Methodology of Musical Criticism
A.Y. 2021/2022
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
Lessons will be held in presence in classroom and in streaming on the TEAMS platform of the Course for those students that cannot be present for important reasons in classroom.
Course syllabus
Title of the course (a.a. 2021-2022): Interpreting Vivaldi in the twentieth century.
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 Vivaldi's performance, 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 Vivaldi's performance, 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.
(A)
1. CARL DAHLHAUS, Analisi musicale e giudizio estetico, Bologna, Il Mulino, 1987
2. JOHN RINK (a cura di), L'esecuzione musicale. Guida - Analisi - Prospettive, Milano, Rugginenti, 2008
3. JACQUES HAINS, Dal rullo di cera al CD, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica. Vol.I, Il Novecento, Torino, Einaudi, 2001, pp. 783-817
4. ALEJANDRO PLANCHART, L'interpretazione della musica antica, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1010-1028
5. JEAN-JACQUES NATTIEZ, Fedeltà, autenticità e giudizio critico, in Il combattimento di Crono e Orfeo. Saggi di semiologia musicale applicata, Torino, Einaudi, 2004, pp.162-202
6. JEAN-JACQUES NATTIEZ, Interpretazione e autenticità, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1064-1083
(B)
1. MICHAEL TALBOT, Vivaldi, Torino, EDT, 2013 [1978]
2. MYRIAM ZERBI, Un fiume di musica. Antonio Vivaldi alle origini della riscoperta, Venezia, Fondazione Giorgio Cini, 2016
3. CESARE FERTONANI, Edizioni e revisioni vivaldiane in Italia nella prima metà del Novecento (1919-1943), in «Chigiana», XLI, n.s. 21, 1989, pp. 235-266
4. GIANLUCA TARQUINIO, La diffusione dell'opera di Antonio Vivaldi attraverso le fonti sonore: la discografia a 78 giri, in Francesco Fanna e Michaelt Talbot (a cura di), Antonio Vivaldi. Passato e futuro, Venezia, Fondazione Giorgio Cini, 2009, pp. 413-439
5. ROGER-CLAUDE TRAVERS, 1947-1997: Vivaldi, les Baroques et la critique: toute une histoire, in Francesco Fanna e Michaelt Talbot (a cura di), Cinquant'anni di produzioni e consumi della musica nell'età di Vivaldi 1947-1997, Firenze, Olschki, 1998, pp. 53-74
Non-attending students must integrate the program with the additional reading of one of the following texts:
1. FEDERICO MARIA SARDELLI, L'affare Vivaldi, Palermo, Sellerio, 2015
2. ORLANDO PERERA, Vivaldi: la quinta stagione, Torino, Piazza, 2010
3. ROBERT PHILIP, Performing music in the age of recording, New Haven and London, Yale University Press, 2004
(A)
1. CARL DAHLHAUS, Analisi musicale e giudizio estetico, Bologna, Il Mulino, 1987
2. JOHN RINK (a cura di), L'esecuzione musicale. Guida - Analisi - Prospettive, Milano, Rugginenti, 2008
3. JACQUES HAINS, Dal rullo di cera al CD, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica. Vol.I, Il Novecento, Torino, Einaudi, 2001, pp. 783-817
4. ALEJANDRO PLANCHART, L'interpretazione della musica antica, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1010-1028
5. JEAN-JACQUES NATTIEZ, Fedeltà, autenticità e giudizio critico, in Il combattimento di Crono e Orfeo. Saggi di semiologia musicale applicata, Torino, Einaudi, 2004, pp.162-202
6. JEAN-JACQUES NATTIEZ, Interpretazione e autenticità, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1064-1083
(B)
1. MICHAEL TALBOT, Vivaldi, Torino, EDT, 2013 [1978]
2. MYRIAM ZERBI, Un fiume di musica. Antonio Vivaldi alle origini della riscoperta, Venezia, Fondazione Giorgio Cini, 2016
3. CESARE FERTONANI, Edizioni e revisioni vivaldiane in Italia nella prima metà del Novecento (1919-1943), in «Chigiana», XLI, n.s. 21, 1989, pp. 235-266
4. GIANLUCA TARQUINIO, La diffusione dell'opera di Antonio Vivaldi attraverso le fonti sonore: la discografia a 78 giri, in Francesco Fanna e Michaelt Talbot (a cura di), Antonio Vivaldi. Passato e futuro, Venezia, Fondazione Giorgio Cini, 2009, pp. 413-439
5. ROGER-CLAUDE TRAVERS, 1947-1997: Vivaldi, les Baroques et la critique: toute une histoire, in Francesco Fanna e Michaelt Talbot (a cura di), Cinquant'anni di produzioni e consumi della musica nell'età di Vivaldi 1947-1997, Firenze, Olschki, 1998, pp. 53-74
Non-attending students must integrate the program with the additional reading of one of the following texts:
1. FEDERICO MARIA SARDELLI, L'affare Vivaldi, Palermo, Sellerio, 2015
2. ORLANDO PERERA, Vivaldi: la quinta stagione, Torino, Piazza, 2010
3. ROBERT PHILIP, Performing music in the age of recording, New Haven and London, Yale University Press, 2004
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)