HISTORY OF MUSICAL CULTURES

1.      Knowledge and understanding

Acquisition of the knowledge necessary to understand the relationships between musical expression and historical-cultural context, as well as with other forms of artistic expression (from the beginning of the seventeenth century to the beginning of the twentieth century.) Understanding both the socio-historical and the linguistic-semiotic dimension of the musical phenomenon. Understanding both the socio-historical and the linguistic-semiotic dimension of the musical phenomenon.

 

2.      Ability to apply knowledge and understanding

Ability to apply the knowledge mentioned in point 1) within a structured comparison process with a targeted selection of genres, authors, and their emblematic works; ability to conceptualize them both in typological-systematic terms and in socio-historical terms.

 

3.      Autonomy of judgment

Encouragement of the student to integrate the knowledge in relation to the musical works, listening experiences, and their historical, contextual, or linguistic presentations.

 

4.      Communication skills

Acquisition and conceptual mastery of categories and terms related to the language and history of music, referring to historical contexts of production, performance, and reception, as well as to other domains of aesthetic expression from an interdisciplinary perspective.

 

5.      Learning skill

Expansion of competences and epistemological skills within an artistic discipline in which the temporal-sensory experience is relevant. Development of abilities for conscious listening and observation of historical-contextual and intermedial relationships, with the projection of these skills onto a possible future path of master's-level education.

The teaching is modular and is divided into three modules of 2 CFU, arranged in chronological order.

The shared approach between the modules will consist of exploring the different musical cultures of modern music history through a structured pathway of emblematic genres/works, which will be discussed and listened  (in whole or in part) during the lectures.

Module A: Music and Italian courts in the early modern period; Music theater in the 17th century; repertoires and styles from Palestrina to Bach; music theater in the 18th century; the Mozart theater.

 

Module B: Musical (pre)classicism and ‘absolute’ music; the concept of music as ‘discourse’: Sonata, String Quartet, Symphony. Composers: Tartini, Haydn, Mozart, Beethoven.

 

Module C: Romanticism between ‘absolute’ music and musical ‘drama’; the crisis of tonality and the musical avant-garde; the musical theater of the early twentieth century.

Module A (De Luca)

[Handbook] Musiche nella storia. Dall’età di Dante alla Grande Guerra, a cura di A. Chegai, F. Piperno, A. Rostagno, E. Senici, Roma, Carocci, 2017, pp. 75-96, 131-145, 255-273, 293-305 e 307-361.

[In-depth studies:]

·         P. Russo, In ascolto. Mappe sonore per la storia della musica, Lucca, LIM, 2022, pp. 21-28 (Monteverdi, madrigale Zefiro torna), pp. 29-40 (Cicognini-Cavalli, Il Giasone).

·      G. La Face - N. Badolato, a cura di, “Musica e Poesia son due sorelle”. Percorsi d’ascolto per la scuola, Milano, FrancoAngeli, 2022, pp. 61-75 (Monteverdi, Orfeo), pp. 111-129 (Bach, Cantata BWV 62), pp. 130-153 (Mozart, Le nozze di Figaro).

 

Module B (Mastropietro):

[Handbook] Musiche nella storia. Dall’età di Dante alla Grande Guerra, a cura di A. Chegai, F. Piperno, A. Rostagno, E. Senici, Roma, Carocci, 2017, pp. 212-229,  236-244, 363-411 e 413-450.

[In-depth studies]

·         P. Russo, In ascolto. Mappe sonore per la storia della musica, Lucca, LIM, 2022, pp. 91-98, 111-118 and 139-146.

·         P. Petrobelli, Il discorso della musica, Roma, Ediz. Nuova Cultura, 2004, pp. 53-61 e 78-85.

·         A. Mastropietro, Raccolta di testi didattici specifici per il modulo B, available on Studium after the beginning of the module, 40 pp.

 

Module C (Seminara):

[Handbook] Musiche nella storia. Dall’età di Dante alla Grande Guerra, a cura di A. Chegai, F. Piperno, A. Rostagno, E. Senici, Roma, Carocci, 2017, pp. 497-514, 593-628 e 679-739.

[In-depth studies]

·          G. La Face - N. Badolato, a cura di, “Musica e Poesia son due sorelle”. Percorsi d’ascolto per la scuola, Milano, FrancoAngeli, 2022, pp. 223-264 (Wagner, Tetralogia).

·         A. Boucourechliev, Stravinsky, Milano, Rusconi, 1982, pp. 68-113.

 

TOTAL NUMBER OF PAGES (6 ECTS): 586

 

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.