Degree | Type | Year |
---|---|---|
2500240 Musicology | OB | 2 |
You can view this information at the end of this document.
There are no prerequisites.
This subject aims to give students a knowledge of the sources of musical thought in the Ancient World of Antiquity and the High Middle Ages, providing the methodological tools necessary for a cognitive approach that respects both the nature of these sources and their philosophical context.
- To reflect on the origins of music, its needs and its functions.
- To reflect on the universal phenomenon of inspiration
- To be familiar with the mythological foundations related to music
- To have access to the parameters of symbolic and mythological thought pertaining to the sources of the ancient world
- To be familiar with the basic philosophical and authorial sources of the ancient and medieval worlds.
1. The Origin of Music: Magical Need or Aesthetic Function?
2- Music and Poiesis: Approximation to the Phenomenon of Inspiration.
3.- Music and the Sacred: Inspiration, Revelation and the Ontological Value of Music.
4.- Music and Myth in the Greek Tradition. The Gift of the Muses.
5.- Music in The Odyssey. The Sirens’ Song.
6.- The Myth of Orpheus in the Ancient World and its Reinterpretation in the Context of Renaissance Humanism.
7.- Pythagorism and the Harmony of the Spheres.
8.- Music in the Thought of Plato and Aristotle.
9.- Musical Thought in the Greek Period and in Roman Culture.
10.- Music in Christian Thought from Clement of Alexandria to Isidore of Sevilla.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Presentation of items 1 to 10 of the syllabus | 39 | 1.56 | 1, 2, 4, 8, 10, 11, 13, 14, 15 |
Tutoring | 28 | 1.12 | |
Type: Supervised | |||
Text commentary work | 18 | 0.72 | 1, 3, 11, 14 |
Type: Autonomous | |||
Personal study | 25 | 1 | 2, 7, 9, 10, 14 |
Read the bibliography | 25 | 1 | 2, 3, 4, 7, 9, 10 |
Reading of short texts proposed in class | 10 | 0.4 | 1, 2, 6, 9 |
1.- The role of the teacher in this subject is to accompany students in their discovery of the items on the syllabus, provoking academic debate and guiding their readings on course content. Through the broad interconnectedness of its topics, this subject facilitates opening the identification of concordances between concepts that, although distant chronologically, maintain points of contact as regards the message of their discourse. The teacher’s challenge is to help student cultivate induction as an additional tool for accessing knowledge, fostering the use of analogical thinking, seeking to go beyond the linearity of deductive and rational currents. Essentially, it seeks to approach mythological thinking from an immersion in its own parameters.
2.- This subject has a significant amount of theoretical content; teaching time is therefore divided into two parts, in order to combine lecture-based explanation of the fundamental contents (70 minutes), followed by the promotion of a reflective and participatory dialogue amongst students on the subject dealt with in class (20 minutes).
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
1.- Three continuous evaluations. 2.- Attendance | 1.-90%. 2.-10% | 5 | 0.2 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 |
Evaluation procedures:
1.- Class attendance, in-person classes, controlled by the teacher. Weight in qualification: 10%
2.- First evaluation: written test. Lessons 1 to 3. Weight in qualification: 30%
3.- Second evaluation: written test. Lessons 4 to 6. Weight in qualification: 30%
4.- Third evaluation: written test. Lessons 7 to 10. Weight in qualification: 30%
Re-evaluation process:
The students who have passed one or two of the three subject assessments with an average grade os 3,5 will be able to participate in the re-evaluation process.
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.
The Single-assessment option:
Evidence 1: Topics 1 to 3. Weight in the subject content: 30%
Evidence 2: Topics 4 to 6. Weight in the subject content: 30%
Evidence 3: Topics 7 to 10. Weight in the subject content: 30%
ABELL, Arthur M. Música i Inspiració. Converses amb Brahms, Strauss, Puccini, Humperdinck, Bruch i Grieg. Barcelona: Fragmenta, 2020.
ANDRÉS, Ramón. El mundo en el oído. El nacimiento de la música en la cultura. Barcelona: Acantilado, 2008.
ANDRÉS, Ramón. Diccionario de música, mitología, magia y religión. Barcelona: Acantilado, 2012.
ANDRÉS, Ramón. Filosofía y consuelo de la música. Barcelona: Acantilado, 2020.
AA. VV. Musique & Antiquité. Actes du colloque d’Aimiens. Paris: Les belles lettres, 2006.
AA. VV. Musique, sacré et profane. Paris: Cité de la musique, 2007.
AA.VV. La música en el Món Antic i el món antic de la música. Barcelona: Institut d'Estudis Catalans, 2014.
BARAN, K. «Seeing the Divine through Music in Hinduism and Early Christianity», Humanity and Society, 17 (1993), 4, p. 467-487.
BARKER, A. Greek Musical Writings. Cambridge: Univ. Press, 1984, 2 vols.
BAYLE, L (Ed), Musique, sacré et profane. Paris: Cité de la Musique, 2007.
BEAUFILS, M. Musique du son. Musique du verbe. Paris: Klincsieck, 1994.
BEGBIE, Jeremy S. Theology, Music and Time. Cambridge, 2005.
BÉLIS, Annie. Aristoxène de Tarente et Aristote: le Traité d’harmonique. Paris: Klincksieck, 1986.
BENSON, Dave. Music: A Mathematical Offering. Cambridge, 2013.
BRUMANA, B – CILIBERTIT, G. La musica e il sacro. Firenze: Olschki, 1997.
BURKERT, Walter. De Homero a los Magos. La tradición oral en la cultura griega. Barcelona: Acantilado,2002.
CAMPBELL, Joseph. El héroe de las mil caras. Psicoanálisis del mito. Madrid: FCEE, 2017.
DALHAUS, C. Estética de la música. Berlin: Reichenberger, 1996.
DALHAUS, C. - EGGEBRECHT, H. E. ¿Qué es la música?. Barcelona: Acantilado, 2012.
DELCLÒS, Jordi. La dimensión terapéutica de la música en el sufismo. Madrid: Mandala, 2011.
DUCH, Lluís. Mite i interpretació. Barcelona: PAMSA, 1996.
DURING, J. Musique et extase. L’audition mystique dans la tradition soufie. Paris: Albin Michel, 1988.
DURING, J. «L’autre oreille:le pouvoir mystique de la musique au Moyen-Orient», Cahiers de muqies traditionnelles, 3 (1990), p. 57-78.
ELIADE, Mircea. El sagrat i el profà. Barcelona: Fragmenta, 2012.
FOLEY, E. Ritual Music. Studies in Liturgical Musicology.Beltsville: Pastoral Press, 1995.
FUBINI, E. La musica nella tradizione ebraica. Torino: Einaudi, 1994.
FUBINI, E. La estética musical desde la Antigüedad hasta el siglo XX. Madrid: Alianza, 1988.- AM, 31.
FUBINI,E. Música y estética en la época medieval. Pamplona: Eunsa, 2007.
GAMBERINI, L. La parola e la musica nell’antichità. Firenze: Olschky, 1962.
GARCÍA GUAL, Carlos. Sirenas.Seducciones y metamorfosis. Madrid: Turner, 2014.
GARCÍA GUAL, Carlos. El mito de Orfeo. Madrid: Turner, 2015.
GEROLD, T. Les pères de l’église et la musique. Genève: Minkoff, reed. 1973.
GODWIN, J. Armonia de las esferas. Vilaür: Aatlanta, 2009.
GREGORI, J.M., Mvsica Cælestis. Reflexions sobre Música i Símbol. Tarragona: Univ. Rovira i Virgili-Arola editors, 2012.
GREGORI, J.M., D'Orfeu a Monteverdi. Assaigs sobre música, inspiració, mite i sacralitat. Barcelona: Fragmenta, 2024; trad. castellana: De Orfeo a Monteverdi. Ensayos sobre música, inspiración, mito y sacralidad. Barcelona: Fragmenta, 2024.
HAÍK VANTOURA, S. La musique de la Bible révelée. Paris: Dessain et Tolra, 1978.
HARVEY, J. Música e inspiración. Barcelona: Global Rhythm Press, 2008.
HERNÁNDEZ DE LA FUENTE, David. Vidas de Pitágoras. Vilaür: Atalanta, 2014.
HOCHSCHILD, Paige E. Memory in Augustine's Theological Anthropology. Oxford, 2012. On-line.
HOOGHVORST, E d’. El Fil de Penèlope. Barcelona: Claret, 1999.
JAEGER, W. La teología de los primeros filósofos griegos. Mèxic: FCEE, 2003.
JANAWAY, Christopher. Images of Excellence: Plato's Critique of the Arts. Oxford, 2013. On-line.
JUSLIN, Patrik N. Musical Emotions Explained: Unlocking the Secrets of Musical Affect. Oxford, 2019. On-line.
KELKEL, M. Musiques des mondes. Paris: J. Vrin, 1988.
KÜNG, H. Música y religión.M adrid: Trotta, 2008.
LALOY, L. Aristoxène de Tarente et la musique de l’Antiquité. Genève: Minkoff Reprint,1973.
LANG, P. H, Reflexiones sobre la música. Madrid: Debate-pensamiento, 1998.
LE GRICE, K. El cosmos arquetipal. El redescubrimiento de los dioses en la mitología, la ciencia y la astrología. Vilaür: Atalanta, 2018.
LEON TELLO, F.J. Estudios de historia de la teoria musical. Madrid: CSIC, 1962.
LEVIN, Flora R. Greek Reflections on the Nature of Music. Cambridge, 2009.
LOHMANN, J. Mousiké et logos. Mauvezin: TER, 1989.
McKINNON, J. Music in Early Christian Literature. Cambridge: Univ. Press, 1987.
McLEISH, Tom. The Poetry and Music of Science: Comparing Creativity in Science and Art. Oxford, 2019. On-line.
MIRIMONDE, Albert P. de. Astrologie et Musique. Genève: Minkoff, 1977.
MORLEY, Iain. The Prehistory of Music. Human Evolution, Archaeology, and the Origins of Musicality. Oxford, 2018.
MOTSOPOULOS, E. Lamusique dans l’oeuvre de Platon. Paris: Puf, 1959.
MOSHE IDEL, «Musique et Kabbale Prophetique», a L’experience mystique d’Abraham Abulafia. Paris: Du Cerf, Patrimoines Judaisme, 1989, p. 61-77.
MURRAY, Penelope and WILSON, Peter (eds.). Music and the Muses: The Culture of Mousike in the Classical Athenian City. Oxford, 2010. On-line.
NARANJO, Claudio. La música interior. Hacia una hermenéutica de la expresión sonora. Barcelona: La LLave, 2015.
OTTO, Walter F. Las Musas. Madrid: Siruela, 2005.
PARTRIDGE, Christopher. The Lyre of Orpheus: Popular Music, the Sacredand the Profane. Oxford, 2014. On-line.
PIQUÉ I COLLADO, Jordi-Agustí. Teologia i Música: propostes per a un diàleg. Barcelona: Publicacions de l'Abadia de Montserrat, 2006.
PISTONE, D.; BRUNEL, P. (Ed.) Musiques d’Orphée. Paris: Puf, 1999.
REZNIKOFF, Igor. «La vision unitaire des arts, de la musique et du monde dans l’Antiquitéet les traditions de l’art sacré», Analyse Musicale, 5 (1986).
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SAVAGE, Roger W. H. Music, Time, and Its Other. Aesthetic Reflections ob Finitude, Temporality, and Alterity. New York: Routledge, 2018. On-line.
SHILOAH, Amnon. Les traditions musicales juïves. Paris: Maisonneuve& Larose, 1995.
SHILOAH, Amnon. The Theory of Music in Arabic Writings. Munich: Rism, 1979.
SCHNEIDER, M. El orígen musical de los animales-símbolos en la mitologia y la escultura antiguas. Madrid. Siruela, 1998.
STEINER, George. Presències reals. Barcelona: Fragmenta, 2022.
STORR, Anthony. La música y la mente. Barcelona: Paidós, 2002.
TRÍAS, Eugenio. La imaginación sonora. Argumentos musicales Barcelona: Gutemberg, 2010.
TRÍAS, Eugenio. El canto de las sirenas. Argumentos musicales. Barcelona: Gutemberg, 2007.
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WILBER, Ken. Eye to Eye. The Quest for the New Paradigm. Boston: Shambala, 2001.- trad. castellana Los tres ojos del conocimiento. La búsqueda de un nuevo paradigma. Barcelona: Kairós, 1991.
Without specific computer application.
Name | Group | Language | Semester | Turn |
---|---|---|---|---|
(PAUL) Classroom practices | 1 | Catalan | first semester | morning-mixed |
(TE) Theory | 1 | Catalan | first semester | morning-mixed |