Historiography of Music
A.Y. 2020/2021
Learning objectives
Through studies of relevant literature and case studies, the course provides an introduction to central characteristics regarding the musical historiography as a theoretical field, with particular emphasis on reflexivity.
The course aims to enable students to relate their musicological knowledge with a historical understanding of musical phenomena. The ability to read and interpret musical objects and practices in a historiographical perspective and under a cultural angle is the main learning scope of the course.
The course aims to enable students to relate their musicological knowledge with a historical understanding of musical phenomena. The ability to read and interpret musical objects and practices in a historiographical perspective and under a cultural angle is the main learning scope of the course.
Expected learning outcomes
By the end of the course, students will have understood that music is not a phenomenon of nature, and this historical awareness will enable them to place the musical examples considered within its specific cultural context, with reference to the monographic subject explored each new academic year.
Lesson period: First semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course cannot be attended as a single course. Please check our list of single courses to find the ones available for enrolment.
Course syllabus and organization
Single session
Responsible
Lesson period
First semester
The lessons will take place on site, with live online streaming available. The students will find all the instructions on how to access the classroom or the online lessons, any potential variations to the program and/or to the reference materials (bibliography etc.) on the website for classroom resources «Ariel». In case it would not possible taking the exam as shown in the Syllabus, the exam will be conducted electronically using the procedure that will be communicated on the Ariel website at the end of the course.
Course syllabus
Title of the monographic course (a.a. 2020-2021):
Après-coup/Reconstruction/Musical Historiography
After an introduction on the history and theory of music historiography (Part A), the course will focus on the Lacanian theory of après-coup, rethought in a more musicological key and applied to a couple of case studies (Part B).
Après-coup/Reconstruction/Musical Historiography
After an introduction on the history and theory of music historiography (Part A), the course will focus on the Lacanian theory of après-coup, rethought in a more musicological key and applied to a couple of case studies (Part B).
Prerequisites for admission
A good knowledge of "classical" and "popular" music and/or others non-Western music traditions are important prerequisites of the course as well as an appropriate knowledge of the basic elements of musical grammar and music theory.
Teaching methods
The lessons will take place on site with live online streaming available, and and will draw on the Ariel platform for sharing materials and teaching aids.
Teaching Resources
The class will be supported by the reading materials and other digital contents, which will be uploaded to the course's website on the Ariel platform (https://ariel.unimi.it/). The materials and digital contents are intended for study only. They are an integral part of the program, together with the bibliography of the course.
Part A
- "Après coup" (ad vocem), in Dizionario di psicanalisi, ed. by Roland Chemama and Bernard Vandermersch, Roma, Gremese, 2004, pp. 50-51 (orig. ed. Dictionnaire de psychanalyse, 1998).
- "Posteriorità" (ad vocem), in Jean Laplanche and Jean-Bertrand Pontalis, Enciclopedia della psicoanalisi, new edition ed. by Luciano Mecacci and Cynthya Puca, 2 vol., Bari, Laterza, 2008, II, pp. 426-430 (orig. ed. Vocabulaire de la psychanalyse, 1967).
- A. Campo, Tardività. Freud dopo Lacan, Milano, Mimesis, 2019, pp. 45-47.
- S. Žižek, L'oggetto sublime dell'ideologia, Milano, Ponte alle Grazie, 2014, pp. 81-114 + 279-280 (endnotes) (orig. ed. The Sublime Object of Ideology, 1989).
- Mladen Dolar e Slavoj Žižek, La seconda morte dell'opera, ed. by Carlo Lanfossi, Milano-Lucca, Ricordi-LIM, 2019, pp. 39-41 (Introduzione) (orig. ed. Opera's Second Death, 2002).
- S. Žižek, Variazioni Wagner, Trieste, Asterios, 2012, pp. 27-33 (ed. orig. Why is Wagner Worth Saving?, «Journal of Philosophy & Scripture», II/1, Fall 2004, pp. 18-30).
- H.-G. Gadamer, Verità e metodo, ed. by Gianni Vattimo, Milano, Bompiani, 1983, pp. 202-207 (orig. ed. Wahrheit und Methode, 1960).
- Sergio Benvenuto, La psicoanalisi e il tempo, «Psicoterapia e scienze umane», n. 4, 1996, pp. 47-65.
Part B
- Reinhart Koselleck, "Spazio di esperienza" e "orizzonte di aspettativa": due categorie storiche, in Futuro passato. Per una semantica dei tempi storici, Bologna, Clueb, 2007, pp. 300-322 (orig. ed. Vergangene Zukunft, 1979).
- Aurelio Musi, Freud e la storia, Soveria Mannelli, Rubettino, 2015, pp. 5-9 e 53-64 (Introduction + fourth chapter).
- Emilio Sala, La "trilogia popolare": genealogia, ricostruzione, performance, «Studi verdiani», n. 29, 2019-2020, pp. 121-147.
- Jonathan Isserow, Retroactive Subjectivity in Documentary Film, «Studies in Documentary Film», XIV/2, 2020, pp. 99-113.
- Jonas Mekas, Outtakes of the Life of a Happy Man (2012), https://vimeo.com/ondemand/mekasouttakes.
Two Freud's texts that we will examine in both the Units:
- Sigmund Freud, Progetto di una psicologia, Torino, Bollati Boringhieri, 1976.
- Sigmund Freud, Caso clinico dell'uomo dei lupi. Dalla storia di una nevrosi infantile, in Psicoanalisi infantile, Torino, Bollati Boringhieri, 2016, pp. 166-283.
Part A
- "Après coup" (ad vocem), in Dizionario di psicanalisi, ed. by Roland Chemama and Bernard Vandermersch, Roma, Gremese, 2004, pp. 50-51 (orig. ed. Dictionnaire de psychanalyse, 1998).
- "Posteriorità" (ad vocem), in Jean Laplanche and Jean-Bertrand Pontalis, Enciclopedia della psicoanalisi, new edition ed. by Luciano Mecacci and Cynthya Puca, 2 vol., Bari, Laterza, 2008, II, pp. 426-430 (orig. ed. Vocabulaire de la psychanalyse, 1967).
- A. Campo, Tardività. Freud dopo Lacan, Milano, Mimesis, 2019, pp. 45-47.
- S. Žižek, L'oggetto sublime dell'ideologia, Milano, Ponte alle Grazie, 2014, pp. 81-114 + 279-280 (endnotes) (orig. ed. The Sublime Object of Ideology, 1989).
- Mladen Dolar e Slavoj Žižek, La seconda morte dell'opera, ed. by Carlo Lanfossi, Milano-Lucca, Ricordi-LIM, 2019, pp. 39-41 (Introduzione) (orig. ed. Opera's Second Death, 2002).
- S. Žižek, Variazioni Wagner, Trieste, Asterios, 2012, pp. 27-33 (ed. orig. Why is Wagner Worth Saving?, «Journal of Philosophy & Scripture», II/1, Fall 2004, pp. 18-30).
- H.-G. Gadamer, Verità e metodo, ed. by Gianni Vattimo, Milano, Bompiani, 1983, pp. 202-207 (orig. ed. Wahrheit und Methode, 1960).
- Sergio Benvenuto, La psicoanalisi e il tempo, «Psicoterapia e scienze umane», n. 4, 1996, pp. 47-65.
Part B
- Reinhart Koselleck, "Spazio di esperienza" e "orizzonte di aspettativa": due categorie storiche, in Futuro passato. Per una semantica dei tempi storici, Bologna, Clueb, 2007, pp. 300-322 (orig. ed. Vergangene Zukunft, 1979).
- Aurelio Musi, Freud e la storia, Soveria Mannelli, Rubettino, 2015, pp. 5-9 e 53-64 (Introduction + fourth chapter).
- Emilio Sala, La "trilogia popolare": genealogia, ricostruzione, performance, «Studi verdiani», n. 29, 2019-2020, pp. 121-147.
- Jonathan Isserow, Retroactive Subjectivity in Documentary Film, «Studies in Documentary Film», XIV/2, 2020, pp. 99-113.
- Jonas Mekas, Outtakes of the Life of a Happy Man (2012), https://vimeo.com/ondemand/mekasouttakes.
Two Freud's texts that we will examine in both the Units:
- Sigmund Freud, Progetto di una psicologia, Torino, Bollati Boringhieri, 1976.
- Sigmund Freud, Caso clinico dell'uomo dei lupi. Dalla storia di una nevrosi infantile, in Psicoanalisi infantile, Torino, Bollati Boringhieri, 2016, pp. 166-283.
Assessment methods and Criteria
The students will write a paper (approximately 5.000 words) on a topic approved by the professor in advance. The assessment criteria for papers will be: 1. Pertinence to the topics discussed throughout the course; 2. Originality of the chosen topic/methodology; 3. Analytical competence and depth of personal interpretation; 4. Quality of writing style (terminological appropriateness, coherence, accuracy of the critical apparatus, bibliography). The paper must be submitted at least 7 days in advance prior to the date of the exam. The oral examination will consist of a discussion of the course's materials, based on the professor's feedback on the paper submitted.
Unita' didattica
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Unita' didattica
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 3
Lessons: 20 hours
Professor(s)