Aesthetics of Music and Spectacle
A.Y. 2022/2023
Learning objectives
The course aims to provide students with a philosophical basis regarding the essential aspects of the aesthetics of music, performance, and spectacle. The course's goal will be to introduce the notion of «aesthetic category» applied to the history of music, and of performing and visual arts. From year to year, the main focus will be on the relationship between music and words in musical theatre or staging. Particular attention can be given to contemporary librettist or dramaturgical writing, especially in relation to myth. The relationship between musical, visual and performing arts will also be investigated with reference to theatre, musical theatre, or cinema.
Expected learning outcomes
At the end of the course, students will have acquired notions of philosophy of music and acting that will allow them to analyze complex concepts related to the world of spectacle in general. They will be able to investigate and evaluate a musical or performance work as a whole and in its various elements. Students will also have acquired a new perspective on the practical implications of the theoretical results obtained both concerning music and the relationship between words and music and the relationship between words and images.
Lesson period: Second 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
Second semester
Course syllabus
The course wants to analyze the origin of the aesthetic category of melodramatic and, through the analysis of the pathetic side of the sublime, see its applications in the field of music. Reference will also be made to librettistic writing. Active and involved participation is required.
Part A (20 hours, 3 CFU): Fundamental Parts of Aesthetics of Music and Performing Arts
Part B (20 hours, 3 CFU): From the pathetic sublime to melodrama
Part C (20 hours, 3 CFU): Play writing: from text to stage
Part A (20 hours, 3 CFU): Fundamental Parts of Aesthetics of Music and Performing Arts
Part B (20 hours, 3 CFU): From the pathetic sublime to melodrama
Part C (20 hours, 3 CFU): Play writing: from text to stage
Prerequisites for admission
The course's attendance does not involve any particular prerequisites since it introduces the main themes of Aesthetics of music and performing Arts. It requires propensity and passion for music and performing arts and excellent knowledge of the Italian language.
Teaching methods
Lectures based on analysis, synthesis, discussion of philosophical texts, intended to foster student's ability to elaborate a critical point of view on the relevant subjects.
Teaching Resources
Bibliography for attending students
Part A
M. Mazzocut-Mis - E. Tavani (eds), Estetica dello spettacolo e dei media, Led, 2011.
Part B
M. Mazzocut-Mis, Il gonzo sublime. Dal patetico al kitsch, Mimesis, 2005.
M. Mazzocut-Mis, Frammenti di sipario, Mimesis, 2019 (parts indicated in class).
Part C
M. Mazzocut-Mis, Teatro da leggere. Mito e conflitto, Le Monnier, 2020 (parts indicated in class).
M. Mazzocut-Mis, Vuoti a rendere e vuoti a perdere. Drammaturgie poetiche, Le Monnier, 2021 (parts indicated in class).
Bibliography for non-attending students
Part A
M. Mazzocut-Mis - E. Tavani (eds), Estetica dello spettacolo e dei media, Led, 2011.
Part B
M. Mazzocut-Mis, Il gonzo sublime. Dal patetico al kitsch, Mimesis, 2005.
M. Mazzocut-Mis, Frammenti di sipario, Mimesis, 2019.
Parte C
M. Mazzocut-Mis, Teatro da leggere. Mito e conflitto, Le Monnier, 2020.
M. Mazzocut-Mis, Vuoti a rendere e vuoti a perdere. Drammaturgie poetiche, Le Monnier, 2021.
Itinera, Rivista di filosofia e di teoria delle arti, on-line, n. 8 (2014): 1. "Il belcanto di Oscar: trasformazioni grottesche del paggio operistico"; 2. "Il grottesco tra Il Trovatore e La Traviata"; 3. "Victor Hugo e il fou du roi: variazioni su un tipo".
Materiali di Estetica. Terza serie, on-line, n. 3.2 (2016)i: 1. "Prospettive sul melodramma: La gazza ladra e Il Trovatore"; 2. "Musica melodrammatica e sincronizzazione"; 3. "La prigione nella memoria e la demitizzazione dell'eroico; 4. Il Kitsch e l'antisublime".
Part A
M. Mazzocut-Mis - E. Tavani (eds), Estetica dello spettacolo e dei media, Led, 2011.
Part B
M. Mazzocut-Mis, Il gonzo sublime. Dal patetico al kitsch, Mimesis, 2005.
M. Mazzocut-Mis, Frammenti di sipario, Mimesis, 2019 (parts indicated in class).
Part C
M. Mazzocut-Mis, Teatro da leggere. Mito e conflitto, Le Monnier, 2020 (parts indicated in class).
M. Mazzocut-Mis, Vuoti a rendere e vuoti a perdere. Drammaturgie poetiche, Le Monnier, 2021 (parts indicated in class).
Bibliography for non-attending students
Part A
M. Mazzocut-Mis - E. Tavani (eds), Estetica dello spettacolo e dei media, Led, 2011.
Part B
M. Mazzocut-Mis, Il gonzo sublime. Dal patetico al kitsch, Mimesis, 2005.
M. Mazzocut-Mis, Frammenti di sipario, Mimesis, 2019.
Parte C
M. Mazzocut-Mis, Teatro da leggere. Mito e conflitto, Le Monnier, 2020.
M. Mazzocut-Mis, Vuoti a rendere e vuoti a perdere. Drammaturgie poetiche, Le Monnier, 2021.
Itinera, Rivista di filosofia e di teoria delle arti, on-line, n. 8 (2014): 1. "Il belcanto di Oscar: trasformazioni grottesche del paggio operistico"; 2. "Il grottesco tra Il Trovatore e La Traviata"; 3. "Victor Hugo e il fou du roi: variazioni su un tipo".
Materiali di Estetica. Terza serie, on-line, n. 3.2 (2016)i: 1. "Prospettive sul melodramma: La gazza ladra e Il Trovatore"; 2. "Musica melodrammatica e sincronizzazione"; 3. "La prigione nella memoria e la demitizzazione dell'eroico; 4. Il Kitsch e l'antisublime".
Assessment methods and Criteria
The exam consists of two written tests at the end of the course (May) addressed only to the participants (according to the registration during the lessons). These are multiple-choice tests on the texts provided for didactic units A, B, and C. In place of the written tests, attending students are allowed to opt for taking an oral test (during the dates foreseen for the exam session), which consists of an oral exam on the syllabus topics, aimed at assessing the knowledge and skills acquired. Students who are not attending will have to take an oral test during the dates for the exam session, which consists of an oral exam on the syllabus topics of the didactic units A, B, and C (see "Bibliography for not attending students").
Nota bene
International students or incoming Erasmus students are invited to make timely contact with the teacher who holds the course.
The examination modalities for students with disabilities and/or DSA must be agreed with the teacher, complying with the competent Office.
Nota bene
International students or incoming Erasmus students are invited to make timely contact with the teacher who holds the course.
The examination modalities for students with disabilities and/or DSA must be agreed with the teacher, complying with the competent Office.
Professor(s)