Methodology of Musical Criticism
A.Y. 2019/2020
Learning objectives
The course develops musicological competences concerning the methods of music criticism with the aim of enabling students to learn historical-cultural, analytical and interpretative knowledge. The course also aims to develop student's ability to read and interpret musical work as well as their contexts and processes as complex artistic and cultural phenomena.
Expected learning outcomes
At the end of the course, students will have acquired historical-cultural, analytical and interpretative competences with particular reference to the monographic topic proposed in each academic year.
Lesson period: First 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
First semester
Course syllabus
Title of the monographic course (a.a. 2019-2020 George Gershwin e la canzone
The course is divided in two units (A and B).
The first unit (A) will be devoted to theoretical and methodological problems of music criticism.
The second unit (B) will focus on the importance of the song in the output of George Gershwin, with particular reference to questions concerning its functions and different processes of use and re-use.
The course is divided in two units (A and B).
The first unit (A) will be devoted to theoretical and methodological problems of music criticism.
The second unit (B) will focus on the importance of the song in the output of George Gershwin, with particular reference to questions concerning its functions and different processes of use and re-use.
Prerequisites for admission
The course requires a good knowledge of the music history from the eighteenth century to the present and a basic competence in musical grammar and theory.
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. CARL DAHLHAUS, Analisi musicale e giudizio estetico, Bologna, Il Mulino, 1987.
2. FEDERICO CAPITONI, La critica musicale, Roma, Carocci, 2015
3. VINCENZO MARTORELLA, Ascoltare/Scrivere. Manuale (improprio e antologico) di critica musicale, Roma, Ottotipi, 2018
UNIT B
1. GIANFRANCO VINAY (a cura di), Gershwin, Torino, EDT, 1992
2. LUCA BRAGALINI, Storie poco standard. Le avventure di 12 canzoni tra Broadway e il jazz, Torino, EDT, 2013
3. TED GIOIA, Gli standard del jazz. Una guida al repertorio, Torino, EDT, 2015
4. FRANCO FABBRI, La canzone, in Enciclopedia della musica. Volume I: Il Novecento, a cura di Jean-Jacques Nattiez, Torino, Einaudi, 2001, pp. 551-576
5. EDWIN DUBOSE E DOROTHY HEYWARD, IRA E GEORGE GERSHWIN, Porgy and Bess, libretto dell'opera, trad. italiana di Mario Maffi, in Porgy and Bess, in Programma di sala, Teatro alla Scala, Stagione 2015-2016, pp. 4-82
6. GIANFRANCO VINAY, Dieci sguardi su Porgy and Bess, in Porgy and Bess, Programma di sala, Teatro alla Scala, Stagione 1995-1996, pp. 81-101
7. CESARE FERTONANI, Porgy and Bess: quasi un ritratto, in Programma di sala, Teatro alla Scala, Stagione 2015-2016, pp. 103-113
Non-attending students must integrate the program with the additional reading of two of the following texts:
1. ARRIGO ARRIGONI, Jazz, foto di gruppo. Mito, storia, spettacolo nella società americana, Milano, Il Saggiatore, 2010
2. JEAN-NOËLVON DER VEID, La musica del XX secolo. Le opere, i compositori, le tecniche, i linguaggi, gli scritti, la critica, le tendenze, Milano - Lucca, Ricordi - LIM, 2002
3. TED GIOIA, L'arte imperfetta. Riflessioni sul jazz e la cultura contemporanea, Milano, Excelsior 1881, 2007
4. PAUL GRIFFITHS, La musica del Novecento, Torino, Einaudi, 2014
5. ERIC J. HOBSHAWM, Storia sociale del jazz. Una rivoluzione di suoni, Milano, Res Gestae, 2013
6. STEFANO ZENNI, I segreti del jazz. Una guida all'ascolto, Viterbo, Stampa alternativa, 2008
UNIT A
1. CARL DAHLHAUS, Analisi musicale e giudizio estetico, Bologna, Il Mulino, 1987.
2. FEDERICO CAPITONI, La critica musicale, Roma, Carocci, 2015
3. VINCENZO MARTORELLA, Ascoltare/Scrivere. Manuale (improprio e antologico) di critica musicale, Roma, Ottotipi, 2018
UNIT B
1. GIANFRANCO VINAY (a cura di), Gershwin, Torino, EDT, 1992
2. LUCA BRAGALINI, Storie poco standard. Le avventure di 12 canzoni tra Broadway e il jazz, Torino, EDT, 2013
3. TED GIOIA, Gli standard del jazz. Una guida al repertorio, Torino, EDT, 2015
4. FRANCO FABBRI, La canzone, in Enciclopedia della musica. Volume I: Il Novecento, a cura di Jean-Jacques Nattiez, Torino, Einaudi, 2001, pp. 551-576
5. EDWIN DUBOSE E DOROTHY HEYWARD, IRA E GEORGE GERSHWIN, Porgy and Bess, libretto dell'opera, trad. italiana di Mario Maffi, in Porgy and Bess, in Programma di sala, Teatro alla Scala, Stagione 2015-2016, pp. 4-82
6. GIANFRANCO VINAY, Dieci sguardi su Porgy and Bess, in Porgy and Bess, Programma di sala, Teatro alla Scala, Stagione 1995-1996, pp. 81-101
7. CESARE FERTONANI, Porgy and Bess: quasi un ritratto, in Programma di sala, Teatro alla Scala, Stagione 2015-2016, pp. 103-113
Non-attending students must integrate the program with the additional reading of two of the following texts:
1. ARRIGO ARRIGONI, Jazz, foto di gruppo. Mito, storia, spettacolo nella società americana, Milano, Il Saggiatore, 2010
2. JEAN-NOËLVON DER VEID, La musica del XX secolo. Le opere, i compositori, le tecniche, i linguaggi, gli scritti, la critica, le tendenze, Milano - Lucca, Ricordi - LIM, 2002
3. TED GIOIA, L'arte imperfetta. Riflessioni sul jazz e la cultura contemporanea, Milano, Excelsior 1881, 2007
4. PAUL GRIFFITHS, La musica del Novecento, Torino, Einaudi, 2014
5. ERIC J. HOBSHAWM, Storia sociale del jazz. Una rivoluzione di suoni, Milano, Res Gestae, 2013
6. STEFANO ZENNI, I segreti del jazz. Una guida all'ascolto, Viterbo, Stampa alternativa, 2008
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 criticism history and methods
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. analytical competence and personal interpretative depth.
The oral exam will be assessed on the basis of the following criteria:
1. mastery of acquired knowledge of music criticism history and methods
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. analytical competence and personal interpretative depth.
Unita' didattica
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Unita' didattica
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Professor(s)