FUNDAMENTALS OF ETHNOMUSICOLOGY

The course intends to address themes, technical terms and objectives of ethnomusicological research in order to provide the participant with a general knowledge of the fundamentals of the discipline and its specificities.

More specifically, the course will examine: 1. the particular approach of ethnomusicology (EM) in relation to historical musicology (MS), to demo-ethno-anthropological disciplines (DEA) and to recent studies of contemporary popular music ("Popular Music Studies "); 2. the emic concept of music; 3. the sound / noise opposition; 4. the intentionality of musical action; 5. the particular temporality of sound events; 6. the presence of rules for the organization of sounds; 7. the presence and use of objects and technologies for music; 8. the many organologies born on the planet; 9. the project immanent to musical action; 10. the functions attributed to music production.

During the course we will focus on the historical features of the young discipline and on some of its typical methods of investigation: field research, recording and analysis of recorded songs, use of the video camera, the audiovisual investigation in ethnomusicology. The course will end by examining the very recent concept of "Transcultural Musicology".

As every year, there will be initiatives related to the course, for which attendance is required.

According to the framework for the European Higher Education, the so called Dublin descriptors, the expected results are:
1. Knowledge and Understanding
a) To know the basic terms and concepts of the discipline and to understand the texts that use such terms and concepts.
b) To understand the peculiarities of the approaches of MS, EM, DEA as well as the brand new approach of the so called Transcultural Musicology.

2. Ability to apply knowledge and understanding
a) Being capable of a simple analysis of some given musical examples, being aware of the singles musical languages and cultures.
b) Ability to connect a musical tune with its cultural framework.

3. Judgement's ability
a) Being capable to formulate and to argument simples hypothesis.

4. Communication Skills
a) Being able to communicate the peculiarities of the ethnomusicological approach to music, using an appropriate terminology.

5. Learning Ability
● Being able to take notes and to share them in a collaborative form.
● Being able to consult the texts critically and the Bibliography immanent.

Attention and curiosity. Welcome notions of musical grammar.

The fundamentals of themes, theories, technical terms and tools in Ethnomusicology.

1) Curt SACHS, Le sorgenti della musica, Torino, Boringhieri, 2007 (1 ed 1979). "Introduzione" di Diego Carpitella compresa.
2) Roberto LEYDI, L'altra musica. Etnomusicologia: come abbiamo incontrato e creduto di conoscere le musiche delle tradizioni popolari ed etniche, Milano, Ricordi/Lim-Universal Music MGB, 2008. "Introduzione" di Febo Guizzi compresa.
3) Tullia MAGRINI (ed.), Universi Sonori. Introduzione all'etnomusicologia, Torino, Einaudi, 2002.

Other bibliographical suggestions will be given during the course.

Non-attending students will add: Francesco GIANNATTASIO, Il concetto di musica. Contributi e prospettive della ricerca etnomusicologica, Roma, Bulzoni, 1998.

Oral examination on the Bibliography and on the course itself. For those not attending, notes from the course and additional Bibliography

Lessons with audio and video examples.

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