HISTORY OF MODERN AND CONTEMPORARY MUSIC

Single discipline educational activity

Course Sheet

Course code:

WEB01

Academic Year of enrolment:

2018

Year of supply:

2018/2019

Type of Course:

Characterising

Degree:

Course of 1st Cycle Degree in HUMANITIES

Disciplinary Sector:

Musicology and Music History

Location:

CHIETI

Credits:

Programme Year:

Professor and Collaborators:

PAGANNONE Giorgio

Cycle:

First semester

Hours of classroom activity:

Individual study hours:

162

Prerequisites:

There are no specific prerequisites.
However, for those wishing to acquire some basic knowledge, we suggest the following support tools (optional):
For some basic musical notions:
- O. KÁROLYI, La grammatica della musica, Torino, Einaudi, 1969 (or subsequent reprints); in particular pp. 119 sgg.
- S. MELIS - G. PAGANNONE, Il “filo” e l’“ordito”. Dall’ascolto alla teoria musicale e ritorno, in La Musica tra Conoscere e Fare, a cura di G. La Face Bianconi e A. Scalfaro, Milano, FrancoAngeli, 2011, pp. 89-106 (english version: http://wwcat.saggiatoremusicale.it/saggem/ricerca/atti/meryc2009/Melis-P...).

For the melodramatic lexicon refer to:
- L. BIANCONI - G. PAGANNONE, Piccolo glossario di drammaturgia musicale, in G. PAGANNONE (edited by), Insegnare il melodramma. Saperi essenziali, proposte didattiche, Lecce, Pensa Multimedia, 2010, pp. 201-263 (available online: http://box.dar.unibo.it/files/didattica/Glossario-di-Drammaturgia_musica... ).

Objectives

The teaching of these modules contributes to the achievement of the learning objectives of the Degree course, with particular reference to the following abilities:

Skills and understanding
Knowledge of the general features of the history of music from the seventeenth to the twentieth century, of the main figures and genres, as well as the contexts and functions of music.
Knowledge of the basic theoretical and musical notions for conscious listening.
Knowledge of the fundamentals of musical dramaturgy and of the Italian-language melodrama of the eighteenth-nineteenth-century, with particular reference to the opera buffa and the "Così fan tutte" by Mozart-Da Ponte. (MODULE 1)
Knowledge of some aspects and essential concepts of twentieth century music: atonality, expressionism, dodecaphony, neoclassicism, avant-garde. (MODULE 2).

Ability to apply knowledge and understanding
Students must acquire the ability to orientate themselves in the historical-musical development of the modern and contemporary age. They will also develop the ability to adopt an interdisciplinary approach, i.e. they must be able to contextualise the development of musical art, comparing it with historical facts, the history of aesthetic-philosophical thought, and other arts, in particular theatre and literature, with reference to the melodramatic genre.

Indipendence of judgment
At the end of the course students must acquire a critical sense towards music and musical phenomena, even of the contemporaneity, thanks to their knowledge of historical-musical development, the acquisition of conscious listening, as well as knowledge of and appreciation for significant works in the history of music.

Communication skills
Students must know how to explain the course contents and key concepts clearly and with the appropriate terminology, thus demonstrating that they can also make connections between these concepts and interdisciplinary openings. They will also be able to report in a satisfactory way on their listening experiences both in class and through individual study.

Contents

MODULE 1 (6 CFU): History of music of the modern age (overview, keys to reading).
"Così fan tutte, ossia La scuola degli amanti" by Mozart-Da Ponte (1790).
MODULE 2 (3 CFU): Aspects of twentieth century music (module 2).

Extended Syllabus

MODULE 1 (6 CFU). This module intends to introduce students to the history of art music from the seventeenth to the twentieth century. We will give a historical overview, highlighting basic concepts. We will provide keys to reading, and a brief overview of genres, styles, musical techniques, the main musicians and ideas about music.
In the monographic part, we will examine the comic opera "Così fan tutte" by Mozart - Da Ponte (1786), framing it in the genre to which it belongs and in the eighteenth-century theatrical and musical tradition.

MODULE 2 (3 CFU).
The second module will focus on 20th century music. We will propose selected listenings of significant works and highlight some key concepts (atonality, dodecaphony, avant-garde, neoclassicism, etc.) that help learners to orientate themselves in the complex historical developments of the twentieth century, marked by the crisis of the tonal system and traditional musical languages as well as the constant search for new poetics and expressive ways, at times marked by a mixture of genres and contaminations, at other times characterized by daring experimentations.

Recommended Bibliography

MODULE 1 (6 CFU). PROFILE OF HISTORY OF MUSIC BETWEEN 1600 AND 1900.
Monographic study: THE OPERA BUFFA AND THE "COSÌ FAN TUTTE".

GENERAL PART
- L. BIANCONI, “La musica al plurale”, in Musica, ricerca e didattica. Profili culturali e competenza musicale, ed. by A. Nuzzaci and G. Pagannone, Lecce, Pensa Multimedia, 2008, pp. 23-32 (available online:
http://wwcat.saggiatoremusicale.it/saggem/ricerca/bibliografia/bianconi_... )
- M. CARROZZO - C. CIMAGALLI, Storia della musica occidentale, Roma, Armando, 1997 (or subsequent reprints), 3 voll.; vol. 1 (chapters 13-14); vol. 2 (complete); vol. 3 (chapters from 32 a 42); we mean the historical part, without the paragraphs with detailed analysis.
NB. For NON-ATTENDING STUDENTS, at least three analytical paragraphs are recommended, in particular those in chapters 14 (vol. I, madrigal), 29 (vol II: sonata form), and 36 (vol III: Italian opera).

MONOGRAPHIC PART

A. For musical dramaturgy:
- PAOLO GALLARATI, La nascita della drammaturgia musicale, in Storia del teatro moderno e contemporaneo, directed by R. Alonge and G. Davico Bonino, vol. 2: Il grande teatro borghese. Settecento e Ottocento, Torino, Einaudi, 2000, pp. 1123-1144.

B. About “Così fan tutte”:
- LORENZO DA PONTE, Così fan tutte, in Libretti d’opera italiani, a cura di G. Gronda e P. Fabbri, Milano, Mondadori (“I Meridiani”), 1997, pp. 885-959 (NB: The libretto, fundamental for the study and analysis of this opera, will be provided at the beginning of the course in PDF or paper format. Please avoid pocket booklets, programme notes, booklets attached to CDs or DVDs, which often overlook or distort the metric structure!).
- EMANUELE D’ANGELO, “Così fan tutte (e tutti)? Percorsi tra Da Ponte e Mozart”, in Così fan tutte, Programma di sala, Venezia, Teatro La Fenice, pp. 31-46. (available online: http://www.teatrolafenice.it/media/libretti/129_5289MOZART_Cosi_fan_tutt...)
- FEDELE D’AMICO, “Così fan tutte (1790)”, in IDEM, Forma divina. Saggi sull’opera lirica e sul balletto, I, Firenze, Olschki, 2012, pp. 30-39.
- GIOVANNI BIETTI, Mozart all’Opera. “Le nozze di Figaro”, “Don Giovanni”, “Così fan tutte”, Bari-Roma, Laterza, 2015, pp. 223-256 (chapter on the “Così fan tutte”). [with audio support]

It is recommended that NON-ATTENDING students read the guide to the opera by Emanuele Bonomi, in Così fan tutte, Sala di Venezia, Teatro La Fenice, pp. 47-107. (available online: http://www.teatrolafenice.it/media/libretti/129_5289MOZART_Cosi_fan_tutt...)

MODULE 2 (3 CFU).
- M. CARROZZO - C. CIMAGALLI, Storia della musica occidentale, Roma, Armando, 1997 (or subsequent reprints), III, chap. 43-44 (pp. 419 sgg.).
- J.-J. NATTIEZ (a cura di), Enciclopedia della musica, vol. I: Il Novecento, Torino, Einaudi, 2001 (selected readings; they will be specified at the beginning of the module).
- PAUL GRIFFITHS, La musica del Novecento, Torino, Einaudi, 2014 (of this book the parts to study will be specified at the beginning of the module).

NON-ATTENDING students are required to find the study material (in the “materiali didattici”/"teaching materials", on the website https://www.dilass.unich.it), and to agree with the teacher on any additional or replacement readings.
NB. The LISTENING of the works included in this module and of the pieces presented at each lesson is an INTEGRAL PART OF THE STUDY PROGRAMME.

Teaching Methods

The teaching in class includes listening exercises as well as the use of slides and support materials (audio and video).

Evaluation methods

Verification of learning:

An oral exam, with a final grade expressed in thirtieth. Knowledge of the books listed in the bibliography and of the proposed listenings will be ascertained. In particular, the following evaluation criteria will be taken into account: knowledge of contents, critical sense, clarity of exposition.

Contacts/More Information

Regular attendance is strongly recommended. It is not necessary to know the theory or the musical notation, but attendance enables students to practise active and conscious listening.
At the end of the course both the audio materials and the slides related to the lessons will be made available.
NB. The LISTENING of the works in question is an INTEGRAL PART OF THE PROGRAMME.
NB. A theatre trip to TEATRO MARRUCINO to watch the opera “Così fan tutte”, is planned in the autumn.
For any problems or doubts concerning the bibliography or the course materials, please contact the teacher (giorgio.pagannone@unich.it).

Università degli Studi
"G. d'Annunzio"

Chieti - Pescara

Aree