2018/2019

2019/2020

DM270

L-ART/07 (MUSICOLOGY AND MUSIC HISTORY)

DEPARTMENT OF MUSICOLOGY AND CULTURAL HERITAGE

MUSICOLOGY

PERCORSO COMUNE

2°

Annual (23/09/2019 - 09/06/2020)

6

36 lesson hours

Italian

ORAL TEST

DELLA SETA FABRIZIO EMANUELE (titolare) - 6 ECTS

Good general preparation is assumed, at the high school level, in the fields of modern and contemporary history, literature and philosophical thought.
Competences in tonal musical language, obtained through harmony and analysis courses given in MA or conservatory studies, or personal reading, are also assumed.

The course provides the tools to understand techniques, styles, and genres of music in Western society and culture from the nineteenth century to the present.

Musical masterpieces of four centuries – Part Two
Halfway between monographic course and textbook presentation, the course offers a reading of musical masterpieces that cover the historical period from the nineteenth to the twentieth century. Each work will be presented in its essential historical data, updated to the recent research; the most significant pages will be commented from a musical and historical-cultural standpoint; relationships with other previous, contemporary and following compositions will also be highlighted.
The works selected are:

1. FRANZ SCHUBERT, Lieder D 957 on poems by Ludwig Rellstab, Heinrich Heine and Johann Gabriel Seidl (1828), published as Der Schwanengesang (1829).
2. ROBERT SCHUMANN, Fantasie in C major for piano op. 17 (1839).
3. GIUSEPPE VERDI, Falstaff, “commedia lirica”, libretto by Arrigo Boito (1893).
4. GOFFREDO PETRASSI, Coro di morti, “madrigale drammatico” for chorus and instruments, text by Giacomo Leopardi (1940-1).
5. LUIGI DALLAPICCOLA, Canti di prigionia, for chorus and instruments, texts by Maria Stuart, Severino Boezio, Girolamo Savonarola (1940-41).

BIBLIOGRAPHY
Information on recordings and reference editions, as well as basic bibliographical information on the works discussed, will be provided in class.
In the Department Library, there are critical and current editions and audio-video recordings of the works to be dealt with, as well as facsimile reproductions of the sources of some of them. Ancient and modern non-copyrighted scores can be found also on the site International Music Score Library Project / Petrucci Music Library (www.imslp.org).
Scores and texts will be also made available on the Kiro platform within the limits allowed by law.

Lectures (36 hours), including commented listening.

a. Attending students (at least 4/5 of the lessons)

The student must demonstrate knowledge of the history of the music of the 19th-20th centuries, based on:

1) Musiche nella storia. Dall’età di Dante alla Grande Guerra, ed. Andrea Chegai, Franco Piperno, Antonio Rostagno, and Emanuele Senici (Roma: Carocci 2017).
2) in-depth listening of the compositions commented during the course, accompanied by the reading of the scores and with the help of the readings suggested by the teacher.

b. Not-attending students

The student must demonstrate knowledge of the history of the music of the 19th-20th centuries, based on:

1) M. CARROZZO - C. CIMAGALLI, Storia della musica occidentale, vol. 2 (Roma: Armando 1998, and reprints); vol. 3, ibid., 1999 (and reprints);
2) in-depth listening of the compositions commented in each chapter of the textbook; these can be substituted with other compositions, at student’s choice, or equal historical and artistic relevance (e.g.: a Beethoven sympony or sonata instead of the Quartet op. 132; a Verdi’s opera other than Rigoletto).

Reading suggestion (for everyone)
The following texts may be useful for auxiliary study:
– Breve lessico musicale, ed. by F. Della Seta and Dottorato di ricerca in Musicologia dell’Università di Pavia (Roma: Carocci 2009);
– Le parole del teatro musicale, a cura di F. Della Seta and Dottorato di ricerca in Musicologia dell’Università di Pavia (Roma, Carocci 2010);
– Gli strumenti musicali, a cura di F. Della Seta and Dottorato di ricerca in Musicologia dell’Università di Pavia (Roma: Carocci 2011).

Oral examination. The ability is required to provide a historical overview of the compositions discussed in class (attending students) or those chosen for in-depth studies (non-attending students) and to discuss the main stylistic characters of them. Students are recommended to have the scores with themselves.

Modules A (prof. Rovelli) and B (prof. Della Seta) constitute a single course with a single final examination. Exams related to each module can be taken separately in consecutive sessions.