96376 - Philosophy and Musical Aesthetics. Fundamentals (1) (C.I.) (M-Z)

Learning outcomes

By the end of the course the student: knows on a general basis the problems and challenges that music, understood as a science and as an art, as abstract form and signifying medium, posed to Western philosophical thought; is introduced to concepts and periods of crucial relevance to the history of musical aesthetics; is able to place in time and space some of the major questions that haunted the discipline.

Course contents

The course aims to offer students some keys to understanding the varied musical experiences included in the period from the beginning of the twentieth century to the present day. It will deal with issues relating to the history of contemporary music, in its intertwining with political and cultural ideologies, aesthetic thought and other artistic manifestations. In the first part of the course, students will be able to understand and recognise the main features of the musical languages, compositional techniques and, therefore, the relative aesthetics of composers such as Claude Debussy, Arnold Schönberg, Béla Bartók, Igor Stravinskij, Karlheinz Stockhausen. The second part will focus on the relationship between music and multimedia.

At the end of the course, students will be able to identify the historical period, the geographical context and the type of musical language used in some of the most important contemporary musical manifestations.

Students with SLD or temporary or permanent disabilities. It is suggested that they get in touch as soon as possible with the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en) and with the lecturer in order to seek together the most effective strategies for following the lessons and/or preparing for the examination.

Readings/Bibliography

1. Enrico Fubini, Il pensiero musicale del Novecento, Pisa, Edizioni ETS, 2011 (or other editions). For exam purposes study only chapters on the beginning of the avant-garde, and those on Debussy, Stravinsky, Schoenberg and the National Schools.
2. Alessandro Arbo, Il suono instabile. Saggi sulla filosofia della musica nel Novecento, Roma, NeoClassica, 2016 (one essay of your choice).
3. Roberto Barbanti, Dall'immaginario all'acustinario. Prolegomeni di un'ecosofia sonora, Giulianova, Galaad edizioni, 2020 (one essay of your choice).

Teaching methods

Lecturing, group work.

Assessment methods

The test will consist of a written exam in presence (two questions on Fubini, one question regarding an essay of Arbo's choice or an essay of Barbanti's choice), one question on a musicological initiative you have recently followed). In relation to the second module (Laboratory), the thesis referred to may be replaced by a classroom exercise during the lessons of the second module. Alternatively, the thesis (on a subject to be agreed upon with the teacher) must be sent via e-mail two days before the chosen call.

The programme is the same for attendees and non-attendees.

Students with SLD or temporary or permanent disabilities. It is suggested that they get in touch as soon as possible with the relevant University office (https://site.unibo.it/studenti-con-disabilita-e-dsa/en) and with the lecturer in order to seek together the most effective strategies for following the lessons and/or preparing for the examination.

Teaching tools

Audio, video, materials shared on Virtuale.

Office hours

See the website of Anna Scalfaro