Aesthetics of Music and Spectacle
A.Y. 2024/2025
Learning objectives
The course aims to provide students with a philosophical basis regarding the essential aspects of the aesthetics of music, performance, and spectacle. The course's goal will be to introduce the notion of «aesthetic category» applied to the history of music, and of performing and visual arts. From year to year, the main focus will be on the relationship between music and words in musical theatre or staging. Particular attention can be given to contemporary librettist or dramaturgical writing, especially in relation to myth. The relationship between musical, visual and performing arts will also be investigated with reference to theatre, musical theatre, or cinema.
Expected learning outcomes
At the end of the course, students will have acquired notions of philosophy of music and acting that will allow them to analyze complex concepts related to the world of spectacle in general. They will be able to investigate and evaluate a musical or performance work as a whole and in its various elements. Students will also have acquired a new perspective on the practical implications of the theoretical results obtained both concerning music and the relationship between words and music and the relationship between words and images.
Lesson period: Second semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course can be attended as a single course.
Course syllabus and organization
Single session
Responsible
Lesson period
Second semester
Course syllabus
Title: What is a musical idea?
The course aims to promote a philosophical interrogation concerning the creation process of a musical idea, with particular reference to the notion of melody.
The first module will provide a general introduction to the Aesthetics of the Encyclopédie. It will examine fundamental aesthetic categories that originated in the eighteenth century and outline the key features of the Rameau-Rousseau quarrel on the relationship between harmony and melody.
By developing a phenomenological approach to the notion of melody, the second module will introduce the question concerning musical creation by rethinking it in light of notions such as improvisation, contingency, necessity and recognition.
The third module, focusing on the analyses Proust's Recherche devotes to music, will finally delve into the controversial question concerning the nature of the musical idea, presenting the differences between "Platonistic" and "anti-Platonistic" approaches and discussing the possibility of a reversal of the classically understood relationship between theme and variations.
Part A (20 hours, 3 cfu): The Origin of Melody
Part B (20 hours, 3 cfu): Improvisation, Creation, Recognition
Part C (20 hours, 3 cfu): What is a Musical Idea? A Proustian Proposal
The course aims to promote a philosophical interrogation concerning the creation process of a musical idea, with particular reference to the notion of melody.
The first module will provide a general introduction to the Aesthetics of the Encyclopédie. It will examine fundamental aesthetic categories that originated in the eighteenth century and outline the key features of the Rameau-Rousseau quarrel on the relationship between harmony and melody.
By developing a phenomenological approach to the notion of melody, the second module will introduce the question concerning musical creation by rethinking it in light of notions such as improvisation, contingency, necessity and recognition.
The third module, focusing on the analyses Proust's Recherche devotes to music, will finally delve into the controversial question concerning the nature of the musical idea, presenting the differences between "Platonistic" and "anti-Platonistic" approaches and discussing the possibility of a reversal of the classically understood relationship between theme and variations.
Part A (20 hours, 3 cfu): The Origin of Melody
Part B (20 hours, 3 cfu): Improvisation, Creation, Recognition
Part C (20 hours, 3 cfu): What is a Musical Idea? A Proustian Proposal
Prerequisites for admission
The course's attendance does not involve any particular prerequisites since it introduces the main themes of Aesthetics of music and performing Arts. It requires propensity and passion for music and performing arts and excellent knowledge of the Italian language.
Teaching methods
Lectures based on analysis, synthesis, discussion of philosophical texts, intended to foster student's ability to elaborate a critical point of view on the relevant subjects.
Teaching Resources
Bibliography for attending students:
Parte A
M. Mazzocut-Mis (a cura di), L'estetica nella Encyclopédie. Saggi critici e selezione antologica, Mimesis, Milano 2023 (selection)
Parte B
H. Bergson, L'evoluzione creatrice, Cortina, Milano 2002 (selection).
A. Bertinetto, Eseguire l'inatteso. Ontologia della musica e improvvisazione, Il glifo ebook, Roma 2016 (selection)
G. Piana, I compiti di una filosofia della musica brevemente esposti (link on ARIEL page)
Parte C
R. Barthes, G. Deleuze et al., «Tavola rotonda su Proust», in G. Deleuze, Due regimi di folli e altri scritti. Testi e interviste 1975- 1995, Einaudi, Torino, pp. 18-42
G. Deleuze, Che cos'è l'atto di creazione?, Cronopio, Napoli, 2024
M. Merleau-Ponty, È possibile oggi la filosofia? Lezioni al Collège de France 1958-1959 e 1960-1961, Cortina, Milano, 2003 (selection)
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010, parte seconda: "Un amore di Swann"
M. Proust, La Prigioniera, Mondadori, Milano (selection)
Bibliography for non-attending students:
Parte A
M. Mazzocut-Mis (a cura di), L'estetica nella Encyclopédie. Saggi critici e selezione antologica, Mimesis, Milano 2023
Parte B
H. Bergson, L'evoluzione creatrice, Cortina, Milano 2002.
A. Bertinetto, Eseguire l'inatteso. Ontologia della musica e improvvisazione, Il glifo ebook, Roma 2016.
G. Piana, I compiti di una filosofia della musica brevemente esposti (link on ARIEL page, available online: http://filosofia.dipafilo.unimi.it/piana/index.php/component/docman/cat_view/69-filosofia-della-musica?start=20 )
Parte C
R. Barthes, G. Deleuze et al., «Tavola rotonda su Proust», in G. Deleuze, Due regimi di folli e altri scritti. Testi e interviste 1975- 1995, Einaudi, Torino, pp. 18-42
G. Deleuze, Che cos'è l'atto di creazione?, Cronopio, Napoli, 2024
M. Merleau-Ponty, È possibile oggi la filosofia? Lezioni al Collège de France 1958-1959 e 1960-1961, Cortina, Milano, 2003, pp. 19-36; pp. 154-188
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010, parte seconda: "Un amore di Swann"
M. Proust, La Prigioniera, Mondadori, Milano, 2010.
M. Proust, La Prigioniera, Mondadori, Milano (or other translationta)
Parte A
M. Mazzocut-Mis (a cura di), L'estetica nella Encyclopédie. Saggi critici e selezione antologica, Mimesis, Milano 2023 (selection)
Parte B
H. Bergson, L'evoluzione creatrice, Cortina, Milano 2002 (selection).
A. Bertinetto, Eseguire l'inatteso. Ontologia della musica e improvvisazione, Il glifo ebook, Roma 2016 (selection)
G. Piana, I compiti di una filosofia della musica brevemente esposti (link on ARIEL page)
Parte C
R. Barthes, G. Deleuze et al., «Tavola rotonda su Proust», in G. Deleuze, Due regimi di folli e altri scritti. Testi e interviste 1975- 1995, Einaudi, Torino, pp. 18-42
G. Deleuze, Che cos'è l'atto di creazione?, Cronopio, Napoli, 2024
M. Merleau-Ponty, È possibile oggi la filosofia? Lezioni al Collège de France 1958-1959 e 1960-1961, Cortina, Milano, 2003 (selection)
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010, parte seconda: "Un amore di Swann"
M. Proust, La Prigioniera, Mondadori, Milano (selection)
Bibliography for non-attending students:
Parte A
M. Mazzocut-Mis (a cura di), L'estetica nella Encyclopédie. Saggi critici e selezione antologica, Mimesis, Milano 2023
Parte B
H. Bergson, L'evoluzione creatrice, Cortina, Milano 2002.
A. Bertinetto, Eseguire l'inatteso. Ontologia della musica e improvvisazione, Il glifo ebook, Roma 2016.
G. Piana, I compiti di una filosofia della musica brevemente esposti (link on ARIEL page, available online: http://filosofia.dipafilo.unimi.it/piana/index.php/component/docman/cat_view/69-filosofia-della-musica?start=20 )
Parte C
R. Barthes, G. Deleuze et al., «Tavola rotonda su Proust», in G. Deleuze, Due regimi di folli e altri scritti. Testi e interviste 1975- 1995, Einaudi, Torino, pp. 18-42
G. Deleuze, Che cos'è l'atto di creazione?, Cronopio, Napoli, 2024
M. Merleau-Ponty, È possibile oggi la filosofia? Lezioni al Collège de France 1958-1959 e 1960-1961, Cortina, Milano, 2003, pp. 19-36; pp. 154-188
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010, parte seconda: "Un amore di Swann"
M. Proust, La Prigioniera, Mondadori, Milano, 2010.
M. Proust, La Prigioniera, Mondadori, Milano (or other translationta)
Assessment methods and Criteria
The exam consists of a written test at the end of the course (May) addressed only to the participants (according to the registration during the lessons). These are multiple-choice tests on the texts provided for didactic units A, B, and C. In place of the written tests, attending students are allowed to opt for taking an oral test (during the dates foreseen for the exam session), which consists of an oral exam on the syllabus topics, aimed at assessing the knowledge and skills acquired. Students who are not attending will have to take an oral test during the dates for the exam session, which consists of an oral exam on the syllabus topics of the didactic units A, B, and C (see "Bibliography for not attending students").
Nota bene
International students or incoming Erasmus students are invited to make timely contact with the teacher who holds the course.
The examination modalities for students with disabilities and/or DSA must be agreed with the teacher, complying with the competent Office.
Nota bene
International students or incoming Erasmus students are invited to make timely contact with the teacher who holds the course.
The examination modalities for students with disabilities and/or DSA must be agreed with the teacher, complying with the competent Office.
Professor(s)