MUSIC HISTORY (16TH-18TH CENTURIES)
Academic year and teacher
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- Versione italiana
- Academic year
- 2018/2019
- Teacher
- ALESSANDRO ROCCATAGLIATI
- Credits
- 12
- Didactic period
- Primo Semestre
- SSD
- L-ART/07
Training objectives
- Through meaningful musical samples, the lessons have the goal to explain chronologically some crucial aspects and historical problems of the history of European music 1500-1770, and offer the relevants specific knowledges in style and technique of the main musical facts (except the theatrical ones, that will be analyzed in a different set of lessons of Musical Dramaturgy).
In a specific way, the items to investigate will concern the links between music and literature/narrativity. Prerequisites
- None
Course programme
- THE 16TH CENTURY
The musical production as a carrefour of different experiences.
- Manuscripts and prints. Musical printing and Ottaviano Petrucci.
- Court and Church in early ‘500: 1. Chanson and Frottola. 2. Liturgical stratigraphy: plain chant, poliphony, organ, instrumental ensembles. 3. The Flemish style. 4. The Luteran Church.
- Sacred and secular music in the second half of ‘500: 1. The Council of Trent. 2. The Madrigal.
- Old and New music in late ‘500 and early ‘600: 1. The sacred production. The secular production.
- Problems of historiography: music and its history.
THE EARLY ‘600.
- Vocal music
- Keyboard music
THE SECOND HALF OF ‘600
- Cantata
- Oratorio
- Music fon instruments
THE 18TH CENTURY
- Instrumental repertoire: architectures and styles Didactic methods
- Public lectures with audiophonic exemplification.
After a first week of classes devoted to general elements, the course proceeds by examining the individual compositions on the program . Their respective specificities , both historical-stylistic and musical-compositional, are illustrated in the classroom on the basis of the texts - score and, in case, literary text - 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, contextual situations, artistic currents, etc.), on the other hand the concrete understanding of the musical devices present in the examined works (through key-questions as "how is that work musically realized?" , "how is it structurally conceived", "what is its overall effect?", etc.).
Normally, the teacher asks at first instance that the student speaks of 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
- 1. Musica e società. Dall'Alto Medioevo al 1640, ed. PAOLO FABBRI e MARIA CHIARA BERTIERI, Milano, McGraw-Hill Education 2012.
2. Musica e società. Dal 1640 al 1830, ed. PAOLO FABBRI – ALESSANDRO ROCCATAGLIATI – PAOLO RUSSO, Milano, McGraw-Hill Education 2013, chapters 1 (sections 1, 7, 8), 2 (sections 1, 3), 3 (sections 1, 7, 8, 9), 4 (sections 9, 10).
3. Breve lessico musicale, ed. FABRIZIO DELLA SETA, Roma, Carocci 2009.
Musical hearings (on line).
