Methodology of Musical Criticism
A.Y. 2020/2021
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
The lessons will take place in presence, with simultanous streaming. 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. 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. 2020-2021): Wolfgang Amadeus Mozart's piano concertos: analysis, interpretation, performance practice
The course is divided in two parts (A and B).
The first part (A) will be devoted to theoretical and methodological problems of music criticism.
The second part (B) will focus on Wolfgang Amadeus Mozart's piano concertos, with particular reference to questions concerning analysis, interpretation and performance practice.
The course is divided in two parts (A and B).
The first part (A) will be devoted to theoretical and methodological problems of music criticism.
The second part (B) will focus on Wolfgang Amadeus Mozart's piano concertos, with particular reference to questions concerning analysis, interpretation and performance practice.
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.
PARTE A
1. CARL DAHLHAUS, Analisi musicale e giudizio estetico, Bologna, Il Mulino, 1987.
2. FEDERICO CAPITONI, La critica musicale, Roma, Carocci, 2015
3. CESARE FERTONANI, «L'amerò, sarò incostante»: Mozart e la voce del violino, Milano, Archinto, 2015
PARTE B
1. MAYNARD SOLOMON, Mozart, Milano, Mondadori, 2017
2. GIORGIO PAGANNONE, W.A. Mozart: Concerto per pianoforte e orchestra K 491 in do minore, Roma, Carocci, 2006
3. JOSEPH KERMAN, I concerti per pianoforte di Mozart e il loro pubblico, «Il Saggiatore musicale», I/1 (1990), pp. 149-164
4. SIMON P. KEEFE (ED.), The Mozart Companion, Cambridge, Cambridge University Press, 2003:
A) SIMON P. KEEFE, The Concertos in aesthetic and stylistic content, pp. 78-91 e 252-254
B) KATALIN KOMLÓS, Mozart the performer, pp. 215-226 e 266-267
C) ROBERT D. LEVIN, Performance practice in the music of Mozart, pp. 227-245 e 267-269
Non-attending students must integrate the program with the additional reading of one of the following texts:
1. GIAN PAOLO MINARDI, I concerti per pianoforte e orchestra di Mozart, Pordenone, Studio Tesi, 1990
2. CHRISTOPH WOLFF, Mozart sulla soglia della fortuna, Torino, EDT, 2013
3. NORBERT ELIAS, Mozart. Sociologia di un genio, Bologna, Il Mulino, 2019
4. SIMON P. KEEFE, Mozart's piano concertos: dramatic dialogue in the age of Enlightenment, Woodbridge, the Boydell Press, 2001
PARTE A
1. CARL DAHLHAUS, Analisi musicale e giudizio estetico, Bologna, Il Mulino, 1987.
2. FEDERICO CAPITONI, La critica musicale, Roma, Carocci, 2015
3. CESARE FERTONANI, «L'amerò, sarò incostante»: Mozart e la voce del violino, Milano, Archinto, 2015
PARTE B
1. MAYNARD SOLOMON, Mozart, Milano, Mondadori, 2017
2. GIORGIO PAGANNONE, W.A. Mozart: Concerto per pianoforte e orchestra K 491 in do minore, Roma, Carocci, 2006
3. JOSEPH KERMAN, I concerti per pianoforte di Mozart e il loro pubblico, «Il Saggiatore musicale», I/1 (1990), pp. 149-164
4. SIMON P. KEEFE (ED.), The Mozart Companion, Cambridge, Cambridge University Press, 2003:
A) SIMON P. KEEFE, The Concertos in aesthetic and stylistic content, pp. 78-91 e 252-254
B) KATALIN KOMLÓS, Mozart the performer, pp. 215-226 e 266-267
C) ROBERT D. LEVIN, Performance practice in the music of Mozart, pp. 227-245 e 267-269
Non-attending students must integrate the program with the additional reading of one of the following texts:
1. GIAN PAOLO MINARDI, I concerti per pianoforte e orchestra di Mozart, Pordenone, Studio Tesi, 1990
2. CHRISTOPH WOLFF, Mozart sulla soglia della fortuna, Torino, EDT, 2013
3. NORBERT ELIAS, Mozart. Sociologia di un genio, Bologna, Il Mulino, 2019
4. SIMON P. KEEFE, Mozart's piano concertos: dramatic dialogue in the age of Enlightenment, Woodbridge, the Boydell Press, 2001
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)