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2020/2021

Aesthetics of Music II

Code: 100635 ECTS Credits: 6
Degree Type Year Semester
2500240 Musicology OB 3 2
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.

Contact

Name:
Germán Gan Quesada
Email:
German.Gan@uab.cat

Use of Languages

Principal working language:
spanish (spa)
Some groups entirely in English:
No
Some groups entirely in Catalan:
No
Some groups entirely in Spanish:
Yes

Prerequisites

There are no compulsory requirements for the inscription in this subject.

Objectives and Contextualisation

On successfully completing this subject, students will be able to:

  1. Demonstrate knowledge of the main schools, authors and themes of Music Aesthetics from the Renaissance to the end of the 20th century.
  2. Comment a text (ancient or modern) of aesthetic nature.
  3. Connect the main concerns of Music Aesthetics (Renaissance-Present times) with the historical development of music styles.
  4. Put into context the evolution of Music Aesthetics within the history of Music Theory, Philosophy and Art History.
  5. Highlight the role of Women writers in Music Aesthetics during the Early Modern and Modern Ages.

Competences

  • Developing critical thinking and reasoning and communicating them effectively both in your own and other languages.
  • Recognise trends in thinking, in all its orders, in relation to music.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.

Learning Outcomes

  1. Commenting on literary texts, applying the acquired tools and taking into account the historical and sociocultural context.
  2. Develop a critical capacity for interpreting musical texts of an aesthetic nature.
  3. Develop habits for transfer to the ambit of musical dissemination and information the musical training acquired.
  4. Evaluate the evolution of the aesthetics of music from a diachronic perspective.
  5. Identifying normative, stylistic or argumentative errors in a text.
  6. Identifying the main and secondary ideas and expressing them with linguistic correctness.
  7. Integrate knowledge acquired in the production of clear and concise appropriate to the academic and specialist communication.
  8. Make predictions and infrerences on the adscription of the content of a text to a certain aesthetic trend.
  9. Making predictions and inferences about the content of a text.
  10. Organise the content of an aesthetic musical text, identifying the main and secondary ideas .
  11. Produce correct, precise and clear argumental and terminological writing of knowledge acquired, both in the area of musical specialisation and dissemination.
  12. Relate msucical creation and reception to the aesthetic and literary foundation of each period.
  13. Structure ideas taking into account the different parts of an academic text.
  14. Use strategies which help to plan and develop ideas and to summarise and evaluate the written text.

Content

This subject is structured into the following units:

  1. Music Theory in the the 15th Century: Tinctoris, Ramos de Pareja, Gaffurio.
  2. Musica reservata and musica poetica.
  3. Music and Text in the early Baroque period: the beginning of Opera and the Artusi/Monteverdi polemics.
  4. The concept of ‘music style’ and stylistic classifications during the 17th century.
  5. The Beautiful and the Sublime as aesthetic categories along the 18th century: from Joseph Addison to Friedrich Schiller.
  6. Music and Language: the Querelle des Bouffons and the theories on the (shared) origins of Music and Language skills.
  7. Kant’s Music Aesthetics and its German context in the 18th century.
  8. The Romantic twist: Preromanticism and the Aesthetics of Feeling.
  9. Towards an Aesthetics of Form: Eduard Hanslick.
  10. Musicians-philosophers / philosophers-musicians: Richard Wagner, Friedrich Nietzsche.
  11. The aesthetic grounds of Avant-garde trends in the early 20th century.
  12. The possibility of a Sociology of Music: from Max Weber to Theodor Wiesegrund Adorno.
  13. ‘New Music’ and new ways of ‘thinking about music’ after the Second World War.
  14. Music and (Post)modernism(s).

Methodology

- Lectures will offer a general aesthetic introduction into the contents of each unit and will be complementary with the analytical comment of a selection of representative texts and/or music examples. At the beginning of each unit, a short anthology of texts will be provided (through the subject’s Aula Moodle); its reading and comment is the main autonomous task of the student, as they will be discussed as a regular in-class activity.

- In early February, an Aula Moodle will be opened as the only repository of the teaching materials and links needed for the preparation of the subject, according to its general schedule and to the legal © regulations. In this sense, this Aula Moodle is the reference space for the activities of the subject and for the communications related to it; any question concerning the subject is to be submitted, therefore, through Aula Moodle's mail and the lecturer will not answer enquiries sent to his main E-mail address.

Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Theoretical and practical sessions 43.5 1.74 1, 11, 2, 9, 8, 5, 6, 7, 10, 14
Type: Supervised      
Individual tutorials / Group tutorial 4.5 0.18 3, 13, 5, 7, 12, 4
Preparation of the review of a musicological chapter or article 35 1.4 1, 11, 2, 13, 6, 7, 4
Type: Autonomous      
Individual study time and checking of teaching materials 62.5 2.5 1, 11, 3, 2, 13, 9, 8, 5, 6, 7, 10, 12, 14, 4

Assessment

Assessable activities are as follows:

- Intermediante exam (Text commentary) [March 24, 2021].

- Final exam [Last week of May 2021].

- Review of a musicological essay or book chapter, chosen from a selection which will be proposed to the students, through the subject’s Aula Moodle, by mid March 2021. At this moment, additional information on the task’s deadline and main features (length, layout…) will be provided.

All assessment activities are obligatory and independent. Following the academic schedule established by the Faculty, students may retake assessment activities they have failed or compensate for any they have missed, provided that those they have actually performed account for a minimum of 70% of the subject’s final mark, and after discussing this possibility with the lecturer. The highest mark for these retaken activities is 6.

When publishing final marks prior to recording them on students’ transcripts, the lecturer will provide written notification of a date and time for reviewing assessment activities. Students must arrange reviews in agreement with the lecturer.

In the event of the assessment activities a student has performed accounting for just 30% or less of the subject’s final mark, their work will be classified as “not assessable” on their transcript.

IMPORTANT NOTICES

In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.

In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Final exam 30% 1.5 0.06 1, 11, 2, 9, 8, 5, 6, 10, 4
Intermediate exam (Text commentary) 30% 1.5 0.06 1, 11, 3, 2, 9, 8, 5, 6, 10, 12, 14, 4
Review of a musicological chapter or article 40% 1.5 0.06 13, 7, 14

Bibliography

N. B. Primary sources, whose reference will be provided, when necessary, along the lectures and in the text anthologies delivered to the students at the beginning of each unit, are excluded from this general bibliography.

ALCARAZ, M.ª José and PÉREZ CARREÑO, Francisca (eds.). Significado, emoción y valor. Ensayos sobre filosofía de la música. Madrid: Antonio Machado Libros, 2010.

BARDEZ, Jean-Michel. Les écrivains et la musique au XVIIIe siècle. Genève: Slaktine, 1980.

BLACKBURN, Bonnie J. and LOWINSKY, Edward E. (ed.). A Correspondance of Renaissance Musicians. Oxford: Clarendon Press, 1991.

BOWIE, Andrew. Music, Philosophy and Modernity. Cambridge et al.: Cambridge University Press, 2007.

BOWMAN, Wayne D. Philosophical Perspectives on Music. Oxford: Oxford University Press, 1998.

CALLE, Román de la (ed.). Arte, gusto y estética en la Encyclopédie. València: Publicacions de la Universitat de València, 2009.

CLAUDON, Francis. La musique des romantiques. Paris: Presses Universitaires de France, 1992.

COOK, Nicholas and EVERIST, Mark (ed.). Rethinking Music. Oxford: Oxford University Press, 1998.

COURT, Raymond. Adorno et la Nouvelle Musique. Paris: Klincksieck, 1981.

CRUZ CRUZ, Juan. (ed.) La realidad musical. Pamplona: Ediciones Universidad de Navarra, 1998.

DAHLHAUS, Carl. Estética de la música. Berlin: Reinchenberger, 1996.

DAHLHAUS, Carl. La idea de la música absoluta. Barcelona: Idea Books, 1999.

DARBON, Nicolas. Musica Multiplex. Dialogique du simple et du complexe en musique contemporaine. Paris: L’Harmattan, 2007.

DEFEZ, Antoni. Música i sentit. El casWittgenstein. València: Universitat de València / PUV, 2008.

DIDIER, Béatrice. La musique des Lumières. Paris: Presses Universitaires de France, 1985.

DOUMET, Christian. L'île joyeuse. Sept approches de la singularité musicale. Saint-Denis: Presses Universitaires de Vincennes, 1997.

DURAND-SENDRAIL, Béatrice. La musique de Diderot. Paris: Kimé, 1994.

ECO, Umberto. (ed.). Historia de la belleza. Barcelona: Lumen, 2004.

ESCAL, Françoise. Espaces sociaux, espaces musicaux. Paris: Payot, 1979.

FAXEDAS, Maria Lluïsa. Del simbolismo a la abstracción. La unidad de las artes en los orígenes del arte moderno. Gijón: Ediciones Trea, 2018.

FERRER, Anacleto (ed.). Grimm, Diderot, Rousseau y D’Alembert. La Querella de los Bufones. València: Museu Valencià de la Il·lustració i de la Modernitat, 2008.

FOSTER, Hal (ed.). La postmodernidad. Barcelona: Kairós, 2002 (5ª ed.).

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FUBINI, Enrico. Música y lenguaje en la estética contemporánea. Madrid: Alianza Editorial, 1994.

FUBINI, Enrico. El siglo XX: entre música y filosofía. València: Universitat de València / PUV, 2014.

GARCÍA LABORDA, José M.ª (ed.). La música moderna y contemporánea a través   de los escritos de sus protagonistas (una antología de textos comentados). Sevilla: Editorial Doble J, 2010 (2ª ed.).

GARCÍA REVILLA, Enrique. La estética musical de Hector Berlioz a través de sus escritos. València: Universitat de València / PUV, 2013.

GAVILÁN, Enrique. Entre la historia y el mito. El tiempo de Wagner. Madrid: Akal, 2013.

GAVILÁN, Enrique. Otrahistoria del tiempo. La música y la redención del pasado. Madrid: Akal, 2009.

GEORGIADES, Thrasybulos. Musica e Linguaggio. Napoli: Guida, 1989.

GLOAG, Kenneth. Postmodernism in Music. Cambridge: Cambridge University Press, 2012.

GODWIN, Jocelyn. L’ésoterisme musical en France, 1750-1950. Paris: Albin Michel, 1991.

GONZÁLEZ SERRANO, Carlos Javier. Arte y música en Schopenhauer. El camino hacia la experiencia estética. Madrid: Locus Solus Ediciones, 2016.

GOZZA, Paolo (ed.). La Musica nella rivoluzione scientifica del Seicento. Bologna: Il Mulino, 1989.

HIBBERD, Sarah and STANYON, Miranda (eds.). Music and the Sonorous Sublime in European Culture, 1680-1880. Cambridge et al.: Cambridge University Press, 2020.

KRAUSS, Rosalynd. La originalidad de la vanguardia y otros mitos modernos. Madrid: Alianza Editorial, 1996.

LANG, Paul Henry. Reflexiones sobre la música. Madrid: Debate, 1998.

LIPOVETSKY, Gilles and SERROY, Jean. La pantalla global. Barcelona: Anagrama, 2009.

LISCIANI-PETRINI, Enrica. Tierra en blanco. Música y pensamiento a inicios del siglo XX. Madrid: Akal Ediciones, 1999.

LONCKE, Joycelyne. Baudelaire et la musique. Paris: A.G. Nizet, 1975.

MAGEE, Bryan. Wagner y la filosofía. Madrid: Fondo de Cultura Económica, 2011.

MANIATES, Maria Rika. Mannerism in Italian Music and Culture, 1530-1630. Manchester: Manchester University Press, 1979.

MARTIN, Marie-Pauline and SAVETTIERI, Chiara (eds.). La musique face au système des artsou les vicisitudes de l’imitation au siècle des Lumières. Paris: Vrin, 2013.

MATAMORO, Blas. Nietzsche y la música. Madrid: Fórcola Ediciones, 2015.

MIRIMONDE, Albert P. de. Astrologie et musique. Genève: Minkoff, 1978.

"Música y pensamiento" [dossiers Scherzo, 332 (September 2017) and 339 (April 2018)].

Musique et Humanisme à la Renaissance. Paris: Presses de l'École Normale Supérieure, Centre V. L. Saulnier, Univ. Paris-Sorbonne, 1993.

NATTIEZ, Jean-Jacques. Le combat de Chronos et d’Orphée. Mesnil-sur-l’Estrée: Christian Bourgeois, 1993.

NEUBAUER, John. La emancipación de la música instrumental. Madrid: Visor, 1992.

PADDISON, Max. Adorno’s Aesthetics of Music. Cambridge: Cambridge University Press, 1997.

PALISCA, Claude V. Humanism in Italian Renaissance Musical Thought. New Haven: Yale University Press, 1985.

PALISCA, Claude V. Studies in the history of Italian Music and Music Theory. Oxford: Clarendon Press, 1994.

PARDO, José Luis. Esto no es música. Barcelona: Galaxia Gutenberg, 2007.

PÉREZ MASEDA, Eduardo. El Wagner de las ideologías. Madrid: Biblioteca Nueva, 2004.

PERLOFF, Marjorie. El momento futurista. Valencia: Pretextos, 2010.

POLO PUJADAS, Magda. L'estètica de la música. Barcelona: UOC, 2007.

POLO PUJADAS, Magda. La música de los sentimientos. Filosofía de la música de la Ilustración. Murcia: Éditum, 2010.

POLO PUJADAS, Magda. Filosofía de la música del futuro. Zaragoza: Prensas Universitarias de Zaragoza, 2017.

PONS, Jordi. El camino hacia la forma. Goethe, Webern, Balthasar. Barcelona: Acantilado, 2015.

POUSSEUR, Henri. Música, semántica, sociedad. Madrid: AlianzaEditorial, 1987.

“Les querelles musicales dans les écrits esthétiques et littéraires après 1750”, Revue Musicorum, 17 (2016). 

RASULA, Jed. Dadá. El cambio radical del siglo XX. Barcelona: Anagrama, 2016.

ROWELL, Lewis. Introducción a la filosofía de la música. Barcelona: Gedisa, 1987.

RUIZ DE SAMANIEGO, Alberto. La inflexión posmoderna: los márgenes de la modernidad. Madrid: Akal, 2004.

SABATIER, François. Miroirs de la musique. La musique et ses correspondances avec la littérature et les beaux-arts. Paris: Arthème Fayard, 1998.

SÁNCHEZ DE ANDRÉS, Leticia and PRESAS, Adela (eds.). Música, ciencia y pensamiento en España e Iberoamérica durante el siglo XX. Madrid: Servicio de Publicaciones de la UAM, 2013.

SÁNCHEZ MECA, Diego. El itinerario intelectual de Nietzsche. Madrid: Tecnos, 2018.

SANTIAGO GUERVÓS, Luis de. Arte y poder. Aproximación a la estética de Nietzsche. Madrid: Trotta, 2004.

SCHUTZ, Alfred. Frammenti di fenomenologia della musica. Milano: Guerini, 1996.

SCRUTON, Roger. The Aesthetics of Music. Oxford: Clarendon Press, 1997.

SILBERMANN, Alfons. Estructura social de la música. Madrid: Taurus, 1961.

SPOTTS, Frederic. Hitler y el poder de la estética. Madrid: Fundación Scherzo, 2011.

STRUNK, Oliver. Source Readings in Music History. London: Faber & Faber, 1981 (2ª ed.).

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TRIAS, Eugenio. La imaginación sonora. Barcelona: Galaxia Gutenberg, 2010.

WYMEERSCH, Brigitte van. Descartes et l’évolution de l’esthétique musicale. Sprimont: Mardaga, 1999.

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https://www.wikisofia.cat/wiki/Pàgina_principal