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)

- 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;
T. Bonini, M. Perrotta, Che cos'è il podcast, Roma, Carocci, 2023;

più 3 tra questi 4 saggi:

- 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

- T. Bonini, E. Treré, F. Murtula, “Resistenza e solidarietà algoritmica nelle piattaforme digitali Un’indagine etnografica dei gruppi di engagement su Instagram”, Studi Culturali, XIX, 2, pp. 177-206, 2022

- M. Perrotta, From Niche to Mainstream. The emergence of a podcasting culture and market in the Italian radio context. In "The Routledge Companion to Radio and Podcast Studies", edited by Mia Lindberg and Jason Loviglio, London, Routledge, pp.418-428.

- N. Bilchi, Cinema e videogame. Narrazioni, estetiche, ibridazioni, Milano, Unicopli, 2019 (EXTRACT)
All materials will be distributed during class.

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. 150).

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;
T. Bonini, M. Perrotta, Che cos'è il podcast, Roma, Carocci, 2023;

più 3 tra questi 4 saggi:

- 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

- T. Bonini, E. Treré, F. Murtula, “Resistenza e solidarietà algoritmica nelle piattaforme digitali Un’indagine etnografica dei gruppi di engagement su Instagram”, Studi Culturali, XIX, 2, pp. 177-206, 2022

- M. Perrotta, From Niche to Mainstream. The emergence of a podcasting culture and market in the Italian radio context. In "The Routledge Companion to Radio and Podcast Studies", edited by Mia Lindberg and Jason Loviglio, London, Routledge, pp.418-428.

- N. Bilchi, Cinema e videogame. Narrazioni, estetiche, ibridazioni, Milano, Unicopli, 2019 (EXTRACT)
All materials will be distributed during class.

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. 150).

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.

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.
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

2. The monographic part includes:
Stefano De Matteis, Gli sciamani non ci salveranno.

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.

Stefano De Matteis, Gli sciamani non ci salveranno.

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). In order to do so, the course will adopt a diachronic and transnational approach, ranging from the silent era to today. The reflection about the technological metamorphoses of the cinematic medium (for example, the introduction of color photography or that of widescreen formats) will be intertwined with an intermedia perspective, connecting the discourse on film to the fields of painting, photography and cartography. Through the involvement of other critical categories crucial to the debate on spatiality (territory, environment, atmosphere), the class will reflect on the relationship between spatial perception and subjectivity, and on the complex layering of the spectatorial experience. Aesthetical observations will also be complemented by cultural, historical and political ones, analyzing landscape in connection with such phenomena as migration and climate change.

The syllabus with the final course program will be made available around the start of the course itself.

Collection of essays selected by the professor.

Particularly focusing on the Fifteens and the Sixties, the course analyses Italian ethnographic documentary cinema and its most relevant directors. The second part of the class centers upon Cecilia Mangini’s films, also investigating her relationship with documentary and fiction cinema of that period and, more generally, the cultural production and the socio-cultural context of those years.

Required bibliography:
– Mattia Cinquegrani, Il cinema di Cecilia Mangini, Venezia, Marsilio, 2024.
– Selection of essays edited by the teacher (2 pdf files available on teacher's Moodle platform)

Required filmography:
Short-film
– Sioux Ghost Dance (William K.L. Dickson, 1894)
– Matrimonio abissino (Roberto Omegna, 1908)
– Matera (Romolo Marcellini, 1951)
– Trance and Dance in Bali (Margaret Mead, Gregory Bateson, 1952)
– La terra nuova (Francesco De Feo, 1952)
– Lamento funebre (Michele Gandin, 1953)
– Magia lucana (Luigi Di Gianni, 1958)
– Nascita e morte nel Meridione (Luigi Di Gianni, 1958)
– Ignoti alla città (Cecilia Mangini, 1958)
– La passione del grano (Lino Del Fra, 1960)
– L'inceppata (Lino Del Fra, 1960)
– Stendalì (Suonano ancora) (Cecilia Mangini, 1960)
– Maria e i giorni (Cecilia Mangini, 1960)
– La canta della marane (Cecilia Mangini, 1960)
– Divino Amore (Cecilia Mangini, 1960)
– La taranta (Gianfranco Mingozzi, 1961)
– Il male di San Donato (Luigi Di Gianni, 1965)

Full-lenght film:
– Siliva Zulu (Attilio Gatti, 1927)
– Man of Aran (L'uomo di Aran, Robert J. Flaherty, 1934)
– Domani vincerò (Cecilia Mangini, 1969)

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). In order to do so, the course will adopt a diachronic and transnational approach, ranging from the silent era to today. The reflection about the technological metamorphoses of the cinematic medium (for example, the introduction of color photography or that of widescreen formats) will be intertwined with an intermedia perspective, connecting the discourse on film to the fields of painting, photography and cartography. Through the involvement of other critical categories crucial to the debate on spatiality (territory, environment, atmosphere), the class will reflect on the relationship between spatial perception and subjectivity, and on the complex layering of the spectatorial experience. Aesthetical observations will also be complemented by cultural, historical and political ones, analyzing landscape in connection with such phenomena as migration and climate change.

The syllabus with the final course program will be made available around the start of the course itself.

Collection of essays selected by 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.
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

2. The monographic part includes:
Stefano De Matteis, Gli sciamani non ci salveranno.

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 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.

We will try to explore the limits and opportunities of new forms of theater criticism (from daily newspapers and periodicals to those provided by new technologies, as well as radio and TV). For all these forms, in addition to the first-hand practice by the students, the participation of experts practicing all the different forms of criticism cannot be excluded.
Shows scheduled in Rome in the same period will be recommended (the theaters will be asked for a reduced ticket for the students of this laboratory), and artists may be invited to compare themselves with. Each student will have to expose the instrumentation and potential at their disposal, and will have to put their experience and goals to good use in the tests that will be woven into the exercises. Including the comparison between themselves and with the teacher, and with the critical heritage gradually provided by the information and in-depth bodies.

The in-depth texts will be indicated by the teacher during the lessons.

The course will offer some useful tools to plan inclusive and interdisciplinary music activities.
In the perspective of school inclusion, the course will deal with the organization of inclusive teaching as a fundamental variable to guarantee the quality of processes and equity in the school.
Specifically, the theoretical-applicative principles that underlie the most effective organizational-didactic models will be proposed, with reference to the role of the teacher as the main factor of effective teaching.
Starting from a reflection about the aims of the discipline, we will analyze the most known and significant models of organization of inclusive teaching in formal education contexts with attention to the individualization and personalization models of the teaching, also in relation to the recent contribution provided by the 'evidence-based-education.
In this context, as well as in the light of the results of neuroscience, the potential of music as a methodological facilitator for the promotion of learning and participation of all students, in particular students with disabilities and with Specific Learning Disorders (DSA) will be analyzed .

The essential teaching contents are the following:
- the values, the theoretical-applicative principles and the concepts that are the basis of inclusive teaching;
- the characteristics of students with special educational needs;
- the theoretical principles of music for inclusion;
- the methods for designing an inclusive lesson based on musical experience: methodologies, tools, methods of assess and evaluation;
- the role of the musician teacher as facilitator for inclusion.

- Rizzo A. L. (2021). Giochi musicali e disturbi dell'apprendimento. Roma: Carocci.
-Rizzo A., Lietti M. T. (2013). Musica e DSA. La didattica inclusiva dalla scuola dell'infanzia al conservatorio. Milano: Rugginenti.
-Miur (2012). Nuove indicazioni nazionali per il curricolo della scuola dell'infanzia e del I ciclo di istruzione.

Songs have a central role in contemporary culture. Italy, in particular, owns a tradition ranging from Neapolitan Song (one of the first accomplished repertoires of Popular Music) to “canzone d’autore”, which from the ‘60s onwards, when the first “cantautori” (“singer-songwriters”) appeared, has transformed the language of a genre basically forged in the first decades of the 20th century and “re-invented” after World War II with the Sanremo Festival.
The course will investigate form and content of Italian song all along its history, first of all clarifying what we mean today when we speak of “songs” within the context of mass media and popular music studies, as the word “song” can refer to countless forms of artistic expression. The aim is mainly to show how big the teaching potential songs have, starting with their controversial relationship with poetry, to probe how they mirror and stimulate social change, to analyse the discursive network they generate and to verify their value as historical documents. We will not neglect, of course, neither the interaction of songs with other forms of art, especially with graphics and images, nor the role of music industry with its commercial strategies. Great attention will be given to the relationship of Italian song with the repertoires of Italian vernacular songs, which run parallel to it, and with rock and folk music, exploring the different performance practices, vocal styles and the ways arrangements and orchestrations are thought out.
As Italian song has always lived within a dense texture of interaction with the repertoires of other countries, notably France and the United States, we will meet those performers, those songwriters and those contexts that influenced it, soliciting its renewal especially with the “cantautori” of the ‘60s and ‘70s. The “canzone d’autore”, so, is going to be the core of the course, being aware that never as in that period Italian songs succeeded in conquering a space in the public sphere, a political relevance and a musical originality not to be achieved later, when the mass success of some “cantautori” reduced its liberating force and extinguished its innovative drive. It was in the ‘60s and the ‘70s, in fact, that youth culture burst out in Italy and adopted rock and “canzone d’autore” as tools to build a collective subjectivity, meant to affect the fate of a nation in a moment of deep mutation and strong social tension.

1) Marco Santoro, Effetto Tenco, Il Mulino 2010.
2) Gianni Borgna, Storia della canzone italiana, Mondadori 1992 (oppure, in alternativa, voce enciclopedica Treccani on line "La canzone d'autore in Italia" di Roberto Vecchioni e voce enciclopedica on line Treccani "Canzone, nazione, regione", di Marco Santoro, più un libro a scelta dalla bibliografia di riferimento).

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 deepen some paths in U.S. music in the second half of the 20th century, without neglecting some pioneering figures such as Charles Ives, Henry Cowell or Conlon Nancarrow.

ELVIDIO SURIAN, Manuale di Storia della Musica, Vol. IV (Il Novecento), Milano, Rugginenti, 2002 integrated with Musica e società, 3: dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri, Lucca, LIM, 2016, only cap. 12; the non-musically literate will avoid the study of the more technical sections of these manuals, replacing it with GIACOMO FRONZI, Percorsi musicali del Novecento. Storie, personaggi, poetiche da Schönberg a Sciarrino, Roma, Carocci, 2021.
Focus:
Itinerari della musica americana, a cura di Gianmario Borio e Gabrio Taglietti, Lucca, LIM, 1996 (rist. 2022).

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. features and ideas for teaching the history of music at high school level in Italy: ‘teaching of listening’ and construction of intra and interdisciplinary educational paths.
c. texts, people, ideas and facts in the history of music: from the sources to the modes of the historiographic ‘narration’. 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;
d. music in history, music as history. A case study linked to this topic will be considered;

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

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

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

4. Andrea Malvano, Da Mallarmé a Bozzetto: un percorso didattico interdisciplinare sul “Prélude à
l’après-midi d’un faune” di Claude Debussy, «Musica Docta», 8, 2018, pp. 127-147

5. James L. Zychowicz, Gustav Mahler’s Second Century: Achievements in Scholarship and Challenges for Research, «Notes», 67/3, 2011, pp. 457-482

6. Sulla Sesta sinfonia di Gustav Mahler:
6.a. Mario Carrozzo, Cristina Cimagalli, Storia della musica occidentale, vol. 3, Roma, Armando editore, 2009 (19991), pp. 269-277
6.b. Musiche nella storia. Dall’età di Dante alla Grande Guerra, a cura di Andrea Chegai et alii, Roma, Carocci, 2021 (20171), pp. 695-702
6.c. Gastón Fournier-Facio, L’ordine “corretto” dei movimenti centrali nella Sesta sinfonia di Mahler, in Tutto Mahler. La vita e le opere raccontate dai grandi esperti italiani, a cura di Id., Varese, Zecchini, 2023, pp. 146-159

7. 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

8. Philip Gossett, Daniela Macchione, Le «edizioni distrutte» e il significato dei cori operistici nel Risorgimento, «Il Saggiatore musicale», 12/2, 2005, pp. 339-387

9. Maria Rosa De Luca, Opera, evento e storytelling. Costruire la Storia attraverso la musica d’arte, «Musica Docta», 9/1, 2019, pp. 151-171

Definition of Communication. 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.
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.

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. Either choice B1 or choice B2

Choice B1.
Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.

Choice B2.
Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022:
chapters not to read: 1 – 4, 7-8, 13-14, 23, 38.
Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.


For those who take the course “Psychology of Emotions and Multimodal Communication” 12 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. Armando, Roma 2008.
C. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Mondadori, Milano 2022.
D. A text or set of text, chosen from the following items:

1. Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.
2. Nobile L. e Lombardi Vallauri E. : Onomatopea e fonosimbolismo. Carocci, Roma 2020.
3. Bonini T. e Perrotta M.: Che cos’è un podcast. Carocci, Roma 2023.
4. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
5. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
6. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
7. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
8. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
9. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
10. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
11. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
12. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
13. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
14. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
15. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
16. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019
17. Caruana F. e Viola M.: Come funzionano le emozioni. Bologna, Il Mulino.
18. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
19. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
20. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino.
21. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
22. Bambini V. Il cervello pragmatico. Roma, Carocci.
23. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
24. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

25. The following pair of books:
Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
+
Riva G.: I social network. Bologna, Il Mulino

26. The following pair of books:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
+
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

27. 4 papers on emotions to download from
https://www.researchgate.net/profile/Isabella_Poggi

28. 4 papers on multimodal communication to download from the following link
https://www.researchgate.net/profile/Isabella_Poggi


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 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.
8. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
9. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
10. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
11. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
12. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019

13. 4 papers on emotions, to be downloaded from the following link:
https://www.researchgate.net/profile/Isabella_Poggi


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


A. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.
B. One text or set of texts, chosen within the following items:

1. Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.
2. Nobile L. e Lombardi Vallauri E. : Onomatopea e fonosimbolismo. Carocci, Roma 2020.
3. Bonini T. e Perrotta M.: Che cos’è un podcast. Carocci, Roma 2023.
4. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
5. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
6. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
7. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
8. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
9. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento.
10. Bologna, Il Mulino. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
11. Bambini V. Il cervello pragmatico. Roma, Carocci.
12. Ferrari M. e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

13. The following pair of books:

a. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
b. Riva G.: I social network. Bologna, Il Mulino

14. The following pair of books:
a. Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
b. Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

15. 4 articles on multimodal communication among the following, to be downloaded here:
https://www.researchgate.net/profile/Isabella_Poggi

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

The course will be made up of two 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 Russians director Vsevolod Meyerhold will be analysed.

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

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

- Vsevolod Mejerchol'd, "L'Ottobre Teatrale. 1918-1939", Imola, Cue Press, 2020.



FOR NON-ATTENDING STUDENTS:

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

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;
T. Bonini, M. Perrotta, Che cos'è il podcast, Roma, Carocci, 2023;

più 3 tra questi 4 saggi:

- 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

- T. Bonini, E. Treré, F. Murtula, “Resistenza e solidarietà algoritmica nelle piattaforme digitali Un’indagine etnografica dei gruppi di engagement su Instagram”, Studi Culturali, XIX, 2, pp. 177-206, 2022

- M. Perrotta, From Niche to Mainstream. The emergence of a podcasting culture and market in the Italian radio context. In "The Routledge Companion to Radio and Podcast Studies", edited by Mia Lindberg and Jason Loviglio, London, Routledge, pp.418-428.

- N. Bilchi, Cinema e videogame. Narrazioni, estetiche, ibridazioni, Milano, Unicopli, 2019 (EXTRACT)
All materials will be distributed during class.

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

The course will be made up of two 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 Russians director Vsevolod Meyerhold will be analysed.

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

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

- Vsevolod Mejerchol'd, "L'Ottobre Teatrale. 1918-1939", Imola, Cue Press, 2020.



FOR NON-ATTENDING STUDENTS:

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

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.

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;
T. Bonini, M. Perrotta, Che cos'è il podcast, Roma, Carocci, 2023;

più 3 tra questi 4 saggi:

- 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

- T. Bonini, E. Treré, F. Murtula, “Resistenza e solidarietà algoritmica nelle piattaforme digitali Un’indagine etnografica dei gruppi di engagement su Instagram”, Studi Culturali, XIX, 2, pp. 177-206, 2022

- M. Perrotta, From Niche to Mainstream. The emergence of a podcasting culture and market in the Italian radio context. In "The Routledge Companion to Radio and Podcast Studies", edited by Mia Lindberg and Jason Loviglio, London, Routledge, pp.418-428.

- N. Bilchi, Cinema e videogame. Narrazioni, estetiche, ibridazioni, Milano, Unicopli, 2019 (EXTRACT)
All materials will be distributed during class.

- Overview of ethnomusicological studies in Italy and abroad and their possible repercussions for the activation of intercultural didactics.
- Introduction to the motivations and aims of intercultural music teaching within the complex processes of postmodern society (theories, methodologies of the 20th century, and new trends).
- The repertories of oral tradition at all latitudes: listening and analysis of pieces from repertories of oral tradition (also chosen using recordings collected in the field by ethnomusicologists), which will then be compared with pieces from the repertories of art and popular music.
- Pedagogical applications for the activation of intercultural didactic paths using repertories of oral tradition listened to, analysed and studied also through the deepening of the critical reflections of ethnomusicological studies.

Ethnomusicology and Intercultural Didactics (obligatory):

- Disoteo Maurizio, "Musica e intercultura. Le diversità culturali in educazione musicale", Milano, Franco Angeli, 2013.
- Facci Serena, "Multiculturalismo nell’Educazione Musicale" in J.J. Nattiez (a cura di), Enciclopedia Einaudi della musica, vol 2- Il sapere musicale. Torino, Einaudi, 2002.
- Dispensa con selezione di articoli, che sarà fornita durante la prima lezione del corso:

PARTE 1. Definition, history and methodology of Ethnomusicology
1. Timothy Rice, da "Etnomusicology. A very short Introduction" (Oxford-New York, Oxford University Press 2014), cap. 1 e 2, trad. di Alberto Annarilli, Francesca Cireddu, Serena Facci. 

2. Francesco Giannattasio, da “Il concetto di musica” (Roma, La Nuova Italia, 1992), paragrafo introduttivo al cap. 4, "Etnomusicologia in Italia". 

3. Serena Facci, "Suoni", in C. Pennacini (a cura di) “La ricerca sul campo in antropologia. Oggetti e metodi”, Roma, Carocci, 2010. 


PARTE 2. Intercultural musical didactic paths
1. Santini Gabriella, "A scuola dai cantastorie: un’esperienza interculturale", in “Musica Domani”, trimestrale di cultura e pedagogia musicale – organo della Società Italiana per l’Educazione Musicale (S.I.E.M.), anno XXXIV – n. 133, 2004, pp.12-19.
2. Santini Gabriella, "Costruire la propria identità sperimentando diverse appartenenze", in “Musica Domani”, trimestrale di cultura e pedagogia musicale – organo della Società Italiana per l’Educazione Musicale (S.I.E.M.), anno XXXV – n.134, 2005, pp.35-37.
3. Santini Gabriella, "Ascoltare a scuola le musiche di tradizione orale per rispondere alla sfida della complessità", in Silvana Chiesa (a cura di ), “Scuola d’Ascolto, Scuola in Ascolto. Atti delle Giornate di studio sulla didattica dell’ascolto per la scuola primaria (Alessandria 12 e 13 aprile 2011)”, Alessandria, Edizioni dell’Orso, 2011, pp. 73-87.
4. Facci Serena e Santini Gabriella, "I canti popolari italiani: problemi didattici sull’insegnamento di un genere musicale non familiare", in Mario Baroni (a cura di), “L’ascolto a scuola. Strategie didattiche per la comprensione di musiche non familiari”, Quaderni della S.I.E.M., n°27, Roma, Universitalia, 2013, pp. 87-114.
5. Santini Gabriella, "Musica per l’italiano come L2", in Franca Ferrari e Gabriella Santini (a cura di), “Musiche inclusive. Modelli musicali d'insieme per il sostegno alla partecipazione e all'apprendimento nella secondaria di primo grado”, Roma, Universitalia, 2014, pp. 83-108.
6. Facci Serena e Santini Gabriella, "Cantar le storie: una pratica di ieri e di oggi", in “Musica Domani”, semestrale di cultura e pedagogia musicale – organo della Società Italiana per l’Educazione Musicale (S.I.E.M.), anno XLIX – n°182, 2020, pp.15-25.

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. 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 digital technologies on music will be examined in a historical-cultural key, paying attention to processes of musical creation in the field of contemporary art music and of film music.

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. 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

5. 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

6. Giacomo Albert, I linguaggi multimediali della “popular music” elettronica: Alva Noto, «Philomusica on-line», 13/2 (2004), pp. 85-110

7. Le nuove scritture musicali per il cinema, a cura di Roberto Calabretto e Luca Cossettini, Lucca, LIM, 2022 [i contributi di Calabretto, Cossettini, Frattini, Giagni]

Non-attending students will read the entire volume indicated in points 7.

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 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.

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.

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.
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

2. The monographic part includes:
Stefano De Matteis, Gli sciamani non ci salveranno.

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). In order to do so, the course will adopt a diachronic and transnational approach, ranging from the silent era to today. The reflection about the technological metamorphoses of the cinematic medium (for example, the introduction of color photography or that of widescreen formats) will be intertwined with an intermedia perspective, connecting the discourse on film to the fields of painting, photography and cartography. Through the involvement of other critical categories crucial to the debate on spatiality (territory, environment, atmosphere), the class will reflect on the relationship between spatial perception and subjectivity, and on the complex layering of the spectatorial experience. Aesthetical observations will also be complemented by cultural, historical and political ones, analyzing landscape in connection with such phenomena as migration and climate change.

The syllabus with the final course program will be made available around the start of the course itself.

Collection of essays selected by the professor.

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 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.

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.

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.
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

2. The monographic part includes:
Stefano De Matteis, Gli sciamani non ci salveranno.

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.

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
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).
- La Maison du Butoh Blanc, Dossier a cura di Samantha Marenzi, "Teatro e Storia" n. 44, 2023
- Samantha Marenzi, Alessandra Cristiani (titolo provvisorio) Editoria & Spettacolo, Spoleto 2023. The volume is being printed, in case it is not published in time it will be replaced with lecture notes by the teacher

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.