Academic Year 2019-2020



Luca Cossettini
Unit Credits
Teaching Period
Second Period
Course Type
Prerequisites. None
Teaching Methods. Oral teching and lab
Verification of Learning. Restoration assignment and oral exam
More Information. Non attending student are asked to contact the techer in advance for the assignmanet.
Knowledge and understandingKnowing the material and historical-cultural features of the transmission of sound documents;Knowing technologies and methodologies for accessing historical sound documents; Knowing technologies and methodologies for audio signal restoration;Knowing the basic problems and methods of audiovisual sources criticism related to the new editorial forms of music.Applying knowledge and understanding Being able to plan an archive survey.Being able to set up a dia-system for reading historical sound documents.Being able to analyze, also with computer tools, the audio content of a sound document. Being able to interpret the corruptions of the sound fabric and to find the tools suitable for their removal/attenuation and for their post-production and re-issue;. Cross-sectoral skills/soft skillsMaking judgementsBeing able to make a personal choice between multiple versions or copies of the same- recorded work.Being able to plan restorative interventions in relation to the various editorial aims(preservative, documentary, reconstructive, sociological, aesthetic)Communication skillsBeing able to present with logical and terminological rigor, both in oral and in writing form (reports), issues concerning the preservation, restoration and reproduction of sound documents; Being able to take care of the re-issue of a recorded musical work, also in relation to traditional musical notations.Being able to find and use bibliographic and computer tools for the in-depth study of issues related to the preservation, restoration and editing of sound documents.
The laboratory provides the skills for the preservation and restoration of the musical and audiovisual heritage. It focuses on the study of processes of transmission of sound documents, on digitization, on the detection and removal of signal alterations and on the re-editing of recorded music.The course deals with the following topics:- production processes and phenomenology of sound document transmission;- methods and technologies for digitizing analogue sound documents (disks and magnetic tapes);- analysis and interpretation of noise in the audio signal;- techniques of removal and attenuation of the most common disturbances, in relation to the different types of signal and audio carrier;- approaches to re-editing historical sound documents.
– A. ORCALLI, “Orientamenti ai documenti sonori”, in Sergio Canazza e Mauro Casadei Turroni Monti, Ri-mediazione dei documenti sonori, Udine. Forum, 20016.

– L. COSSETTINI, A. ORCALLI (a cura di), Sounds, Voices and Codes from the Twentieth Century. The Critical Editing of Music ar MIRAGE, Udine, MIRAGE, 2017 (


– M. CARACI-VELA, La filologia musicale. Istituzioni, storia, strumenti critici. Vol. I. Fondamenti storici e metodologici della Filologia musicale, Lucca, LIM, 2005;

– L. COSSETTINI, Opere chiuse in sistemi aperti. Autopoiesi nella musica elettronica, Lucca, LIM, 2010.

Bibliography assigned during the lessons.