PRODUCTION, DIFFUSION AND FRUITION OF MUSIC I

It is intended to focus on the mechanisms of musical production systems, especially in the 19th and 20th centuries, in european theater and concert halls.

1. Knowledge and understanding: understand and be able to analyze critical and theoretical texts that deal with the history of musical production systems, know how to use the resources offered by computer platforms, with regard to audiovisual sources.
2. Ability to apply knowledge and understanding: to develop a critical conscience in relation to some essential works in the history of music.
3. Ability to judge: ability to formulate conscious exegesis, in relation to the social history of the arts and to politics.
4. Communication skills: reaching an advanced domain of public communication, in close dialogue with one's colleagues and interacting with the teacher, knowing how to exploit the many possibilities that the research offers modern means of communication.
5. Learning skills: knowing how to handle critical texts and bibliographies.

The student will have acquired basic knowledge on the functioning of theater and concert seasons and on the management systems of musical institutions, deepening aspects of artistic programming in relation to the subject dealt with in a specialized manner.

The student will have to acquire basic knowledge of the history of musical productive systems (see, among the reference texts, the essays in the History of Italian Opera, ed. by Lorenzo Bianconi and Giorgio Pestelli, part II: Opera Production and Its Resources, Chicago, The University of Chicago Press, 1998)

The production system in fascist Italy.

Is there a relationship between dictatorship and ‘ugly’ music? We will start from this question to provide a general overview of one of the blackest pages in Italian civil history. Twenty years of moral and material abuses in which a plethora of amateur musicians acted, composers, librettists, singers, orchestra directors, theater and so on, will be framed in the musical production system of the time, in the seasons as well as in the Festival: It is so unpleasant as it is fruitful to note that since then Italy has not changed much, and that many constants are related to our times in the years of Mussolini, as pointed out by Harvey Sachs. The bibliography to prepare for the exam will be specified at the end of the course.

homepage: http://www-5.unipv.it/girardi/2019_SIST/SIST_2019.htm
Syllabus: http://www-5.unipv.it/girardi/2019_STM/STM_esame_2019.htm

Isabella Abbonizio, Etnografia musicale e colonialismo italiano: contributi sul folclore dei territori d’oltremare dall’epoca liberale al fascismo, «Ethnorêma», 2011, 7, pp. 27-42.
Stefano Biguzzi, L’orchestra del duce. Mussolini, la musica e il mito del capo, Torino, utet, 2003
Ben Earle, Luigi Dallapiccola and Musical Modernism in Fascist Italy, Cambridge, Cambridge University Press, 2013.
Simonetta Falasca-Zamponi, Fascist Spectacle: The Aesthetics of Power in Mussolini’s Italy, Berkeley, University of California Press, 1997.
Maria Girardi, Il teatro La Fenice durante il ventennio fascista, «Rassegna veneta di studi musicali», IV, 1988, pp. 201-234.
Jürgen Maehder, Il libretto patriottico nell’Italia della fine del secolo e la raffigurazione dell’Antichità e del Rinascimento nel libretto prefascista italiano, in Atti del Convegno Internazionale di Musicologia a Bologna 1987, a cura di Lorenzo Bianconi et al., 4 voll.,Torino, EDT, 1990, III, pp. 451-466.
Orazio Maione, I Conservatori di musica durante il fascismo, Torino, edt, 2005.
Fiamma Nicolodi, Musica e Musicisti nel Ventennio fascista, Fiesole, Discanto, 1984;
—, Risvolti nazionalistici nel mito dell’antico in Italia e in Francia, in Musica senza aggettivi. Studi per Fedele D’Amico, a cura di Agostino Ziino, Firenze, Olschki, 1991, pp. 463-476;
—, Opera Production from Italian Unification to the Present, in History of Italian Opera, ed. by Lorenzo Bianconi and Giorgio Pestelli, part II: Opera Production and Its Resources, Chicago, The University of Chicago Press, 1998, pp. 165-228.
Harvey Sachs, Music in Fascist Italy, New York, Norton, 1984.
Piero Santi, Il teatro di Gian Francesco Malipiero, «L’approdo musicale», n. 9, gennaio-marzo 1960, pp. 19-112.
Giovanni Sedita, Gli intellettuali di Mussolini. La cultura finanziata dal fascismo, Firenze, le Lettere, 20102
Carlo Vitali, Chi è popolare?, «La Fenice prima dell’opera», 2013-2014, 3, pp. 13-34.

Oral examinatione: interview on the topics discussed in the course

Lectures, with the help of all the tools of computer science, to propose material in video, diagrams, read and discuss on-line bibliography, musical examples also on the piano.

Italian

During the first lesson the articulation of the course will be presented. Presence is recommended.

oral