ID:
502028
Duration (hours):
36
CFU:
6
SSD:
ETNOMUSICOLOGIA
Located in:
CREMONA
Year:
2026
Overview
Date/time interval
Primo Semestre (21/09/2026 - 22/01/2027)
Syllabus
Course Objectives
Knowledge and understanding: Understand the historical milestones and key theories of the discipline; recognize the diversity of musical systems and their social functions.
Applying knowledge and understanding: Be able to analyze a musical event taking into account both the sound dimension—using the discipline's specific tools—and the socio-cultural dimension; develop practical transcription and analysis skills.
Making judgements: Develop a critical approach toward concepts such as "tradition," "authenticity," "folklore," and "world music."
Applying knowledge and understanding: Be able to analyze a musical event taking into account both the sound dimension—using the discipline's specific tools—and the socio-cultural dimension; develop practical transcription and analysis skills.
Making judgements: Develop a critical approach toward concepts such as "tradition," "authenticity," "folklore," and "world music."
Course Prerequisites
No prerequisites are required
Teaching Methods
The course is mainly organized into lectures in which the professor, using audio/video examples and PowerPoint presentations, will illustrate the evolution of the discipline and its research methods. A more interactive part of the lectures will be dedicated to recognizing the main forms and behaviors of music of ethnomusicological interest, as well as their classification, transcription, and analysis. Some lectures will coincide with the "From Local to Global" meetings, giving students direct contact with musicians from oral traditions, selected each time based on the course topic. Some lectures will be seminar-based, where students will take an active role by sharing personal reflections on selected texts. The course uses a combination of methodological approaches designed to promote active learning and students' critical thinking skills:
Interactive lectures: Presentation of theoretical, historical, and methodological frameworks supported by visual presentations and guided classroom discussion.
Listening and analysis: Sessions dedicated to the critical listening of field recordings (both historical and contemporary), aimed at developing an analytical ear for identifying rhythmic structures, timbres, and melodic and polyphonic articulations.
Analysis of documentaries and audiovisual sources: Viewing excerpts from ethnographic films and documentaries to contextualize musical practice within relevant ritual, festive, and social dynamics.
Interactive lectures: Presentation of theoretical, historical, and methodological frameworks supported by visual presentations and guided classroom discussion.
Listening and analysis: Sessions dedicated to the critical listening of field recordings (both historical and contemporary), aimed at developing an analytical ear for identifying rhythmic structures, timbres, and melodic and polyphonic articulations.
Analysis of documentaries and audiovisual sources: Viewing excerpts from ethnographic films and documentaries to contextualize musical practice within relevant ritual, festive, and social dynamics.
Assessment Methods
Assessment for Musicology students consists of a musical transcription assignment and an oral exam. The transcription topic will be agreed upon with the professor and submitted at least 10 working days prior to the exam, accompanied by approximately 1,000 words describing the choice of the piece and the transcription methodology, along with a basic analysis acquired through the transcription process.
The oral exam aims to evaluate the theoretical and methodological skills acquired through 2 to 3 questions, generally structured around essays/chapters, verification of the chosen optional text, and listening skills assessed through the recognition of one of the instruments included in the CD Instruments de musique du monde/Musical instruments of the world.
For grading purposes, these components carry the following weight:
20% Written paper (transcription description and analysis)
50% Assessment of theoretical and methodological skills through 2 to 3 questions (generally per essay/chapter)
20% Assessment of the chosen optional text
10% Listening identification of instruments featured on the CD Instruments de musique du monde
Grading will also take into account the student's ability to make connections between topics and the acquisition of vocabulary appropriate to the discipline. For attending students, the quality of participation in the "From Local to Global" encounters and seminars will also be evaluated.
Students authorized to benefit from inclusive teaching support should contact the professor, who will identify the most suitable learning materials on a case-by-case basis through a personal interview (in person or remotely), according to relevant University regulations.
Students enrolled in Literature, Cultural Heritage, or other degree programs are exempt from the transcription assignment.
The oral exam aims to evaluate the theoretical and methodological skills acquired through 2 to 3 questions, generally structured around essays/chapters, verification of the chosen optional text, and listening skills assessed through the recognition of one of the instruments included in the CD Instruments de musique du monde/Musical instruments of the world.
For grading purposes, these components carry the following weight:
20% Written paper (transcription description and analysis)
50% Assessment of theoretical and methodological skills through 2 to 3 questions (generally per essay/chapter)
20% Assessment of the chosen optional text
10% Listening identification of instruments featured on the CD Instruments de musique du monde
Grading will also take into account the student's ability to make connections between topics and the acquisition of vocabulary appropriate to the discipline. For attending students, the quality of participation in the "From Local to Global" encounters and seminars will also be evaluated.
Students authorized to benefit from inclusive teaching support should contact the professor, who will identify the most suitable learning materials on a case-by-case basis through a personal interview (in person or remotely), according to relevant University regulations.
Students enrolled in Literature, Cultural Heritage, or other degree programs are exempt from the transcription assignment.
Texts
ATTENDING STUDENTS:
1. Maurizio Agamennone, Serena Facci, Giovanni Giuriati, Elementi di Etnomusicologia, Mondadori, 2026 (tranne la parte IV, capp. 6, 7 e 8)
2. One chapter chosen from one of the following volumes:
Maurizio Agamennone, Serena Facci, Giovanni Giuriati, Elementi di Etnomusicologia, Mondadori, 2026, (a scelta tra: capp. 6, 7 e 8)
Bruno NETTL and T. ROMMEN,Excursions in world music (VII edizione), 2017 (un capitolo a scelta tranne 1, 8, 12, con relativi ascolti CD, disponibili in biblioteca)
J. TODD TITON (a cura), I mondi della musica, le musiche del mondo, Zanichelli, 2003 (un capitolo a scelta tranne i capitoli introduttivo e conclusivo, con relativi ascolti su CD disponibili in Biblioteca)
3. listenings
- AA.VV. Instruments de musiques du monde/Musical instruments of the world, CNRS, with attached booklet. The CD can be found here: https://archives.crem-cnrs.fr/archives/collections/CNRSMH_E_1990_014_001/
- STAITI, 2022, “Gli strumenti musicali e la musica strumentale”, paragrafo II.1 in Staiti, Ascoltate miei cari signori, Nota, pp. 49-71
NON ATTENDING STUDENTS has to add 2 articles/volume chapter of their choice from the following contributions:
1. G. ADAMO, Vedere la musica, cap. 5, Lucca, LIM, 2010 (including related video examples available on Kiro or in the library)
2. F. M. BONINI BARALDI – E. BIGAND – T. POZZO, “Measuring Aksak Rhythm and Synchronization in Transylvanian Village Music by Using Motion Capture”, Musicology Review Vol. 10, No. 4, 2015, pp. 265-291
3. S. FACCI, “Le espressioni delle culture tradizionali nella didattica musicale di base. Alcune riflessioni”, in L’eredità di Diego Carpitella, a cura di M. Agamennone e G.L. Di Mitri, Besa, 2003
4. S. FACCI, “Etno-microscopio e Pop-grandangolo: guardare le musiche africane oggi” in Etnomusicologia e studi di popular music: quale possibile convergenza? Fondazione G. Cini, Venezia, 2007, pp. 25-53
5. S. Facci and G,. Tuzi, Choir Transhumance in the Filipino Catholic Community in Rome, in European Journal Of Musicology Vol. 20/1, 2021, 23–38
6. M. FANTINATO G.O DE SIQUEIRA “’We Are Losing Our Encantados because We Can’t Hear Them Anymore.’ Silence, Extractivism, and Politics of Listening in/to the Brazilian Amazon”, The World of Music, Vol. 10, No. 2, 2021, pp. 21-50
7. S. FELD, “Chitarre nella foresta. La nascita di una nuova musica in Nuova Guinea”, in EM nuova serie n° 1, 2003, pp. 49-69
8. F. GIANNATTASIO e G. GIURIATI (eds), Ethnomusicology or Transcultural musicology?, Udine, Nota, 2017 (one or more chapters of your choice)
9. F. GIANNATTASIO, “Etnomusicologia, musica popolare e folk revival in Italia”, AAA-TAC. Acoustical Arts and Artifacts. Techonology, Aesthetics, Communication, 8, 2011, pp. 65-85.
10. G. GIURIATI, “Confrontarsi con le trasformazioni di contesti e repertori”, in L’etnomusicologia italiana a sessanta anni dalla nascita del CNSMP (1948-2008), Roma, Accademia Nazionale di S. Cecilia, 2013, pp. 11-28
11. G. GIURIATI, “Didattica delle musiche del mondo”, Musica Docta. Rivista digitale di Pedagogia e Didattica della musica, 2020, pp. 145-157
12. G. Giuriati, “The interactive and spatial life of music: Towards a composite ethnomusicological approach for the analysis of musical performance”, in Investigating Musical Performance: Theoretical Models and Intersections, ed. by Gianmario Borio, Giovanni Giuriati, Alessandro Cecchi and Marco Lutzu, London: Routledge, 2020
13. K. KAUFMAN SHELEMAY, “Rethinking the Urban Community. (Re)Mapping Musical Processes and Places” in Ethnomusicology, A Contemporary Reader, Volume II, a cura di Jennifer C. Post, New York, Routledge, 2018, pp. 197-210
14. L. LEANTE, “L'incontro tra popular music e tradizione indiana: processi e modalità di appropriazione”, in Etnomusicologia e studi di popular music: quale possibile convergenza? Fondazione G. Cini, Venezia, 2007
15. I. MACCHIARELLA (a cura), Making music in the time of YouTube, Philomusica, Vol 16/1, 2017 (one or more contributions, cfr http://riviste.paviauniversitypress.it/index.php/phi/issue/view/153/showToc)
16. T. MAGRINI, (a cura), Uomini e suoni. Prospettive antropologiche nella ricerca musicale, Clueb, 1995 (one or two chapters of your choice)
17. T. MAGRINI, (a cura), Universi sonori, Milano, Einaudi, 2002 (only chapters 5, 9, 13)
18. I. NENIĆ, L. CIMARDI, Women’s Leadership in Music, Transcript Verlag, 2023 (one chapter of your choice)
19. G. PLASTINO (a cura), La musica folk. Storie, protagonisti e documenti del revival in Italia, Milano, Il Saggiatore, 2016 (you can choose one or two chapters form the book)
20. L. QASHU, “Collaborative video-making with young women in Ethiopia. Responding to Violence, Exploring Challenges, Demonstrating Resistance” in The Routledge Companion to Ethics and Research in Ethnomusicology, edito da J. P. J Stock e B. Diamond, New York, Routledge, 2023, pp. 221-232
21. QURESHI R., “How Does Music Mean? Embodied Memories and the Politics of Affect in the Indian sarangi”, American Ethnologist, Vol. 27, No. 4, 2000, pp. 805-838
22. One or two articles from the following journals: Etnografie Sonore/Sonic Ethnographies; Cahiers d'Ethnomusicologie, Ethnomusicology e Ethnomusicology Forum disponibili online nei rispettivi siti.
1. Maurizio Agamennone, Serena Facci, Giovanni Giuriati, Elementi di Etnomusicologia, Mondadori, 2026 (tranne la parte IV, capp. 6, 7 e 8)
2. One chapter chosen from one of the following volumes:
Maurizio Agamennone, Serena Facci, Giovanni Giuriati, Elementi di Etnomusicologia, Mondadori, 2026, (a scelta tra: capp. 6, 7 e 8)
Bruno NETTL and T. ROMMEN,Excursions in world music (VII edizione), 2017 (un capitolo a scelta tranne 1, 8, 12, con relativi ascolti CD, disponibili in biblioteca)
J. TODD TITON (a cura), I mondi della musica, le musiche del mondo, Zanichelli, 2003 (un capitolo a scelta tranne i capitoli introduttivo e conclusivo, con relativi ascolti su CD disponibili in Biblioteca)
3. listenings
- AA.VV. Instruments de musiques du monde/Musical instruments of the world, CNRS, with attached booklet. The CD can be found here: https://archives.crem-cnrs.fr/archives/collections/CNRSMH_E_1990_014_001/
- STAITI, 2022, “Gli strumenti musicali e la musica strumentale”, paragrafo II.1 in Staiti, Ascoltate miei cari signori, Nota, pp. 49-71
NON ATTENDING STUDENTS has to add 2 articles/volume chapter of their choice from the following contributions:
1. G. ADAMO, Vedere la musica, cap. 5, Lucca, LIM, 2010 (including related video examples available on Kiro or in the library)
2. F. M. BONINI BARALDI – E. BIGAND – T. POZZO, “Measuring Aksak Rhythm and Synchronization in Transylvanian Village Music by Using Motion Capture”, Musicology Review Vol. 10, No. 4, 2015, pp. 265-291
3. S. FACCI, “Le espressioni delle culture tradizionali nella didattica musicale di base. Alcune riflessioni”, in L’eredità di Diego Carpitella, a cura di M. Agamennone e G.L. Di Mitri, Besa, 2003
4. S. FACCI, “Etno-microscopio e Pop-grandangolo: guardare le musiche africane oggi” in Etnomusicologia e studi di popular music: quale possibile convergenza? Fondazione G. Cini, Venezia, 2007, pp. 25-53
5. S. Facci and G,. Tuzi, Choir Transhumance in the Filipino Catholic Community in Rome, in European Journal Of Musicology Vol. 20/1, 2021, 23–38
6. M. FANTINATO G.O DE SIQUEIRA “’We Are Losing Our Encantados because We Can’t Hear Them Anymore.’ Silence, Extractivism, and Politics of Listening in/to the Brazilian Amazon”, The World of Music, Vol. 10, No. 2, 2021, pp. 21-50
7. S. FELD, “Chitarre nella foresta. La nascita di una nuova musica in Nuova Guinea”, in EM nuova serie n° 1, 2003, pp. 49-69
8. F. GIANNATTASIO e G. GIURIATI (eds), Ethnomusicology or Transcultural musicology?, Udine, Nota, 2017 (one or more chapters of your choice)
9. F. GIANNATTASIO, “Etnomusicologia, musica popolare e folk revival in Italia”, AAA-TAC. Acoustical Arts and Artifacts. Techonology, Aesthetics, Communication, 8, 2011, pp. 65-85.
10. G. GIURIATI, “Confrontarsi con le trasformazioni di contesti e repertori”, in L’etnomusicologia italiana a sessanta anni dalla nascita del CNSMP (1948-2008), Roma, Accademia Nazionale di S. Cecilia, 2013, pp. 11-28
11. G. GIURIATI, “Didattica delle musiche del mondo”, Musica Docta. Rivista digitale di Pedagogia e Didattica della musica, 2020, pp. 145-157
12. G. Giuriati, “The interactive and spatial life of music: Towards a composite ethnomusicological approach for the analysis of musical performance”, in Investigating Musical Performance: Theoretical Models and Intersections, ed. by Gianmario Borio, Giovanni Giuriati, Alessandro Cecchi and Marco Lutzu, London: Routledge, 2020
13. K. KAUFMAN SHELEMAY, “Rethinking the Urban Community. (Re)Mapping Musical Processes and Places” in Ethnomusicology, A Contemporary Reader, Volume II, a cura di Jennifer C. Post, New York, Routledge, 2018, pp. 197-210
14. L. LEANTE, “L'incontro tra popular music e tradizione indiana: processi e modalità di appropriazione”, in Etnomusicologia e studi di popular music: quale possibile convergenza? Fondazione G. Cini, Venezia, 2007
15. I. MACCHIARELLA (a cura), Making music in the time of YouTube, Philomusica, Vol 16/1, 2017 (one or more contributions, cfr http://riviste.paviauniversitypress.it/index.php/phi/issue/view/153/showToc)
16. T. MAGRINI, (a cura), Uomini e suoni. Prospettive antropologiche nella ricerca musicale, Clueb, 1995 (one or two chapters of your choice)
17. T. MAGRINI, (a cura), Universi sonori, Milano, Einaudi, 2002 (only chapters 5, 9, 13)
18. I. NENIĆ, L. CIMARDI, Women’s Leadership in Music, Transcript Verlag, 2023 (one chapter of your choice)
19. G. PLASTINO (a cura), La musica folk. Storie, protagonisti e documenti del revival in Italia, Milano, Il Saggiatore, 2016 (you can choose one or two chapters form the book)
20. L. QASHU, “Collaborative video-making with young women in Ethiopia. Responding to Violence, Exploring Challenges, Demonstrating Resistance” in The Routledge Companion to Ethics and Research in Ethnomusicology, edito da J. P. J Stock e B. Diamond, New York, Routledge, 2023, pp. 221-232
21. QURESHI R., “How Does Music Mean? Embodied Memories and the Politics of Affect in the Indian sarangi”, American Ethnologist, Vol. 27, No. 4, 2000, pp. 805-838
22. One or two articles from the following journals: Etnografie Sonore/Sonic Ethnographies; Cahiers d'Ethnomusicologie, Ethnomusicology e Ethnomusicology Forum disponibili online nei rispettivi siti.
Contents
The course offers an introduction to ethnomusicology, understood as the study of music from oral traditions and musical practices within their cultural and social contexts. Through a path combining the history of the discipline, fieldwork methodology, and ethnographic examples (from Italian and European folk traditions to extra-European and global music), students will acquire the critical tools needed to comprehend the musical phenomenon as a complex human practice.
Course Language
Italian
More information
Students are strongly encouraged to attend tutoring sessions. Mandatory reading material for exam preparation, when not available online or in the library, will be provided by the professor on the Kiro platform. Optional reading materials are all available in the library or online.
In case of serious impediments to visiting the library, please contact the professor via email at: fulvia.caruso@unipv.it.
Students eligible for inclusive teaching support are invited to contact the professor at the beginning of the course to assess the suitability of the course materials.
In case of serious impediments to visiting the library, please contact the professor via email at: fulvia.caruso@unipv.it.
Students eligible for inclusive teaching support are invited to contact the professor at the beginning of the course to assess the suitability of the course materials.
Degrees
Degrees
MUSICOLOGY
Bachelor’s Degree
3 years
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