Print syllabusPre-history of opera. Stage music in the Italian Renaissance
General data
| Course ID: | 3106-PreHi-OG |
| Erasmus code / ISCED: |
03.2
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| Course title: | Pre-history of opera. Stage music in the Italian Renaissance |
| Name in Polish: | Pre-historia opery. Muzyka sceniczna we włoskim renesansie |
| Organizational unit: | Institute of Musicology |
| Course groups: |
General university courses General university courses in the humanities |
| ECTS credit allocation (and other scores): |
2.50
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| Language: | Polish |
| Type of course: | general courses |
| Short description: |
Conversation course on musical-theatrical performances and spectacles in Renaissance Italy. Participants will learn about and discuss issues related to events in the 15th and 16th centuries that led to the emergence of a form of early modern musical theatre (later called opera). |
| Full description: |
Conversation course on musical-theatrical performances and spectacles in Renaissance Italy. Participants will learn about and discuss the contexts of the 15th and 16th century events that led to the development of a form of early modern musical theatre. Based on source materials, studies and recordings, the following topics will be considered: the reception of antiquity in the musical culture and stage events of the Italian Renaissance; the tendencies that preceded the shaping of the form of ‘dramma per musica’, or early opera; the links between music, theatre, poetry, power and politics in Italian celebrations of the 15th and 16th centuries; the style and instrumentation of the stage music of the time; the relationships between the authors and recipients of the work, i.e. patrons (commissioners), intellectual circles (academies), poets (librettists), set designers and composers. |
| Learning outcomes: |
Upon completion of the course, the participant: – knows the basic terminology used in the study of Renaissance stage music in Italy [K_W02]; – has a structured knowledge of Italian ceremonial and musical-theatrical performances from the 15th and 16th centuries [K_W04]; – knows and understands the basic methods of analysis and interpretation of various products of musical culture applied in the following research traditions: historical, librettological, philosophical and theatrical [K_W06]; – can recognize the elements of musical culture related to stage music in the Italian Renaissance and to conduct their critical analysis and interpretation with the application of appropriate methods, which enable to define their meanings, social impact, as well as their place in the socio-cultural process [K_U04]. |
| Assessment methods and assessment criteria: |
The conditions for passing the course are: – attendance in classes; – active participation in classes confirming the reading of the texts given by the lecturer; – passing a test. The grade will depend on: – an evaluation of the activity in classes based on the reading of the texts given by the lecturer (50% of the final mark); – an assessment of a written test (50% of the final mark). |
Classes in period "Summer semester 2023/24" (in progress)
| Time span: | 2024-02-19 - 2024-06-16 |
 
MO TU W KON
TH FR |
| Type of class: |
Seminar, 30 hours, 10 places
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| Coordinators: | Michał Sołtysik | |
| Group instructors: | Michał Sołtysik | |
| Students list: | (inaccessible to you) | |
| Examination: |
Course -
Grading
Seminar - Grading |
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| Bibliography: |
Compulsory literature: – ROLLAND Romain, Z pierwszych wieków opery, tłum. J. Kozłowski, Kraków 1971, s. 23–54. – SURMA-GAWŁOWSKA Monika, MISZALSKA Jadwiga, Historia teatru i dramatu włoskiego, od XIII do XVIII wieku, s. 31–52, 65–76. – LOCKWOOD Lewis, Music in Renaissance Ferrara, 1400–1505. The Creation of a Musical Center in the Fifteenth Century, New York 2009, s. 308–318. – WIECZOREK Ryszard J., Florenckie „canti carnascialeschi”: między rytuałem a muzyką, „Res Facta Nova” 21 (2011/12), s. 111–123. – CUMMINGS Anthony M., The Politicized Muse. Music for Medici Festivals, 1512–1537, Princeton–Oxford 1992, s. 163–172. – BROWN Howard M., Sixteenth-Century Instrumentation. The Music for the Florentine Intermedii, [Dallas] 1973, s. 11–19, 77–82. – LISIECKA Katarzyna, Fuzja sztuk i horyzontów. Arystotelesowski paradygmat opery, Poznań 2019, s. 165–201. – BARDI Giovanni de’, Wywód przesłany przez Giovanniego de’ Bardi Giulio Cacciniemu, zwanemu Rzymianinem, o muzyce dawnej i dobrym śpiewaniu, w: Z.M. Szweykowski, A. Szweykowska, Między kunsztem a ekspresją: I. Florencja, Kraków 1992, s. 165–190. – RESTANI Donatella, Theory and Musical Performance of the Chorus in Sixteenth-Century Italy. A Case Study: Vicenza 1585, „Skenè. Journal of Theatre and Drama Studies” 1 (2015), s. 75–100. – WARBURG Aby, Kostiumy teatralne do intermediów z 1589 roku, tłum. J. Dygul, w: A. Warburg, Od Florencji do Nowego Meksyku. Pisma z historii sztuki i kultury, Gdańsk 2019, s. 19–58. – SZWEYKOWSCY Anna i Zygmunt M., Muzyka we Włoszech. Dramma per musica, cz. I, Kraków 2008, s. 17–24, 509–522. – KIRKENDALE Warren, The Myth of the „Birth of Opera” in the Florentine Camerata Debunked by Emilio de’ Cavalieri, „The Opera Quarterly” 19 (2004), s. 631–643. – GUIDOTTI Alessandro, Emilio de’ Cavalieri, Przedstawienie o duszy i o ciele, w: Jak skomponować „dramma per musica”, tłum. A. Szweykowska, s. 69–87. – DONI Giovanni Battista, Traktat o muzyce scenicznej, w: Giovanni Battista Doni o muzyce jemu współczesnej, opr. i tłum. A. Szweykowska, Kraków 2000, s. 101–127. Scans of compulsory literature will be provided by the lecturer. Additional literature for those who wish will be provided during the class. |
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Copyright by University of Warsaw.
