Musicologia e i suoi dibattiti

1. Nuova Musicologia?
2. Ricognizione Storica
3. Dal Sociale al Globale
4. Storiografia Musicale
5. Mediatore Musicale I: il testo
6. Mediatore Musicale II: il suono
7. Pop, Film, Media
8. Filosofia, estetica musicale
Musicology and Its Debates

1
Nuova Musicologia?
1- Storia o Storie della Musica?

Guido Adler, ‘The Scope, Method, and Aim of Musicology’ (1885), trans. & comm. E. Mugglestone, Yearbook for Traditional Music 13 (1981), 1-21.

J. J. Nattiez, Storia o Storie della Musica? Enciclopedia della Musica, Einaudi, Vol. IV, p. XXIII-XLIX.

2- L’effetto Kerman.

Joseph Kerman, Musicology (London, 1985), Introduzione, 11-30

3- Musicologia del Ventunesimo secolo, oltre il nuovo.

Susan McClary, Feminine Endings: Music, Gender, and Sexuality, new ed. (Minnesota, 2002), Prefazione (‘Feminine Endings in Retrospect’), Introduzione (‘A Material Girl in Bluebeard’s Castle’).

2

Ricognizione Storica


1- Musica vocale versus Musica strumentale

M. Jennifer Bloxam, La messa polifonica da Machaut a Palestrina, in Enciclopedia della Musica, Einaudi, Vol. IV, p. 225.
Kate Van Orden, Dalla Corte alla città – la chanson nei secoli XV e XVI, in Enciclopedia della Musica, Einaudi, Vol. IV, p. 242.
2- L’universo Wagneriano
Denis de Rougemont, L’amore e L’occidente, Bur, 2006, Il Mito di Tristano – p. 59-98, Le Origini del Mito p. 101-188.
3- Opera, melodramma
Paolo Fabbri, La Nascita dell’opera in Musica, in Enciclopedia della Musica, Einaudi, Vol. IV, p. 380.
Reinhard Strohm, Aria e Recitativo. Dalle Origini all’Ottocento, In Enciclopedia della Musica, Einaudi, Vol. IV p. 416.

3

Dal Sociale al Globale

1-Sociologia della musica.

Theodor W. Adorno, Introduzione alla Sociologia della Musica, (Einaudi, 1971), capitolo 1, 1-20.

2- Etnomusicologia

Barz, Gregory and Timothy J. Cooley. 2008. Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. 2nd Edition. Introduction: Casting Shadows: Fieldwork Is Dead! Long Live Fieldwork!, by Timothy J. Cooley and Gregory Barz, 3-24.

3-Etnomusicologia Italiana e Studi post-coloniali

Diego Carpitella, “Ethnomusicology in Italy”, Journal of the Folklore Institute, 1974, Vol. 11, No. 1/2, Special Issue: Folklore Studies in Italy, pp. 81-98.

Georgina Born and Desmond Hesmondhalgh, Western Music and Its Others: Difference, Representation, and Appropriation in Music (Berkeley & Los Angeles, 2000), introduzione, 1-58.

4

Storiografia


1-Il tempo, la musica e la storia: puntellare le Fondamenta.
Carl Dahlhaus, Foundations of Music History, trans. J. B. Robinson (Cambridge, 1983), capitoli 2-3 (‘The significance of art’ & ‘What is a fact of music history?’), 19-43.

2-Futuri storiografici.

Gary Tomlinson, ‘Music, Anthropology, History’, in Richard Middleton, ed., The Cultural Study of Music, 59-72

3-L'ultima grande narrazione.

Richard Taruskin, ‘Introduction’ from The Oxford History of Western Music (Oxford, 2004)

5

Mediatore Musicale I: il testo

1- Creazione e composizione.

Laurence Dreyfus, Bach and the Patterns of Invention (Cambridge, MA, 1996), Capitoli 1, 1-32.

Douglas Johnson, ‘Beethoven Scholars and Beethoven’s Sketches’, in 19CM 2 (1978), 3-17.

Torsten Anders and Eduardo Miranda, ‘Interfacing manual and machine composition’ Contemporary music review 28.2 (2009), 133-47.


2- Editing

a) Musica antica

Margaret Bent, ‘Editing Music: The Dilemma of Translation’, EM 22 (1994), 373-92.

b) Diciannovesimo secolo

John Rink, Chopin’s First Editions Online: www.cfeo.org.uk

3- Esecuzione Musicale

Richard Taruskin, Text and Act: Essays on Music and Performance (New York, 1995), chap. 4, ‘The Pastness of the Present and the Presence of the Past’, 90-154.


6

Mediatore Musicale II: il Suono

1) Parliamo di esecuzione musicale.

Eric Clark, Nicholas Cook, Daniel Leech-Wilkinson and John Rink, The Cambridge Companion to Recorded Music (Cambridge, 2009), Introduction.

2) Incisioni discografiche e produzione musicale.

Mark Katz, Capturing Sound (Berkeley & Los Angeles, 2010), chap. 7 ‘Music in 1s and 0s: The art and politics of digital sampling’ 146-76.

Andrew Blake, ‘Recording Practices and the Role of the Producer’, Cambridge Companion to Recorded Music (Cambridge, 2010), 36-53.

3) Ascolto e Percezione musicale

Ian Cross, ‘Music Analysis & Music Perception’, MA 17 (1998), 3-20.

Friedrich Kittler, Gramophone, Film, Typewriter (Stanford, 1999), introduzione, 1-20; capitolo 1
‘Gramophone’ (unstarred), 21-114.

Eric Clarke, Ways of Listening: An Ecological Approach to the Perception of Musical Meaning (Oxford, 2005), Introduction and chap.1 (‘Perception, Ecology and Music’), 3-47



7

Pop, Film e Media

1- Interazioni nella Storia

Hesmondalgh, David and Keith Negus. 2002. ‘Introduction: popular music studies: meaning, power and value,’ in Popular music studies, ed. by Hesmondalgh, David and Keith Negus. London: Arnold.


2- Pop versus Avant-Garde

Susan McClary, ‘Terminal Prestige: The Case of Avant-Garde Music Composition’, in Cultural Critique 12 (1989), 57-81.

Franco Fabbri and Iain Chambers, What kind of Music? Popular Music, 1982, Vol. 2, Theory and Method (1982), pp. 131-143.

Jacopo Tomatis, Storia Culturale della Canzone Italiana, Il Saggiatore, 2019, capitolo 6, 329-388.

3- Film e Multimedia

Michel Chion, Audio-Vision: Sound and Screen, ed. and trans. C. Gorbman (New York, 1994), chaps. 1-4 (3-94).

Nicholas Cook, Analysing Musical Multimedia (Oxford, 2000), capitoli 3 e 6, ‘Models of Multimedia’, ‘Reading Film and Rereading Opera’.



8

Filosofia, Estetica

1- Espressione e autonomia della musica

Lydia Goehr, The Imaginary Museum of Musical Works (Oxford, 1992), esp. Introduction and chap.4.

2- La Tradizione Occidentale e il significato della musica

Ronald Bogue, Deleuze on music, painting, and the arts (New York, 2003), part 1, 13-76.

Walter Benjamin, ‘The Work of Art in the Age of its Technological Reproducibility,’ in The Work of Art in the Age of its Technological Reproducibility And Other Writings on Media, ed. Michael W Jennings, Brigid Doherty and Thomas Levin (Cambridge, MA: Harvard Univ. Press, 2008), 19-55.

Slavoj Zizek, ‘‘There is no Sexual Relationship’: Wagner as a Lacanian’, in New German Critique 69 (1996), 7-35

David Clarke, ‘Elvis and Darmstadt, or: Twentieth-Century Music and the Politics of Cultural Pluralism’, in twentieth-century music 4 (2007), 3-45.

3- Previsioni in Musica

J. J. Nattiez, Unità della Musica… unità della musicologia? A mo’ di Conclusione, Enciclopedia della Musica, Einaudi, Vol. V, p. 1199-1210.