ID:
502028
Duration (hours):
36
CFU:
6
SSD:
ETNOMUSICOLOGIA
Located in:
CREMONA
Year:
2025
Overview
Date/time interval
Primo Semestre (29/09/2025 - 23/01/2026)
Syllabus
Course Objectives
Completing the course students will be able to: • understand music as a product of culture and history; • know the history and development of the discipline, from its beginnings to the contemporary methods and theories; • recognize sonic forms and musical instruments; • develop practical skills in transcription and analysis of musics of the world.
Course Prerequisites
No prerequisites are required. However, having taken the Cultural Anthropology course facilitates the understanding of the theoretical-methodological framework of reference.
Teaching Methods
The course is primarily structured around lectures in which the professor will illustrate the evolution of the discipline and its research methods through audio and video examples and PowerPoint presentations. Part of the lessons will be more interactive and dedicated to recognizing the main forms and behaviors of music relevant to ethnomusicological interest, as well as their classification, transcription, and analysis. Some sessions will coincide with the From Local to Global meetings, offering students the opportunity to engage directly with oral tradition musicians, selected according to the course’s specific themes. Other classes will take on a seminar format, where students will actively participate by presenting personal reflections on selected texts.
Assessment Methods
The assessment for Musicology students will consist of a musical transcription project and an oral examination (oral component).
1. Musical Transcription Project (Written Component)
The transcription must be agreed upon with the professor and submitted at least 10 working days before the oral exam. It must be accompanied by a 1000-word essay detailing:
- The choice of the musical piece and the transcription method used.
- A simple analysis of the piece derived from the transcription process itself.
2. Oral Examination (Colloquium)
The oral examination aims to verify the acquired theoretical and methodological competence through 2 or 3 questions, generally structured per essay/chapter. This component also includes:
- Verification of knowledge from the chosen elective text.
Assessment of listening ability through the recognition of one of the instruments featured on the CD Instruments de musique du monde/Musical instruments of the world.
Grading Breakdown
The final mark will be weighted according to the following criteria:
Written Project (Transcription and Essay) 20%
Theoretical and Methodological Competence (2-3 questions per essay/chapter) 50%
Elective Text Review 20% (FOR NON ATTENDENTS THIS PERCHENTAGE WILL BE TRANSFERRED ON THE CHOOEN TEXTS)
Listening Recognition (Instruments from the CD) 10%
The final grade will also take into account the student's ability to make connections between the proposed topics and the mastery of the appropriate disciplinary language/vocabulary.
For students who attend class regularly, the quality of participation in the local-to-global meetings and seminars will also be considered.
Important Notes
-Students authorized to benefit from inclusive teaching arrangements must contact the professor. She will determine, through a personal interview (in-person or remote), the most suitable teaching material on a case-by-case basis, according to the categories of relevance outlined in the relevant Regulations.
- Students enrolled in Literature, Cultural Heritage, or other degree programs are exempt from the transcription project.
1. Musical Transcription Project (Written Component)
The transcription must be agreed upon with the professor and submitted at least 10 working days before the oral exam. It must be accompanied by a 1000-word essay detailing:
- The choice of the musical piece and the transcription method used.
- A simple analysis of the piece derived from the transcription process itself.
2. Oral Examination (Colloquium)
The oral examination aims to verify the acquired theoretical and methodological competence through 2 or 3 questions, generally structured per essay/chapter. This component also includes:
- Verification of knowledge from the chosen elective text.
Assessment of listening ability through the recognition of one of the instruments featured on the CD Instruments de musique du monde/Musical instruments of the world.
Grading Breakdown
The final mark will be weighted according to the following criteria:
Written Project (Transcription and Essay) 20%
Theoretical and Methodological Competence (2-3 questions per essay/chapter) 50%
Elective Text Review 20% (FOR NON ATTENDENTS THIS PERCHENTAGE WILL BE TRANSFERRED ON THE CHOOEN TEXTS)
Listening Recognition (Instruments from the CD) 10%
The final grade will also take into account the student's ability to make connections between the proposed topics and the mastery of the appropriate disciplinary language/vocabulary.
For students who attend class regularly, the quality of participation in the local-to-global meetings and seminars will also be considered.
Important Notes
-Students authorized to benefit from inclusive teaching arrangements must contact the professor. She will determine, through a personal interview (in-person or remote), the most suitable teaching material on a case-by-case basis, according to the categories of relevance outlined in the relevant Regulations.
- Students enrolled in Literature, Cultural Heritage, or other degree programs are exempt from the transcription project.
Texts
1. M. AGAMENNONE – S. FACCI – G. GIURIATI – F. GIANNATTASIO, 1991, Grammatica della musica etnica, Roma, Bulzoni, capp. 2 “tempo e ritmo”, 4 “melodia”, 6 “polifonia” e 7 “trascrizione”
2. M. AGAMENNONE, 2014, “Come chiamiamo i nostri studi, e che pensiamo di farne?”, in Viaggio in Italia, a cura di Ciro De Rosa e Salvatore Esposito, Roma: Squilibri, pp. 15-32
3. M. P. BAUMANN, 2000, “The Local and the Global: Traditional Musical Instruments and Modernization”, in The World of Music vol. 42 n° 3, Local Musical Traditions in the Globalization Process, pp. 121-144
4. S. BONANZINGA, 2021, “Dall’antropologia della musica all’acustemologia” in S. Feld, Il mondo dei Bosavi, 2021, pp. 17-30
5. BONANZINGA, 1999, “Tipologia e analisi dei fatti etnocoreutici”, Archivio Antropologico Mediterraneo, II, 1-2, 1999, pp. 77-105
6. G. DOURNON, 2005, “Strumenti musicali del mondo: proliferazioni e sistemi”, in Enciclopedia della musica Einaudi, volume V, pp. 842-873 (lo studio del presente saggio sarà̀ affiancato dall’ascolto del cd Instruments de musique du monde, Parigi, CNRS, con allegato libretto).
7. S. FACCI, 2009, “Funziona? Valori e usi della musica nella contemporaneità”, in L’etnomusicologia e le musiche contemporanee, a cura di F. Giannattasio e S. Facci, Venezia, Fondazione G. Cini.
8. F. GIANNATTASIO, 1992, Il concetto di musica, Roma, La Nuova Italia, (cap. 1 “L’etnomusicologia” pp. 17-30, cap. 2 “Gli universalia e la trasformazione del concetto occidentale di musica” pp. 31-43, cap. 3 “Le tappe di evoluzione del progetto etnomusicologico” pp. 45-66, cap. 4 “L’etnomusicologia in Italia” pp. 67-79, cap. 8 “Teoria musicale e trasmissione del sapere” pp. 145-164, cap. 9 “Il progetto musicale e l’espressione estemporanea” pp. 165-204)
9. G. GIURIATI, 2016, “Alcune questioni centrali nel dibattito etnomusicologico contemporaneo: una prospettiva dall’Italia”, in Il Saggiatore musicale, Vol. 23, No. 1, pp. 103-123
10. QURESHI R. 2000, “How Does Music Mean? Embodied Memories and the Politics of Affect in the Indian "sarangi"”, American Ethnologist, Vol. 27, No. 4, pp. 805-838
11. STAITI N., 2025, “Strumenti musicali, musica strumentale e forme di danza”, in Ascoltate miei cari signori: le musiche di tradizione orale in Italia. Udine: Nota, pp. 49-76
12. Titon_J.T., 2003, “Text”, in Toward a sound ecology.
STUDENTS HAVE TO CHOOSE ONE CHAPTER OR AN ARTICLE FROM THE FOLLOWING LIST (TWO FOR WHO DOES NOT ATTENDS LESSONS):
1. G. ADAMO, Vedere la musica, cap. 5, Lucca, LIM, 2010 (con relativi esempi video disponibili su Kiro o in biblioteca)
2. F. M. BONINI BARALDI – E. BIGAND – T. POZZO, 2015 “Measuring Aksak Rhythm and Synchronization in Transylvanian Village Music by Using Motion Capture”, Musicology Review Vol. 10, No. 4, pp. 265-291
3, F. CARUSO, 2025, “Pratiche devozionali al Santuario della SS. Trinità di Vallepietra: resoconto di un’etnografia virtuale”, in Musiche di tradizione orale nell'era della conversione digitale, a cura di Sergio Bonanzinga
4. 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
5. S. FACCI, 2007, “Etno-microscopio e Pop-grandangolo: guardare le musiche africane oggi” in Etnomusicologia e studi di popular music: quale possibile convergenza? Fondazione G. Cini, Venezia, pp. 25-53
6. S. Facci and G,. Tuzi, 2021, Choir Transhumance in the Filipino Catholic Community in Rome, in EUROPEAN JOURNAL OF MUSICOLOGY VOL. 20/1, 23–38
7. M. FANTINATO GÉO 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, 2021, Vol. 10, No. 2, pp. 21-50
8. S. FELD, Il mondo sonoro dei Bosavi (a cura di S. Bonanzinga), Palermo, Edizioni Museo Pasqualino, 2021 (uno o più capitoli a scelta)
9. S. FELD, “Chitarre nella foresta. La nascita di una nuova musica in Nuova Guinea”, in EM nuova serie n° 1 2003, pp. 49-69
10. F. GIANNATTASIO e G. GIURIATI (eds), Ethnomusicology or Transcultural musicology?, Udine, Nota, 2017 (uno o più capitoli a scelta)
11. F. GIANNATTASIO, “Etnomusicologia, musica popolare e folk revival in Italia”, AAA-TAC. Acoustical Arts and Artifacts. Techonology, Aesthetics, Communication, 8, 2011, pp. 65-85.
12 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
13. G. GIURIATI, “Didattica delle musiche del mondo”, Musica Docta. Rivista digitale di Pedagogia e Didattica della musica, pp. 145-157
14. G. Giuriati 2020, "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
15. K. KAUFMAN SHELEMAY, 2018, “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, pp. 197-210
16. 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
17. I. MACCHIARELLA (a cura), Making music in the time of YouTube, Philomusica, Vol 16/1, 2017 (uno o più articoli a scelta, cfr http://riviste.paviauniversitypress.it/index.php/phi/issue/view/153/showToc)
18, T. MAGRINI, (a cura), Uomini e suoni. Prospettive antropologiche nella ricerca musicale, Clueb, 1995 (uno o più capitoli a scelta)
19, T. MAGRINI, (a cura), Universi sonori, Milano, Einaudi, 2002 (uno o più capitoli a scelta tra 5, 9, 13)
20. I. NENIĆ, L. CIMARDI, 2023, Women’s Leadership in Music, Transcript Verlag, un capitolo a scelta
21. B. 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)
22. L. QASHU, 2023 “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, pp. 221-232
23. G. PLASTINO (a cura), 2016, La musica folk. Storie, protagonisti e documenti del revival in Italia, Milano, Il Saggiatore (uno o più capitoli a scelta)
24. 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)
25. One or more articles from the Journals: Etnografie Sonore/Sonic Ethnographies; Cahiers d'Ethnomusicologie, Ethnomusicology e Ethnomusicology Forum disponibili online.
2. M. AGAMENNONE, 2014, “Come chiamiamo i nostri studi, e che pensiamo di farne?”, in Viaggio in Italia, a cura di Ciro De Rosa e Salvatore Esposito, Roma: Squilibri, pp. 15-32
3. M. P. BAUMANN, 2000, “The Local and the Global: Traditional Musical Instruments and Modernization”, in The World of Music vol. 42 n° 3, Local Musical Traditions in the Globalization Process, pp. 121-144
4. S. BONANZINGA, 2021, “Dall’antropologia della musica all’acustemologia” in S. Feld, Il mondo dei Bosavi, 2021, pp. 17-30
5. BONANZINGA, 1999, “Tipologia e analisi dei fatti etnocoreutici”, Archivio Antropologico Mediterraneo, II, 1-2, 1999, pp. 77-105
6. G. DOURNON, 2005, “Strumenti musicali del mondo: proliferazioni e sistemi”, in Enciclopedia della musica Einaudi, volume V, pp. 842-873 (lo studio del presente saggio sarà̀ affiancato dall’ascolto del cd Instruments de musique du monde, Parigi, CNRS, con allegato libretto).
7. S. FACCI, 2009, “Funziona? Valori e usi della musica nella contemporaneità”, in L’etnomusicologia e le musiche contemporanee, a cura di F. Giannattasio e S. Facci, Venezia, Fondazione G. Cini.
8. F. GIANNATTASIO, 1992, Il concetto di musica, Roma, La Nuova Italia, (cap. 1 “L’etnomusicologia” pp. 17-30, cap. 2 “Gli universalia e la trasformazione del concetto occidentale di musica” pp. 31-43, cap. 3 “Le tappe di evoluzione del progetto etnomusicologico” pp. 45-66, cap. 4 “L’etnomusicologia in Italia” pp. 67-79, cap. 8 “Teoria musicale e trasmissione del sapere” pp. 145-164, cap. 9 “Il progetto musicale e l’espressione estemporanea” pp. 165-204)
9. G. GIURIATI, 2016, “Alcune questioni centrali nel dibattito etnomusicologico contemporaneo: una prospettiva dall’Italia”, in Il Saggiatore musicale, Vol. 23, No. 1, pp. 103-123
10. QURESHI R. 2000, “How Does Music Mean? Embodied Memories and the Politics of Affect in the Indian "sarangi"”, American Ethnologist, Vol. 27, No. 4, pp. 805-838
11. STAITI N., 2025, “Strumenti musicali, musica strumentale e forme di danza”, in Ascoltate miei cari signori: le musiche di tradizione orale in Italia. Udine: Nota, pp. 49-76
12. Titon_J.T., 2003, “Text”, in Toward a sound ecology.
STUDENTS HAVE TO CHOOSE ONE CHAPTER OR AN ARTICLE FROM THE FOLLOWING LIST (TWO FOR WHO DOES NOT ATTENDS LESSONS):
1. G. ADAMO, Vedere la musica, cap. 5, Lucca, LIM, 2010 (con relativi esempi video disponibili su Kiro o in biblioteca)
2. F. M. BONINI BARALDI – E. BIGAND – T. POZZO, 2015 “Measuring Aksak Rhythm and Synchronization in Transylvanian Village Music by Using Motion Capture”, Musicology Review Vol. 10, No. 4, pp. 265-291
3, F. CARUSO, 2025, “Pratiche devozionali al Santuario della SS. Trinità di Vallepietra: resoconto di un’etnografia virtuale”, in Musiche di tradizione orale nell'era della conversione digitale, a cura di Sergio Bonanzinga
4. 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
5. S. FACCI, 2007, “Etno-microscopio e Pop-grandangolo: guardare le musiche africane oggi” in Etnomusicologia e studi di popular music: quale possibile convergenza? Fondazione G. Cini, Venezia, pp. 25-53
6. S. Facci and G,. Tuzi, 2021, Choir Transhumance in the Filipino Catholic Community in Rome, in EUROPEAN JOURNAL OF MUSICOLOGY VOL. 20/1, 23–38
7. M. FANTINATO GÉO 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, 2021, Vol. 10, No. 2, pp. 21-50
8. S. FELD, Il mondo sonoro dei Bosavi (a cura di S. Bonanzinga), Palermo, Edizioni Museo Pasqualino, 2021 (uno o più capitoli a scelta)
9. S. FELD, “Chitarre nella foresta. La nascita di una nuova musica in Nuova Guinea”, in EM nuova serie n° 1 2003, pp. 49-69
10. F. GIANNATTASIO e G. GIURIATI (eds), Ethnomusicology or Transcultural musicology?, Udine, Nota, 2017 (uno o più capitoli a scelta)
11. F. GIANNATTASIO, “Etnomusicologia, musica popolare e folk revival in Italia”, AAA-TAC. Acoustical Arts and Artifacts. Techonology, Aesthetics, Communication, 8, 2011, pp. 65-85.
12 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
13. G. GIURIATI, “Didattica delle musiche del mondo”, Musica Docta. Rivista digitale di Pedagogia e Didattica della musica, pp. 145-157
14. G. Giuriati 2020, "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
15. K. KAUFMAN SHELEMAY, 2018, “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, pp. 197-210
16. 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
17. I. MACCHIARELLA (a cura), Making music in the time of YouTube, Philomusica, Vol 16/1, 2017 (uno o più articoli a scelta, cfr http://riviste.paviauniversitypress.it/index.php/phi/issue/view/153/showToc)
18, T. MAGRINI, (a cura), Uomini e suoni. Prospettive antropologiche nella ricerca musicale, Clueb, 1995 (uno o più capitoli a scelta)
19, T. MAGRINI, (a cura), Universi sonori, Milano, Einaudi, 2002 (uno o più capitoli a scelta tra 5, 9, 13)
20. I. NENIĆ, L. CIMARDI, 2023, Women’s Leadership in Music, Transcript Verlag, un capitolo a scelta
21. B. 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)
22. L. QASHU, 2023 “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, pp. 221-232
23. G. PLASTINO (a cura), 2016, La musica folk. Storie, protagonisti e documenti del revival in Italia, Milano, Il Saggiatore (uno o più capitoli a scelta)
24. 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)
25. One or more articles from the Journals: Etnografie Sonore/Sonic Ethnographies; Cahiers d'Ethnomusicologie, Ethnomusicology e Ethnomusicology Forum disponibili online.
Contents
The course introduces the basic issues of ethnomusicology (definition of the field of study, methods and techniques of research and analysis), following the evolution of the discipline from comparative musicology to the anthropology of sound and the transformations of the field of study, with a focus on current applications. It proposes an ethnographic approach to the musical event, exploring the multiple relationships between music and other aspects of culture. Using sound and audiovisual materials, it provides knowledge of sound forms and musical instruments from different geographical and cultural origins, and conveys concepts, theories and aesthetic values of music in different societies.
Course Language
Italian
More information
Students are strongly encouraged to attend tutoring sessions. Required reading materials for exam preparation, when not available online or in the library, will be provided by the instructor via the Kiro platform. As for the optional reading materials, all are available in the library. In case of serious difficulties in accessing the library, students are kindly asked to contact the instructor at: fulvia.caruso@unipv.it Students authorized to benefit from inclusive education measures should contact the instructor, who will identify, through a personal meeting (in person or online), the most appropriate teaching materials on a case-by-case basis, according to the applicable regulations.
Degrees
Degrees
MUSICOLOGY
Bachelor’s Degree
3 years
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