2019/2020

2019/2020

DM270

L-ART/07 (MUSICOLOGY AND MUSIC HISTORY)

DEPARTMENT OF MUSICOLOGY AND CULTURAL HERITAGE

MUSICOLOGY

PERCORSO COMUNE

1°

1st semester (23/09/2019 - 15/01/2020)

6

36 lesson hours

Italian

ORAL TEST

GARDA MICHELA (titolare) - 6 ECTS

A good knowledge of the history of modern philosophy at high school level, acquired through school attendance or self education is required.

The fundamental educational goals are:
• promoting the knowledge of the fundamental themes in the sociology of music, and the understanding of the relationships between music and society;
• applying the acquired knowledge to develop extended discourses and texts about the main problems in the sociology of music;
• enhancing the communication skills by using appropriate words, confronting different perspectives and putting in historical context arguments and claims;
• promoting learning skills and autonomous judgments in the individual study of the primary and secondary literature of the field.

Over the 19th century, music has been in the center of an extensive philosophical discussion, which has recognized music as a prominent cultural form and endowed it with transcendental functions. In the meantime, the cultural discourse about music has been regulated in terms of an academic discipline. This far-reaching turn shaped the field of musicology for the next century, outlined its conceptual frame, and promoted the emergence of musical historiography. The course aims to outline the fundamental themes and critical questions of 19th-century musical aesthetics and coeval discourse about music. Lessons will tackle music conceptualization in the central philosophical systems (Hegel, Schopenhauer, Herbart, Vischer) as well as in the literary, musical aesthetics (Wackenroder, Hoffmann); the establishment of the composers’ independent aesthetics (Weber, Schumann, Wagner); the utopic understanding of music in the context of civilization critiques (Nietzsche and Wagner). Within the historical outline, the course will focus on key themes such as the discussion about absolute music, musical creativity, musical logic, and the emergence of conceptual and historiographical dualisms.

Traditional lesson followed by a discussion session.

Courese materials

– E. LIPPMAN, A History of Western Musical Aesthetics, London-Lincoln, University of Nebraska Press, 1992, pp. 203-347.

– Moreover one among the book listed in the A group and one among the book listed in the B group.
Group A
– G. W. Fr. HEGEL, Estetica, a cura di N. Vaccaro, Torino, Einaudi 1997: Parte III, Il sistema delle singole arti)
– A. SCHOPENHAUER, Il mondo come volontà e rappresentazione, trad. it di Sossio Giametta, Milano, Bompiani, 2006: Libro III e dai Supplementi al Libro III, § 31 e § 39.
– Fr. NIETZSCHE, La nascita della tragedia, trad. it di S. Giametta, Milano, Adelphi 1978.
– Fr. NIETZSCHE, Scritti su Wagner. Richard Wagner a Bayreuth-Il caso Wagner-Nietzsche contra Wagner, trad. it di S. Giametta and F. Masini, Milano, Adelphi, 1979.
– R. WAGNER, Opera e dramma, Roma, Astrolabio Ubaldini 2016.
– E. Hanslick, Il bello musicale, Palermo, Aesthetica 2007,
Group B

– C. Dahlhaus, L’idea di musica assoluta, Scandicci, La nuova Italia 1988.
– C. Dahlhaus, Klassische und romantische Musikästhetik, Laaber, Laaber 1988.
– M. E. BONDS, Absolute Music: The History of an Idea, Oxford, Oxford University Press 2014.
– S. L. Sorgner - O. Fürbeth (eds.), Music in German Philosophy. An Introdution, Chicago and London, University of Chicago Press 2010 (pp. 1-141).

Learning assessment: oral examination to check the achievement of the educational goals. The topic of the examinations are the contents of learning materials and, for the attending students, the content of the lessons in class. Before the oral examination students are invited to deliver a short paper. The topic should be discussed previously with the teacher. The assessment of the paper contributes to the 20% of the final score. The final evaluation is grounded on the level of understanding and the richness of details in presenting a topic as well as on the capability to integrating the achieved knowledge.

POLICY FOR NON-ATTENDING STUDENTS
Non-attending students are required to ask the professor about the course program.