History of Music in Film and Audiovisual Media
A.Y. 2024/2025
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
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
Second semester
Course syllabus
PART A: Historical overview of sound and film music
Topics covered:
- Musical and sound practices in silent cinema
- The birth of the "soundtrack"
- Music in the transition from silent to sound cinema
- Music in classic Hollywood
- Musical cinema
- Song and popular music genres in cinema
- The soundtrack as a recording genre
- Music in European art cinema and national new waves
- Compilation soundtrack and Hollywood "new symphonism"
- Film music and sound in the digital age
PART B: Elements of theory and analysis of music and sound in audiovisual media
Topics covered:
- Fundamentals of audiovisual theory: theoretical models and their applications
- The production chain of film sound
- Music theory applied to the moving image
- Elements of sound and music analysis in audiovisuals
- Sound and the space of narration in cinema
- Overview of audiovisual sound formats
PART C: A case study: The music of "Rome Open City"
Topics covered:
- Trends of music and sound in Italian cinema during the fascist era
- Profile of Renzo Rossellini
- Neorealism and the sound issue
- "Rome Open City" and neorealism
- Audiovisual analysis of "Roma città aperta"
Topics covered:
- Musical and sound practices in silent cinema
- The birth of the "soundtrack"
- Music in the transition from silent to sound cinema
- Music in classic Hollywood
- Musical cinema
- Song and popular music genres in cinema
- The soundtrack as a recording genre
- Music in European art cinema and national new waves
- Compilation soundtrack and Hollywood "new symphonism"
- Film music and sound in the digital age
PART B: Elements of theory and analysis of music and sound in audiovisual media
Topics covered:
- Fundamentals of audiovisual theory: theoretical models and their applications
- The production chain of film sound
- Music theory applied to the moving image
- Elements of sound and music analysis in audiovisuals
- Sound and the space of narration in cinema
- Overview of audiovisual sound formats
PART C: A case study: The music of "Rome Open City"
Topics covered:
- Trends of music and sound in Italian cinema during the fascist era
- Profile of Renzo Rossellini
- Neorealism and the sound issue
- "Rome Open City" and neorealism
- Audiovisual analysis of "Roma città aperta"
Prerequisites for admission
The course requires a basic knowledge of the key elements of the history of western music in the twentieth century, and a good knoledge 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 OR ERASMUS STUDENTS
Incoming international or Erasmus students are encouraged to make contact with the professor so that individualized study materials can be determined. The course bibliography is almost entirely replaceable with equivalent materials in English. It is possible to ask to take the oral exam in English.
Please read carefully the following instructions.
ATTENDING STUDENTS
[Those who carry the 6 CFU syllabus should refer to Parts A and B only.]
The items that follow are key for the correct preparation to the final test:
- The topics covered in class;
- The in-depth study of the audiovisual clips discussed in class;
- The study of the bibliography in the syllabus.
Bibliography
PART A: Historical overview of film sound and music
· CORBELLA, MAURIZIO. "Colonna sonora". In: Enciclopedia della musica 1900-2025, a cura di Ernesto Assante e Sandro Cappelletto, Roma: Istituto dell'Enciclopedia Italiana, 2025.
[or consult the professor for an equivalent in English]
- KALINAK, KATHRYN. La musica da film. Una breve introduzione, Torino: EDT, 2012. Original Edition: 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 consult the professor for an equivalent in English]
PART B: Elements of theory and analysis of music and sound in audiovisual media
- MARIANI, MASSIMO. Sound for cinema. Elements for the analysis and design of sound matter in audiovisual media, Turin: UTET, 2020 (including audiovisual clips). [or consult the professor for an equivalent in English]
- SBRAVATTI, VALERIO. La cognizione dello spazio sonoro filmico. Un approccio neurofilmologico, Roma: Bulzoni, 2019, pp. 67-117 (cap. 2 Teorie sullo spazio sonoro filmico) e 145-210 (par. 3.4 La spazializzazione acustica). [or consult the professor for an equivalent in English]
PART C: A case study. The music of "Rome Open City"
· BASSETTI, SERGIO. "Continuità e innovazione nella musica per il cinema", In: Storia del cinema italiano, vol. VIII - 1949/53, a cura di Luciano De Giusti, Venezia-Roma: Marsilio-Edizioni di Bianco & Nero, 2003, pp. 325-335. [or consult the professor for an equivalent in English]
· BRUNI, DAVID. Roberto Rossellini. Roma città aperta, Torino: Lindau, 2006.
[or consult the professor for an equivalent in English]
· DYER, RICHARD. "Music, people and reality: the case of Italian neo-realism", in:
European Film Music, eds. Miguel Mera and David Burnand, Aldershot: Ashgate, 2006, pp. 28-40.
- Full watching of the film "Roma città aperta" ("Rome Open City", Roberto Rossellini, 1945) is required.
NON-ATTENDING STUDENTS
6 CFU exam:
In addition to the texts for attending students listed for Parts A and B, the study of the following texts is required:
· MICELI, SERGIO. Musica per film: storia, estetica, analisi, tipologie, Milano-Lucca: Ricordi-LIM, 2009, pp. 181-273 and 333-378 (sections devoted to United States and Italy) [or consult the professor for an equivalent in English]
- SBRAVATTI, VALERIO. La cognizione dello spazio sonoro filmico. Un approccio neurofilmologico, Roma: Bulzoni, 2019, pp. 27-66 (Cap. 1 Profilo storico della stereofonia cinematografica). (Ch. 1 Historical profile of film stereophony)
[or consult the professor for an equivalent in English]
9 cfu exam:
In lieu of the materials intended for frequent attendees for Part C, study of the Introduction and an essay of your choice from the monographic issue "La compilation soundtrack nel cinema sonoro italiano," edited by M. Corbella ("Schermi," IV/7, 2020) is required. The entire issue can be found at this link: https://riviste.unimi.it/index.php/schermi/issue/view/1583
This is the direct link to the Introduction: https://riviste.unimi.it/index.php/schermi/article/view/14091/13177
Accurate watching of at least one of the movies covered in the essay of your choice is required.
STUDENTS WITH DISABILITIES AND/OR DSA
Examination arrangements for students with disabilities and/or with DSA will have to be agreed with the professor, in accordance with the dedicated Service. appropriate office.
Incoming international or Erasmus students are encouraged to make contact with the professor so that individualized study materials can be determined. The course bibliography is almost entirely replaceable with equivalent materials in English. It is possible to ask to take the oral exam in English.
Please read carefully the following instructions.
ATTENDING STUDENTS
[Those who carry the 6 CFU syllabus should refer to Parts A and B only.]
The items that follow are key for the correct preparation to the final test:
- The topics covered in class;
- The in-depth study of the audiovisual clips discussed in class;
- The study of the bibliography in the syllabus.
Bibliography
PART A: Historical overview of film sound and music
· CORBELLA, MAURIZIO. "Colonna sonora". In: Enciclopedia della musica 1900-2025, a cura di Ernesto Assante e Sandro Cappelletto, Roma: Istituto dell'Enciclopedia Italiana, 2025.
[or consult the professor for an equivalent in English]
- KALINAK, KATHRYN. La musica da film. Una breve introduzione, Torino: EDT, 2012. Original Edition: 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 consult the professor for an equivalent in English]
PART B: Elements of theory and analysis of music and sound in audiovisual media
- MARIANI, MASSIMO. Sound for cinema. Elements for the analysis and design of sound matter in audiovisual media, Turin: UTET, 2020 (including audiovisual clips). [or consult the professor for an equivalent in English]
- SBRAVATTI, VALERIO. La cognizione dello spazio sonoro filmico. Un approccio neurofilmologico, Roma: Bulzoni, 2019, pp. 67-117 (cap. 2 Teorie sullo spazio sonoro filmico) e 145-210 (par. 3.4 La spazializzazione acustica). [or consult the professor for an equivalent in English]
PART C: A case study. The music of "Rome Open City"
· BASSETTI, SERGIO. "Continuità e innovazione nella musica per il cinema", In: Storia del cinema italiano, vol. VIII - 1949/53, a cura di Luciano De Giusti, Venezia-Roma: Marsilio-Edizioni di Bianco & Nero, 2003, pp. 325-335. [or consult the professor for an equivalent in English]
· BRUNI, DAVID. Roberto Rossellini. Roma città aperta, Torino: Lindau, 2006.
[or consult the professor for an equivalent in English]
· DYER, RICHARD. "Music, people and reality: the case of Italian neo-realism", in:
European Film Music, eds. Miguel Mera and David Burnand, Aldershot: Ashgate, 2006, pp. 28-40.
- Full watching of the film "Roma città aperta" ("Rome Open City", Roberto Rossellini, 1945) is required.
NON-ATTENDING STUDENTS
6 CFU exam:
In addition to the texts for attending students listed for Parts A and B, the study of the following texts is required:
· MICELI, SERGIO. Musica per film: storia, estetica, analisi, tipologie, Milano-Lucca: Ricordi-LIM, 2009, pp. 181-273 and 333-378 (sections devoted to United States and Italy) [or consult the professor for an equivalent in English]
- SBRAVATTI, VALERIO. La cognizione dello spazio sonoro filmico. Un approccio neurofilmologico, Roma: Bulzoni, 2019, pp. 27-66 (Cap. 1 Profilo storico della stereofonia cinematografica). (Ch. 1 Historical profile of film stereophony)
[or consult the professor for an equivalent in English]
9 cfu exam:
In lieu of the materials intended for frequent attendees for Part C, study of the Introduction and an essay of your choice from the monographic issue "La compilation soundtrack nel cinema sonoro italiano," edited by M. Corbella ("Schermi," IV/7, 2020) is required. The entire issue can be found at this link: https://riviste.unimi.it/index.php/schermi/issue/view/1583
This is the direct link to the Introduction: https://riviste.unimi.it/index.php/schermi/article/view/14091/13177
Accurate watching of at least one of the movies covered in the essay of your choice is required.
STUDENTS WITH DISABILITIES AND/OR DSA
Examination arrangements for students with disabilities and/or with DSA will have to be agreed with the professor, in accordance with the dedicated Service. appropriate office.
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.
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
Professor(s)
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)