History of modern and contemporary music

A.Y. 2020/2021
9
Max ECTS
60
Overall hours
SSD
L-ART/07
Language
Italian
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.
Course syllabus and organization

Single session

Responsible
Lesson period
Second semester
If the health emergency should continue, the lessons will take place remotely, mainly asynchronously, through Teams and Ariel. Students will found all the information to access the classroom or online lessons, any changes to the program and any changes to the reference material (bibliography etc.) on the Ariel teaching site at the beginning of the second semester. If it is not possibile to take the exam according to the methods provided in the Syllabus, the exam can be conducted electronically with the methods tha will be communicated on the Ariel website of the course at the end of the course.
Course syllabus
Title of the monographic course (a.a. 2019-2020): Always Let Me Go: la musica di Keith Jarrett

The course is divided in three parts (A, B and C).
The first part (A) will be devoted to theoretical and methodological problems of musicology and the history of Western music.
The second and third parts (B and C) will focus on Keith Jarrett's music and his activity as a performer between improvisation, classical performance and composition.
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.


PART A
1.ELVIDIO SURIAN, Storia della musica occidentale, vol. IV: Il Novecento, Milano, Rugginenti, 1992 (e successive edizioni)
2. OTTO KAROLI, La grammatica della musica, Torino, Einaudi, 1969 (e successive edizioni)
3. JOHN SZWED, Jazz! Una guida completa per ascoltare e amare la musica jazz, Torino, EDT, 2009
4. PATRICK VILLANUEVA, Il jazz, in JEAN-JACQUES NATTIEZ (a cura di), Enciclopedia della musica, Vol. I, Il Novecento, Torino, Einaudi, 2001, pp. 591-621
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.

PART B
1. IAN CARR, Keith Jarrett: l'uomo e la musica, Milano, Arcana, 1992
2. ALESSANDRO BALOSSINO, Keith Jarrett: improvvisazioni dall'anima, Genova, Chinaski, 2019
3. JACQUES SIRON, L'improvvisazione nel jazz e nelle musiche contemporanee. L'imperfetto del momento attuale, in JEAN-JACQUES NATTIEZ (a cura di), Enciclopedia della musica, Vol. V, L'unità della musica, Torino, Einaudi, 2005, pp. 737-756
4. FRANCO FABBRI, La musica seria di Keith Jarrett, in Il suono in cui viviamo, Milano, Il Saggiatore, 20082, pp. 265-273
5. TED GIOIA, Storia del jazz, Torino, EDT, 2013, pp. 444-450
6. ALYN SHIPTON, Nuova storia del jazz, Torino, Einaudi, 2011, pp. 916-922
7. PETER RÜEDI, Keith Jarrett: the change of the changeless, in KEITH JARRETT, Il mio desiderio feroce. Conversazioni con Kunihiko Yamashita, Roma, Socrates, 1994, pp. 315-367

PART C
1. IVO FRANCHI, Keith Jarrett, Roma, Editori Riuniti, 2002
2. SIMON FRITH, L'industrializzazione della musica e il problema dei valori, in JEAN-JACQUES NATTIEZ (a cura di), Enciclopedia della musica, Vol. I, Il Novecento, Torino, Einaudi, 2001, pp. 953-965
3. JEAN MOLINO, Il puro e l'impuro, in JEAN-JACQUES NATTIEZ (a cura di), Enciclopedia della musica, Vol. I, Il Novecento, Torino, Einaudi, 2001, pp. 1051-1063
4. JOHN REA, Il postmoderno, in JEAN-JACQUES NATTIEZ (a cura di), Enciclopedia della musica, Vol. I, Il Novecento, Torino, Einaudi, 2001, pp. 1207-1237

Non-attending students must integrate the program with the additional reading of two of the following texts:
1. TED GIOIA, Gli standard del jazz. Una guida al repertorio, Torino, EDT, 2015

2. TED GIOIA, L'arte imperfetta. Riflessioni sul jazz e la cultura contemporanea, Milano, Excelsior 1881, 2007

3. ERIC J. HOBSHAWM, Storia sociale del jazz. Una rivoluzione di suoni, Milano, Res Gestae, 2013

4. ARRIGO ARRIGONI, Jazz, foto di gruppo. Mito, storia, spettacolo nella società americana, Milano, Il Saggiatore, 2010

5. 5. STEFANO ZENNI, Storia del jazz. Una prospettiva globale, Viterbo, Stampa alternativa, 2012

6. LUCA CERCHIARI, Intorno al jazz. Dall'etnologia alla popular music, Milano, Bompiani, 2016
Assessment methods and Criteria
Per tutti gli studenti frequentanti e non frequentanti la modalità di verifica dell'apprendimento consiste in una prova orale durante la quale saranno discussi gli argomenti trattati nel corso.
La prova sarà valutata sulla base dei seguenti criteri:
1. padronanza delle conoscenze acquisite di storia della musica
2. capacità di inquadrare in un contesto storico e culturale le conoscenze acquisite dalle lezioni, dagli ascolti e dalla bibliografia
3. qualità formale dell'esposizione (precisione, appropriatezza terminologica, coerenza argomentativa)
4. capacità di interpretazione personale.

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.
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)