History of Music in Film and Audiovisual Media | Università degli Studi di Milano Statale

A.Y. 2023/2024

Max ECTS

Overall hours

SSD

L-ART/07

Language

Italian

Included in the following degree programmes

Studies in Cultural Heritage (Classe L-1)-Enrolled from 2021/2022 Academic Year

Learning objectives

The course deals with the use of music in audiovisual media, especially in film, from a historical and theoretical point of view. We will illustrate the historical-cultural contexts, the ideological ramifications and the production practices underlying music and sound in cinema. We will develop basic analytical tools and detail the expressive resources conveyed by music in film. We will then consider the interpretive and critical options made available by "listening to" audiovisual media.

Expected learning outcomes

By the end of the course, students will have developed historical and theoretical awareness about the main periods and currents of music in cinema, from the silent period to the digital turn of contemporary audiovisual media, with special reference to the topic of the monographic course. They will also be enabled to decipher some fundamental dramaturgical aspects of the use of music in audiovisual media. Finally, they will acquire awareness of the theoretical terminology used in film music studies.

Lesson period: Second semester

Lessons timetable

Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi

Exams calendar

Single course

This course cannot be attended as a single course. Please check our list of single courses to find the ones available for enrolment.

Search a single course

Course syllabus and organization

Single session

Responsible

Corbella Maurizio

Lesson period

Second semester

Syllabus
(active tab)
Course structure

Course syllabus

PART A: Elements of theory of music and sound in audiovisual media.

Subjects covered:
- Basics of audiovisual theory;
- Functions of music in film;
- Elements of sound analysis in audiovisual media;
- Sound formats in film;
- Music and narrative film;.

PART B: Historical tendencies of music in Italian sound cinema from the Fascist era to the 1950s: the case of Nino Rota

Subjects covered:
- The transition from silent to sound cinema;
- Music and sound cinema in the Regime years: Luce, Cines and Cinecittà;
- Music and sound between neorealism and popular cinema in the post-WWII years;
- Nino Rota: from his debut to the beginning of his collaboration with Fellini.

PART C: Trends in the music of Italian auteur cinema during the 1960s and 1970s: the case of Nino Rota

- New sound and music configurations from the economic miracle to the "anni di piombo": auteur cinema, genre cinema, musicarello;
- Film music specialists;
- Music publishing and records industry: film music as a phonographic genre;
- Nino Rota and auteur cinema: Visconti, Fellini, Coppola

Prerequisites for admission

The course requires a good knowledge of key elements of twentieth-century western music history as well as of film history. Students are hence advised to attend this course after having passed other exams in music and film studies.

Teaching methods

The course is based on class lectures, which are integrated by teaching materials uploaded to the Ariel virtual platform, as well as by reading materials. The classes will alternate theoretical and historical overviews with analysis and collective discussions of audio-visual clips.

Teaching Resources

INTERNATIONAL AND ERASMUS STUDENTS

International and Erasmus students are invited to get in touch with the course instructor in order to define the programme and the bibliography to study. Almost all of the references can be replaced with equivalent materials in English. It is possible to require that the final exam be performed in English.

GENERAL INDICATIONS

Since a good knowledge of the main trends of twentieth-century Western music is important in order to deal with the subject of this course, those who think they may need to catch up can refer to the following textbook:
- MALVANO, ANDREA. Storia della musica. Dal Settecento all'età contemporanea, Torino: Le Monnier, 2019, per la parte relativa al XX secolo fino al presente.
[an equivalent textbook in English is also fine]

During the course, a technical language concerning musical theory and harmony will at times be used. Those who have the necessity to get acquainted with basic notions of musical grammar can refer to:
- KAROLYI, OTTO. La grammatica della musica, Torino: Einaudi, 1990 (and following).
[an equivalent textbook in English is fine]

ATTENDING STUDENTS
[for the 6 CFU programme, please consider only Parts A and B.]

The following elements will be considered as integral part for the final evaluation:

- The subjects covered in classes;
- The thorough study of the audiovisual clips discussed during classes;
- The study of the reading materials (as listed below);
- The entire vision and the study of the films in the programme.

Bibliography to study

PART A. Fundamentals of theory and history of film music and sound:

· MARIANI, MASSIMO. Il suono per il cinema. Elementi per l'analisi e la progettazione della materia sonora nell'audiovisivo, Torino: UTET, 2020 [including audiovisual clips] [or equivalent in English]
· KALINAK, KATHRYN. Film music: A very Short Introduction, New York: Oxford University Press, 2010.
· VALENTINI, PAOLA. Il suono nel cinema. Storia, teoria e tecniche, Venezia: Marsilio, 2006, pp. 7-131. [or equivalent in English]

PART B. Historical trends of music in Italian cinema from the Fascist Era to the 1950s: The case of Nino Rota

· Selection of essays: refer to the Italian page or check with the course instructor for English alternatives;

· Integral audio-vision of the following music scored by Nino Rota:
- "Zazà" (R. Castellani, 1942);
- "La strada" (F. Fellini, 1954);
- "Le notti di Cabiria" (F. Fellini, 1957)

PART C: Trends in the music of Italian auteur cinema during the 1960s and 1970s: the case of Nino Rota

· Selection of essays: refer to the Italian page or check with the course instructor for English alternatives;

· Integral audio-vision of the following music scored by Nino Rota:
- "Rocco e i suoi fratelli" (L. Visconti, 1960);
- "La dolce vita" (F. Fellini, 1960);
- "The Godfather, pt. 1" (F.F. Coppola, 1972).

NON-ATTENDING STUDENTS

The following elements will be considered as integral part for the final evaluation:

- The study of the reading materials, including both the literature for the attending students and the additional literature listed below;
- The complete audio-vision of the films enlisted for the attending students.

Additional reading materials for non-attending students: please refer to the Italian page or check with the instructor for English alternatives.

STUDENTS WITH DISABILITIES OR LEARNING DISORDERS

The modality of the final exam will be planned together with the instructor, in accordance with the dedicated Service.

Assessment methods and Criteria

The exam will be oral. Students will be asked to elaborate on topics discussed during the classes and found in the study material of the course. The following aspects will be subject to evaluation: ability to critically engage with the course's topics; ability to reflect upon and link together different subjects in developing personal interpretations; appropriateness of expression, language and terminology.
The modes of examination for students with physical and/or learning disabilities will need to be agreed on with the course instructor, according with the guidelines of the competent Helpdesk.
International and Erasmus incoming students may hold the exam (both written and oral) in English. The request has to be submitted to the instructor with no-less than a 15-day notice on the selected exam date.

L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 9

Lessons: 60 hours

Professor: Corbella Maurizio

Educational website(s)

Storia della musica nel cinema e negli audiovisivi (a.a. 2023/24)

Professor(s)

Corbella Maurizio

Web site

Reception:

Thursdays, 10:00-13:00, upon appointment. Meetings will either take place in presence or via Microsoft Teams.

Office of the professor, Via Noto 6 (1st floor)

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