The course aims to offer historical-critical knowledge about the relationships between music and pictures. After an introduction on the presence of music in visual arts (musical iconography) the course will focus on the harder to grasp relationship between music and moving images, with particular attention on cinematography.
Curriculum
teacher profile teaching materials
2. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-682 e 819-832
3. Gianmario Borio, Funzioni del ‘suono organizzato’ in due testi audiovisivi: “Barry Lyndon” e “Koyaanisqatsi”, «La Valle dell’Eden», 12-13/25-26 (2011), pp. 73-90
4. Alessandro Bratus, Popular music al cinema: la rappresentazione dell’artista rock sul grande schermo, in Worlds of Audio Vision (2010)
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=69&lang=it
Non-attending students will also read:
Kathryn Kalinak, Musica da film. Una breve introduzione, Torino, EDT, 2010
Programme
The course addresses the relationship between music and image by offering an overview of some fundamental aspects of musical iconography and the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. An investigation path will be outlined that goes from one side to the other, following the topic of the musician's image, as it is reflected, constructed, staged through the resources of the graphic and pictorial arts, then through those of audiovisual narration, from the portrait of the musician of the 17th-18th centuries to the musical biographical film.Core Documentation
1. Federico Maria Sardelli, Il volto di Vivaldi, Palermo, Sellerio, 2021, pp. 13-176, 242-2662. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-682 e 819-832
3. Gianmario Borio, Funzioni del ‘suono organizzato’ in due testi audiovisivi: “Barry Lyndon” e “Koyaanisqatsi”, «La Valle dell’Eden», 12-13/25-26 (2011), pp. 73-90
4. Alessandro Bratus, Popular music al cinema: la rappresentazione dell’artista rock sul grande schermo, in Worlds of Audio Vision (2010)
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=69&lang=it
Non-attending students will also read:
Kathryn Kalinak, Musica da film. Una breve introduzione, Torino, EDT, 2010
Attendance
(Non-mandatory) attendance in the classroom and online via Microsoft TeamsType of evaluation
Oral exam with questions on the topics discussed within the lectures, also aimed at verifying the knowledge of the images, musical compositions and film sequences analyzed during the course, and on the bibliographical references. teacher profile teaching materials
2. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-682 e 819-832
3. Gianmario Borio, Funzioni del ‘suono organizzato’ in due testi audiovisivi: “Barry Lyndon” e “Koyaanisqatsi”, «La Valle dell’Eden», 12-13/25-26 (2011), pp. 73-90
4. Alessandro Bratus, Popular music al cinema: la rappresentazione dell’artista rock sul grande schermo, in Worlds of Audio Vision (2010)
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=69&lang=it
Non-attending students will also read:
Kathryn Kalinak, Musica da film. Una breve introduzione, Torino, EDT, 2010
Mutuazione: 20710590 Musica e immagine in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 GIUGGIOLI MATTEO
Programme
The course addresses the relationship between music and image by offering an overview of some fundamental aspects of musical iconography and the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. An investigation path will be outlined that goes from one side to the other, following the topic of the musician's image, as it is reflected, constructed, staged through the resources of the graphic and pictorial arts, then through those of audiovisual narration, from the portrait of the musician of the 17th-18th centuries to the musical biographical film.Core Documentation
1. Federico Maria Sardelli, Il volto di Vivaldi, Palermo, Sellerio, 2021, pp. 13-176, 242-2662. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-682 e 819-832
3. Gianmario Borio, Funzioni del ‘suono organizzato’ in due testi audiovisivi: “Barry Lyndon” e “Koyaanisqatsi”, «La Valle dell’Eden», 12-13/25-26 (2011), pp. 73-90
4. Alessandro Bratus, Popular music al cinema: la rappresentazione dell’artista rock sul grande schermo, in Worlds of Audio Vision (2010)
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=69&lang=it
Non-attending students will also read:
Kathryn Kalinak, Musica da film. Una breve introduzione, Torino, EDT, 2010
Attendance
(Non-mandatory) attendance in the classroom and online via Microsoft TeamsType of evaluation
Oral exam with questions on the topics discussed within the lectures, also aimed at verifying the knowledge of the images, musical compositions and film sequences analyzed during the course, and on the bibliographical references. teacher profile teaching materials
2. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-682 e 819-832
3. Gianmario Borio, Funzioni del ‘suono organizzato’ in due testi audiovisivi: “Barry Lyndon” e “Koyaanisqatsi”, «La Valle dell’Eden», 12-13/25-26 (2011), pp. 73-90
4. Alessandro Bratus, Popular music al cinema: la rappresentazione dell’artista rock sul grande schermo, in Worlds of Audio Vision (2010)
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=69&lang=it
Non-attending students will also read:
Kathryn Kalinak, Musica da film. Una breve introduzione, Torino, EDT, 2010
Programme
The course addresses the relationship between music and image by offering an overview of some fundamental aspects of musical iconography and the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. An investigation path will be outlined that goes from one side to the other, following the topic of the musician's image, as it is reflected, constructed, staged through the resources of the graphic and pictorial arts, then through those of audiovisual narration, from the portrait of the musician of the 17th-18th centuries to the musical biographical film.Core Documentation
1. Federico Maria Sardelli, Il volto di Vivaldi, Palermo, Sellerio, 2021, pp. 13-176, 242-2662. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-682 e 819-832
3. Gianmario Borio, Funzioni del ‘suono organizzato’ in due testi audiovisivi: “Barry Lyndon” e “Koyaanisqatsi”, «La Valle dell’Eden», 12-13/25-26 (2011), pp. 73-90
4. Alessandro Bratus, Popular music al cinema: la rappresentazione dell’artista rock sul grande schermo, in Worlds of Audio Vision (2010)
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=69&lang=it
Non-attending students will also read:
Kathryn Kalinak, Musica da film. Una breve introduzione, Torino, EDT, 2010
Attendance
(Non-mandatory) attendance in the classroom and online via Microsoft TeamsType of evaluation
Oral exam with questions on the topics discussed within the lectures, also aimed at verifying the knowledge of the images, musical compositions and film sequences analyzed during the course, and on the bibliographical references.