ID:
501457
Duration (hours):
42
CFU:
6
SSD:
MUSICOLOGIA E STORIA DELLA MUSICA
Located in:
CREMONA
Year:
2025
Overview
Date/time interval
Annualità Singola (29/09/2025 - 12/06/2026)
Syllabus
Course Objectives
The course, organized in two modules, aims to introduce the knowledge of the history of western music from the 9th to the beginning of the 17th century and to provide the main tools for understanding repertoires, sources and forms of music in the main areas of Medieval and Renaissance society and culture.
At the end of the course, students should be able to recognize the different styles, genres and forms of the eras studied on the basis of the analysis of their peculiar traits. They should also be able to orient themselves in the production of the main composers on the basis of the most recent scientific acquisitions.
At the end of the course, students should be able to recognize the different styles, genres and forms of the eras studied on the basis of the analysis of their peculiar traits. They should also be able to orient themselves in the production of the main composers on the basis of the most recent scientific acquisitions.
Course Prerequisites
Knowledge of the European historical and cultural background from late antiquity to the end of the sixteenth century in its essential lines. Good knowledge of music language. It would be best to have passed the examination of "Modality and Harmony 1".
Teaching Methods
The course is organized in lectures (30 h), held with the help of PowerPoint presentations, made available to students on the KIRO teaching platform. In addition to these, there are classroom exercises held by the teacher (12 h), mainly dedicated to in-depth analysis, analysis and listening of compositions discussed in class. The course is supported by specific tutoring (Introduction to Western musical repertoires).
Assessment Methods
Oral exam, which focuses on the acquired skills, in particular, the knowledge of forms and musical genres from the 9th to the 14th century, and the ability to place music in the medieval and cultural context of the Middle Ages. The oral exam consists of 1) an introductory part (preparatory to the exam) concerning the reference texts indicated in the bibliography and in particular the subjects not taken during the lessons, and 2) specific questions on the topics discussed during the lessons. Non-attending students will be interrogated exclusively on the above indicated texts.
Texts
Examination requires knowledge of all the subjects discussed during the lessons. The material used and which forms an integral part of the exam is available on the Kiro didactic portal at https://elearning.unipv.it/ (access through its own university credentials).
It is also required to study the following books, especially for all those subjects that were not taken during lessons:
– G. CATTIN, La monodia nel medioevo, nuova ed. ampliata riveduta e corretta, Torino, EDT, 1991 ed edizioni successive (Storia della musica, a cura della Società Italiana di Musicologia, 2), sections I (complete), IV (§§ 24-26), V (§§ 27-29).
– G. BAROFFIO - E. JU KIM, Cantemus Domino Gloriose. Introduzione al canto gregoriano, Saronno, Urban, 2003, chapters 6-11 (including music examples).
– A. PLANCHART, Le tradizioni del canto liturgico nell’Europa occidentale, in Enciclopedia della musica, 4: Storia della musica europea, Torino, Einaudi, 2004, pp. 41-67.
- F. A. GALLO, La polifonia nel medioevo, nuova ed. ampliata riveduta e corretta, Torino, EDT, 1991 ed edizioni successive (Storia della musica, a cura della Società Italiana di Musicologia, 3), sections II-III (Il Trecento francese, Il Trecento italiano).
Non-attending students or attending only part of the lessons are required to know the following texts (complete if not indicated otherwise):
– G. CATTIN, La monodia nel medioevo, nuova ed. ampliata riveduta e corretta, Torino, EDT, 1991 ed edizioni successive (Storia della musica, a cura della Società Italiana di Musicologia, 2), everything except Chapter II.
– G. BAROFFIO – E. JU KIM, Cantemus Domino Gloriose. Introduzione al canto gregoriano, Saronno, Urban, 2003 (including music examples, which clarify the forms and compositional techniques illustrated here and in the book of Cattin).
– A. PLANCHART, Le tradizioni del canto liturgico nell’Europa occidentale, in Enciclopedia della musica, 4: Storia della musica europea, Torino, Einaudi, 2004, pp. 41-67.
– F. A. GALLO, La polifonia nel medioevo, nuova ed. ampliata riveduta e corretta, Torino, EDT, 1991 ed edizioni successive (Storia della musica, a cura della Società Italiana di Musicologia, 3), chapters I-III (Il Duecento, Il Trecento francese, Il Trecento italiano).
– La polifonia fino al XIII secolo, uploading on the above-mentioned portal "Kiro" in the appropriate folder.
Non-attending students do not require the knowledge of the teaching material published on "Kiro", which can still be used for better and more conscious preparation.
It is also required to study the following books, especially for all those subjects that were not taken during lessons:
– G. CATTIN, La monodia nel medioevo, nuova ed. ampliata riveduta e corretta, Torino, EDT, 1991 ed edizioni successive (Storia della musica, a cura della Società Italiana di Musicologia, 2), sections I (complete), IV (§§ 24-26), V (§§ 27-29).
– G. BAROFFIO - E. JU KIM, Cantemus Domino Gloriose. Introduzione al canto gregoriano, Saronno, Urban, 2003, chapters 6-11 (including music examples).
– A. PLANCHART, Le tradizioni del canto liturgico nell’Europa occidentale, in Enciclopedia della musica, 4: Storia della musica europea, Torino, Einaudi, 2004, pp. 41-67.
- F. A. GALLO, La polifonia nel medioevo, nuova ed. ampliata riveduta e corretta, Torino, EDT, 1991 ed edizioni successive (Storia della musica, a cura della Società Italiana di Musicologia, 3), sections II-III (Il Trecento francese, Il Trecento italiano).
Non-attending students or attending only part of the lessons are required to know the following texts (complete if not indicated otherwise):
– G. CATTIN, La monodia nel medioevo, nuova ed. ampliata riveduta e corretta, Torino, EDT, 1991 ed edizioni successive (Storia della musica, a cura della Società Italiana di Musicologia, 2), everything except Chapter II.
– G. BAROFFIO – E. JU KIM, Cantemus Domino Gloriose. Introduzione al canto gregoriano, Saronno, Urban, 2003 (including music examples, which clarify the forms and compositional techniques illustrated here and in the book of Cattin).
– A. PLANCHART, Le tradizioni del canto liturgico nell’Europa occidentale, in Enciclopedia della musica, 4: Storia della musica europea, Torino, Einaudi, 2004, pp. 41-67.
– F. A. GALLO, La polifonia nel medioevo, nuova ed. ampliata riveduta e corretta, Torino, EDT, 1991 ed edizioni successive (Storia della musica, a cura della Società Italiana di Musicologia, 3), chapters I-III (Il Duecento, Il Trecento francese, Il Trecento italiano).
– La polifonia fino al XIII secolo, uploading on the above-mentioned portal "Kiro" in the appropriate folder.
Non-attending students do not require the knowledge of the teaching material published on "Kiro", which can still be used for better and more conscious preparation.
Contents
FIRST MODULE: the Middle Ages (Rodobaldo Tibaldi)
COURSE PROGRAM
Panoramic view on the formation of European music culture from the Middle Ages to the late 16th century. XIV, with particular regard to the following subjects: liturgical chant repertoires and Gregorian chant; the birth of musical notation; the sacred and profane polyphony of Ars Antiqua and Ars Nova. Description of the main forms and techniques in composition.
Knowledge of the main historical events and fundamental cultural orientations of the 4-14th century is considered to be acquired (it is sufficient as learned in the higher schools). A very agile and informed instrument is the Garzantine Enciclopedia del Medioevo, which also contains several entries about music.
COURSE PROGRAM
Panoramic view on the formation of European music culture from the Middle Ages to the late 16th century. XIV, with particular regard to the following subjects: liturgical chant repertoires and Gregorian chant; the birth of musical notation; the sacred and profane polyphony of Ars Antiqua and Ars Nova. Description of the main forms and techniques in composition.
Knowledge of the main historical events and fundamental cultural orientations of the 4-14th century is considered to be acquired (it is sufficient as learned in the higher schools). A very agile and informed instrument is the Garzantine Enciclopedia del Medioevo, which also contains several entries about music.
Course Language
Italian
More information
At the end of the module there will be an intermediate test (“in itinere” text) on the entire program (subjects covered in class and texts). This test is reserved for attending students. Students who actually attend at least 2/3 of the lessons will be considered attending. This test will take place with a minimum number of five students. Students authorized to benefit from inclusive teaching must contact the teacher, who through an individual interview (preferably in person, possibly remotely) will identify the most suitable teaching material according to the relevant categories, as proposed by the Academic Senate. IMPORTANT WARNING The History of Music 1 can be separated into two parts corresponding to the two modules (obviously according to the chronological sequence) but must necessarily be completed in the maximum of two consecutive exam sessions without exception and regardless of any internal articulations of the individual modules.“In itinere” test is considered as belonging to the summer session.
Degrees
Degrees
MUSICOLOGY
Bachelor’s Degree
3 years
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