HISTORY OF MUSIC
Academic year and teacher
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- Versione italiana
- Academic year
- 2021/2022
- Teacher
- ALESSANDRO ROCCATAGLIATI
- Credits
- 12
- Didactic period
- Primo Semestre
- SSD
- L-ART/07
Training objectives
- Through meaningful musical exemples, the lessons have the goal to explain chronologically some crucial aspects and historical problems about the history of European music 1790-1960, and to offer the relevants specific knowledges about style and technique of the main musical creations (except the theatrical ones, that will be analyzed in a different set of lessons of Musical Dramaturgy).
Prerequisites
- None
Course programme
- The age of French Revolution, Napoleon wars and Vienna Congress. Musical life, diffusion, main componists.
Toward a Romantic music. The struggle of ideas and the new Artist. Music as preferred language. Ideal and reality: beyond the limits of technique and art.
Absolute music and crossing of arts. Form and Great Form as abstract Architecture.Narrative and Picture: the Symphonic Poem.
Internationalism and Nationalism. The great international (German) Tradition. National identities.
Late ‘800 and early ‘900: at the bounderies of Tradition. Late Classicisms and new genres. Relations between Arts
Avant-garde in early ‘900. Musical trends between the World Wars.
New Music after the second World War. Recent tendencies.
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 the discography. Elements of both of them will be consultable through cloud condivision (Google Drive)
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 19th-Century composers and music (bibliography n. 1, chapters 5,6; and n. 2, only chapters 2,3,4,7,9). Didactic methods
- Public lectures with audiophonic exemplification.
After a first week of classes devoted to general elements, the course proceeds by examining the composers, problems and compositions on the program . The specificities of the last ones, 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, commented 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
- Bibliography
1. Musica e società, vol. 2 Dal 1640 al 1830, ed. PAOLO FABBRI ALESSANDRO ROCCATAGLIATI PAOLO RUSSO, Milano, McGraw-Hill Education 2013 or Lucca, Libreria Musicale Italiana, 2019, chapters 5 (paragraphs 1, 2, 3, 5, 7, 8) and 6 (paragraphs 1, 4, 5).
2. Musica e società, vol. 3 Dal 1830 al 2000, ed. VIRGILIO BERNARDONI - PAOLO FABBRI, Lucca Libreria Musicale Italiana 2016, chapters 2, 3, 7, 9, 11, 12, 14.
3. Breve lessico musicale, ed. FABRIZIO DELLA SETA, Roma, Carocci 2009.
Relevant Discography (materiali su Google Drive)
