HISTORY OF CONTEMPORARY MUSIC

The course, included in the Degree Course in "ECONOMICS AND MANAGEMENT OF ARTS AND CULTURAL ACTIVITIES - Economics and management of arts and culture", intends to offer students a detailed overview of the salient aspects of the history of contemporary music, which in the course of the twentieth century has radically changed the forms of reception and use of music itself. The course aims to investigate this extremely differentiated character of the music of the '900
The events of contemporary music are an essential part for those who want to deal with the management of cultural activities and an adequate knowledge of them must be part of the training path of this degree course.

The objectives of the course consist in on offering to the students sufficient instruments of knowledge and analysis of the complex and contradictory reality of contemporary music. The music comes to the threshold of the twentieth century clearly in "crisis." This "Crisis" has many meanings, expressive crisis, linguistic crisis, crisis of social function. The results, that this course wants to achieve, The results are those of a conscious critical capacity of the students in dealing with the twentieth century musical texts that are the mirror of these "crises".
The objectives of the teaching are to provide, in addition to an adequate knowledge of the history of contemporary music, also a series of tools that allow students to face a more detailed analysis of some fundamental musical texts of the twentieth century

Basic knowledge of musical grammar and simple music reading ability. Basic knowledge of modern and contemporary music history acquired through the fundamental teaching courses scheduled in the triennial degree course.

Through the notions of Avant-garde and Post-Avantgarde, we will broach some themes linked to the complex events of contemporary music. Some exemplary texts will be chosen and analyzed in this path, from historic Avant-garde at the beginning of twentieth century (Arnold Schoenberg 1874-1951) to the syncretic experience of "post-modern" music (Heiner Goebbels 1952- ).

Notes from the lessons and musical examples (scores and performances) in projected slides during the lessons.
Paul Griffiths, The twentieth-century music, Torino, Einaudi 2014.
Another specific bibliography will be indicated during the lessons.
For a preliminary knowledge of the history of twentieth century music we recommend also reading: Alex Ross, "The Rest is Noise. Listening to the Twentieth Century", London-New York, Harper, 2007.

Non-attending students must agree with the professor an alternative program.

The student must elaborate a written dissertation on one of the course topics, with notes and relative bibliography / website. The paper 12 pages (24.000 signs, spaces included) has to be sent by email 3 days before the examen, and will be discussed during the orals, with the others topics of the course.

These are lectures with audivisuals. Historical contextualization and analysis of selected musical works.

Italian

oral