Philosophy of Music: Problematics
Faculdade de Ciências Sociais e Humanas
Teacher in charge
Maria Manuela Toscano
a) To promote basic knowledge on relevant figures of philosophical thought and the identification of key issues raised by the aesthetic currents in question;
b) To develop the ability of critical questioning in the field of music aesthetics and to cross/ articulate it with other philosophical artistic and cultural problems;
c) To develop the ability to identify elements of continuity, change and disruption throughout the history of philosophical thought and music;
e) To promote sensitivity to possible worlds of artistic meaning summoned by the encounter with the work, in its various levels.
Preceding module: Philosophy of Music – Foundations
History of Philosophy: Concepts and issues relevant in Baumgarten and Kant; aesthetics of feeling (Gefühlsästhetik), metaphysics of instrumental music, the "new poetic age", moments and changes in Wagner´s aesthetic thought, introduction to Nietzsche´s Birth of the Tragedy.
Problems: Reflexions about form in the work of art departing from the thought of Goethe, Hanslick, Pareyson, Maldiney;
The aesthetic experience as ineffable event: meeting with the expressive dimensions of the work in the wake of Nietzsche´s thought, Jankélévitch, Heidegger, Merleau-Ponty, S. Langer, Walter Benjamin, among others.
BOWMAN, Wayne, Philosophical Perspectives on Music, Oxford, Oxford University Press, 1998.
AUDI, Paul, L’ivresse de l’art, Paris, Librairie Générale Française, 2003.
RENAUD, Isabel, Communication et Expression chez Merleau-Ponty, Lisboa Universidade Nova de Lisboa, 1985.
NIETZSCHE, Friedrich Nietzsche, Die Geburt der Tragödie, Sämtliche Werke.Kritische Studienausgabe in 15 Bänden, ed. Giorgio Colli e Mazzino Montinari, Berlin, Walter de Gruyter, 1980 [O Nascimento da Tragédia, Obras Escolhidas de Friedrich Nietzsche, trad., com., notas Teresa R.Cadete, Introd. António Marques, Relógio D´Água, 1996, vol.1].
HEIDEGGER, Martin, “Der Ursprung des Kunstwerkes” in Holzwege, Frankfurt/Main, 1980 [”L’origine de l’oeuvre d’art” in Chemins qui ne mènent nulle part, trad. e notas de trad.Wolfgang Brockmeier, Paris, Gallimard, 1988].
Exhibition of contents with a margin of active and critical participation of students. Analysis and comments on texts. Comments of hearings and exhibits of musical and pictorial works.
A compulsory exam test at the end of the semester. A compulsory essay on a topic to discuss with the teacher. Oral presentations of studies and discussion. Pertinent interventions in the classroom.