The course aims to provide fundamental knowledge on the history of music education between the sixteenth and twentieth centuries, with particular reference to the teaching of instruments and singing. The different approaches that are used modernly for the teaching of musical interpretation will also be explored
Curriculum
teacher profile teaching materials
Finally, the history of music education will be examined through the comparative study of treatises and historical sources, relating them to contemporary practices in the study and interpretation of musical works. Particular attention will be given to the relationship between performance and understanding of musical language, as well as the transition from the educational setting to the performative context.
Mutuazione: 20710391-2 ANALISI E DIDATTICA DELL'INTERPRETAZIONE MUSICALE 2 in DAMS Teatro, musica, danza LM-65 R NAVARRO LALANDA SARA
Programme
The second module is dedicated to instructional design focused on musical interpretation, with particular attention to innovation processes and applied pedagogical research, both in the music classroom and within the broader educational context. This will be examined in relation to the Italian educational system and the guidelines provided by European institutions in the field of education. Learning contexts and the role of motivation will be analysed, with a deeper exploration of cognitive, metacognitive, and self-regulation strategies aimed at promoting conscious and autonomous musical learning.Finally, the history of music education will be examined through the comparative study of treatises and historical sources, relating them to contemporary practices in the study and interpretation of musical works. Particular attention will be given to the relationship between performance and understanding of musical language, as well as the transition from the educational setting to the performative context.
Core Documentation
A selection of essays and articles will be provided by the instructor during the course.Attendance
Attendance is not mandatory but is strongly recommended.Type of evaluation
The following two books are required reading for all students enrolled in the course: • Carla Cuomo, Dall'ascolto all'esecuzione. Orientamenti per la pedagogia e la didattica della musica, Milan, FrancoAngeli 2018 • John Rink (ed.), L’esecuzione musicale: guida, analisi, prospettive (Cambridge 2002), Italian edition by Stefano Leoni, Milan, Rugginenti 2008 Students who complete the UdA (Learning Unit) during class sessions are required to read only one of the two books, based on individual choice. Additional Required Reading for Non-Attending Students (choose one of the following): • Guido Salvetti, Le sonate per pianoforte e violoncello di Johannes Brahms. Contesto, testo, interpretazione, Lucca, LIM 2005 • Alfonso Alberti, Le sonate di Claude Debussy. Contesto, testo, interpretazione, Lucca, LIM 2008 • Maria Grazia Sità – Corrado Vitale, I Quartetti di Béla Bartók, Lucca, LIM 2012 • Vania Del Maso, Teoria e Pratica della Musica Italiana del Rinascimento, Lucca, LIM 2017 • Piero Rattalino, L’interpretazione pianistica nel postmoderno, Milan, Rugginenti 2017 teacher profile teaching materials
Finally, the history of music education will be examined through the comparative study of treatises and historical sources, relating them to contemporary practices in the study and interpretation of musical works. Particular attention will be given to the relationship between performance and understanding of musical language, as well as the transition from the educational setting to the performative context.
Programme
The second module is dedicated to instructional design focused on musical interpretation, with particular attention to innovation processes and applied pedagogical research, both in the music classroom and within the broader educational context. This will be examined in relation to the Italian educational system and the guidelines provided by European institutions in the field of education. Learning contexts and the role of motivation will be analysed, with a deeper exploration of cognitive, metacognitive, and self-regulation strategies aimed at promoting conscious and autonomous musical learning.Finally, the history of music education will be examined through the comparative study of treatises and historical sources, relating them to contemporary practices in the study and interpretation of musical works. Particular attention will be given to the relationship between performance and understanding of musical language, as well as the transition from the educational setting to the performative context.
Core Documentation
A selection of essays and articles will be provided by the instructor during the course.Attendance
Attendance is not mandatory but is strongly recommended.Type of evaluation
The following two books are required reading for all students enrolled in the course: • Carla Cuomo, Dall'ascolto all'esecuzione. Orientamenti per la pedagogia e la didattica della musica, Milan, FrancoAngeli 2018 • John Rink (ed.), L’esecuzione musicale: guida, analisi, prospettive (Cambridge 2002), Italian edition by Stefano Leoni, Milan, Rugginenti 2008 Students who complete the UdA (Learning Unit) during class sessions are required to read only one of the two books, based on individual choice. Additional Required Reading for Non-Attending Students (choose one of the following): • Guido Salvetti, Le sonate per pianoforte e violoncello di Johannes Brahms. Contesto, testo, interpretazione, Lucca, LIM 2005 • Alfonso Alberti, Le sonate di Claude Debussy. Contesto, testo, interpretazione, Lucca, LIM 2008 • Maria Grazia Sità – Corrado Vitale, I Quartetti di Béla Bartók, Lucca, LIM 2012 • Vania Del Maso, Teoria e Pratica della Musica Italiana del Rinascimento, Lucca, LIM 2017 • Piero Rattalino, L’interpretazione pianistica nel postmoderno, Milan, Rugginenti 2017