Musical Philology
A.Y. 2019/2020
Learning objectives
The course introduces students to the principles of musical philology, and aims in particular to address working methods and problems posed by critical editions of musical texts in the light of textual criticism and modern editing techniques. The subject of study and the repertoire of lessons and practical exercises is the music between the eighteenth and the nineteenth centuries.
Expected learning outcomes
Students will know the principles of textual criticism, the working methods of musical philology and its editing techniques. They will also know how to apply the techniques learned and how to evaluate the main editorial projects of musical texts currently underway.
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
Unit A:
- the relationship between written musical text and interpretation;
- elements of codicology. The manuscript: paper, gathering, watermarks, rastra; the work of copyists;
- elements of ecdotics. Principles of music philology, textual criticism, editing techniques;
- the compositional process. Verbal and musical text in historical techniques of arrangement as well as in professional contributions.
Unit B:
- theory and practice of the thorough-bass;
- models of critical apparatus;
- editorial conventions for editing sung texts;
- main editorial projects of musical texts currently underway: critical editions of Opera Omnia and adopted criteria; methodologies and results of the research;
- digital editions: possibilities and limitations for the study and performance;
- practical exercises using examples taken from original sources and aimed at solving specific problems.
- the relationship between written musical text and interpretation;
- elements of codicology. The manuscript: paper, gathering, watermarks, rastra; the work of copyists;
- elements of ecdotics. Principles of music philology, textual criticism, editing techniques;
- the compositional process. Verbal and musical text in historical techniques of arrangement as well as in professional contributions.
Unit B:
- theory and practice of the thorough-bass;
- models of critical apparatus;
- editorial conventions for editing sung texts;
- main editorial projects of musical texts currently underway: critical editions of Opera Omnia and adopted criteria; methodologies and results of the research;
- digital editions: possibilities and limitations for the study and performance;
- practical exercises using examples taken from original sources and aimed at solving specific problems.
Prerequisites for admission
Good knowledge of musical language is needed, as well as the knowledge of musical grammar and notation.
Teaching methods
Theoretical lessons will be accompanied by practical exercises using examples taken from original sources and aimed at solving specific problems.
Teaching Resources
GEORG FEDER, La filologia musicale. Introduzione alla critica del testo, all'ermeneutica e alle tecniche d'edizione, Bologna, Il Mulino, 1992.
MARIA CARACI VELA, La filologia musicale: istituzioni, storia, strumenti critici, vol. I: Fondamenti storici e metodologici della filologia musicale, Lucca, LIM, 2005.
BRUNO BENTIVOGLI - PAOLA VECCHI GALLI, Filologia italiana, Milano, Mondadori, 2002.
ALFREDO STUSSI, Breve avviamento alla filologia italiana, Bologna, Il Mulino, 2009.
MANFRED HERMANN SCHMID, La scrittura musicale come prerogativa della composizione musicale in Occidente, «Musica docta» II, 2012, pp. 9-29.
FABRIZIO DELLA SETA, Idea-Testo-Esecuzione, in Musicologia come pretesto. Scritti in memoria di Emilia Zanetti, a cura di Tiziana Affortunato, Roma, Istituto Italiano per la Storia della Musica, 2010, pp. 137-146.
GIUSEPPINA LA FACE, Filologia dei testi poetici nella musica vocale italiana, «Acta musicologica» 46, 1994, pp. 1-21.
LORENZO BIANCONI, Hors d'œuvre alla filologia dei libretti, «Il Saggiatore musicale» II/1, 1995, pp. 143-154.
MARIA CARACI VELA, La filologia musicale: istituzioni, storia, strumenti critici, vol. I: Fondamenti storici e metodologici della filologia musicale, Lucca, LIM, 2005.
BRUNO BENTIVOGLI - PAOLA VECCHI GALLI, Filologia italiana, Milano, Mondadori, 2002.
ALFREDO STUSSI, Breve avviamento alla filologia italiana, Bologna, Il Mulino, 2009.
MANFRED HERMANN SCHMID, La scrittura musicale come prerogativa della composizione musicale in Occidente, «Musica docta» II, 2012, pp. 9-29.
FABRIZIO DELLA SETA, Idea-Testo-Esecuzione, in Musicologia come pretesto. Scritti in memoria di Emilia Zanetti, a cura di Tiziana Affortunato, Roma, Istituto Italiano per la Storia della Musica, 2010, pp. 137-146.
GIUSEPPINA LA FACE, Filologia dei testi poetici nella musica vocale italiana, «Acta musicologica» 46, 1994, pp. 1-21.
LORENZO BIANCONI, Hors d'œuvre alla filologia dei libretti, «Il Saggiatore musicale» II/1, 1995, pp. 143-154.
Assessment methods and Criteria
An oral test ensures effective learning of disciplinary principles, theoretical notions and editing techniques taught during the course. Written exercises show the current ability to apply practically the techniques learned.
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
Professor(s)