Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11927
Giulia Gabrielli
This contribution examines the school regulations of the Collegiate Church of San Candido / Chorherrenstift Innichen, the oldest monastic foundation in South Tyrol, which experienced great cultural and musical ferment in the period immediately following the Council of Trent. In the first two decades of the 17th century, the Collegiate Church of San Candido was completely reformed according to the dictates and spirit of the Council. Many new books were compiled for liturgical singing, currently preserved in the Museum of the Collegiate Church. The school of the Church, which was active for many centuries, also received renewed attention and a new statute, drawn up in 1614. The seven chapters that make up the statute contain rules that describe the musical activities related to teaching and those of the Latin students as well as of the so-called Germanic students, namely boys and girls who, unlike the former, attended classes but did not provide regular service in the liturgy. In its broad outline, the document is known to us through the writings of local historians, but has never been examined from a musicological point of view, despite the richness of its musical and pedagogical contents. The article provides a first overview of these, highlighting aspects of the regulations that appear modern, and partly even relevant for today.
{"title":"La musica nel Regolamento scolastico della Collegiata di San Candido del 1614","authors":"Giulia Gabrielli","doi":"10.6092/ISSN.2039-9715/11927","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/11927","url":null,"abstract":"This contribution examines the school regulations of the Collegiate Church of San Candido / Chorherrenstift Innichen, the oldest monastic foundation in South Tyrol, which experienced great cultural and musical ferment in the period immediately following the Council of Trent. In the first two decades of the 17th century, the Collegiate Church of San Candido was completely reformed according to the dictates and spirit of the Council. Many new books were compiled for liturgical singing, currently preserved in the Museum of the Collegiate Church. The school of the Church, which was active for many centuries, also received renewed attention and a new statute, drawn up in 1614. The seven chapters that make up the statute contain rules that describe the musical activities related to teaching and those of the Latin students as well as of the so-called Germanic students, namely boys and girls who, unlike the former, attended classes but did not provide regular service in the liturgy. In its broad outline, the document is known to us through the writings of local historians, but has never been examined from a musicological point of view, despite the richness of its musical and pedagogical contents. The article provides a first overview of these, highlighting aspects of the regulations that appear modern, and partly even relevant for today.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"10 1","pages":"15-23"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45146399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11946
P. Gallarati
The article simulates a lecture given in front of a musically non-literate audience, with the aim of illustrating one possible method for translating music into words. The exercise consists in a description of the first movement of the Sonata op. 31 no. 2, "The Tempest", by Ludwig van Beethoven. During an intermittent but complete listening of the initial Largo-Allegro, the various passages are introduced, avoiding technical terms and focusing on a description of the expressive effects obtained by the composer through the sound of the piano, and the melody, rhythm, and syntax of the instrumental discourse. The intention is to arouse the interest of the audience, encourage them to listen attentively and consciously, and show the beauty of Beethoven's movement and its extraordinary originality within the landscape of early 19th-century instrumental music. In this case the translation of music into words involved not only an illustration of the music’s internal dramas - contrasts and variations in rhythm, timbre, melody, dynamics, etc. - but also, exceptionally, narrative images that the Sonata material evokes with particular clarity.
{"title":"Tradurre in parole Beethoven: la Sonata per pianoforte in Re minore op. 31 n. 2 “La Tempesta”","authors":"P. Gallarati","doi":"10.6092/ISSN.2039-9715/11946","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/11946","url":null,"abstract":"The article simulates a lecture given in front of a musically non-literate audience, with the aim of illustrating one possible method for translating music into words. The exercise consists in a description of the first movement of the Sonata op. 31 no. 2, \"The Tempest\", by Ludwig van Beethoven. During an intermittent but complete listening of the initial Largo-Allegro, the various passages are introduced, avoiding technical terms and focusing on a description of the expressive effects obtained by the composer through the sound of the piano, and the melody, rhythm, and syntax of the instrumental discourse. The intention is to arouse the interest of the audience, encourage them to listen attentively and consciously, and show the beauty of Beethoven's movement and its extraordinary originality within the landscape of early 19th-century instrumental music. In this case the translation of music into words involved not only an illustration of the music’s internal dramas - contrasts and variations in rhythm, timbre, melody, dynamics, etc. - but also, exceptionally, narrative images that the Sonata material evokes with particular clarity.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"10 1","pages":"105-109"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42061650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11943
L. Serianni
The article focuses on the degree of transparency of musical technical terms for the lay reader. The sample texts examined show that the vast majority of technical terms, starting from indications of duration and pitch, are untranslatable. Enthusiasts who have not studied music can, however, obtain an overall understanding through context, or even their familiarity with the piece described in a concert program or in a popular, widely accessible book.
{"title":"Un profano di fronte ai tecnicismi musicali: qualche riflessione linguistica","authors":"L. Serianni","doi":"10.6092/ISSN.2039-9715/11943","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/11943","url":null,"abstract":"The article focuses on the degree of transparency of musical technical terms for the lay reader. The sample texts examined show that the vast majority of technical terms, starting from indications of duration and pitch, are untranslatable. Enthusiasts who have not studied music can, however, obtain an overall understanding through context, or even their familiarity with the piece described in a concert program or in a popular, widely accessible book.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"10 1","pages":"77-85"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46421822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11939
S. Lamacchia
This didactic unit, designed for the first two years of secondary school, briefly contextualizes the figure of Giuseppe Verdi within the history of 19th-century Italian melodrama. It then moves on to illustrate the dramaturgy of Rigoletto, which clearly reflects in the social and aesthetic reality of its time, explaining why Verdi was so fond of this subject, and defended it strenuously - and in the end successfully - from the axe of censorship. The course focuses on listening didactics applied to «La donna e mobile», with the aim of helping learners understand the structure and meaning of the libretto, the music and its peculiar use in the drama. «La donna e mobile», a tavern song and, at the same time, the song most deeply rooted in drama that has ever been conceived, is heard three times in the course of the opera, each time in a slightly different musical version, and always for dramatic purposes. The third occurrence ushers in one of the most effective, and upsetting, catastrophes in the tragic theater of all time: a catastrophe entirely rooted in sound and singing - that is, in the sense of hearing which prevails over the sense of sight. The lesson we learn from «La Donna e mobile» is that in opera it is the musical text that has "the last word" rather than the verbal and visual text.
{"title":"Un percorso didattico sul “Rigoletto” di Verdi: «La donna è mobile» e la voce come fantasma","authors":"S. Lamacchia","doi":"10.6092/ISSN.2039-9715/11939","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/11939","url":null,"abstract":"This didactic unit, designed for the first two years of secondary school, briefly contextualizes the figure of Giuseppe Verdi within the history of 19th-century Italian melodrama. It then moves on to illustrate the dramaturgy of Rigoletto, which clearly reflects in the social and aesthetic reality of its time, explaining why Verdi was so fond of this subject, and defended it strenuously - and in the end successfully - from the axe of censorship. The course focuses on listening didactics applied to «La donna e mobile», with the aim of helping learners understand the structure and meaning of the libretto, the music and its peculiar use in the drama. «La donna e mobile», a tavern song and, at the same time, the song most deeply rooted in drama that has ever been conceived, is heard three times in the course of the opera, each time in a slightly different musical version, and always for dramatic purposes. The third occurrence ushers in one of the most effective, and upsetting, catastrophes in the tragic theater of all time: a catastrophe entirely rooted in sound and singing - that is, in the sense of hearing which prevails over the sense of sight. The lesson we learn from «La Donna e mobile» is that in opera it is the musical text that has \"the last word\" rather than the verbal and visual text.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"10 1","pages":"195-219"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41586565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11940
Paolo Somigli, Luigi Conidi
Stephen Collins Foster (1826-1864) is a crucial figure in the history of popular music, and in American history at large: the author of globally known songs such as, among many others, Susanna or Old Folks at Home, in 1951 a Congress resolution described him as «the father of American popular music». Despite this, for several decades his work and his own figure have been at the center of a heated debate that is leading to removal from both the musical and civil world. This contribution proposes a didactic unit aimed at providing knowledge about what is ultimately a fundamental author, filling, among other things, a substantial gap in Italian musicological literature. It is addressed primarily to Secondary Schools. However, its basic concepts can also be useful for Upper Secondary Schools and for Italian Popular music history courses at university or conservatory level.
Stephen Collins Foster（1826-1864）是流行音乐史上以及整个美国历史上的一位重要人物：他创作了全球知名歌曲，如《苏珊娜》或《家里的老人》，1951年国会决议将他描述为“美国流行音乐之父”。尽管如此，几十年来，他的作品和他自己的形象一直处于一场激烈辩论的中心，这场辩论正导致他被音乐界和民间界除名。这篇文章提出了一个教学单元，旨在提供关于什么是最终的基本作者的知识，填补意大利音乐学文学中的一个巨大空白。它主要针对中学。然而，它的基本概念也可以用于高中以及大学或音乐学院级别的意大利流行音乐历史课程。
{"title":"La musica di Stephen Collins Foster dall’Ottocento ai giorni nostri fra storia, cultura e società","authors":"Paolo Somigli, Luigi Conidi","doi":"10.6092/ISSN.2039-9715/11940","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/11940","url":null,"abstract":"Stephen Collins Foster (1826-1864) is a crucial figure in the history of popular music, and in American history at large: the author of globally known songs such as, among many others, Susanna or Old Folks at Home, in 1951 a Congress resolution described him as «the father of American popular music». Despite this, for several decades his work and his own figure have been at the center of a heated debate that is leading to removal from both the musical and civil world. This contribution proposes a didactic unit aimed at providing knowledge about what is ultimately a fundamental author, filling, among other things, a substantial gap in Italian musicological literature. It is addressed primarily to Secondary Schools. However, its basic concepts can also be useful for Upper Secondary Schools and for Italian Popular music history courses at university or conservatory level.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"10 1","pages":"221-257"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48074284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11934
Sarah Schrott
This review tries to critically examine the key features of the anthology Comparing international music lessons on video. The book is part of a multimedia package consisting of ten DVDs, which include ASF (Analytical Short Films), interviews and music lessons from seven countries, recorded from multiple perspectives (multi-angle video)
{"title":"Comparing International Music Lessons on Video , hrsg. von C. Wallbaum, Hildesheim - Zürich - New York, Georg Olms, 2018","authors":"Sarah Schrott","doi":"10.6092/ISSN.2039-9715/11934","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/11934","url":null,"abstract":"This review tries to critically examine the key features of the anthology Comparing international music lessons on video. The book is part of a multimedia package consisting of ten DVDs, which include ASF (Analytical Short Films), interviews and music lessons from seven countries, recorded from multiple perspectives (multi-angle video)","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"10 1","pages":"159-164"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49440731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11944
F. Rossi
The first part of the article outlines a typology of music review and essay based on the degree of assumption required of the reader and the author's ability/will to address non-experts. The second part illustrates examples of musical teaching and essays suitable for those who cannot read music. In the third part the role of metaphor in addressing musicological subjects is explained, and some linguistic and stylistic features (aulicisms) peculiar to writing on music are exemplified.
{"title":"Spiegare le note e il tempo con le parole. Appunti per una tipologia della recensione musicale in Italia","authors":"F. Rossi","doi":"10.6092/ISSN.2039-9715/11944","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/11944","url":null,"abstract":"The first part of the article outlines a typology of music review and essay based on the degree of assumption required of the reader and the author's ability/will to address non-experts. The second part illustrates examples of musical teaching and essays suitable for those who cannot read music. In the third part the role of metaphor in addressing musicological subjects is explained, and some linguistic and stylistic features (aulicisms) peculiar to writing on music are exemplified.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"43 2","pages":"87-98"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41304511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11933
G. Giuriati
Stephen Collins Foster (1826-1864) is a crucial figure in the history of popular music, and in American history at large: the author of globally known songs such as, among many others, Susanna or Old Folks at Home, in 1951 a Congress resolution described him as «the father of American popular music». Despite this, for several decades his work and his own figure have been at the center of a heated debate that is leading to removal from both the musical and civil world. This contribution proposes a didactic unit aimed at providing knowledge about what is ultimately a fundamental author, filling, among other things, a substantial gap in Italian musicological literature. It is addressed primarily to Secondary Schools. However, its basic concepts can also be useful for Upper Secondary Schools and for Italian Popular music history courses at university or conservatory level.
Stephen Collins Foster（1826-1864）是流行音乐史上以及整个美国历史上的一位重要人物：他创作了全球知名歌曲，如《苏珊娜》或《家里的老人》，1951年国会决议将他描述为“美国流行音乐之父”。尽管如此，几十年来，他的作品和他自己的形象一直处于一场激烈辩论的中心，这场辩论正导致他被音乐界和民间界除名。这篇文章提出了一个教学单元，旨在提供关于什么是最终的基本作者的知识，填补意大利音乐学文学中的一个巨大空白。它主要针对中学。然而，它的基本概念也可以用于高中以及大学或音乐学院级别的意大利流行音乐历史课程。
{"title":"Per una didattica delle musiche del mondo: strumenti critici e risorse","authors":"G. Giuriati","doi":"10.6092/ISSN.2039-9715/11933","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/11933","url":null,"abstract":"Stephen Collins Foster (1826-1864) is a crucial figure in the history of popular music, and in American history at large: the author of globally known songs such as, among many others, Susanna or Old Folks at Home, in 1951 a Congress resolution described him as «the father of American popular music». Despite this, for several decades his work and his own figure have been at the center of a heated debate that is leading to removal from both the musical and civil world. This contribution proposes a didactic unit aimed at providing knowledge about what is ultimately a fundamental author, filling, among other things, a substantial gap in Italian musicological literature. It is addressed primarily to Secondary Schools. However, its basic concepts can also be useful for Upper Secondary Schools and for Italian Popular music history courses at university or conservatory level.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"10 1","pages":"145-157"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48165252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-22DOI: 10.6092/ISSN.2039-9715/11930
B. Martini
The aim of the article is to offer a reflection on the relationship between university and knowledge. This relationship today is threatened by a drift towards economic interest and an excess of bureaucracy and evaluation, which are often taken for granted without problematizing them. In fact, the way we understand this relationship actually has significant consequences on the functioning of universities and, even more so, on the knowledge that they should build independently and freely. The article is divided into three parts. The first part identifies three main functions that the university performs with respect to knowledge (preserving, transmitting and expanding it). In the second part, some key aspects of the relationship between university and knowledge are discussed in an epistemological perspective: epistemological aspects related to the conception of knowledge and aspects related to the social structure of knowledge. Finally, the third part discusses the conditions for a communicational relationship between specialists, and between disciplines, that is able to integrate these aspects.
{"title":"Università e conoscenze: le relazioni fruttuose","authors":"B. Martini","doi":"10.6092/ISSN.2039-9715/11930","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/11930","url":null,"abstract":"The aim of the article is to offer a reflection on the relationship between university and knowledge. This relationship today is threatened by a drift towards economic interest and an excess of bureaucracy and evaluation, which are often taken for granted without problematizing them. In fact, the way we understand this relationship actually has significant consequences on the functioning of universities and, even more so, on the knowledge that they should build independently and freely. The article is divided into three parts. The first part identifies three main functions that the university performs with respect to knowledge (preserving, transmitting and expanding it). In the second part, some key aspects of the relationship between university and knowledge are discussed in an epistemological perspective: epistemological aspects related to the conception of knowledge and aspects related to the social structure of knowledge. Finally, the third part discusses the conditions for a communicational relationship between specialists, and between disciplines, that is able to integrate these aspects.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"54 3","pages":"129-137"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41307155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-20DOI: 10.6092/ISSN.2039-9715/10179
James A. Davis, Jessica Lotyczewski, Henryk Lotyczewski
Music history is often pushed to the margins of the public school curriculum. Faced with limited time and resources, teachers need to find concise, non-traditional ways to reintegrate history with performance and the other liberal arts. At the same time, they need to demonstrate, not just describe, the many ways in which music is intertwined with history and culture.
{"title":"Teaching Music History in the Margins","authors":"James A. Davis, Jessica Lotyczewski, Henryk Lotyczewski","doi":"10.6092/ISSN.2039-9715/10179","DOIUrl":"https://doi.org/10.6092/ISSN.2039-9715/10179","url":null,"abstract":"Music history is often pushed to the margins of the public school curriculum. Faced with limited time and resources, teachers need to find concise, non-traditional ways to reintegrate history with performance and the other liberal arts. At the same time, they need to demonstrate, not just describe, the many ways in which music is intertwined with history and culture.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"9 1","pages":"47-56"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45872565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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