Università Roma Tre

The course addresses the relationship between music and image by offering an overview of some fundamental aspects of musical iconography and the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. An investigation path will be outlined that goes from one side to the other, following the topic of the musician's image, as it is reflected, constructed, staged through the resources of the graphic and pictorial arts, then through those of audiovisual narration, from the portrait of the musician of the 17th-18th centuries to the musical biographical film.

1. Federico Maria Sardelli, Il volto di Vivaldi, Palermo, Sellerio, 2021, pp. 13-176, 242-266

2. Nicoletta Guidobaldi, Prospettive dell’Iconografia musicale all’inizio del terzo millennio, in Prospettive di iconografia musicale, a cura di N. Guidobaldi, Milano, Mimesis, 2007, pp. 7-37

3. Kathryn Kalinak, Musica da film. Una breve introduzione, Torino, EDT, 2010

4. Gianmario Borio, Funzioni del ‘suono organizzato’ in due testi audiovisivi: “Barry Lyndon” e “Koyaanisqatsi”, «La Valle dell’Eden», 12-13/25-26 (2011), pp. 73-90

5. Paola Valentini, Un dj set d’autore. Pratiche compilative nel cinema di Paolo Sorrentino, in La compilation soundtrack nel cinema sonoro italiano, a cura di Maurizio Corbella, «Schermi», 4/7 (2020), pp. 137-153

6. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 819-832

7. Alessandro Bratus, Popular music al cinema: la rappresentazione dell’artista rock sul grande schermo, in Worlds of Audio Vision (2010)
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=69&lang=it

Non-attending students will also read:
Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-699