Academic year
2021/2022 Syllabus of previous years
Official course title
Course code
FM0454 (AF:331699 AR:190354)
On campus classes
ECTS credits
Degree level
Master's Degree Programme (DM270)
Educational sector code
2nd Term
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The course falls between the related and integrative teaching of the contemporary curriculum of the Master's Degree in "History of Arts and Conservation of Artistic Heritage", with the aim of dealing with research topics in the field of musical dramaturgy, using a methodology strongly characterized by interdisciplinarity, a characteristic demand from musical theater, a real semiological monstrum. The student should be able to develop a critical conscience on the concept of dramaturgy, immanent to different declinations (theater of speech, lyric opera and so on), and at the same time to find a real relationship with a musical repertoire made not only of history, but also of a precise relationship with contemporary artistic crafts (concertation, direction, set design).
1. Knowledge and understanding: understand and be able to analyze critical and theoretical texts that deal with musical dramaturgy, know how to use the resources offered by computer platforms, with regard to audiovisual sources.
2. Ability to apply knowledge and understanding: develop a critical conscience in relation to some essential works of musical theater.
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.

At the end of the course the student will have improved his knowledge of the European musical theater, thanks to the exemplary case in question, and attended a critical methodology appropriate to the peculiarities of the work in music, placed in its historical context.
The exam will focus on the subject actually carried out in the module, at the end of which the exam program and the reference bibliography will be specified. For the general arrangement see The Cambridge History of Nineteenth-Century Music, ed. by Jim Samson, Cambridge, Cambridge University Press, 2001 («The Cambridge History of Music»), passim. Those attending the course must have read at least the Introduction to Musical dramaturgy, edited by Lorenzo Bianconi (Bologna, il Mulino, 1986, pp. 7-51)..
Giacomo Puccini's theater and some aspects of intertextuality in the music of the nineteenth and twentieth centuries

Starting with the Villi (ending with La rondine), Puccini used many ideas from his own pieces. The aesthetic scope of these self-loans and the quotation from other people's works, which is based on principles that are in many ways similar, are part of a real narrative strategy, and serve to increase the conceptual scope of the scenic story thanks to intertextuality. Puccini reused previous music and cited other people's music taking into account the dramatic situation in which it was inserted, adding further meaning to the narrative. In his late style phase, the composer went as far as obvious self-quotation, creating a short circuit between his plays (as Mozart had done by reprising Figaro's "Non più andrai, amoroso butterfly" in the finale of Don Giovanni): the air of Mimì that re-emerges, quoted in the episode of the song vendor del Tabarro, with its load of affectionate self-irony, calls into question the love and death of an outcast as a metaphor for absolute love and heralds the tragic fate of clandestine passion between Giorgetta and Luigi.
In this module we will examine glimpses of the Puccini theater where intertextual links emerge, both musical and librettist, and in the canonical images of the historical productions (and see the two scenes, above), starting from three cases identified in Madama Butterfly, aimed at Prodaná nevesta (Bride sold), Tristan und Isolde and Pelléas et Mélisande. These glimpses will be placed in the context of a more general examination of the figure of the artist.

GUIDO SALVETTI, La nascita del Novecento, Torino, EDT, 1991 (Storia della musica, a cura della Società italiana di musicologia, 2a ed., vol. 10)
LORENZO BIANCONI, Introduzione a La drammaturgia musicale, a cura di Lorenzo Bianconi, Bologna, il Mulino, 1986, pp. 7-51
LORENZO BIANCONI, GIORGIO PAGANNONE, Piccolo glossario di drammaturgia musicale, da Insegnare il melodramma, a cura di Giorgio Pagannone, Pensa Multimedia, Lecce-Iseo, 2010.
MICHELE GIRARDI, Opera e teatro musicale, 1890-1950
Oxford Music Online 2001: J. PETER BURKHOLDER , «Allusion», Intertextuality», «Quotation»
CLAUDIO SARTORI, Giacomo Puccini, Milano, Nuova Accademia, 1960 (>)
EMANUELE FERRARI, La citazione musicale: elementi del problema, «Leitmotiv», II, 2002, pp. 97-107
MICHELE GIRARDI, Billy Budd e Capitan Vere, un Otello «refoulé», «Rassegna musicale Curci», 1, 2015, pp. 20-33
―, Giacomo Puccini, «Madama Butterfly» e l’intertestualità: un prologo, tre casi e un epilogo, in Schweizer Jahrbuch für Musikwissenschaft / Annales Suisses de Musicologie / Annuario svizzero di musicologia, Neue Folge / Nouvelle Série / Nuova Serie, Bern ecc., Peter Lang, 2015, pp. 153-170.
―, L’angelo della musica. Rossini, Mozart e l’intertestualità, in «Cara scientia mia, musica». Studi per Maria Caraci Vela, a cura di Angela Romagnoli, Daniele Sabaino, Rodobaldo Tibaldi e Pietro Zappalà, 2 voll., Pisa, ETS, 2018, I, pp. 421-445 («Diverse voci», 14).
―, Obermann o Onegin?, in Musica di ieri esperienza d’oggi. Ventidue saggi per Paolo Fabbri, a cura di Maria Chiara Bertieri e Alessandro Roccatagliati, Lucca, LIM, 2018, pp. 381-397.
Oral examination: 5 CFU 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.
During the first lesson the articulation of the course will be presented. Presence is recommended.

Ca ’Foscari applies Italian law (Law 17/1999; Law 170/2010) for the support and accommodation services available to students with disabilities or specific learning disabilities. If you have a motor, visual, hearing or other disability (Law 17/1999) or a specific learning disorder (Law 170/2010) and you require support (classroom assistance, technological aids for carrying out exams or exams individualized, accessible format material, note retrieval, specialist tutoring to support the study, interpreters or other) contact the Disability and DSA office
Definitive programme.
Last update of the programme: 14/07/2021