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Analisi all’ascolto: un percorso
| Author | Alberto Odone |
| Series | Rivista di Analisi e Teoria Musicale |
| Size | 17×24, pp. 136 (87-118) |
| Year | 2018 |
| ISBN | 9788870969986 |
Proceeding from the pedagogical experience of Ear Training academic courses, the article outlines an itinerary for improving aural analytical skills and aims to show the possible contribution of analytic listening to general musical analysis. The article deals mainly with repertoires containing specific elements (structures and schemata) originally intended to be recognized by the audience: this means in particular galant-classic and pop repertoire. The repertoires are firstly approached within a sonorial and textural profile, arranging the elements of a piece (scattered sounds, melodic lines, harmonic background etc.) on a continuum between fusion and segregation, as the result of a set of factors. Secondly, taking into account the development of a musical work over time, temporal and directional qualities of a piece are considered. The aim of the third part of the article is to discover the aforementioned structures and schemata that are intended to be recognized by a listener: the wide range of musical topics, galant schemata, classic phraseological models, genres and harmonic structures of pop music and so on. Finally, the author suggests a guide for the aural analysis of the sonata exposition, based on its outstanding perceptual elements rather than an abstract formal schema.
Alberto Odone is part of the permanent teaching staff at the Conservatory “G. Verdi” of Milan, where he teaches Ear Training, as well as in the Conservatory of Gallarate (Varese). He accomplished both humanistic (final thesis about Ricoeur’s Philosophical Hermeneutics) and musical studies (Degree in Choral Music and Choir Conducting at the Conservatoire of Milan). At the end of a two-year curriculum in Italy and in Hungary, in 1997 he got the Special Certificate at the International Institute of Music Pedagogy “Z. Kodàly” of Kecskemét (H), in the frame of the XIX International Kodàly Seminar. For many years he taught in the Conservatory of Como, where he experimented many innovations, in the curriculums of both Ear Training and Basic Musicianship. He gave over 100 courses for teacher training in Italy, Spain, Germany, Latvia, Sweden and Finland. He is author, with other colleagues, of music handbook collections for the publishers Ricordi and Mondadori of Milan and Impromptu of Valencia (Spain).