Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
com
Romualdo Lucchi
Letture interdisciplinari e proposte di
attività didattica
La metodologia proposta e gli argomenti sono stati pensati per essere oggetto di applicazione,
ad esempio, nelle classi di un Liceo ad indirizzo socio-psico-pedagogico.
Le letture coinvolgono tre discipline: Lingua straniera (Inglese), Storia dell’Arte, Storia della
Musica.
per Storia dell’Arte, un testo in Italiano, corredato di iconografie, intorno a due tra i principali
artisti del Cubismo:
Il Cubismo in Picasso e Braque
Attività didattiche suggerite:
• l’analisi dei contenuti del testo e della tecnica pittorica da parte del docente (una unità
didattica);
• la memorizzazione di parole o brevi frasi dello stesso testo in Italiano, per il
completamento di un modulo - verifica scritta - contenente il testo solo parzialmente
(una unità didattica);
• una personale creazione pittorica quale interpretazione della corrente (una unità
didattica);
per Storia della Musica (Attualità), un testo in Italiano, sul Concorso Internazionale per Violino
“Niccolò Paganini”, che si svolge a Genova:
Premio Paganini e Paganiniana uniti per il 2004
Le attività didattiche possono essere:
• la memorizzazione di parole o brevi frasi dello stesso testo in Italiano, per il
completamento di un modulo - verifica scritta - contenente il testo solo parzialmente;
• ascolto guidato di un Capriccio di Paganini (una unità didattica);
I testi e i relativi contenuti in quanto pertinenti a ciascuna disciplina, possono essere oggetto di
studio e di attività didattica anche per le altre discipline. Ad esempio:
• il testo per Storia della Musica, può essere tradotto in Inglese, costituendo un esempio
lessicale specifico di un’ area semantica dell’attualità; può essere, per Storia dell’Arte,
lo spunto per la creazione in classe di elaborati personali di grafica pubblicitaria riferiti
alla manifestazione in oggetto o ad altre manifestazioni artistiche;
• i testi per Lingua Inglese hanno caratteristiche di validità sia per Storia della Musica, sia
per Storia dell’Arte (conoscenza di tecniche dell’arte liutaria)
• i testi per Storia dell’Arte, possono essere tradotti in lingua Inglese (conoscenza di un
lessico di Storia dell’Arte nella lingua straniera); per Storia della Musica sollecitano un
approfondimento degli interessi musicali degli autori citati (e di altri artisti della
corrente), interessi che li hanno portati a svolgere attività anche in ambito teatrale-
musicale (bozzettistica ecc.)
Unità didattiche per Lingua Inglese
Unit 1
Text 1
Translate from English to Italian (1 page)
The Violin
The Violin standard measurements inherited from the great lutemakers of the past are these:
the body measures 35.5 cm., the neck (from bridge to “f”- shaped holes) 19.5 cm.
A satisfactory solution about the proportions and the shape of the violin in order to obtain its
sound beauty was realized by Stradivari.
Between the sixteenth and eighteenth centuries the violin and lutemakers enjoyed wide fame. In
the second half of the fifteenth century the major schools were the ones of Milan, Bologna,
Vercelli and Brescia (led by Gasparo Bortolotti da Salò). Later, thanks to Andrea Amati of
Cremona (1500-1576), the Italian violin conquered Europe.
However, only with Giuseppe Guarnieri del Gesù (1698-1744) and Antonio Stradivari (1644-
1737), the quality of the Italian school and of the school of Cremona in particular were greatly
appreciated.
Stradivari, above all, is universally famous as the greatest violin maker.
The violin has basic features. They are: the back and the upper table of the sound box slightly
curved, a little bridge supporting the four strings and the neck with its scroll.
The violin wooden frame, inside the sound box, contains both the bass bar glued to the table
and the sound post between table and back. The sound post is not glued.
The tightened strings are supported by the little bridge which rests with its two feet on the table
at the same level as the bass bar and the sound post. The sound post being not glued, the
lutemaker searches the right position in order to reach the one giving the best resonance.
Indeed the sound post must ensure perfect transmission of vibration in all directions.
Tradition handed down by the major lutemakers is still followed today according to the rules of
the “inside form”. It is based on the matrix adopted in the making of the most famous violins of
the past, veritable works of art.
In order to obtain instruments as a product of great craftsmanship, wood, tools, processes,
techniques and varnishes are carefully selected. The legend and music of Paganini, his virtuosity
due to a superior musical and instrumental technique augmented the mystery and charm of the
violin as an instrument able to give expression to man’s feelings.
Unità didattiche per Lingua Inglese
Unit 2.1
Text 1
Read carefully and remember the meaning and the
words in bold, then fill in the exercise form (pag.1 of 3
pages)
The Violin
The Violin standard measurements inherited from the great lutemakers of the past are these:
the body measures 35.5 cm., the neck (from bridge to “f”- shaped holes) 19.5 cm.
A satisfactory solution about the violin proportions and the shape of the violin in order to obtain
its sound beauty was realized by Stradivari.
Between the sixteenth and eighteenth centuries the violin and lutemakers enjoyed wide fame.
In the second half of the fifteenth century the major schools were the ones of Milan, Bologna,
Vercelli and Brescia (led by Gasparo Bortolotti da Salò). Later, thanks to Andrea Amati of
Cremona (1500-1576), the Italian violin conquered Europe.
However, only with Giuseppe Guarnieri del Gesù (1698-1744) and Antonio Stradivari (1644-
1737), the quality of the Italian school and of the school of Cremona in particular were greatly
appreciated.
Stradivari, above all, is universally famous as the greatest violin maker.
The violin has basic features. They are: both the back and the upper table of the sound box
slightly curved, a little bridge supporting the four strings and the neck with its scroll.
The violin wooden frame, inside the sound box, contains both the bass bar glued to the table
and the sound post between table and back. The sound post is not glued.
The tightened strings are supported by the little bridge which rests with its two feet on the table
at the same level as the bass bar and the sound post. The sound post being not glued, the
lutemaker searches the right position in order to reach the one giving the best resonance.
Indeed the sound post must ensure perfect transmission of vibration in all directions.
Tradition handed down by the major lutemakers is still followed today according to the rules of the
“inside form”. It is based on the matrix adopted in the making of the most famous violins of the
past, veritable works of art.
In order to obtain instruments as a product of great craftsmanship, wood, tools, processes,
techniques and varnishes are carefully selected. The legend and music of Paganini, his virtuosity
due to a superior musical and instrumental technique augmented the mystery and charm of the
violin as an instrument able to give expression to man’s feelings.
Unità didattiche per Lingua Inglese
Unit 2.2
Text 1
Fill in the exercise form (pag.2 of 3 pages) Words you
have to use
The Violin
Andrea Amati
Antonio Stradivari
back
The Violin standard measurements inherited from the great bass bar
between
body
___________________of the past are these: the________measures_____
Bologna
Brescia
cm., the_________(from___________to__________________)_______ cm. bridge
craftsmanship
Cremona
A satisfactory solution about the ________________and the__________of the eighteenth
“f”- shaped holes
Gasparo Bortolotti da
violin in order to obtain its sound beauty was realized by________________.
Salò
Giuseppe Guarnieri del
Between the_______________and________________centuries the violin and Gesù
glued
“inside form”
lutemakers enjoyed wide fame. In the second half of the fifteenth century the lutemakers
matrix
Milan
major____________were the ones of ________, _____________,
neck
19.5
______________ and_______________(led by_____________________). Paganini
proportions
resonance
Later, thanks to_______________of Cremona (1500-1576), the Italian violin right position
schools
scroll
conquered Europe. shape
sixteenth
However, only with___________________________(1698-1744) and
sound box
Stradivari
Stradivari
_____________________(1644-1737), the quality of the Italian school and strings
35.5
upper table
of the school of ________________in particular were greatly appreciated. Vercelli
vibration
__________________, above all, is universally famous as the greatest violin
maker.
Unit 2.3
Text 1
Fill in the exercise form (pag.3 of 3 pages)
The Violin
The tightened_________________________are supported by the little bridge which rests with its two
feet on the table at the same level as the bass bar and the sound post. The sound post being
the one giving the best______________________. Indeed the sound post must ensure perfect
Tradition handed down by the major lutemakers is still followed today according to the rules of the
techniques and varnishes are carefully selected. The legend and music of___________________, his
virtuosity due to a superior musical and instrumental technique augmented the mystery and charm of
Unit 3.1
Text 2
Translate from English to Italian (page 1 of 2 pages)
A Workshop
A hot iron is used to mould the ribs round the matrix. Supports
and counter-ribs reiforce the box frame. The matrix is removed
after it has been glued to the back.
30-40 coats of varnish cover the surfaces of the body Varnishing has two functions,
of the violin. Varnishing is one of the last phases of protecting the instrument and
the work. However, prior to varnishing, the improving its timbre. Exposure to
instrument is exposed to sunlight for about a year. sunlight is very important for it
seasons the wood and helps to give it
its precious definitive colouring.
Every lutemaker has its own secrets about varnish. Stradivari’s mysterious varnish has been
studied a lot because it is universally considered the reason for the marvellous sound of his
instruments. The varnish consists of various resins, solvents and natural colouring agents.
Unità didattiche per Lingua Inglese
Unit 3.2
Text 2
Translate from English to Italian (page 2 of 2 pages)
A Workshop
After varnishing and exposing to sunlight, the lutemaker fits the pegs, puts the finishing touches to
the little bridge with a sharp tool, and places the sound post into the sound box through the “f” –
holes. Lutemakers do all operations using traditional tools and craftsmanship technologies.
The instrument has a baroque line which has a functional purpose. Back and board convex forms,
allow load distribution: the “c”- shaped indentation is suitable for bow movement, the edges are
reinforced by the fillet and the scroll serves as a hook with which to hang the instrument up.
Unità didattiche per Lingua Inglese
Unit 4.1
Text 2
Read carefully and remember the meaning and the
words in bold, then fill in the exercise form (pag.1 of
3 pages)
A workshop
The violin is not a simple instrument, because it is assembled from some 70 separate parts.
The back, the scroll, the neck and the ribs are made of veined Balkan maple. The
lutemaker uses gouges, planes and files to curve the back.
A hot iron is used to mould the ribs round the matrix. Supports and counter-ribs reiforce the
box frame. The matrix is removed after it has been glued to the back.
Finally, the sound box is covered by the board formed by two symmetrical pieces of spruce.
Note the “f”-shaped sound holes. The edges are smoothed and rounded and a fillet fitted round
the soundbox.
The neck is perfectly mortised and it is glued to the body of the violin. The finger-board, the
head and often the pegs are made of ebony.
30-40 coats of varnish cover the surfaces of the body of the violin. Varnishing is one of the
last phases of the work. However, prior to varnishing, the instrument is exposed to sunlight for
about a year.
Varnishing has two functions, protecting the instrument and improving its timbre. Exposure to
sunlight is very important for it seasons the wood and helps to give it its precious definitive
colouring.
Every lutemaker has its own secrets about varnish. Stradivari’s mysterious varnish has been
studied a lot because it is universally considered the reason for the marvellous sound of his
instruments. The varnish consists of various resins, solvents and natural colouring agents.
After varnishing and exposing to sunlight, the lutemaker fits the pegs, puts the finishing
touches to the little bridge with a sharp tool, and places the sound post into the sound box
through the “f” – holes. Lutemakers do all construction operations using traditional tools and
craftsmanship technologies.
Bows are sticks made of a special Brazilian wood, pernambuco, about 74 cm. long, and
horse-hair fibres.
The horse-hair is fastened to the tip of the bow. The bottom end is heated over a gentle flame
and covered with a special type of pitch, colofonia, and then passed, still warm, through the
bow’s ebony sliding head. This adjusts the tension of the horse-hair fibres.
The instrument has a baroque line which has a functional purpose. Back and board convex
forms, allow load distribution: the “c”- shaped indentation is suitable for bow movement, the
edges are reinforced by the fillet and the scroll serves as a hook with which to hang the
instrument up.
Unità didattiche per Lingua Inglese
Text 2 Unit 4.2
Fill in the exercise form (pag.2 of 3 Words you
pages) have to use
A workshop
about a year
The violin is not a simple instrument, because it agents
assembled from some 70
separate
is_____________________________________________parts. back
baroque
The_______________, the______________, the____________and the
bows
colofonia
ebony
_____________are made of______________________________. The flame
neck
files
lutemaker uses______________, ______________and__________to fillet fitted
gouges
curve the back. has been glued
hook
horse-hair fibres
A hot iron is used to____________________round the______________. last
load distribution
marvellous sound
Supports and counter-ribs______________the box frame. The matrix is
matrix
mortised
removed after it______________________to the back. mould the ribs
pegs
pernambuco
Finally, the sound box is covered by the board formed by two pieces of spruce
planes
reiforce
symmetrical_______________________. Note the “f”-shaped sound
resins
ribs
holes. The edges are smoothed and rounded and scroll
seasons
solvents
a_______________________round the soundbox. sound box
tension
30-40 coats of varnish
The neck is perfectly__________________and it is glued to the body of
timbre
traditional
the violin. The finger-board, the head and often the pegs are made of varnish
veined Balkan maple
_________________.
Varnishing has two functions, protecting the instrument and improving its
A workshop
Every lutemaker has its own secrets about__________________. Stradivari’s mysterious varnish
has been studied a lot because it is universally considered the reason for
After varnishing and exposing to sunlight, the lutemaker fits the_________, puts the finishing
touches to the little bridge with a sharp tool, and places the sound post into
the_______________ through the “f” – holes. Lutemakers do all construction operations using
The horse-hair is fastened to the tip of the bow. The bottom end is heated over a gentle________
and covered with a special type of pitch,___________________, and then passed, still warm,
through the bow’s ebony sliding head. This adjusts the_____________of the horse-hair fibres.
The instrument has a______________line which has a functional purpose. Back and board
convex forms, allow______________________: the “c”- shaped indentation is suitable for bow
movement, the edges are reinforced by the fillet and the scroll serves as a____________with
Units 1 - 4 Glossary
Il foyer del Teatro Carlo Felice ospiterà dal 21 al 26 settembre una mostra curata da Roberto Iovino e
Francesca Oranges, ideata da Edward Neill e dedicata dal Comune di Genova al musicista ligure “Un
genovese nel mondo: Niccolò Paganini, il genio dell’archetto”.
La Paganiniana, una rassegna di concerti, convegni, incontri, masterclass dedicati alla figura di Paganini,
è nata nel 2000, su proposta dell’Assessorato alla Comunicazione e Promozione della Città, del Comune di
Genova, ed è proseguita con la collaborazione di enti pubblici e privati che operano nell’ambito musicale
della città. La rassegna è divenuta uno degli avvenimenti culturali di grande rilievo nell’ambito delle
iniziative volte alla conoscenza della produzione artistica di Paganini, un compositore che si situa tra i
precursori del romanticismo, grande innovatore della tecnica violinistica e modello per i compositori
romantici.
Paganini con____________,__________,______________,___________e______al
piano.
Unità didattiche per Storia dell’Arte
C C1 B B1 A A1 C C1 B B1
Sequenza corretta