Foto del docente

Mauro Mastropasqua

Associate Professor

Department of the Arts

Academic discipline: L-ART/07 Musicology and History of Music

Curriculum vitae

Mauro Mastropasqua (Piacenza, 1961 ) graduated 1987 in Disciplines of Music at the University of Bologna, with a work on Alban Berg's harmonic language (rel. Loris Azzaroni) . At the same univeristy he attended to his doctoral studies (1997 PhD in Musicology) on Schoenberg'a atonal and Hindemith's neotonal music (Rels. Mario Baroni and Giovanni Morelli), then held post-doctoral research fellowships for studies on the concept of musical logic.

He collaborated with the chair of Fundamentals of Harmony and counterpoint (1988-996) and held (1997-2001) that of Fundamentals of Music Theory (Bologna-Ravenna: Faculty di Cultural Goods) and History of Music Theory (Faculty of Letters and Philosophy at University of Bologna, DAMS).

Since 2001, as lecturer at the same University, he teaches Theory of Music and, in the 2nd degree musicological courses, Music Analysis (/Musical Languages in the modern and contemporary ages).

Member of the editorial commitee of the review “Analisi” (Ricordi) in the years 1993-98, of the “Gruppo per l'Analisi e la Teoria Musicale“ and, since 2007, of the Archivio Maderna – institutions joined to the Departement of Music and the performing Arts of the University of Bologna. He took and takes part in several academic research groups (40%, 60%, RFO), to national and international congresses, and published essays in Italy and other countries.

His main research fields are music analyisis and theory, history of musical composition, the relationships between musical thinking and the history of ideas.

He worked out a theoretical-analytical model for a stylistic definition of atonal, tonally suspended and neotonal music as ideal types (1995), which he then exemplified on Schoenberg's music (2004), main result of a reflection began in the mid 80s. These researches also occasioned the author's essays concerning the epistemological status of analysis, trying to give it some foundations on the basis of a phenomenological approach. This tendency is some ways a source for the author's attempts to elaborate criteria of analytical plausibility, related to compositional logic and cognition or perception and to evident/latent textual data (1998 and 2001). This applies in particular to the definition of degrees of atonality in terms of ‘oppositional' textures contrasting virtual tonal effects (2002), and the remarks on what is a melodic archetype in European musical tradition (2002).