Studying at the University of Verona
Here you can find information on the organisational aspects of the Programme, lecture timetables, learning activities and useful contact details for your time at the University, from enrolment to graduation.
Study Plan
This information is intended exclusively for students already enrolled in this course.If you are a new student interested in enrolling, you can find information about the course of study on the course page:
Laurea in Filosofia - Enrollment from 2025/2026The Study Plan includes all modules, teaching and learning activities that each student will need to undertake during their time at the University.
Please select your Study Plan based on your enrollment year.
1° Year
Modules | Credits | TAF | SSD |
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Foreign language CB Test
OTHER ACTIVITIES
2° Year activated in the A.Y. 2022/2023
Modules | Credits | TAF | SSD |
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1 MODULE TO BE CHOSEN AMONG THE FOLLOWING
3 MODULES TO BE CHOSEN AMONG THE FOLLOWING
1 MODULE TO BE CHOSEN AMONG THE FOLLOWING
3° Year activated in the A.Y. 2023/2024
Modules | Credits | TAF | SSD |
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1 MODULE TO BE CHOSEN AMONG THE FOLLOWING
3 MODULES TO BE CHOSEN AMONG THE FOLLOWING
Modules | Credits | TAF | SSD |
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Foreign language CB Test
OTHER ACTIVITIES
Modules | Credits | TAF | SSD |
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1 MODULE TO BE CHOSEN AMONG THE FOLLOWING
3 MODULES TO BE CHOSEN AMONG THE FOLLOWING
1 MODULE TO BE CHOSEN AMONG THE FOLLOWING
Modules | Credits | TAF | SSD |
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1 MODULE TO BE CHOSEN AMONG THE FOLLOWING
3 MODULES TO BE CHOSEN AMONG THE FOLLOWING
Modules | Credits | TAF | SSD |
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2 MODULES TO BE CHOSEN AMONG THE FOLLOWING
3 MODULES TO BE CHOSEN AMONG THE FOLLOWING
Legend | Type of training activity (TTA)
TAF (Type of Educational Activity) All courses and activities are classified into different types of educational activities, indicated by a letter.
Laboratory of Philosophy of Arts and Music (2021/2022)
Teaching code
4S007329
Academic staff
Coordinator
Credits
3
Language
Italian
Scientific Disciplinary Sector (SSD)
M-FIL/04 - AESTHETICS
Period
Sem. 2B dal Apr 4, 2022 al Jun 4, 2022.
Learning outcomes
Workshop on Philosophy of Art and Music
The workshop aims to give students who are actively involved in it a knowledge of philosophical thought that from the German eighteenth century onwards has been confronted in general with artistic practice and, in particular, with musical composition. In this sense, students enhance their knowledge of the main lines of Western aesthetics, by acquiring specific knowledge of certain philosophical theories and artistic, aesthetic or poetic practices. Students will also enhance their comprehension of the status of art, and the power of aesthetical experience to understand the world and transform it, thus empowering themselves with more autonomous judgement skills on specific cultural issues, such as artistic practice and, in particular, musical composition.
Program
SYLLABUS
DIRECTION OF THE ORCHESTRA
The figure of the conductor often represents an enigma. For those who do not know music analytically, musical interpretation, the specific codes of writing, production, musical hermeneutics, the presence of the director - as a figure of coordination and musical interpretation - remains opaque. The figure of the conductor shows the synthesis of some fundamental issues of aesthetics: the presence of the body, the coordination between music and gesture, the mathematical calculation of the temporal scanning and the modulation of expressiveness, the relationship between different dimensions of sensitivity. The Philosophy of Music Laboratory wants to explore the aesthetic, expressive, gestural, hermeneutic dimensions inherent in the figure of the conductor, his origins, his myth, his future.
No prior knowledge and skills are deemed necessary.
Literature:
T. W. Adorno, «Il carattere di feticcio in musica e la regressione dell’ascolto», in Id., Dissonanze, Feltrinelli, Milano 1974
H. Murakami, S. Ozawa, Assolutamente musica, Einaudi, Torino 2019
W. Furtwängler, Suono e parola, Manzoni Editore, Milano 2017
D. Barenboim, La musica è un tutto, Feltrinelli, Milano 2014
I. Cavallini, Il direttore d’orchestra, Curci, Milano 2021
R. Wagner, Scritti su Beethoven, Manzoni Editore, Milano 2018
J. Mauceri, A lezione dai Maestri, EDT, Torino 2019
N. Lebrecht, Il mito del maestro, Longanesi, Milano 1992
S. Celibidache, La musique n’est rien, Actes Sud, Arles 2012
A. Bassi, La musica e il gesto, Marinotti, Milano 2000
H. Matheopulos, Maestro. Incontri con i grandi direttori d’orchestra, Garzanti, Milano 1983
DIDACTIC MODES
Since this is a Seminary, the didactic methods adopted are addressing exclusively attend-ing students. They consist of one frontal introductory lesson and one or two lessons held by professionals of the musical sector (singers, conductors of choirs etc.). During the other lessons the students will hold singular presentations of the chosen writings and discuss them in class. In this way fundamental concepts and structures of thinking and reflection and their respective application tools to implement theoretical notions in the direction of autonomous critical judgment will be elaborated by the students themselves under the guidance of the teacher.
Throughout the academic year, the teacher also holds a regular individual Reception at the times indicated on his page (without having to set a specific appointment). However, it is recommended that you consult the messages to be informed of any changes. During the first lesson, attending students will receive the full lesson schedule with the dates and top-ics discussed. Information on timetables and classrooms is also provided.
The content of books and lessons is adhering to the program.
Examination Methods
In order to obtain the credits the students have to relate on a chosen text pertinent to the thematic of the Seminary and discuss it with the others. Furthermore, the students should participate at the lessons.