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Course
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Credits
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Scientific Disciplinary Sector Code
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Contact Hours
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Exercise Hours
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Laboratory Hours
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Personal Study Hours
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Type of Activity
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Language
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20710391 -
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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20710391-1 -
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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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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6
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L-ART/07
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30
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-
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-
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-
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Core compulsory activities
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ITA |
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20710391-2 -
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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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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6
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L-ART/07
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30
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-
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-
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-
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Core compulsory activities
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ITA |
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20710696 -
DIGITAL MUSIC CULTURES
(objectives)
The course aims to provide specific knowledge on digital music cultures, with particular regard to the fields of production, recording, transmission and distribution of music, intended both as an artistic creation, as an object of consumption, and as a media. The course also covers the different historical, sociological, anthropological and economic-commercial aspects that characterize the phenomenology of digital music cultures.
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GIUGGIOLI MATTEO
( syllabus)
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 culture as concept and the dynamics of its 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. Then, 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 technologies and particularly of digital technologies on music will be examined, through the theme of mediatized voice.
( reference books)
1. Jacques Hains, Dal rullo di cera al CD, in Enciclopedia della musica, diretta da Jean-Jacques Nattiez, Torino, Einaudi, vol. 1: Il Novecento, pp. 783-819
2. Réal La Rochelle, Il disco e le multinazionali, in Enciclopedia della musica, diretta da Jean-Jacques Nattiez, Torino, Einaudi, vol. 1: Il Novecento, pp. 820-833
3. Gianni Sibilla, Musica e media digitali. Tecnologie, linguaggi e forme sociali dei suoni, dal walkman all’iPod, Milano, Bompiani, 2010 [capitolo 1: Dall’analogico al digitale: le tecnologie e la rimediazione della musica]
4. La voce mediatizzata, a cura Stefano Lombardi Vallauri e Marida Rizzuti, Milano, Mimesis, 2019
Non-attending students will also read:
Michael D. Smith – Raul Telang, Streaming, sharing, stealing. I big data e il futuro dell’intrattenimento, Roma, Minimum fax, 2019 [l’intero volume]
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6
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L-ART/07
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30
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-
|
-
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-
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Core compulsory activities
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ITA |
Optional group:
Affini e integrative - 6 cfu da scegliere l-art/08, l-art/07, m-ped/03 - (show)
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6
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|
|
|
|
|
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20710406 -
Intercultural Music Education
(objectives)
Awareness of a significant variety of musics of the world coming from different cultures; provide didactic skills to be used in teaching and transmitting such knowledge in an intercultural musical perspective.
Provide tools to analyze the complex soundscapes that characterize our contemporary globalized society, by means of the study of complex compositional processes of the music of oral tradition.
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6
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L-ART/08
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36
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-
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-
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-
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Related or supplementary learning activities
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ITA |
|
20710525 -
Methodology of musical Analysis
(objectives)
The course aims to provide students with the critical and technical skills to analyze scores from different eras, periods and different authors, also with reference to the teaching of musical disciplines in school classes.
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ARFINI MARIA TERESA
( syllabus)
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
( reference books)
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)
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6
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L-ART/07
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30
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-
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-
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-
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Related or supplementary learning activities
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ITA |
|
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Optional group:
AFFINI E INTEGRATIVE percorso MUSICA - (show)
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12
|
|
|
|
|
|
|
|
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20710394 -
Visual Arts and Music in the XX Century
(objectives)
The course aims to analyze the relationships between visual arts and musical research in the second half of 20th century. The goal is to intersect different planes to outline a variously branching scenario of the interaction between image and sound, artistic expression and musical creation in the contemporary era. The analysis focuses on research, moments of contact (also at the level of circulation of information and places of theoretical debate), influences, parallel creations and linguistic overlaps that involve the circuits of avant-garde culture and mass cultural phenomena on both sides of the Atlantic.
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CONTE LARA
( syllabus)
The relationship between visual arts, sound and music crosses the modernity and configure a space for linguistic experimentation that the definition of Sound Art only partially describes. Starting from John Cage's experimentation and aesthetic revolution, which broadened the horizon of music to sound-noise, the course intends to analyze moments of collaboration between visual artists and musicians on both sides of the Atlantic with experiences that define the new horizons of the performative, between Happening, Environment and Fluxus, in an expanding network of international relations that gradually becomes global. Specifically, 1) behavioral-performative practices that have focused their poetics on the voice and on bodily sounds will be analysed, also in relation to the use of new technologies or as a possibility of identity self-affirmation; 2) environmental installations that used sound and music in a research scenario that crosses Process Art, Arte Povera to arrive at the contemporary in relation to the ecological question and the environmental crisis.
( reference books)
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) F. De Sanctis Mangelli e G. 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; J. 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.
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6
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L-ART/03
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36
|
-
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-
|
-
|
Related or supplementary learning activities
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ITA |
|
20711402 -
Film, Media and the Aesthetics of Landscape
(objectives)
Aim of the class is to investigate the ways in which film, and audiovisual narratives at large, produce an experience of landscape (urban, rural, natural). The discussion will adopt a historical and intermedia perspective, in order to connect the discourse on film to the fields of painting, photography and, last but not least, cartography. The involvement of other critical categories crucial to the debate on spatiality (territory, environment, atmosphere), the class will focus on the relationship between spatial perception and spectatorship.
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6
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L-ART/06
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36
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-
|
-
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-
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Related or supplementary learning activities
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ITA |
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20710400 -
DIDATTICA DEL CINEMA E DELL'AUDIOVISIVO 1
(objectives)
The class is focused on educational methodologies, technologies and strategies for film and audiovisuals. In particular, it aims at integrating knowledge about the specificities of audiovisual language and the use of digital technologies in teaching.
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Derived from
20710400 DIDATTICA DEL CINEMA E DELL'AUDIOVISIVO 1 in Cinema, televisione e produzione multimediale LM-65 UGENTI ELIO
( syllabus)
The course aims to problematize the teaching of cinema and audiovisual disciplines within the broader context of media education, both from a theoretical-methodological and operational perspective. Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in educational settings, the first part of the course will focus on the presence and function of media in pedagogical practice, both as objects of study (media and film language education) and as support for teaching in numerous different disciplines (education through media), with particular attention to audiovisual media.
In the second part of the course, media education will be in dialogue with some of the most recent developments in media theory and image theory. Building upon this dialogue, possible strategies for the use of media and images in learning environments will be analyzed.
Specific focuses will be dedicated to the following topics: the use of web documentaries, desktop cinema, and social media in learning contexts; the function of virtual museums for teaching art history; digital storytelling as a tool for education; and the development of a literacy project on cinema and audiovisual media in schools.
( reference books)
Exam Bibliograhy:
- Pier Cesare Rivoltella, "Media Education. Idea, metodo, ricerca", ELS La Scuola, Brescia 2017
- Kresimir Purgar, Luca Vargiu (a cura di), "Studiare le immagini. Teorie, concetti, metodi", Carocci, Roma 2023
- Lecture notes edited by the teacher
Recommended Books:
- Pier Cesare Rivoltella, "Che cos'è un EAS. L'idea, il metodo, la didattica", Scholé, Brescia 2021
- Cristina Maurelli, "Video partecipativo. Fare cinema come strumento educativo: il metodo PVCODE", Dino Audino, Roma 2019
- Nicoletta Di Blas, "Storytelling digitale a scuola", Milano 2019
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6
|
L-ART/06
|
36
|
-
|
-
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-
|
Related or supplementary learning activities
|
ITA |
|
20710405 -
DIDATTICA DEL CINEMA E DELL'AUDIOVISIVO 2
(objectives)
The course reflects on the methodologies and strategies to be adopted in the teaching of film, as well as on the pedagogical advantages of audiovisual literacy.
-
Derived from
20710405 DIDATTICA DEL CINEMA E DELL'AUDIOVISIVO 2 in Cinema, televisione e produzione multimediale LM-65 RAVESI GIACOMO
( syllabus)
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.
( reference books)
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 “4 Appunti” of Via G. Chiabrera, 174.
For non-attendance students:
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.
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6
|
L-ART/06
|
36
|
-
|
-
|
-
|
Related or supplementary learning activities
|
ITA |
|
|
Optional group:
ATTIVITA A SCELTA percorso MUSICA - (show)
|
12
|
|
|
|
|
|
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|
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20710414 -
ATTIVITA' ESTERNA PROPOSTA DALL'ATENEO 2
(objectives)
The activity aims to provide students with the opportunity to broaden the horizon of their theoretical and practical knowledge in the entertainment sectors by comparing them with external institutions and institutions with a high cultural profile. The activity includes the organization of seminars, meetings and laboratories, with mandatory attendance and with the participation of eminent personalities active in the field of performative and audiovisual arts.
The conformity of the contents and the educational objectives of the proposed external activities and the adequacy of the institutional and professional profiles of the bodies and subjects involved are established by the Dams Didactic Commission, subject to specific evaluation of the individual projects.
The number of hours of attendance required by the activity cannot be less than 15 and the number of scheduled meetings cannot be less than 5.
|
3
|
|
18
|
-
|
-
|
-
|
Elective activities
|
ITA |
|
20710394 -
Visual Arts and Music in the XX Century
(objectives)
The course aims to analyze the relationships between visual arts and musical research in the second half of 20th century. The goal is to intersect different planes to outline a variously branching scenario of the interaction between image and sound, artistic expression and musical creation in the contemporary era. The analysis focuses on research, moments of contact (also at the level of circulation of information and places of theoretical debate), influences, parallel creations and linguistic overlaps that involve the circuits of avant-garde culture and mass cultural phenomena on both sides of the Atlantic.
-
Derived from
20710394 ARTE E MUSICA NEL XX SECOLO in DAMS Teatro, musica, danza LM-65 CONTE LARA
( syllabus)
The relationship between visual arts, sound and music crosses the modernity and configure a space for linguistic experimentation that the definition of Sound Art only partially describes. Starting from John Cage's experimentation and aesthetic revolution, which broadened the horizon of music to sound-noise, the course intends to analyze moments of collaboration between visual artists and musicians on both sides of the Atlantic with experiences that define the new horizons of the performative, between Happening, Environment and Fluxus, in an expanding network of international relations that gradually becomes global. Specifically, 1) behavioral-performative practices that have focused their poetics on the voice and on bodily sounds will be analysed, also in relation to the use of new technologies or as a possibility of identity self-affirmation; 2) environmental installations that used sound and music in a research scenario that crosses Process Art, Arte Povera to arrive at the contemporary in relation to the ecological question and the environmental crisis.
( reference books)
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) F. De Sanctis Mangelli e G. 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; J. 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.
|
6
|
L-ART/03
|
36
|
-
|
-
|
-
|
Elective activities
|
ITA |
|
20710385 -
ANTROPOLOGIA DELLE RAPPRESENTAZIONI E DELLE PERFORMANCE CULTURALI
(objectives)
Educational goals of the course
The course is intended as an introduction to anthropology as cultural critique, specifically aimed at forming a figure of anthropologist regarded as “intellectual” capable of analysing, interpreting and comparing different cultural cases and systems.
The objectives of the course are:
– to develop in the student an awareness of “otherness”;
– to critically examines ideas about cultural differences and images of “otherness”;
to develop in the student a capacity to recognize preconceptions and assumptions of their own social and cultural environments.
This kind of knowledge is today particularly important, even necessary in order to understand the changes we’re all experiencing, and educate the future generations to live together the Others and recognize that they are an essential resource, but also to offer the means useful to the practice of everyday life and to every kind of job, especially for the teachers of any level of the educational system.
Knowledge and skills in the field of anthropology and cultural anthropology are extremely useful for the practice of teaching at any level of the education system, because they enhance the awareness of students’ personal stories and identities, of their peculiarities, and family backgrounds; at the same time, they help the teacher to abstain form any kind of social and cultural labelling.
|
6
|
M-DEA/01
|
36
|
-
|
-
|
-
|
Elective activities
|
ITA |
|
20710400 -
DIDATTICA DEL CINEMA E DELL'AUDIOVISIVO 1
(objectives)
The class is focused on educational methodologies, technologies and strategies for film and audiovisuals. In particular, it aims at integrating knowledge about the specificities of audiovisual language and the use of digital technologies in teaching.
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Derived from
20710400 DIDATTICA DEL CINEMA E DELL'AUDIOVISIVO 1 in Cinema, televisione e produzione multimediale LM-65 UGENTI ELIO
( syllabus)
The course aims to problematize the teaching of cinema and audiovisual disciplines within the broader context of media education, both from a theoretical-methodological and operational perspective. Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in educational settings, the first part of the course will focus on the presence and function of media in pedagogical practice, both as objects of study (media and film language education) and as support for teaching in numerous different disciplines (education through media), with particular attention to audiovisual media.
In the second part of the course, media education will be in dialogue with some of the most recent developments in media theory and image theory. Building upon this dialogue, possible strategies for the use of media and images in learning environments will be analyzed.
Specific focuses will be dedicated to the following topics: the use of web documentaries, desktop cinema, and social media in learning contexts; the function of virtual museums for teaching art history; digital storytelling as a tool for education; and the development of a literacy project on cinema and audiovisual media in schools.
( reference books)
Exam Bibliograhy:
- Pier Cesare Rivoltella, "Media Education. Idea, metodo, ricerca", ELS La Scuola, Brescia 2017
- Kresimir Purgar, Luca Vargiu (a cura di), "Studiare le immagini. Teorie, concetti, metodi", Carocci, Roma 2023
- Lecture notes edited by the teacher
Recommended Books:
- Pier Cesare Rivoltella, "Che cos'è un EAS. L'idea, il metodo, la didattica", Scholé, Brescia 2021
- Cristina Maurelli, "Video partecipativo. Fare cinema come strumento educativo: il metodo PVCODE", Dino Audino, Roma 2019
- Nicoletta Di Blas, "Storytelling digitale a scuola", Milano 2019
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6
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L-ART/06
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30
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Elective activities
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ITA |
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20710405 -
DIDATTICA DEL CINEMA E DELL'AUDIOVISIVO 2
(objectives)
The course reflects on the methodologies and strategies to be adopted in the teaching of film, as well as on the pedagogical advantages of audiovisual literacy.
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Derived from
20710405 DIDATTICA DEL CINEMA E DELL'AUDIOVISIVO 2 in Cinema, televisione e produzione multimediale LM-65 RAVESI GIACOMO
( syllabus)
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.
( reference books)
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 “4 Appunti” of Via G. Chiabrera, 174.
For non-attendance students:
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.
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6
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L-ART/06
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30
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Elective activities
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ITA |
20709722 -
Theatre and dance iconography
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Derived from
20709722 ICONOGRAFIA DEL TEATRO E DELLA DANZA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 GUARINO RAIMONDO
( syllabus)
Bodies/Media: Techniques and Visions.
The course deals with groundbreaking texts (Benjamin, Warburg) and meaningful case studies (about foto,film and dance), introducing the students to the cultural interpretation of thr interplay between the cultures of physical action and the production of images.
( reference books)
Walter Benjamin, L'opera d'arte nell'epoc della sua riproducibilità tecnica, a c. di F. Desideri, Feltrinelli. ANY EDITION OF The work of art in the age of mechanical reproduction
Samantha Marenzi, Immagini di danza. fotografia e arte del movimento nel primo Novecento, Editoria e Spettacolo.
Aby Warburg, Botticelli, Abscondita.
La scena dell'immagine, a c. di S.Geraci, R. Guarino, S. Marenzi, Officina edizioni (download in pdf)
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6
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L-ART/05
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36
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Elective activities
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ITA |
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20702648 -
HISTORY OF MUSIC
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6
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36
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Elective activities
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ITA |
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Optional group:
ATTIVITA' ALTRE percorso MUSICA - (show)
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6
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20710417 -
TIROCINIO FORMATIVO
(objectives)
The cours aims to present the main theoretical and methodological perspectives of the didactics of history of music, also with reference to the main themes of the history of dance. It also aims to provide students with a specific competence for the future teaching of the history of music in secondary schools.
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6
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Other activities
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ITA |
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20711639 -
laboratorio di danza contemporanea
(objectives)
The workshop aims to introduce the participants to the contemporary dance practices. Participants will experience the expressive potential of their own bodies and will explore the relationship with the space and the performative skills of action and movement.
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CRISTIANI ALESSANDRA
( syllabus)
Alessandra Cristiani
A performative alphabet. Bodily practices and methodologies between East and West: Ephesian Technique, White Butō, Non-ordinary Movement.
Practical proposal is open to all students and professionals ones, who desire to deepen and explore their body language and who are looking for new creative impulses. Different methodologies derive from some familiar working materials learned by historical avant-garde figures of Ankoku , butō in the research field of Steiner Eurythmy and about Seitai discipline. The artistic figures of the following dancers will be introduced from a theoretical and practical point of view: Masaki Iwana for the White Butō, a response to the dance of darkness of Tatsumi Hijikata; Akira Kasai and his Ephesus Technique, a more personal aspect of Rudolf Steiner's Eurythmy and the dancer Yoko Muronoi and her non-ordinary Movement. It is a dance declination of Seitai exercises, a Japanese health practice concerned with spontaneous and regenerating movement of the body. These performative pedagogies can trace a path of awareness for participants, which stimulates their perceptive faculties and draws on the organic mechanisms of human nature, on the primary aspects of corporeal materiality. An alchemy of creative techniques made up of echoes, assonances, contrasts will allow us to cross the various exercise and dance proposals, suggesting and encouraging participants to rely more and more on their most ineffable resources by exploring a possible poetic register of the action nourished and relaunched by an essential source: the invisible, the mysterious, the unknown. Every day meetings will begin with a deep rooting in the body activated with precise breathing techniques to introduce a stretching of meridians, a health practice which awakens and engages the most internal energetic stratifications to bring them back to the surface. Gradually the movement will grow more and more organically in the space and in accordance with the possibilities of each participant. At the beginning the spine and joints will be moved very carefully thanks to the White Butō training methodology, then we will arrive at the dynamics in space proposed by the forms of Eurythmy. Space becomes volume, place and phenomenon. In a full self-presence a work on the voice can be introduced about the vocalization of vowels and some consonants. Ephesus Technique is the experience of a bodily state, its internal activation and its release into the surrounding space, as if by a sort of echo, thanks to a particular emission of sound. The next step will be some vocal formulas: the mantras especially that of the vowel A and that of the consonant L which act respectively on the expansion of a vitality from an inside to an outside and on the spread of energy from the center to the periphery of the body and vice versa. Forms, Mantras, Ephesus Technique, these are interesting equivalences of the bodily states investigated by the creative strategy of the White Butō. The dance exercises such as: Pollen, Fog, Giacometti, Rainbow, Withering, Blooming, a leaf of lotus, Needles and further evolutions such as Medusa, With the corner of the eye, Animal from the back, Coral...translate some bodily attitudes of the human being into a language linked to phenomena in Nature. Partecipants, relating to the organic mechanisms that put them into action, they have to be- from the begining- engaged in a deep dialogue with their own personal imagination, and with a precious and mysterious bodily antenna. You are an author from your first steps. It is important to recognize one’s own body as an inexhaustible creative source. It is in its skeletal, in muscular structures, in the aspect of liquids and masses that life experiences in the past, present and future time, settle themselves in the body and cause of this they can be translated poetically for the scene. This bodily aspect is the key of an important methodology of images, which has its focus in the use of Haiku, short poetic compositions, which become essential tools for digging into the invisible, intuitive resources of the performer. From this point of view, the dancer Yoko Muronoi stated that the true creative source belongs to the organs, the bones and it is not necessary to access them in a direct way. She developed, in her short life, a series of exercises taken from Seitai, which map further roots of the movement: mobile focuses, fixed focuses, the space between the joints. Breathing and the techniques to contact its elusive nature, are the perceptive tool around which discovering a lost body, an absent body for a future dance. This program will not be offered in a schematic way, but in response to the sensibility and performative attitude of every body involved in the working process. In this adventure the body can receive a sort of alphabet, he can awake a lot of impressions, sensations, emotions, desires, memories. People can experience their own dimensions of the body, time and space and share them with others. At the end of the workshop there will be an open day.
As an alternative to the practical part, the performative issues will be treated theoretically through the extrapolation of some key points in work notebooks and in the following texts:
Handouts by the teacher
Akira Kasai. A book called body, edited by Maria Pia D'Orazi, Artdigiland
Itsuo Itsuda, The dialogue of silence, School of breathing, Luni editor
Itsuo Itsuda, Not doing, School of breathing, Luni publishing house
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6
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L-ART/05
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36
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Other activities
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ITA |
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20710584 -
Workshop of Choir Conducting
(objectives)
The workshop intends to encourage the acquisition of skills for the organization and direction of choral activities aimed at school pupils, with particular reference to first level secondary education institutions. A further objective is to develop, also in improvisational terms and for didactic purposes, the capacity for concertation and choral elaboration of pieces taken from different repertoires (classic, jazz, popular).
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TONSINI MASSIMILIANO
( syllabus)
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
( reference books)
Bibliography and handouts will be indicated over the lessons.
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6
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L-ART/07
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36
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-
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Other activities
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ITA |
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Optional group:
CARATTERIZZANTI percorso MUSICA - DISCIPLINE DELLO SPETTACOLO, DELLA MUSICA E DELLA COSTRUZIONE SPAZIALE (L-ART/05) - (show)
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6
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20705086 -
Problems of Historiography of the play
(objectives)
To provide tools to face the study of the main problems posed by theatrical historiography, by tackling the theatrical cultures from time to time examined in relation to their historical context, to the operating modes that they have produced and the traditions that they have created.
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Derived from
20705086 PROBLEMI DI STORIOGRAFIA DELLO SPETTACOLO in DAMS Teatro, musica, danza LM-65 VENTURINI VALENTINA
( syllabus)
PROBLEMS OF HISTORIOGRAPHY OF THE PLAY
a.a. 2020-2021
Art Theater of Naples. Viviani between Naples and Europe
(L-ART/05) 6 credits; master’s degree
Professor: Valentina Venturini
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.
( reference books)
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
6) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) "Viva Viviani" di M. e S. Martone [vimeo.com/nephilafilm/vivaviviani; password: VIVIANIVIVA]
[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].
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
6) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM "Viva Viviani" di M. e S. Martone [vimeo.com/nephilafilm/vivaviviani; password: VIVIANIVIVA]
[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].
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6
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L-ART/05
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36
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Core compulsory activities
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ITA |
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20705084 -
THEATRICAL CULTURE AND LITERARY CULTURE
(objectives)
The course offers an analysis of the interrelations between stage and book, actors and writers, literary and theatrical composition practices, and of ways of observing the connections between theatre and literature.
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Derived from
20705084 CULTURA TEATRALE E CULTURA LETTERARIA in DAMS Teatro, musica, danza LM-65 DI TIZIO RAFFAELLA
( syllabus)
The course will investigate the plurality of the idea of directing in Italy between the 1930s and the second half of the 20th century, looking in particular at debates on the pre-eminence of dramatic text or performance. The practices and theories of some of the leading directors of the time will be observed. An in-depth analysis will be dedicated to Bertolt Brecht's Threepenny Opera and its Italian reception.
( reference books)
Claudio Meldolesi, Fondamenti del teatro italiano. La generazione dei registi, Rome, Bulzoni, 2008 (1984).
Pleas note: Given its limited availability, the text is replaced by:
Claudio Meldolesi, Fra Totò e Gadda : sei invenzioni sprecate dal teatro italiano, Roma, Bulzoni, 1987, soon to be reprinted by Cue Press,.
Raffaella Di Tizio, L’opera dello straccione di Vito Pandolfi e il mito di Brecht nell’Italia fascista, Roma, Aracne, 2018.
Bertolt Brecht, L’opera da tre soldi, Torino, Einaudi, 2002.
Handouts.
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6
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L-ART/05
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36
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Core compulsory activities
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ITA |
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20710390 -
SOCIOLOGIA DELLA MUSICA
(objectives)
The course deals with the relationship between music and society in the following twofold aspects: a) “music as agency” in everyday life; b) the social construction of the carriers of musical texts and musicians. The first part of the course will provide to the students the analytical tools for understanding how and to what extent the music can contribute to construct the social meanings of experience, time and space. The second part will address and problematize the notion of musical genius, by showing its social aspects.
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TOTA ANNA LISA
( syllabus)
The course deals with the relationship between music and society focusing on the following twofold aspects: a) “music as agency” in everyday life; b) the social construction of the carriers of musical texts and musicians. The teaching is divided into four parts, each of which will focus on different dimensions of music. The first part will provide to the students the analytical tools for understanding how and to what extent the music can contribute to construct the social meanings of experience, time and space. In everyday life music can function as technology of memory, emotions, cognition, constructing for the listeners frames, within which they are asked to experience their life. There are songs that contributed to defend human rights, others that became symbols of an epoch, historically and/or politically. Particular emphasis is placed on the study of the relations between music and individual memories, music and collective memories (e.g., in relation to social movements), and music and cultural traumas of a community. The second part will address and problematize the notion of musical genius, by showing its social aspects. It will focus on the relations among genius, ethnicity, gender and social class. The third part will focus on the impact of music on educational processes, documenting how and to what extent music is a fundamental resource in educational settings. The fourth part deals with the social transformation of music production and reception in the age of digital platforms and it analyses the emerging processes of potential colonization and creolization of the sound imagery and soundscape.
( reference books)
LaBelle, Brandon (2018), Sonic Agency. Sound and Emergent Forms of Resistance, Goldsmiths, London
AND the following texts:
1) Anna Lisa Tota (2001), When Orff meets Guiness: music in advertising as a form of cultural hybrid, «Poetics. Journal of Empirical Research on Literature, the Media and the Arts», vol. 29, pp. 109-123.
2) Pinan Güran and Tia DeNora (2016), Remembering through music: Turkish diasporic identities in Berlin, in Anna Lisa Tota and Trever Hagen (Eds.), Routledge International Handbook of Memory Studies, London, Routledge, pp. 233-246.
3) Tia DeNora (1999), Music as a Technology of the Self, «Poetics. Journal of Empirical Research on Literature, the Media and the Arts», vol. 27, pp. 31-56.
4) Howard Becker (2013), American Popolar Song, in Sara Towe Horsfall, Jan-Martijn Meij, Meghan D. Probstfield (eds.) Music Sociology. Examining the Role of Music in Social Life, London, Routledge, pp. 19-29.
5) William G. Roy and Timothy J. Dowd (2013), What is Sociological about Music? in Sara Towe Horsfall, Jan-Martijn Meij, Meghan D. Probstfield (eds.) Music Sociology. Examining the Role of Music in Social Life, London, Routledge, pp.36-50.
6) Luis Velasco-Pufleau (2021), Listening to Terror Soundscapes. Sounds, Echoes, and Silences in Listening Experiences of Survivors of the Bataclan Terrorist Attack in Paris, «Conflict and Society: Advances in Research», vol. 7, pp. 60–77.
7) TiaDeNora, Wolfgang Schmid, Fraser Simpson and Gary Ansdell (2022) “Late” Musical Learning. What is it, Why, and for Whom, «Scuola Democratica», Special issue Arting Education. Reinventing Citizens of the Future, guest editors Anna Lisa Tota and Antonietta De Feo, vol. 2, pp. 239-260.
8) Arts as Agency. The potential of the Arts in Educational Settings, «Scuola Democratica», Special issue on Arting Education. Reinventing Citizens of the Future, guest editors Anna Lisa Tota and Antonietta De Feo, vol. 2, pp. 225-238.
9) Jan Marontate, Megan Robertson, and Nathan Clarkson, Soundscapes as commemoration and imagination of the acoustic past, in Anna Lisa Tota and Trever Hagen (Eds.), Routledge International Handbook of Memory Studies, London, Routledge, pp. 519-532.
The articles (from 1 to 9) will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (see the professor's webpage and Moodle platform).
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6
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SPS/08
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30
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Core compulsory activities
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ITA |
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Optional group:
Abilità linguistiche obbligatorie - (show)
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3
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20711196 -
ABILITA' LINGUISTICHE (INGLESE)
(objectives)
The course aims to provide knowledge of the English language in written and oral form (level B2), with reference to the disciplinary lexicons
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BALESTRINO ALICE
( syllabus)
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.
( reference books)
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.
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3
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30
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Other activities
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ITA |
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20711416 -
CLA Spanish B2
(objectives)
To enable the student to use fluently, in written and oral form, SPANISH language in addition to Italian, with reference also to disciplinary lexicons.
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3
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-
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-
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Other activities
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ITA |
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20711417 -
CLA German B2
(objectives)
To enable the student to use fluently, in written and oral form, GERMAN language, in addition to Italian, with reference also to disciplinary lexicons.
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3
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-
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-
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-
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Other activities
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ITA |
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20711415 -
CLA French B2
(objectives)
To enable the student to use fluently, in written and oral form, FRENCH language , in addition to Italian, with reference also to disciplinary lexicons.
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3
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-
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-
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-
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Other activities
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ITA |
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20711414 -
CLA English B2
(objectives)
To enable the student to use fluently, in written and oral form, ENGLISH language , in addition to Italian, with reference also to disciplinary lexicons.
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3
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Other activities
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ITA |
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Università Roma Tre