Philosophy of Music: Problematics - 2nd semester
a) Ability to ponder about relevant concepts and postulates in the philosophical thought and to identify key issues raised by the aesthetical currents in question.
b) To be able to discuss critically in a sustained, clear oral and written discourse.
c) Ability to cross the field of Music Aesthetics with other philosophical, artistic and cultural problems;
d) Ability to identify elements of continuity, change and disruption throughout the history of philosophical thought and discourse about music;
e) Sensitivity to possible worlds of artistic meaning summoned by the encounter with the work, in its various levels.
Maria Manuela Toscano
Weekly - 4
Total - Available soon
Preceding module: Philosophy of Music Foundations is recommended.
Reading skills: portuguese, french, english
Audi, P. (2003). Livresse de lart: Nietzsche et lesthétique. Paris: Librairie Générale Française.
Bowman, W. (1998). Philosophical Perspectives on Music. Oxford: OUP.
Brelet, G. (1951). Linterprétation créatrice. Essai sur lexécution musicale. Paris: PUF.
Heidegger, M. (1986). Lorigine de loeuvre dart. Chemins qui ne mènent nulle part. Paris: Gallimard.
Herr, S. (2009). Geste de la voix et théâtre du corps. Paris: LHarmattan.
Jaeger, S. M. (2006). Embodiment and Presence. Staging Philosophy: Intersections of Theater, Performance and Philosophy. Ann Arbor, MI: UMP, 122-141.
Pareyson, L. (1988). Teoria della formatività. Milano: Bompiani.
Magee, B. (2001). Wagner and Philosophy. London: Penguin Books.
Renaud, I. (1985). Communication et Expression chez Merleau-Ponty. Lisboa: UNL.
Sauvagnargues, A. ( 2005). Deleuze et lart. Paris, PUF.
Steiner, G. (2002). Grammars on Creation. London: Faber and Faber.
Theoretical lectures. Students are encouraged to participate in an active, original and critical way. In-depth interpretation of previously prepared texts and its discussion is welcome and developed. Comparative hearing of music performances and analyis of pictorial works, establishing connections between theory and praxis are made. If posssible, there will be workshops with invited specialists about links between philosophical themes and art works.
Participation during lectures (20%); written or oral presentations in classes about a combined topic and its collective discussion (40%); a written test (40%).Indicar ponderações para cada um dos elementos de avaliação
Philosophy of Music between the end of the 18th -Century and 21th -Century: concepts and relevant issues in Baumgarten and Kant; the new poetic era; the metaphysics of instrumental music and its effects on Symbolism; moments and changes in Wagners aesthetical thought; Nietzsches Birth of Tragedy; perspectives on the synthesis of arts.
Problems: the artwork as configuration, from the standpoint of Aristote´s, Goethes, Hanslicks, Pareysons, Maldineys, Baudelaires, Debussys, Klee´s, Dahlhause´s thought; the aesthetic experience as event:encounter with the expressive dimensions of the work in the wake of Nietzsche, Jankélévitch, Heidegger, Merleau-Ponty, Brelet, Langer,Benjamin, Deleuze, Georg Steiner; the act of performance as a criative, forming gesture and an expressive disclosure of the work.