MUSIC STUDIES

Course objectives

The course aims to train, on the one hand, knowledge about the history of music cultures and languages of the modern era in relation to the transformations of social and industrial systems, music production processes and technological innovations; on the other hand it will train skills useful for the planning of editorial content and the performance of communication, journalism, criticism and research activities in the field of music. Knowledge and Understanding The objectives will be achieved through learning (1) the theoretical and methodological perspectives that inform the trans-disciplinary field of Music Studies, which form the basis for the development of critical analysis and research in this field; (2) the cultures and imaginaries of the modern and contemporary music; (3) the possible relationships between, on the one hand, the evolution, the institutionalization and the legitimization of musical genres and - on the other - broader social, cultural and industrial dynamics; (4) the production processes, promotion, distribution and musical self-production; (5) the practices and social functions of music in everyday life; (6) the most current transformations related to technological innovation and digital convergence. Overall the skills learned will be useful for the professional insertion in the sectors of production and communication of musical contents, for the planning of editorial contents and for the performance of communicative, journalistic, critical and research activities concerning the music field. Ability to apply knowledge and understanding At the end of the course students will have acquired the abilities: (1) to frame in a critical and systemic perspective the processes of musical production, their complex relationships with social and technological contexts, (2) to critically analyze new musical phenomena and the transformations of production systems, (3) to independently carry out research on topics related to production and musical languages, (4) to effectively communicate their own analyzes and the results of their own research Critical and Judgment skills Students are encouraged to apply perspectives and methods of analysis on objects other than those proposed by the teacher, both during the lessons and in a final paper presented in the classroom and discussed collectively, with the aim of contributing to forming analytical skills criticism and communication of the concepts learned, as well as the autonomous application of perspectives and methods useful for critical reflection on musical phenomena, disengaging them from the specific examples proposed in the course so that they can constitute a useful background for the development of individual professional paths. Ability to communicate what has been learned The presentation in the classroom of the final paper aims to improve the ability to communicate the knowledge learned, clearly illustrating both the logic behind the structuring of its own work, referring to concepts, theories and methods covered during the course, both the criteria for choosing the topic and its relevance Ability to continue the study independently The first part of the course insists on the conceptual, theoretical and methodological tools useful for the study of production systems and musical languages, followed both by examples of their application to concrete cases and by the request to the students to apply them on cases of their choice in the tutorial that concludes the course. In this way we intend to ensure the formation of a 'toolbox' and the ability to apply it, able to allow students to independently undertake further study and in-depth studies in the context of the topics covered by the course

Channel 1
FRANCESCO D'AMATO Lecturers' profile

Program - Frequency - Exams

Course program
The program is structured to train the skills need to critically analyze systems and processes of music production and processes of institutionalization and transformation of musical practices and cultures. The first part of the course is dedicated to concepts, approaches and studies for the analysis of both production systems and processes, and the institutionalization of musical practices and cultures, referring in particular to the applications in the field of music studies of sociology cultural production, field theory, neo-institutionalism, cultural studies, pragmatic cultural sociology, media studies, platform studies, network theory, highlighting their strengths and weaknesses. Particular attention will be paid to production and distribution processes in a digital environment. The second part of the course will deal with case studies dedicated to the institutionalization and transformations of specific genres (e.g. classical, folk, jazz, rock, songwriting, punk, indie, electronic dance, hip hop, etc ...), further expanding the references and drawing on cognitive sciences, hermeneutics, science and technology studies, in order to analyze the links of mutual articulation between contexts, practices and cultural forms
Prerequisites
Basic knowledge in the areas of Sociology of Culture and Cultural Industries is strongly desirable. If the participants do not have it, it is recommended to read the following texts: Hesmondhalgh David, (ed. italiana 2008), "Le Industrie Culturali", Egea Griswold, Wendy, (ed, italiana 2005), "Sociologia della Cultura", Il Mulino
Books
For those ATTENDING classroom lessons: D’Amato, Musica e Industria (disponibile on demand a https://www.carocci.it/prodotto/musica-e-industria): paragrafi 1.2 e 1.5, capitoli 2, 3 e 4 Bonini e Magaudda, La musica nell’era digitale: paragrafi 2.4, 2.5, 2.6, capitolo 3, paragrafi 4.6, 4.7, 4.8, 5.1, 5.2, 5.3, epilogo Handouts For those NOT ATTENDING classroom lessons: D’Amato, Musica e Industria (disponibile on demand a https://www.carocci.it/prodotto/musica-e-industria): esclusi solo paragrafi 1.3 e 1.4 Bonini e Magaudda, La musica nell’era digitale: escluso capitolo IV - One text to be chosen from the following two: Santoro, Effetto Tenco. Genealogia della Canzone d’Autore: esclusi capitoli 8 e 9 ed epilogo Thornton, Dai Club ai Rave: esclusi paragrafi 2.1, 3.1, 3.2 e postfazione (disponibili presso cartolibreria RE SERVICE, Via Reggio Emilia 11)
Teaching mode
The teaching will be articulated mainly by lectures in the classroom (concerning both theoretical and methodological notions, and case analysis), supplemented by listening and viewing of audiovisual material, in which collegial comparisons on current topics are proposed.
Frequency
Attendance is not mandatory, but strongly recommended for those who intend to take the exam, given the specificities, the learning objectives and the focus of the course. The exam programs are differentiated for ATTENDING and NOT-ATTENDING students. To take the exam as attending students, it is necessary not to exceed 10 hours of absence. The frequency will be verified through the signature sheet
Exam mode
The evaluation consists of oral examination, useful for verifying the learning of the concepts, approaches and knowledge on which the teaching is structured. Attending students will have the opportunity to replace part of the examination program by drawing up a paper agreed with the teacher and aimed at verifying the ability to independently apply this knowledge to production processes and musical repertoires other than those treated in the classroom.
Lesson mode
The teaching will be articulated mainly by lectures in the classroom (concerning both theoretical and methodological notions, and case analysis), supplemented by listening and viewing of audiovisual material, in which collegial comparisons on current topics are proposed.
  • Lesson code10596358
  • Academic year2024/2025
  • CourseMedia studies, digital communication and journalism
  • CurriculumMedia studies
  • Year2nd year
  • Semester1st semester
  • SSDSPS/08
  • CFU6
  • Subject areaAttività formative affini o integrative