History and Methods of Music Criticism
A.Y. 2025/2026
Learning objectives
Undefined
Expected learning outcomes
Undefined
Lesson period: First semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course cannot be attended as a single course. Please check our list of single courses to find the ones available for enrolment.
Course syllabus and organization
Single session
Responsible
Lesson period
First semester
Course syllabus
Title of the course (a.a. 2025-2026): Recording and performing practice in the twentieth century.
The course is divided in three parts (A, B).
(A) Theoretical and methodological issues: (1) The musical work, text and performance; (2) Value judgement in music; (3) Origins, history and functions of music criticism.
(B) The relationship between performance practice, technological development and music criticism: for a history of performance practice and interpretation during the 20th century.
The course is divided in three parts (A, B).
(A) Theoretical and methodological issues: (1) The musical work, text and performance; (2) Value judgement in music; (3) Origins, history and functions of music criticism.
(B) The relationship between performance practice, technological development and music criticism: for a history of performance practice and interpretation during the 20th century.
Prerequisites for admission
The course requires a good knowledge of the music history from the eighteenth century to the present and a basic competence in musical grammar and theory.
Teaching methods
The course consists of class lectures and uses the essential support of sound recordings and multimedia products. The Ariel platform is used for sharing materials, handouts and lectures notes.
Teaching Resources
(A)
1. Carl Dahlhaus, Analisi musicale e giudizio estetico, Bologna, Il Mulino, 1987
2. Federico Capitoni, La critica musicale, Roma, Carocci, 2015
3. John Rink (a cura di), L'esecuzione musicale. Guida - Analisi - Prospettive, Milano, Rugginenti, 2008
4. AaVv, Performing practice, in The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie and John Tyrrell, London, Macmillan, 2001, vol. 19, pp. 349-388. Disponibile anche on line www.sba.unimi.it/BibliotecaDigitale/46.html
(B)
1. Robert Philip, Performing music in the age of recording, New Haven and London, Yale University Press, 2004
2. Evan Eisenberg, L'angelo con il fonografo. Musica, dischi e cultura da Aristotele a Zappa, Torino, Instar Libri, 1997
3. Jacques Hains, Dal rullo di cera al CD, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica. Vol.I, Il Novecento, Torino, Einaudi, 2001, pp. 783-817
4. Jean-Jacques Nattiez, Interpretazione e autenticità, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1064-1083
5. Jean-Jacques Nattiez, Fedeltà, autenticità e giudizio critico, in Il combattimento di Crono e Orfeo. Saggi di semiologia musicale applicata, Torino, Einaudi, 2004, pp.167-202
6. Alejandro Planchart, L'interpretazione della musica antica, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1010-1028
7. Pierre Boulez, Testo, compositore, direttore d'orchestra, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II Il sapere musicale, Torino, Einaudi, 2002, pp. 1110-1122
8. Cesare Fertonani, Sull'utilità e il danno delle registrazioni storiche per la critica musicale, «Musica/Realtà», XLIV 130, 2023, pp. 33-52
1. Carl Dahlhaus, Analisi musicale e giudizio estetico, Bologna, Il Mulino, 1987
2. Federico Capitoni, La critica musicale, Roma, Carocci, 2015
3. John Rink (a cura di), L'esecuzione musicale. Guida - Analisi - Prospettive, Milano, Rugginenti, 2008
4. AaVv, Performing practice, in The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie and John Tyrrell, London, Macmillan, 2001, vol. 19, pp. 349-388. Disponibile anche on line www.sba.unimi.it/BibliotecaDigitale/46.html
(B)
1. Robert Philip, Performing music in the age of recording, New Haven and London, Yale University Press, 2004
2. Evan Eisenberg, L'angelo con il fonografo. Musica, dischi e cultura da Aristotele a Zappa, Torino, Instar Libri, 1997
3. Jacques Hains, Dal rullo di cera al CD, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica. Vol.I, Il Novecento, Torino, Einaudi, 2001, pp. 783-817
4. Jean-Jacques Nattiez, Interpretazione e autenticità, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1064-1083
5. Jean-Jacques Nattiez, Fedeltà, autenticità e giudizio critico, in Il combattimento di Crono e Orfeo. Saggi di semiologia musicale applicata, Torino, Einaudi, 2004, pp.167-202
6. Alejandro Planchart, L'interpretazione della musica antica, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II. Il sapere musicale, Torino, Einaudi, 2002, pp. 1010-1028
7. Pierre Boulez, Testo, compositore, direttore d'orchestra, in Jean-Jacques Nattiez (a cura di), Enciclopedia della musica, Vol. II Il sapere musicale, Torino, Einaudi, 2002, pp. 1110-1122
8. Cesare Fertonani, Sull'utilità e il danno delle registrazioni storiche per la critica musicale, «Musica/Realtà», XLIV 130, 2023, pp. 33-52
Assessment methods and Criteria
For all attending and non-attending students the assessment method consists of an oral exam during which the topics covered in the course will be discussed.
The oral exam will be assessed on the basis of the following criteria:
1. mastery of acquired knowledge of music criticism history and methods
2. ability to frame the knowledge acquired from lectures, listening practice and bibliography in a historical and cultural context
3. formal quality of the presentation (precision, terminological appropriateness, coherence and fluency)
4. analytical competence and personal interpretative depth.
The oral exam will be assessed on the basis of the following criteria:
1. mastery of acquired knowledge of music criticism history and methods
2. ability to frame the knowledge acquired from lectures, listening practice and bibliography in a historical and cultural context
3. formal quality of the presentation (precision, terminological appropriateness, coherence and fluency)
4. analytical competence and personal interpretative depth.
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 6
Lessons: 40 hours
Professor:
Fertonani Cesare
Professor(s)