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La “vita spericolata” della sintassi: il "che polivalente" nella canzone italiana tra gli anni ’70 e ’90 del Novecento

100%
Zingaro A.
Italica Wratislaviensia
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2018
|
issue 9.2
305-325
EN
This paper presents findings from the planning and testing of a didactic unit for students of Italian as a second language, a unit that focuses on how to use the multipurpose word che (che polivalente). The materials used in this unit are Italian songs. The aim of this testing is to support the training of future language mediators, interpreters, and translators at the Department of Interpreting and Translation of the University of Bologna by raising awareness about a linguistic trait of the neo-standard, i.e., the new standard variety of Italian language. This paper examines the didactic context of testing, how it was carried out, and the phenomenon of the multipurpose che; it also attempts to classify the various cases of the che polivalente in two macro-areas. The outcomes of a quantitative analysis of the data gathered through monitoring are thought to provide evidence for how this practice of using songs may prove useful both in creating a positive atmosphere that fosters language acquisition, as well as in enhancing motivation based on the concept of pleasure. This may facilitate the processing of an otherwise incomprehensible linguistic input and lay the groundwork for further research on the subject, which may also allow for a broader study.
IT
Questo articolo illustra la progettazione e sperimentazione di un’unità didattica basata su testi di canzoni italiane e finalizzata a facilitare l’approccio con il fenomeno del che polivalente da parte di discenti di lingua italiana L2. Lo scopo di tale sperimentazione è di supportare la formazione di futuri mediatori, interpreti e traduttori presso il Dipartimento di Interpretazione e Traduzione dell’Università di Bologna, favorendo la consapevolezza circa un tratto linguistico dell’italiano neostandard. Verranno presentati il contesto didattico di sperimentazione, il tema del che polivalente, con un tentativo di classificazione delle sue diverse realizzazioni in due macroaree, e l’unità didattica realizzata. Infine, dall’analisi quantitativa degli esiti di un monitoraggio svolto sul gruppo-classe oggetto di studio, si mostrerà come tale pratica si sia rivelata utile a creare un’atmosfera positiva favorevole all’acquisizione e a potenziare la motivazione legata al piacere, facilitando la processabilità di un input linguistico altrimenti incomprensibile e gettando le basi per ulteriori indagini sul tema che consentano di dare vita ad uno studio più ampio.
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Didattica della grammatica italiana in prospettiva LS: una risorsa didattica

100%
Spaliviero C.
Italica Wratislaviensia
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2018
|
issue 9.2
255-275
EN
Teaching Italian grammar involves several critical aspects, amongst which is a recurring lack of motivation in students. Therefore, combining the teaching of grammar with the use of potentially appealing resources for students is a challenge for the teacher of Italian as a foreign language (FL). With regards to this, songs represent an important didactic resource; in fact, they can motivate students’ learning, are texts full of linguistic and cultural references (such as the variety of sociolinguistic registers or rhetorical figures), and foster the memorisation of lexical and grammatical structures thanks to their intrinsic characteristics (like rhythm and melody). In order to take advantage of the potentialities of songs, the teacher of Italian as a FL should acquire both appropriate methodological competences and a broad collection of didactic techniques to present the various grammatical topics. The essay is divided into four sections: the first attempts to explore the teaching of Italian grammar from a humanistic perspective; the second is devoted to the presentation of the critical aspects that characterise it, together with the introduction of some possible solutions, such as the use of songs, which is debated in the third section. Finally, the fourth and last part is concerned with some didactic considerations about how and when to use songs for grammatical purposes.
IT
L’insegnamento della grammatica italiana pone diverse criticità, tra cui la frequente demotivazione degli studenti. Unire le esigenze di insegnamento grammaticale con delle risorse attrattive per i discenti, dunque, si pone come una sfida per il docente di italiano LS. La canzone può rappresentare un’importante risorsa didattica. Essa, infatti, è molto motivante per gli studenti, è un testo di lingua e cultura estremamente ricco (si pensi alla varietà di registri sociolinguistici o alle figure retoriche presenti) e, grazie alle sue caratteristiche intrinseche (come il ritmo e la melodia), può favorire la memorizzazione efficace del lessico e delle strutture grammaticali. Per poter sfruttare al meglio le potenzialità della canzone, allora, occorre che il docente di lingua possieda le adeguate conoscenze metodologiche e si doti di un repertorio di tecniche didattiche ampio per presentare i diversi aspetti grammaticali. Il saggio è diviso in quattro sezioni: nella prima parte si tratta la didattica della grammatica nella prospettiva di una glottodidattica di natura umanistica; nella seconda si considerano gli aspetti critici che la caratterizzano l’insegnamento delle strutture morfosintattiche e si avanzano delle possibili soluzioni, come l’uso didattico della canzone, esplorato nella terza parte; nella quarta e ultima sezione si presentano delle considerazioni metodologiche relative alle modalità e ai tempi di utilizzo della canzone a fini grammaticali.
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Studium analityczne Thema und Variationen op. 34 Józefa Kromolickieg

51%
Charlińska E.
Roczniki Teologiczne
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2016
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vol. 63
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issue 13: Muzykologia
101-116
EN
Józef Kromolicki is not a widely known composer. His œuvre comprises choral and organ works. One important composition is the cycle Thema und Variationen, Op. 34, which consists of the following movements: Kanzone (theme) Perpetuum mobile (Var. I), Zwiegesang (Var. II), Brausend (Var. III), Aeolscharfe (Var. IV) and Chromatische Quadrupelfuge (Var. V). The analytical study deals with the elements of the musical work: melody, rhythm, harmony, agogics and formal design. The most complicated element, albeit a schematic one (theme with Vars. I and II), is the harmony. A highly elaborate movement in terms of composition technique is the last, a quadruple fugue. The study concludes by indicating the most important means of variation technique employed by Kromolicki, including changes of mode, metre and agogics. The evolution of the rhythm is based on the gradual diminution of rhythmic values (this concerns the theme as well). An important factor in the shaping of the form is the use of polyphonic techniques (canon in Var. II, the closing fugue). In the last movement, the composer displays a mastery of counterpoint technique, wielding four themes at once. It is a great pity that Kromolicki’s Thema und Variationen, Op. 34 is not familiar to a wider audience of organ music. It is an ambitious work of considerable value, in both compositional and performance terms.
PL
Józef Kromolicki nie jest powszechnie znanym kompozytorem. W jego dorobku twóczym znajdują się utwory chóralne i organowe. Ważne miejsce zajmuje w nim cykl Thema und Variationen op.34. Składa się on z następujących części: Kanzone (jako temat), Perpetuum mobile (I wariacja), Zwiegesang (II wariacja), Brausend (III wariacja), Aeolscharfe (IV wariacja) i Chromatische Quadrupelfuge (V wariacja). Studium analityczne dotyczy elementów dzieła muzycznego: melodyki, rytmiki, harmoniki, agogiki i budowy formalnej. Najbardziej skomplikowaną, aczkolwiek schematyczną (temat z I i II wariacją) jest płaszczyzna harmoniczna. Niezwykle kunsztowną częścią pod względem kompozytorskim jest finałowa poczwórna fuga. Podsumowanie wskazuje najważniejsze środki techniki wariacyjnej J. Kromolickiego. W cyklu wykorzystano zmianę trybu tonacji, metrum i agogiki. Ewolucja rytmu opiera się na stopniowym zagęszczeniu wartości rytmicznych (zjawisko to dotyczy również tematu). Ważnym czynnikiem formotwórczym okazały się środki polifoniczne (technika kanoniczna w II wariacji i finałowa fuga). W ostatniej części kompozytor operując czterema tematami jednocześnie osiągnął mistrzostwo techniki kontrapunktycznej. Wielka szkoda, że Thema und Variationen op. 34 J. Kromolickiego nie jest znany szerszemu gronu słuchaczy muzyki organowej. Jest to utwór ambitny i wartościowy zarówno pod względem kompozytorskim, jak i wykonawczym.
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