HISTORY AND SYSTEMS OF MUSIC COMMUNICATION
OBJECTIVES OF THE COURSE
The course aims to delve into the main aspects of the history of Western music from the seventeenth century to the present day in terms of communication both as regards the linguistic and performative nature of musical expression as well as its promotional and informative strategies. The intention is to encourage the student to analyse critically musical experience and to reflect on the modality and means of communication adopted by the music industry for the purposes of promotion and marketing. The critical awareness developed during the course is applied to tasks dedicated to the analysis of printed and audiovisual products of communication strategies. The usefulness of the ensuing method is explored also in various sectors beyond those of strictly musical relevance.
COURSE CONTENTS SUMMARY
The course examines three characteristic aspects of musical communication:
1) Performance a) the ritual and the feast (actors/spectators), b) the show (actors/spectators)
2) Technological reproduction a) the text (manuscript, printed, electronic), b) performance (recorded and televised)
3) The information a) promotion and dissemination; b) commentary and criticism (magazines, radio and television, internet, etc.)
REFERENCE BIBLIOGRAPHY. FOR THE DEFINITIVE BIBLIOGRAPHY SEE ELLY.
• Marco Capra, voce "Criticism - Italy: 1890-1945", in The New Grove Dictionary of Music and Musicians, 2nd Edition, ed. by Stanley Sadie, London, Macmillan, 2001, vol. 6, pp. 685-686.
• Alessandro Rigolli (a cura di), La divulgazione musicale in Italia, Edt, Torino, 2005
• Alessandro Rigolli e Paolo Russo (a cura di), Il suono riprodotto. Storia, tecnica e cultura di una rivoluzione del Novecento, Edt, Torino, 2007
• Marco Capra e Fiamma Nicolodi (a cura di), La critica musicale in Italia nella prima metà del Novecento, Marsilio Editori, Venezia, 2012
ASSESSMENT METHODS AND CRITERIA
Oral exam. The particular criteria for evaluation include:
— Knowledge and critical awareness in relationship to current practices and their underlying historical roots
— The capacity to examine and discuss specific themes, and the appropriate exposition of the relative results
— The acquisition of an informed methodology of analysis of the different historical sources
— The capacity to connect the music on the stage with other artistic disciplines, such as literary and figuratives arts.
Oral lesson, seminars, exercises devoted to listening.