History of Modern and Contemporary Music
A.Y. 2023/2024
Learning objectives
The course develops musicological competences concerning the period between the 18th century and the present with the aim of enabling students to learn historical and musical knowledge and to relate it to their cultural background. The course also aims to develop student's ability to read and interpret musical works as well as their historical and cultural contexts and processes.
Expected learning outcomes
At the end of the course, students will have acquired knowledge of music history with particular reference to the monographic topic proposed in each academic year.
Lesson period: Second semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course can be attended as a single course.
Course syllabus and organization
(A-D)
Responsible
Lesson period
Second semester
Course syllabus
Title of the course (a.a. 2023-2024): Western music from the eighteenth century to the present.
The course is divided in three parts (A, B and C).
The first part (A) will be devoted to theoretical and methodological problems of musicology and the history of Western music.
The second part (B) will focus on the guided listening of some masterworks.
The third part (C) will focus on Vivaldi "Fours Seasons".
The course is divided in three parts (A, B and C).
The first part (A) will be devoted to theoretical and methodological problems of musicology and the history of Western music.
The second part (B) will focus on the guided listening of some masterworks.
The third part (C) will focus on Vivaldi "Fours Seasons".
Prerequisites for admission
A good preparation of history and general knowledge. The course requires very basic music theory competences.
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.
PART A
1. ANDREA MALVANO, Storia della musica: dal Settecento all'età contemporanea, Firenze, Le Monnier Università, 2019
2. OTTO KAROLI, La grammatica della musica, Torino, Einaudi, 1969 (and subsequent editions)
For the preparation of Unit A a rich experience of listening to the music in question in the volumes indicated above is essential, making use of the recordings available in the Library, on the market and on the web.
PART B
1. LAWRENCE KRAMER, Perché la musica classica? Significati, valori, futuro, Torino, EDT, 2011
2. JEAN MOLINO, Il tempo, la musica, la storia, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. IV, Storia della musica europea, Torino, Einaudi, 2004, pp. 22-37
3. JONATHAN D. KRAMER, Il tempo musicale, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II, Il sapere musicale, Torino, Einaudi, 2002, pp. 143-170
4. JEAN-JACQUES NATTIEZ, Musica e significato, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II, Il sapere musicale, Torino, Einaudi, 2002, pp. 206-238
5. PHILIPPE VENDRIX, Concezioni diverse della storia musicale, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II, Il sapere musicale, Torino, Einaudi, 2002, pp. 591-610
PART C
1. STEFAN KUNZE, Programma, musica a, in Dizionario Enciclopedico Universale della Musica e dei Musicisti, diretto da A. Basso, Il Lessico, vol. IV, Torino, UTET, 1984, pp. 22-28
37)
2. CESARE FERTONANI, Antonio Vivaldi e l'arte del concerto, «Nuova Secondaria», XXXIV, 2017, n. 9, pp. 62-65
3. CESARE FERTONANI, La musica strumentale di Antonio Vivaldi, Firenze, Olschki, 1998, pp. pp. 319-356
4. PAUL EVERETT, Vivaldi: Le Quattro Stagioni e gli altri concerti dell'Opera Ottava, Venezia, Marsilio, 1999
Non-attending students must integrate the program for attending students, including the general lectures note of the course, with the additional reading of one of the following texts:
1. PAUL GRIFFITHS, Breve storia della musica occidentale, Torino, Einaudi, 2007
2. NICHOLAS COOK, Musica. Una breve introduzione, Torino, EDT, 2005
3. GIOVANNI BIETTI, Lo spartito del mondo. Breve storia del dialogo tra culture in musica, Bari-Roma, Laterza, 2018
4. GIOVANNI BIETTI, Ascoltare la musica classica. La sinfonia in Mozart, Haydn, Beethoven, Roma, Edizioni Estemporanee, 2013
PART A
1. ANDREA MALVANO, Storia della musica: dal Settecento all'età contemporanea, Firenze, Le Monnier Università, 2019
2. OTTO KAROLI, La grammatica della musica, Torino, Einaudi, 1969 (and subsequent editions)
For the preparation of Unit A a rich experience of listening to the music in question in the volumes indicated above is essential, making use of the recordings available in the Library, on the market and on the web.
PART B
1. LAWRENCE KRAMER, Perché la musica classica? Significati, valori, futuro, Torino, EDT, 2011
2. JEAN MOLINO, Il tempo, la musica, la storia, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. IV, Storia della musica europea, Torino, Einaudi, 2004, pp. 22-37
3. JONATHAN D. KRAMER, Il tempo musicale, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II, Il sapere musicale, Torino, Einaudi, 2002, pp. 143-170
4. JEAN-JACQUES NATTIEZ, Musica e significato, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II, Il sapere musicale, Torino, Einaudi, 2002, pp. 206-238
5. PHILIPPE VENDRIX, Concezioni diverse della storia musicale, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II, Il sapere musicale, Torino, Einaudi, 2002, pp. 591-610
PART C
1. STEFAN KUNZE, Programma, musica a, in Dizionario Enciclopedico Universale della Musica e dei Musicisti, diretto da A. Basso, Il Lessico, vol. IV, Torino, UTET, 1984, pp. 22-28
37)
2. CESARE FERTONANI, Antonio Vivaldi e l'arte del concerto, «Nuova Secondaria», XXXIV, 2017, n. 9, pp. 62-65
3. CESARE FERTONANI, La musica strumentale di Antonio Vivaldi, Firenze, Olschki, 1998, pp. pp. 319-356
4. PAUL EVERETT, Vivaldi: Le Quattro Stagioni e gli altri concerti dell'Opera Ottava, Venezia, Marsilio, 1999
Non-attending students must integrate the program for attending students, including the general lectures note of the course, with the additional reading of one of the following texts:
1. PAUL GRIFFITHS, Breve storia della musica occidentale, Torino, Einaudi, 2007
2. NICHOLAS COOK, Musica. Una breve introduzione, Torino, EDT, 2005
3. GIOVANNI BIETTI, Lo spartito del mondo. Breve storia del dialogo tra culture in musica, Bari-Roma, Laterza, 2018
4. GIOVANNI BIETTI, Ascoltare la musica classica. La sinfonia in Mozart, Haydn, Beethoven, Roma, Edizioni Estemporanee, 2013
Assessment methods and Criteria
For all attending and non-attending students the assessment method consists of a written 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 history
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. personal interpretative skills.
The oral exam will be assessed on the basis of the following criteria:
1. mastery of acquired knowledge of music history
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. personal interpretative skills.
Unita' didattica A
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Unita' didattica B
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Unita' didattica C
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
(E-N)
Responsible
Lesson period
Second semester
Unita' didattica A
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Unita' didattica B
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Unita' didattica C
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
(O-Z)
Responsible
Lesson period
Second semester
Course syllabus
Title of the course (a.a. 2023-2024): Western music from the eighteenth century to the present.
The course is divided in three parts (A, B and C).
The first part (A) will be devoted to theoretical and methodological problems of musicology and the history of Western music.
The second part (B) will focus on the guided listening of some masterworks.
The third part (C) will focus on the opera verista.
The course is divided in three parts (A, B and C).
The first part (A) will be devoted to theoretical and methodological problems of musicology and the history of Western music.
The second part (B) will focus on the guided listening of some masterworks.
The third part (C) will focus on the opera verista.
Prerequisites for admission
A good preparation of history and general knowledge. The course requires very basic music theory competences.
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.
UNIT A
1. ANDREA CHEGAI, FRANCO PIPERNO, ANTONIO ROSTAGNO, EMANUELE SENICI, Musiche nella storia, Roma, Carocci, 2017 (e successive ristampe), Capitoli da 6 a 13, pp. 307-735
2. Breve lessico musicale, a cura di FABRIZIO DELLA SETA, Roma, Carocci, 2009 (e successive ristampe)
For the preparation of Unit A a rich experience of listening to the music in question in the volumes indicated above is essential, making use of the recordings available in the Library, on the market and on the web.
UNIT B
Lectures note will be uploaded on the Ariel platform
UNIT C
1. GIORGIO RUBERTI, Il verismo musicale, Lucca, LIM, 2011 (e successive ristampe)
2. ANTONIO ROSTAGNO, Nuove tipologie e geometrie operistiche nell'opera della Scapigliatura, in Scapigliatura Fin de Siècle, a cura di J. Streicher, S. Teramo e R. Tagliavini, Roma, Ismez, 2004, pp.209-43
3. CARLIDA STEFFA, LUCA ZOPPELLI, Nei palchi e sulle sedie, Roma, Carocci, 2023, capp. 8 e 9
Non-attending students must integrate the program for attending students, including the general lectures note of the course, with the additional reading of one of the following texts:
1. GIOVANNI BIETTI, Ascoltare la musica classica. La sinfonia in Mozart, Haydn, Beethoven, Roma, Edizioni Estemporanee, 2013
UNIT A
1. ANDREA CHEGAI, FRANCO PIPERNO, ANTONIO ROSTAGNO, EMANUELE SENICI, Musiche nella storia, Roma, Carocci, 2017 (e successive ristampe), Capitoli da 6 a 13, pp. 307-735
2. Breve lessico musicale, a cura di FABRIZIO DELLA SETA, Roma, Carocci, 2009 (e successive ristampe)
For the preparation of Unit A a rich experience of listening to the music in question in the volumes indicated above is essential, making use of the recordings available in the Library, on the market and on the web.
UNIT B
Lectures note will be uploaded on the Ariel platform
UNIT C
1. GIORGIO RUBERTI, Il verismo musicale, Lucca, LIM, 2011 (e successive ristampe)
2. ANTONIO ROSTAGNO, Nuove tipologie e geometrie operistiche nell'opera della Scapigliatura, in Scapigliatura Fin de Siècle, a cura di J. Streicher, S. Teramo e R. Tagliavini, Roma, Ismez, 2004, pp.209-43
3. CARLIDA STEFFA, LUCA ZOPPELLI, Nei palchi e sulle sedie, Roma, Carocci, 2023, capp. 8 e 9
Non-attending students must integrate the program for attending students, including the general lectures note of the course, with the additional reading of one of the following texts:
1. GIOVANNI BIETTI, Ascoltare la musica classica. La sinfonia in Mozart, Haydn, Beethoven, Roma, Edizioni Estemporanee, 2013
Assessment methods and Criteria
For all attending and non-attending students the assessment method consists of a written 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 history
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. personal interpretative skills.
The oral exam will be assessed on the basis of the following criteria:
1. mastery of acquired knowledge of music history
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. personal interpretative skills.
Unita' didattica A
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Unita' didattica B
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Unita' didattica C
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours