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Storia E Analisi Della Musica Elettronica

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Storia E Analisi Della Musica Elettronica Storia e analisi della Musica Elettronica (Biennio di Musicologia) crediti ?? 36 h, lezioni frontali collettive con ascolti ed esercitazioni Programma d’esame La musica che fa uso di tecnologie legate all’elettricità ha creato nel corso di questo ultimo secolo un repertorio che fonde insieme problematiche musicali (compositive e interpretative) e riflessioni scientifiche-epistemologiche; indagare queste relazioni si mostra essenziale per il compositore e l’interprete dei musica elettro-acustica. Introduzione: riepilogodelle principali tendenze e protagonisti della musica del ‘900 I primi esempi di musica con tecnologie elettriche/elettroniche: Musique concrète, Musica elettronica pura, Tape music, Musica elettroacustica, Musica acusmatica, Musica sperimentale. Gli studi di musica elettronica analogica degli anni '50, le tecniche compositive, i sistemi di notazione, le prassi esecutive. Lo studio di Fonologia Musicale della Rai di Milano. Caratteristiche generali della musica elettroacustica degli anni '60. Analisi e ascolti di uno o più estratti di un'opera degli anni '50 tratti fra i seguenti: Pierre Schaeffer, Cinq études de bruits (1948) John Cage, Imaginary Landscape n. 5 (1952) Karlheinz Stockhausen, Studie I (1953) Karlheinz Stockhausen, Studie II (1954) Karlheinz Stockhausen, Gesang der Jünglinge (1955-56) György Ligeti, Glissandi (1957) Henri Pousseur, Scambi (1957) Franco Evangelisti, Incontri di fasce sonore (1957) Luciano Berio, Thema (Omaggio a Joyce) (1958) John Cage, Fontana Mix (1958) György Ligeti, Artikulation (1958) Bruno Maderna, Continuo (1958) Edgard Varèse, Poème électronique (1958) Iannis Xenakis (1922) Concret PH (1958) Analisi e ascolti di uno o più estratti di un'opera degli anni '60 tratti fra i seguenti: Iannis Xenakis, ST10/1, 080262 (1955-62), per ensemble Gottfried Michael Koenig, Essay (1958) Bruno Maderna, Musica su due dimensioni (1958) Luciano Berio, Differences (1958-60) Luciano Berio, Visage (1961) Karlheinz Stockhausen, Kontakte (1959-60) Karlheinz Stockhausen, Mikrophonie I (1964) Luigi Nono, La Fabbrica Illuminata (1965) Luigi Nono, Ricorda cosa ti hanno fatto in Auschwitz (1965) Steve Reich, Come out (1966) Karlheinz Stockhausen, Telemusik (1966) Karlheinz Stockhausen, Hymnem (1966/67) Gottfried Michael Koenig, Terminus II (1966/67) Gottfried Michael Koenig, Funktion Blau (1969) Karlheinz Stockhausen, Mantra (1970) Prova d’Esame Il programma di esame prevede (oltre a verifiche sui testi in bibliografia) prevede la discussione di un elaborato (di almeno 20000 caratteri) in cui partendo dalle problematiche storiche, estetiche e analitiche descritte durante il corso si affronti lo stile e l’opera di un autore o lo stile e le opere (per sommi capi) di una corrente compositiva del periodo in esame (dal 1950 ai nostri giorni) definendone in maniera autonoma le caratteristiche (storiche, estetiche e tecnico-analitiche) che li legano a un determinato contesto e al contempo ne fanno un oggetto d’indagine particolare. I non frequentanti dovranno preliminarmente prendere accordo con il docente. Bibliografia Michel Chion , Musica, media e tecnologia, Milano, Il Saggiatore,1996. La musica moltiplicata, i sei effetti tecnici di base Armando Gentilucci, Introduzione alla Musica Elettronica, Milano, Feltrinelli 1972. Antecedenti storici: la porgressiva rivalsa del “rumore”. Nicola Scaldaferri, Musica nel laboratorio elettroacustico, LIM, 1994 La radio e la ricerca della nuova musica Musica concreta e musica elettronica Parigi e la musique concrete Elektronische Musik a Colonia Lo Studio di Fonologia Musicale della RAI di Milano dal 1952 al 1955 dal 1956 al 1958 dal 1959 in poi Analisi di Notturno di Maderna Autori vari, (a cura di Henri Pousseur), La Musica Elettronica, Milano, Feltrinelli 1976. Fred K. Prieberg, Musica ex machina, Torino, Einaudi, 1963 Guido Salvetti, Storia della Musica. Il Novecento I, Torino, EDT 1991. Gianfranco Vinay, Storia della Musica. Il Novecento II (parte prima), Torino, EDT 1991. Andrea Lanza, Storia della Musica. Il Novecento II (parte seconda), Torino, EDT 1991. Donald Jay Grout, Storia della musica in occidente, Milano, Feltrinelli, 1993, dal cap. 20. Bartok, Hindemith, Messiaen, Stravinskij, Schönberg e e la sua scuola, dopo Webern Ascolti: vengono forniti 12 cd con tutti gli ascolti necessari .
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