Menù principale
B003541 - MUSIC HISTORY
Main information
Teaching Language
Course Content
Suggested readings
Learning Objectives
Prerequisites
Teaching Methods
Further information
Type of Assessment
Course program
Academic Year 2020-21
Course year
First year - First Semester
Belonging Department
History, Archaeology, Geography, Fine and Performing Arts (SAGAS)
Course Type
Single education field course
Scientific Area
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC
Credits
12
Teaching Hours
72
Teaching Term
14/09/2020 ⇒ 04/12/2020
Attendance required
Yes
Type of Evaluation
Final Grade
Course Content
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Course program
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Lectureship
Teaching Language
Italian
Course Content
The course is divided in two parts: the first provides some key elements of Western Music History from the Sixteenth to the middle of the Eighteenth century; the second from the middle of the eighteenth century to 1830 ca. Both are concerned with the historical-cultural contexts, the most representative system of production, the compositional models, with the aim of delineating the role played by music in the history of culture.
Suggested readings (Search our library's catalogue)
Books for the fist part of the course (dott. D'Ovidio):
a) Manuali di Storia della musica:
1) M. Carrozzo-C. Cimagalli, Storia della musica occidentale, Roma, Armando Editore, 1997.
Vol. I: pp. pp. 173-180; 189-198; 204-215; 223-231; 243-263.
Vol. II: pp. 11-287 ad esclusione delle seguenti: pp. 73-88; 121-133; 149-158; 199-210; 221-230.
2) Musiche nella storia. Dall'età di Dante alla Grande Guerra, Roma, Carocci Editore, 2017, pp. 75-120; pp. 189-253.
b) Saggi:
1) Paolo Fabbri, Monteverdi, Torino, Edt, 1985, pp. 48-65; 96-115; 248-252.
2) Tra Sei e Settecento: Arcangelo Corelli, la sonata e il concerto, in Il contributo italiano alla storia del pensiero. Musica, Roma, Istituto della Enciclopedia Italiana Treccani, 2017, pp. 209-217.
For the second part of the course (prof. De Santis):
1) Musiche nella Storia. Dall’età di Dante alla grande guerra, a cura di A. Chegai, F. Piperno, A. Rostagno, E. Senici, Roma, Carocci, 2017: i capp. 7 (Geografia e pratiche del classicismo musicale) e 8 (Beethoven);
2) Musica e società, a c. di P. Fabbri, A. Roccatagliati, P. Russo, vol. 2, dal 1640 al 1830, Milano, Mac-graw hill education, 2014: i capp. 4.9-4.10 (pp. 262-301); 5.7-5.8 (pp. 347-379); 6.4-6.5 (pp. 414-434).
b) essays:
1) Carl Dahlhaus, Storia europea della musica nell’età del classicismo viennese, «Nuova rivista musicale italiana», XII, 1978, pp. 499-516;
2) Josef Kerman, I concerti per pianoforte di Mozart e il loro pubblico, «Il Saggiatore musicale», I,1, 1994, pp. 149-16;
3) Neal Zaslaw, Significati per le Sinfonie di Mozart, in Mozart, a cura di Sergio Durante, Bologna, il Mulino, 1991;
4) Fabrizio Della Seta, L’Eroica, sinfonia quasi un romanzo, in van Beethoven, Le sinfonie e i concerti per pianoforte, a cura di Annalisa Bini e Roberto Grisley, Milano, Skira, 2001, pp. 65-83.
a) Manuali di Storia della musica:
1) M. Carrozzo-C. Cimagalli, Storia della musica occidentale, Roma, Armando Editore, 1997.
Vol. I: pp. pp. 173-180; 189-198; 204-215; 223-231; 243-263.
Vol. II: pp. 11-287 ad esclusione delle seguenti: pp. 73-88; 121-133; 149-158; 199-210; 221-230.
2) Musiche nella storia. Dall'età di Dante alla Grande Guerra, Roma, Carocci Editore, 2017, pp. 75-120; pp. 189-253.
b) Saggi:
1) Paolo Fabbri, Monteverdi, Torino, Edt, 1985, pp. 48-65; 96-115; 248-252.
2) Tra Sei e Settecento: Arcangelo Corelli, la sonata e il concerto, in Il contributo italiano alla storia del pensiero. Musica, Roma, Istituto della Enciclopedia Italiana Treccani, 2017, pp. 209-217.
For the second part of the course (prof. De Santis):
1) Musiche nella Storia. Dall’età di Dante alla grande guerra, a cura di A. Chegai, F. Piperno, A. Rostagno, E. Senici, Roma, Carocci, 2017: i capp. 7 (Geografia e pratiche del classicismo musicale) e 8 (Beethoven);
2) Musica e società, a c. di P. Fabbri, A. Roccatagliati, P. Russo, vol. 2, dal 1640 al 1830, Milano, Mac-graw hill education, 2014: i capp. 4.9-4.10 (pp. 262-301); 5.7-5.8 (pp. 347-379); 6.4-6.5 (pp. 414-434).
b) essays:
1) Carl Dahlhaus, Storia europea della musica nell’età del classicismo viennese, «Nuova rivista musicale italiana», XII, 1978, pp. 499-516;
2) Josef Kerman, I concerti per pianoforte di Mozart e il loro pubblico, «Il Saggiatore musicale», I,1, 1994, pp. 149-16;
3) Neal Zaslaw, Significati per le Sinfonie di Mozart, in Mozart, a cura di Sergio Durante, Bologna, il Mulino, 1991;
4) Fabrizio Della Seta, L’Eroica, sinfonia quasi un romanzo, in van Beethoven, Le sinfonie e i concerti per pianoforte, a cura di Annalisa Bini e Roberto Grisley, Milano, Skira, 2001, pp. 65-83.
Learning Objectives
The course is divided into two inseparable parts and aims to provide students with the basic knowledge, the main research tools and methodologies to address the study of the history of music both in its technical and aesthetic compositional aspects, both in the context of specific socio-cultural contexts.Knowledge and understanding: acquisition of the historical-aesthetic framework and the main lines of development of European musical history between the Sixteenth and Ninenteenth century.Ability to apply knowledge and understanding: through the achievement of specific disciplinary skills, the student will learn how to: 1) reconstruct the relationship between musical output and cultural context; 2) use tool of historical and stylistic analysis in order to understand the musical language; 3) acquire a bibliographic and documentary knowledge in order to be aware about the relationship between the history of European music and a more general historical-cultural context.Autonomy of judgement and communicative ability: the course aims to develop in the student autonomy of judgement and ability to re-elaboration, supported by adequate capacity to reconstruct, with a specific and competent language, the historical and conceptual picture of European musical history from the Renaissance to the Nineteenth century. Translated with www.DeepL.com/Translator
Prerequisites
A good Knowledge of Italian history is requested.
Teaching Methods
The course consists of a series of lectures, some of which are devoted to deepening individual aspects of the musical language, accompanied by a series of commented listenings.
The course uses the Moodle platform for the storage of audio materials and slides proposed during the lessons.
The course uses the Moodle platform for the storage of audio materials and slides proposed during the lessons.
Further information
Teachers receive students every Wednesday from 11 am to 1 pm in Room 17 in Via Gino Capponi. Students are invited to check the site's news for any variation at timetables and reception dates and lessons.
To access course materials, you must enroll in the EOOD MOODLE platform. The password will be communicated during the first lessons
To access course materials, you must enroll in the EOOD MOODLE platform. The password will be communicated during the first lessons
Type of Assessment
The exam consists of an interview of no less than three questions for each part of the course regarding the topics covered, the texts in the bibliography, the materials provided during the course. An essential part of the exam is the recognition and comment of one of the listenings discussed in the classroom. The vote will reflect the level of competence achieved and will take account of the student's exposure and re-elaboration skills.
Course program
First part (prof. D'Ovidio):
1. Franco-flemish polyphony between XV and XVIth century; 2. The music in the humanistic courts; 3. The madrigal in the XVIth century; 4. The 'seconda prattica' of Claudio Monteverdi; 5. The birth of the opera; 6. Instrumental forms of the XVI century (toccata, ricercare, canzona); 7. The 'sonata' e il 'concerto' in the baroque period; 8. The birth of the operatic productions; 9. The national musical styles in J. S. Bach's oeuvre; 10) The rise of opera in Europe: G. F. Haendel.
Second part (prof. De Santis)
1) Affirmation and social placement of instrumental music in Europe since the mid-eighteenth century ( (Stamic, Sammartini, C. Ph. E. Bach, J. Ch. Bach, Haydn, Mozart); 2) Haydn's education and his service in Estérhazy family; 3) Forms and genres in instrumental music. Sonata forms; 4) Forms and genres in instrumental music. Sonata, quartet, concert, symphony; 5) The Viennese classicism. The instrumental music of Haydn and Mozart in the '80s; 6) Concert performances in London, Paris and Vienna at the end of the eighteenth century; 7) Beethoven. Characteristics of his sonatistic experimentalism; 8) Beethoven's symphonies nn. 3-5-6; 9) Schubert and Beethoven in Vienna, at Metternich's time.
1. Franco-flemish polyphony between XV and XVIth century; 2. The music in the humanistic courts; 3. The madrigal in the XVIth century; 4. The 'seconda prattica' of Claudio Monteverdi; 5. The birth of the opera; 6. Instrumental forms of the XVI century (toccata, ricercare, canzona); 7. The 'sonata' e il 'concerto' in the baroque period; 8. The birth of the operatic productions; 9. The national musical styles in J. S. Bach's oeuvre; 10) The rise of opera in Europe: G. F. Haendel.
Second part (prof. De Santis)
1) Affirmation and social placement of instrumental music in Europe since the mid-eighteenth century ( (Stamic, Sammartini, C. Ph. E. Bach, J. Ch. Bach, Haydn, Mozart); 2) Haydn's education and his service in Estérhazy family; 3) Forms and genres in instrumental music. Sonata forms; 4) Forms and genres in instrumental music. Sonata, quartet, concert, symphony; 5) The Viennese classicism. The instrumental music of Haydn and Mozart in the '80s; 6) Concert performances in London, Paris and Vienna at the end of the eighteenth century; 7) Beethoven. Characteristics of his sonatistic experimentalism; 8) Beethoven's symphonies nn. 3-5-6; 9) Schubert and Beethoven in Vienna, at Metternich's time.