Academic Year 2023-2024

MUSIC SHOW PUBLISHING AND VIDEO PRODUCTION OF MUSIC

Teachers

Roberto Calabretto
Unit Credits
6
Teaching Period
First Period
Course Type
Supplementary
Prerequisites. a. Knowledge of the music history (nineteenth and twentieth centuries); b. Knowledge of main trends in contemporary music universe.a. Knowledge of the main features in cinema history; c. Knowledge of main trends in history of music performance; d. Being preferably able to use main concepts of musical language.
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
https://www.uniud.it/it/didattica/corsi/area-scientifica/scienze-matematiche-informatiche-multimediali-fisiche/laurea-magistrale/comunicazione-multimediale-e-tecnologie-dellinformazione/corso/regolamento-corso/all-B2
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; i. History of relations between musical, concerts, opera performances and cinema; l. Video footage narrative models: transposition and transformation of a music performance; m. Main features of audiovisual recordings media history, paying attention to the tradition of film-opera in its different valences; n. The audiovisual representations of opera in all their joints: film opera, out of stage opera, prose opera, parallel works; o. The music documentary in its various articulations: biographical, dedicated to a musical or to an opera, dedicated to a music performance; p. Video components in opera representation; q. Recent audiovisual transpositions of music: video art, video clips, music movies.
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. Emanuele Senici, Il video d’opera “dal vivo”: testualizzazione e livenessnell’era digitale, «Il Saggiatore musicale», XVI, 2009, pp. 273-312;

4. Michel Veilleux, L’opera dal teatro allo schermo televisivo, in Enciclopedia della musica, vol. 1, Il Novecento, a cura di Jean-Jacques Nattiez, Torino, Einaudi, 2001, pp. 849-870.L’opera dal teatro allo schermo televisivo, in Enciclopedia della musica, vol. 1, Il Novecento, a cura di Jean-Jacques Nattiez, Torino, Einaudi, 2001, pp. 849-870.