Programme

The course addresses the relationship between music and image, first dealing with some aspects related to the history of musical iconography, then focusing on the characteristics that this relationship assumes today in audiovisual context, with particular reference to the relationship between opera and image. In the first half of the course, the history of musical iconography will be explored throug relevant topics such as the portrait of the musician, the representation of musical performance and musical instruments in the visual arts, scenography in opera. In the second half of the course, attention will be paid to the role of the image in opera today and to the audiovisual mediation of opera, developing a path that takes into consideration contemporary opera stage direction, live opera in video and the relationship between opera and cinema.

• Musical iconography: themes, problems, perspectives
• History of musical iconography I: the portrait of the musician
• History of musical iconography II: the representation of musical performance in the visual arts
• History of musical iconography III: the representation of musical instruments in the visual arts
• Musical iconography and opera: scenography; the role of the image in contemporary opera stage direction
• Functions of music in audiovisuals
• Audiovisual mediation of opera I: ‘live’ opera in video
• Audiovisual mediation of opera II: opera and cinema

Core Documentation

1. Nicoletta Guidobaldi, Prospettive dell’Iconografia musicale all’inizio del terzo millennio, in Prospettive di iconografia musicale, a cura di N. Guidobaldi, Milano, Mimesis, 2007, pp. 7-37

2. Federico Maria Sardelli, Il volto di Vivaldi, Palermo, Sellerio, 2021 (il primo capitolo)

3. Emanuel Winternitz, Gli strumenti musicali e il loro simbolismo nell’arte occidentale, Sesto San Giovanni, Jouvence, 2020

4. Mercedes Viale Ferrero, Vedere Tosca, in La Tosca di Puccini e Casa Ricordi, a cura di Ilaria Narici, Milano, Ricordi, 2004

5. A colloquio con Luca Ronconi, a cura di Giuseppe di Leva, in Giacomo Puccini, Tosca, programma di sala, Milano, Teatro alla Scala, 1997, pp. 207-211

6. Emanuele Senici, Il video d’opera “dal vivo”: testualizzazione e “liveness” nell’era digitale, «Il Saggiatore musicale», 16/2, (2009), pp. 273-312

7. Matteo Giuggioli, Le forme dell’opera nel cinema. Sull’impiego del cinematografico del “Trovatore” tra Gallone e Visconti, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 339-355

Non attending students will also read:
Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 833-911

Attendance

Not mandatory but recomended.

Type of evaluation

Oral exam with questions on the topics discussed within the lectures, also aimed at verifying the knowledge of the musical compositions and opera in video and film sequences analyzed during the course, and on the bibliographical references.

Programme

The course addresses the relationship between music and image, first dealing with some aspects related to the history of musical iconography, then focusing on the characteristics that this relationship assumes today in audiovisual context, with particular reference to the relationship between opera and image. In the first half of the course, the history of musical iconography will be explored throug relevant topics such as the portrait of the musician, the representation of musical performance and musical instruments in the visual arts, scenography in opera. In the second half of the course, attention will be paid to the role of the image in opera today and to the audiovisual mediation of opera, developing a path that takes into consideration contemporary opera stage direction, live opera in video and the relationship between opera and cinema.

• Musical iconography: themes, problems, perspectives
• History of musical iconography I: the portrait of the musician
• History of musical iconography II: the representation of musical performance in the visual arts
• History of musical iconography III: the representation of musical instruments in the visual arts
• Musical iconography and opera: scenography; the role of the image in contemporary opera stage direction
• Functions of music in audiovisuals
• Audiovisual mediation of opera I: ‘live’ opera in video
• Audiovisual mediation of opera II: opera and cinema

Core Documentation

1. Nicoletta Guidobaldi, Prospettive dell’Iconografia musicale all’inizio del terzo millennio, in Prospettive di iconografia musicale, a cura di N. Guidobaldi, Milano, Mimesis, 2007, pp. 7-37

2. Federico Maria Sardelli, Il volto di Vivaldi, Palermo, Sellerio, 2021 (il primo capitolo)

3. Emanuel Winternitz, Gli strumenti musicali e il loro simbolismo nell’arte occidentale, Sesto San Giovanni, Jouvence, 2020

4. Mercedes Viale Ferrero, Vedere Tosca, in La Tosca di Puccini e Casa Ricordi, a cura di Ilaria Narici, Milano, Ricordi, 2004

5. A colloquio con Luca Ronconi, a cura di Giuseppe di Leva, in Giacomo Puccini, Tosca, programma di sala, Milano, Teatro alla Scala, 1997, pp. 207-211

6. Emanuele Senici, Il video d’opera “dal vivo”: testualizzazione e “liveness” nell’era digitale, «Il Saggiatore musicale», 16/2, (2009), pp. 273-312

7. Matteo Giuggioli, Le forme dell’opera nel cinema. Sull’impiego del cinematografico del “Trovatore” tra Gallone e Visconti, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 339-355

Non attending students will also read:
Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 833-911

Attendance

Not mandatory but recomended.

Type of evaluation

Oral exam with questions on the topics discussed within the lectures, also aimed at verifying the knowledge of the musical compositions and opera in video and film sequences analyzed during the course, and on the bibliographical references.

Programme

The course addresses the relationship between music and image, first dealing with some aspects related to the history of musical iconography, then focusing on the characteristics that this relationship assumes today in audiovisual context, with particular reference to the relationship between opera and image. In the first half of the course, the history of musical iconography will be explored throug relevant topics such as the portrait of the musician, the representation of musical performance and musical instruments in the visual arts, scenography in opera. In the second half of the course, attention will be paid to the role of the image in opera today and to the audiovisual mediation of opera, developing a path that takes into consideration contemporary opera stage direction, live opera in video and the relationship between opera and cinema.

• Musical iconography: themes, problems, perspectives
• History of musical iconography I: the portrait of the musician
• History of musical iconography II: the representation of musical performance in the visual arts
• History of musical iconography III: the representation of musical instruments in the visual arts
• Musical iconography and opera: scenography; the role of the image in contemporary opera stage direction
• Functions of music in audiovisuals
• Audiovisual mediation of opera I: ‘live’ opera in video
• Audiovisual mediation of opera II: opera and cinema

Core Documentation

1. Nicoletta Guidobaldi, Prospettive dell’Iconografia musicale all’inizio del terzo millennio, in Prospettive di iconografia musicale, a cura di N. Guidobaldi, Milano, Mimesis, 2007, pp. 7-37

2. Federico Maria Sardelli, Il volto di Vivaldi, Palermo, Sellerio, 2021 (il primo capitolo)

3. Emanuel Winternitz, Gli strumenti musicali e il loro simbolismo nell’arte occidentale, Sesto San Giovanni, Jouvence, 2020

4. Mercedes Viale Ferrero, Vedere Tosca, in La Tosca di Puccini e Casa Ricordi, a cura di Ilaria Narici, Milano, Ricordi, 2004

5. A colloquio con Luca Ronconi, a cura di Giuseppe di Leva, in Giacomo Puccini, Tosca, programma di sala, Milano, Teatro alla Scala, 1997, pp. 207-211

6. Emanuele Senici, Il video d’opera “dal vivo”: testualizzazione e “liveness” nell’era digitale, «Il Saggiatore musicale», 16/2, (2009), pp. 273-312

7. Matteo Giuggioli, Le forme dell’opera nel cinema. Sull’impiego del cinematografico del “Trovatore” tra Gallone e Visconti, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 339-355

Non attending students will also read:
Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 833-911

Attendance

Not mandatory but recomended.

Type of evaluation

Oral exam with questions on the topics discussed within the lectures, also aimed at verifying the knowledge of the musical compositions and opera in video and film sequences analyzed during the course, and on the bibliographical references.

Programme

The course addresses the relationship between music and image, first dealing with some aspects related to the history of musical iconography, then focusing on the characteristics that this relationship assumes today in audiovisual context, with particular reference to the relationship between opera and image. In the first half of the course, the history of musical iconography will be explored throug relevant topics such as the portrait of the musician, the representation of musical performance and musical instruments in the visual arts, scenography in opera. In the second half of the course, attention will be paid to the role of the image in opera today and to the audiovisual mediation of opera, developing a path that takes into consideration contemporary opera stage direction, live opera in video and the relationship between opera and cinema.

• Musical iconography: themes, problems, perspectives
• History of musical iconography I: the portrait of the musician
• History of musical iconography II: the representation of musical performance in the visual arts
• History of musical iconography III: the representation of musical instruments in the visual arts
• Musical iconography and opera: scenography; the role of the image in contemporary opera stage direction
• Functions of music in audiovisuals
• Audiovisual mediation of opera I: ‘live’ opera in video
• Audiovisual mediation of opera II: opera and cinema

Core Documentation

1. Nicoletta Guidobaldi, Prospettive dell’Iconografia musicale all’inizio del terzo millennio, in Prospettive di iconografia musicale, a cura di N. Guidobaldi, Milano, Mimesis, 2007, pp. 7-37

2. Federico Maria Sardelli, Il volto di Vivaldi, Palermo, Sellerio, 2021 (il primo capitolo)

3. Emanuel Winternitz, Gli strumenti musicali e il loro simbolismo nell’arte occidentale, Sesto San Giovanni, Jouvence, 2020

4. Mercedes Viale Ferrero, Vedere Tosca, in La Tosca di Puccini e Casa Ricordi, a cura di Ilaria Narici, Milano, Ricordi, 2004

5. A colloquio con Luca Ronconi, a cura di Giuseppe di Leva, in Giacomo Puccini, Tosca, programma di sala, Milano, Teatro alla Scala, 1997, pp. 207-211

6. Emanuele Senici, Il video d’opera “dal vivo”: testualizzazione e “liveness” nell’era digitale, «Il Saggiatore musicale», 16/2, (2009), pp. 273-312

7. Matteo Giuggioli, Le forme dell’opera nel cinema. Sull’impiego del cinematografico del “Trovatore” tra Gallone e Visconti, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 339-355

Non attending students will also read:
Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 833-911

Reference Bibliography

see "Testi adottati".

Attendance

Not mandatory but recomended.

Type of evaluation

Oral exam with questions on the topics discussed within the lectures, also aimed at verifying the knowledge of the musical compositions and opera in video and film sequences analyzed during the course, and on the bibliographical references.