Historiography of Music
A.Y. 2024/2025
Learning objectives
Through studies of relevant literature and case studies, the course provides an introduction to central characteristics regarding the musical historiography as a theoretical field, with particular emphasis on reflexivity.
The course aims to enable students to relate their musicological knowledge with a historical understanding of musical phenomena. The ability to read and interpret musical objects and practices in a historiographical perspective and under a cultural angle is the main learning scope of the course.
The course aims to enable students to relate their musicological knowledge with a historical understanding of musical phenomena. The ability to read and interpret musical objects and practices in a historiographical perspective and under a cultural angle is the main learning scope of the course.
Expected learning outcomes
By the end of the course, students will have understood that music is not a phenomenon of nature, and this historical awareness will enable them to place the musical examples considered within its specific cultural context, with reference to the monographic subject explored each new academic year.
Lesson period: First semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course can be attended as a single course.
Course syllabus and organization
Single session
Responsible
Lesson period
First semester
Course syllabus
Course Title:
Comparative Approaches in Music Historiography .
Although the field of comparative musicology became redefined as ethnomusicology in the mid-20th century, its original research agenda has been all but abandoned by musicologists. In our globalized world the cross-cultural comparison became an indispensable tool for the historical reconstruction and understanding of cultural phenomena including music and other correlated topics. With the rise of transcultural, transnational, and global histories, comparative method has become a staple in the historian's toolbox. But how to compare two elements belonging to two different cultures without subsuming the idea of cultural specificity as the basis of a preexistent, trans-historical identity? How do we analyze case studies and cross-cultural dynamics adequately? These and other methodological questions will be addressed during the course - by way of either conceptual papers or empirical papers presented by the participants.
Comparative Approaches in Music Historiography .
Although the field of comparative musicology became redefined as ethnomusicology in the mid-20th century, its original research agenda has been all but abandoned by musicologists. In our globalized world the cross-cultural comparison became an indispensable tool for the historical reconstruction and understanding of cultural phenomena including music and other correlated topics. With the rise of transcultural, transnational, and global histories, comparative method has become a staple in the historian's toolbox. But how to compare two elements belonging to two different cultures without subsuming the idea of cultural specificity as the basis of a preexistent, trans-historical identity? How do we analyze case studies and cross-cultural dynamics adequately? These and other methodological questions will be addressed during the course - by way of either conceptual papers or empirical papers presented by the participants.
Prerequisites for admission
A good knowledge of "classical" and "popular" music and/or others non-Western music traditions are important prerequisites of the course as well as an appropriate knowledge of the basic elements of musical grammar and music theory.
Teaching methods
The lessons will take place on site and will draw on the Teams platform for sharing materials and teaching aids.
Teaching Resources
Part A (general)
- M. Bloch, Per una storia comparata delle società europee, in M. Bloch, Storici e storia, a cura di Étienne Bloch, Torino: Einaudi, 1997 (ma va bene qualunque edizione), pp. 105-144.
- M. Werner e B. Zimmermann, Beyond Comparison: Histoire croisée and the Challenge of Reflexivity, «History and Theory» 45 (February 2006), pp. 30-50 (available online).
- M. Detienne, Comparing the incomparable, trans. Janet Lloyd, Stanford: Stanford University Press, 2008.
Parte B (musicological)
- Martin Clayton, Comparing music, comparing musicology, in The Cultural Study of Music: A Critical Introduction, ed. M. Clayton et al., New York: Routledge, 2003, pp. 57-68 (available online).
- B. Nettl, Nettl's Elephant. On the History of Ethnomusicology, Urbana: University of Illinois Press, 2010, pp. 3-89 (prima sezione del libro intitolata "Central Issues in a Grand History").
- Daniel K. L. Chua, Global Musicology: A Keynote without a Key, in Acta Musicologica, 94, 1 (2022): 109-126.
Parte C (specific cases)
- Serge Gruzinski, Abbiamo ancora bisogno della storia? Il senso del passato nel mondo globalizzato, ed. italiana a cura di M. M. Benzoni, Milano: Cortina, 2016, pp. 65-94 (capp. 4 e 5 dedicati a temi operistici).
- Axel Körner, Dalla storia transnazionale all'opera transnazionale: per una critica delle categorie nazionali, in Il Saggiatore musicale, XXIV/1 (2017), pp. 81-98 (available online).
- Wu Tianming, The Song of the Phoenix [Bai niao chao feng], film cinese, 2013, musica di Zhang Dalong (available on YouTube).
- Shasha Zhu, A Comparative Study of the Social Function of African Algaita and Chinese Suona, MA Thesis, Kent State University, 2018 (available online).
- M. Bloch, Per una storia comparata delle società europee, in M. Bloch, Storici e storia, a cura di Étienne Bloch, Torino: Einaudi, 1997 (ma va bene qualunque edizione), pp. 105-144.
- M. Werner e B. Zimmermann, Beyond Comparison: Histoire croisée and the Challenge of Reflexivity, «History and Theory» 45 (February 2006), pp. 30-50 (available online).
- M. Detienne, Comparing the incomparable, trans. Janet Lloyd, Stanford: Stanford University Press, 2008.
Parte B (musicological)
- Martin Clayton, Comparing music, comparing musicology, in The Cultural Study of Music: A Critical Introduction, ed. M. Clayton et al., New York: Routledge, 2003, pp. 57-68 (available online).
- B. Nettl, Nettl's Elephant. On the History of Ethnomusicology, Urbana: University of Illinois Press, 2010, pp. 3-89 (prima sezione del libro intitolata "Central Issues in a Grand History").
- Daniel K. L. Chua, Global Musicology: A Keynote without a Key, in Acta Musicologica, 94, 1 (2022): 109-126.
Parte C (specific cases)
- Serge Gruzinski, Abbiamo ancora bisogno della storia? Il senso del passato nel mondo globalizzato, ed. italiana a cura di M. M. Benzoni, Milano: Cortina, 2016, pp. 65-94 (capp. 4 e 5 dedicati a temi operistici).
- Axel Körner, Dalla storia transnazionale all'opera transnazionale: per una critica delle categorie nazionali, in Il Saggiatore musicale, XXIV/1 (2017), pp. 81-98 (available online).
- Wu Tianming, The Song of the Phoenix [Bai niao chao feng], film cinese, 2013, musica di Zhang Dalong (available on YouTube).
- Shasha Zhu, A Comparative Study of the Social Function of African Algaita and Chinese Suona, MA Thesis, Kent State University, 2018 (available online).
Assessment methods and Criteria
Students are required to write a final paper (approximately 5000-word long) on a topic drawn from the monographic framework of the course. Here are the assessment criteria:
1. Pertinence to the topics discussed throughout the course; 2. Originality of the chosen topic/methodology; 3. Analytical competence and depth of personal interpretation; 4. Quality of writing style (terminological appropriateness, coherence, accuracy of the critical apparatus, bibliography).
The paper must be submitted at least 7 days in advance prior to the date of the exam. The oral examination will consist of a discussion of the course's materials, based on the professor's feedback on the paper submitted.
1. Pertinence to the topics discussed throughout the course; 2. Originality of the chosen topic/methodology; 3. Analytical competence and depth of personal interpretation; 4. Quality of writing style (terminological appropriateness, coherence, accuracy of the critical apparatus, bibliography).
The paper must be submitted at least 7 days in advance prior to the date of the exam. The oral examination will consist of a discussion of the course's materials, based on the professor's feedback on the paper submitted.
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 9
Lessons: 60 hours
Professor:
Sala Emilio
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Professor(s)