MUSICAL DRAMATURGY OF THE 19TH AND 20TH CENTURIES <br />
Academic year and teacher
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- Versione italiana
- Academic year
- 2021/2022
- Teacher
- ALESSANDRO ROCCATAGLIATI
- Credits
- 12
- Curriculum
- Comunicazione della cultura e delle arti
- Didactic period
- Primo Semestre
- SSD
- L-ART/07
Training objectives
- The concept of "musical dramaturgy" implies this argument: in an opera or melodramma, the principal factor which forms the work of art is music, and it forms that one as drama. When words and gesture are embodied in singing and sound, theatrality of a special kind arises, nearly as a "school of feelings (or emotions)", movements of the soul which are stylized, staged and transmitted by music with great variety and peculiar strength.
The skills acquired through the study of matter, therefore, concern the ways in which, in history, the element 'music' and other concurring elements - literary text, scenography, playing, staging, theatrical production system - were organized to realize on stage musical theatre performances.
The resulting abilities can be spent in a more conscious attendance of theaters, in working at their press or marketing offices, in making properly known the operatic culture. Prerequisites
- None
Course programme
- Opera from the Romantic Age to early 20th Century (1830-1925 ca.)
The history of opera during 19th and early 20th Century, between Italy, France, Germanic countries and Russia, is sketched in the changements of formal models and structures which occurred in musical dramaturgy, by means of several craftsmen (composers, poets, scenographers, etc.) and by effect of changing cultural and productive conditions.
The course is organized in one term and occurs in the first semester of lectures (October-December 2021).
To sit the examination is essential to know not only the bibliography but also - through attentive listening/watching with librettos - the discography. Both of them are consultable on the WEB site: http://www.unife.it/letterefilosofia/comunicazione/insegnamenti/drammaturgia_musicale_otto_novecento - Section "Materiali didattici"
Students who have to obtain 12 CFU will prepare the whole programme; students who have to obtain 5 or 6 CFU will only apply themselves to Italian and French operas (bibliography n. 1; discography nn. 1, 2, 3, 6 and 7) Didactic methods
- Public lectures with audovisual exemplification.
After a first week of classes devoted to general elements, the course proceeds by examining the individual operas on the program . Their respective specificities , both historical-stylistic and musical-theatrical, are illustrated in the classroom on the basis of the texts - the basic literary drama (libretto) and video pieces from the opera - shown, screened and listened. Learning assessment procedures
- Oral exam.
It is aimed to ascertain on the one hand the acquisition of the historical-biographical notions (of authors, specific theater situations, artistic currents, etc.), on the other hand the concrete understanding of the musical-theatrical devices present in the operas (through key-questions as "how is that scene musically and vocally realized?" , "how is it structured in the booklet?", "what is its overall effect?", etc.).
Normally, the teacher asks at first instance that the student talks about a topic of his/her choice, bordered and not too general. Then he goes on to ask for a second argument, with equal width and depth . A further question of a third argument, but of more limited and punctual type, usually ends the exam. Reference texts
- BIBLIOGRAPHY
1. FABRIZIO DELLA SETA, Italia e Francia nell'Ottocento, Torino, EDT/Musica, 1993: chapters 1, 2, 3, 4 (paragrafo 2), 6, 7, 9, 11-16; readings 3, 4, 8, 12.
2. RENATO DI BENEDETTO, Romanticismo e scuole nazionali nell'Ottocento, Torino, EDT/Musica, 1991: chapters 18, 20, 21; readings 8, 9, 10.
3. GUIDO SALVETTI, La nascita del Novecento, Torino, EDT/Musica, 1991: chapters 41-43.
4. Various materials delivered by the teacher on the Web site (see above)
DISCOGRAPHY
1. GAETANO DONIZETTI, Lucia di Lammermoor (1835)
2. GIACOMO MEYERBEER, Les Huguenots (1836)
3. GIUSEPPE VERDI, Rigoletto (1851)
4. RICHARD WAGNER, Die Walküre (1870)
5. MODEST P. MUSORGSKIJ, Boris Godunov (1874)
6. GEORGES BIZET, Carmen (1875)
7. GIACOMO PUCCINI, La bohème (1896)
8. RICHARD STRAUSS, Salome (1905)
9. ALBAN BERG, Wozzeck (1925)
