MUSICAL DRAMATURGY

Università degli Studi
"G. d'Annunzio"

Chieti - Pescara

Single discipline educational activity

Course Sheet

Course code:

FLT030

Academic Year of enrolment:

2020

Year of supply:

2020/2021

Type of Course:

Related/Supplementary

Degree:

Course of 2nd Cycle Degree in PHILOLOGY, LINGUISTICS AND LITERARY TRADITIONS

Disciplinary Sector:

Musicology and Music History

Location:

CHIETI

Credits:

Programme Year:

Professor and Collaborators:

PAGANNONE Giorgio

Cycle:

Second semester

Hours of classroom activity:

Individual study hours:

108

Prerequisites:

No prerequisites are required, apart from a basic knowledge of the Italian metrics.
We recommend the following support and in-depth tools (optional).
For the rudiments of Italian metrics and the relationship between music and versification:
- Avviamento alla metrica italiana, ed. by T. BALBO, L. BIANCONI and N. BADOLATO, (on-line in powerpoint format:
http://archivi.dar.unibo.it/files/muspe/wwcat/corso/corsi/sdm/metrica1%2...
http://box.dar.unibo.it/files/didattica/Metrica%204%205%206%20NB.ppt).

For the melodramatic vocabulary and musical dramaturgy:
- L. BIANCONI - G. PAGANNONE, Piccolo glossario di drammaturgia musicale, in G. PAGANNONE (ed. by), Insegnare il melodramma. Saperi
essenziali, proposte didattiche, Lecce, Pensa Multimedia, 2010, pp. 201-263 (available online: http://box.dar.unibo.it/files/didattica/Glossario-di-
Drammaturgia_musicale.pdf).

Objectives

The teaching contributes to the achievement of the learning objectives of the Degree course, with particular reference to the following abilities:

Skills and understanding
Knowledge of the features of the history of the opera and of the fundamentals of musical dramaturgy, with particular reference to the nineteenth century Italian opera, to the "opera buffa", and "Don Pasquale" by Gaetano Donizetti.
Knowledge of some issues concerning operatic philology (variants, genesis, tradition).
Knowledge of the metric forms used in nineteenth-century opera.

Ability to apply knowledge and understanding
Acquisition of a method of analysis of the melodrama, as an integrated system of text, music and scene.
Ability to recognize and reconstruct the metric form of an opera libretto, and more generally the morphology of a nineteenth-century opera, with
reference to the opera in question.
Ability to compare the libretto to the literary source, highlighting links and differences.

Indipendence of judgment
At the end of the course students will have acquired some technical notions, and the conceptual tools that will enable them to deal
autonomously and critically with an operatic text, intended as a combination of poetry, music and drama. They will also be able to grasp
the relationships that the librettistic text, as a "derivative" text, has with the literary or theatrical hypotext (in this case, the opera buffa "Ser Marcantonio" by A. Anelli and S. Pavesi).

Communication skills
Students must know how to explain the course contents and key concepts with appropriate and clear terms. They will be able to report in
a satisfactory way also the listening experiences, both in class and during their individual study. They will also be able to describe and analyse an
operatic scene using the appropriate vocabulary.

Contents

The opera buffa in 19th-Century: "Don Pasquale" by Gaetano Donizetti

Extended Syllabus

During the course, nineteenth-century Italian opera, its forms and its dramaturgy will be studied in depth. The study of the opera libretto will
be addressed as a means of penetrating deeper into the dramatic and formal devices of the Italian melodrama. Particular attention will be
devoted to the study of Donizetti's “Don Pasquale”, a central work in nineteenth-century 'opera buffa', through the study of textual and musical forms, the system of characters, and the relations with the theatrical source, the opera "Ser Marcantonio" by Angelo Anelli and Stefano Pavesi (1810).

Recommended Bibliography

On the 'libretto':
L. BIANCONI, “Il libretto d’opera”, in “Il contributo italiano alla storia del pensiero. Musica”, Istituto della Enciclopedia Italiana, Roma, 2017.

On the musical dramaturgy:
- C. DAHLHAUS, Drammaturgia dell'opera italiana, Torino, EDT, 2005.

On Donizetti and the opera of his time (indicative bibliography: the texts to be studied will be specified at the beginning of the course):

- W. Ashbrook, Donizetti. Le opere, Torino, EDT, 1987, pp. 1-24 (Donizetti e il teatro d'opera del suo tempo) and pp. 25-65 (L'uso delle convenzioni nelle opere di Donizetti).
- F. Della Seta, Italia e Francia nell'Ottocento, Torino, EDT, 1993, pp. 165-208 (part IV: Italia, 1830-1860, extract).
- P. Russo, L'arte internazionale degli operisti italiani in Francia, in Donizetti, Don Pasquale, Milano, Intesa Sanpaolo - Mondadori-Electa - Musicom (series "Vox Imago"), 2019, pp. 73-91.
- R. Vernazza, "Panem et circenses". Teatri e pubblici di Parigi al tempo di Donizetti, in Donizetti, Don Pasquale, Milano, Intesa Sanpaolo - Mondadori-Electa - Musicom (series "Vox Imago"), 2019, pp. 95-105.

On "Don Pasquale" (indicative bibliography: the texts to be studied will be specified at the beginning of the course):

- W. Ashbrook, Donizetti. Le opere, Torino, EDT, 1987, pp. 244-251 (Don Pasquale).
- M. Beghelli, Don Pasquale, compendio di un'epoca, in Don Pasquale, volume di sala (programme and libretto), Teatro dell'Opera di Roma, 2003, pp. 33-40.
- F. Bellotto, Fra "moderno" e "antico": l'emblematico caso di Don Pasquale, in Stagione Lirica e concertistica (Don Pasquale), Teatro Donizetti di Bergamo (volume di sala - programme and libretto), pp. 35-48.
- M. Emanuele, Fisiologia del matrimonio in musica: Lolita e Don Pasquale, in in G. Donizetti, Don Pasquale, volume di sala (programme and libretto), Teatro La Fenice di Venezia, 2002, pp. 143-160.
- P. Fabbri, Una via donizettiana per l'opera comica, in G. Donizetti, Don Pasquale, volume di sala (programme and libretto), Teatro La Fenice di Venezia, 2002, pp. 113-123.
- P. Fabbri, Un "Don Pasquale" rococò: il "Ser Marcantonio" di Anelli e Pavesi, in Il teatro di Donizetti, Atti dei Convegni delle Celebrazioni (1797/1997 - 1848-1998), II: Percorsi e proposte di ricerca (Venezia 22-24 maggio 1997), ed. by P. Cecchi and L. Zoppelli, Bergamo, Fondazione Donizetti, 2004, pp. 187-227.
- G. Guccini, Il mito del 'vecchio in amore' nel Don Pasquale di Donizetti, in Don Pasquale, volume di sala (programme and libretto), Teatro dell'Opera di Roma, 2003, pp. 41-54.
- G. Pagannone, "Quel vecchione rimbambito": conflitti generazionali in Don Pasquale, in G. Donizetti, Don Pasquale, volume di sala (programme and libretto), Teatro La Fenice di Venezia, 2002, pp. 125-140.
- P. Rattalino: ‘Il processo compositivo nel “Don Pasquale” di Donizetti’, in "Nuova Rivista Musicale Italiana", IV, 1970, pp. 51–68, 263–80.

NON-ATTENDING students are advised to contact the teacher for additional readings. However, we strongly recommend the following texts:
- M. Beghelli, Morfologia dell’opera italiana da Rossini a Puccini, in Enciclopedia della musica, directed by Jean-Jacques Nattiez, vol. IV (Storia
della musica europea), Torino, Einaudi, 2004, pp. 895-921.
- P. Fabbri, Metro e canto nell'opera italiana, Torino, EDT, pp. 119-141 ('Il pieno Ottocento').

To follow the lessons it is necessary to have the LIBRETTO of the opera. A copy of the libretto of the first performance will be made available at the
beginning of the course.
NB. Do not use other librettos available online or in CD booklets.
The vocal score of the opera can be found at the following website:
.
NB. THE FULL LISTENING AND THE VISION of the opera in question is an INTEGRAL PART OF THE PROGRAMME.
NB. Material will be provided during the course. NON-ATTENDING STUDENTS are required to find the study material (in the “materiali didattici”/"teaching materials" at the end of the course). For any problems or doubts concerning the bibliography and the retrieval of the materials, please contact the teacher (giorgio.pagannone@unich.it).

Teaching Methods

A mixed method. After a few introductory lessons aided by the use of slides and support materials, the course will take place in seminar form,
with the involvement of the students in the analysis and discussion of the opera in question.

Evaluation methods

Verification of learning:

The final assessment consists of an oral exam on the entire syllabus, with the final mark expressed in thirtieth. The aim is to assess students’ skills and in particular, an understanding of the issues discussed during the course, an appropriate knowledge of the bibliography in the course programme, a correct command of the specific language as well as critical and methodological abilities will be evaluated. The grading scale goes from 1 to 30 with honours (cum laude): 1-17 fail, 18-21 sufficient, 22-24 fair, 25-27 good, 28-29 very good, 30-30 with honours (cum laude) excellent.

Contacts/More Information

Regular attendance is strongly recommended, given the seminar-based structure of the course.

Università degli Studi
"G. d'Annunzio"

Chieti - Pescara

Aree