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Teaching Workshop: Editing and Digital Representation of Musical Texts and Sound Events

A.Y. 2021/2022
3
Max ECTS
20
Overall hours
Language
Italian
Learning objectives
The teaching workshop aims to investigate two of main digital tools available today for the representation of the musical language: the notational writing software Finale and the spectral analysis program Acusmographe.
Expected learning outcomes
The students will acquire a basic knowledge relating to the use of digital software for the representation of different types of musical language, demonstrating that they are able to choose and motivate the most suitable mode of representation according to the historical-cultural context in which they have originated.

Lesson period: Second semester

Lessons timetable

Exams calendar

Single course

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Course syllabus and organization

Single session

Lesson period
Second semester
If the health emergency were to continue, lessons will take place in person.
Students can find all the information to access the lessons, any changes to the
program and possible variations of the reference material (bibliography, etc.) on the Ariel website of the
laboratory at the beginning of the 2nd semester.
If it is not possible to carry out the final exercise in the manner provided for in the Syllabus, the test can be carried out electronically with modalities that will be communicated on the Ariel website of the workshop at the end of the course.
Course syllabus
Starting from a general discussion on the problems related to the conceptualization and representation of the musical language, we will proceed in an operative way to the reproduction through the software Finale of some reference editions drawn from the repertoire of western classical music. In a second phase we will use the Acusmographe program, after a brief introduction on the fundamentals of acoustics needed to understand a spectrogram; therefore, we will set two analysis of non-notational works, drawn respectively from the electroacoustic and popular repertoire of the twentieth century.
Prerequisites for admission
Basic knowledge of musical notation and access to a computer are required.
Teaching methods
The lessons will be practical in nature and the learning of the software will be based on overcoming specific representative challenges offered by musical materials of different kinds and coming from different historical and cultural contexts.
Teaching Resources
Finale User Manual, https://usermanuals.finalemusic.com/.

RICHARD MIDDLETON, Lo studio della popular music, in Enciclopedia della musica vol. X, a cura di Jean-Jacques Nattiez, Torino, Einaudi, 2007, pp. 718-737.

PHILIP TAGG, Analizzare la "popular music": teoria, metodo, pratica, in Popular Music. Da Kojak al Rave, a cura di Roberto Agostini e Luca Marconi, Bologna, Clueb, 1994, pp. 43-75.

JEAN-CLAUDE RISSET, Il timbro, in Enciclopedia della musica vol. IX, a cura di Jean-Jacques Nattiez, Torino, Einaudi, 2007, pp. 89-115.

ELAINE GOULD, Behind Bars. The Definitive Guide to Music Notation, Londra, Faber, 2011.
Assessment methods and Criteria
In the final phase of the laboratory, each participant will be asked to complete one of the different representations, notational or otherwise, collectively set during the lessons.
- University credits: 3
Humanities workshops: 20 hours
Professor: Nicastro Martin