| Analysis and Didactics of Music Performance
(objectives)
Unit 1. The course aims to give a fundamental theoretical knowledge in the field of musical performance and of its teaching, both in historical and stylistic perspective. The relationships with extra-musical elements (literature, cinema, theatre, figurative arts), in the perspective of an interdisciplinary teaching, will be analyzed, with specific regard to the role of the teacher.
Unit 2. The course aims to provide fundamental knowledge on the history of music education between the sixteenth and twentieth centuries, with particular reference to the teaching of instruments and singing. The different approaches that are used modernly for the teaching of musical interpretation will also be explored
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Code
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20710391 |
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Language
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ITA |
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Type of certificate
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Profit certificate
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| Module: Analysis and Didactics of Music Performance 1
(objectives)
The course aims to give a fundamental theoretical knowledge in the field of musical performance and of its teaching, both in historical and stylistic perspective. The relationships with extra-musical elements (literature, cinema, theatre, figurative arts), in the perspective of an interdisciplinary teaching, will be analyzed, with specific regard to the role of the teacher.
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Code
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20710391-1 |
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Language
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ITA |
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Type of certificate
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Profit certificate
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Credits
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6
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Scientific Disciplinary Sector Code
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L-ART/07
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Contact Hours
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30
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Type of Activity
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Core compulsory activities
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Teacher
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AVERSANO LUCA
(syllabus)
The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).
(reference books)
- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.
Additional materials for student non attending the lessons:
One book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002; Free improvisation: history and perspectives, a cura di A. Sbordoni e A. Rostagno, Lucca, LIM, 2018.
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Dates of beginning and end of teaching activities
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From to |
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Delivery mode
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Traditional
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Attendance
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not mandatory
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Evaluation methods
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Oral exam
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| Module: Analysis and Didactics of Music Performance 2
(objectives)
The course aims to provide fundamental knowledge on the history of music education between the sixteenth and twentieth centuries, with particular reference to the teaching of instruments and singing. The different approaches that are used modernly for the teaching of musical interpretation will also be explored
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Code
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20710391-2 |
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Language
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ITA |
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Type of certificate
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Profit certificate
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Credits
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6
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Scientific Disciplinary Sector Code
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L-ART/07
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|
Contact Hours
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30
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Type of Activity
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Core compulsory activities
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|
Teacher
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AVERSANO LUCA
(syllabus)
The topic of the course will be the history of teaching musical instruments and singing between the sixteenth and twentieth centuries. The lessons will also deal with the different approaches to the interpretation of music practiced today at the international level.
(reference books)
- Selection of essays indicated by the teacher at the beginning of the lessons (available in the copy shop);
- Carla Cuomo, Dall'ascolto all'esecuzione. Orientamenti per la pedagogia e la didattica della musica, Milano, FrancoAngeli 2018
- John Rink (a cura di), L' esecuzione musicale: guida, analisi, prospettive (Cambridge 2002), edizione italiana di Stefano Leoni, Milano, Rugginenti 2008.
In addition for non-attending students, a book chosen from:
- Piero Rattalino, L' interpretazione pianistica nel postmoderno, Milano, Rugginenti 2017
- Guido Salvetti, Le sonate per pianoforte e violoncello di Johannes Brahms. Contesto, testo, interpretazione, Lucca, Lim 2005
-Alfonso Alberti, Le sonate di Claude Debussy. Contesto, testo, interpretazione, Lucca, Lim 2008
- Maria Grazia Sità - Corrado Vitale, I Quartetti di Béla Bartók, Lucca, Lim 2012
- Vania Del Maso, Teoria e Pratica della Musica Italiana del Rinascimento, Lucca, LIM, 2017.
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Dates of beginning and end of teaching activities
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From to |
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Delivery mode
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Traditional
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Attendance
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not mandatory
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Evaluation methods
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Oral exam
A project evaluation
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Università Roma Tre