Teaching code

4S007329

Teacher

Markus Georg Ophaelders

Coordinatore

Markus Georg Ophaelders

Credits

3

Language

Italian

Scientific Disciplinary Sector (SSD)

M-FIL/04 - AESTHETICS

Period

Sem. 2B dal Apr 14, 2021 al May 29, 2021.

Lessons timetable Moodle Seminars

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

ELECTROACOUSTIC MUSIC

During the twentieth century music has not only experienced a revolution in expressive codes, but has also seen the emergence of a new dimension of sound: electro-acoustic music. Musical technologies, from the simple mechanical reproduction of sound to the most recent possibilities of digital manipulation, have given an epochal change to the way we relate to the creation and enjoyment of music. How does our relationship to music change, if the experience of musical sound is now almost totally mediated by technological means? What categories should musical aesthetics use to understand these mutations? Is it possible to create masterpieces in the era of the digitalization of the musical experience?

No prior knowledge and skills are deemed necessary.

Literature:

 W. Benjamin, L’opera d’arte nell’epoca della sua riproducibilità tecnica, Einaudi, Torino 2000; oppure: BUR 2013
 F. Galante, N. Sani, Musica espansa. Percorsi elettroacustici di fine millennio, Ricordi-MBG, Mi-lano 2000
 AA. VV., La musica elettronica, Testi scelti e commentati da H. Pousseur, prefazione di L. Berio, Milano, Feltrinelli 1976
 G. Fronzi, Electrosound. Storia ed estetica della musica elettroacustica, EDT, Torino 2013
 E. Varèse, Il suono organizzato, Ricordi LIM, Milano 1985
 H. Dufourt, Musica, potere, scrittura, Ricordi LIM, Milano 1997
 P. Boulez, Répons, Universal Edition, Wien
 L. Nono, Prometeo, Ricordi, Milano
 S. Sciarrino, Cantare con silenzio, Ricordi, Milano

No prior knowledge and skills are deemed necessary.

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.