The course illustrates the main lines of development of Western Music History from the 1830s to the second half of the 20th century and focuses on the historical-cultural contexts, the productive systems, the peculiarities of some compositions representative of the main currents of taste and aesthetic thought.
Bibliography
A)
1) R. Di Benedetto, Romanticismo e scuole nazionali nell'Ottocento, in Storia della musica, Torino, EDT, 1991, vol. 8: capp. I, II (parr. 6,7, 8), III (parr. 11, 12, 13, 14, 15), IV (parr. 17, 19, 20), V (par. 20) + Letture 1-7
2) F. Della Seta, Italia e Francia nell’Ottocento, Torino, EDT, 1993, pp. 137-161 (Berlioz)
3) G. Salvetti, La nascita del Novecento e Andrea Lanza, Il secondo Novecento, in Storia della musica, Torino, EDT, resp. vol. 10 (capp. I-III, Italia excluded) + Documents 2-8 and vol. 12 ( “generalizzazione e crisi dell’esperienza postweberniana” included) + Documents 1-9
OR
B)
Musica e società. vol. III. Dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri, Lucca, LIM 2016 (Parte I capp. 2,3,4,6,7,9; Parte II capp. 10, 11, 12, 13, 14, 15
Recommended (optional) readings
for further inquiries
1) C. Dahlhaus, La musica dell’Ottocento, Firenze, La Nuova Italia, 1990
2) Ch. Rosen, La generazione romantica, Milano, Adelphi, 1997
3) G. La Face Bianconi, La casa del mugnaio. Ascolto e interpretazione della Schöne Müllerin, Firenze, Olschki, 2003
4) A. Edler, Schumann e il suo tempo, Torino, EDT, 1991
5) R. Schumann, Gli scritti critici, Milano, Le Sfere, 1991
6) P. Russo, Berlioz: Sinfonia fantastica. Una guida, Roma, Carocci, 2008
7) F. Liszt, Un continuo progresso. Scritti sulla musica, Milano Le Sfere, 1991
8) G. Pestelli, Canti del destino. Studi su Brahms, Torino, Einaudi, 2000
9) H.H. Eggebrecht, La musica di Gustav Mahler, Scandicci, La Nuova Italia, 1994
10) P. Petazzi, Le sinfonie di Mahler, Venezia Marsilio, 2002
11) S. Jarocinski, Debussy. Impressionismo e simbolismo, Fiesole, Discanto (La Nuova Italia), 1980
12) F. Lesure, Debussy. Gli anni del simbolismo, Torino, EDT, 1994
13) A. Ph. Lessem, Schoenberg espressionista. Il dramma il gioco la profezia, Venezia, Marsilio, 1988
14) A. Schoenberg, Stile e pensiero. Scritti sulla musica e la società, a cura di A. Morazzoni, Milano, il Saggiatore, 2008
15) G. Vinay, Stravinskij neoclassico, Venezia, Marsilio, 1987
Learning Objectives
The course aims to provide students with basic knowledge, key research tools and methodologies to increase the study of western modern and contemporary music history both in its aesthetic and compositional aspects and as part of the social and cultural life.
Therefore these are the main goals a) knowledge and understanding: acquisition of the historical-aesthetic framework and the main lines of development of the European musical history between the nineteenth and twentieth centuries b) applying knowledge and understanding: through the acquisition of specific disciplinary knowledge, the student will be able to reconstruct the relationship between musical production and cultural context; to use historical and stylistic analysis tools of the proposed music; to acquire a bibliographic and documentary knowledge that allows him to place some passages in the history of modern and contemporary European music within the more general historical-cultural context; c) autonomy of judgment: the course aims to develop in the student autonomy of judgment and capacity for re-elaboration, supported by adequate capacity in reconstructing the historical and conceptual framework of the history of music western between 1830 and the second half of the last century; d) communication skills: using a specific and competent language and being able to explain the features of the history of music between 1830 and the contemporary age and the related critical concepts; e) learning skills: autonomous use of basic repertoires, texts and tools for the study of western history of modern and contemporary music.
Prerequisites
A good Knowledge of european history is requested.
Teaching Methods
The course consists of a series of lectures, accompanied by a series of commented listenings of musical compositions that are particularly representative of the main currents of taste and aesthetic thought taken into account.
The course uses the Moodle platform for the storage of audio materials and slides proposed during the lessons.
Further information
Teacher receives students every Wednesday from 11 am to 1 pm in Room 17 in Via Gino Capponi. Students are invited to check DAMS site's news for any variation at timetables and reception dates and lessons.
To access course materials, you must enroll in the EOOD MOODLE platform. The password will be communicated at the beginning of the course.
Type of Assessment
The exam consists of an interview of no less than three questions regarding the topics covered, the texts in the bibliography, the materials provided. An essential part of the exam is the recognition and comment of one of the musical compositions listened and discussed durin the course. The final vote will reflect the level of competence achieved and will take account of the student's exposure and re-elaboration skills.
Course program
Music in the nineteenth century: issues of periodization and themes; Lieder by Schubert; new piano music (Schumann, Chopin, Liszt); music and poetry, program music; new symphonic (Berlioz); the symphonic poem; resumption of symphonic (Brahms, Mahler); Paris and the avant-garde (Debussy, Ravel, Satie, Stravinsky, the Six); expressionism and pantonality (Schoenberg and the second Viennese school); musical neoclassicism; twelve-tone music. Perspectives on the second half of twentieth century.