History of Music in Film and Audiovisual Media
A.Y. 2022/2023
Learning objectives
The course deals with the use of music in audiovisual media, especially in film, from a historical and theoretical point of view. We will illustrate the historical-cultural contexts, the ideological ramifications and the production practices underlying music and sound in cinema. We will develop basic analytical tools and detail the expressive resources conveyed by music in film. We will then consider the interpretive and critical options made available by "listening to" audiovisual media.
Expected learning outcomes
By the end of the course, students will have developed historical and theoretical awareness about the main periods and currents of music in cinema, from the silent period to the digital turn of contemporary audiovisual media, with special reference to the topic of the monographic course. They will also be enabled to decipher some fundamental dramaturgical aspects of the use of music in audiovisual media. Finally, they will acquire awareness of the theoretical terminology used in film music studies.
Lesson period: Second 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
Second semester
Course syllabus
PART A: Elements of theory of music and sound in audiovisual media.
Subjects covered:
- Basics of audiovisual theory;
- Functions of music in film;
- Elements of sound analysis in audiovisual media;
- Sound formats in film;
- Music and narrative film;.
PART B: Historical tendencies of music in Italian sound cinema from the Fascist era to the 1960s
Subjects covered:
- The transition from silent to sound cinema;
- Music and sound cinema in the Regime years: Luce, Cines and Cinecittà;
- Music and sound between neorealism and popular cinema in the post-WWII years;
- New sound and music configurations from the economic miracle to the "anni di piombo": auteur cinema, genre cinema, musicarello;
- Film music specialists: Rota, Lavagnino, Piccioni, Rustichelli
- Music publishing and records industry: film music as a phonographic genre;
- Library music and television.
PART C: Case study: the Leone/Morricone partnership
Subjects covered:
- Basics of audiovisual theory;
- Functions of music in film;
- Elements of sound analysis in audiovisual media;
- Sound formats in film;
- Music and narrative film;.
PART B: Historical tendencies of music in Italian sound cinema from the Fascist era to the 1960s
Subjects covered:
- The transition from silent to sound cinema;
- Music and sound cinema in the Regime years: Luce, Cines and Cinecittà;
- Music and sound between neorealism and popular cinema in the post-WWII years;
- New sound and music configurations from the economic miracle to the "anni di piombo": auteur cinema, genre cinema, musicarello;
- Film music specialists: Rota, Lavagnino, Piccioni, Rustichelli
- Music publishing and records industry: film music as a phonographic genre;
- Library music and television.
PART C: Case study: the Leone/Morricone partnership
Prerequisites for admission
The course assumes a good knowledge of key elements of twentieth-century western music history as well as of film history. Students are therefore advised to attend this course after having passed other exams in music and film studies.
Teaching methods
The course is based on class lectures, which are integrated by teaching materials uploaded to the Ariel virtual platform, as well as by reading materials. The classes will alternate theoretical and historical overviews with analysis and collective discussions of audio-visual clips.
Teaching Resources
ATTENDING STUDENTS
The following elements will be considered as integral part for the final evaluation:
- The subjects covered in classes;
- The thorough study of the audiovisual clips discussed during classes;
- The study of the reading materials (as listed below);
- The complete audio-vision of the following films: "Bitter Rice" (G. De Santis, 1949); "La strada" (F. Fellini, 1954); "For a Few Dollars More" (S. Leone, 1965)*; "Once Upon a Time in the West" (S. Leone, 1968).*
*[only for 9 cfu]
References
Fundamentals of theory and history of film music and sound:
· MARIANI, MASSIMO. Il suono per il cinema. Elementi per l'analisi e la progettazione della materia sonora nell'audiovisivo, Torino: UTET, 2020 [including audiovisual clips]
· SIMEON, ENNIO. Manuale di storia della musica nel cinema, Milano: Rugginenti, 2020.
· VALENTINI, PAOLA. Il suono nel cinema. Storia, teoria e tecniche, Venezia: Marsilio, 2006, pp. 7-131.
Historical trends of music in Italian cinema:
· Selection of essays prepared by the course instructor and available on the Ariel platform.
The Leone/Morricone partnership (for 9 cfu exam):
· MICELI, SERGIO. Morricone, la musica, il cinema. Nuova edizione a cura di Maurizio Corbella, Milano-Lucca: Ricordi-LIM, 2021, pp. 45-205 (capp. 1-5)
NON-ATTENDING STUDENTS
The following elements will be considered as integral part for the final evaluation:
- The study of the reading materials, including both the literature for the attending students and the additional literature listed below;
- The complete audio-vision of the films enlisted for the attending students.
Additional references for non-attending students
· MICELI, SERGIO. Musica e cinema nella cultura del Novecento (2a ed.), Roma: Bulzoni, 2010, pp. 333-393 (cap. 2: "Fellini e la musica come personaggio").
· MORRICONE, ENNIO. Inseguendo quel suono: la mia musica, la mia vita. Conversazioni con Alessandro De Rosa, Milano: Mondadori, 2016, pp. 18-109 (cap. "Un compositore prestato al cinema").*
[*solo per esame da 9 cfu]
International or Erasmus incoming students are invited to get in touch with the instructor as soon as possible to define personalised assignments. Non-Italian speakers can have the literature be replaced with equivalent English-language material. literature upon request to the instructor.
The following elements will be considered as integral part for the final evaluation:
- The subjects covered in classes;
- The thorough study of the audiovisual clips discussed during classes;
- The study of the reading materials (as listed below);
- The complete audio-vision of the following films: "Bitter Rice" (G. De Santis, 1949); "La strada" (F. Fellini, 1954); "For a Few Dollars More" (S. Leone, 1965)*; "Once Upon a Time in the West" (S. Leone, 1968).*
*[only for 9 cfu]
References
Fundamentals of theory and history of film music and sound:
· MARIANI, MASSIMO. Il suono per il cinema. Elementi per l'analisi e la progettazione della materia sonora nell'audiovisivo, Torino: UTET, 2020 [including audiovisual clips]
· SIMEON, ENNIO. Manuale di storia della musica nel cinema, Milano: Rugginenti, 2020.
· VALENTINI, PAOLA. Il suono nel cinema. Storia, teoria e tecniche, Venezia: Marsilio, 2006, pp. 7-131.
Historical trends of music in Italian cinema:
· Selection of essays prepared by the course instructor and available on the Ariel platform.
The Leone/Morricone partnership (for 9 cfu exam):
· MICELI, SERGIO. Morricone, la musica, il cinema. Nuova edizione a cura di Maurizio Corbella, Milano-Lucca: Ricordi-LIM, 2021, pp. 45-205 (capp. 1-5)
NON-ATTENDING STUDENTS
The following elements will be considered as integral part for the final evaluation:
- The study of the reading materials, including both the literature for the attending students and the additional literature listed below;
- The complete audio-vision of the films enlisted for the attending students.
Additional references for non-attending students
· MICELI, SERGIO. Musica e cinema nella cultura del Novecento (2a ed.), Roma: Bulzoni, 2010, pp. 333-393 (cap. 2: "Fellini e la musica come personaggio").
· MORRICONE, ENNIO. Inseguendo quel suono: la mia musica, la mia vita. Conversazioni con Alessandro De Rosa, Milano: Mondadori, 2016, pp. 18-109 (cap. "Un compositore prestato al cinema").*
[*solo per esame da 9 cfu]
International or Erasmus incoming students are invited to get in touch with the instructor as soon as possible to define personalised assignments. Non-Italian speakers can have the literature be replaced with equivalent English-language material. literature upon request to the instructor.
Assessment methods and Criteria
The exam will be oral. Students will be asked to elaborate on topics discussed during the classes and found in the study material of the course. The following aspects will be subject to evaluation: ability to critically engage with the course's topics; ability to reflect upon and link together different subjects in developing personal interpretations; appropriateness of expression, language and terminology.
The modes of examination for students with physical and/or learning disabilities will need to be agreed on with the course instructor, according with the guidelines of the competent Helpdesk.
International and Erasmus incoming students may hold the exam (both written and oral) in English. The request has to be submitted to the instructor with no-less than a 15-day notice on the selected exam date.
The modes of examination for students with physical and/or learning disabilities will need to be agreed on with the course instructor, according with the guidelines of the competent Helpdesk.
International and Erasmus incoming students may hold the exam (both written and oral) in English. The request has to be submitted to the instructor with no-less than a 15-day notice on the selected exam date.
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 9
Lessons: 60 hours
Professor:
Corbella Maurizio
Professor(s)
Reception:
Thursdays, 10:00-13:00, upon appointment. Meetings will either take place in presence or via Microsoft Teams.
Office of the professor, Via Noto 6 (1st floor)