The course presents different aspects of historical research methodology, meant both as a set of operational tools and techniques, and as an historical theory. The concept of the Global History will be examined.
The first part of the course (12 hours) introduces the main elements of the history of historiography starting from the birth of the discipline during the nineteenth century. The second part of the course (12 hours) addresses the theoretical and methodological aspects of the use of historical sources with particular attention to "new sources" and dynamic use. The third and final part of the course (12 hours) focuses on the monographic theme of use of oral sources

C. Sorba e F. Mazzini, La svolta culturale. Come è cambiata la pratica storiografica, Roma, Laterza, 2021 (184 pp., € 18,00)

A book to be chosen from:

- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (212 pp., € 19,00)
- B. Bonomo, Voci della memoria, l’uso delle fonti orali nella ricerca storica, Roma, Carocci, 2015 (176 pp., € 18,00)

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on videogame cultures, on the multiplication of the distribution platforms, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione
aggiornata, Bologna, Il Mulino, 2016

E. Menduni, Entertainment, Bologna, Il Mulino, 2013

T. BONINI, A. CALIANDRO, G. ANSELMI, La diffusione della musica
pop nel sistema ibrido dei media: tra piattaforme digitali e
broadcaster tradizionali, “Studi Culturali”, XVI, 2, pp. 225-56, 2019

L. BARRA, M. PERROTTA, “Il cinema italiano nell’era della
convergenza. Televisione, streaming, piattaforme digitali”, in
Scaglioni, M. (a cura di), Cinema Made in Italy, Roma, Carocci, 2020

The course will deal with Michelangelo Antonioni. We will follow his artistic path and explore his working method. We will propose a stylistic in deep analysis of his films. We will consider the main articulations of his aesthetic thinking: the nature of the image, his vision of space and time, forms of modernity, his understanding of social, existential and artistic changes from the Fifties to the Seventies.

TEXTS: Michelangelo Antonioni, Fare un film è per me vivere, Marsilio, Venezia 1994; Giorgio Tinazzi, Michelangelo Antonioni, Il Castoro Cinema, Milano 2002. Non-attending students must read also Sandro Bernardi, Il paesaggio nel cinema italiano, Marsilio, Venezia 2002, with special attention to pages 111-212 involving Antonioni.

FILMOGRAPHY: Gente del Po (1943-1947), Nettezza urbana (1948), L’amorosa menzogna (1949), Superstizione (1949), Cronaca di un amore (1950), I vinti (1952), La signora senza camelie (1953), Le amiche (1955), Il grido (1957), L'avventura (1959), L'eclisse (1962), Il deserto rosso (1964), Blow-up (1966), Zabriskie Point (1970), Professione: reporter (1974).
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course aims to analize performance art, in the crucial season that unfolds from the late sixties to the seventies, up to the contemporary. The conductor is the behavioral and performative practice, public or private, which has as its theme the individual body of the artist or of other protagonists, with modalities of intervention related to self-representation and genre, to the existential and private dimension as political practice, to temporality as a questioning of the object condition of the work. The spaces of the performance will be analyzed, with the identification of interventions and practices that took place in the domestic and private dimension of the studio; in informal and alternative spaces; in the galleries; in the public space and in institutions and major exhibitions. Particular attention will be paid to the analysis of:
- critical definitions;
- questions related to the sources and the relationship between performative practice, photographic and video documentation;
- issues related to the conservation, musealisation and reenactment of the performative event.

1) T. Macrì, Slittamenti della performance, vol. 1, anni 1960-2000, Postmediabooks, Milano 2020
2) C. Mu, P. Martore, Performance Art. Traiettorie ed esperienze internazionali, Castelvecchi, Roma 2018
3) Ulteriore bibliografia verrà segnalata dalla docente all’inizio del corso e resa disponibile sul moodle del corso.

Non attending will integrate with:

4) A text to be selected:
- I. Caleo, Performance, materia, affetti. Una cartografia femminista, Bulzoni Editori, Roma 2021
- C. M. Laudando, Reti performative. Letteratura, teatro, nuovi media, Tangram, Trento 2015
5) Monographic text on an artist analyzed and to to be agreed with the Professor.


Insights for attending and not attending:
H. Foster, R. Krauss, Y.A. Bois, B.H.D. Buchloh, Arte dal 1900. Modernismo, Antimodernismo, Postmodernismo, Zanichelli, Milano 2006

The course deals the organizational phenomena of theater and performing arts within the evolution of the urban and territorial dimension in its morphological, social, perceptual and cultural components. The traditional structures and practices of theatre, dance, music and circus are highlighted, but also the new forms of organization of urban cultural production and the relationship with the transformations of the city in terms of regeneration, social innovation, sustainability, current urban issues. Using case-studies, including international ones, with particular regard to the ECoC (European Capital of Culture), the Italian Capitals of Culture, the Unesco creative cities, the role of theatrical and cultural organizations in strategic planning of the city is also illustrated.
• Economics of culture, cultural policies and urban policies
• The evolution of the city and the territory
• The interpretation of the city in its various dimensions
• The cultural enterprise
• The organizational geography of the performing arts
• Traditional theatrical spaces
• Festivals
• The politics of major events
• The cultural initiatives bottom up and the social innovation
• The theatrical residences
• The new cultural spaces and urban regeneration
• The Capitals of Culture and creative cities
• Strategic cultural planning

For students who will attend classes:
Lucio Argano "Guida alla progettazione della città culturale" FrancoAngeli, Milan, 2021 (pp.514).

For students who will not attend classes:
Lucio Argano "Guida alla progettazione della città culturale" FrancoAngeli, Milan, 2021 (pp.514).
Oliviero Ponte di Pino “Un teatro per il XXI secolo. Lo spettacolo dal vivo ai tempi del digitale” Franco Angeli, Milan, 2021 (pp. 188).

In contemporary societies the arts affect the public discourse, becoming agency of social and cultural meanings, laboratory for the civil society, space and place for shaping the collective and public memories of controversial events, arenas where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the "author's death", theories of reception, art as social practice, the institutional definitions of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds", artistic intermediation processes and their social effects.
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia arts.

1) Anna Lisa Tota e Antonietta De Feo (2019), Sociologia delle arti. Musei, memoria e performance digitali, Carocci, Roma.
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (a cura di) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The Expanded Body. Art and Performance in Italy, 1968-1980

In Italy, between the 1960s and 1970s, the body of artists and poets became fully visible for the first time also thanks to new media (photography, cinema, television) and their mass diffusion. The transformation of the artist into performer is part of a tendency, typical of the same historical period, to dissolve the boundaries between different media, traditions and contexts. The course examines this transformation in a series of cases in which the body, the living presence of the artist, becomes an object acquires its own exemplary value. Texts, films, and photographs of performance in Italy and the broader area of performance experiences in the international field will be examined.

Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson

Re-Animation: contemporary animation as new dominant logic of moving images.

Paying particular attention to the conjunction between theories and practices, the course will focus on styles of the new animation products looking firstly at the dialectic between innovation and tradition, but also between aesthetic and narrative forms coming from different cultural paradigms. Without forgetting the way in which animation software is also used in live action cinema, the course will highlight how the concept of "re-animation" should also be understood as revitalization and problematization, carried out by animation itself, of historical, political and cultural issues involving new moving images.

C. Uva, P. Wells (a cura di), Re-Animation.L’animazione contemporanea tra cinema, televisione, videoarte e nuovi media, «Imago. Studi di cinema e media», n. 16, 2017.

C. Uva, Il sistema Pixar, Il Mulino, Bologna 2017.

In contemporary societies the arts affect the public discourse, becoming agency of social and cultural meanings, laboratory for the civil society, space and place for shaping the collective and public memories of controversial events, arenas where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the "author's death", theories of reception, art as social practice, the institutional definitions of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds", artistic intermediation processes and their social effects.
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia arts.

1) Anna Lisa Tota e Antonietta De Feo (2019), Sociologia delle arti. Musei, memoria e performance digitali, Carocci, Roma.
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (a cura di) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The course deals the organizational phenomena of theater and performing arts within the evolution of the urban and territorial dimension in its morphological, social, perceptual and cultural components. The traditional structures and practices of theatre, dance, music and circus are highlighted, but also the new forms of organization of urban cultural production and the relationship with the transformations of the city in terms of regeneration, social innovation, sustainability, current urban issues. Using case-studies, including international ones, with particular regard to the ECoC (European Capital of Culture), the Italian Capitals of Culture, the Unesco creative cities, the role of theatrical and cultural organizations in strategic planning of the city is also illustrated.
• Economics of culture, cultural policies and urban policies
• The evolution of the city and the territory
• The interpretation of the city in its various dimensions
• The cultural enterprise
• The organizational geography of the performing arts
• Traditional theatrical spaces
• Festivals
• The politics of major events
• The cultural initiatives bottom up and the social innovation
• The theatrical residences
• The new cultural spaces and urban regeneration
• The Capitals of Culture and creative cities
• Strategic cultural planning

For students who will attend classes:
Lucio Argano "Guida alla progettazione della città culturale" FrancoAngeli, Milan, 2021 (pp.514).

For students who will not attend classes:
Lucio Argano "Guida alla progettazione della città culturale" FrancoAngeli, Milan, 2021 (pp.514).
Oliviero Ponte di Pino “Un teatro per il XXI secolo. Lo spettacolo dal vivo ai tempi del digitale” Franco Angeli, Milan, 2021 (pp. 188).

The course presents different aspects of historical research methodology, meant both as a set of operational tools and techniques, and as an historical theory. The concept of the Global History will be examined.
The first part of the course (12 hours) introduces the main elements of the history of historiography starting from the birth of the discipline during the nineteenth century. The second part of the course (12 hours) addresses the theoretical and methodological aspects of the use of historical sources with particular attention to "new sources" and dynamic use. The third and final part of the course (12 hours) focuses on the monographic theme of use of oral sources

C. Sorba e F. Mazzini, La svolta culturale. Come è cambiata la pratica storiografica, Roma, Laterza, 2021 (184 pp., € 18,00)

A book to be chosen from:

- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (212 pp., € 19,00)
- B. Bonomo, Voci della memoria, l’uso delle fonti orali nella ricerca storica, Roma, Carocci, 2015 (176 pp., € 18,00)

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.
Marshall Sahlins, L'economia dell'età della pietra, Milano, elèuthera, 2020.

2. The monographic part includes:
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

General introduction and fundamentals. Methods and techniques. The fieldwork.
Anthropology today: who are the others; migrations; traditional societies; societies and cultures in the globalized world.
A basic course useful to teachers, professors, and social workers.

The students will confront themselves with case studies, deepen and analyze them.

Victor Turner, Dal rito al teatro, Bologna, Il mulino.

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.
Marshall Sahlins, L'economia dell'età della pietra, Milano, elèuthera, 2020.

2. The monographic part includes:
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of media studies and visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education. Specific attention will be paid to: digital storytelling; educational tools; videocriticism practices (videoessay and desktop documentary); social media in educational practices.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

Pier Cesare Rivoltella, Nuovi alfabeti. Educazione e culture nella società post-mediale, Scholé, Brescia, 2020.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

For non-attendance students. One book between:
Chiara Grizzaffi, I film attraverso i film. Dal “testo introvabile” ai video essay, Mimesis, Milano-Udine 2017
or
Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.

FILM AND VIDEOGRAPHY:
feature films: Be Kind Rewind (2007) Michel Gondry; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;

short films, experimental videos, music videos: I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Stereoscope (2008) Chaos Computer Club;

anthology of found footage films: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;

anthology of crito-films: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);

anthology of video-essays: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

What is, today, the actual consistency (and meaning, and strength and influence, and therefore "finality") of theatrical criticism?
the era of the "great critics", authors of elegant and cultured writings with which every newspaper endowed itself (sometimes even with gestures and contracts of real competition) ended a few years ago (indicatively with the end of the last century) and today it dominates a new form of theatrical criticism highly developed on all levels (and tools) of communication.
Without wishing to give discriminatory judgments or licenses, it will be interesting to investigate and learn about the ways of writing and of influence between those who work in print, those on the web, those on the technological tools (no longer only verbal) available today. For example, by examining how sometimes even what was once a description, investigation, analysis of a show, can now turn itself into an operation of "artistic creativity".
It will be interesting to investigate (involving the students personally) on possible contradictions, conflicts of interest and ambitions that make the world and the ways of "theatrical criticism" complex today.
After this introductory in-depth study, it will be appropriate to briefly retrace the origins, development and methods of criticism, in print and new media, up to its relative transformation from a predominantly "literary" (or beautifully written) operation into subsequent ones of information. of a generalist and massive type that can lead today in some cases to certain forms of "overlap" between the role of the critic and that of the press office.
Investigate, therefore, the possible "morality" of a role and function, or even their possibilities and purposes; or whether the information and instrumental need of the reader / viewer is still primary today.

The reference bibliography will be defined, during the lessons, together with the students

Historical route:
Supported by some framing lessons, the student will study independently the most significant movements and authors of the twentieth century. A short list of compositions to listen to will be provided.
Focus:
The course will focus on György Ligeti.

Historical route:
Chose among: ELVIDIO SURIAN, Manuale di Storia della Musica, Vol. IV (Il Novecento), Milano, Rugginenti, 2002; GIACOMO FRONZI, Percorsi musicali del Novecento. Storie, personaggi, poetiche da Schoenberg a Sciarrino, Roma, Carocci, 2021 (for non musicians); JEAN-NOËL VON DER WEID, La musica del XX secolo. Le opere, i compositori, le tecniche, i linguaggi, gli scritti, la critica, le tendenze, Lucca, Ricordi-LIM, 2002.
Focus:
Selected parts from: MARIA GRAZIA SITÀ, Béla Bartók, Palermo, L’Epos, 2008; INGRID PUSTIJANAC, György Ligeti. Il maestro dello spazio immaginario, Lucca, LIM, 2013

This course focuses on the history of music, especially on the history of western art music, from a didactic point of view, considering the following topics:
a. teaching the history of music: discussion of perspectives and methods against the background of current paradigms and historiographical horizons of research in the field of historical musicology;
b. texts, people, ideas and facts in the history of music: from the sources to the modes of the historiographic ‘narration’. Related to this point, a comparison will be conducted on the orientations of today’s sector school manuals for high schools, conservatories and universities in Italy and a case study will be examined, taking into account the recent developments in musicological research about it and as it is rendered in the school textbooks;
c. the detailed study of musical compositions through the resources of ‘teaching of listening’;
d. features and ideas for teaching the history of music at high school level in Italy: the construction of intra and interdisciplinary educational paths.

1. Carl Dahlhaus, Che significa e a quale fine si studia la storia della musica?, «Il Saggiatore musicale», XII, 2005, pp. 219-230

2. Cristina Cano, Didattica della Storia della Musica, «Musica/Realtà», XV, n. 45, dicembre 1994, pp. 89-115

3. Maurizio Giani, Canone retrogrado, in Educazione musicale e formazione, a cura di Giuseppina La Face Bianconi e Franco Frabboni, Milano, Franco Angeli, 2008, pp. 200-209

4. Fabrizio Della Seta, Musica nella storia e musica come storia, in Educazione musicale e formazione, a cura di Giuseppina La Face Bianconi e Franco Frabboni, Milano, Franco Angeli, 2008, pp. 379-386

5. Andrea Chegai, Paolo Russo, La didattica della storia della musica, «Il Saggiatore musicale», XV, 2008, pp. 269-279

6. Stephen Meyer, Leaving the Wolf’s Glen: Measuring Decanonization in the Digital Age, «Musica Docta», VI, 2016, pp. 61-67

7. Giuseppina La Face Bianconi, La didattica dell’ascolto, «Musica e storia», XIV/3, 2006, pp. 511-544

8. Mario Carrozzo, Ciclicità e programma nella musica strumentale: la “Symphonie fantastique” di Hector Berlioz e la “Bergsymphonie” di Franz Liszt, Approfondimento 35.2 in Id. – Cristina Cimagalli, Storia della musica occidentale, vol. 3, 2009 (19991), pp. 151-159

9. Giuseppina La Face Bianconi, Testo e musica: leggere, ascoltare, guardare, «Musica Docta», II, 2012, pp. 31-54

10. Giuseppina La Face Bianconi, Creatività e immagini in due Lieder di Schubert, «Musica Docta», IV, 2014, pp. 57-74

11. Andrea Malvano, Da Mallarmé a Bozzetto: un percorso didattico interdisciplinare sul “Prélude à
l’après-midi d’un faune” di Claude Debussy, «Musica Docta», VIII, 2018, pp. 127-147

(This is the bibliography to points a., c., d. of the ‘Program’. The references for point c. will be indicated at the beginning of the course)

Emotions: definition, biological and social functions, types, regulation, expression and communication. Basic emotions, image, cognitive, social, moral emotions. Their relationships with interpersonal interaction and relations, on the job, in teaching and learning, politics, art, music, entertainment.
In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

Teaching material for the course “Psychology of Emotions and Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.


Teaching material for those who have to give the following exam: “Psychology of Emotions”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Roma, Armando 2008.
C. One text or a set of texts, chosen among the following 13 items:

1. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
2. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
3. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
4. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
5. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
6. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
7. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018

This course provides the students with the study of experiences and skills concerning the basic elements of composition in performing arts: Movement, Space, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.

Foreign students can study Eisenstein, Mauss and Warburg's texts in their native language versions or translations

This course proposes the study of some experiences that arose in the context of postwar Japanese avant-garde and that influenced international dance in the second half of the 20th century by transforming its principles and aesthetics and proposing a new philosophy of the body and movement. Through the observation of Butoh and its origins, the course will analyze the experiences of Japanese dancers who were active as performers and as pedagogues in Europe and the paths of some of their Western students will be observed, identifying the elements of continuity and rupture and highlighting the fruitful aspects of one of the great dance revolutions of the last century.

- Trasform'azioni – rassegna internazionale di danza butō. Fotografia di un'esperienza, a cura di Samantha Marenzi, Editoria & Spettacolo, Roma 2010
- Paola Bianchi, Corpo politico. Distopia del gesto utopia del movimento, a cura di Silvia Bottiroli e Silvia Parlagreco, Editoria & Spettacolo, Spoleto 2014
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).
- Lecture notes by the teacher available on Teams

This course provides the students with the study of experiences and skills concerning the basic elements of composition in performing arts: Movement, Space, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.

Foreign students can study Eisenstein, Mauss and Warburg's texts in their native language versions or translations

This course proposes the study of some experiences that arose in the context of postwar Japanese avant-garde and that influenced international dance in the second half of the 20th century by transforming its principles and aesthetics and proposing a new philosophy of the body and movement. Through the observation of Butoh and its origins, the course will analyze the experiences of Japanese dancers who were active as performers and as pedagogues in Europe and the paths of some of their Western students will be observed, identifying the elements of continuity and rupture and highlighting the fruitful aspects of one of the great dance revolutions of the last century.

- Trasform'azioni – rassegna internazionale di danza butō. Fotografia di un'esperienza, a cura di Samantha Marenzi, Editoria & Spettacolo, Roma 2010
- Paola Bianchi, Corpo politico. Distopia del gesto utopia del movimento, a cura di Silvia Bottiroli e Silvia Parlagreco, Editoria & Spettacolo, Spoleto 2014
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).
- Lecture notes by the teacher available on Teams

Starting with an examination of Stéphane Mallarmé's work in prose and verse, the course proposes a close analysis of the texts, placing these works within their historical-literary context.

Mallarmé, Poesie e prose, tr. A. Guerrini – V. Ramacciotti, Garzanti, 2005
Mallarmé, Poesie, tr. C. De Carolis, Marsilio, 2017
M. Luzi, Studio su Mallarmé, Solfanelli, 2018.

This is an introductive course to sociolinguistics. The epistemological setting of this branch of knowledge will be discussed, and its basic elements and tools will be introduced. Specific attention will be paid to two major sociolinguistic approaches, i.e. correlational and interactional sociolinguistics.

Berruto, G. – M. Cerruti, (2015), Manuale di sociolinguistica, Torino, UTET

Additional material will be provided during the course.

The course teaches the linguistic skills, in written and oral production, necessary to reach a B2 level, with particular attention to those associated with the artistic and multimedia worlds. We will focus on the grammar, syntax and lexicon related to the communicative context of the artistic field and which allow the thorough understanding of texts about cinema, theatre and television.

Peter May, "Compact First. Student's Book with Answers. Second Edition", Cambridge University Press.

Raymond Murphy, "English Grammar in Use. Fifth Edition," Cambridge University Press.

In this course, the impact of technologies and digital media on the worlds of contemporary music will be considered from different theoretical-methodological viewpoints. In the first phase, digital musical cultures as concept and the dynamics of their formation will be focused. First of all reconsidering the transition from analogue to digital in the music both from a historical perspective, through a concise overview on the evolution and transformations of the music industry in the twentieth-century and in the first decades of the new millennium, both in a critical-analytical perspective, trying to understand and interpret these transformations in their repercussions and implications on the music industry as a system, but also on the relationship between music and communication and between music and society. Subsequently, other aspects related to the action of digital technologies on music will be examined in a historical-cultural key, paying attention to the fields of musical listening, musical creation in the field of contemporary art music and of film music.

1. Michael D. Smith – Raul Telang, Streaming, sharing, stealing. I big data e il futuro dell’intrattenimento, Roma, Minimum fax, 2019 [chapters 1, 2, 4, 5-7, 10]

2. Stefano Lombardi Vallauri, “An Index of Metals” di Romitelli/Pachini: un saggio astratto-materico multimediale sulla corruzione, in Worlds of Audiovision, 2012, pp. 1-11
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=79&lang=it

3. Giacomo Albert, Post-music: l’ibridazione delle forme audiovisive nel XXI secolo tra performance e tecnologia, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 55-87

3. Le nuove scritture musicali per il cinema, a cura di Roberto Calabretto e Luca Cossettini, Lucca, LIM, 2022 [contributions by Calabretto, Stopar, Cossettini, Frattini, Giagni, Alberghini, Levine]

Non-attending students will read the entire volumes indicated in points 1 and 4.

Introduction:
• What is music analysis
• History of music analysis
Principal methodologies of music analysis
Exercises of phraseological analysis
Exercises of morphological analysis
Exercises of analysis of thematic derivation

CLEMENS KÜHN, Il linguaggio delle forme nella musica occidentale, Milano, Unicopli, 1987: parte III (Musica e tempo), IV (Elementi strutturali della composizione), V (Melodia) e VI (Forma musicale e opera musicale)
IAN BENT – WILLIAM DRABKIN, Analisi musicale, Torino, EDT, 1990: capitoli I (L’analisi musicale in generale) e IV (La metodologia dell’analisi)

The course aims to analyze the relationships between visual arts, sound and music from the 1960s to the contemporary. With a transversal path, which takes into account the continuity and discontinuity between the historical avant-gardes and the season of the neo-avant-garde, John Cage's "silence" will be analyzed in relation to monochrome, the dematerialization of the work, the happening and the "theatricality" of the Minimalism. Behavioral-performative practices will also be analyzed which have centered their poetics on voice and bodily sounds, also in relation to the use of new technologies, or which have used sound and music in a research scenario that crosses Processual Art , Arte Povera to get to the contemporary. Particular attention will be given to:
- problems of critical definitions to outline the field of interaction and experimentation between sound and image;
- analysis of exhibitions based on the relationship between art and sound;
- presence of sound in immersive installations, with particular attention to the dimension of spectatoriality in the transition from contemplative involvment to participation and multisensory interaction;
- issues related to the sources, Archives and musealization of Sound Art.

1) F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003, pp. 36-221 [PDF scaricabili sul moodle del corso]

2) Flavia De Sanctis Mangelli e Giulia Pedace (a cura di), When Sound Becomes form. Sperimentazioni sonore in Italia 1950-2000, Mandredi Edizioni, Imola 2019

3) Art or sound, catalogo della mostra (Venezia, Fondazione Prada Ca’ Corner della Regina, 7 giugno – 8 novembre 2014), a cura di G. Celant, Fondazione Prada, Milano 2014 [in particolare i saggi: G. Celant, Dal plurilinguismo al multisensoriale; C. Cox, Vedere non è sentire. Sinestesia, anestesia e arte audiovisiva; L. Chessa, Un’orchestra metafisica. Una ricerca sulla ricostruzione degli intonarumori; R. Young, Così brutalmente forzata. La svolta del dopoguerra dalla musica al suono; E. de Visscher, Il silenzio come scultura musicale. John Cage e gli strumenti di 4’33’’; G. Dayal, Musica sperimentale e performance. David Tudor, John Cage e Merce Cunningham; Jo Applin, Rumore ottico. Il suono della scultura negli anni ’60; A. Licht, Il rumore della superficie. Rendere l’arte udibile nel XX Secolo; S. Menegoi, Sound Art? Arti visive e suono al passaggio fra anni ’70 e ’80; H. Rogers, Sinestesia distorta. Il video musicale e le arti visive]

4) P. Fameli, Il corpo risonante. Vocalità e gestualità nel Novecento, Campanotto Editore, Pasian di Prato (UD) 2013, pp. 43-84


Not attending will integrate with an in-depth study to be agreed with the Professor.

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.
Marshall Sahlins, L'economia dell'età della pietra, Milano, elèuthera, 2020.

2. The monographic part includes:
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of media studies and visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education. Specific attention will be paid to: digital storytelling; educational tools; videocriticism practices (videoessay and desktop documentary); social media in educational practices.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

Pier Cesare Rivoltella, Nuovi alfabeti. Educazione e culture nella società post-mediale, Scholé, Brescia, 2020.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

For non-attendance students. One book between:
Chiara Grizzaffi, I film attraverso i film. Dal “testo introvabile” ai video essay, Mimesis, Milano-Udine 2017
or
Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.

FILM AND VIDEOGRAPHY:
feature films: Be Kind Rewind (2007) Michel Gondry; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;

short films, experimental videos, music videos: I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Stereoscope (2008) Chaos Computer Club;

anthology of found footage films: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;

anthology of crito-films: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);

anthology of video-essays: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course will be made up of three sections:

- In the first part the course will present and analyse the principles of scenic composition through the new perspectives opened by the cognitive sciences and the theories of embodied cognition.
- Then, the works and the theories of the great Russians theatre directors of the XX Century will be analysed.
- In the last part the methodologies of scenic composition of the Odin Teatret and the theoretical writings of Eugenio Barba will be studied.

- Gabriele Sofia, “Le acrobazie dello spettatore. Dal teatro alle neuroscienze e ritorno”, Roma, Bulzoni, 2013.

- Angelo Maria Ripellino, “Il trucco e l'anima. I maestri della regia nel teatro russo del Novecento”, Torino, Einaudi Editore, 2002.

- Selection of writings by Eugenio Barba. This document can be requested sending an email to gabriele.sofia@uniroma3.it


FOR NON-ATTENDING STUDENTS

- Vsevolod Mejerchol'd, “Sul teatro. Scritti 1907-1912”, Roma, Dino Audino Editore, 2015.

What can the theatre tell us about an extreme political situation? Theatre dramas say little in the case of a dictatorship. But the influence of history on theatre can make us understand many things. At the centre of the course is the proliferation of theatre magazines that took place around 1925, with Fascism already fully consolidated, but before the real changes decided from above on theatre began. The political situation did, however, influence the theatre, even though, throughout the 1920s, it still showed signs of vitality and a desire for change. The course includes a practical work on daily newspapers and theater magazines.

1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus (oppure: Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (scaricabile gratuitamente on line http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
2) Dossier Teatri nel fascismo, “Teatro e Storia” n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (“Teatro e storia” n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di “Teatro e Storia”, http://www.teatroestoria.it/volumi.php)

The course aims to analyze the relationships between visual arts, sound and music from the 1960s to the contemporary. With a transversal path, which takes into account the continuity and discontinuity between the historical avant-gardes and the season of the neo-avant-garde, John Cage's "silence" will be analyzed in relation to monochrome, the dematerialization of the work, the happening and the "theatricality" of the Minimalism. Behavioral-performative practices will also be analyzed which have centered their poetics on voice and bodily sounds, also in relation to the use of new technologies, or which have used sound and music in a research scenario that crosses Processual Art , Arte Povera to get to the contemporary. Particular attention will be given to:
- problems of critical definitions to outline the field of interaction and experimentation between sound and image;
- analysis of exhibitions based on the relationship between art and sound;
- presence of sound in immersive installations, with particular attention to the dimension of spectatoriality in the transition from contemplative involvment to participation and multisensory interaction;
- issues related to the sources, Archives and musealization of Sound Art.

1) F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003, pp. 36-221 [PDF scaricabili sul moodle del corso]

2) Flavia De Sanctis Mangelli e Giulia Pedace (a cura di), When Sound Becomes form. Sperimentazioni sonore in Italia 1950-2000, Mandredi Edizioni, Imola 2019

3) Art or sound, catalogo della mostra (Venezia, Fondazione Prada Ca’ Corner della Regina, 7 giugno – 8 novembre 2014), a cura di G. Celant, Fondazione Prada, Milano 2014 [in particolare i saggi: G. Celant, Dal plurilinguismo al multisensoriale; C. Cox, Vedere non è sentire. Sinestesia, anestesia e arte audiovisiva; L. Chessa, Un’orchestra metafisica. Una ricerca sulla ricostruzione degli intonarumori; R. Young, Così brutalmente forzata. La svolta del dopoguerra dalla musica al suono; E. de Visscher, Il silenzio come scultura musicale. John Cage e gli strumenti di 4’33’’; G. Dayal, Musica sperimentale e performance. David Tudor, John Cage e Merce Cunningham; Jo Applin, Rumore ottico. Il suono della scultura negli anni ’60; A. Licht, Il rumore della superficie. Rendere l’arte udibile nel XX Secolo; S. Menegoi, Sound Art? Arti visive e suono al passaggio fra anni ’70 e ’80; H. Rogers, Sinestesia distorta. Il video musicale e le arti visive]

4) P. Fameli, Il corpo risonante. Vocalità e gestualità nel Novecento, Campanotto Editore, Pasian di Prato (UD) 2013, pp. 43-84


Not attending will integrate with an in-depth study to be agreed with the Professor.

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.
Marshall Sahlins, L'economia dell'età della pietra, Milano, elèuthera, 2020.

2. The monographic part includes:
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of media studies and visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education. Specific attention will be paid to: digital storytelling; educational tools; videocriticism practices (videoessay and desktop documentary); social media in educational practices.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

Pier Cesare Rivoltella, Nuovi alfabeti. Educazione e culture nella società post-mediale, Scholé, Brescia, 2020.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

For non-attendance students. One book between:
Chiara Grizzaffi, I film attraverso i film. Dal “testo introvabile” ai video essay, Mimesis, Milano-Udine 2017
or
Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.

FILM AND VIDEOGRAPHY:
feature films: Be Kind Rewind (2007) Michel Gondry; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;

short films, experimental videos, music videos: I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Stereoscope (2008) Chaos Computer Club;

anthology of found footage films: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;

anthology of crito-films: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);

anthology of video-essays: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The human voice as a musical instrument
- basic notions of anatomy and physiology of the vocal organ
- breathing techniques for singing
- phonation, emission and management of the sung sound
- voices range classification
- basic criteria and methodologies for voice education, modulation and pitch
- singing and body expression

The Choir
- role of conductor/teacher
- children's cohir, women's choir, men's choir, mixed choir
- school choirs
- didactic objectives and training purposes
- choir as a collective musical instrument
- creation of an inclusive musical environment
- listening and performing
- musical score learning technics
- "a cappella" chorus and accompanied chorus
- choral acoustics
- psychology in musical behaviour and experience
- organization models for choral work

Consultation and direction
- choral repertoires
- choice and adaptation of the repertoire
- rhythmic, melodic and harmonic elements of the score
- music/sung text ratio
- the impromptu processing
- instrumental accompaniment
- elements of musical organology
- choral music and technology tools
- elements of choral conducting technique
- communicative strength of the conducting gesture: technical/concertative, interpretative, poetic nature
- executive practice

Choral singing and conducting practice

Bibliography and handouts will be indicated over the lessons.

The course will be made up of three sections:

- In the first part the course will present and analyse the principles of scenic composition through the new perspectives opened by the cognitive sciences and the theories of embodied cognition.
- Then, the works and the theories of the great Russians theatre directors of the XX Century will be analysed.
- In the last part the methodologies of scenic composition of the Odin Teatret and the theoretical writings of Eugenio Barba will be studied.

- Gabriele Sofia, “Le acrobazie dello spettatore. Dal teatro alle neuroscienze e ritorno”, Roma, Bulzoni, 2013.

- Angelo Maria Ripellino, “Il trucco e l'anima. I maestri della regia nel teatro russo del Novecento”, Torino, Einaudi Editore, 2002.

- Selection of writings by Eugenio Barba. This document can be requested sending an email to gabriele.sofia@uniroma3.it


FOR NON-ATTENDING STUDENTS

- Vsevolod Mejerchol'd, “Sul teatro. Scritti 1907-1912”, Roma, Dino Audino Editore, 2015.

What can the theatre tell us about an extreme political situation? Theatre dramas say little in the case of a dictatorship. But the influence of history on theatre can make us understand many things. At the centre of the course is the proliferation of theatre magazines that took place around 1925, with Fascism already fully consolidated, but before the real changes decided from above on theatre began. The political situation did, however, influence the theatre, even though, throughout the 1920s, it still showed signs of vitality and a desire for change. The course includes a practical work on daily newspapers and theater magazines.

1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus (oppure: Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (scaricabile gratuitamente on line http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
2) Dossier Teatri nel fascismo, “Teatro e Storia” n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (“Teatro e storia” n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di “Teatro e Storia”, http://www.teatroestoria.it/volumi.php)

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000),and the docu-film "Viva Viviani" written and directed by Mario e Stefano Martone, and of unpublished documentary clips.

ATTENDING STUDENTS
(to be considered attending the student can not make more than 2 absences):
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Ettore Petrolini, "Modestia a parte", a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
4) Eventuali materiali a cura del docente (caricati nella sezione “FILE” del corso sulla piattaforma TEAMS)
5) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: "Viva Viviani" di M. e S. Martone [the film will be screened during the lessons; the relative link will be available from 16 April]

NON ATTENDING STUDENTS:
1) Valentina Venturini, Raffaele Viviani. La compagnia, Napoli e l’Europa, Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, Dalla vita alle scene. L’altra biografia (1888-1947), a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Franca Angelini, Teatro e spettacolo nel primo Novecento, Bari-Roma, Laterza, 2009
4) Ettore Petrolini, Modestia a parte, a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
5) FILM: La tavola dei poveri di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: Viva Viviani di M. e S. Martone [the relative link will be available from 16 April]

The course teaches the linguistic skills, in written and oral production, necessary to reach a B2 level, with particular attention to those associated with the artistic and multimedia worlds. We will focus on the grammar, syntax and lexicon related to the communicative context of the artistic field and which allow the thorough understanding of texts about cinema, theatre and television.

Peter May, "Compact First. Student's Book with Answers. Second Edition", Cambridge University Press.

Raymond Murphy, "English Grammar in Use. Fifth Edition," Cambridge University Press.