ID:
510270
Duration (hours):
36
CFU:
6
SSD:
MUSICOLOGIA E STORIA DELLA MUSICA
Located in:
CREMONA
Year:
2025
Overview
Date/time interval
Primo Semestre (29/09/2025 - 23/01/2026)
Syllabus
Course Objectives
The course aims at the acquisition of skills useful in the study and realization of digital music editions. At the end of the course, participants will understand the potential of the software used in the realization of these kinds of editions, know how to relate to them critically, and be familiar with the projects currently active in the field.
Course Prerequisites
It is assumed that the student possesses the basic concepts of Textual Criticism, obtained by attending courses in music philology or one or more literary philologies, or through personal readings. Knowledge of paleography and codicology is also helpful for course participation. Preliminary or simultaneous attendance of the 'Musical Text Coding Systems Laboratory' is strongly recommended.
Teaching Methods
On a teaching level, the course will be divided into two sections. The first consists of lessons from the teacher. The second is based on the principle of "cooperative learning", during which group and/or individual exercises, presentations and seminars will alternate.
Assessment Methods
The exam consists of an oral interview. It will be based: 1) for attending students (who have attended at least 4/5 of the lessons) on the discussion of the work done in class and on the commentary on the materials handed out in class; 2) for non-attending students on the recommended bibliography and on the commentary on the materials handed out in class. Any papers that may be required must be submitted at least one week before the oral interview.
Texts
The following list is only a starting point of recommended readings for exam preparation. Additions and any changes will be communicated during class:
KEPPER, JOHANNES: Musikedition im Zeichen neuer Medien – Historische Entwicklung und gegenwärtige Perspektiven musikalischer Gesamtausgaben, Dissertation Detmold/Paderborn 2009, Norderstedt 2011.
[https://kups.ub.unikoeln.de/6639/1/SIDE5_Kepper-Musikedition.pdf].
MANCINELLI, TIZIANA – PIERAZZO, ELENA: Che cos’è un’edizione scientifica digitale, Carocci editore 2020 (Bussole).
STADLER, PETER – VEIT, JOACHIM (Hg.): Digitale Edition zwischen Experiment und Standardisierung. Musik – Text – Codierung, Tübingen 2009 (Beihefte zu editio, 31).
VEIT, JOACHIM: Es bleibt nichts, wie es war – Wechselwirkungen zwischen digitalen und ‚analogen‘ Editionen, in: editio XXIV, 2010, pp. 37–52.
VIGLIANTI, RAFFAELE: Musicologia digitale e spartiti digitali, in Digital Humanities. Metodi, strumenti, saperi a cura di Fabio Ciotti, Carocci editore 2023 (Studi superiori 1367), pp. 267–281.
KEPPER, JOHANNES: Musikedition im Zeichen neuer Medien – Historische Entwicklung und gegenwärtige Perspektiven musikalischer Gesamtausgaben, Dissertation Detmold/Paderborn 2009, Norderstedt 2011.
[https://kups.ub.unikoeln.de/6639/1/SIDE5_Kepper-Musikedition.pdf].
MANCINELLI, TIZIANA – PIERAZZO, ELENA: Che cos’è un’edizione scientifica digitale, Carocci editore 2020 (Bussole).
STADLER, PETER – VEIT, JOACHIM (Hg.): Digitale Edition zwischen Experiment und Standardisierung. Musik – Text – Codierung, Tübingen 2009 (Beihefte zu editio, 31).
VEIT, JOACHIM: Es bleibt nichts, wie es war – Wechselwirkungen zwischen digitalen und ‚analogen‘ Editionen, in: editio XXIV, 2010, pp. 37–52.
VIGLIANTI, RAFFAELE: Musicologia digitale e spartiti digitali, in Digital Humanities. Metodi, strumenti, saperi a cura di Fabio Ciotti, Carocci editore 2023 (Studi superiori 1367), pp. 267–281.
Contents
Digital editions of music: problems and potential
The so-called digital turn has long been influencing all humanities disciplines, primarily philological ones: the first experiments definable as 'digital scholarly editions' in the literary sphere date back to the mid-1990s and led to the definition of some standard practices now in common use. Nevertheless, it would be obtuse to remain silent about the climate of suspicion that seems to prevail towards digital editions in general, especially in all those entourages where a philological tradition exists and is well established. In the field of musicology, the situation is not much different, and with an extremely small number of projects actually active in this field, digital is increasingly under attack. Precisely the most influential of musicologists specializing in digital editions, Joachim Veit, taking public notice of this climate, has admitted that the euphoria of the early days must now give way to an awareness of the necessary continuity in investment, so that what has been started is not interrupted, but above all so that a number of initially underestimated effects responsible for this climate are remedied. Starting with an initial definition of the object of inquiry-what a digital music publishing really is-and a review of the most important projects in the field, the course aims to identify the strengths and weaknesses of digital, while also attempting to address the question that seems to divide experts more than others, namely whether or not its advent has had repercussions in a methodological sense.
The so-called digital turn has long been influencing all humanities disciplines, primarily philological ones: the first experiments definable as 'digital scholarly editions' in the literary sphere date back to the mid-1990s and led to the definition of some standard practices now in common use. Nevertheless, it would be obtuse to remain silent about the climate of suspicion that seems to prevail towards digital editions in general, especially in all those entourages where a philological tradition exists and is well established. In the field of musicology, the situation is not much different, and with an extremely small number of projects actually active in this field, digital is increasingly under attack. Precisely the most influential of musicologists specializing in digital editions, Joachim Veit, taking public notice of this climate, has admitted that the euphoria of the early days must now give way to an awareness of the necessary continuity in investment, so that what has been started is not interrupted, but above all so that a number of initially underestimated effects responsible for this climate are remedied. Starting with an initial definition of the object of inquiry-what a digital music publishing really is-and a review of the most important projects in the field, the course aims to identify the strengths and weaknesses of digital, while also attempting to address the question that seems to divide experts more than others, namely whether or not its advent has had repercussions in a methodological sense.
Course Language
Italian
More information
Students admitted to the 'inclusive teaching' program are requested to contact the professor as soon as possible to arrange any additions.
Degrees
Degrees (2)
MUSICOLOGY
Master’s Degree
2 years
MUSICOLOGY
Master’s Degree
2 years
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