ID:
508843
Duration (hours):
42
CFU:
6
SSD:
MUSICOLOGIA E STORIA DELLA MUSICA
Located in:
CREMONA
Year:
2025
Overview
Date/time interval
Annualità Singola (29/09/2025 - 12/06/2026)
Syllabus
Course Objectives
To know and understand the specificities of various systems and analytical approaches concerning the historical-cultural contexts, the theoretical-aesthetic assumptions, and the forms and works considered.
To know and understand the context in which the specific categories of theoretical thought have developed and to relate them to the wider cultural movements.
To be able to evaluate and choose the analytical method appropriate to the aims of the research and to be able to communicate the results obtained coherently, taking into account the possible distance between the work (technical aspect) investigated and the method applied.
To know and understand the context in which the specific categories of theoretical thought have developed and to relate them to the wider cultural movements.
To be able to evaluate and choose the analytical method appropriate to the aims of the research and to be able to communicate the results obtained coherently, taking into account the possible distance between the work (technical aspect) investigated and the method applied.
Course Prerequisites
The student must have successfully mastered the Musical Modality and Analysis 1 and the written exam in Harmony 2.
In addition, critical listening skills with the score of piano, chamber and orchestral pieces from the classical-romantic repertoire are required.
In addition, critical listening skills with the score of piano, chamber and orchestral pieces from the classical-romantic repertoire are required.
Teaching Methods
The course involves various learning methods including classroom lectures with the aid of PowerPoint presentations (30 hours) and teacher-led classroom exercises (12 hours) devoted to the study of selected scores, readings of theoretical texts with critical commentary on salient aspects for each analytical method examined, guided listening and class discussions.
Assessment Methods
The examination of the acquired knowledge takes place in two phases. Before the oral exam, the student must submit the written paper (ten days before the oral exam). The aim is to verify the practical learning of a specific analytical approach through the analysis of a composition or the critical commentary of a scientific text chosen from those indicated in the detailed program that will be delivered at the end of the course. The paper can be sent by e-mail to ingrid.pustijanac@unipv.it.
The oral examination consists of the conversation, which focuses on the paper's discussion, the historical aspects of the discipline and the specific aspects of the analytical methods covered during the course, with commentary on the examples chosen. All teaching material, bibliography, scores and any bibliographical additions are provided on the Kiro platform.
The evaluation will take into account the ability to use appropriate scientific language, as well as active participation in classroom discussions and exercises.
The final vote will be calculated as the average between the partial votes of the Analysis 2 module (thesis and oral) and the Harmony 2 module (written test, oral).
In addition, the final examination of each part of the course of Harmony and Musical Analysis 2, from the summer session onwards, can also be taken separately, provided that both parts are completed within a maximum of three exam sessions, and the part concerning Harmony (written exam) is completed before the part concerning Analysis.
The oral examination consists of the conversation, which focuses on the paper's discussion, the historical aspects of the discipline and the specific aspects of the analytical methods covered during the course, with commentary on the examples chosen. All teaching material, bibliography, scores and any bibliographical additions are provided on the Kiro platform.
The evaluation will take into account the ability to use appropriate scientific language, as well as active participation in classroom discussions and exercises.
The final vote will be calculated as the average between the partial votes of the Analysis 2 module (thesis and oral) and the Harmony 2 module (written test, oral).
In addition, the final examination of each part of the course of Harmony and Musical Analysis 2, from the summer session onwards, can also be taken separately, provided that both parts are completed within a maximum of three exam sessions, and the part concerning Harmony (written exam) is completed before the part concerning Analysis.
Texts
Nicholas Cook, Guida all’analisi musicale, ed. it. a cura di G. Salvetti, Milano, Guerini e associati, 2000.
Ian Bent - William Drabkin, Analisi musicale, ed. it. a cura di C. Annibaldi, Torino, EDT, 1990 (in particolare pp. 1-134).
William Drabkin – Susanna Pasticci - Egidio Pozzi, Analisi schenkeriana. Per un’interpretazione organica della struttura musicale, Lucca, LIM, 1995.
Susanna Pasticci, Teoria degli insiemi e analisi della musica post-tonale, “Bollettino del G.A.T.M.”, 2/1, 1995, pp. 7-111.
Jean-Jacques Nattiez, Musicologia generale e semiologia, EDT, Torino 1989 (in particolare l’Introduzione, pp. 3-32 e Semiologia del discorso sulla musica, pp. 103-141).
Other specific readings will be introduced and commented on during the specific didactic topics and provided on Kiro, including all didactical materials, and scores.
Ian Bent - William Drabkin, Analisi musicale, ed. it. a cura di C. Annibaldi, Torino, EDT, 1990 (in particolare pp. 1-134).
William Drabkin – Susanna Pasticci - Egidio Pozzi, Analisi schenkeriana. Per un’interpretazione organica della struttura musicale, Lucca, LIM, 1995.
Susanna Pasticci, Teoria degli insiemi e analisi della musica post-tonale, “Bollettino del G.A.T.M.”, 2/1, 1995, pp. 7-111.
Jean-Jacques Nattiez, Musicologia generale e semiologia, EDT, Torino 1989 (in particolare l’Introduzione, pp. 3-32 e Semiologia del discorso sulla musica, pp. 103-141).
Other specific readings will be introduced and commented on during the specific didactic topics and provided on Kiro, including all didactical materials, and scores.
Contents
The course introduces the knowledge of the main analytical methodologies codified for the music of the 18th-20th Century, such as Schenkerian analysis, Set-Theory, and Semiotic Analysis, among others.
For each methodology, theoretical assumptions and specific significant applications from the recent musicological bibliography will be discussed. I
At the end of the course, the student must be able to interpret a Schenkerian analysis provided with graphs; understand the degree of coherence in an atonal or post-tonal piece expressed through the relationships formulated through the connections between the pitch-sets; understand the syntactic organization of a piece investigated with semiotic analysis tools.
For each methodology, theoretical assumptions and specific significant applications from the recent musicological bibliography will be discussed. I
At the end of the course, the student must be able to interpret a Schenkerian analysis provided with graphs; understand the degree of coherence in an atonal or post-tonal piece expressed through the relationships formulated through the connections between the pitch-sets; understand the syntactic organization of a piece investigated with semiotic analysis tools.
Course Language
Italian
More information
Considering the learning difficulties of the practical application of strongly formalized analytical methods such as those introduced during the course, the writing of individual papers represents a demanding moment. Therefore is highly recommended the consultation with the professor as well as the collaboration with the course tutor. All students are invited to profit from all available resources for gradual and systematic learning.
Students who will not participate in lessons are kindly invited to contact the professor as soon as possible (almost two months before the exam) to discuss and evaluate their knowledge gained through private learning or at the Conservatorium. Further readings will be accorded.
Students who are authorised to benefit from inclusive didactics have to apply to the professor, who through a personal interview (preferably in person, possibly at a distance) will identify the most suitable didactic material on a case-by-case basis according to the relevant categories, as proposed by the Academic Senate.
Students who will not participate in lessons are kindly invited to contact the professor as soon as possible (almost two months before the exam) to discuss and evaluate their knowledge gained through private learning or at the Conservatorium. Further readings will be accorded.
Students who are authorised to benefit from inclusive didactics have to apply to the professor, who through a personal interview (preferably in person, possibly at a distance) will identify the most suitable didactic material on a case-by-case basis according to the relevant categories, as proposed by the Academic Senate.
Degrees
Degrees (2)
MUSICOLOGY
Bachelor’s Degree
3 years
MUSICOLOGY
Master’s Degree
2 years
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