LAUREA
HISTORY OF MUSIC
a.a.: 2021/2022 - anno di corso: 1
Settore L-ART/07 - CFU 6 - Semestre II - Codice 10595489
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Programma
Opera, Globalisation and Identities offre un’introduzione alla storia dell’opera e al campo degli opera studies. Durante le prime tre settimane agli studenti saranno forniti gli strumenti analitici di base per comprendere il funzionamento dell’opera. Esempi tratti da Mozart, Verdi e Wagner aiuteranno a illustrare l’intreccio fra testo, musica e scena, e a definire il concetto di “drammaturgia musicale”. Il resto del corso prenderà in esame alcuni case studies – da “Rinaldo” di Handel a “Peter Grimes” di Britten – ed esplorerà le connessioni fra opera e questioni di genere, emarginazione, nazionalismo e internazionalismo, orientalismo ed esotismo, globalizzazione, mobilità e rimediazione. 
 
Calendario del corso
Settimane 1-3: Cos’è l’opera? Cosa significa “drammaturgia musicale”? (Mozart: "Don Giovanni"; Verdi: "La traviata"; Wagner: "Das Rheingold")
Settimana 4: Opera ed emarginazione (Britten: "Peter Grimes")
Settimana 5: Opera e genere (Debussy: "La chute de la Maison Usher")
Settimana 6: Opera e mobilità (Handel: "Rinaldo")
Settimana 7: Opera, nazionalismo e orientalismo interno (Musorgsky: "Il matrimonio" e "Boris Godunov")
Settimana 8: Opera ed esotismo (Puccini: "Madama Butterfly")
Settimane 9-10: Carmen sullo schermo globale (Bizet: "Carmen")
EXTRA: Weill, "Ascesa e caduta della città di Mahagonny"

Programma inglese
Module description: Opera, Globalisation and Identities aims to offer an introduction to the history of opera and to the field of opera studies. Over the first three weeks, students will be provided with the basic analytical tools for listening to and understanding the functioning of opera. Examples from Mozart, Verdi and Wagner will help explore the interplay of text, music and stage in opera, and define the meaning of “musical dramaturgy”. The reminder of the course will focus on several case studies that illustrate how opera can serve as a useful entry point for discussing issues of gender, exclusion, nationalism and internationalism, (internal) orientalism and exoticism, globalisation, physical and social mobility, remediation. Students will familiarise with a variety of different research methods, interpretative approaches and recent scholarly debates, as well as with a number of popular and lesser-known operas, from George Frideric Handel’s Rinaldo to Benjamin Britten’s Peter Grimes.
 
Teaching Schedule
Weeks 1-3: What is Opera? What is Musical Dramaturgy? (Mozart's "Don Giovanni"; Verdi's "La traviata"; Wagner's "Das Rheingold")
Week 4: Opera and Exclusion (Britten's "Peter Grimes")
Week 5: Opera and Gender (Debussy's "La chute de la Maison Usher")
Week 6: Opera and Mobility (Handel's "Rinaldo")
Week 7: Opera, Nationalism and (Internal) Orientalism (Musorgsky's "Marriage" and "Boris Godunov")
Week 8: Opera and Exoticism (Puccini's "Madama Butterfly")
Weeks 9-10: Carmen on the Global Screen (Bizet's "Carmen")
EXTRA: Weill's "Rise and Fall of the City of Mahagonny"


Obiettivi
Il corso - fornisce allo studente conoscenza e comprensione di alcuni momenti e oggetti particolarmente significativi della storia della musica cosiddetta "occidentale" (descrittore 1); - ne sviluppa l’autonoma capacità di porre in relazione quanto appreso con la storia politica, sociale e culturale, e la storia della letteratura, del teatro e dello spettacolo, e delle arti visive (descrittore 2);  - lo mette in grado di utilizzare le conoscenze acquisite e il linguaggio specifico appreso per le cosiddette “competenze trasversali” (autonomia di giudizio, abilità comunicative; descrittori 3-5).

This course aims to: - present students with some especially relevant moments and objects in the history of so-called "western" music; - develop students' autonomous ability to establish connections between the content of the course and political, social and cultural history, and the history of literature, theatre and performance, and of the visual arts; - develop students' autonomous ability to use the specific conceptual and linguistic knowledge acquired in the course itself for the so-called "transferable skills", such at autonomous judgment, communication skills, etc.

 
Valutazione
- Prova scritta
Descrizione valutazione
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Dettagli sull'esame sono disponibili sulla pagina del docente e su Classroom.
Testi
- Lecture notes
- General reading
00. Howard Mayer Brown, Ellen Rosand et al., ‘Opera’, Grove Music Online
- Required reading
01. Tim Carter, ‘What is Opera?’, in The Oxford Handbook of Opera, edited by Helen M. Greenwald (Oxford: Oxford University Press, 2014), pp. 15-32.
02. Tim Carter, Understanding Italian Opera (New York: Oxford University Press, 2015), pp. 1-25.
03. Laurel E. Zeiss, ‘The dramaturgy of opera’, in The Cambridge Companion to Opera Studies (Cambridge: Cambridge University Press, 2012), pp. 248-279.
04. Heather Hadlock, ‘Opera and gender studies’, in The Cambridge Companion to Opera Studies, edited by Nicholas Till (Cambridge: Cambridge University Press, 2012), pp. 352-378.
05. Benjamin Britten, ‘Introduction’; Peter Pears, ‘Neither a Hero Nor a Villain’, in Benjamin Britten: Peter Grimes, edited by Philip Brett (Cambridge: Cambridge University Press, 1983), pp. 148-152.
06. Philip Brett, ‘"Grimes Is at His Exercise": Sex, Politics, and Violence in the Librettos of Peter Grimes’, in Siren Songs. Representations of Gender and Sexuality in Opera, edited by Mary Ann Smart (Princeton and Oxford: Princeton University Press, 2000), pp. 237-250.
07. Alex Ross, The Rest is Noise (New York: Picador, 2007), chapter on Peter Grimes, pp. 317-328 (ebook version).
08. Louise K. Stein, ‘How Opera Traveled’, in The Oxford Handbook of Opera, edited by Helen M. Greenwald (Oxford: Oxford University Press, 2014), pp. 843-862.
09. Winton Dean, Handel’s Operas. 1704-1726 (Oxford: Claredon Press, 1995), pp. 168-205. 
10. Giovanni Andrea Sechi, ‘The Neapolitan Version of Rinaldo: The Stages of its Rediscovery’, from the CD booklet of Rinaldo, music by Handel and Leo, Dynamic CDS7831.03, pp. 18-25.
11. Marina Frolova-Walker, ‘The Language of National Style’, in The Oxford Handbook of Opera, edited by Helen M. Greenwald (Oxford: Oxford University Press, 2014), pp. 156-176.
12. Richard Taruskin, ‘Musorgsky versus Musorgsky: The Versions of Boris Godunov’, in Musorgsky. Eight Essays and an Epilogue (Princeton: Princeton University Press, 1993), pp. 201-299.
13. Nicholas Till, ‘‘An exotic and irrational entertainment’: opera and our others; opera as other’, in The Cambridge Companion to Opera Studies, edited by Nicholas Till (Cambridge: Cambridge University Press, 2012), pp. 409-446.
14. W. Anthony Sheppard, ‘Exoticism’, in Oxford Handbook of Opera, edited by Helen M. Greenwald (Oxford: Oxford University Press, 2014), pp. 795–816.
15. Ping-hui Liao, ‘“Of Writing Words for Music Which Is Already Made”: Madama Butterfly, Turandot, an Orientalism’, Cultural Critique, 16 (1990), pp 31-59. 
16. Susan McClary, Bizet: Carmen (Cambridge: Cambridge University Press, 1992), pp. 29-61.
17. Naomi André, Black Opera. History, Power, Engagement (Urbana, Chicago and Springfield: University of Illinois Press, 2018), Chapter 5: ‘Carmen: From Nineteenth-Century France to Settings in the United States and South Africa in the Twentieth and Twenty-First Centuries’, pp. 142-195.
- Filmography
VERDI, La traviata, 1853 (dir. Carsen – Teatro la Fenice, 2004)
BRITTEN, Peter Grimes, 1945 (dir. Jones – Teatro alla Scala, 2012)
HANDEL, Rinaldo, 1711 (dir. Carsen – Glyndebourne Festival, 2011)
MUSORGSKY, Boris Godunov, 1869 (dir. Bieito – Bayerische Staatsoper 2016)
PUCCINI, Madama Butterfly, 1904 (dir. Leiser, Caurier – Royal Opera House 2017)
BIZET, Carmen, 1875 (dir. Bieito – Wiener Staatsoper 2021)
All videos of the operas discussed during the classes have been uploaded on Google Classroom.


Note
La frequenza è fortemente consigliata. In alcuni casi, agli studenti saranno assegnate brevi letture o compiti (non oggetto di valutazione, ma vitali per l'apprendimento e il rendimento all'esame) da discutere col docente durante la lezione successiva.

Attendance at all lectures is strongly recommended. In some cases, you will be assigned a specific reading to prepare, or a task to complete before the class. Although these tasks are not usually assessed in themselves, they form an essential part of your preparation for the final examination and are vital for your learning.

Zoom Link
https://uniroma1.zoom.us/j/6615822839?pwd=UHdLL090UmVuRTlqYURSckt5VFJUZz09 
ID meeting: 661 582 2839 
Passcode: opera2021

Google Classroom Page
https://classroom.google.com/c/NDY5MzI4MTAyMjg2?cjc=e36wnxl  
 


Orario Lezioni
Mercoledì 13.00 - 15.00 (CU003 Aula A ex-ISO - II PIANO)
Venerdì' 13.00 - 15.00 (CU003 Aula D Egittologia II PIANO)
Inizio lezioni: Mercoledì 2 Marzo 2022

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