ID:
501383
Duration (hours):
36
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 western classical tradition.
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 western classical tradition.
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 her/his critical ability in expressing her/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 her/his critical ability in expressing her/his personal point of view on the main conceptual issues focussed during the course and/or in the reference texts.
Texts
REFERENCE TEXTS
– S. LA VIA, Poesia per musica e musica per poesia. Dai trovatori a Paolo Conte, Roma, Carocci, 2006: part I (volume); parte seconda (CD-ROM): Introduction, cap. 5.1 (analysis of Rinuccini-Monteverdi’s Lamento della Ninfa). Particularly recommended for those student who did not attend the introductory course (Storia della Poesia per Musica 1, Laurea Triennale) or did not prepare for the related exam.
– N. PIRROTTA, Scelte poetiche di musicisti. Teatro, poesia e musica da Willaert a Malipiero, Venezia, Marsilio, 1987, pp. 81-146, 197-241.
– P. FABBRI, Monteverdi, Torino, EDT, 1985.
– E. ROSAND, Le ultime opere di Monteverdi. Trilogia veneziana, Milano, Ricordi, 2012.
– «Philomusica online», vol. 17, n. 1 (2018), monografic issue on Monteverdi: two essays to be chosen.
– E. ROSAND - S. LA VIA (eds.), Claudio Monteverdi’s Venetian Operas: Sources, Performance, Interpretation, London & New York, Routledge, 2022: two essays to be chosen.
– S. LA VIA, two essays to be chosen among those listed below*:
(1) Monteverdi esegeta. Rilettura di «Cruda Amarilli/O Mirtillo», in Intorno a Monteverdi, ed. by M. Caraci Vela and R. Tibaldi, Lucca, LIM, 1999, pp.77-99;
(2) Allegrezza e perturbazione, peripezia e danza nell’ «Orfeo» di Striggio e Monteverdi, in Pensieri per un maestro. Studi in onore di Pierluigi Petrobelli, ed. by S. La Via and R. Parker, Torino, EDT, 2002, pp. 61-93;
(3) L’espressione dei contrasti fra madrigale ed opera, in Storia dei concetti musicali. Espressione, forma, opera, ed. by G. Borio and C. Gentili, Roma, Carocci, 2007, pp. 31-63;
(4) «La ragion perde dove il senso abbonda». Una rilettura etico-drammaturgica dell'«Incoronatione di Poppea», in Musicologia fra due continenti: l'eredità di Nino Pirrotta, Atti del Convegno internazionale di studi (Roma 4-6 giugno 2008), Roma, Accademia Nazionale dei Lincei, 2010, pp. 79-127.
*NB. Foreign students may replace one of the texts listed above with one of the following essays:
– S. LA VIA, Le Combat «retrouvé». Les passions contraires selon le «divin Tasse» dans la représentation musicale de Monteverdi, in G. CARERI (ed.), Gestes d'amour et de guerre. «La Jérusalem délivrée» du Tasse, Paris, Klincksieck-Musée du Louvre, 1999, pp. 109-158.
– S. LA VIA, Claudio Monteverdi: Madrigal «Vattene pur, crudel» (1592), in Handbuch der Musik der Renaissance, 2, Komponieren in der Renaissance. Lehre und Praxis, hrsg. von Michele Calella und Lothar Schmidt, Laaber, Laaber Verlag, 2013, pp. 444-79.
– S. LA VIA, Alfonso Fontanelli’s cadences and the «seconda pratica», «Journal of Musicology» XXX/1 (2013), pp. 49-102.
– S. LA VIA, Poesia per musica e musica per poesia. Dai trovatori a Paolo Conte, Roma, Carocci, 2006: part I (volume); parte seconda (CD-ROM): Introduction, cap. 5.1 (analysis of Rinuccini-Monteverdi’s Lamento della Ninfa). Particularly recommended for those student who did not attend the introductory course (Storia della Poesia per Musica 1, Laurea Triennale) or did not prepare for the related exam.
– N. PIRROTTA, Scelte poetiche di musicisti. Teatro, poesia e musica da Willaert a Malipiero, Venezia, Marsilio, 1987, pp. 81-146, 197-241.
– P. FABBRI, Monteverdi, Torino, EDT, 1985.
– E. ROSAND, Le ultime opere di Monteverdi. Trilogia veneziana, Milano, Ricordi, 2012.
– «Philomusica online», vol. 17, n. 1 (2018), monografic issue on Monteverdi: two essays to be chosen.
– E. ROSAND - S. LA VIA (eds.), Claudio Monteverdi’s Venetian Operas: Sources, Performance, Interpretation, London & New York, Routledge, 2022: two essays to be chosen.
– S. LA VIA, two essays to be chosen among those listed below*:
(1) Monteverdi esegeta. Rilettura di «Cruda Amarilli/O Mirtillo», in Intorno a Monteverdi, ed. by M. Caraci Vela and R. Tibaldi, Lucca, LIM, 1999, pp.77-99;
(2) Allegrezza e perturbazione, peripezia e danza nell’ «Orfeo» di Striggio e Monteverdi, in Pensieri per un maestro. Studi in onore di Pierluigi Petrobelli, ed. by S. La Via and R. Parker, Torino, EDT, 2002, pp. 61-93;
(3) L’espressione dei contrasti fra madrigale ed opera, in Storia dei concetti musicali. Espressione, forma, opera, ed. by G. Borio and C. Gentili, Roma, Carocci, 2007, pp. 31-63;
(4) «La ragion perde dove il senso abbonda». Una rilettura etico-drammaturgica dell'«Incoronatione di Poppea», in Musicologia fra due continenti: l'eredità di Nino Pirrotta, Atti del Convegno internazionale di studi (Roma 4-6 giugno 2008), Roma, Accademia Nazionale dei Lincei, 2010, pp. 79-127.
*NB. Foreign students may replace one of the texts listed above with one of the following essays:
– S. LA VIA, Le Combat «retrouvé». Les passions contraires selon le «divin Tasse» dans la représentation musicale de Monteverdi, in G. CARERI (ed.), Gestes d'amour et de guerre. «La Jérusalem délivrée» du Tasse, Paris, Klincksieck-Musée du Louvre, 1999, pp. 109-158.
– S. LA VIA, Claudio Monteverdi: Madrigal «Vattene pur, crudel» (1592), in Handbuch der Musik der Renaissance, 2, Komponieren in der Renaissance. Lehre und Praxis, hrsg. von Michele Calella und Lothar Schmidt, Laaber, Laaber Verlag, 2013, pp. 444-79.
– S. LA VIA, Alfonso Fontanelli’s cadences and the «seconda pratica», «Journal of Musicology» XXX/1 (2013), pp. 49-102.
Contents
PROGRAM AND CONTENTS
Claudio Monteverdi as musical exegete and dramatist.
Literary-musical and dramaturgical analysis of the following compositions: madrigalistic antecedents of the “Prima” and “Seconda pratica” (from Philippe Verdelot to Cipriano de Rore), Monteverdi's “Seconda Pratica” Madrigals (Books III, IV, V), “Madrigali rappresentativi” (Book VIII: Lamento della Ninfa and Combattimento di Tancredi e Clorinda), and Operas (Orfeo, Il ritorno d'Ulisse in Patria, L'incoronatione di Poppea).
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”).
Claudio Monteverdi as musical exegete and dramatist.
Literary-musical and dramaturgical analysis of the following compositions: madrigalistic antecedents of the “Prima” and “Seconda pratica” (from Philippe Verdelot to Cipriano de Rore), Monteverdi's “Seconda Pratica” Madrigals (Books III, IV, V), “Madrigali rappresentativi” (Book VIII: Lamento della Ninfa and Combattimento di Tancredi e Clorinda), and Operas (Orfeo, Il ritorno d'Ulisse in Patria, L'incoronatione di Poppea).
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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