LF/0164 - MUSICAL CULTURES AND NEW MEDIA
Academic Year 2021/2022
Free text for the University
IGNAZIO MACCHIARELLA (Tit.)
- Teaching style
- Lingua Insegnamento
|[20/48] MULTIMEDIAL PRODUCTION||[47/00 - Ord. 2021] PERCORSO COMUNE||12||60|
The course aims to propose a detailed dealing with the impact of the media on contemporary production / composition, practice and listening of music
1. Knowledge and understanding
At the end of the course, students know the main types of supports for recording / sound reproduction and their influence on the musical result; can recognize the technological mechanisms used in musical creation, with particular reference to similar materials studied in class; recognize the uses of music within audiovisual communication; know how to identify musical constraints and opportunities due to the media;
2. Applying knowledge and understanding
At the end of the course students can recognize the processes of production, circulation and use of musical expressions similar to those studied during the lessons; they know the basic mechanisms of musical globalization, of the so-called "musical industry" and of the phenomena of opposition to them (indie-music and the like); know how to carry out a brief (ethno)musicological research in the social media context.
3. Making judgements
Students can articulate their own reflection on the presence of music in the contemporary soundscape and on the variety of the music of our day as a representation of different cultural instances in the construction of cultural identities, in the definition of global / local relationships, in the dynamics of power, in interpersonal communication, in the representations of the relationships between groups and individuals and so on.
4. Communication skills. At the end of the course students are able to reflect critically on the presence and importance of music in the media, and in the social life of our age; to use appropriate theoretical concepts of ethnomusicology and popular music studies; to communicate the knowledge and skills acquired through specific case studies. They can safely use conceptual tools such as "musical culture", "musical scene", and so on.
5. Learning skills. At the end of the course students know the main web resources about the music of the world, the main internet sites of academic institution that are specialized in the study of the relationship music / media; know how to deal critically with the mass of world music information that floods the internet and the media; know how to improve their skills in the perspective of the professional continuation of the study in musicological PhD or master
Students are supposed to have interest in the world's music diversity. Students are required to have knowledge of the theoretical-methodological bases of contemporary ethnomusicology and popular music studies. In particular, the students are able to identify the elements of a musical performance and to recognize the basic elements of popular music
The course is in two parts. The first one offers a historical excursus on the relationship between music and technology. It pay a particular attention to the revolution due to the inventions of sound recording /reproduction devices, from the Edison phonograph onwards, the arrival of Radio, television and audiovisuals and up to social media. Through some case studies, the lessons will focus on the influence of technology on music practice and reflection, with reference to cultures that are based on the oral transmission of knowledge, and to the new forms of secondary orality. On this basis, the course focuses the so-called "world music", a phenomenon born in the eighties, focused on selected local musical traditions adapted and transported in the scenarios of globalization. After considering the general mechanisms of the phenomenon, the lessons investigate some exemplary cases such as that of the Pakistani singer-sufi Nusrat Fateh Ali Khan, the Cuban Son brought to the fore by the phenomenon Buena Vista Social Club and so on. Furthermore, the processes of creating popular music recorded outside the Euro-American world will be taken into consideration, dealing with the case of Reggae music. A brief focus will also be devoted to the influence of the media on the so-called Western classical music.
The second part of the course will be devoted to a theoretical reflection on digital music and its presence in everyday life. Certain new processes of creativity permitted by technologies will be taken into consideration, as well as the modalities of fruition and the so-called musical consumption. The reflection will be conducted in the perspective of the study of human musicality as the ability to make and give meaning to music and in the relationship between technology and social context. In conclusion, the theme of the new procedures of musicological research in the scenarios of internet virtuality and social networks will also be addressed, providing practical indications so that students can be able to start their own research paths in this field.The lessons will be accompanied by the presentation of numerous audio-video materials. Classroom meetings are also planned with musicians of different backgrounds
Lectures with class discussions and field research
Verification of learning
Mark Katz, Capturing sound. How technology has changed music, University of California Press, Berkeley 2004, pp. 1-64
Simon Frith, L’industrializzazione della musica e il problema dei valori, in Enciclopedia della musica, Einaudi, Torino 2001, vol 1, pp. 952-965.
Jocelyne Guilbault, Globalizzazione e localismo, in Enciclopedia della musica, Einaudi, Torino 2003, vol 3, pp.138-156.
Jean Molino, Tecnologia, globalizzazione, tribalizzazione. in Enciclopedia della musica, Einaudi, Torino, 2001, vol 1, pp. 767-782.
Nick Prior, Popular music digital technology and society, Sage, 2018, pp. 1-58, 147-172.