HISTORY OF MUSIC

Università degli Studi
"G. d'Annunzio"

Chieti - Pescara

Single discipline educational activity

Course Sheet

Course code:

LTS265

Academic Year of enrolment:

2018

Year of supply:

2018/2019

Type of Course:

Related/Supplementary

Degree:

Course of 2nd Cycle Degree in PHILOLOGY, LINGUISTICS AND LITERARY TRADITIONS

Disciplinary Sector:

Musicology and Music History

Location:

CHIETI

Credits:

Programme Year:

Professor and Collaborators:

PAGANNONE Giorgio

Cycle:

Second semester

Hours of classroom activity:

Individual study hours:

108

Prerequisites:

No prerequisites are required, apart from a basic knowledge of the Italian metrics.
We recommend the following support and in-depth tools (optional).
For the rudiments of Italian metrics and the relationship between music and versification:
- Avviamento alla metrica italiana, ed. by T. BALBO, L. BIANCONI and N. BADOLATO, (on-line in powerpoint format:
http://archivi.dar.unibo.it/files/muspe/wwcat/corso/corsi/sdm/metrica1%2...
http://box.dar.unibo.it/files/didattica/Metrica%204%205%206%20NB.ppt).
- P. FABBRI, Metro e canto nell'opera italiana, Torino, EDT, 2007, pp. 119-141 (chap. 10).

For the melodramatic vocabulary and musical dramaturgy:
- L. BIANCONI - G. PAGANNONE, Piccolo glossario di drammaturgia musicale, in G. PAGANNONE (ed. 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 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 features of the history of the opera and of the fundamentals of musical dramaturgy, with particular reference to the nineteenth century Italian melodrama and Lucia di Lammermoor by Gaetano Donizetti.
Knowledge of some issues concerning operatic philology (variants, genesis, tradition).
Knowledge of the metric forms used in nineteenth-century opera.

Ability to apply knowledge and understanding
Acquisition of a method of analysis of the melodrama, as an integrated system of text, music and scene.
Ability to recognize and reconstruct the metric form of an opera libretto, and more generally the morphology of a nineteenth-century opera, with reference to the opera in question.
Ability to compare the libretto to the literary source, highlighting links and differences.

Indipendence of judgment
At the end of the course students will have acquired some technical notions, and the conceptual tools that will enable them to deal autonomously and critically with an operatic text, intended as a combination of poetry, music and drama. They will also be able to grasp the relationships that the librettistic text, as a "derivative" text, has with the literary or theatrical hypotext.

Communication skills
Students must know how to explain the course contents and key concepts with appropriate and clear terms. They will be able to report in a satisfactory way also the listening experiences, both in class and during their individual study. They will also be able to describe and analyse an operatic scene using the appropriate vocabulary.

Contents

The romantic Opera: Lucia di Lammermoor by Salvadore Cammarano and Gaetano Donizetti.

Extended Syllabus

Emblem of musical romanticism, Donizetti's most famous opera owes its enormous fortune to an exemplary story of "ardent and unfortunate love", and to the happy meeting between the musician and a debutant but very talented poet, Salvadore Cammarano, who knew how to turn the Romance story of the modern scottish Romeo and Juliet in a drama with strong colors, culminating in a madness scene of unparalleled effect. Donizetti's opera will be analyzed in the context of the Italian melodrama of the time, and of the romanticism with reference to the novel by Walter Scott, and to previous operatic versions on the same subject (Carafa, Riesk, Mazzucato).

Recommended Bibliography

On the philology of the librettos:
L. BIANCONI, “Il libretto d’opera”, in “Il contributo italiano alla storia del pensiero. Musica”, Istituto della Enciclopedia Italiana, Roma, 2017 [in photocopy].

For a historical overview of Donizetti and the Italian Opera in the early nineteenth century:
F. DELLA SETA, “Italia e Francia nell’Ottocento”, Torino, EDT, 1991 («Storia della musica», 9), pp. 68 75 (“Morfologia dell’opera italiana”) e pp. 165-208 (“Oltre Rossini. L’opera italiana dal 1830 al 1848”). [in photocopy]

On ‘Lucia di Lammermoor’ by Cammarano and Donizetti:
- The libretto of Lucia di Lammermoor by Salvadore Cammarano. NB. Students will be provided with a copy of the first edition published in 1835). Please avoid using online librettos, programme notes, booklets attached to CDs or DVDs, which often overlook or distort the metric structure!

- W. ASHBROOK, Donizetti. Le opere, Torino, EDT, 1987, pp. 145-151. [in photocopy]
- L. BIANCONI, “Tumultuosi affetti”, in “Lucia di Lammermoor”, «Amadeus Lirica», VII/2, 1997, pp. 27-33. [in photocopy]
- P. CECCHI, “Da «The Bride of Lammermoor» a «Lucia di Lammermoor»: contesto letterario e metamorfosi librettistiche”, in G. DONIZETTI, Lucia di Lammermoor, volume di sala (Opera Guide), Venezia, Teatro La Fenice, 1997, pp. 55-67. [in photocopy]
- F. D’AMICO, “Lucia di Lammermoor”, in ID., “Forma Divina. Saggi sull’opera lirica e sul balletto”, I, Firenze, Olschki, 2012, pp. 125-131. [in photocopy]
- E. D’ANGELO, “Lucia di Lammermoor. Il libretto e la memoria letteraria”, in G. DONIZETTI, Lucia di Lammermoor, volume di sala (Opera Guide), Venezia, Teatro La Fenice, 2011, pp. 27-44 (available online: http://www.teatrolafenice.it/media/libretti/117_4392LuciadiLammermoor.pdf).
- G. PAGANNONE, “Il «dolce suono» della follia: Lucia liberata”, in G. DONIZETTI, Lucia di Lammermoor, volume di sala (Opera Guide), Torino, Teatro Regio, 2000, pp. 2-21. [in photocopy]

On the subject of madness, a text chosen from:
- E. SALA, “Biancovestite, il crin disciolto, estatiche: il tema della follia nell’opera romantica”, in “Lucia di Lammermoor”, volume di sala (Opera Guide), Milano, Teatro alla Scala, 2014, pp. 63-95 (I ed. 1992). [in photocopy]
- G. MORELLI, “La scena della follia nella «Lucia di Lammermoor»: sintomi, fra mitologia della paura e mitologia della libertà”, in “La drammaturgia musicale”, a cura di L. Bianconi, Bologna, Il Mulino, 1986, pp. 411-432. [in photocopy]

The reading of at least one of the librettos previous to that of Cammarano, on the same subject, is required:
- Le nozze di Lammermoor di L. Balocchi e M. Carafa (Parigi 1829).
- La fidanzata di Lammermoor di C. Bassi e L. Riesk (Trieste 1831).
- La fidanzata di Lammermoor di P. Beltrame e A. Mazzucato (Padova, 1834).

NON-ATTENDING students are advised to contact the teacher for additional readings. However, we recommend the following text:

- G. PAGANNONE (a cura di), Insegnare il melodramma. Saperi essenziali, proposte didattiche, Lecce, Pensa Multimedia, 2010, pp. 15-73 (the essays of G. Pagannone and A. Chegai).

The vocal score of the opera can be found at the following website: .
NB. THE LISTENING AND THE VISION of the opera in question is an INTEGRAL PART OF THE PROGRAMME.
NB. Material will be provided during the course. NON-ATTENDING STUDENTS are required to find the study material (in the “materiali didattici”/"teaching materials" at the end of the course). For any problems or doubts concerning the bibliography and the retrieval of the materials, please contact the teacher (giorgio.pagannone@unich.it).

Teaching Methods

A mixed method. After a few introductory lessons aided by the use of slides and support materials, the course will take place in seminar form, with the involvement of the students in the analysis and discussion of the opera in question.

Evaluation methods

Verification of learning:

Oral exam, with the final mark expressed in thirtieth. Knowledge about the bibliography and the analytical knowledge of the opera in question 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, given the seminar-based structure of the course.
NB. THE OPERA IS SCHEDULED TO BE VIEWED DURING THE 2018 AUTUMN SEASON AT THE MARRUCINO THEATRE. INTERESTED STUDENTS ARE ADVISED TO BOOK EARLY, BY WRITING AN EMAIL TO THE TEACHER: giorgio.pagannone@unich.it.

Università degli Studi
"G. d'Annunzio"

Chieti - Pescara

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