Historiography of Music
A.Y. 2021/2022
Learning objectives
Through studies of relevant literature and case studies, the course provides an introduction to central characteristics regarding the musical historiography as a theoretical field, with particular emphasis on reflexivity.
The course aims to enable students to relate their musicological knowledge with a historical understanding of musical phenomena. The ability to read and interpret musical objects and practices in a historiographical perspective and under a cultural angle is the main learning scope of the course.
The course aims to enable students to relate their musicological knowledge with a historical understanding of musical phenomena. The ability to read and interpret musical objects and practices in a historiographical perspective and under a cultural angle is the main learning scope of the course.
Expected learning outcomes
By the end of the course, students will have understood that music is not a phenomenon of nature, and this historical awareness will enable them to place the musical examples considered within its specific cultural context, with reference to the monographic subject explored each new 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
Specific information on the delivery modes of the training activities for the A. Y. 2021-22 will be provided over the coming months, based on the evolution of the public health situation.
Course syllabus
Course Title (2021-22 A.Y.):
The anxiety of influence and the problem of generations in music historiography
The course will put a special focus on two essays not directly related to the musicological field: The first one belongs to the field of literary criticism (Harold Bloom, The anxiety of influence, 1973); the second one is a classical essay on the sociology of generations (Karl Mannheim, Das Problem der Generationen, 1928). How to mix these two approaches and apply them to the context of music historiography? How to identify what Mannheim calls "unity of generation"? How the concept of history as linear progress is undermined by the inter-generational conflict or "generational gap"? Why the generation time and generational differences are experienced only belatedly? The course will try to answer all such questions taking into account both the theoretical perspective (Part I) and the case study perspective (Part II).
The anxiety of influence and the problem of generations in music historiography
The course will put a special focus on two essays not directly related to the musicological field: The first one belongs to the field of literary criticism (Harold Bloom, The anxiety of influence, 1973); the second one is a classical essay on the sociology of generations (Karl Mannheim, Das Problem der Generationen, 1928). How to mix these two approaches and apply them to the context of music historiography? How to identify what Mannheim calls "unity of generation"? How the concept of history as linear progress is undermined by the inter-generational conflict or "generational gap"? Why the generation time and generational differences are experienced only belatedly? The course will try to answer all such questions taking into account both the theoretical perspective (Part I) and the case study perspective (Part II).
Prerequisites for admission
A good knowledge of "classical" and "popular" music and/or others non-Western music traditions are important prerequisites of the course as well as an appropriate knowledge of the basic elements of musical grammar and music theory.
Teaching methods
The lessons will take place on site with live online streaming available, and and will draw on the Ariel platform for sharing materials and teaching aids.
Teaching Resources
PART I.
- Karl Mannheim, Das Problem der Generationen (1928), trad. it. Le generazioni, Bologna, il Mulino, 2008.
- Ron Eyerman, Bryan S. Turner, Outline of a Theory of Generations, in «European Journal of Social Theory», I/1 (1998), pp. 91-106.
- Harold Bloom, The Anxiety of Influence (1973), It. trans. L'angoscia dell'influenza, Milano, Abscondita, 2014.
- Lloyd Whitesell, Men with a Past: Music and the "Anxiety of influence", in «19th-Century Music», XVIII/2 (1994), pp. 152-167.
- Carl Dahlhaus, Grundlagen der Musikgeschichte (1977), It. trans. Fondamenti di storiografia musicale, Fiesole, Discanto, 1980, until p. 52 (Perdita della storia? [chapt.1], Storicità e carattere artistico [chapt.2], Che cosa è un fatto nella storia della musica? [chapt.3]) + pp. 206-207 (end-notes). A new French translation is also existing: Fondements de l'histoire de la musique, présenté et traduit de l'allemand par Marie-Hélène Benoit-Otis, Arles, Actes Sud, 2013.
- Jean-Jacques Nattiez, Alcuni concetti fondamentali di storiografia della musica: periodizzazione, "spirito del tempo", successione di generazioni, in «Rivista di analisi e teoria musicale», XIII/1 (2007), pp. 7-35.
PART II.
The case study we will discuss is the "Oedipian" relationship between Debussy and Wagner. Students shall have an in-depth knowledge of both Wagner's Tristan and Debussy's Pelléas before the beginning of the course's Part II.
- Carolyn Abbate, "Tristan" in the Composition of "Pelléas", in «19th Century Music», V/2 (1981), pp. 117-141.
- Gregory Marion, Crossing the Rubicon: Debussy and the Eternal Present of the Past, in «Intersections. Canadian Journal of Music», XXVII/2 (2007), pp. 36-59.
- Francesco Orlando, "Pelléas", Wagner, musica nazionale, "immagini" sonore, in Su Wagner e altri scritti di teatro musicale, Pisa, Pacini, 2020, pp. 203-219.
SUPPLEMENTARY BIBLIOGRAPHY FOR NOT ATTENDING STUDENTS.
Attendance is highly recommended. The students who will not attend the course will have to add the reading of the following books:
- Carl Dahlhaus, La concezione wagneriana del dramma musicale, Fiesole (Fi), Discanto, 1983.
- Stefan Jorocinski, Debussy. Impressionismo e simbolismo, Fiesole (Fi), Discanto, 1980.
- Karl Mannheim, Das Problem der Generationen (1928), trad. it. Le generazioni, Bologna, il Mulino, 2008.
- Ron Eyerman, Bryan S. Turner, Outline of a Theory of Generations, in «European Journal of Social Theory», I/1 (1998), pp. 91-106.
- Harold Bloom, The Anxiety of Influence (1973), It. trans. L'angoscia dell'influenza, Milano, Abscondita, 2014.
- Lloyd Whitesell, Men with a Past: Music and the "Anxiety of influence", in «19th-Century Music», XVIII/2 (1994), pp. 152-167.
- Carl Dahlhaus, Grundlagen der Musikgeschichte (1977), It. trans. Fondamenti di storiografia musicale, Fiesole, Discanto, 1980, until p. 52 (Perdita della storia? [chapt.1], Storicità e carattere artistico [chapt.2], Che cosa è un fatto nella storia della musica? [chapt.3]) + pp. 206-207 (end-notes). A new French translation is also existing: Fondements de l'histoire de la musique, présenté et traduit de l'allemand par Marie-Hélène Benoit-Otis, Arles, Actes Sud, 2013.
- Jean-Jacques Nattiez, Alcuni concetti fondamentali di storiografia della musica: periodizzazione, "spirito del tempo", successione di generazioni, in «Rivista di analisi e teoria musicale», XIII/1 (2007), pp. 7-35.
PART II.
The case study we will discuss is the "Oedipian" relationship between Debussy and Wagner. Students shall have an in-depth knowledge of both Wagner's Tristan and Debussy's Pelléas before the beginning of the course's Part II.
- Carolyn Abbate, "Tristan" in the Composition of "Pelléas", in «19th Century Music», V/2 (1981), pp. 117-141.
- Gregory Marion, Crossing the Rubicon: Debussy and the Eternal Present of the Past, in «Intersections. Canadian Journal of Music», XXVII/2 (2007), pp. 36-59.
- Francesco Orlando, "Pelléas", Wagner, musica nazionale, "immagini" sonore, in Su Wagner e altri scritti di teatro musicale, Pisa, Pacini, 2020, pp. 203-219.
SUPPLEMENTARY BIBLIOGRAPHY FOR NOT ATTENDING STUDENTS.
Attendance is highly recommended. The students who will not attend the course will have to add the reading of the following books:
- Carl Dahlhaus, La concezione wagneriana del dramma musicale, Fiesole (Fi), Discanto, 1983.
- Stefan Jorocinski, Debussy. Impressionismo e simbolismo, Fiesole (Fi), Discanto, 1980.
Assessment methods and Criteria
1. Pertinence to the topics discussed throughout the course; 2. Originality of the chosen topic/methodology; 3. Analytical competence and depth of personal interpretation; 4. Quality of writing style (terminological appropriateness, coherence, accuracy of the critical apparatus, bibliography). The paper must be submitted at least 7 days in advance prior to the date of the exam. The oral examination will consist of a discussion of the course's materials, based on the professor's feedback on the paper submitted.
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)