MUSICA NEGLI AUDIOVISIVI

Anno accademico 2019-2020

MUSICA NEGLI AUDIOVISIVI

Docenti:
Roberto Calabretto
Kristjan Stopar
Anno di corso: 1
Totale crediti: 6
Tipologia: Caratterizzante
Periodo didattico: Primo Periodo
Lingua insegnamento: ITALIANO
Prerequisiti. a. Knowledge of the main features in cinema history; b. Being preferably able to use main concepts of musical language.
Metodi didattici. The frontal lessons will be constantly exemplified by projections and listening to facilitate the active participation of students. At the same time some lessons will be held as workshop with concrete exemplifications on musical writing, in use by today’s film composers.
Modalità di verifica. Learning verification consists of a written test (essay questions) in which students must demonstrate knowledge of lessons topics. Moreover each student may submit a paper that will be discussed with the teacher.
Altre informazioni. It is highly recommended attending lessons. Non-attending students must contact the teacher to have the necessary clarifications regarding the exam program.

OBIETTIVI FORMATIVI

a. Knowing the main sound-form of the audiovisual media (film, documentary, video, commercial, videoclip); b. Knowing the various issues related to the sound realization (composed or adapted music, use of Leitmotiv, presence of motifs, themes, noise, etc.); c. Being able to understand all creative process phases of the sound components with all its related links; d. Knowing the main evolution lines of music in the audiovisual media; e. Know the issues and methods of audiovisual media criticism; f. Being able to consciously listen to music into the audiovisual media; g. Being able to analyze a film score in all its components, and generally the music functions in audiovisual media; h. Being able to offer a personal interpretation of the music and sound functions in audiovisual media; i. Being able to illustrate with logical and terminological strictness, in oral and written form (reports), technical issues related to the different phases of soundtrack creative process; l. Being able to illustrate with logical and terminological strictness, in oral and written form (reports), film sequences, commercials and videoclips; m. Being able to find and use bibliographic and audiovisual tools for the in-depth study of problems related to the soundtrack preparation and to the understanding of music and noise functions in cinema.

CONTENUTI

a. The study of the aesthetic theories of film music, television, and commercials; b. Various issues related to the realization of music score (original, adapted, use of Leitmotiv, motif and themes, relations with noise and dialogues, etc.); c. Possible typologies of movie scores (minimalism, electronic music, dodecaphony, thematic forms); d. The cinematographic sound and noise; e. The audio-visual theory; f. Main features of the film music history from silent cinema (hints) to present day; g. Score production and post-production phases (composition, recording, mixing, editing); h. The documentary and the music functions in it; i. Different types of videoclip; l. Music in commercials; m. Music in television; n. Music in Antonioni’s cinema work.

TESTI DI RIFERIMENTO

Roberto Calabretto, Lo schermo sonoro. Venezia: Marsilio, 2010 (pp. 81-242). Roberto Calabretto, Antonioni e la musica. Venezia: Marsilio, 2012 (pp. 11-50, 105-206); Roberto Calabretto, Luigi Nono e il cinema, Lucca, LIM, 2017.