HISTORY OF MUSIC PRODUCTION

It is intended to focus on the mechanisms of musical production systems, especially in the 19th and 20th centuries, in european theater and concert halls.

1. Knowledge and understanding: understand and be able to analyze critical and theoretical texts that deal with the history of musical production systems, know how to use the resources offered by computer platforms, with regard to audiovisual sources.
2. Ability to apply knowledge and understanding: to develop a critical conscience in relation to some essential works in the history of music.
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.

The student will have acquired basic knowledge on the functioning of theater and concert seasons and on the management systems of musical institutions, deepening aspects of artistic programming in relation to the subject dealt with in a specialized manner.

The student will have to acquire basic knowledge of the history of musical productive systems (see, among the reference texts, the essays in the History of Italian Opera, ed. by Lorenzo Bianconi and Giorgio Pestelli, part II: Opera Production and Its Resources, Chicago, The University of Chicago Press, 1998)

Patrons and music. Stories of women and men of goodwill in the operatic and concert life of the past two centuries.

The course will be divided into two parts. In the first, production systems will be studied in general, particularly in the nineteenth and twentieth centuries, in concert institutions, but mainly in theatrical ones (extrapolating some primary places of interest, such as the Teatro alla Scala in Milan, La Fenice in Venice or San Carlo of Naples). In the second part he will hold a cycle of lectures entitled Female patronage: gender issues, power and cultural organization between the nineteenth and twentieth centuries, prof. Vincenzina Ottomano (Universität Bern) who will explore a topic of great novelty in the studies on production systems. The European project, developed with María Cáceres-Piñuel, is among those of excellence of the ISM (International Musicological Society: Study Group "Gender and Musical Patronage"). Further investigation will concern the specific reality of the city of Venice with a more detailed look at the organization and cultural diffusion by influential figures such as Olga Levi, Winnaretta Polignac-Singer and Peggy Guggenheim. An important international conference will be dedicated to these characters in the spring of 2021, which will take place in the building of the Levi Foundation in Venice.

Homepage:http://www-5.unipv.it/girardi/2021_SIST/SIST_2021.htm
Exam Program:

ANNA LAURA BELLINA - MICHELE GIRARDI, Il teatro La Fenice 1792-1996. Il teatro, la musica, il pubblico, l’impresa, Venezia, Marsilio, 2003.
Cenni sul teatro alla Scala, a cura della Commissione teatrale, 1881.
IVANO CAVALLINI, Arturo Toscanini, in Il contributo italiano alla storia del pensiero. Musica, Roma, Istituto dell’enciclopedia italiana, © 2018, pp. 519-530.
TIA DENORA, Musical Patronage and Social Change in Beethoven’s Vienna, «American Journal of Sociology», vol. 97, n. 2, sep., 1991, pp. 310-346.
PIEREMILIO FERRARESE, Il teatro La Fenice di Venezia. L’artistico e l’economico in scena, in Bene comune e comportamenti responsabili. Storie di imprese e di istituzioni, a cura di Mario Minoja, Milano, Egea, 2015, pp. 201-260.
ANSELM GERHARD, «Cortigiani, vil razza bramata!» Reti aristocratiche e fervori risorgimentali nella biografia del giovane Verdi (prima parte , seconda parte ),«Acta Musicologica», 84, 1-2, 2012, pp. 37-63, 199-223.
FIAMMA NICOLODI, Il sistema produttivo dall’Unità a oggi, nella Storia dell’Opera italiana, a cura di Lorenzo Bianconi e Giorgio Pestelli, vol. 4 Il sistema produttivo e le sue competenze, Torino, EDT/Musica, 1987, pp. 167-229:*
Teatro alla Scala. Cronologia di tutti gli spettacoli rappresentati in questo teatro dal giorno del solenne suo aprimento sino ad oggi, con introduzione e notazioni compilate da Luigi Romani, Milano, Pirola, 1862.
Notizie storiche e descrizione dell’I. R. Teatro della Scala corredata di tavole illustrative e di un prospetto delle dimensioni e capacità in confronto anche di alcuni de’ principali teatri d’Europa, coll’elenco de’ palchi di ragione privata, e de’ rispettivi proprietarj, Milano, Salvi, 1856.
VALERIA DE LUCA, The Politics of Princely Entertainement, Oxford, Oxford University Press, 2020.
JOHN ROSSELLI, Sull’ali dorate. Il mondo musicale italiano dell'Ottocento, Bologna, Il Mulino, 1992.
— Il sistema produttivo, 1780-1880, in Il sistema produttivo e le sue competenze, cit., pp. 77-165.
CARLO STENO ROSSI, Il teatro come impresa: la Fenice negli anni 1836-66, «Quaderni dell’Archivio Storico», 1, Venezia 2005.
HARVEY SACHS, Music in Fascist Italy, London, Weidenfeld & Nicolson, 1984:
—Toscanini [1978], Milano, il Saggiatore, 1998.
Teatro alla Scala, 1776-1881; commissioni teatrali, cenni storici e descrittivi, pianta del fabbricato. Serie delle opere in musica [...] Serie dei balli [... ]. Compilazione di Pompeo Cambiasi, Milano, Ricordi, 1881.
Teatro alla Scala, 1776-1881; commissioni teatrali, cenni storici e descrittivi, pianta del fabbricato. Serie delle opere in musica [...] Serie dei balli [... ]. Compilazione di Pompeo Cambiasi, Milano, Ricordi, 1881.
ANNA TEDESCO, Mecenatismo musicale e distinzione sociale nell’Italia moderna (>), in Marquer la prééminence sociale, a cura di Jean-Philippe Genet, E. Igor Mineo, Paris, Édition de la Sorbonne, 2014, pp. 303-321.

Oral examinatione: 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.

Italian

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 disita@unive.it.

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