Learning outcomes
The course deals with a specific question of post-tonal music. It may regard counterpoint, harmony, form, rhythm, instrumentation and performance; however, it may be also involve neighbour disciplines such as hermeneutics, semiotics, cognitive sciences, and theories of communication.
Course contents
Explicit and implicit poetics in the music of the second half of the 20th Century. This title draws on a distinction made by Hermann Danuser. The first term refers to "what the composers have expressed - on a descriptive or normative way - regarding the principles of their works". On the other hand, "implicit poetics" designates the compositional work, the process whose result is wittnessed by the musical text and can be reconstructed with philological or analytical methods. Critical readings of texts by Berio, Boulez, Cage, Ligeti, Messiaen, Nono, Pousseur, Schaeffer, Stockhausen, and other representative figures of the music of research and experimentation.
Reccomended or required readings
L. BERIO, Scritti sulla musica, a cura di Angela Ida De Benedictis, Torino, Einaudi 2013
P. BOULEZ, Note di apprendistato, Torino, Einaudi, 1968.
P. BOULEZ, Pensare la musica oggi, Torino, Einaudi 1979.
J. CAGE, Silenzio, Milano, Shake, 2010.
G. LIGETI, Gesammelte Schriften, hrsg. Von Monika Lichtenfeld, Mainz, Schott, 2007.
O. MESSIAEN, Technique de mon language musical, Paris, Leduc, 1944.
O. MESSIAEN, Traité de rythme, de couleur, et d’ornithologie (1949-1992), 7 voll., Paris, Leduc, 1994ss.
L. NONO, Scritti e colloqui, a cura di Angela Ida De Benedictis e Veniero Rizzardi, Lucca/ Milano, Lim/Ricordi, 2001.
H. POUSSEUR, Scritti, a cura di Gabriele Bonomo, Lucca/Milano, Lim/Ricordi, 2007.
K. STOCKHAUSEN, Texte zur elektronischen und instrumentalen Musik, vol. 1, Köln, DuMont, 1963.
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