History of Modern and Contemporary Music
A.Y. 2019/2020
Learning objectives
The course develops musicological competences concerning the period between the 17th century and the present with the aim of enabling students to learn historical and musical knowledge and to relate it to their cultural background. The course also aims to develop student's ability to read and interpret musical works as well as their historical and cultural contexts and processes.
Expected learning outcomes
At the end of the course, students will have acquired knowledge of music history with particular reference to the monographic topic proposed in each academic year.
Lesson period: Second semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course cannot be attended as a single course. Please check our list of single courses to find the ones available for enrolment.
Course syllabus and organization
Single session
Responsible
Lesson period
Second semester
Course syllabus
Title of the monographic course (a.a. 2019-2020): Mozart and the art of concerto
The course is divided in three units (A, B and C).
The first unit (A) will be devoted to theoretical and methodological problems of musicology and the history of Western music. The second and third units (B and C) will focus on the concerto as a fundamental genre of the 18-th century instrumental music, dealing with Mozart's compositional output and with particular reference to the development of the classical style and to the theatrical and narrative dimension of instrumental music.
The course is divided in three units (A, B and C).
The first unit (A) will be devoted to theoretical and methodological problems of musicology and the history of Western music. The second and third units (B and C) will focus on the concerto as a fundamental genre of the 18-th century instrumental music, dealing with Mozart's compositional output and with particular reference to the development of the classical style and to the theatrical and narrative dimension of instrumental music.
Prerequisites for admission
A good preparation of history and general knowledge. The course requires very basic music theory competences.
Teaching methods
The course consists of class lectures and uses the essential support of sound recordings and multimedia products. The Ariel platform is used for sharing materials, handouts and lectures notes.
Teaching Resources
Lectures will be supplied by the list of the musical works analyzed and by a general lectures note of the course uploaded to the course's website on Ariel platform (https://ariel.unimi.it/). The listening of the musical works analyzed during the course is an integral part of the program and will be subjected to final assessment, together with the bibliography.
UNIT A
1. MARIO CARROZZO - CRISTINA CIMAGALLI, Storia della musica occidentale, vol. 2: Dal Barocco al Classicismo, Roma, Armando, 2012
2. OTTO KAROLI, La grammatica della musica, Torino, Einaudi, 1969 (and subsequent editions).
For the preparation of Unit A a rich experience of listening to the music in question in the volumes indicated above is essential, making use of the recordings available in the Library, on the market and on the web.
UNIT B
3. MAYNARD SOLOMON, Mozart, Milano, Mondadori, 2017
4. CESARE FERTONANI, «L'amerò, sarò incostante»: Mozart e la voce del violino, Milano, Archinto, 2015
5. GIORGIO PAGANNONE, W.A. Mozart: Concerto per pianoforte e orchestra K 491 in do minore, Roma, Carocci, 2006
6. GIAN PAOLO MINARDI, I concerti per pianoforte e orchestra di Mozart, Pordenone, Studio Tesi, 1990
7. JOSEPH KERMAN, I concerti per pianoforte di Mozart e il loro pubblico, «Il Saggiatore musicale», I/1 (1990), pp. 149-164
UNIT C
1. GIORGIO PESTELLI, L'età di Mozart e di Beethoven, Torino, EDT, 1996
2. CHRISTOPH WOLFF, Mozart sulla soglia della fortuna, Torino, EDT, 2013
3. NORBERT ELIAS, Mozart. Sociologia di un genio, Bologna, Il Mulino, 2019
Non-attending students must integrate the program with the additional reading of two of the following texts:
1. WOLFGANG HILDESHEIMER, Mozart, Milano, Rizzoli, 2006
2. AAVV, Piacere, Mozart!, Torino, EDT, 2012
3. MANFRED HERMANN SCHMID, Le opere teatrali di Mozart, Torino, Bollati Boringhieri, 2010
4. STANLEY SADIE, Wolfgang Amadeus Mozart: gli anni salisburghesi, 1756-1781, Milano, Bompiani, 2006
UNIT A
1. MARIO CARROZZO - CRISTINA CIMAGALLI, Storia della musica occidentale, vol. 2: Dal Barocco al Classicismo, Roma, Armando, 2012
2. OTTO KAROLI, La grammatica della musica, Torino, Einaudi, 1969 (and subsequent editions).
For the preparation of Unit A a rich experience of listening to the music in question in the volumes indicated above is essential, making use of the recordings available in the Library, on the market and on the web.
UNIT B
3. MAYNARD SOLOMON, Mozart, Milano, Mondadori, 2017
4. CESARE FERTONANI, «L'amerò, sarò incostante»: Mozart e la voce del violino, Milano, Archinto, 2015
5. GIORGIO PAGANNONE, W.A. Mozart: Concerto per pianoforte e orchestra K 491 in do minore, Roma, Carocci, 2006
6. GIAN PAOLO MINARDI, I concerti per pianoforte e orchestra di Mozart, Pordenone, Studio Tesi, 1990
7. JOSEPH KERMAN, I concerti per pianoforte di Mozart e il loro pubblico, «Il Saggiatore musicale», I/1 (1990), pp. 149-164
UNIT C
1. GIORGIO PESTELLI, L'età di Mozart e di Beethoven, Torino, EDT, 1996
2. CHRISTOPH WOLFF, Mozart sulla soglia della fortuna, Torino, EDT, 2013
3. NORBERT ELIAS, Mozart. Sociologia di un genio, Bologna, Il Mulino, 2019
Non-attending students must integrate the program with the additional reading of two of the following texts:
1. WOLFGANG HILDESHEIMER, Mozart, Milano, Rizzoli, 2006
2. AAVV, Piacere, Mozart!, Torino, EDT, 2012
3. MANFRED HERMANN SCHMID, Le opere teatrali di Mozart, Torino, Bollati Boringhieri, 2010
4. STANLEY SADIE, Wolfgang Amadeus Mozart: gli anni salisburghesi, 1756-1781, Milano, Bompiani, 2006
Assessment methods and Criteria
For all attending and non-attending students the assessment method consists of an oral exam during which the topics covered in the course will be discussed.
The oral exam will be assessed on the basis of the following criteria:
1. mastery of acquired knowledge of music history
2. ability to frame the knowledge acquired from lectures, listening practice and bibliography in a historical and cultural context
3. formal quality of the presentation (precision, terminological appropriateness, coherence and fluency)
4. personal interpretative skills.
The oral exam will be assessed on the basis of the following criteria:
1. mastery of acquired knowledge of music history
2. ability to frame the knowledge acquired from lectures, listening practice and bibliography in a historical and cultural context
3. formal quality of the presentation (precision, terminological appropriateness, coherence and fluency)
4. personal interpretative skills.
Unita' didattica A
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Unita' didattica B
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Unita' didattica C
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Professor(s)