HISTORY OF MUSIC FOR CINEMA

The course, included in the Degree Program "Conservation and Management of Cultural Heritage and Activities", aims to provide students with an accurate studying on an increasingly central aspect in the most recent historiography and theory of cinema: the role of music and of the sound inside the film.As rightly claimed by Giovanni Morelli in his last book "Prima la musica poi la cinema" (Venice, Marsilio 2011), the seventh art is born from the great tradition of western music. The course aims to investigate this increasingly important issue that is recognized in the film music in the contemporary audiovisual experience.

The course aims to provide some competences on history of film music, on the composers and on different musical techniques related to film production. During the lessons we will draw a path that goes from the experiments of the early teens of the last century to the most recent experiences of the video clip through some of the most significant moments of the encounter between sound and image. The students are required to integrate these specific knowledges, with a broader preparation on contemporary artistic events, with which the cinematographic experience interacts. Besides notions of historical-critical knowledge, students will be offered a series of analytical tools that allow them to read some audiovisual texts.

Basic knowledge of musical grammar and possibly the condition of the examination already supported in the History of European cinema.

Investigation of the compositional techniques and musical patterns associated with different examples of film. Reading oriented to the musical texts and movies in comparison. Analysis of some of the most significant soundtracks of composers who have marked this history as: Arthur Honneger, Max Steiner, Erich Wolgang Korngold, Franz Waxman, Miklos Rozsa, David Raksin, Alex North, Bernard Hermann, Leonard Rosenman, Elmer Bernstein e Nino Rota.

Notes from the lessons and examples (musical score and film) in projected slides during the lessons.

Michel Chion, L'audiovisione, Lindau, Torino, 1997.
Kathryn Kalinak, Musica da film una breve introduzione, Torino, Edt, 2012.
The Cambridge Companion to Film Music, Edited by Mervyn Cooke, Cambridge, Cambridge University Press, 2016 (Online publication date: January 2017)

Non-attending students must agree with the professor an alternative program.

The method of verifying learning will take place through the elaboration of a brief written dissertation of one of the topics of the course, with notes and related bibliography and web sites. The paper, 12 pages (24.000 signs, spaces included), has to be sent by email 3 days before the examen, and will be discussed during the orals, with the others topics of the course.will then be discussed during the exam.

These are lectures with audivisuals

Italian

oral

This subject deals with topics related to the macro-area "Poverty and inequalities" and contributes to the achievement of one or more goals of U. N. Agenda for Sustainable Development