P rogramofcourses academic year 2012-13

Transcript

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Aesthetics
(Luca Bagetto)
The Copernican Revolution as an aesthetic problem. The issue of counter-intuitivity.
The course will criticize the Humanistic interpretation of the Copernican Revolution, i.e. its reading as the
passage from a given world to a constructed one. On the contrary, at its core will be placed the question of
the non-correspondence between signs and things. Kant’s thought will be analysed by the light of its
Renaissance and Baroque background, and of Descartes’, Spinoza’s and Leibniz’s rationalism.
Bibliography:
G. BRUNO, De la causa, principio e uno, Milano, Mursia, 2008.
W. SHAKESPEARE, Amleto.
M. DE CERVANTES, Don Chisciotte.
C. DE LA BARCA, La vita è sogno.
CARTESIO, Meditazioni metafisiche, Milano, Bompiani, 2001.
B. SPINOZA, Etica, Torino, Bollati Boringhieri, 1992.
G.W. LEIBNIZ, Monadologia, Milano, Bompiani, 2001.
I. KANT, Critica della ragion pura, Roma-Bari, Laterza, 2004.
I. KANT, Critica del giudizio, Roma-Bari, Laterza, 2005.
E.CASSIRER, Filosofia delle forme simboliche, Firenze, La Nuova Italia, 3voll.
M. HEIDEGGER, La questione della cosa, Milano, Mimesis, 2011.
M. HEIDEGGER, Interpretazione fenomenologica della Critica della ragion pura di Kant, Milano, Mursia,
2002.
M. HEIDEGGER, Il principio di ragione, Milano, Adelphi, 1992.
E. DE MARTINO, Il mondo magico, Torino, Bollati Boringhieri, 2007.
Ancient History
(Leone Porciani)
First part: Greek History
Herodotus: History at the dawn of historiography.
The main focus of the lectures will be on some significant parts of Herodotus’ historical work, and on the
complexity of his Histories as both a narrative structure and a means of interpreting and portraying
historical reality.
Second part: Roman History
The Romans facing their past.
This part will be mainly devoted to exploring the Romans’ attitudes toward the historical memory of Rome.
Historiography, social institutions, private memory and their interplay will be the main foci of this inquiry.
The following texts are required:
M. BETTALLI, A.L. D’AGATA, A. MAGNETTO, Storia greca, Roma, Carocci, 2006 (1st part);
G. GERACI, A. MARCONE, Storia romana, Firenze, Edumond Le Monnier, 2005 (2nd part);
ERODOTO, Le Storie, libro IV. La Scizia e la Libia, introd. and comm. by A. Corcella, transl. by A. Fraschetti,
Milano, Fondazione Lorenzo Valla - Mondadori, 1993 (new ed., 2001);
POLIBIO, Storie, ed. by D. Musti, vol. 3 (libri V-VI), Milano, Rizzoli, 2002 (book 6);
Introduzione alla storiografia greca, ed. by M. Bettalli. 2. ed., Roma, Carocci, 2009, or as alternatives: A.
CORCELLA, Erodoto e l’analogia, Palermo, Sellerio, 1984; F. HARTOG, Lo specchio di Erodoto, Milano, Il
saggiatore, 1992.
Storia di Roma, ed. by A. Giardina e A. Schiavone, Torino, Einaudi, 1999 (six essays, suggested by the
teacher), or as an alternative: D. MUSTI, Il pensiero storico romano, in Lo spazio letterario di Roma antica,
ed. by G. Cavallo, P. Fedeli e A. Giardina, vol. 1, Roma, Salerno Editrice,1989, pp. 177-240.
Archaeology of the mediaeval Manuscript
(Marco D’Agostino)
Introduction to codicology: history of the mediaeval manuscript.
Some lectures on the manuscript description will be given at the Public Library of Cremona where
mediaeval manuscripts are preserved.
Bibliography
M. MANIACI, Archeologia del manoscritto, Roma, Viella, 2002;
M.L. AGATI, Il libro manoscritto. Da Oriente a Occidente. Per una codicologia comparata, Roma, L’Erma di
Bretschneider, 2009;
Class Handouts
Bibliography and Library Science
(Carlo Bianchini)
First topic: Bibliography and other bibliographic sciences. Bibliographic universe and its representation.
Universal Bibliographic Control program. Bibliographies: classification and evaluation. Bibliographic tools.
How to write a bibliography.
Second topic: Modern library: definition, function and services. Ranganathan’s Reference service.
Any student should prepare, a month before the exam, a critical bibliography on a topic of library science
agreed with the teacher.
Required readings:
First topic:
C. BIANCHINI, 010 Bibliografia, in Biblioteconomia. Guida classificata, diretta da Mauro Guerrini, Milano,
Bibliografica, 2007, pp. 74-91.
R. PENSATO, Manuale di bibliografia. Redazione e uso dei repertori bibliografici, Milano, Bibliografica, 2007
(solo p. 87-226).
G. CRUPI, 010.72 Strumenti e strategie di ricerca bibliografica, in Biblioteconomia. Guida classificata, diretta
da Mauro Guerrini, Milano, Bibliografica, 2007, pp. 107-134.
Secondo modulo:
M. GUERRINI, C. BIANCHINI e A. CAPACCIONI, La biblioteca spiegata agli studenti universitari, Milano,
Bibliografica, 2012.
Leggere Ranganathan, a cura di Mauro Guerrini, Roma, AIB, 2011.
Further bibliographic references will be furnished during the lessons.
Students are suggested to read two among the following works:
A. GALLUZZI, Biblioteche per la città. Nuove prospettive di un servizio pubblico, Roma, Carocci, 2009.
M. GORMAN, I nostri valori: la biblioteconomia nel XXI secolo, Udine, Forum, 2002.
M. MELOT, La saggezza del bibliotecario, Milano, Sylvestre Bonnard, 2005.
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S.R. RANGANATHAN, Il servizio di reference, a cura di Carlo Bianchini, Firenze, Le Lettere, 2010 .
S.R. RANGANATHAN, Le cinque leggi della biblioteconomia, traduzione e note a cura di Laura Toti. Saggio
introduttivo di Giovanni Solimine, Firenze, Le Lettere, 2010.
G. RONCAGLIA, La quarta rivoluzione. Sei lezioni sul futuro del libro, Roma-Bari, Laterza, 2010.
Students following the course Biblioteconomia - Modulo A shall agree special (reduced) contents and
readings with the teacher.
Students that will not attend lessons shall agree different contents and further readings with the teacher.
Byzantine Civilization
(Gastone Breccia)
1. An introduction to Byzantine Civilization: main themes and evolution.
2. Sources and modern studies: an overview.
Required readings:
a. Attending students:
- A. CAMERON, I Bizantini, Bologna, il Mulino, 2008;
- a selection of translated Byzantine sources (distributed during the lectures).
b. Non-attending students:
- W. TREADGOLD, Storia di Bisanzio, Bologna, il Mulino, 2005;
- C. MANGO, La civiltà bizantina, Roma–Bari, Laterza, 1991, capitoli I-VI (pp. 1-172).
Byzantine Literature
(Gastone Breccia)
1. Main characters and evolution of Byzantine literary culture (IV-XV c.).
2. History and literature in Procopius’ Gothic War.
Required readings:
a. Attending students:
1. Introductory section:
- K. KRUMBACHER, Letteratura greca medievale, Palermo, Istituto siciliano di Studi bizantini e neoellenici,
1970;
- C. MANGO, La letteratura, in ID., La civiltà bizantina, Roma-Bari 1991, pp. 265-289;
- a selection of translated Byzantine texts (distributed during the lectures).
2. Monographic section:
- C. RAPP, Literary Culture under Justinian, in The Age of Justinian, edited by M. MAAS, Cambridge-New
York 2005, pp. 376-397;
- G. GREATREX, Procopius the Outsider?, in Stranger to Themselves. The Byzantine Outsider, edited by
Dion S. SMYTHE, Burlington 2000, pp. 215-218;
- W.E. KAEGI, Procopius the Military Historian, in «Byzantinische Forschungen», 15 (1990), pp. 53-85.
b. Non-attending students:
- K. KRUMBACHER, Letteratura greca medievale, Palermo, Istituto siciliano di Studi bizantini e neoellenici,
1970;
- C. MANGO, La letteratura, in ID., La civiltà bizantina, Roma-Bari 1991, pp. 265-289;
- C. MANGO, Byzantine Literature as a Distorting Mirror. Inaugural Lecture, University of Oxford, May 1974,
Oxford, Oxford University Press, 1975 (reprinted in ID., Byzantium and Its Image, London, Variorum
Reprints, 1984, pp. 3-18);
- E.V. MALTESE, La migrazione dei testi: il caso di Bisanzio, in Comunicare e significare nell'Alto Medioevo.
Atti della LII Settimana di studio sull'Alto Medioevo, Spoleto 2005, pp. 469-497;
- R. BEATON, Il romanzo greco medievale, Soveria Mannelli 1997;
- a selection of translated Byzantine texts to be chosen with professor Breccia ([email protected]).
Byzantine Music Palaeography
(Sandra Martani)
The program focuses on:
Fundamental research tools;
Musical genres and forms, melodic styles;
Tools to deciphering the sources in middle Byzantine notation with exercises in transcription from the syllabic
repertory;
Problems connected with the deciphering of the palaeobyzantine notations and the ekphonetic notation;
Musical and liturgical books (in particular Heirmologion and Sticherarion);
Music theory, with reading and analysis of selected excerpts from the most important treatises.
Students that will not attend lessons should agree the program with the teacher.
Basic bibliography:
K. LEVY, C.TROELSGÅRD, Byzantine Chant, in The New Grove Dictionary of Music and Musicians, London,
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Macmillan, 2001 , vol. 4, pp. 734-756;
A. LINGAS, Musica e liturgia nelle tradizioni ortodosse, in Enciclopedia della musica, diretta da J.-J. Nattiez,
vol. 4, Storia della musica europea, Torino, Einaudi, 2004, pp. 68-85;
M. ALEXANDRU, Preliminary Remarks on the Historiography of Byzantine Music and Hymnography, in
"Bollettino della Badia Greca di Grottaferrata" n.s. 3 (2006), pp. 13-47;
A. DONEDA, I manoscritti liturgico-musicali bizantini : tipologie e organizzazione, in ed. A. ESCOBAR, El
palimpsesto grecolatino como fenómeno librario y textual, Zaragoza, Institución Fernando el Catolico, 2006,
(Actas. Filología), pp. 83-111.
A. LINGAS, Music, in The Oxford Handbook of Byzantine Studies, ed. by E. Jeffreys, Oxford, Oxford
University Press, 2008, pp. 915-938.
Atlante storico della musica nel Medioevo, a cura di V. Minazzi e C. Ruini, Milano, Jaca Book, 2011, §§ II.713
Further bibliography will be supplied in the course of lectures.
Codicology
Some topics dealt in the course of Archaeology of the manuscript will be examined closely in agreement
with students. The course consists of seminar activity. Students who cannot attend class are invited to ask
the professor for an individual program.
Bibliography will be supplied in the course of lectures.
Contemporary History
(Gianluca Albergoni)
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The first part of the course will discuss key themes in contemporary history (XIX -XXt centuries).
All the students are asked to read:

A.M. BANTI, Le questioni dell'età contemporanea, Roma-Bari, Laterza, 2010.
All the students are required to study the following handbook:

G. SABBATUCCI – V. VIDOTTO, Storia contemporanea, vol. I, L’Ottocento, Roma-Bari, Laterza, 2006
e vol. II, Il Novecento, ibidem, 2007.
The use of a good historical Atlas is recommended.
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The second part of the course will be mainly devoted to studying the birth of the mafia in the XIX Century
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and its changing during the XX .
All the students are required to read:

S. LUPO, Storia della mafia. Dalle origini ai nostri giorni, Roma, Donzelli, 1993 e 2004.
For students who will not attend lectures, a text chosen among the bibliographic references given during
the lectures is asked to read (the choice must be agreed in advance with the teacher).
Cultural Heritage Legislation
(Ivana Iotta)
The university course includes discussion of key issues topics relating to national and international
legislation on cultural heritage, with particular reference to the “Code of Cultural Heritage and Landscape”,
approved by Legislative Decree 22 January 2004, n 42 and recent additions and changes.
The aim is to provide students with useful tools for the protection and management of cultural heritage,
addressing issues related to the historical and artistic heritage (notion of cultural heritage, legal and
institutional arrangements, circulation, international and UE protection, sanctions regime, etc.).
A part of the course will be focused to legislation concerning the protection of copyright about creative
intellectual works belonging to literature, music, visual arts, architecture, theater, cinema, etc..
The text and legislative sources needed to prepare for the exams will be provided the beginning of the
university course.
Early Modern History
(Miriam Turrini)
The course will develop some fundamental themes of the early modern age (1492-1815).
Required readings:
a) for students that will attend lectures:
1) one handbook among the following titles:
- F. BENIGNO, L'età moderna. Dalla scoperta dell'America alla Restaurazione, Roma-Bari, Laterza (all
editions);
- C. CAPRA, Storia moderna (1492-1848), Firenze, Le Monnier (all editions);
- A. MUSI, Le vie della modernità, Milano, Sansoni, 2000;
- G. RICUPERATI-F. IEVA, Manuale di storia moderna, Torino, UTET, 2012;
- M. ROSA, M. VERGA, Storia dell'Età moderna. 1450-1815, Milano, Bruno Mondadori, 1998;
- Storia moderna, Roma, Donzelli, 1998 (except the chapters VIII, IX, X, XI, XV, XVI, XIX, XXIII).
2) P. PRODI, La storia moderna, Bologna, il Mulino, 2005.
b) for students that will not attend lectures:
1) one handbook among the following titles:
- F. BENIGNO, L'età moderna. Dalla scoperta dell'America alla Restaurazione, Roma-Bari, Laterza (all
editions);
- C. CAPRA, Storia moderna (1492-1848), Firenze, Le Monnier (all editions);
- A. MUSI, Le vie della modernità, Milano, Sansoni, 2000;
- G. RICUPERATI-F. IEVA, Manuale di storia moderna, Torino, UTET, 2012;
- M. ROSA, M. VERGA, Storia dell'Età moderna. 1450-1815, Milano, Bruno Mondadori, 1998;
- Storia moderna, Roma, Donzelli, 1998 (except the chapters VIII, IX, X, XI, XV, XVI, XIX, XXIII).
2) the following works:
- P. PRODI, La storia moderna, Bologna, il Mulino, 2005;
- G.P. ROMAGNANI, La società d'antico regime (XVI-XVIII secolo), Roma, Carocci, 2010 (all editions);
- W. REINHARD, Storia dello stato moderno, Bologna, il Mulino, 2010.
Elements of Computer Science
(Pierluigi Bontempi)
Basic audio/video production.
The course aims at giving to its students all the informations needed to realize worthwhile videos. After a
brief introduction to the montage theory, the students will learn the basics of the audio/video editing, using
top of the class softwares. Musicology students will focus on the audio side of the audio/video production.
They will learn to use a professional audio sequencer, to record properly the most popular acoustic and
electric musical instruments, to work with MIDI tracks and virtual instruments, to create sounds with a simple
software synthesizer, to mix and do the mastering. Literature students will focus on the video side of the
audio/video production.
The bibliography will be specified at the end of the course, for a first orientation the student can read:
- ADOBE CREATIVE TEAM, Adobe Premiere Pro CS6 Classroom in a Book, Adobe Press, 2012-09-11;
- R. GUERIN, M. MILLER, Cubase 5 Power!: The Comprehensive Guide, Course Technology, 2009.
English Language
(Lisa Navach)
English Grammar and Syntax, learned through scientific essays, musical videos and documentaries, in order
to be able to read and translate different models of texts and to improve conversation and listening skills.
During the course, grammar exercises and translations will be made using only the English monolingual
Dictionary.
The exam consists of an oral interview in English: the student must show the knowledge of the issues and
readings examined during the course (reading and translation in Italian). Moreover, the student should be
able to present an oral report in English on an article (literary, musicological, historical or artistic), chosen
with the professor.
If students have not reached 75% attendance of the course, they must sit the written exam consisting of a
translation English-Italian and a grammar test (2 hours exam duration). During the written exam, students
may use only the English monolingual Dictionary.
Materials and literature will be handed out during the course.
English Language 2
(Lisa Navah)
English advanced Grammar and Syntax, learned through scientific essays, musical videos and
documentaries, in order to be able to read and translate different kind of poetical and drama texts and to
improve conversation and listening skills. During the course, grammar exercises, translations and creative
writing exercises will be made using only the English monolingual Dictionary.
The exam consists of an oral interview in English: the student must show the knowledge of the issues and
readings examined during the course (reading and translation in Italian). Moreover, the student should be
able to present an oral report in English on a literary text (novel, short story, poem, opera libretto) connected
to the course programme, chosen with the professor.
If students have not reached 75% attendance of the course, they must sit the written exam consisting of a
grammar test, an English-Italian translation and/or the analysis and summarizing of an English text (2 hours
exam duration). During the written exam, students may use only the English monolingual Dictionary.
Materials and literature will be handed out during the course.
Ethnomusicology
(Fulvia Caruso)
From comparative musicology to anthropology of sound: how music can be conceptualized and studied.
Students will be acknowledged about basic theories of ethnomusicology and anthropology of music (fields
of interest, analysis and fieldwork methods and techniques, etc.);
Trough audio and video examples students will explore a range of discourses and practices pertaining to
sound as culture and be introduced to diverse traditional instruments and music forms.
Transcription and analysis skills will also be developed.
Exegesis of the sources for Roman History
(Leone Porciani)
Texts and historical problems of the late Empire (3rd-5th cent. AD).
A good acquaintance with ancient Greek and Latin is prerequisite. As for the methodology of historical
research, students have some useful tools at their disposal:
H. BENGTSON, Introduzione alla storia antica. 2nd ed., Bologna, il Mulino, 2003;
Storia antica. Come leggere le fonti, ed. by L. Cracco Ruggini. 2nd ed., Bologna, il Mulino, 2000.
Students who have not gained credits for Ancient History will find a useful support in standard university
handbooks that will be suggested by the teacher.
The following books are required, in addition to the texts supplied during the course:
P. BROWN, Il mondo tardo antico. Da Marco Aurelio a Maometto, Torino, Einaudi, 1974;
Y. LE BOHEC, Armi e guerrieri di Roma antica. Da Diocleziano alla caduta dell’impero, Roma, Carocci,
2008;
B. W ARD-PERKINS, La caduta di Roma e la fine della civiltà, Roma-Bari, Laterza, 2008.
Film Genres and Film Forms
(Elena Mosconi)
From the musical to the “film with the singer”.
Starting from a theoretical and historical overview on the musical genre (and on the subgenres derived
from it), the course will detail the character of the singer in the films, and the various forms of audio-visual
texts connected to it (film with a singer, film-opera, musical biopic, music videos, rockumentary ...). The
analysis will be supported by epistemological problems of the performance studies.
Required Texts
S. MICELI, Musica per film. Storia, estetica – analisi, tipologie, Milano, Ricordi - LIM, 2009, pp. 735-911;
M. LOCATELLI – E. MOSCONI (ed. by), Cinema e sonoro in Italia (1945-1970), «Comunicazioni Sociali», n. 1,
2011.
Another text within a list that will be presented during the course.
Class Handouts.
Notes and assessment methods
- Students are required to the vision and analysis of a list of films that will be provided during the classes.
- Students not attending the course are required to agree with the professor a specific examination
program.
- It 's required a basic knowledge of film history.
Film History
(Elena Mosconi)
Outlines of the history of cinema and film language.
The course explores the historical development of cinema, from its beginnings through to the present day,
from an integrated, problematic perspective paying attention on the formal and stylistic evolution of the
medium.
Required Texts
D. BORDWELL – K. THOMPSON, Storia del cinema: un’introduzione, Milano, McGraw-Hill, 2010.
Class Handouts.
Notes and assessment methods
1. Students are required to the vision and analysis of 15 essential films in cinema history. The list will be
provided during the class.
2. Students not attending classes are required to agree with the professor a specific bibliography and, in
any case, to supplement it by reading:
A. COSTA, Saper vedere il cinema, Milan, Bompiani, 2011.
Film Theory and Analysis
(Elena Mosconi)
The course provides students with the basic elements of filmic and audio-visual language, in order to
introduce them to text analysis, taking examples from films directed by François Truffaut.
The course introduces furthermore students to an advanced understanding of film as a complex cultural
medium through the discussion of key theoretical approaches.
Required Texts
A. SAINATI – M. GAUDIOSI, Analizzare i film, Venezia, Marsilio, 2007;
F. CASETTI, Teorie del cinema (1945-1990), Milano, Bompiani, 1993 (selected pages);
A. BARBERA – U. MOSCA, François Truffaut, Milano, Il Castoro, 1995; or
P. MALANGA, Tutto il cinema di Truffaut, Milano, Baldini e Castoldi, 1996; or G. Tinazzi, Truffaut. Il piacere
della finzione, Venezia, Marsilio, 2004.
A syllabus with further informations and references will be given during the first lessons.
Assessment Methods
- Knowledge of the film directed by François Truffaut is required.
- The examination is managed by an essay concerning the analysis of a film and an oral discussion through
a talk with the professor based on bibliography.
- Due to the nature of the course are recommended both the frequency and basic knowledge of film history.
Fundamental Elements of Geography
(Fulvio Adobati)
The course includes the fundamental themes of geography according to a humanistic approach.
The themes developed in the course are:
- the evolution of the relationship between human societies and the environment and the process of
construction of the territory and the landscape. A special section will cover the environmental dynamics,
territorial and landscape of our time;
- the documentary sources and representation: iconography and historical maps, technical cartography,
elements of digital maps and geospatial information systems;
- tools and policies for the enhancement of the landscape and cultural heritage, with case studies of
international interest;
- models of cities (city-to-city metro city region, megalopolis, ...), and promotion policies of the city, plans for
the smart city.
Bibliography:
1. Istituto Geografico Militare, Italia. Atlante dei tipi geografici, Firenze, 2004. (available to the website:
http://www.igmi.org/pubblicazioni/atlante_tipi_geografici/consulta_atlante.php) “Principali strumenti
per l’analisi geografica”, paragrafi <La cartografia come strumento di conoscenza e di azione>, <Il
contributo della cartografia storica> (pp. 20-27);”Forme di insediamento rurale”, tav. 92-93, (pp. 427432) “Centri abitati”, tav. 94-99, (pp. 433-464) “Dinamiche di urbanizzazione”, tav. 100-105, (pp. 465496) “Morfologie di abitati in dipendenza da condizioni ambientali”, tav. 106-113 (pp. 497-536)
“Paesaggio e beni culturali”, tav. 135-144, (pp. 613-677) “Toponomastica”, tav. 148-152 (pp. 697729)
2. Z. BAUMAN, "Fiducia e paura nella città", Milano, Bruno Mondadori, 2005.
3. E. TURRI, Il paesaggio degli uomini. La natura, la cultura, la storia, Bologna, Zanichelli, 2003.
4. A. LANZANI, In cammino nel paesaggio, Roma, Carocci, 2011.
5. G. DEMATTEIS, C. LANZA, Le città del mondo. Una geografia urbana, Torino, UTET Università, 2011.
For students attending: course materials and texts n. 1 and n. 2. Agreements on individual research in class.
For students not attending: the texts 1 and 2 and two texts choice of 3, 4, 5.
General Linguistics
(Giovanni Bonfadini)
The course is an introduction to Linguistics in syncronic perspective. Main themes of the lessons: Language
as a semiotic pattern; Foundations of Phonetics and Phonology; Principles of Morphology and Syntax;
Linguistic Typology.
German Language 1
(Artemio Focher)
The sole purpose of the course is to acquire all the skills necessary for the study and comprehension of
written texts in German. The course will cover the grammatical structures of the language and the learning
of different reading techniques using various types of texts (literary, musicological, etc.).
German Language 2
(Artemio Focher)
Advanced course of reading in German offering the necessary skills for the study and comprehension, also
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at a very demanding level, of texts using the Gothic alphabet dating from 18 and 19 Century or texts
involving other types of archaic orthography or grammar as well as poetry, Lieder lyrics, diaries and
librettos.
German Literature
(Artemio Focher)
Music and musicians in the German literature and poetry in the romantic, Biedermeier and realistic age (ca.
1795-1860) through novels and poems by W.H. Wackenroder, E.T.A. Hoffmann, J. v. Eichendorff, F. de la
Motte-Fouque, F. Grillparzer, I.F. Castelli, F. Heine, R. Wagner, A. Stifter, T. Storm, E. Mörike et al.
Greek Language and Literature
(Fausto Montana)
Poetic communication in archaic and classical Greece.
An outline will be traced of the genres of performance poetry (epic, lyrics, drama) by checking contexts,
occasions, ways and types of ancient poetic communication, as well as by reading literary texts in original
Greek language. Knowledge of ancient Greek language is required.
Examination programme (only oral):
1. matter and texts proposed during the lectures;
2. history of Greek literature from the beginnings to the imperial age (recommended handbook, in Italian: F.
MONTANARI-F. MONTANA, Storia della letteratura greca. Dalle origini all’età imperiale, Roma-Bari, Laterza,
2010);
3. one ancient Greek literary text in original language, to be chosen together with the teacher.
To obtain any further information please contact the teacher ([email protected]).
Greek Palaeography
(Giancarlo Prato)
Reading and critical evaluation of the greek handwriting during the various phases and typologies.
Bibliography
 La scrittura greca dall’antichità all’epoca della stampa. Una introduzione, a cura di E. Crisci e P. Degni,
Roma, Carocci, 2011;
 G. PRATO, Studi di paleografia greca, Spoleto, Centro Italiano di Studi sull’Alto Medioevo, 1994;
 Class Handouts.
Harmony and musical Analysis 1
(Daniele Sabaino – Ingrid Pustijanać)
First module:
(Daniele Sabaino)
The course aims to provide students with the basics of theory and practice of functional harmony.
Course topics: Chord definition. Triads and their use on scale degrees. Root position and inversions.
Seventh chords and their types. Concepts of consonance and dissonance. Secondary dominants and
tonicization of scale degrees. Suspensions and other melodic phenomena. Altered chords. Harmonic
functions. Voice leading. Cadences. Form construction through cadence succession. The expansion of
tonal space (sequences and modulations).
Basic bibliography:
W. PISTON, Harmony, revised edition, New York, Norton & Co., 1948;
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D. ZANETTOVICH, Appunti per il corso di armonia principale, vol. 1, Milano, Sonzogno, 1985 .
As in the CFU-system lesson attendance is integral to the training, students not attending classes must
arrange further readings with the teacher.
Second module:
(Ingrid Pustijanac)
The course will focus on methodological tools for analyzing classical musical form, using concepts primarily
th
proposed in the 18 century texts of Formenlehre, further supplemented by principles developed by Arnold
Schoenberg and his students (in particular, Erwin Ratz). Basic components of form, such as proposition,
motiv, Gestalt, and bigger thematic relationships to form will be examined, as well as ideas of framing,
fragmentation, and intensification, and we will attempt to understand what constitutes ‘tight-knit’ versus
‘loose’ structure. Techniques of variation, development, and variation within development will also be
looked at.
Some emphasis will be given to the formal structures in the piano music of Haydn, Mozart, and Beethoven.
The scores of works chosen for analysis will be distributed during the course; among the extracts are the
following literature:
A. SCHÖNBERG, Elementi di composizione musicale, revisione di G. Strang e L. Stein, trad. italiana di G.
Manzoni, Milano, Suvini Zerboni, 1969;
E. RATZ, Einführung in die musikalische Formenlehre: über Formprinzipien in den Inventionen und Fugen
J.S. Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens, Wien, Universal Edition, 1973;
E. RATZ, Analysis and Hermeneutics, and Their Significance for the Interpretation of Beethoven, “Music
Analysis”, 3/3, 1984, pp. 243-254;
C. DAHLHAUS, Phrase et période. Contribution à une théorie de la syntaxe musicale, “Analyse musicale”,
13/4, 1988, pp. 37-44;
W. CAPLIN, Classical form: a theory of formal functions for the instrumental music of Haydn, Mozart, and
Beethoven, New York-Oxford, Oxford University Press, 1998.
Harmony and musical Analysis 2
(Daniele Sabaino – Ingrid Pustijanac))
First module (Harmony)
(Daniele Sabaino)
The module presents a historical survey of the evolution of tonal language of the common practice. Particular emphasis
is placed on melodic analysis and harmonisation of the Chorale in the style of J.S Bach and on the development of
harmonic tonality from Beethoven to Debussy.
Basic bibliography:
2
D. De LA MOTTE, Manuale di armonia, ed. it. a cura di L. Azzaroni, Roma, Astrolabio, 2007 , capp. 4, 5, 7, 8 e 9;
M. MANGANI, L’armonizzazione del corale secondo lo stile di Johann Sebastian Bach, Pavia, Pavia University Press,
2009.
Further readings and other teaching material will be provided during the course.
As in the CFU-system lesson attendance is integral to the training, students not attending classes must
arrange further readings with the teacher.
Second module:
(Ingrid Pustijanac)
The course will:
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–
introduce the student to the main analytical methodolofies developed for 18 -20 Centuries music;
–
offer appropriate tolls for analyzing the repertoires of the periods before so-called “harmonic
tonality” was developed.
For every methodology, the student will be given specific examples and theoretical bases, as well as
concrete applications derived from recent musicological literature.
Basic literature:
M. DE NATALE, Analisi musicale. Principi teorici, esercitazioni pratiche, Milano, Ricordi, 1991, 2 voll.
3
N. COOK, Guida all’analisi musicale, ed. it. a cura di G. Salvetti, Milano, Guerini e associati, 2000 .
I. BENT, W. DRABKIN, Analisi musicale, ed. it. a cura di C. Annibaldi, Torino, EDT, 1990 (in particolare pp. 1134).
W. DRABKIN – S. PASTICCI – E. POZZI, Analisi schenkeriana. Per un’interpretazione organica della struttura
musicale, Lucca, LIM, 1995.
S. PASTICCI, Teoria degli insiemi e analisi della musica post-tonale, «Bollettino del G.A.T.M.» 2/1, 1995, pp.
7-111.
Didactic material and further bibliographic indications will be given during the lessons.
History and Theory of polyphonic Music Notation in the Middle Ages
(alternating with History of music of Christian rites)
(Daniele Sabaino)
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Problems of tradition, notation, transcription and performance practice in 12 - and 13 -century Parisian
polyphony.
The course, which will be held in seminar form, intend to investigate the notational evolution of Parisian
polyphony in relation to its formal genres.
Bibliography:
1. Basic readings:
W. APEL, La notazione della musica polifonica dal X al XVII secolo, trad. it. a cura di P. Neonato Firenze,
Sansoni, 1984, pp. 255-316;
C. W RIGHT, Music and Ceremony at Notre-Dame of Paris, 500–1550, Cambridge, Cambridge University
Press, 1989, pp. 235-272.
2. Edition and essays:
W. W AITE, The Rhythm of the Twelfth Century Polyphony, New Haven, Yale University Press, 1954 (rist.
Wesport, Greenwood 1973);
H.H. EGGEBRECHT, Organum purum, in Musikalische Edition im Wandel des historischen Bewusstseins,
hrsg. von T.G. Georgiades, Kassel, Bärenreiter, 1971, pp. 93-112;
E.H. ROESNER, The Performance of Parisian Organum, in “Early Music”, 7, 1979, pp. 174-189;
J. Yudkin, The Copula according to Johannes de Garlandia, in “Musica Disciplina”, 34, 1980, pp. 67-84;
E.H. ROESNER, The Problem of Chronology in the Transmission of Organum Duplum, in Music in Medieval
and Early Modern Europe: Patronage, Sources and Texts, ed. by I. Fenlon, Cambridge, Cambridge
University Press, 1981, pp. 365-399;
E.H. ROESNER, Johannes de Garlandia on “Organum in speciali”, in “Early Music History”, II, 1982, pp.
129-160;
J. YUDKIN, The Rhythm of Organum Purum, in “Journal of Musicology”, 2, 1983, pp. 355-376;
The Parisian Two-Part Organa: The Complete Comparative Edition, ed. by H. Tischler, Stuyvesant,
Pendragon Press, 1988;
C.M. ATKINSON, Franco of Cologne on the Rhythm of Organum Purum, in “Early Music History”, 9, 1990,
pp. 1-26;
E.H. ROESNER, The Emergence of Musica mensurabilis, in Studies in Musical Sources and Style: Essays
in Honor of Jan La Rue, ed. by E.K. Wolf and E.H. Roesner, Madison, A-R Editions, 1990, pp. 41-44;
N.E. SMITH, The Notation of Fractio Modi, in Studies in Medieval Music: Festschrift for Ernest H. Sanders,
ed. by P. M. Lefferts and L. L. Perkins (= “Current musicology”, 47, 1990), pp. 283-303;
Les Quadrupla et Tripla de Paris, pub. par E.H. Roesner, Paris, L’Oiseau-Lyre, 1993 (“Le Magnus Liber
Organi de Notre-Dame de Paris”, 1);
Les Clausulae a deux voix du Manuscrit de Florence, Biblioteca Mediceo-Laurenziana, Pluteus 29.1, pub.
par R. A. Baltzer, Paris, L’Oiseau-Lyre, 1995 (“Le Magnus Liber Organi de Notre-Dame de Paris”, 5);
Les Organa à deux voix du manuscrit de Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 1099
Helmst., pub. par T.B. Payne, Paris, L’Oiseau-Lyre, 1997 (“Le Magnus Liber Organi de Notre-Dame de
Paris”, 6/1-2);
Les Organa à deux voix pour la Messe (de Noël à la fête de Saint-Pierre et Saint-Paul) du manuscrit de
Florence, Biblioteca Medicea-Laurenziana, Plut. 29.1, pub. par M. Everist, Paris, L’Oiseau-Lyre, 2001
(“Le Magnus Liber Organi de Notre-Dame de Paris”, 3);
E.H. SANDERS, The notation of Notre-Dame “organa tripla” and “quadrupla” , in Le notazioni della polifonia
vocale dei secoli IX-XVII, a cura di M. Caraci Vela, D. Sabaino e S. Aresi, Pisa, ETS, 2008, pp. 57-119.
Further readings will be provided during the meetings.
Students willing to attend the course must have a previous basic knowledge of medieval music notation.
As in the CFU-system lesson attendance integral to the training, students not attending classes must arrange
further readings with the teacher.
History of ancient Greek and Roman Drama
(Fausto Montana)
From Athens to Rome.
This course will focus on contexts, occasions, features and personalities of ancient Greek and Roman
dramaturgy, taking into special consideration the highpoints and most representative circumstances of its
historical development.
Examination programme (only oral):
1. matter and texts proposed during the lectures;
2. history of ancient Greek and Roman dramaturgy (two recommended handbooks, both in Italian: G.
MASTROMARCO-P. TOTARO, Storia del teatro greco, Firenze, Le Monnier, 2008; and W. BEARE, I Romani a
teatro, Roma-Bari, Laterza, 1986, or reprints);
3. two dramatical works (tragedy or comedy, one Greek and one Roman) in modern translation.
To obtain any further information please contact the teacher ([email protected]).
History of the Art Criticisms
(alternating with Museology)
(Francesco Frangi)
Outline of the Art Criticism.
The course will analyze in its fundamental features the evolution of Art Criticism, from the first Italian
witnesses in the late Middle Ages and in the Renaissance, up to methodological guidelines which emerged
during the twentieth century in an international context. The lectures will be supported by the remarks of
some texts by the most significant writers.
Bibliography:
- F. BOLOGNA, La coscienza storica dell’arte d’Italia, Torino, UTET, 1982; oppure Milano, Garzanti, 1992;
- J. SCHLOSSER MAGNINO, Letteratura artistica. Manuale delle fonti della storia dell’arte moderna, Vienna
1924; ed. it., con aggiunte di O.Kurz,, Firenze, Nuova Italia, 1968, oppure Firenze, Nuova Italia, 1996: Libro
II: Il primo Rinascimento, pp.101-117, 123-126, 129-136, 138-146, 151-164, 173-185; Libro III: La storia
dell’arte prima del Vasari, pp.189-198, 203-206, 209-219; Libro IV: La teoria dell’arte nella prima metà del
secolo XVI, pp.227-232, 235-248, 251-257, 259-273, 276-278, 281-284; Libro V: Il Vasari, pp.289-332.
One of these texts:
- P. BAROCCHI, Storiografia e collezionismo dal Vasari al Lanzi, in Storia dell’arte italiana. Parte I. Vol. II.
L’artista e il pubblico, Torino, Einaudi, 1979, pp.5-81;
- F. BOLOGNA, I metodi di studio dell’arte italiana e il problema metodologico oggi, in Storia dell’arte italiana.
Parte I. Vol. 1. Questioni e metodi, Torino, Einaudi, 1979, pp.163-282.
History of Author-Songs
(Stefano La Via)
Specialized course and seminar meetings.
Definitions of “Authorship” and applications of the concept to various contexts and repertoires of modern and
contemporary “Song”; approaches to setting the notion of Canzone d’autore (the “Author-Song”) in its
historical, sociological and aesthetic frameworks; literary-musical analysis and comparative readings of some
thof the most representative French, Italian and Brasilian (partly also British and North-American) 20 amd
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21 -century Song-Books.
Bibliography:
E.T. CONE, The Composer’s Voice, Berkeley and Los Angeles, University of California Press, 1974;
S. LA VIA, Poesia per musica e musica per poesia. Dai trovatori a Paolo Conte, Roma, Carocci, 2006: parte
prima (volume); parte seconda (CD-ROM): introduzione e cap. 6;
Autori Vari, Il suono e l’inchiostro. Cantautori, saggisti, poeti a confronto, a c. del Centro Studi Fabrizio De
André, Milano, Chiarelettere, 2009;
M. SANTORO, Effetto Tenco. Genealogia della canzone d’autore, Venezia, Il Mulino, 2010;
S. LA VIA, «La canzone d’autore»: dal concetto alla serie di studi, introduzione alla nuova serie «La canzone
d’autore» (Carocci), in C. Cosi – F. Ivaldi, Fabrizio De André, cantastorie fra parole e musica, Roma,
Carocci, 2011, pp. 11-22;
K. NEGUS, Authorship and the Popular Song, «Music and Letters», vol. 92/4 (2011), pp. 607-29.
Handouts, analytical tables, further bibliographic and documentary material to be distributed during the
course.
History of the Book
(Carlo Bianchini)
Trends and theories of the history of the book. Writing and technical tools. Techniques of bookmaking. Ars
artificialiter scribendi: typographical work. Authorship, printers, publishers, booksellers, and readers.
Printing in Italy up to 16th century. The future of the book: toward the digital age.
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Required readings:
J.-F. GILMONT, Dal manoscritto all'ipertesto: introduzione alla storia del libro e della lettura. A cura
di Luca Rivali, prefazione di Edoardo Barbieri. Firenze, Le Monnier università, 2006.
M. SANTORO, Storia del libro italiano. Libro e società in Italia dal Quattrocento al nuovo millennio.
Nuova ed. riveduta e ampliata. Milano, Editrice Bibliografica, 2008 (pp. 31-87 e 95-182).
C. FAHY, Edizione, impressione, emissione, stato, in ID., Saggi di bibliografia testuale, Padova,
Antenore, 1988, pp. 65-88.
C. GHILLI, Lettura, in Guida alla biblioteconomia, a cura di Mauro Guerrini, Milano, Bibliografica,
2008, p. 87-99 (optional: ID., 028 Lettura, in Biblioteconomia. Guida classificata, Milano,
Bibliografica, 2007, p. 801-810).
R. DARNTON, Il futuro del libro, Milano, Adelphi, 2011.
Optional readings:
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 L. FEBVRE e H.-J. MARTIN, La nascita del libro, Roma-Bari, Laterza, 1992 .
 E. BARBIERI, Guida al libro antico: conoscere e descrivere il libro tipografico, Firenze, Le Monnier
università, 2006.
 A. PETRUCCI, I percorsi della stampa: da Gutenberg all’Enciclopédie, in La memoria del sapere:
forme di conservazione e strutture organizzative dall’antichità ad oggi, a cura di P. Rossi, RomaBari, Laterza, 1988, pp. 135-164.
Further bibliographic references will be furnished during the lessons.
History of Book Illumination
(Massimo Bernabò)
The illustration of classical text in antiquity
An introduction to the illustration of Greek and Latin classical texts, beginning from the images for the
poems of Homer and the tragedies of Euripides in Hellenistic bowls and tabulae, by means of which a
reconstruction of lost illustrated papyri of Homer, the cycle of Troy and Euripides will be proposed. The
illustration of scientific texts, Latin poems (Virgil) and dramas (Terence), and Greek poems (Iliad) in
manuscripts handed down to us follow, such as the Late Antique manuscripts of Virgil, the Mediaeval
manuscripts of Terence, and the Ilias Ambrosiana.
Literature:
1. Voci dell'Oriente. Miniature e testi classici da Bisanzio alla Biblioteca Medicea Laurenziana, ed. M.
Bernabò, catalogue of the exhibition held in Firenze, Biblioteca Medicea Laurenziana, March 4 – June 30,
2011, Firenze, Polistampa, 2011.
2. K. W EITZMANN, Illustrations in Roll and Codex. A Study of the Origin and Method of Text Illustration, 2a
ediz., Princeton, NJ, Princeton University Press, 1970 (Italian translation: Le illustrazioni nei rotoli e nei
codici. Studio dell'origine e del metodo della illustrazione dei testi, ed. M. B., Firenze: CUSL, 1984).
3. K. W EITZMANN, Ancient Book Illumination. Martin Classical Lectures, volume XVI, Cambridge, Mass.:
Harvard University Press, for Oberlin College and the Department of Art and Archaeology of Princeton
University, 1959 (Italian translation: L'illustrazione del libro nell'antichità, ed. M. Bernabò, Spoleto,
Fondazione Centro Italiano di Studi sull'Alto Medioevo, 2004).
History of Classical Art
(Anna Maria Riccomini)
Roman imperial art from Augustus to the Antonines. The course aims at providing basic notions for the
analysis of the main works of roman imperial (Sculpture, Architecture and Painting) from the 1st century BC
to the 2nd century AD, particular attention being paid to stylistic, iconographical issues as well as patronage.
References:
G. BORA, G. FIACCADORI, A. NEGRI, A. NOVA, I luoghi dell’arte. Storia, opere, percorsi, vol. 1, Milano, ElectaBruno Mondadori 2002, chapters 5,6;
S. SETTIS (ed.), La Colonna Traiana, Einaudi, Torino1988, pp. 45-99;
P. ZANKER, Un’arte per l’impero. Funzione e intenzione delle immagini nel mondo romano, Electa, Milano
2002, 4 chapters (free choice);
P. ZANKER - B.C. EWALD, Vivere con i miti. L’iconografia dei sarcofagi romani, Bollati Boringhieri, Torino 2008,
1 chapter (free choice).
History of Contemporary Art
(Sara Fontana)
The contemporary art system through a "history of exhibitions"
The course will be introduced by some methodological, historiographic and critic lectures for the study of
contemporary art and the interpretation of art works.
The course offers an analysis of the major exhibitions that have marked the contemporary art world,
including Europe and the United States, since the mid-nineteenth century until the seventies of the twentieth
century. From Courbet’s Pavillon du Realism in Paris to secessionist and avant-garde exhibitions in the late
nineteenth and early twentieth century, up to the "degenerate art" exhibition in 1937 (Course 1 - History of
Contemporary Art A); from the legendary Peggy Guggenheim gallery to exhibitions that saw the birth of
Pop Art and after of Process Art, Conceptual Art and Arte Povera, not to mention the simultaneity of these
events with great periodic exhibitions such as the Venice Biennale and, after 1955, documenta in Kassel
(Course 2 - History of Contemporary Art B).
This historic route, declined using different methodological tools (examination of exhibition design, stylistic
analysis of the works, reading documents and literary sources of the period, use of multimedia documents
....), will open up new perspectives on the changing language of contemporary art, including academic taste
and moderate modernity of the trends related to tradition but also provocative dissent of neo and avantgarde movements, trying to identify the parallel themes of critical and art-historical debate.
Texts of reference:
-
A. NEGRI, L’arte in mostra. Una storia delle esposizioni, Bruno Mondadori, Milano 2011;
C. CASERO, E. DI RADDO (edd.), L'arte si mostra. Le 50 esposizioni che hanno fatto la storia dell'arte
nel Novecento in Italia, Silvana Editoriale, Cinisello Balsamo 2012 (forthcoming);
F. ZANELLA, Esporsi, Scripta, Verona 2012;
A. CESTELLI GUIDI, La “documenta” di Kassel. Percorsi dell’arte contemporanea, Costa & Nolan,
Milano 1997.
One text chosen from these three:
- F. HASKELL, Antichi maestri in tournée: le esposizioni d’arte e il loro significato, a cura di T.
Montanari, Scuola Normale Superiore, Pisa 2001;
- F. HASKELL, La nascita delle mostre: i dipinti degli antichi maestri e l'origine delle esposizioni d'arte,
Skira, Milano 2008;
- F. HASKELL (ed.), Saloni, gallerie, musei e loro influenza sullo sviluppo dell’arte dei secoli XIX e XX,
Clueb, Bologna 1981.
One text (two texts for students who do not attend) chosen from a list that will be provided at the
beginning of the course
The complete bibliography will be shown at the beginning of the course.
Students order 270/04 must demonstrate a good knowledge of the main authors and developments of the
artistic
production
from
the
early
nineteenth
century
to
today.
We recommend the study of an art history manual chosen from:
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P. DE VECCHI, R. CERCHIARI, Arte nel tempo, vol. III, Bompiani, Milano;
C. BERTELLI, G. BRIGANTI, A. GIULIANO, Storia dell’arte in Italia, vol. IV, Milano, Electa-Bruno Mondadori;
G. CRICCO, F. P. DI TEODORO, Itinerario nell’arte, Milano, Zanichelli, Bologna 2008, voll. IV e V;
G. BORA, G. FIACCADORI, A. NEGRI, A. NOVA, I luoghi dell'arte. Storia opere percorsi, voll. V-VI, ElectaBruno Mondadori, Milano 2003;
G. DORFLES, A. VETTESE, Il Novecento Arti visive, 3A e 3B, Atlas, Bergamo.
Form an integral part of the course guided tours to exhibitions and museums, whose program will be defined
at the beginning of the course.
History of Dance and Dance Music
(available in 2013-14, alternating with History of Performance Practice 2)
History of Drama & Theatre
(Angela Romagnoli)
Puppet theatre from the seventeenth century to the present
The course aims to introduce students to the world of puppetry, offering basic features related to technical
aspects of construction and animation of various types of puppets and marionettes for a first orientation in
the wide world of 'small actors' and outlining the historical profile of the genre, especially as regards the
Italian cultural environment.
Two specific insights will be dedicated to:
- musical theatre with puppets, from the historical point of view (eg composition or the seventeenth-century
Roman theater of Haydn) and compared to some particularly significant experiences of the modern era (the
puppets of the Salzburg or Prague, Podrecca’s ‘Piccoli’ or the Colla’s work)
- ‘Opera dei Pupi”
Essential Bibliography
D. EUSEBIETTI, Piccola storia dei burattini e delle maschere, Torino, SEI, 1966.
A. LITTA MODIGNANI, Dizionario biografico e bibliografia dei burattinai, marionettisti e pupari della tradizione
italiana, Bologna, CLUEB, 1985.
A. CIPOLLA – G. MORETTI, Storia delle marionette e dei burattini in Italia, Corazzano, Titivillus 2011
A. PASQUALINO, L’opera dei pupi, Palermo, Sellerio, 2008 (1° ed. 1977)
Further references will be provided during the course.
History of Greek Literature
(Eleonora Rocconi)
This course aims at offering a general introduction to Greek literature in its historic development and at
furnishing the essential elements for the knowledge of forms and contents of the main literary genres
developed between the Archaic and the Graeco-Roman age.
During the exam, topics and texts presented during the lectures will be discussed. Other topics of
conversation will be:
general features of Greek literarary history. Concerning this, students should read in full F. MONTANARI, F.
MONTANA, Storia della letteratura greca. Dalle origini all’età imperiale, Roma-Bari, Laterza, 2010;
three literary texts in translation;
two critical essays, chosen among the bibliographic references given during the lectures.
For the analyses of the texts, the knowledge of ancient Greek language is not necessary. Students who are
not going to attend lectures must talk with the teacher before the exam.
History of Italian Language
(Piera Tomasoni)
1. A concise history of the italian language.
2. Foundations of historical grammar of the italian language and dialects.
3. Analysis of ancient literary texts and documents in order to reconstruct the ancient scriptae.
C. MARAZZINI, La lingua italiana. Profilo storico, Bologna, il Mulino, 1998.
Choice of one among the following handbooks:
P. D’ACHILLE, Breve grammatica storica dell’italiano, Roma, Carocci, 2001;
G. PATOTA, Lineamenti di grammatica storica dell’italiano, Bologna, il Mulino, 2002;
L. SERIANNI, Lezioni di grammatica storica italiana, Roma, Bulzoni, 1998.
Choice of one chapter from Storia della lingua italiana, a cura di L. Serianni e P. Trifone, 3 voll.,Torino,
Einaudi, 1993-1994.
The students who cannot attend the lessons must agree upon the program with the professor.
History of Mediaeval Art
(Massimo Bernabò)
The appreciation of Mediaeval art in the Twentieth Century. Examples of Mediaeval art.
Course is divided in two phases. The first one focuses on the evaluation of Mediaval art during the 19th
and 20th century, by comparing its appreciation by the European avant-gardes (Monet, Matisse,
Kandinsky) and Italian critics and artists, where it was seen as a intermediate period between the two
golden ages of classical art and Renaissance art (fascist critics, Carrà, Sironi). In the second phase, a few
episodes of the art of the mediaeval Mediterranean area will be investigated: the insular art of Britannia and
Ireland (Book of Durrow, Book of Lindisfarne); the art of the Christian Syria (Rabbula Gospels), Omayyade
art, Byzantine art in the Justinianic period and the Macedonian period, Islamic art during the XIII-XIV
century (Arabic Gospel of Infancy of Jesus).
In the final part of the lessons, students will comment on visual values and contents of images, putting into
writings a brief description. Comments will be discussed during lessons and at the exam. Students missing
many classes are required to read additional texts for the exam.
A test, where students must comment on a work of art, is scheduled at the beginning of November.
History of Modern Art
(Francesco Frangi)
The painting of the Renaissance in Italy.
Giorgione, the young Titian and the painting of the early sixteenth century in Venice
The first part of the course explores the overall development of Italian painting from the beginning of the
fifteenth century until the early decades of the sixteenth century.
The second part is devoted to the art of Giorgione and Titian and analyzes other important experiences that
mark the Venetian painting in the early sixteenth century.
Bibliography:
Part one
Two of these text:
- J. SHEARMAN, Arte e spettatore nel Rinascimento italiano. “Only connect”, ed. originale 1992, ed.it. Milano,
Jaca Book, 1995
- M. BAXANDALL, Pittura ed esperienze sociali nell’Italia del Quattrocento, Torino, Einaudi, 1978
- A. PINELLI, La bella maniera. Artisti del Cinquecento tra regola e licenza, Torino, Einaudi , 2003
- E. PANOFSKY, Studi di iconologia. I temi umanistici nell’arte del Rinascimento, ed. originale, 1939, ed.it.
Torino, Einaudi, 1999 (dal capitolo secondo al capitolo sesto compresi)
- F. ZERI, Dietro l’immagine. Conversazioni sull’arte di leggere l’arte, Milano, Tea, 1990 (esiste anche
un’edizione Vicenza, Neri Pozza, 1998)
Part two
- Bellini, Giorgione, Tiziano e il Rinascimento della pittura veneziana, a cura di D.A. Brown e S. Ferino
Pagden, Milano, Skira, 2006, pp.1-283;
- S. SETTIS, La Tempesta interpretata. Giorgione, i committenti, il soggetto, Torino, Einaudi, 1978;
- M. LUCCO, Venezia tra Quattrocento e Cinquecento, in Storia dell’Arte Italiana. Parte II, vol.1, Dal
Medioevo al Quattrocento, Torino, Einaudi, 1983, pp.447-477;
- A. BALLARIN, Giorgione e la Compagnia degli amici: il "Doppio ritratto" Ludovisi, in Storia dell'arte
italiana. Parte II, vol. 1, Dal Medioevo al Quattrocento, Torino, Einaudi, 1983, pp.481-541.
History of Music of Christian Rites
(available in 2013-14 alternating with Teoria e storia della polifonia nel Medio Evo)
History of musical Forms and Techniques in Composition 1
(Rodobaldo Tibaldi)
Genres and forms of instrumental music in the fifteenth and sixteenth centuries. The argument assumes a
good general knowledge of music history of these centuries. For a first general information the following texts
can be consulted:
F. KRUMMACHER, Die Choralbearbeitung in der protestantischen Figuralmusik zwischen Praetorius und Bach,
Kassel, Bärenreiter, 1978;
G. W EBBER, North German church music in the age of Buxtehude, Oxford, Clarendon press, 1996;
L.F. TAGLIAVINI, Studi sui testi delle cantate sacre di J.S. Bach, Padova, CEDAM, 1956;
6
A. DÜRR, Die Kantaten von Johann Sebastian Bach, Kassel, Bärenreiter, 1995 .
Material and literature will be reported during the course: given its nature, attendance is strongly
recommended. Not attending students will have to agree with the teacher.
History of musical Forms and Techniques in Composition 3
(Angela Ida De Benedictis)
The course deals with tendencies and compositional techniques which characterized Italian music in the
second half of the 20th Century (integral serialism, open work, electronic experimentation etc.). A part of
the course will be structured as a seminar, concentring on historical-aesthetic questions and analysis,
following different methods, of instrumental and/or vocal works written by the most important European
composers (Berio, Boulez, Ligeti, Maderna, Nono, Stockhausen). The investigation of specific cases aims
to the acquisition of methodological and critical tools adeguate to histical-musicological research on this
area.
All material (scores, analytical and biografical literature etc.) will be provided during the course.
History of musical Instruments
(Laura Mauri)
The course introduces to the history of European musical instruments from the Renaissance to our age.
Syllabus and bibliography will be provided during the course.
History of musical Theories in Ancient World
(available in 2013-14 alternating with History of poetry for music in the Middle Ages)
History of Performance Practice 1
(Angela Romagnoli)
The course aims to provide some basic methodological tools for a correct approach to the study of
performance practice, particularly around some central issues, as sources, specific primary and secondary
literature, the concept of “HIP – historically informed practice”, the debate on authenticity, historical dance,
ornamentation and improvisation in different stilistic and cultural contexts, theatrical practice.
Bibliography
C. LAWSON, R. STOWELL, The Historical Performance of Music, Cambridge, Cambridge University Press,
1999;
A. PLANCHART, L'interpretazione della musica antica; C. DESHOULIÈRES, La regia moderna delle opere del
passato; J.J. NATTIEZ, Interpretazione e autenticità, in Enciclopedia della musica, diretta da J.-J. Nattiez, con
la collaborazione di M. Bent, M. Baroni e R. Dalmonte, vol. 2, Il sapere musicale, Torino, Einaudi, 20
Further references will be provided during the course.
History of Performance Practice 2
(alternating with History of Dance and Dance Music)
(Angela Romagnoli)
George Frideric Handel’s Italian cantatas between history and interpretation.
The course will examine the large corpus of Handel's Italian cantatas, tackling the problems of performance
practice in the light of careful analysis of the available musical and historical sources. The results of historical
research will be critically compared with the current executive proposals.
Bibliography
La cantata da camera intorno gli anni italiani di Händel: problemi e prospettive di ricerca. Atti del convegno
internazionale di studi, Roma 12-24 ottobre 2007, a cura di Teresa M. Gialdroni, Roma, Accademia
Nazionale di Santa Cecilia, 2009.
ELLEN T. HARRIS, Handel as Orpheus. Voice and Desire in the Chamber Cantatas, Cambridge (Mass.),
Harvard University Press, 2001.
E.T. HARRIS, Paper, Performing Practice, and Patronage: Handel's Alto Cantatas in the Bodleian Library MS
Mus. d.61-62, in: Festa Musicologica. Essays in Honor of George J. Buelow, ed. By T. J. Mathiensen and B.
V. Rivera, Stuyvesant NY, Pendragon Press, 1995, pp. 54-78.
G. F. HÄNDEL, Cantates a voix seule et basse continue. Manuscrits autographes, présentation par Philippe
Lescat, 2 Bd., Paris, Fuzeau, 2000.
G. F. HÄNDEL, Kantaten mit Instrumenten, Bd. 1-3, hrsg. von H.J. Marx (= Hallische Händel-Ausgabe, Serie V
Bd. 3-5), Kassel – Basel, Bärenreiter, 1994, 1995, 1999.
Georg Friedrich Händel in Rom. Beiträge der Internazionalen Tagung am Deutschen Historischen Institut in
Rom, 17.-20. Oktober 2007, hrsg. von S. Ehrmann-Herfort und M. Schnettger, Kassel – Basel, Bärenreiter,
2010 (= Analecta Musicologica 44)
U. KIRKENDALE, Handel with Ruspoli: New Documents from the Archivio Segreto Vaticano, 1706-1708, in U. E
W. KIRKENDALE, Music and Meaning. Studies in Music History and the neighbouring Disciplines, Firenze,
Olschki, 2007, pp. 361-415; versione tedesca: U. KIRKENDALE, Händel bei Ruspoli: Neue Dokumente aus
dem Archivio Segreto Vaticano, Dezember 1706 bis Dezember 1708, «Händel Jahrbuch» 50 (2004), pp.
309-374;
U. KIRKENDALE, The Ruspoli Documents on Handel, «Journal of the American Musicological Society» 20
(1967), S. 222-273, ora in U. E W. KIRKENDALE, Music and Meaning, S. 287-349.
H.J. MARX, Die «Giustificazioni della casa Pamphilj» als musikgeschichtliche Quelle, «Studi Musicali», 12/1
(1983), S. 123-187;
A. ROMAGNOLI, [Händels] Kantaten HWV 77-177, in Händels Kirchenmusik und vokale Kammermusik, hrsg.
von Hans Joachim Marx in Verbindung mit Michele Calella (= Das Händel-Handbuch, hrsg. von Hans
Joachim Marx, Bd. 4), Laaber, Laaber-Verlag, 2012, pp. 397-496
History of Poetry for Music in the Middle Ages
(alternating with History of musical theories in ancient world)
(Maria Sofia Lannutti)
Poetic Forms and Genres of Fourteenth-Century Polyphonic Music. The topic will be addressed through
analysis of texts of french and italian Ars nova. The class aims to be a seminar, with oral or written
individual dissertations.
In addition to the bibliographic references supplied during the class the following texts are required:
M.S. LANNUTTI, La canzone nel medioevo. Contributo alla definizione del rapporto tra poesia e musica, in
Da Carlo Martello al Nome della rosa. Il Medioevo rivisitato. Atti del Convegno di Siena, 19-20 aprile 2010
= «Semicerchio» 43 (2011), pp. 55-67.
M.S. LANNUTTI, Per uno studio comparato delle forme con ritornello nella lirica romanza, in La lirica
romanza del Medioevo. Storia, tradizioni, interpretazioni. Atti del VI Convegno triennale della Società
Italiana di Filologia Romanza (S.I.F.R.), Padova-Stra, 27 settembre - 1 ottobre 2006, a cura di F. Brugnolo
e F. Gambino, Padova, Unipress, 2009, pp. 337-62.
A. HAUG, Rinuncia al dualismo del lied e nobilitazione del ritornello alle soglie del Trecento, in Kontinuität
und Transformation in der italienischen Vokalmusik zwischen Due- und Quattrocento. Bericht über die
Tagung in Jena vom 1.-3, Juli 2005, hrsg. von O. Huck, S. Dieckmann, S. Rotter-Broman und A. Scotti,
Hildesheim, OLMS, 2007, pp. 167-172.
Students who cannot attend the lectures should contact the teacher.
History of the Relationships between Poetry and Music 1
(Stefano La Via)
Introductory course.
Preliminary definitions, theoretical principles and basic notions of the relationship between poetry and music
in various repertoires of the classical and popular traditions. Literary-musical analysis of vocal compositions
thth
drawn from the following repertoires: Medieval trobadour canso, 16 / early 17 -century polyphonic and
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monodic madrigal, Baroque cantata, Romantic Lied, 20 -century and contemporary Song.
Bibliography:
S. LA VIA, Poesia per musica e musica per poesia. Dai trovatori a Paolo Conte, Roma, Carocci, 2006, Part
One and Part Two (CD-ROM): Introduzione and at least one analytical chapter.
Handouts, analytical tables, further bibliographic and documentary material distributed during the course.
History of the Relationships between Poetry and Music 2
(Stefano La Via)
Specialized course and seminar meetings.
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Italian 16 / early 17 -century Poesia per musica, poesia in musica and dramma per musica: Claudio
Monteverdi’s polyphonic madrigals, monodic ‘representative’ settings, and theatrical Operas. Literary-musical
and dramaturgical analysis of the following compositions and operas: so called Seconda-pratica madrigals
(from Books IV and V); Lamento della Ninfa and Combattimento di Tancredi e Clorinda (Book VIII); Orfeo
(Striggio-Monteverdi); Incoronazione di Poppea (Busenello-Monteverdi).
Bibliography:
S. LA VIA, Poesia per musica e musica per poesia. Dai trovatori a Paolo Conte, Roma, Carocci, 2006: parte
prima (volume); parte seconda (CD-ROM): Introduzione, cap. 5.1 (analisi del Lamento della Ninfa di RinucciniMonteverdi);
N. PIRROTTA, Scelte poetiche di musicisti. Teatro, poesia e musica da Willaert a Malipiero, Venezia, Marsilio,
1987, pp. 81-146, 197-241;
S. LA VIA, miscellanea di saggi in distribuzione durante il corso:
(1) Monteverdi esegeta. Rilettura di «Cruda Amarilli/O Mirtillo», in Intorno a Monteverdi, a c. di M. Caraci
Vela-R. Tibaldi, Lucca, LIM, 1999, pp.77-99;
(2) Allegrezza e perturbazione, peripezia e danza nell’ «Orfeo» di Striggio e Monteverdi, in Pensieri per un
maestro. Studi in onore di Pierluigi Petrobelli, a c. di S. La Via e R. Parker, Torino, EDT, 2002, pp. 61-93;
(3) L’espressione dei contrasti fra madrigale ed opera, in Storia dei concetti musicali. Espressione, forma,
opera, a c. di G. Borio e C. Gentili, Roma, Carocci, 2007, pp. 31-63;
(4) «La ragion perde dove il senso abbonda». Una rilettura etico-drammaturgica dell'«Incoronatione di
Poppea», in Musicologia fra due continenti: l'eredità di Nino Pirrotta, Atti del Convegno internazionale di studi
(Roma 4-6 giugno 2008), Roma, Accademia Nazionale dei Lincei, 2010, pp. 79-127.
Handouts, analytical tables, further bibliographic and documentary material to be distributed during the
course.
History of Roman Literature
(Luigi Galasso)
Latin literary culture in Rome from Livius Andronicus to Cicero.
The course aims to illustrate the main features and problems of Latin literature in its historical development
in the republican age.
Students should know Latin literary history from the origins to the Severians. For preparation it is
recommended:
G.B. CONTE, Profilo storico della letteratura latina, Firenze, Le Monnier Università, 2008 (the Late Empire
excluded).
Moreover, students are required to know the following texts in Italian translation:
SALLUSTIO, La congiura di Catilina;
VIRGILIO, Eneide, books 2 and 6.
Humanistic Literature
(Mariarosa Cortesi)
1. An introduction to humanistic literature (XIV-XVth century).
2. Pauli Cortesii De hominibus doctis.
Essential bibliography
I secoli XV-XVI, in Letteratura latina medievale (secoli VI-XV), a cura di C. Leonardi, Firenze, Edizioni del
Galluzzo, 2002.
Pauli Cortesii De hominibus doctis, a cura di G. Ferraù, Messina, Il Vespro, 1979
In the course a further specific bibliography will be indicated.
The students who can’t attend the lessons must agree upon the program with the professor.
Italian Contemporary Literature
(Claudio Vela)
In search of lost languages. Contemporary Italian dialect poetry.
Essential Bibliography:
La poesia in dialetto. Storia e testi dalle origini al Novecento, a cura di F. Brevini, t. III. Dialetti e poesia nel
Novecento, Milano, Mondadori, 1999.
Italian Linguistics
(Piera Tomasoni)
1. Foundations of italian linguistics. Structures and different uses of the present italian language.
2. The language of popular texts.
I. BONOMI, A. MASINI, S. MORGANA, M. PIOTTI, Elementi di linguistica italiana, Nuova edizione, Roma,
Carocci, 2010;
P. D’ACHILLE, L’italiano dei semicolti, in Storia della lingua italiana, a cura di L. Serianni e P. Trifone, II.
Scritto e parlato, Torino, Einaudi, 1994, pp. 41-79;
Q. ANTONELLI, “Io ò comperato questo libro...”. Lingua e stile nei testi autobiografici popolari, in Pagine di
scuola, di famiglia, di memorie. Per un’indagine sul multilinguismo nel trentino austriaco, a cura di E. Banfi
e P. Cordin, Archivio della Scrittura popolare, Museo Storico in Trento, Trento 1996, pp.209-263.
Choice of one essay from Lingua e identità. Una storia sociale dell’italiano, a cura di P. Trifone, Roma,
2
Carocci, 2009 .
The students who cannot attend the lessons must agree upon the program with the professor.
Italian Literature
(Giorgio Panizza)
Machiavelli and his public.
Please provide with the following edition of the works by Machiavelli:
Il principe, a cura di Giorgio Inglese, Torino, Einaudi, 2005
Discorsi sopra la prima deca di Tito Livio, introduzione di Gennaro Sasso, note di Giorgio Inglese, Milano,
BUR Rizzoli, 1984
Mandragola, a cura di Rinaldo Rinaldi, Milano, BUR Rizzoli, 2010
Discorsi intorno alla nostra lingua, a cura di Paolo Trovato, Padova, Antenore, 1982
About other works used during the course, I suggest:
Machiavelli, Tutte le opere storiche, politiche e letterarie, Roma, Newton Compton, 2011
For the examination will be required:
- to know the works we have been working on, using the introduction and the comments indicated;
- to study the following texts:
F. CHABOD, Sulla composizione de «Il Principe» di Niccolò Machiavelli, in Idem, Scritti su Machiavelli,
Torino, Einaudi, 1993, pp. 137-193;
F. GILBERT, Machiavelli e Guicciardini. Pensiero politico e storiografia a Firenze nel Cinquecento, Torino,
Einaudi, 2012;
G. INGLESE, Per Machiavelli, Roma, Carocci, 2006
C. DIONISOTTI, Machiavelli letterato, in Idem, Machiavellerie. Storia e fortuna di Machiavelli, Torino, Einaudi,
1980, pp. 227-266
C. DIONISOTTI, Appunti sulla Mandragola, Machiavellerie di ieri e di oggi e Machiavelleria ultima in Idem,
Scritti di storia della letteratura italiana, III, Roma, Storia e letteratura, 2010, pp. 205-228, 245-258, 371378.
- to study the history of literature in that particular age. I suggest to use: G. FERRONI, Storia e testi della
letteratura italiana, vol. III, Il mondo umanistico e signorile (1380-1494), capp. 3 e 4, e vol. IV, L’età delle
guerre d’Italia (1494-1559), Milano, Mondadori Università.
The students who cant’ attend the lessons must agree upon the program with the professor.
Italian Philology
(Claudio Vela)
After an introductory illustration and exemplification of the meaning of ‘critical edition’ in the Italian
literature, the course will examine the problems and characteristics of the so-called ‘filologia d’autore’, with
particular reference to the edition of Carlo Emilio Gadda (1893-1973).
Essential Bibliography:
A. STUSSI, Introduzione agli studi di filologia italiana, Bologna, il Mulino, 2007.
P. ITALIA, G. RABONI, Che cos’è la filologia d’autore, Roma, Carocci, 2010.
Italian Stylistic and Metrics
(Giorgio Panizza)
This elective will be a workshop on texts that I will chose to analyze and that I will bring each time to
lesson. During the elective I will give the students some task.
Please provide yourself with the following texts:
P. BELTRAMI, La metrica italiana, Bologna, il Mulino, 2011
P.V. MENGALDO, Attraverso la poesia italiana: analisi di testi esemplari, Roma, Carocci
P.V. MENGALDO, Attraverso la prosa italiana: analisi di testi esemplari, Roma, Carocci
Latin Language and Literature
(Luigi Galasso)
a. Catullus and the backgrounds to Augustan poetry.
b. The style of Tacitus in the Annales.
Some texts of Catullus, Virgil, Propertius, of the fragmentary preneoteric and neoteric poets, and some
passages of Tacitus, in particular from the Annales, will be read in the original and discussed during the
course. The texts will be delivered at lesson.
Students should know the outlines of the history of Latin literature. They could use a good handbook for
Italian secondary school (it is recommended G.B. CONTE, Letteratura latina, Firenze, Le Monnier Università,
2002), from the origins to the death of Septimius Severus.
It is required to read and translate CICERO, Catilinarians and VIRGIL, Aeneid, book 4.
Students are also required to know the following essays:
M. CITRONI, Poesia e lettori in Roma antica, Roma-Bari, Laterza, 1995, pp. 3-205;
P. PINOTTI, L’elegia latina, Roma, Carocci, 2002.
Latin Palaeography
History of the latin writing from the origin to Renaissance. The lectures will be integrated by practices of
reading of all the writings used before the print.
Bibliography
A. PETRUCCI, Breve storia della scrittura latina, Roma, Bagatto Libri, 1992.
A. PETRUCCI, Prima lezione di paleografia, Roma–Bari, Laterza, 2002.
Linguistics
(Giovanni Bonfadini)
The course is an introduction to foundations of Linguistics both in syncronic and diachronic perspective.
Main themes of the lessons: Foundations of Phonetics and Phonology; Fashions and reasons of linguistic
change; Interlinguistics
Medieval and humanistic Philology
(Mariarosa Cortesi)
With the reading and analysis of the texts the students will be able to know the philology in the Middle Age
and Renaissance.
Angelo Poliziano and humanistic philology.
- L.D. REYNOLDS-N.G. W ILSON, Copisti e filologi: la tradizione dei classici dall’antichità ai tempi moderni,
3
traduzione di M. Ferrari, con una premessa di Gius. Billanovich, Padova, Antenore, 1987
- S. RIZZO, Lessico filologico degli umanisti, Roma, Edizioni di Storia e Letteratura, 1973
- V. BRANCA, Poliziano e l'umanesimo della parola, Torino, Einaudi, 1983
Medieval Civilization
(Mariarosa Cortesi)
1. An introduction to medieval civilization to through its literature (VI-XIIIth century).
2. Women writers of the Middle Ages: Roswitha between history and theatre.
I secoli VI- XIII, in Letteratura latina medievale (secoli VI-XV), a cura di C. Leonardi, Firenze, Edizioni del
Galluzzo, 2002.
P. DRONKE, Women Writers of the Middle Ages, Cambridge, University Press, 1984
Medieval History
(Adelaide Ricci)
First Module
The Middle Ages (centuries V-XV)
During the lessons of the first module will be critically displayed some topics of the Middle Ages in a long-term
perspective and comprehensive framework. The study of a medieval history textbook is also required (see the list below).
For the preparation you need:
1) For all students (attending and not attending the lessons):
a) the study of a medieval history textbook, to be chosen among the following (a brief description will be given in the first
lesson):

R. BORDONE, G. SERGI, Dieci secoli di medioevo, Torino, Einaudi, 2009;

A. CORTONESI, Il Medioevo. Profilo di un milennio, Roma, Carocci, 2008;

M. MONTANARI (in partnerschip whit G. ALBERTONI, T. LAZZARI, G. MILANI), Storia medievale, Roma-Bari, Laterza,
2002;

G. PICCINNI, I mille anni del Medioevo, Milano, Bruno Mondadori, 1999;

G. VITOLO, Medioevo. I caratteri originali di una transizione, Milano, Sansoni, 2000;

C. CAPRA, G. CHITTOLINI, F. DELLA PERUTA, Storia medievale, Firenze, Le Monnier, 1995;
b) a critical reading of one of the following books (a brief description will be given in the first lesson):

M. BLOCH, Apologia della storia o Mestiere di storico, Torino, Einaudi, 1994;

G. M. CANTARELLA, Medioevo. Un filo di parole, Milano, Garzanti, 2002;
2

G. SERGI, L’idea di Medioevo. Tra senso comune e pratica storica, Roma, Donzelli, 2005 .
2) Only for students attending the lessons:
the study of notes recorded during the course lectures;
3) Only for students not attending the lessons:
a critical reading of P. DELOGU, Introduzione alla storia medievale, Bologna, il Mulino, 2003.
It is necessary to use a good historical atlas (as it will be clarified during the course lectures).
Second Module
‘Pauperes’: the aspects of poverty in the Middle Ages
During the lessons of the second module will be investigated the theme of poverty, especially during the XII-XV
centuries. Students will be introduced to the historical method and to the current issues, to the sources and their use, to
interdisciplinary approaches. Students attending the lessons will participate in a seminar.
For the preparation you need:
1) For students attending the lessons:
a) the study of notes recorded in the course lectures (required), including the analyzed sources;
b) the participation in a seminar study (as indicated in the lessons).
3) For students not attending the lessons:
a) the study of B. GEREMEK, Il pauperismo nell’età preindustriale (secoli
cura di R. ROMANO, C. VIVANTI, Torino, Einaudi, 1973, pp. 667-698;
XIV-XVIII),
in Storia d’Italia, V, 1, I documenti, a
3
b) a critical reading of M. MOLLAT, I poveri nel medioevo, Roma-Bari, Laterza, 1993 (I ed. 1982), including the
introduction of O. CAPITANI (you can set with the teacher other alternative studies).
Further bibliographical references and details will be indicated during the lessons.
Students who do not attend the lessons, however, are required to previously contact the teacher.
The members of 509/99 must agree on the program with the teacher.
Methodology in bibliographic Search
(Carlo Bianchini)
Listing, practical knowledge and assessment of the main tools for establishing and developing a
musicological study.
The beginning of a search through dictionaries and encyclopedias (New Grove 2, Neue MGG, DEUMM).
Tools for finding literature on music. The current bibliographies: RILM, BMS, MI, IIMP.
Review of historical repertoires (outline). The RIPM.
Updating through magazines and music publishing catalogs.
Directories of theses and dissertations.
Tools for locating music sources. The RISM. Eitner's publications.
Other tools: magazines, thematic catalogs, publishers' catalogs.
Internet and musicological research: OPACs, digital libraries.
The main music libraries and musicological research centers in Italy.
Basic Bibliography:
G. MERIZZI, La ricerca bibliografica nell'indagine storico-musicologica, Bologna, CLUEB, 1996;
N. SCHWINDT-GROSS, Musikwissenschaftliches Arbeiten: Hilfsmittel, Techniken, Aufgaben, Kassel,
7
Bärenreiter, 2010 ;
Additional literature will be reported during the lessons.
Middle Ages and Renaissance Musical Texts: Historical and Textual Criticism
(available in 2013-14 alternating with Musical Philology 2)
Modality and Counterpoint
(Daniele Sabaino – Antonio Delfino)
Module A (Modality)
(Daniele Sabaino)
The eight-mode system in Medieval and Renaissance theoretical tradition and in musical practice.
Solmization and mode transposition.
The cadence in the polyphonic repertoire: function and taxonomy.
th
th
The twelve-mode system and the changes in tonal space between 16 and 17 century.
Interpretations of modality in contemporary musicology.
Main purpose of the module is to introduce students into the organisation of tonal space of Middle Ages and
th
Renaissance music, with particular emphasis on the modal implications of 16 century polyphonic music and, in it, on
the structural and aesthetic role of the cadence.
Medieval and Renaissance theory will then be considered, and music by such authors as Ingegneri, Josquin, Lasso,
Marenzio, Morales, Mouton, Palestrina, Rore, Victoria, and Willaert analised.
Bibliography:
M.T. ROSA BAREZZANI, voce Modalità, in Dizionario Enciclopedico Universale della Musica e dei Musicisti,
sez. I, Il Lessico, vol. III, Torino, UTET, 1984, pp. 156-162;
F. W IERING, La concezione interna e esterna dei modi, “Rivista di Analisi e di Teoria Musicale”, 2004/1, pp.
95-116;
M. MANGANI, Le “strutture tonali” della polifonia. Appunti sulla riflessione novecentesca e sul dibattito attuale,
“Rivista di Analisi e di Teoria Musicale”, 2004/1, pp. 19-37;
M. MANGANI – D. SABAINO, "Modo novo" or "modo antichissimo"? Some Remarks about La-Modes in Zarlino's
Theoretical Thought, in Early Music. Context and Ideas. International Conference in Musicology, Kraków 1821 September 2003, Institute of Musicology, Jagellonian University, Kraków 2003, pp. 36-49;
M. MANGANI – D. SABAINO, Tonal types and modal attribution in late Renaissance polyphony. New
observations, “Acta Musicologica”, 80/2 (2008), pp. 231-250;
D. SABAINO, Lasso Motets: A Case Study in Different Layers of Tonal Type Problematic Nature, in Early
Music Context and Ideas 2. International Conference in Musicology (Kraków 11-14 September 2008),
Institute of Musicology, Jagellonian University, Kraków 2008, pp. 38-57.
Students not attending classes should also read B. Meier, Die Tonarten der klassischen Vocalpolyphonie,
Utrecht, Oostoek Scheltema & Holkema, 1974, pp. 19-219 (or in the English translation: The Modes of
Classical Vocal Polyphony, New York, Broude Brothers, 1988, pp. 23-234).
Part B: Counterpoint:
(Antonio Delfino)
The program will supply the bases of Renaissance counterpoint’s technique by means of analysis of
important authorial examples and exercises of composition.
Main subjects: the voices and their motions, the imitation, the structure of polyphonic form, and the cantus
firmus in sixteenth-century (Festa). The bicinium (examples from Gero, Lasso, Gardane).
Examination: composition of a two-part counterpoint on cantus firmus or previous melody.
Handbooks:
R. DIONISI, B. ZANOLINI, La tecnica del contrappunto vocale nel cinquecento, Milano, Suvini Zerboni, 1979;
D. DE LA MOTTE, Kontrapunkt. Ein Lese- und Arbeitsbuch (1981), ed. it. Il contrappunto, Milano, Ricordi, 1991
(cap. 3 e 4).
Further bibliography:
K. JEPPESEN, Counterpoint: the Polyphonic Vocal Style of the Sixteenth Century (varie edizioni);
C. GANTER, Kontrapunkt für Musiker. Gestaltungsprinzipien der Vokal- und Instrumentalpolyphonie des 16.
und 17. Jahrhunderts in der Kompositionspraxis von Josquin Desprez, Palestrina, Lasso, Froberger,
Pachelbel u.a., Salzburg, Katzbichler, 1994;
TH. DANIEL, Kontrapunkt. Eine Satzlehre zur Vokalpolyphonie des 16. Jahrhunderts, Köln, Dohr, 1997;
P. SCHUBERT, Modal Counterpoint, Renaissance Style, New York–Oxford, Oxford University Press, 1999;
I. GERO, Il primo libro de’ Madrigali italiani et Canzoni francese a due voci, ed. by Lawrence F. Bernstein and
James Haar, Broude Brothers, New York 1980;
E. GHEZZI, Le “Cantiones Duarum Vocum” di Orlando di Lasso. Una ricerca per la didattica, Milano, Guerini
Studio, 1991;
A. GARDANE, Il primo libro a due voci de diversi autori (Venezia, 1543), a cura di A. Bornstein, Bologna, Ut
Orpheus, 1994;
C. FESTA, Counterpoints on a cantus firmus, ed. by R.J. Agee, Madison, A-R Editions, 1997.
Modern Christianity History
(Miriam Turrini)
The first part of the course is an introduction to the development of Christianity from its origins to today.
The second part will focus on the Christians and Nonviolence in the twentieth century.
Bibliography:
G.L. POTESTÀ - G. VIAN, Storia del cristianesimo, Bologna 2010, pp. 273-455.
For students that will not attend lectures:
1) G.L. POTESTÀ - G. VIAN, Storia del cristianesimo, Bologna 2010, pp. 273-455.
2) one biography of don Lorenzo Milani (1923-1967) among the following titles:
- N. FALLACI, Vita del prete Lorenzo Milani. Dalla parte dell'ultimo, Milano, Rizzoli, 20069;
- M. DI GIACOMO, Don Milani tra vangelo e solitudine (1923-1967), Roma, Borla, 20012;
- M. LANCISI, Don Milani. La vita, Casale Monferrato (AL), Piemme, 2007.
3) two following works:
- L'obbedienza non è più una virtù. Documenti del processo di don Milani, Firenze, Libreria Editrice
Fiorentina, 1991;
- SCUOLA DI BARBIANA, Lettera a una professoressa, Firenze, Libreria Editrice Fiorentina, 1967.
Museology
(available in 2013-14 alternating with History of art criticism)
Music Aesthetics 1
(Michela Garda)
Perspectives on music aesthetics
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This course will examine a general outline of music aesthetics from the 18 to 20 century through close
readings of philosophical sources. We will focus on four key concepts: the musical work of art; music as a
language; sense and meaning in music; music and time.
Bibliography
M. GARDA, L’estetica musicale nel Novecento. Tendenze e problemi, Roma, Carocci 2007.
Music Aesthetics 2
(Michela Garda)
Myth in Wagner’s Das Rheingold
The course will offer an interpretative analysis of Rheingold in the context of Wagner’s writings and of the
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discussion about the concept of myth in 19 century. A detailed bibliography will be available at the
beginning of the class. Students are required to be familiar with the libretto and the music with the help of
one annotated edition indicated in the following reading list.
Bibliography
L’Or du Rhin, “Avant-Scène Opéra”, 227, 2005;
Das Rheingold, “La Fenice prima dell’opera”, 2011, 3 (http://www.teatrolafenice.it/libretti.php);
Das Rheingold libretto, trad. it. Di Franco Serpa, motivi conduttori di Raffaele Mellace
(http://www.teatroallascala.org/ring/opere/das-rheingold.html);
W. DARCY, Wagner’s ‘Das Rheingold’, Oxford, Clarendon Press 1993;
M. EWANS, Wagner and Aeschylus: The Ring and Oresteia, London, Faber and Faber 1982;
T. GREY (ed. by), The Cambridge Companion to Wagner, Cambridge, Cambridge University Press 2008.
Music and Technology
(Angela Ida De Benedictis)
The course is an investigation into the history of music and technology as deployed in experimental music(s)
from the end of the XIX century to the present. Through original research, readings, and lectures, the
following topics will be explored: mechanical and electronic instruments, the history of radio, audio recording,
the recording studio, the development of musique concrète, early electronic instruments and the history of
computer music. Live electronics, and electro-acoustic music, as well as issues in copyright and intellectual
property will also be examined.
The students can consult, as preliminary introduction, the following texts:
M. KATZ, Capturing Sounds: How Technology Has Changed Music, University of California Press, 2010;
T.D. TAYLOR, Strange Sounds: Music, Technology, and Culture, Routledge 2001;
H.-J. BRAUN (ed. by), “I Sing the Body Electric”. Music and Technology in the 20th Century, Hofheim, Wolke
2000;
New Music on the radio. Experiences at the Studio di Fonologia of the RAI, Milan 1954-1959, ed. by.
Angela Ida De Benedictis and Veniero Rizzardi, Roma, Rai-Eri 2000.
Other texts and materials will be provided during the course.
Music History 1
(Rodobaldo Tibaldi – Maria Caraci)
Section 1: the Middle Ages
(Rodobaldo Tibaldi)
Overview on the formation of European musical culture from the Middle Ages to the late XIV century. The
repertories of liturgical chant. Gregorian chant: hypothesis about his birth and dissemination from the IX
century. New genres and forms of liturgical chant: tropes, sequences, rhythmic offices. Paraliturgical and
devotional music. Gregorian chant and polyphony. The vernacular monody. The sacred and secular
polyphony of the Ars Antiqua and Ars Nova. Analysis of the main forms and compositional techniques.
Basic bibliography
R. CROCKER - D. HILEY (ed.), Early medieval music to 1300, Oxford, Oxford University Press 1990/2 (The
New Oxford History of Music 2).
G. CATTIN, La monodia nel medioevo, nuova ed. ampliata riveduta e corretta, Torino, EDT 1991 (Storia
della musica, a cura della Società Italiana di Musicologia, 2).
F. A. GALLO, La polifonia nel medioevo, nuova ed. ampliata riveduta e corretta, Torino, EDT 1991 (Storia
della musica, a cura della Società Italiana di Musicologia, 3).
D. HILEY, Western Plainchant: a Handbook, Oxford, Clarendon Press 1993.
G. BAROFFIO - E. JU KIM, Cantemus Domino Gloriose. Introduzione al canto gregoriano, Saronno, Urban
2003.
Material and literature will be reported during the lessons. The detailed program of examination, including a
list of analyzed compositions, will be available at the end of the course.
Section 2: Renaissance music
(Maria Caraci Vela)
Music from the late Middle Ages to the beginning of XVII century: main compositional forms and techniques
of vocal, instrumental, secular, devotional, liturgical music in Italy, France, England.
Ciconia, Dunstable, Dufay, Ockeghem, Busnois, Josquin. Polyphonic mass and motet. Compositional
techniques on Tenor, Parody, Paraphrase. Italian and French Formes fixes.
Frottola and correlated repertoires; the tablatures and the development of instrumental music.
Durchkomponiert forms; the sixteenth-century madrigal and its aesthetic, genesis, diffusion, evolution.
Archadelt, Rore, Wert, Luzzaschi, Marenzio, Gesualdo.
Polychoral compositions; the polyphony in Rome and Venice; trends and schools in Italy and in major
European countries. Palestrina, Lassus, Victoria. Forms and genres of the “musica concertante”; G.
Gabrieli.
The statement of the accompanied monody and its impact in the dramatic and devotional repertoires, and
in chamber music. Monteverdi.
Reference books:
A.W. ATLAS, Renaissance Music: Music in Western Europe, 1400-1600, New York-London, Norton, 1998;
A.W. ATLAS, Anthology of Renaissance Music: Music in Western Europe, 1400-1600, New York-London,
Norton, 1998.
Detailed bibliographical indications will be provided during the course.
Music History 2
(Fabrizio Della Seta)
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The "colour" of music: timbre, dynamics, texture as compositional principles from the 17 century to present
The history of musical techniques emphasizes the aspects of melody, harmony, rhythm, and form as more
easily the subject of description and analysis. Equally important, however, are non-quantifiable factors such
as timbre, texture (the sound effect resulting from the combination of various vocal and instrumental parts),
dynamics, articulation (staccato, legato, accented, etc.). These factors, that are present in any sound
production, have always been an indispensable component of any kind of music, in every age and culture.
However, in modern music they have been increasingly used intentionally as determinants of the
composition: from the exploitation of contrasting dynamics in the concertato music to the employment of
specific instruments as indicators of “affects”, from the exaltation of the timbre as “natural” and irrational
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expression in the Romantic era to its use as a structural factor of the composition in the 20 century, , up to
the recent researches on the physical nature of the sound. The course will trace some crucial moments of
this process, by trying to link analytical and stylistic considerations to the changing historical and cultural
contexts to which they belong.
Bibliography
For a preliminary approach to the subject, students may refer to the following articles published in
Enciclopedia della musica, directed by Jean-Jacques Nattiez and others, vol. 2, Il sapere musicale, Turin:
Einaudi, 2002:
G. ZANARINI, Il suono, pp. 5-23;
J.-C. RISSET, Il timbro, pp. 89-115;
J. DUNSBY, La tessitura, pp. 171-184.
Examination program
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The student must demonstrate the knowledge of the development of the musical history of the 17 -20
centuries. The reference textbook is:
M. CARROZZO – C. CIMAGALLI, Storia della musica occidentale, vol. 2, Rome: Armando, 1998 and further
reprints; vol. 3, ibid., 1999 and further reprints.
Preparation includes the study (through listening and reading of the scores) of the compositions commented
in each chapter of the textbook (“Approfondimenti”); they may be substituted with compositions at student’s
choice, provided that they are of comparable historical and artistic importance. Although the subject of the
course is not linked to examination, students who regularly attend classes may choose to replace some of
the compositions commented in the textbook with equivalent compositions discussed in the classroom; the
evaluation will also take account of such choice, which can be agreed in advance with the teacher.
The following tools may be useful to complete the preparation:
Breve lessico musicale, a cura di F. Della Seta e del Dottorato di ricerca in Musicologia dell’Università di
Pavia, Roma, Carocci, 2009;
Le parole del teatro musicale, a cura di F. Della Seta e del Dottorato di ricerca in Musicologia dell’Università
di Pavia, Roma, Carocci, 2010;
Gli strumenti musicali, a cura di F. Della Seta e del Dottorato di ricerca in Musicologia dell’Università di
Pavia, Roma, Carocci, 2011.
Students who are unable to attend classes will integrate the study by reading at least one of the following
volumes, or volume groups, from the Storia della musica, ed. by the Società italiana di Musicologia, new
edition (Turin: EDT, 1991-93 and subsequent reprints):
vol. 5: L. BIANCONI, Il Seicento;
vol. 6: A. BASSO, L’età di Bach e di Haendel;
vol. 7: G. PESTELLI, L’età di Mozart e di Beethoven;
vol. 8: R. DI BENEDETTO, Romanticismo e scuole nazionali nell’Ottocento;
vol. 9: F. DELLA SETA, Italia e Francia nell’Ottocento;
vol. 10: G. SALVETTI, La nascita del Novecento;
vol. 11: G. VINAY, Il Novecento nell’Europa orientale e negli Stati Uniti + vol. 12: ANDREA LANZA, Il secondo
Novecento.
Note: The study of these volumes includes the “Letture” (readings) at the end of each of them.
Music in ancient Greek and Roman Civilizations
(Eleonora Rocconi)
Music in ancient Greek and Roman cultures: music in social and religious contexts, musical instruments,
theory, notations and musical documents.
Bibliography
For a general introduction:
U. ECO (cur.), La grande storia. L’antichità:
Grecia, vol. 8: Scienze e tecniche, Musica, Milano, Encyclomedia Publishers 2011, pp. 361-543;
Roma, vol. 13: Scienze e tecniche, Musica, Milano, Encyclomedia Publishers 2011, pp. 277-383.
Among the handbooks, the student may choose among the following titles:
G. COMOTTI, La musica nella cultura greca e romana, Torino, EDT, 1991 (Storia della musica, a cura della
Società italiana di Musicologia, nuova edizione, vol. 1);
E. ROCCONI, Mousikè téchne. La musica nel mondo greco, Milano, I.S.U. Università Cattolica, 2004;
M.L. W EST, Ancient Greek Music, Oxford, Clarendon Press, 1992.
The greatest part of documents with musical notation, which will be analyzed during the lectures (at least
three fragments must be analyzed), is published in:
E. PÖHLMANN, M.L. W EST, Documents of Ancient Greek Music: the Extant Melodies and Fragments, Oxford,
Oxford University Press, 2001.
Student who will not attend lectures must choose an essay from the following book:
E. ROCCONI (cur.), La musica nell’Impero Romano. Testimonianze teoriche e scoperte archeologiche,
Pavia, Pavia University Press 2010 (it is possible to download it gratis from the website of Pavia
University Press:
http://www.paviauniversitypress.it/catalogo.html#scientifica).
Further bibliography will be quoted during the lectures. Students who are not going to attend lectures must
talk with the teacher before the exam.
Music Notation in the Renaissance and Baroque Era
(Antonio Delfino)
1. The instrumental tablatures in the fifteenth- and sixteenth-century: related theory writings and main
sources, especially a) the earliest lute tablatures; b) scores and Italian keyboard tablatures between
sixteenth- and seventeenth-century.
2. German keyboard anthologies of the late sixteenth-century (Ammerbach15711, 15751 e 15832, Paix 15834
e 15896, Rühling 15836, Schmid 15776): repertories and notation.
Practical transcriptions.
Essential bibliography:
J. W OLF, Handbuch der Notationskunde, 2 voll., Leipzig, Breitkopf und Härtel, 1919 (rist.
Hildesheim, Olms, 1963);
W. APEL, La notazione della musica polifonica dal X al XVII secolo, trad. it. di P. Neonato, Firenze,
Sansoni, 1984, pp. 1-88 (ed. orig.: Die Notation der polyphonen Musik. 900-1600, Leipzig,
Breitkopf und Härtel, 1970);
M. KIRNBAUER – CC. YOUNG, Frühe Lautentabulaturen im Facsimile / Early Lute Tablatures in
Facsimile, Winterthur, Amadeus Verlag, 2003;
C. TH. JOHNSON, Keyboard intabulations preserved in sixteenth- and seventeenth century German
organ tablatures: a catalogue and commentary, New York – London, Garland, 1989.
The detailed bibliography and facsimiles will be given at lesson.
Music Palaeography
(Daniele Sabaino)
The course presents an overview of the different ways in which music was written down in the Middle Ages and in the
Renaissance, with particular regards on plainchant and vocal polyphony. Selected examples will also illustrate the
apport of palaeography to music philology and to the field of general historical research.
Basic bibliography:
S. CORBIN – M. VELIMIROVIC – M. HELFFER, Notation, § III.1, in The New Grove Dictionary of Music and
Musicians, vol. 13, London, Macmillan, 2001, pp. 128-154;
W. APEL, La notazione della musica polifonica dal X al XVII secolo, Firenze, Sansoni, 1984 (limitatamente
alle parti trattate durante le lezioni).
Apel’s book can be replaced with the following:
M.-N. COLETTE – M. POPIN – PH. VENDRIX, Histoire de la notation du Moyen Âge à la Renaissance, Paris,
Minerve, 2003.
For the exam, students are also requested to read one the following texts or group of texts:
1.
M. HUGLO, Les noms des neumes et leur origine, “Études grégoriennes”, 1, 1954, pp. 53-67;
K. LEVY, On the Origin of Neumes, “Early Music History”, 7, 1987, pp. 59-90;
G. BAROFFIO, Nota Romana: l’espansione delle notazioni italiane e l’area d’influsso dei Canossa, in Matilde e
il tesoro dei Canossa tra castelli, monasteri e città, a cura di A. Calzona, Cinisello Balsamo, Silvana, 2008,
pp. 165-175.
2.
E. CARDINE, Semiologia gregoriana, Roma, Pontificio Istituto di Musica Sacra, 1968.
3.
A. COLK SANTOSUOSSO, Polyphony notated by Daseian and letter notations, in Le notazioni della polifonia
vocale dei secoli IX-XVII, a cura di M. Caraci Vela, D. Sabaino e S. Aresi, Pisa, ETS, 2008, pp. 1-10;
T. KARP, The interpretation of St. Martial and Calixtine polyphony, ibidem, pp. 11-26;
B. GILLINGHAM, The interpretation of the metrical polyphony in the “Codex Calixtinus”, ibidem, pp. 27-41.
4.
E.H. SANDERS, The notation of Notre-Dame “organa tripla” and “quadrupla” , in Le notazioni della polifonia
vocale dei secoli IX-XVII, a cura di M. Caraci Vela, D. Sabaino e S. Aresi, Pisa, ETS, 2008, pp. 57-119.
5.
M.T. ROSA BAREZZANI, Le notazioni del XIII secolo: strutture e terminologie a confronto, in Le notazioni della
polifonia vocale dei secoli IX-XVII, a cura di M. Caraci Vela, D. Sabaino e S. Aresi, Pisa, ETS, 2008, pp. 171202.
6.
M. GOZZI, La cosiddetta “Longanotation”: nuove prospettive sulla notazione italiana del Trecento, “Musica
Disciplina”, 49, 1995, pp. 121-149;
T. SUCATO, Alcune annotazioni sui madrigali di Paolo da Firenze e in particolare sull’uso dei segni C e C
rovesciato, in Le notazioni della polifonia vocale dei secoli IX-XVII, a cura di M. Caraci Vela, D. Sabaino e S.
Aresi, Pisa, ETS, 2008, pp. 255-261.
As in the CFU-system lesson attendance is integral to the training, students not attending classes must arrange further
readings with the teacher.
Music Philology 1
(Maria Caraci Vela)
Part I
Text and context. The concept of text: definitions and text spectrum of meanings.
Orality and Writing. Phenomenology of textual tradition and aspects of music reception. Author philology.
Evaluation of the authenticity and attribution. Intertextuality.
Methods and problems of textual criticism. Interdisciplinary implications of musical philology. Textual
bibliography. Supportive disciplines.
Musical editions. Visualisation of textual movement. The critical edition.
Part II
Author Philology. Textual genesys; author reworking: emendations, new versions, censures, structural
reworking.
Bibliography:
M. CARACI VELA, La filologia musicale. Istituzioni, storia, strumenti critici, vol. 1, Fondamenti storici e
metodologici della filologia musicale, Lucca, LIM, 2005;
a critical essay to be chosen among a proposed bibliography.
Music Philology 2
(alternating with Middle Ages and Renaissance Musical Texts: Historical and Textual Criticism)
(Maria Caraci Vela)
“Vesci l’ordenance que G. de Machaut wet qu’il y ait en son livre”: creative strategies and author reworking
in Machaut’s music.
The course focuses on basic methodological tools for understanding Machaut’s musical work, and deals
with author reworking, late-medieval reception, textual interpretation and performance practice from 1970
to XXI century.
Basic bibliography:
M.T. ROSA BAREZZANI, Guillaume de Machaut le Maître, Pisa, ETS, 2012;
L. EARP, Machaut's role in the production of manuscripts of his work, in “Journal of the American
musicological society”, 42 (1989) 3, p. 461-503.
Books whose consultation is recommended:
L. EARP, Guillaume de Machaut: a guide to research, New York – London, Garland, 1995;
E.E. LEACH, Guillaume de Machaut. Secretary, poet, musician, Leuven, Leuven University Press, 2011.
Further bibliographical indications will be provided during the lectures.
Music Philology 3
(available in 2013-14 alternating with Problem of the Music Historiography)
Music Theory 1
(Gianmario Borio)
Formal structures in the piano sonatas of Beethoven and Schubert
Crucial questions of the theory of musical form since Adolf Bernhard Marx will be discussed in historical
perspective. Basing on some examples from the piano sonatas of Beethoven and Schubert, the course
inquires models of presentation and development of musical ideas.
For a preliminary orientation, please consult the following literature:
A. SCHÖNBERG, Elementi di composizione musicale, Milano, Suvini Zerboni, 1969;
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E. RATZ, Einführung in die musikalische Formenlehre, Wien, Universal Edition 1951 (1973 );
E. RATZ, Analysis and Hermeneutics, and their Significance for the Interpretation of Beethoven, “Music
Analysis”, 3/3, 1984, pp. 243-254;
U. KRÄMER, Il metodo di insegnamento di Schönberg e la morfologia musicale dell’Ottocento, in Schönberg, a
cura di G. Borio, Bologna, il Mulino 1999, pp. 211-229;
G. BORIO, Schenker versus Schoenberg versus Schenker. The Difficulties of a Reconciliation, “Journal of
the Royal Musical Association”, 126/2, 2001, pp. 250-274;
G. BORIO, La concezione dialettica della forma musicale da Adolf Bernhard Marx a Erwin Ratz. Abbozzo di
un decorso storico, in Pensieri per un maestro. Studi in onore di Pierluigi Petrobelli, a cura di S. La Via e R.
Parker, Torino, EDT 2002, pp. 361-386;
S. BURNHAM, Form, in The Cambridge History of Western Music Theory, ed. by Thomas Christensen,
Cambridge, Cambridge University Press, 2002, pp. 880-906;
N. COOK, Forma e sintassi, in Enciclopedia della musica, diretta da Jean-Jacques Nattiez con la
collaborazione di Rossana Dalmonte e Mario Baroni, vol. 2 (Il sapere musicale), Torino, Einaudi, 2002, pp.
116-142;
G. BORIO, Forma come sintassi o come energia: la morfologia musicale dopo Beethoven, in Storia dei
concetti musicali, I/2, Espressione, forma, opera, a cura di G. Borio e C. Gentili, Roma, Carocci 2007, pp.
191-211;
F. SALZER, Die Sonatenform bei Franz Schubert, “Studien zur Musikwissenschaft”, 15, 1928, pp. 86-125;
E. RATZ, Schuberts unvollendete Klaviersonate in C-Dur (1825). Eine Analyse des ersten Satzes, in ID.,
Gesammelte Aufsätze, Wien, Universal Edition, 1975, pp. 75-92;
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J. W EBSTER, Schubert’s Sonata Form and Brahms’s First Maturity [1. parte], “19 -Century Music”, 1/2,1978,
pp. 18-35;
C. DAHLHAUS, Sonata Form in Schubert: The First Movement of the G-Major String Quartet, op. 161 (D 887),
in Schubert: Critical and Analytical Studies, ed. by Walter Frisch, Lincoln/London, University of Nebraska
Press 1986, pp. 1-12;
D. BEACH, Schubert’s Experiments With Sonata Form: Formal-Tonal Design versus Underlying Structure,
“Music Theory Spectrum”, 15/1, 1993, pp. 1-18;
G. BORIO, Organische Form jenseits von Beethoven. Über die Neuorientierung der musikalischen
Formenlehre in den 1920er- und 1930er- Jahren, in Ereignis und Exegese — Musikalische Interpretation,
Interpretation der Musik. Festschrift für Hermann Danuser zum 65. Geburtstag, hrsg. von C. Bork, T. Klein,
B. Meischein, A. Meyer und T. Plebuch, Schliengen: Argus, 2011, pp. 149-167.
Music Theory 2
(Gianmario Borio)
Post-tonal composition: formal structures and harmonic-melodic organization
The object of the course are works of Bartók, Berg, Debussy, Schoenberg and Stravinsky. Set-theory and
related methods will be the tools for studying pitch class collections and their relationships. This approach
will be combined with considerations on temporal structures (rhythm, meter and tempo) in order to
reconstruct the principles of the compositional techniques.
A. FORTE, The Structure of Atonal Music, New Haven: Yale University Press, 1973;
C. HASTY, “Segmentation and Process in Post-Tonal Music”, in Music Theory Spectrum 3 (1981), pp. 5473;
G. PERLE, Serial Composition and Atonality. An Introduction to the Music of Schoenberg, Berg, and
Webern, Berkeley: University of California Press, 1991;
S. PASTICCI, Teoria degli insiemi e analisi della musica post-tonale (Bollettino del GATM II), 1, Bologna
1995;
J. N. STRAUS, Introduction to Post-Tonal Theory, Prentice Hall, New Jersey 2000;
M. ROIG-FRANCOLI, Understanding Post-Tonal Music, New York: McGraw-Hill, 2007.
Musical Dramaturgy 1
(Michele Girardi)
The 'popular trilogy' by Giacomo Puccini: La bohème, Tosca and Madama Butterfly.
The bibliography will be specified at the end of the course, for a first orientation the student can read:
J. BUDDEN, Puccini. His Life and Works, New York, Oxford University Press, 2002, or
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M. CARNER, Puccini. A Critical Biography, London, Duckworth, 1958, 1992 .
To place the works in historical and aesthetic context is more recommended to consult:
G. SALVETTI, La nascita del Novecento, Torino, edt, 1991 (Storia della musica, by the Italian Musicological
nd
Society, 2 ed ., vol. 10).
(Michele Girardi)
The ‘trilogia popolare’ by Giuseppe Verdi: Rigoletto, Il trovatore, La traviata.
In view of the bicentennial of the birth, it is necessary to reflect on the three works that have contributed
more than any other to form the standard image of Giuseppe Verdi, like 'popular' composer. The course will
discuss in particular the prospects emerged in more recent times, but the student should start attending to
become familiar with the construction of the myth – from Volere e potere of Michele Lessona (1869) to
Giuseppe Verdi. Vita aneddotica, con note ed aggiunte di Folchetto (1881) by Arthur Pougin –, with Verdi
secundary literature d’antan – the volumes of Abbiati, Mila etc.. – and the myth of the “compositore con
l’elmetto” (composer with the helmet), to quote Rossini.
The bibliography will be provided at the end of the course.
For a first orientation on the biography that will distance itself from the former rhetoric, the student can
read:
F. W ALKER, The Man Verdi, London, Dent, 1962 (rpt. Chicago, The University of Chicago Press, 1982).
For a thorough introduction to the trilogy and the style of his maturity:
J. BUDDEN, The Operas of Verdi, 3 vls., London, Cassell, 1973-1981 (rpt. Oxford, Oxford University Press,
1992).
For a rather innovative dramaturgical approach:
G. DE VAN, Verdi’s Theater.Creating Drama with Music [1992], Chicago, The University of Chicago Press,
1998.
To place the works in historical and aesthetic context the student can read:
F. DELLA SETA, Italia e Francia nell’Ottocento, Torino, edt, 1993 (Storia della musica, by the Italian
nd
Musicological Society, 2 ed ., vol. 9).
(Michele Girardi)
Oppressed and outcasts on the nineteenth-century opera stages: Gypsies, Jews, slaves, prostitutes and
other minorities.
The course aims to study the works in which they appear one or more characters, major and / or
secondary, which represent a minority considered abnormal and dangerous by a majority held that the
margins of society. The course will take place in seminar: the frequency is therefore recommended. The
teacher will hold an introduction to the research methodology of those attending, dedicated to La Juive by
Halevy and another title, at the time to choose among the gypsies of Trovatore and Carmen, and the
courtesan Thaïs and La Traviata. Here is a partial list of works that meet the requirements of the nineteenth
century (each integration will be welcome: mail to [email protected]): Der Templar und die Jüdin (1829), La
juive (1835), La Esmeralda (1836), Les Huguenots (1836), The Bohemian Girl-Die Zigeunerin-La zingaraLa bohémienne (1843-1846-1854-1862), Alzira (1845), Rigoletto (1851), Le Juif errant (1852), La traviata
(1853), Manon Lescaut (1856, 1884, 1893), L’africaine (1865), Mignon (1866), Fior d’Aliza (1866), La jolie
fille de Perth (1867), La Périchole (1868), Aida (1871), Djamileh (1872), Carmen (1875), Samson et Dalila
(1877), Les contes d’Hoffmann (1881), Parsifal (1882), Otello (1887), Mala vita (1892), Aleko (1893), La
bohème (1896, 1897), Thaïs (1894-1898).
For a more detailed bibliography see the page online before the start of the course
(http://musicologia.unipv.it/girardi/); in the meantime, the student may usefully consult:
A. ARBLASTER, “Viva la Libertà”. Politics in Opera, London-New York, Verso, 1992;
D. R. HALLMANN, Opera, Liberalism and Antisemitism in Nineteenth-Century France. The Politics of
Halevy's “La Juive”, Cambridge, Cambridge University Press, 2002.
For a general view are considered the volumes 8 (R. DI BENEDETTO, Romanticismo e scuole nazionali,
Torino, edt, 1991) and 9 (F. DELLA SETA, Italia e Francia nell’Ottocento, Torino, edt, 1993) of Storia della
nd
musica, by the Italian Musicological Society, 2 ed .
Musical Iconography
(alternating with Preservation and restoration of musical instruments)
(Laura Mauri)
The course introduces a critical method for the examination of musical iconography witnesses. In particular
will be considered the twelve musician angels frescoed between 1472 and 1476 in the Cathedral of Valencia
by two Italian artists brought for this purpose by Cardinal Rodrigo Borgia.
Syllabus and bibliography will be provided during the course.
Those attending must already know the main features of musical instruments in the Middle Age and
Renaissance.
Popular and Folk Music Studies
(Fulvia Caruso)
Music and filmic representation.
The course will consist of an excursus over the various visual communication forms about music in
Ethnomusicology and Popular music Studies. From the would video field-notes to fiction, languages,
techniques and issues related to video communication will be explored through the analysis of Italian and
non-Italian audio-visual production.
It further will enable students to explore visual analysis as a mean to study the constitutive elements of
musical performance.
Popular Music
(Gianmario Borio)
Analyzing songs.
The course covers different analytical approaches to song analysis and description, following the
interdisciplinary and pluralistic essence of popular music studies in the last three decades. The main aim is
the definition of this field of study as a multidimensional network, its complexity resulting from a dynamic
interaction between the structural features of the musical text (lyrical, musical, textural etc.) and the
relationship with society, mass media and industry.
During the course students will be asked to work on a weekly basis on a written text on the analysis of a
chosen song.
G. BORIO - S. FACCI, Una musicologia pluralistica per il rock britannico, in Composizione e sperimentazione
nel rock britannico 1967-1976. Atti del convegno internazionale di studi (Cremona, 20-22 ottobre 2005), a c.
di G. Borio e S. Facci, «Philomusica Online», numero speciale, 2005, <http://www.unipv.it/britishrock19661976/pdf/boriofacci.pdf>;
R. BOWMAN, Il “sound stax”: un’analisi musicologica, «Rivista di Analisi e Teoria Musicale», VII/2, 2002, pp.
3-44;
V. CAPORALETTI, I processi improvvisativi della musica. Un approccio globale, LIM, Lucca 2005, pp. 42-86,
104-135;
J. COVACH, Popular Music, Unpopular Musicology, in Rethinking Music, ed. by N. Cook and M. Everist,
Oxford University Press, Oxford 2001, pp. 452-470;
R. DOCKWRAY -A. F. MOORE, Configuring the Sound-box 1965-1972, «Popular Music», 29/2, 2010, pp. 181197;
F. FABBRI, Forme e modelli delle canzoni dei Beatles, in Il suono in cui viviamo. Inventare, produrre e
diffondere musica, Feltrinelli, Milano 1996, pp. 53-79;
R. FINK, Elvis Everywhere: Musicology and Popular Music at the Twilight of the Canon, in Rock over the
Edge. Transformation in Popular Music Culture, ed. by R. Beebe, D. Fulbrook and B. Sanders, Duke
University Press, Durham 2002, pp. 60-108;
S. FRITH, Performing Rites. On the Value of Popular Music, Harvard University Press, Cambridge 1996, pp.
158-202;
D. GRIFFITHS, From Lyric to Anti-Lyric: Analysing the Words in Popular Song, in Analysing Popular Music, ed.
by A. Moore, Cambridge University Press, Cambridge 2003, pp. 39-59;
O. JULIEN, ‘A Lucky Man Who Made the Grade’: Sgt. Pepper and the Rise of a Phonographic Tradition in
Twentieth-century Popular Music, in Sgt. Pepper and the Beatles. It Was Forty Years Ago Today, ed. by O.
Julien, Ashgate, Aldershot 2008, pp. 147-169;
S. LA VIA, Poesia per musica e musica per poesia. Dai trovatori a Paolo Conte, Carocci, Roma 2006, pp.
135-219;
S. LACASSE, Intertextuality and Hypertextuality in Recorded Popular Music, in Critical Essays in Popular
Musicology, ed. by A. F. Moore, Ashgate, Aldershot 2007, pp. 147-170;
R. MIDDLETON, Studiare la popular music, Feltrinelli, Milano 1994, pp. 182-242;
A. F. MOORE, Rock: The Primary Text. Developing a Musicology of Rock, Ashgate, Aldershot 2001, pp. 1-63;
L. SPAZIANTE, Sociosemiotica del pop. Identità, testi e pratiche musicali, Carocci, Roma 2007, pp. 101-162;
P. TAGG, La tonalità di tutti i giorni. Armonia, modalità e tonalità nella popular music: un manuale, Milano, Il
Saggiatore 2011, pp. 117-170.
Preservation and Restoration of musical Instruments
(available in 2013-14 alternating with Musical Iconography)
Problem of the Music Historiography
(alternating with Music Philology 3)
(Fabrizio Della Seta)
Writing music history, yesterday and today
In Italy, musicological scholarship has developed very late compared to other European countries. History of
music, understood as history of the Western art music, is the discipline mainly taught in the universities and
the conservatories. However, since the first attempt to describe organically the field of the musicological
knowledge (Adler 1885), "historical musicology" was joined by a "systematic musicology" (the name can be
updated as "theoretical" or "synchronic"). Furthermore, besides these two main branches, a third was
foreseen, which would then be established as “comparative musicology,” “ethnomusicology,” “anthropology
of music;” this had as its object the study of musical cultures 'other' than European art music ,– then
understood as unquestionably as the central one .
After more than a century, but particularly in the last thirty years, the dominant views in musicology have
been radically called in question. The tradition of Western art music is no longer perceived as the central
one. The prevailing intellectual trends – postmodernism, cultural studies, postcolonial studies – have
subjected to a violent criticism concepts such as author, artwork, canon, autonomy of art, aesthetic value.
The general hostility towards the history has spread distrust of the "grand narratives," based on concepts of
evolution and progress. Nevertheless, histories of music of different size and setting – written by different
authors, or by a single scholar – continue to be published, as well as essays on different periods of music
history, biographies of composers, historical monographs on different works, genres, institutions. Against the
background of this intellectual framework, the course aims to wonder about the possibility of writing and
teaching music history today, in the wake of the great European historical tradition, taking into account its
latest developments and avoiding falling back into the mythologies of idealism and historicism .
The course has a seminar format: after the teacher’s introduction, students should accomplish a personal
work, that will present and discuss in classroom. Active participation is required: students who did not attend
at least 3/4 of the meetings cannot take the exam.
The examination consists of a presentation of the work done in the classroom; the latter will form the
cornerstone of the evaluation.
Bibliography
Readings to be discussed will be decided during the course. However, students wishing to attend the course
will benefit from the preliminary reading of the following texts:
C. DAHLHAUS, Fondamenti di storiografia musicale, Fiesole, Discanto,1980;
La storia della musica: prospettive del secolo XXI. Convegno internazionale di studi, 17-18 novembre 2000,
«Il saggiatore musicale», VIII, 2001, pp. 7-176;
C. DAHLHAUS, Che cosa significa ed a qual fine si studia la storia della musica?, «Il Saggiatore musicale»,
XII, 2005, pp. 218-230;
J.-J. NATTIEZ, Alcuni concetti fondamentali di storiografia della musica: periodizzazione, “spirito del tempo”,
successione di generazioni, «Rivista di analisi e teoria musicale», XII, 2007, pp. 7-35;
F. DELLA SETA, Musica nella storia e musica come storia, in Educazione musicale e formazione, a cura di
Giuseppina La Face Bianconi e Franco Frabboni, Angeli, Milano 2008, pp. 379-386.
Romance Literatures
(Maria Sofia Lannutti)
Rewritings and Translations in Medieval Romance Literatures. The first part of the class aims at offering a
general introduction to romance literatures, with particular attention to linguistic and philological issues. The
specific topic will be addressed through reading of texts in various romance languages and analysis of their
manuscript tradition.
The following texts are required:
A. STUSSI, Introduzione agli studi di filologia italiana, Bologna, il Mulino, 2007: capitoli 3-4; Appendice 1;
A. VARVARO, Linguistica romanza, Napoli, Liguori, 2000: Parte C;
M.S. LANNUTTI, La letteratura italiana del Duecento. Storia, testi, interpretazioni, Roma, Carocci, 2007:
capitolo 1;
F. BRUGNOLO – R. CAPELLI, Profilo delle letterature romanze medievali, Roma, Carocci, 2011: capitoli 1 e 2;
G. FOLENA, Volgarizzare e tradurre, Torino, Einaudi, 1991;
R. JAKOBSON, Aspetti linguistici della traduzione, in ID., Saggi di linguistica letteraria,
Milano, Feltrinelli, 1966, pp. 56-64.
Students who cannot attend the lectures should contact the teacher.
Sciences of Archives
(Valeria Leoni)
Program of the lessons:
- definition of archive, phases in the life of archival documents;
- Current records and semi-active records: records management practises;
- Archival documents: principles of arrangement;
- Finding aids (guides, inventories and other descriptive lists);
- Italian archival organization
Practical activities:
Students will be also involved in a field-based experience, working for 30 hours with the teacher in the
Archivio di Stato di Cremona. They will arrange and describe a small archival fund using standards adopted
by the international archival community.
Bibliography:
P. CARUCCI, Le fonti archivistiche: ordinamento e conservazione, Roma, Carocci, 2010 (21ˆ ristampa);
E. LODOLINI, Storia dell’archivistica italiana, Milano, Franco Angeli, 2006;
A. PRATESI, Genesi e forme del documento medievale, Roma, Jouvence, 1979.
Sociology of Music
(Michela Garda)
Music, aesthetics and politics between sociology of culture and cultural studies.
Aim of the course is outlining and discussing the main arguments against aesthetic authonomy developed
in the field of sociology of culture and cultural studies.
Bibliography
J. SHEPERD, voce Sociology of Music, in The New Grove Dictionary of Music and Musicians, London,
Macmillan, 2001, vol. 23, 603-6;
P. BOURDIEU, La distinzione. Critica sociale del gusto, Il Mulino 2001;
H. BECKER, I mondi dell’arte, Bologna, il Mulino, 2004;
G. BORN, The Social and the Aesthetic: For a Post-Bourdieuian Theory of Cultural Production, Cultural
Sociology, 4(2) 2010, pp. 171-208;
M. CLAYTON, TR. HERBERT, R. MIDDLETON (eds.), The Cultural Study of Music: A Critical Introduction,
2
London, Routledge 2012 .
Theoretical Philosophy
(Luca Bagetto)
The law of the Globalisation. The universal relation of things between neo-Kantianism and criticism of
formalism.
The course will face the problem of the relationship between economy and politics in the context of the
globalisation, and the question of a political system coordinated with the age of the technology of
communication flow.
Bibliography:
I. KANT, Critica della ragion pura, Roma-Bari, Laterza, 2004.
I. KANT, Critica del giudizio, Roma-Bari, Laterza, 2005.
I. KANT, Scritti precritici, Roma-Bari, Laterza, 2000.
E. CASSIRER, Filosofia delle forme simboliche, Firenze, La Nuova Italia, 3voll.
M. FRIEDMAN, La filosofia al bivio. Carnap, Cassirer, Heidegger, Milano, Cortina, 2004.
M. HEIDEGGER, Il principio di ragione, Milano, Adelphi, 1992.
M. HEIDEGGER, Nietzsche, Milano, Adelphi, 2000.
W. BENJAMIN, I «passages» di Parigi, Torino, Einaudi, 2 voll., 2000.
W. BENJAMIN, Il dramma barocco tedesco, Torino, Einaudi, 1980;
W. BENJAMIN, Angelus Novus. Saggi e frammenti, Torino, Einaudi, 2006;
J. DERRIDA, Forza di legge. Il «fondamento mistico dell’autorità», Torino, Bollati Boringhieri, 2003;
J. DERRIDA, Politiche dell’amicizia, Milano, Cortina, 2000;
J. DERRIDA, Donare la morte, Milano, Jaca Book, 2002.
J. DERRIDA, Il fattore della verità, Milano, Adelphi, 2004.
J. DERRIDA, Donare il tempo, Milano, Cortina, 1996.
J. LACAN, Scritti, Torino, Einaudi, 2002.
J. LACAN, Il Seminario. Libro XXIII. Il sintomo 1975-1976, Roma, Astrolabio Ubaldini, 2006.
C. SCHMITT, Le categorie del «politico», Bologna, Il Mulino, 1986.
C. SCHMITT, Il Nomos della terra nel diritto internazionale dello «jus publicum europaeum», Milano, Adelphi,
2006;
C. SCHMITT, Terra e Mare. Una riflessione sulla storia del mondo, Milano, Adelphi, 2002;
C. SCHMITT, Teoria del partigiano. Integrazione al concetto del politico, Milano, Adelphi, 2008;
J. TAUBES, Escatologia occidentale, Milano, Garzanti, 1997;
J. TAUBES, La teologia politica di San Paolo, Milano, Adelphi, 1997;
J. TAUBES, In divergente accordo. Scritti su Carl Schmitt, Macerata, Quodlibet, 1996;
R. GIRARD, Portando Clausewitz all’estremo, Milano, Adelphi, 2008.
M. FOUCAULT, Nascita della biopolitica, Milano, Feltrinelli, 2007.
M. FOUCAULT, Sicurezza, territorio, popolazione, Milano, Feltrinelli, 2005.
G. AGAMBEN, Homo sacer. Il potere sovrano e la nuda vita, Torino, Einaudi, 2005.
G. AGAMBEN, Lo stato di eccezione, Torino, Bollati Boringhieri, 2003.
G. AGAMBEN, Il Regno e la Gloria. Per una genealogia teologica dell’economia e del governo, Torino, Bollati
Boringhieri, 2009.
G. AGAMBEN, Il tempo che resta. Un commento alla Lettera ai romani, Torino, Bollati Boringhieri, 2000.
S. ŽIŽEK, Dalla tragedia alla farsa, Milano, Ponte alle Grazie, 2010.
S. ŽIŽEK, La fragilità dell’assoluto, Massa, Transeuropa, 2007.
S. ŽIŽEK, Il soggetto scabroso. Trattato di ontologia politica, Milano, Cortina, 2003.
Writing Laboratory
(Piera Tomasoni)
After some preliminary lessons, the students will practise exercises of analysis, rewriting, summary, and
production of different kinds of written texts.
L. SERIANNI, Italiani scritti, Bologna, Il Mulino 2007.
The students must attend the lessons. Please choose this Laboratory only if you can attend it.

P rogramofcourses academic year 2012-13

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