Preparatory Texts:

- the following book is suggested to those who can’t attend the lessons and haven’t any musical competence: O. Karolyi, Grammatica della musica, Einaudi, 239 pp.

Monographic Part

Music and Sound in the Movies

To watch the following movies (with a specific attention to the musical and sound elements) is prescribed:

- S. Leone, Once upon a time in America

- P.P. Pasolini, La ricotta from Rogopag

- J.L. Godard, Le mépris, French (original) and Italian versions

- selected scenes from: G. Reggio, Koyaanisqatsi (music by P. Glass); I. Bergman, The Magic Flute by W.A. Mozart,;W. Allen, Bananas

- S. Kubrick, 2001: A Space Odissey

- S. Kubrick, Barry Lyndon

- A. Tarkovskij, Soljaris
- G. Lucas, Star Wars (1977)
- F. Fellini, Otto e mezzo

- M. Antonioni, Il deserto rosso

- P. Greenaway, The Draughtman’s Contract

- A. Hitchcock, Vertigo

- J. Landis, The Blues Brothers

- D. Aronofsky, Black Swan

- F. Vancini, Bronte, cronaca di un massacro…

- L. Visconti, Morte a Venezia (musiche di G, Mahler)

- E. Crialese, Nuovomondo

- R. Clair-E. Satie, Entr’acte (al balletto Rêlache) / F. Léger-G. Auric, Ballet mécanique

- musical work to be listened to, in relationship with the musical cntent of the movies.

The student shall know all the first 4 items (in underlined style), plus a choice of other 2 novies more from the list (1,5 CFU in total).

Bibliography (1,5 CFU)

1) S. Miceli, Musica per film, LIM-Ricordi, 2010, pp. 631-699 and 607-629 [It is suggested to read the chapter in this order: 3-4-5-6-2].*
2) M. Chion, L’audiovisione. Suono e immagine nel cinema, Lindau, 2001.

3) A. Mastropietro, Unpublished didactical handouts “Suono e musica nel testo filmico”, available on Studium web-platform after the start of the course, 60 pp.

4) Paola Valentini, Il suono nel cinema, Venezia 2006, Marsilio, pp. 13-43 e 71-129;*

For those who choose Kubrick’s movies or Il deserto rosso, or Soljaris, or Soljaris, Entr’acte/Ballet mécanique, respectively:

5) S. Bassetti, La musica nel cinema di Kubrick, Lindau, 2001, pp. 81-98 (2001: Odissea nello spazio) and pp. 115-131 (Barry Lyndon). *
6) U. Fasolato, Dal preludio di Bach alla “musica del paesaggio”: un percorso nell’intreccio audiovisivo di Solaris, in R. Calabretto (edt.), Andrej Tarkovskij e la musica, LIM, 2011, pp. 113-137. *

7) R. Calabretto, Antonioni e la musica, Marsilio, 2012, pp. 30-45 e 137-162. *

8) S. Miceli, Musica e cinema nella cultura del Novecento, Sansoni, 2000, pp. 139-167.