Academic Year 2019-2020



Roberto Calabretto
Unit Credits
Teaching Period
First Period
Course Type
Prerequisites. a. Knowledge of the main features in cinema history; b. Knowledge of main trends in history of music performance; c. Being preferably able to use main concepts of musical language.
Teaching Methods. The frontal lessons will be constantly exemplified by projections and listening to facilitate the active participation of students. Lessons will be also accompanied by various exercises: students will be asked to write texts or short essays. Moreover a lab/workshop will be activated during the course. 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.
a. Knowing the history and the various connections between musical/concert/operatic representations and the cinematic screen; b. Knowing the main audiovisual narrative models: from transposition to the transformation of the musical performance; c. Knowing the main features of the audiovisual recording history, paying attention to the filmopera tradition in all its multiple valences; d. Learning about recent video transpositions of music: video art, videoclip, musical movies; e. Being able to evaluate the video footage problems of a musical performance through analyzes of specific cases (eg. different types of film-opera); f. Being able to analyze different audiovisual transpositions of music (eg. the different types of videoclip); g. Being able to evaluate the possible ways of a music document presentation and to understand its changes in case of an audiovisual transposition; h. Being able to evaluate the cinematic influence on the various forms of music performance during the 20th century; i. Being able to critically analyze the various audiovisual forms of music through personal interpretations of director’s choices; l. Knowing how to justify personal critical choices also in relation to those operated by others; m. Being able to illustrate with logical and terminological strictness, both in oral and written form (reports), technical issues related to the different audiovisual recording phases; n. Being able to illustrate with logical and terminological strictness, in oral and written form (reports), the main problems of audiovisual transposition of music; o. Being able to find and use bibliographic and audiovisual tools for the in-depth study of problems related to the audiovisual representation of music;
a. History of relations between musical, concerts, opera performances and cinema; b. Video footage narrative models: transposition and transformation of a music performance; c. Main features of audiovisual recordings media history, paying attention to the tradition of film-opera in its different valences; d. The audiovisual representations of opera in all their joints: film opera, out of stage opera, prose opera, parallel works; e. The music documentary in its various articulations: biographical, dedicated to a musical or to an opera, dedicated to a music performance; f. Video components in opera representation; g. Recent audiovisual transpositions of music: video art, video clips, music movies; h. The videoclip and its various typologies; i. The video art in its musical aspects; l. “Music movies” whose protagonists are musicians.
Emanuele Senici, Il video d’opera “dal vivo”: testualizzazione e liveness nell’era digitale, «Il Saggiatore musicale», XVI, 2009, pp. 273-312; Emanuele Senici, L’opera e la nascita della televisione in Italia, «Comunicazioni sociali», XXXIII, 2011, pp. 26-35 Carlo Cenciarelli, At the margins of the televisual: picture frames, loops and ‘cinematics’ in the paratexts of opera videos, «Cambridge Opera Journal», XXV, 2013, pp. 203-223. – 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. Renata Scognamiglio, Film operistici: un profilo analitico, in La musica nel cinema e nella televisione, a cura di Roberto Giuliani, Milano, Guerini, 2011, pp. 77-102. Roberto Calabretto, Luigi Nono e il cinema, Lucca, LIM, 2017.