ID:
503385
Duration (hours):
42
CFU:
6
SSD:
MUSICOLOGIA E STORIA DELLA MUSICA
Located in:
CREMONA
Year:
2025
Overview
Date/time interval
Secondo Semestre (02/03/2026 - 12/06/2026)
Syllabus
Course Objectives
EDUCATIONAL TARGETS AND LEARNING OUTCOMES
Two are the main aims of this specialistic course: first of all, to develop an interdisciplinary literary-musical sensibility, interested not only in each of the two expressive-linguistic components but also in the global effects of their mutual interaction; consequently, to form a historical and critical awareness regarding the evolution of poetic-musical language in the international and transcultural universe of modern “Auteur Song”, beyond the boundaries between ‘Art’ and ‘Popular’.
Two are the main aims of this specialistic course: first of all, to develop an interdisciplinary literary-musical sensibility, interested not only in each of the two expressive-linguistic components but also in the global effects of their mutual interaction; consequently, to form a historical and critical awareness regarding the evolution of poetic-musical language in the international and transcultural universe of modern “Auteur Song”, beyond the boundaries between ‘Art’ and ‘Popular’.
Course Prerequisites
PREREQUISITES
Basic knowledge of the formal and expressive interactions between music and poetry, corresponding to the program and contents of the introductory course “Poesia per musica 1”, and to its main reference book (La Via 2006, still maintained in the bibliography).
Basic knowledge of the formal and expressive interactions between music and poetry, corresponding to the program and contents of the introductory course “Poesia per musica 1”, and to its main reference book (La Via 2006, still maintained in the bibliography).
Teaching Methods
TEACHING METHODS
The course is structured in regular classes, whose character is at first theoretical, historical and aesthetic, then rather practically analytical and performative. During the analytical sessions, large space will be given to the listening (or video-listening) of historical recordings as well as of live performances by the teacher with the participation of the students. In this sense the teaching method can be defined as performative and multimedial, such as to involve also complementary seminar activities.
The course is structured in regular classes, whose character is at first theoretical, historical and aesthetic, then rather practically analytical and performative. During the analytical sessions, large space will be given to the listening (or video-listening) of historical recordings as well as of live performances by the teacher with the participation of the students. In this sense the teaching method can be defined as performative and multimedial, such as to involve also complementary seminar activities.
Assessment Methods
PROCEDURES FOR LEARNING VERIFICATION
Seminar presentation (for attending students) or discussion of a written analytical essay as part of the oral exam (for non-attending students); the essay should be delivered to the teacher at least a week before the exam date. Oral exam aimed at testing not only the specific theoretical, historical and analytical competences acquired by the student, but also his critical ability in expressing his personal point of view on the main conceptual issues focussed during the course and/or in the reference texts.
Seminar presentation (for attending students) or discussion of a written analytical essay as part of the oral exam (for non-attending students); the essay should be delivered to the teacher at least a week before the exam date. Oral exam aimed at testing not only the specific theoretical, historical and analytical competences acquired by the student, but also his critical ability in expressing his personal point of view on the main conceptual issues focussed during the course and/or in the reference texts.
Texts
REFERENCE TEXTS
(1) General part:
– S. LA VIA, Poesia per musica e musica per poesia. Dai trovatori a Paolo Conte, Roma, Carocci, 2006: parte prima (volume); parte seconda (CD-ROM): introduzione e cap. 6.
– M. SANTORO, Effetto Tenco. Genealogia della canzone d’autore, Bologna, Il Mulino, 2020.
– J. TOMATIS, “Vorrei trovar parole nuove”. Il neologismo “cantautore” e l’deologia dei generi musicali nella canzone italiana degli anni Sessanta, «JASPM»,1/2 (2020), pp. 1-23.
– S. LA VIA, Princìpi e modelli formali della canzone d’autore, in Le forme della canzone, a cura di E. Careri e G. Ruberti, Lucca, LIM, 2014, pp. 3-43.
– S. LA VIA, Canzone d’autore, «DEUMM online», New York, Repertoire International de Littérature Musicale, 2025 (13pp.).
(2) Specific topic:
– S. LA VIA, Il mare nel «Cancioneiro» bahiano di Dorival Caymmi (e nel romanzo «Mar Morto» di Jorge Amado), in La canzone, il mare, a cura di E. Careri e S. Frasca, Lucca, LIM, 2012, pp. 143-252.
– S. LA VIA, Chico Buarque, Canzoni, traduzione con testo a fronte, saggio introduttivo, appendici documentarie, schede critiche (CD-rom) e incisioni inedite (CD-audio), Pavia University Press, Pavia, 2014.
– S. LA VIA – C. COSI, Bossa Nova Canção. Prospettive teoriche e analisi poetico-musicali, Lucca, Libreria Musicale Italiana, 2017.
– S. LA VIA, “Gained in Translation”: ‘Bardóci’ transcreatore delle canzoni di Chico Buarque, in Sergio Bardotti: il poeta per musica, il traduttore, il produttore, a cura di S. La Via e C. Cosi, Roma, Squilibri, 2022, pp. 53-128.
S. LA VIA, Processo creativo e compositivo nelle canzoni di Chico Buarque. Con uno studio degli schizzi e abbozzi sonori di “Carioca”, Roma, Neoclassica, 2024.
(1) General part:
– S. LA VIA, Poesia per musica e musica per poesia. Dai trovatori a Paolo Conte, Roma, Carocci, 2006: parte prima (volume); parte seconda (CD-ROM): introduzione e cap. 6.
– M. SANTORO, Effetto Tenco. Genealogia della canzone d’autore, Bologna, Il Mulino, 2020.
– J. TOMATIS, “Vorrei trovar parole nuove”. Il neologismo “cantautore” e l’deologia dei generi musicali nella canzone italiana degli anni Sessanta, «JASPM»,1/2 (2020), pp. 1-23.
– S. LA VIA, Princìpi e modelli formali della canzone d’autore, in Le forme della canzone, a cura di E. Careri e G. Ruberti, Lucca, LIM, 2014, pp. 3-43.
– S. LA VIA, Canzone d’autore, «DEUMM online», New York, Repertoire International de Littérature Musicale, 2025 (13pp.).
(2) Specific topic:
– S. LA VIA, Il mare nel «Cancioneiro» bahiano di Dorival Caymmi (e nel romanzo «Mar Morto» di Jorge Amado), in La canzone, il mare, a cura di E. Careri e S. Frasca, Lucca, LIM, 2012, pp. 143-252.
– S. LA VIA, Chico Buarque, Canzoni, traduzione con testo a fronte, saggio introduttivo, appendici documentarie, schede critiche (CD-rom) e incisioni inedite (CD-audio), Pavia University Press, Pavia, 2014.
– S. LA VIA – C. COSI, Bossa Nova Canção. Prospettive teoriche e analisi poetico-musicali, Lucca, Libreria Musicale Italiana, 2017.
– S. LA VIA, “Gained in Translation”: ‘Bardóci’ transcreatore delle canzoni di Chico Buarque, in Sergio Bardotti: il poeta per musica, il traduttore, il produttore, a cura di S. La Via e C. Cosi, Roma, Squilibri, 2022, pp. 53-128.
S. LA VIA, Processo creativo e compositivo nelle canzoni di Chico Buarque. Con uno studio degli schizzi e abbozzi sonori di “Carioca”, Roma, Neoclassica, 2024.
Contents
PROGRAM AND CONTENTS
Definitions of “autorship” and applications of the concept to various repertoires of modern and contemporary “song” (20th and 21th centuries); historical, sociological and aesthetic framing and classification of the notion of “Auteur Song”; methodologies of literary-musical analysis and study of the creative processes. The monographic section of the course, mostly analytical and exegetical, will be devoted to some of the leading representatives of modern and contemporary Brasilian Popular Music (“Música Popular Brasileira”): primarily Chico Buarque, in part also his most important predecessors and contemporary Brazilian singer-songwriters, such as Dorival Caymmi, Antônio Carlos Jobim, Vinicius de Moraes, João Gilberto, Edu Lobo, Caetano Veloso, Gilberto Gil. The course will also address the problem of the translation of these repertoires, that in Italy has always stimulated the transcreational art of lyricists such as Giorgio Calabrese and Sergio Bardotti, to culminate in the Neapolitan versions more recently created and performed by the singer Maria Pia De Vito.
At the end of the course, the student will be asked to apply the analytical method to a freely chosen composition (taken from any of the repertoires listed above), and to show the main results of her/his study in the form of either a seminar presentation or a written essay (see also below under “Procedures for learning verification”).
Definitions of “autorship” and applications of the concept to various repertoires of modern and contemporary “song” (20th and 21th centuries); historical, sociological and aesthetic framing and classification of the notion of “Auteur Song”; methodologies of literary-musical analysis and study of the creative processes. The monographic section of the course, mostly analytical and exegetical, will be devoted to some of the leading representatives of modern and contemporary Brasilian Popular Music (“Música Popular Brasileira”): primarily Chico Buarque, in part also his most important predecessors and contemporary Brazilian singer-songwriters, such as Dorival Caymmi, Antônio Carlos Jobim, Vinicius de Moraes, João Gilberto, Edu Lobo, Caetano Veloso, Gilberto Gil. The course will also address the problem of the translation of these repertoires, that in Italy has always stimulated the transcreational art of lyricists such as Giorgio Calabrese and Sergio Bardotti, to culminate in the Neapolitan versions more recently created and performed by the singer Maria Pia De Vito.
At the end of the course, the student will be asked to apply the analytical method to a freely chosen composition (taken from any of the repertoires listed above), and to show the main results of her/his study in the form of either a seminar presentation or a written essay (see also below under “Procedures for learning verification”).
Course Language
Italian
More information
FURTHER INFORMATION
Most of the analytical material (with the exception of audio and audio-visual recordings) will be gradually uploaded on the platform KIRO elearning, accessible to all the enrolled students. Anyone who is interested in attending regularly each class is required to get such KIRO-material at the preventive behest of the teacher. Non-attending students are required to get in touch with the teacher in order to define the program, the composition to be analyzed and the additional bibliography.
Most of the analytical material (with the exception of audio and audio-visual recordings) will be gradually uploaded on the platform KIRO elearning, accessible to all the enrolled students. Anyone who is interested in attending regularly each class is required to get such KIRO-material at the preventive behest of the teacher. Non-attending students are required to get in touch with the teacher in order to define the program, the composition to be analyzed and the additional bibliography.
Degrees
Degrees (2)
MUSICOLOGY
Master’s Degree
2 years
MUSICOLOGY
Master’s Degree
2 years
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