Musicology

The course provides an introduction to the history, aesthetics, and functions of music for film and for major contemporary audiovisual media (television, video, advertising, and digital platforms). After a review of the basic principles of musical language and film theory, the first part focuses on the main aesthetic and functional theories of music for images, with particular attention to the processes of remediation, intermediality, and multimodality that characterize today’s audiovisual practices. Different components of the soundtrack will be examined — original and adapted music, leitmotifs, thematic recurrence, noise, and silence — considering their perceptual, emotional, and narrative functions within the viewer’s experience. The second part explores audiovisual theory and the phenomenology of listening through the works of Michel Chion and Sergio Miceli, expanded with contributions by Claudia Gorbman (on non-diegetic and narrative music), Anahid Kassabian (on affective and identificatory listening), Nicholas Cook (on multimodal interpretation), and Lars Elleström (on intermedial relations). The third part focuses on case studies ranging from the Hollywood Golden Age to contemporary cinema and transmedia storytelling, analysing the evolving functions of music in global visual culture. Special attention will be given to immersive sound experiences and to the notion of remediation as theorized by Bolter and Grusin. Teaching includes lectures with film screenings, listening sessions, and collective analyses. Supplementary readings, articles, and audiovisual materials will be provided during the course.

No specific prerequisites are required. However, a basic knowledge of musical language and of the fundamental concepts of film theory and history is recommended. Analytical listening skills, critical observation of the relationship between sound and image, and a general interest in audiovisual media will be helpful for effective participation in the course.

- Michel Chion, "L’audiovisione. Suono e immagine nel cinema", Turin, Lindau, 2004. - Sergio Miceli, "Musica per film. Storia, estetica, analisi, tipologie", Lucca, LIM, 2009. - Roberto Calabretto, "Lo schermo sonoro", Venice, Marsilio, 2010. Additional readings and audiovisual materials will be provided and discussed during the course. The audiovisual materials presented in class are an integral part of the syllabus and will be included in the final examination.

La frequenza non è obbligatoria, ma è vivamente consigliata. La partecipazione regolare alle lezioni consente infatti di seguire le spiegazioni del docente, di orientarsi nella selezione dei materiali e dei contenuti del programma, di partecipare alle attività seminariali e alle discussioni, e di usufruire di momenti di verifica e approfondimento collettivo.

Assessment consists of a final oral examination designed to evaluate students’ critical understanding of the course topics and their ability to analyse and discuss the musical and audiovisual phenomena studied. During the semester, students will also complete a group project, to be presented in class, focusing on the analysis of a selected case study (film, sequence, or audiovisual work). The project will be discussed collectively and will contribute to the overall evaluation. Detailed guidelines for the preparation and presentation of the projects will be provided by the lecturer during the course.

The reference bibliography and supplementary materials will be provided by the lecturer during the course and made available on the online learning platform.

Teaching is primarily lecture-based. After an introductory phase focused on the main theoretical and historical topics, the course will take on a seminar format, with students actively involved in class discussions and in the presentation of their group projects, fostering critical exchange and active participation.