Dialogo sacro, monologo profano: sull’interazione nei primi drammi per musica, letti in chiave linguistica  e didattica

Fabio Rossi

doi:10.6092/issn.2039-9715/13972

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Fabio Rossi University of Messina

Fabio Rossi is full professor of Italian Linguistics at the University of Messina, where, in addition to Italian Linguistics, Writing Workshops, Italian as a Foreign Language and History of the Italian Language, he has also taught History and Criticism of Cinema. He graduated in History of Language at Rome’s University "La Sapienza" (with Professor Luca Serianni), and obtained a PhD in Italian Linguistics at the University of Florence. From 1999 to 2002 he worked as a research fellow at the University of Ferrara. He has been a curriculum coordinator and teacher for the International Master “Transatlantic Degree Cinema and Language” (in Italy, Spain and the USA) and a Visiting professor at the Universities of Augsburg and Brussels. He is a member of the Board of teachers of the PhD in Humanities at the University of Messina. He is founder and director of the language-consulting site of the University of Messina, DICO-Dubbi sull'Italiano Consulenza Online (http://www.dico.unime.it). Fabio Rossi's areas of research, teaching and scientific production are mainly the language of music (in particular 16th- and 17th-century treatises and 19th-century librettists), speech in media (especially in Italian and dubbed cinema), the syntactic and pragmatic analysis of spoken language, the teaching of Italian (also as a foreign language), and linguistic ideologies. He collaborates with Istituto della Enciclopedia Italiana Treccani and Accademia Nazionale dei Lincei, as well as with Italian and foreign universities. Among his most recent publications are: Italian language and cinema (2007); L'opera italiana: lingua e linguaggio (2018); with Fabio Ruggiano, L'italiano scritto: usi, regole e dubbi (2019).

DOI:

https://doi.org/10.6092/issn.2039-9715/13972

Keywords:

Music drama teaching, Computer applications for teaching, Musical dramaturgy, Music drama analysis

Abstract

The linguistic and dramaturgical structures of Rappresentazione di Anima et di Corpo (Manni/Cavalieri, 1600) and of Sant'Alessio (Rospigliosi/Landi, 1629-1634) are analyzed from a pragmatic and textual point of view (with regard to interaction), as well as in relation to their music and historical-cultural context. The two works were compared with coeval works (Euridice e Orfeo). As opposed to the clear tendency towards monologue found in early pastoral music dramas, these two sacred works show a marked inclination towards dialogue and interaction with the audience. This analysis highlights the remarkable didactic potential of 17th-century music drama, not only in the musical, linguistic-literary and historical fields, but also in that of semiology.

Dialogo sacro, monologo profano: sull’interazione nei primi drammi per musica, letti in chiave linguistica e didattica

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