The student will be able to retrace the general features of the history of the construction of musical instruments, with particular reference to the Western tradition. The student will be aware of the relationship between builder and artifacts and will be able to critically insert the musical instrument and the production process in the history of the artistic and material culture of the time. At the end of the course the student will be able to know and evaluate the construction processes of the main families of instruments and to orient himself critically in the specialist reading of individual cases.
Course Prerequisites
Attending Module A of the course. The student must have a good knowledge of the history of musical instruments and have acquired organological skills that allow the understanding of the topics covered in the course. Related disciplines, such as museology, art history and musical iconography, can be valuable complements to the preparation, especially in view of particular job opportunities (curator, conservator, organologist).
Teaching Methods
The course is divided into different sections, in which lectures will alternate with group exercises and visits to museums and restoration workshops. Active participation is strongly recommended, also to offer a final evaluation that takes into account the work done throughout the whole course.
Assessment Methods
A) Oral presentation in the form of paper for a conference of a detailed organological description of an instrument of the student's choice. B) The oral test will consist of questions that ascertain the achievement of the educational objectives. The interview will focus on the general methodological part (at least two questions) and the part relating to restoration cases (at least two questions). The final vote will be determined according to these proportions: A) oral presentation and written report 40%; B) oral interview 60%. Oral discussion of a short written paper delivered earlier, detailing a wind instrument.
Texts
Clavichord Bernard Brauchli, The Clavichord. Cambridge: Cambridge University Press, 1998
Harpsichord Frank Hubbard, Three Centuries of Harpishord Making. Cambridge, MA: Harvard University Press, 1965 Darryl Martin, The Art of Making a Harpsichord. Robert Hale, 2012.
Organ George Ashdown Audsley, The Art of Organ-Building. New York: Dover Edition,1965
Pianoforte Michael Cole, The Pianoforte in the Classical Era. Oxford: Oxford University Press, 1998 Stewart Pollens, The Early Pianoforte. Cambridge: Cambridge University Press, 2009 (19951) Winds Marco Tiella, L’officina di Orfeo. Tecnologia e pratica degli strumenti musicali, Il Cardo, Venezia 1995, in part. capp. «L’apporto della tecnologia», pp. 91-128 e «La nascita dell’orchestra», pp. 229-254 Anthony Baines, Woodwind Instruments and their History, Faber & Faber, London 19622 Anthony Baines, Gli ottoni, ed. italiana a c. di Renato Meucci, EDT, Torino 1991 Alessandra Ignesti, Il flauto traversiere e il suo procedimento costruttivo, «Philomusica on-line» VI/1 (2007)
It is also essential to consult museum catalogues and technical restoration documentation. The complete list will be available on Kiro.
A specific bibliography will be provided during the lessons. Some articles of particular interest will be available on the Kiro page of the course, together with all the teaching materials and slides of the lessons.
Contents
Module B of the course will deepen the history of the construction techniques of organ, harpsichord, clavichord and piano. Module B2 will introduce students to the construction techniques of wind instruments, in particular wood. The detailed calendar will be discussed in the introductory lesson and available on Kiro from the beginning of the course.
Course Language
Italian
More information
The wind instruments section is an integral part of module B of the course
