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