The course aims to frame the main problems related to the reconstruction of a historically plausible performance practice, providing the methodological coordinates for a correct approach to the theoretical, iconographic, documentary and musical sources, as well as for a critical evaluation of current concert and recording production. Students will also be able to efficiently use online resources and specific bibliographic tools. They will be able to face critically the ongoing debates on the need for recovery and application of historical informed performing practice.
Course Prerequisites
Basic musical knowledge: theory, notation and music history. Students must be able to read English essays
Teaching Methods
Lectures using multimedia tools and PowerPoint presentations; Analysis and discussion of case studies; seminar activity.
Assessment Methods
Oral exam based on the course program and on a specific list of readings provided during the course. The candidates will be invited to begin the interview with a topic of their own choosing. The quality of oral communication will be an integral part of the evaluation.
Texts
- C. LAWSON, R. STOWELL, The Historical Performance of Music, Cambridge, Cambridge University Press, 1999; - The Cambrige History of Musical Performance, ed. by C. Lawson and R. Stowell, Cambridge, Cambridge University Press 2012 - A. PLANCHART, L'interpretazione della musica antica; C. DESHOULIÈRES, La regia moderna delle opere del passato; J.J. NATTIEZ, Interpretazione e autenticità, in Enciclopedia della musica, diretta da J.-J. Nattiez, con la collaborazione di M. Bent, M. Baroni e R. Dalmonte, vol. 2, Il sapere musicale, Torino, Einaudi, 2002, pp. 1011-1083. additional readings will be indicated during the course
Contents
The course will provide the basic methodologies and tools for a correct approach to performance practice research. Some specific topics will be focused: - Databases, online resources and specific bibliographic tools for performance practice research; - the sources (scores and other musical sources, archive documentation, musical instruments, iconography etc.) and their use related to the reconstruction of performance practice; - the concepts of 'historically informed performance' and 'authenticity', with a discussion on current perspectives of 'Ancient Music'; - some specific aspects of particular relevance, such as basso continuo, vocal or instrumental ornamentation, orchestral constitution and placement, and pitch. - the contribution of historical dance to the study of musical performance practice; - the practice of the scene; - the role of historical recordings as source for knowledge and reconstruction of performance practice
Course Language
Italian
More information
No practical musical skill is required. Non-attending students should contact the teacher to define program and bibliography for the exam
