2019/2020

2019/2020

DM270

L-ART/07 (MUSICOLOGY AND MUSIC HISTORY)

DEPARTMENT OF MUSICOLOGY AND CULTURAL HERITAGE

MUSICOLOGY

PERCORSO COMUNE

1°

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

6

36 lesson hours

Italian

ORAL TEST

ROSSI FRANCESCO ROCCO - 6 ECTS

Good knowledge of the European historical and cultural background from late
antiquity to the end of the sixteenth century in its essential lines. Good
knowledge of music language. It would be best to have passed the
examination of "Modality and Counterpoint".

The course provides the tools to understand repertoires, sources and forms of music in the main areas of society and medieval and renaissance culture.

SECOND MODULE: the Renaissance (Francesco Rocco Rossi)
1st Part.
Music between the late Middle Age and the beginning of the 17th century: forms and compositional techniques of vocal and instrumental polyphony in Italy, France, England. The migration of Franco-Flemish composers to Italy. The evolution of the motet in the 15th cent. The polyphonic Mass and its compositional techniques: tenor, parody and paraphrase Mass. Burgundian chanson and Italian secular music forms. The frottola. The tablature and the development of instrumental music.

2nd Part.
The 16th century's Madrigal: its genesis, diffusion and evolution. Music printing in Italy, France and Low Countries. The chanson parisienne.
Reformation and Counter Reformation. Roman and Venetian Polyphony. Sacred and secular music in England in the 16th cent. The Spiritual madrigals. Instrumental music. The affirmation of the monody with instrumental accompaniment. Claudio Monteverdi.

Frontal lessons, multimedia didactics, classroom exercises held by the teacher in addition to the lectures (5 or 6 hours) and mostly devoted to analysis and listening to compositions previously discussed in class, tutoring (Introduction to Western Music Repertoires). Students will be constantly asked to interact with the
Professor. Supplementary teaching is foreseen.

1: General themes

Attending student are required to know all the subjects discussed during the lessons and the pdf and audio material given by the Professor and available in a computer in the university library which is specifically reserved for this purpose. They will also be required to recognize – both listening and watching the scores – the different musical typologies explained during the course.

It is required to study the following books:
– F. R. ROSSI, La musica rinascimentale - Storia, teorie, analisi, Lucca, LIM, 2019;
– F. R. ROSSI, Guillaume Du Fay, Palermo, L’Epos, 2008, pp. 169-174 (Glossary);
– I. FENLON - J. HAAR, L' invenzione del madrigale italiano (trad. di The Italian madrigal in the early sixteenth century. Sources and interpretation), Torino, Einaudi, 1992, pp. 3-65;
– M. DELLA SCIUCCA, Giovanni Pierluigi da Palestrina, Palermo, L'epos, 2009, pp. 11-123 (Palestrina e la controriforma cattolica) e 192-199 (L’incarico per la riforma del canto gregoriano).


Non attending students (or only partially attending students) are required to know the following books:
– F. R. ROSSI, La musica rinascimentale - Storia, teorie, analisi, Lucca, LIM, 2019;
– F. R. ROSSI, Guillaume Du Fay, Palermo, L’Epos, 2008, pp. 169-174 (Glossario);
– P. FABBRI, Accoppiamenti giudiziosi di musica e poesia, «Il Saggiatore musicale», Vol. 12, N.1, 2005, pp. 29-33.
– I. FENLON - J. HAAR, L' invenzione del madrigale italiano (trad. di The Italian madrigal in the early sixteenth century. Sources and interpretation), Torino, Einaudi, 1992, pp. 3-65;
– M. DELLA SCIUCCA, Giovanni Pierluigi da Palestrina, Palermo, L'epos, 2009, pp. 111-123 (Palestrina e la controriforma cattolica) e 192-199 (L’incarico per la riforma del canto gregoriano).


2: More specific themes
All the students (attending and non attending) are required to choose and study two further contributions (one about the 15th and the other about the 16th-early 17th century) among the following articles:

(1st part)
– M. CARACI, Fortuna del Tenor «L'homme armé» nel primo Rinascimento, «Nuova Rivista Musicale Italiana», IX, 1975/2, pp. 3-36;
– G. FILOCAMO – M. L. BALDASSARI, Le “Frottole intabulate da sonare organi” (Roma, Andrea Antico, 1517): testo musicale e contesto sociale della prima intavolatura italiana per tastiera a stampa, «Fonti Musicali Italiane», 23, 2018, pp. 7-26;
– F. R. ROSSI, Aria di Rimini: rimandi improvvisativi in Unum pulchrum e Salve cara Deo tellus di Ludovicus de Ariminio, «Rivista di analisi e teoria musicale (GATM)», Vol. 23, n. 2, 2017, pp. 25-51
– C. WRIGHT, Dufay’s Nuper rosarum flores, King Solomon’s Temple and the Veneration of the Virgin, «Journal of the American Musicological Society», XLVII, 1994, pp. 395-441.



(2nd part)
– M. BIZZARINI, Marenzio and Cardinal Luigi d'Este, «Early Music», Vol. 27, No. 4, Nov. 1999, pp. 518-532;
– P. CECCHI, La fortuna musicale della «Canzone alla Vergine» petrarchesca e il primo madrigale spirituale, in A. Chegai e C. Luzzi, Petrarca in musica, Lucca, Lim, 2005, pp. 245-291;
– D. SABAINO, Funzioni proemiali del primo sonetto del «Canzoniere» petrarchesco nella «Selva Morale e Spirituale» di Claudio Monteverdi, in M. Caraci Vela e R. Tibaldi, Intorno a Monteverdi, Lucca, Lim, 1999, pp. 101-123;
– R. TIBALDI, Il repertorio frottolistico e la poesia del Petrarca, in A. Chegai e C. Luzzi, Petrarca in musica, Lucca, Lim, 2005, pp. 101-128;
– D. V. FILIPPI, Carlo Borromeo e la musica, a lui naturalmente grata, in A. Addamiano e F. Luisi (a c. di), Atti del Congresso internazionale di musica sacra: in occasione del centenario di fondazione del PIMS, Roma, 26 maggio - 1 giugno 2011, Città del Vaticano, Libreria Editrice Vaticana, 2013, pp. 665-676.

Oral exam, which focuses on the acquired skills, in particular, the ability to place composers, forms and musical genres in the musical and cultural context of the 15th and 16th century. The oral exam consists of a listening test too: it will it will have to check the students’ ability to identify and describe the different musical forms and genres.

The oral exam consists of:
a. Part 1 (General themes): one question about the 15th cent.
b. Part 2 (More specific themes): discussion on the 15th cent. contribution;
c. Part 1 (General themes): one question about the 16th/early 17th cent.
d. Part 2 (More specific themes): discussion on the 16th/early 17th cent. contribution;
e. listening test.
The students who wish, will have the opportunity to take a written test in itinere about the first half of the course (15th century). prima parte del corso (Quattrocento). This "in
itinere" test is organized as follows:


1) multiple choice questions (to test basic terminology and basic knowledge);
2) open questions (to test the knowledge of the proposed arguments and
use of a proper technical language);
3) formal analysis of a music composition (to test the ability to recognize
structures learned during the course).
Duration of the test: 2 hours

The History of Music 1 can be separated into two parts corresponding to the two modules (obviously according to the chronological sequence) but
must necessarily be completed in the maximum of two consecutive exam
sessions without exception. Otherwise, the first part must be backed up.
“In itinere” tests are considered as belonging to the summer session.