The course aims to provide specific knowledge on digital music cultures, with particular regard to the fields of production, recording, transmission and distribution of music, intended both as an artistic creation, as an object of consumption, and as a media. The course also covers the different historical, sociological, anthropological and economic-commercial aspects that characterize the phenomenology of digital music cultures.
teacher profile teaching materials
2. Réal La Rochelle, Il disco e le multinazionali, in Enciclopedia della musica, diretta da Jean-Jacques Nattiez, Torino, Einaudi, vol. 1: Il Novecento, pp. 820-833
3. Gianni Sibilla, Musica e media digitali. Tecnologie, linguaggi e forme sociali dei suoni, dal walkman all’iPod, Milano, Bompiani, 2010 [capitolo 1: Dall’analogico al digitale: le tecnologie e la rimediazione della musica]
4. Stefano Lombardi Vallauri, “An Index of Metals” di Romitelli/Pachini: un saggio astratto-materico multimediale sulla corruzione, in Worlds of Audiovision, 2012, pp. 1-11
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=79&lang=it
5. Giacomo Albert, Post-music: l’ibridazione delle forme audiovisive nel XXI secolo tra performance e tecnologia, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 55-87
6. Giacomo Albert, I linguaggi multimediali della “popular music” elettronica: Alva Noto, «Philomusica on-line», 13/2 (2004), pp. 85-110
7. Le nuove scritture musicali per il cinema, a cura di Roberto Calabretto e Luca Cossettini, Lucca, LIM, 2022 [i contributi di Calabretto, Cossettini, Frattini, Giagni]
Non-attending students will read the entire volume indicated in points 7.
Programme
In this course, the impact of technologies and digital media on the worlds of contemporary music will be considered from different theoretical-methodological viewpoints. In the first phase, digital musical cultures as concept and the dynamics of their formation will be focused. First of all reconsidering the transition from analogue to digital in the music both from a historical perspective, through a concise overview on the evolution and transformations of the music industry in the twentieth-century and in the first decades of the new millennium. Then, in a critical-analytical perspective, trying to understand and interpret these transformations in their repercussions and implications on the music industry as a system, but also on the relationship between music and communication and between music and society. Subsequently, other aspects related to the action of digital technologies on music will be examined in a historical-cultural key, paying attention to processes of musical creation in the field of contemporary art music and of film music.Core Documentation
1. Jacques Hains, Dal rullo di cera al CD, in Enciclopedia della musica, diretta da Jean-Jacques Nattiez, Torino, Einaudi, vol. 1: Il Novecento, pp. 783-8192. Réal La Rochelle, Il disco e le multinazionali, in Enciclopedia della musica, diretta da Jean-Jacques Nattiez, Torino, Einaudi, vol. 1: Il Novecento, pp. 820-833
3. Gianni Sibilla, Musica e media digitali. Tecnologie, linguaggi e forme sociali dei suoni, dal walkman all’iPod, Milano, Bompiani, 2010 [capitolo 1: Dall’analogico al digitale: le tecnologie e la rimediazione della musica]
4. Stefano Lombardi Vallauri, “An Index of Metals” di Romitelli/Pachini: un saggio astratto-materico multimediale sulla corruzione, in Worlds of Audiovision, 2012, pp. 1-11
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=79&lang=it
5. Giacomo Albert, Post-music: l’ibridazione delle forme audiovisive nel XXI secolo tra performance e tecnologia, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 55-87
6. Giacomo Albert, I linguaggi multimediali della “popular music” elettronica: Alva Noto, «Philomusica on-line», 13/2 (2004), pp. 85-110
7. Le nuove scritture musicali per il cinema, a cura di Roberto Calabretto e Luca Cossettini, Lucca, LIM, 2022 [i contributi di Calabretto, Cossettini, Frattini, Giagni]
Non-attending students will read the entire volume indicated in points 7.
Reference Bibliography
See "Testi adottati"Type of delivery of the course
The course consists of 10 historically and critically oriented lectures, integrated by listening to and analyzing musical compositions and by viewing and analyzing audiovisuals. The lists musical examples and of the audiovisuals examined within the course will be made available in Moodle.Attendance
See "Modalità di svolgimento"Type of evaluation
Oral exam with questions on the topics discussed within the lectures and on the bibliographical references.