ࡱ>  HbjbjVV 4<<@+ cccccwww8 lwr'> IrKrKrKrKrKrKr$zuxorcEEEorccr[5[5[5EccIr[5EIr[5[5joˎgRw-#l,5rr0rOlx1xXooxco[5:lororq3rEEEEx ): Department of Languages, Linguistics & Comparative Literature Florida Atlantic University ITT 3540 - ITALY IN LYRICS - 3 credits Dr. Ilaria Serra  HYPERLINK "mailto:ilaria.serra@fau.edu" ilaria.serra@fau.edu Monday Wednesday 11:00-12:20 Office hours: MW 12.30-2.20 (CU242) Tel. 561-297-0286 Hearing is a physiological phenomenon, listening is a psychological act. Roland Barthes (Ascolto, Enciclopedia, Torino: 1977: 942) La musica anche la meno espressiva, anche la pi semplice ecc. produce a prima giunta nell'animo un ricreamento, l'innalza, o l'intenerisce . . . immerge l'ascoltante in un abisso confuso di innumerabili e indefinite sensazioni . . . Guardiamoci bene dal confondere il piacevole col bello. Tutto ci non che piacere. Giacomo Leopardi, Zibaldone  INCLUDEPICTURE "http://www.scudit.net/mdmameli_file/g_mameli.jpg" \* MERGEFORMATINET  Goffredo Mameli composed Canto degli Italiani, future Italian national anthem, when he was 20. COURSE DESCRIPTION This course, taught in English, uses songs and popular music to explore the last two hundred years of Italian history and its major cultural themes. Music is an efficient marker of distinction or social differentiation that makes a nation a nation, and strongly identifies different social groups within it. The more songs are played and sung, the more they may be used as sources for the study of mentalities and the imaginative repertoires of a society. In this course we will treat music as an important element of social description, because as Marcel Proust wrote, popular music slowly fills up with the dreams and tears of men. Course material includes libertarian Italian songs of the Nineteenth century, the national anthem by Goffredo Mameli and classical opera; Communist songs such as Bandiera Rossa and Fascist rallying songs such as Faccetta nera and Giovinezza; the light soundtrack of the Italian economic boom and the political and satirical songs of Italian songwriters such as Francesco Guccini and Fabrizio De Andr; Italian folk songs in regional dialects and Italian versions of funk and rap. COURSE OBJECTIVES Draw a musical portrait of modern Italy through a close reading, both textual and contextual, of numerous songs. Clarify the social, political and cultural background that surrounds the birth of songs. Introduce non-Italian speaking students to the language and the sounds of Italy COURSE REQUIREMENTS: The course will require student participation in class through class discussion and presentations on particular themes, and of the songs. Students of Italian may be asked to provide English translations of the songs. Students will be asked to summarize and comment the readings and/or songs (these presentations will make 15% of the grade). The final presentation is about an Italian song of the students choice, to be described through its historical and cultural context, translation and comments on the lyrics (15% of your grade). There will be five written exams in which students are expected to show their understanding of the required readings and the songs analyzed in class (50%); and several weekly quizzes to verify their knowledge of the historical readings (10%). Active and attentive participation in class (asking questions, critical thinking, note-taking) is required and will make 10% of your grade. Students who are in advanced Italian level will be required to read some of the suggested material in Italian. COURSE MATERIAL: Duggan, Christopher,  HYPERLINK "http://www.amazon.com/Force-Destiny-History-Italy-Since/dp/0618353674/ref=sr_1_7?ie=UTF8&s=books&qid=1216112822&sr=1-7" The Force of Destiny: A History of Italy Since 1796. Boston: Houghton Mifflin (2008). Articles scanned in BlackBoard Texts of songs (BlackBoard) Songs (Internet sites) ASSIGNMENTS AND GRADING Five written exams: 50% Class presentations: 15% Final Presentation: 15% Participation: 10% Quizzes: 10% Grading scale 92-100 = A 90-91 = A- 88-89 = B+ 82-87 = B 80-81 = B- 78-79 = C+ 72-77 = C 70-71 = C- 68-69 = D+ 66-67 =D 64-65 = D- less than 64 = F Make-Up Tests are allowed only for medical reasons. Policy for Absences, Missed Exams and Making up Work: students are allowed a maximum of three unexcused absences, after which the final grade will drop (ex. From A- to B+). Only in exceptional circumstances (justified by doctors notes) there will be an exam make up. Students with Disabilities: In compliance with the Americans with Disabilities Act (ADA), students who require special accommodations due to a disability to properly execute coursework must register with the Office for Students with Disabilities (OSD) located in Boca Raton - SU 133 (561-297-3880), in Davie - MOD I (954-236-1222), in Jupiter - SR 117 (561-799-8585), or at the Treasure Coast - CO 128 (772-873-3305), and follow all OSD procedures. Honor Code: Students at Florida Atlantic University are expected to maintain the highest ethical standards. Academic dishonesty, including cheating and plagiarism, is considered a serious breach of these ethical standards, because it interferes with the University mission to provide a high quality education in which no student enjoys an unfair advantage over any other. Academic dishonesty is also destructive of the University community, which is grounded in a system of mutual trust and places high value on personal integrity and individual responsibility. Harsh penalties are associated with academic dishonesty. For more information, see  HYPERLINK "http://wise.fau.edu/regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf" \t "_blank" http://wise.fau.edu/regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf WEEKLY CALENDAR Week 1 (January 10-12) Introduction: the Voice of Italy. Italian Stereotypes and Mirroring Presentation of key terms: music genres and culture (The World of Music: Music and Memory: documentary: in the library) Functions of music Songs: LItaliano (Toto Cotugno); La terra dei cachi (Elio e le storie tese); Dolce Italia (Eugenio Finardi); La lingua italiana (Riccardo Cocciante); Buonanotte allItalia (Ligabue) Volta la Carta (Fabrizio de Andre); Gli scariolanti Readings: Nettl, Bruno Music and The Complex Whole: Music in Culture (in Nettl, Bruno, The Study of Ethnomusicology. Urbana: U of Illinois P, 2005): 215-231 BB Gregory, Andrew, The Roles of music in Society: the Ethnomusicological Perspective (in Hargreaves, David and Adrian North, ed. The Social Psychology of Music. Oxford: Oxford UP, 1997): 123-157 BB January 15: last day to drop/add courses without consequences; fees after this date. __________________________________________________________________ Week 2 (January 19) From the Turmoil of 1700 to the Dream of a United Italy (January 17: ML KING Day) Songs: Inno dellalbero; Partire partir; Il soldato di Napoleone (Sergio Endrigo); Canto dei sanfedisti; Barones sa tirannia Readings: The Force of Destiny. Preface pp. XV-XXIII. Deliverance pp. 3-23. In the Bed of Procrustes: Napoleonic Rule on, pp. 29-57 Leopardi, Giacomo. Elogio degli uccelli (Operette morali) BB __________________________________________________________________ Week 3 (January 24-26) Italy in 1800: the Making of a Nation Songs: Povero Napoleone; Numi voi siete spietati; Il canto degli Italiani; Santa Lucia; La bandiera tricolore. Readings: The Force of Destiny. In the summer of 1820 (pp. 82-89) Fractured Past Fractured Present pp. 96-109. Mazzini 125-134 Mazzini, Giuseppe. Philosophy of Music. Trans. Francesco Sciannameo. Lewiston: Edwin Mellen Press, 2004 (excerpt). 102-127 BB Gianni Oliva. Il tricolore BB EXAM 1 __________________________________________________________________ Week 4 (January 31-February 2) Risorgimento in History and in the Opera Songs: Addio mia bella addio; Ero povero ma disertore; La bella Gigogin; Il povero Luisin; O Venezia. Chi per la patria muor (from Donna Caritea, regina di Spagna by Saverio Mercadante); Coro dei Druidi (from Norma di Giovanni Bellini); O Signore dal tetto natio (from I Lombardi alla prima crociata by Giuseppe Verdi); Va pensiero (from Nabucco by Giuseppe Verdi). Camicia rossa; Garibaldi fu ferito; Cacciatori delle Alpi; Inno di Garibaldi; (La presa di Roma) Readings: The Force of Destiny. Death of the Bandiera Brothers pp. 139-143 The Opera pp. 152-155 Poetry, 1846-1860 pp. 169-180 and pp. 188-213, Prose, 1861-1887 pp. 242-258. The cult of Garibaldi (pp. 294-297) Waterhouse John, Since Verdi: Italian Serious Music, 1860-1885, in Baranski, West, The Cambridge Companion to Modern Italian Culture, Cambridge: Cambridge UP, 2001) Gannon, Martin, The Italian Opera (in Gannon, Martin, Understanding Global Cultures (Thousand Oaks: Sage Publications, 1994). 42-65 BB ________________________________________________________________ Week 5 (February 7-9) Political Songs of Anarchy and Communism Songs: Sante Caserio; Addio a Lugano; La locomotiva; Bandiera rossa; (Linternazionale); Mia dolce rivoluzionaria (Modena City Ramblers) Readings: The Force of Destiny. Rival Religions: Socialism and Catholicism pp. 350-373. Boero, Silvia. Italian Freaks and Punks: History of Italian Culture from 1950s to 2005 retold by Protest Songs (Emanuele Occhipinti, ed. New Approaches to Teaching Italian Language and Culture): 265-285. BB Eco, Umberto. E il poeta ache traccia il microsolco (Guccini) BB 22 settembre: last day to drop w/o W/partial refund Week 6 (February 14-16) The New State between 1800 and 1900 The Great Migration Songs: Pontelandolfo (Stormy Six); Franziska (Francesca De Andre), Inno a Oberdan; Il feroce monarchico Bava. (Miniera); Maremma amara; Italia bella mostrati gentile; Merica Merica; Mamma mia dammi cento lire; Il tragico affondamento del Sirio. Santa Lucia lontana (E. A. Mario), Hey Marie (Louis Prima), Angelina (Prima). Readings: The Force of Destiny. The New State (219-228) The Threat from the South (259-273) National Education pp. 274-283. BB: Cristina Palmidessi Moore, The Melodeon Julia Volpelletto Nakamura, The Red Label Music of Affection ItalianAmericana (Summer 2010): 137-148 Special Research: San Remo 2011 (February 15-19)  HYPERLINK "http://www.linksanremo.it/" http://www.linksanremo.it/  HYPERLINK "http://www.sanremo.rai.it/dl/sanremo/home_2011.html" http://www.sanremo.rai.it/dl/sanremo/home_2011.html EXAM 2 __________________________________________________________________ Week 7 (February 21-23) The Beginning of the Twentieth Century. The Giolitti Age Songs: Il lamento del contadino; La filanda; La lega; Mama mia son stufa; Le otto ore. La cammesella; Mattinata (Ruggero Leoncavallo); A Tripoli (Corbetto-Colmbino). San Martino (Giosue Carducci-Fiorello) Readings: The Force of Destiny. The Fin De Sicle Crisis (pp. 338-349) Lybia and Giolittis Program (pp. 381-387) Watkins, Glenn. The World of the Future, the Future of the World (in Proof through the Night, U of California P, 2003): 199-210. BB Boito, Arrigo. Il Barbapedana. BB __________________________________________________________________ Week 8 (February 28-March 2) The First World War, Great Song Composer Songs: La canzone del Piave; La canzone del Monte Grappa; La conquista dellOrtigara; Era una notte che pioveva; La canzone del Monte Nero; O Gorizia; O Surdato nnamurato; La tradotta che parte da Novara; Addio Venezia addio Readings: The Force of Destiny. Intervention. The Great War: 1915-18 pp. 387-404. Emilio Lussu. Sardinian Brigade. New York, A. A. Knopf, 1939 (excerpt). March 4: last day to drop a course or withdraw without receiving an F. ______________________________________________________________ (March 7-9) SPRING BREAK __________________________________________________________________ Week 9 (March 14-16) From the World War to the Twenties Songs: Figli dellofficina; Giovinezza; Allarmi; Fischia il sasso; La canta di Matteotti. Readings: The Force of Destiny. Civil War and the Advent of Fascism pp. 407-432. The Establishment of a Dictatorship (pp.433-448) Gramsci, Antonio. Il canto popolare (Boninelli, Mimmo, ed. Frammenti indigesti. Temi folclorici negli scritti di Antonio Gramsci, Carocci, 2007) EXAM 3 _________________________________________________________________ Week 10 (March 21-23) From Fascism to the Second WW. Songs: Signorine sposatevi (Daniele Serra); Reginella campagnola; Balocchi e profumi (E.A. Mario); Cin Ci La; Vipera (Barbara Fougez); Pippo non lo sa (Trio Lescano); Se potessi avere mille al mese (Gilberto Mazzi) Readings: The Force of Destiny. Fascism 1919-1943 (pp. 449-500). LaBianca, Nicola. Growing up in Fascist Italy. Excerpt. BB __________________________________________________________________ Week 11 (March 28-30) The End of the War and the Resistance Songs: Faccetta nera; Lili Marlene; Badoglieide; Il cuoco di Sal; Claretta e Ben. Bella ciao; Fischia il vento; Siamo i ribelli della montagna; Lunica superstite (Modena City Ramblers); Tamurriata nera (E. A. Mario). Readings: The Force of Destiny. Ethiopia (pp. 500-505) Into the Abyss 1936-1943 (506-526). The Foundations of the Republic, pp. 529-547. __________________________________________________________________ Week 12 (April 4-6) The Economic Miracle Songs: Vola colomba vola (Nilla Pizzi); Papaveri e papere; Vecchio scarpone; Volare. Tu vuo far lAmericano (Renato Carosone), Che bambola (Fred Buscaglione); Il tuo bacio e come un rock (Adriano Celentano); / Il ragazzo della via Gluck (Celentano) Readings: The Force of Destiny. The Economic Miracle pp. 548-559. Alessandro Carrera, Folk Music and Popular Song from the Nineteenth Century to 1990s (in Baranski, West, The Cambridge Companion to Modern Italian Culture, Cambridge: Cambridge UP, 2001) BB De Maria, Giorgio. Fenomenologia dellurlatore. BB Scuderi, Antonio. Okay Napulitan!: social change and cultural identity in the songs of Renato Carosone (Italica) BB EXAM 4 __________________________________________________________________ Week 13 (April 11-13) Contestation. Religion and Italian Bells. The Stadium and the TV Songs: Cera un ragazzo (Gianni Morandi), Contessa (Paolo Pietreangeli); La guerra di Piero (piu critica: http://www.giuseppecirigliano.it/La_guerra_di_Piero.htm) Dio e morto (Nomadi); Dolce e sentire (Claudio Baglioni), Strana famiglia (Giorgio Gaber) (ipertesto); Vil Coyote (Eugenio Finardi) La partita di Pallone (Rita Pavone); Grazie Roma (Antonello Venditti) Readings: The Force of Destiny. Toward the Second Republic pp. 568-579. Ferrari, Sebastiano. The Advent of Committed Song in Italy. The Role of Cantacronache in the Renewal of Italian popular Music (Linda Risso and Monica Boria, ed.s. Politics and Culture in Post-War Italy. Newcastle: Cambridge Scholar Press, 2006): 88-104 BB Glauco Sanga. Campane e campanili (Isnenghi, I luoghi della memoria) BB ______________________________________________________________ Week 14 (April 18-20) Women Singing Women Songs: Nessuno mi puo giudicare (Caterina Caselli); Che a tasa (Rosanna Trolese) (ipertesto); Tarantella; Ninna nanna di Barberino; Sono una donna (Rosanna Fratello); La malcontenta (Luisa Basso); Bella senzanima (Riccardo Cocciante); Dolente Pia (Gianna Nannini) Readings: The Force of Destiny. The End of the First Republic pp. 579-587. Fabbri, Franco, Nowhere Land: The Construction of a 'Mediterranean' Identity in Italian Popular Music.  HYPERLINK "http://www.fondazionelevi.org/ma/index/number6/fabbri/fab_0.htm" http://www.fondazionelevi.org/ma/index/number6/fabbri/fab_0.htm Danzare con il ragno (pp 61-63): La tarantata Lisa BB Lombardi Satriani, Bambole, profumi e peccato (JSTOR) __________________________________________________________________ Week 15 (April 25-27) REVIEW AND CONCLUSION Your Italian Music: choose a meaningful Italian song, not included in this course, and comment it, through the linguistic and cultural tools you have acquired in this course. 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