History and Methods of Music Criticism
A.Y. 2024/2025
Learning objectives
The course develops musicological competences concerning the methods of music criticism with the aim of enabling students to learn historical-cultural, analytical and interpretative knowledge. The course also aims to develop student's ability to read and interpret musical work as well as their contexts and processes as complex artistic and cultural phenomena.
Expected learning outcomes
At the end of the course, students will have acquired historical-cultural, analytical and interpretative competences with particular reference to the monographic topic proposed in each 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
Title of the course (a.a. 2024-2025): Recording and performing practice in the twentieth century.
The course is divided in three parts (A, B, C).
(A) Theoretical and methodological issues: (1) The musical work, text and performance; (2) Value judgement in music; (3) Origins, history and functions of music criticism.
(B) The relationship between performance practice, technological development and music criticism: for a history of performance practice and interpretation during the 20th century.
(C) In-depth studies: 1. Early Music, 2. Composers interpreting themselves.
The course is divided in three parts (A, B, C).
(A) Theoretical and methodological issues: (1) The musical work, text and performance; (2) Value judgement in music; (3) Origins, history and functions of music criticism.
(B) The relationship between performance practice, technological development and music criticism: for a history of performance practice and interpretation during the 20th century.
(C) In-depth studies: 1. Early Music, 2. Composers interpreting themselves.
Prerequisites for admission
The course requires a good knowledge of the music history from the eighteenth century to the present and a basic competence in musical grammar and theory.
Teaching methods
The course consists of class lectures and uses the essential support of sound recordings and multimedia products. The Ariel platform is used for sharing materials, handouts and lectures notes.
Teaching Resources
(A)
1. Carl Dahlhaus, Analisi musicale e giudizio estetico, Bologna, Il Mulino, 1987
2. Federico Capitoni, La critica musicale, Roma, Carocci, 2015
2. John Rink (a cura di), L'esecuzione musicale. Guida - Analisi - Prospettive, Milano, Rugginenti, 2008
4. AaVv, Performing practice, in The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie and John Tyrrell, London, Macmillan, 2001, vol. 19, pp. 349-388. On line www.sba.unimi.it/BibliotecaDigitale/46.html
(B)
1. Robert Philip, Performing music in the age of recording, New Haven and London, Yale University Press, 2004
2. Evan Eisenberg, L'angelo con il fonografo. Musica, dischi e cultura da Aristotele a Zappa, Torino, Instar Libri, 1997
3. Jacques Hains, Dal rullo di cera al CD, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica. Vol.I, Il Novecento, Torino, Einaudi, 2001, pp. 783-817
4. Jean Molino, Tecnologia, globalizzazione, tribalizzazione, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica. Vol.I, Il Novecento, Torino, Einaudi, 2001, pp. 767-778
(C)
1. Jean-Jacques Nattiez, Interpretazione e autenticità, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1064-1083
2. Jean-Jacques Nattiez, Fedeltà, autenticità e giudizio critico, in Il combattimento di Crono e Orfeo. Saggi di semiologia musicale applicata, Torino, Einaudi, 2004, pp.167-202
3. Alejandro Planchart, L'interpretazione della musica antica, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1010-1028
4. Henry Haskell, Early Music, in The New Grove Dictionary of Music and Musicians, ed. by Stanely Sadie and John Tyrrell, vol. 7, London Macmillan, 2001, pp. 831-834. On line www.sba.unimi.it/BibliotecaDigitale/46.html
5. Jonathan Dunsby, Analisi ed esecuzione musicale, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II Il sapere musicale, Torino, Einaudi, 2002, pp. 980-996
6. Pierre Boulez, Testo, compositore, direttore d'orchestra, in Jean-Jacques Nattiez (a cura
7. Cesare Fertonani, Sull'utilità e il danno delle registrazioni storiche per la critica musicale, «Musica/Realtà», XLIV 130, 2023, pp. 33-52
di), Enciclopedia d
1. Carl Dahlhaus, Analisi musicale e giudizio estetico, Bologna, Il Mulino, 1987
2. Federico Capitoni, La critica musicale, Roma, Carocci, 2015
2. John Rink (a cura di), L'esecuzione musicale. Guida - Analisi - Prospettive, Milano, Rugginenti, 2008
4. AaVv, Performing practice, in The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie and John Tyrrell, London, Macmillan, 2001, vol. 19, pp. 349-388. On line www.sba.unimi.it/BibliotecaDigitale/46.html
(B)
1. Robert Philip, Performing music in the age of recording, New Haven and London, Yale University Press, 2004
2. Evan Eisenberg, L'angelo con il fonografo. Musica, dischi e cultura da Aristotele a Zappa, Torino, Instar Libri, 1997
3. Jacques Hains, Dal rullo di cera al CD, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica. Vol.I, Il Novecento, Torino, Einaudi, 2001, pp. 783-817
4. Jean Molino, Tecnologia, globalizzazione, tribalizzazione, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica. Vol.I, Il Novecento, Torino, Einaudi, 2001, pp. 767-778
(C)
1. Jean-Jacques Nattiez, Interpretazione e autenticità, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1064-1083
2. Jean-Jacques Nattiez, Fedeltà, autenticità e giudizio critico, in Il combattimento di Crono e Orfeo. Saggi di semiologia musicale applicata, Torino, Einaudi, 2004, pp.167-202
3. Alejandro Planchart, L'interpretazione della musica antica, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1010-1028
4. Henry Haskell, Early Music, in The New Grove Dictionary of Music and Musicians, ed. by Stanely Sadie and John Tyrrell, vol. 7, London Macmillan, 2001, pp. 831-834. On line www.sba.unimi.it/BibliotecaDigitale/46.html
5. Jonathan Dunsby, Analisi ed esecuzione musicale, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II Il sapere musicale, Torino, Einaudi, 2002, pp. 980-996
6. Pierre Boulez, Testo, compositore, direttore d'orchestra, in Jean-Jacques Nattiez (a cura
7. Cesare Fertonani, Sull'utilità e il danno delle registrazioni storiche per la critica musicale, «Musica/Realtà», XLIV 130, 2023, pp. 33-52
di), Enciclopedia d
Assessment methods and Criteria
For all attending and non-attending students the assessment method consists of an oral exam during which the topics covered in the course will be discussed.
The oral exam will be assessed on the basis of the following criteria:
1. mastery of acquired knowledge of music criticism history and methods
2. ability to frame the knowledge acquired from lectures, listening practice and bibliography in a historical and cultural context
3. formal quality of the presentation (precision, terminological appropriateness, coherence and fluency)
4. analytical competence and personal interpretative depth.
The oral exam will be assessed on the basis of the following criteria:
1. mastery of acquired knowledge of music criticism history and methods
2. ability to frame the knowledge acquired from lectures, listening practice and bibliography in a historical and cultural context
3. formal quality of the presentation (precision, terminological appropriateness, coherence and fluency)
4. analytical competence and personal interpretative depth.
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 9
Lessons: 60 hours
Professor:
Fertonani Cesare
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