Academic Year 2019-2020

MUSIC SHOW AND PUBLISHING

Teachers

Roberto Calabretto
Unit Credits
6
Teaching Period
First Period
Course Type
Affine/Integrativa
Prerequisites. a. Knowledge of the music history (nineteenth and twentieth centuries); b. Knowledge of main trends in contemporary music universe.
Teaching Methods. The traditional frontal lessons will be accompanied by various exercises: students will be asked to write musicological texts or short essays. Finally, some lessons will be held by the students themselves to propose the results of their research on projects, previously assigned by the teacher.
Verification of Learning. Learning verification consists of an oral test in which students must demonstrate knowledge of lessons topics. To this end, each student has to present a paper that will be discussed during the exam. An intermediate test is also scheduled during the course.
More Information. It is highly recommended attending lessons. Non-attending students must contact the teacher to have the necessary clarifications regarding the exam program.
Objectives
a. Knowing the different editorial forms of a musical performance (essay, description card, concert hall program); b. Understanding the historical and cultural features of the music editorial forms of musical performance from 18.th Century to present days; c. Knowing various archival research problems in musicology disciplines; d. Knowing how to plan an archive research to set up a concert program or a short essay; e. Knowing how to finalize an essay or a concert program for the various forms of musical performance (concert or opera representation), related to the various venues where it is hosted (theater, concert hall, outdoor facilities); f. Being able to write an essay or a concert program, thinking about the audience needs; g. Being able to write an essay or a description form of a music performance and publishing it on the web; h. Being able to write an essay or a concert program autonomously, based on past researches and on comparison with previously considered documents; i. Being able to illustrate with logical and terminological strictness, both in oral and written form (report), technical issues related to the preparation of a musical essay: from archive research to text writing; l. Being able to evaluate proper linguistic choices in relation to a musicological text; m. Being able to find and use bibliographic and computer tools that are useful for the in-depth study of archival search problems and the writing of a musicological essay.
Contents
a. The history of music from the eighteenth century to the present, with particular references to the history of concert music, to the evolution of audience and to the history of music editory; b. Music as social knowledge; c. Historical-cultural features of music editory within a period of time ranging from the eighteenth century to the present; d. European music and its information system (research, production and utilization); e. The main broadcast medium for music distribution: essay, description card, concert hall program, the review, album cover); f. History of music archives (chance to visit one or more archives in the territory); g. Musicological research tools; h. Music archives and current research tools.
Texts
1. Elvidio Surian, Storia della musica, volume IV. Il Novecento, Milano, Rugginenti, 2007; 2. Bianca Maria Antolini, L’editoria musicale in Italia tra gli ultimi decenni del Settecento e i primi del Novecento, in Dizionario degli editori musicali italiani 1750-1930, a cura di Bianca Maria Antolini, Pisa, ETS, 2000, pp. 7-35; 3. Musica e sistema in Europa, a cura di Francesco Rampi, Milano, Unicopli, 1985; 4. Symphony and opera seasons programs at the “La Fenice” Theater in Venice.