HISTORY OF MUSIC PRODUCTION

The course forms part of the three-year degree in Conservation of Cultural Heritage and Performing Arts Management, which provides essential tools for operators in the fields of preservation and promotion of artistic heritage. The course provides students with a general framework for the history of music, an introduction to the theoretical and technical aspects of the discipline, and a basic reference vocabulary. Specifically, the course examines the production and consumption of music in the context of daily social and economic practice, with particular reference fo the modern era.

- knowledge of the musical repertories of the modern period
- knowledge of the insertion of the musical repertories in their social contexts
- knowledge of the economic dynamics of music production and how music is consumed

Students unfamiliar with the elements of musical grammar and notation will find it useful - though not essential - to follow the course in Musical Theory.

Analysis of the systems of consumption and production of Italian art music. The role of economic dynamics in the genesis of the historical repertories and historical performance practices. Conformation of compositional practice to the conditions posed by the necessity to sell performances. Music both as work of art and artisan product stylistically compatible with its dynamic contexts and functions. These objectives will be illustrated with reference to several macro-areas of music production: church music in pre-Napoleonic Europe, seventeenth- and eighteenth-century Italian opera, 'mass' dissemination of nineteenth-century Italian opera etc.

• DAVID BRYANT - ELENA QUARANTA, Per una nuova storiografia della musica sacra da chiesa in epoca pre-napoleonica, in Produzione, circolazione e consumo. Consuetudine e quotidianità della polifonia sacra nelle chiese monastiche e parrocchiali dal tardo Medioevo alla fine degli Antichi Regimi, Bologna, Il Mulino, 2006, pp. 7-16
• DAVID BRYANT - ELENA QUARANTA - GRUPPO DI RICERCA "TREVISO" DELL'UNIVERSITA' CA' FOSCARI, Come si consuma (e perché si produce) la musica sacra da chiesa? Sondaggi sulle città della Repubblica Veneta e qualche appunto storiografico, in Produzione, circolazione e consumo cit., pp. 17-66
• LORENZO BIANCONI - THOMAS WALKER, Forme di produzione del teatro d'opera italiano nel Seicento, in La musica e il mondo, a cura di Claudio Annibaldi, Bologna, Il Mulino, 1993
• FRANCO PIPERNO, Il sistema produttivo fino al 1780, in Storia dell'opera italiana, II/4 (Il sistema produttivo), pp. 3-71
• JOHN ROSSELLI, Il sistema produttivo, 1780-1880, in Storia dell'opera italiana, II/4 (Il sistema produttivo), pp. 79-162

Admission to oral exam on submission of written essay (min. 20,000 characters including spaces) regarding the main themes illustrated and discussed during the course. The oral exam will regard the essay and the course bibliography. Correct usage of written and spoken Italian will be taken into account (naturally, allowances are made for foreign students!)

Conventional (class lectures).

Italian

Lectures in Italian. If requested by a group of students, some lectures can be repeated in English.

written and oral