Learning objectives
At the end of the course, students will have KNOWLEDGE AND
UNDERSTANDING of the essential historical lines of Italian music and
musical dramaturgy. They will be able to activate an attentive and critical
listening of both instrumental pages and vocal and operational pages,
they will be able to identify the lyric numbers contained in an Italian
libretto written between the Seventeenth to Nineteenth century and
distinguish the sections in which they were conventionally divided
(Applying knowledge and understanding). They will be able to express
the content of the discipline with specific language and technical
competence, at least with regard to poetic, narrative, linguistic and
formal structures (communication skills). Even without requiring
analytical skills and techniques in the field of music, however, it is
necessary to acquire at least the main terms to describe the music that
has been listened. The students will also be able to query the sources of
opera, even not presented in class, in order to identify the specific traits
and the most useful for forthcoming studies (learning skills).
Prerequisites
Knowledge of the essentials of the history of Italian literature and the
basis of Italian metrics and poetic
Course unit content
The course will introduce the issues of the history of
opera and music as a cultural heritage in its dual nature: objects to be
protected and preserved and heritage to be listened to and understood.
Bibliography
1) Paolo Russo, In ascolto. Mappe sonore per la storia della musica,
Lucca, LIM, 2022
2) Angelo Pompilio – Alessandro Iannucci, Il patrimonio musicale: entità
materiale e immateriale, in I beni musicali: salvaguardia e valorizzazione.
Atti della giornata nazionale di studi (Roma, Ministero dei beni e delle
attività culturali e del turismo, 29 novembre 2016), a cura di Antonio
Caroccia, Associazione culturale “Il Saggiatore musicale” / Fondazione
Istituto Italiano per la Storia della Musica / Società Italiana di Musicologia,
2018, pp. (https://www.sidm.it/templates/jomi/materiali/pubblicazioni/2016BeniMusi
cali.pdf)
3) Dietrich Berke. Opera omnia e monumenta, in Enciclopedia della
musica, a cura di Jean-Jacques Nattiez, Torino, Einaudi, 2002, II: Il sapere
musicale, pp. 909-932
4) Lorenzo Bianconi, Il libretto d’opera, in Il contributo italiano alla storia
del pensiero. Musica, a cura di Sandro Cappelletto, Roma, Istituto della
Enciclopedia Italiana, 2018, pp. 187-208
5) Claudio Toscani, L’opera italiana dell’Ottocento: le fonti manoscritte, in
Il libro di musica. Per una storia materiale delle fonti musicali in Europa, a
cura di Carlo Fiore, Palermo, L’epos, 2004, pp. 315-340
(https://www.dropbox.com/s/vc9gr6ju935pkni/Fiore_Il%20libro%20di%20
musica%20web.pdf?dl=0)
6) Stanley Boorman, I primi stampatori musicali, in Il libro di musica. Per
una storia materiale delle fonti musicali in Europa, a cura di Carlo Fiore,
Palermo, L’epos, 2004, pp. 115-136
(https://www.dropbox.com/s/vc9gr6ju935pkni/Fiore_Il%20libro%20di%20
musica%20web.pdf?dl=0)
Franco Piperno, Oggetti musicali, produzione di identità e interazione sociale, “Musica Docta. Rivista digitale di Pedagogia e Didattica della musica”, X, 2020, pp. 1-13 (https://musicadocta.unibo.it/article/view/11926/11815)
Massimo Privitera, Pittori e musici nell’Italia del Cinque e Seicento, “Philomusica on-line”, 13, 2014 (http://riviste.paviauniversitypress.it/index.php/phi/article/view/1660)
9) Franca Trinchieri Camiz, La bella cantatrice. I ritratti di Leonora
Barone e Barbara Strozzi a confronto, in Musica, scienza e idee nella
Serenissima durante il Seicento: atti del convegno internazionale di studi,
Venezia, Palazzo Giustinian Lolin, 13-15 dicembre 1993, Venezia,
Fondazione Levi, 1996, pp. 285-294.
https://archivio.fondazionelevi.it/record/58004/files/PDF.pdf?version=1)
Gli studenti non frequentanti aggiungeranno: i capitoli 2 (Franco Piperno, Musica e corti
nella prima età moderna, pp. 75-129), 4 (Franco Piperno, Senza parole.
Strumenti e musica strumentale dall’Italia all’Europa, pp. 189-254), 7
(Andrea Chegai, Geografie e pratiche del classicismo musicale, pp. 363-
412) del volume Musiche nella storia. Dall’età di Dante alla Grande
guerra, a cura di Andrea Chegai, Franco Piperno, Antonio Restagno,
Emanuele Senici, Roma, Carocci, 2018
Teaching methods
Frontal teaching and discussion on musical exemples. During the lessons,
the terminology necessary for a summary analytical description of the
listening experiences will be proposed and illustrated. Useful materials for
attending the course will be deposited on the ELLY platform.
Assessment methods and criteria
The test will consist of an oral interview at the end of the course
according to the official calendar appointed by the Department. The
interview will focus on the texts of bibliography, that wiil be indicated
during the course and announced in the website.
The interview will test the understanding of the content of each text
listed in the bibliography; will test on the libretto of operas the ability of
the student to orient themselves in the dramatic structures of at least
one act of the operas indicated: it will be therefore necessary that
students listen to them several times while they read the libretto. The
lack of knowledge of the operas indicated is cause for failure of the
verification.
The ability to develop further knowledge and to ask the teacher pertinent
questions, even during the test, will enable excellent results. Likewise,
the ability of integrated readings and cross-connections between the
texts listed in the bibliography will enable excellent results.
Other information
Audio and video media and computer on-line will be available.
