Performative Aesthetics
A.Y. 2025/2026
Learning objectives
The course aims to provide students with a theoretical and critical foundation concerning the essential features of aesthetics as a philosophical discipline. It specifically seeks to define key aspects of the aesthetics of creative processes, beginning with a phenomenological approach to the concepts of "creation" and "process". This exploration will involve a critical study of philosophical classics, reinterpreted in light of issues relevant to contemporary debates. The course will particularly focus on artistic practices, although not exclusively, and will offer skills applicable across various disciplines. It will also promote dialogue with other courses in the degree program and engage with fields such as semiotics, media theory, cognitive neuroscience, and AI studies.
Expected learning outcomes
By the end of the course, the student will have developed a solid understanding of the basic principles of aesthetics as a philosophical discipline, with particular attention to the processes underlying the creation of works with aesthetic and/or artistic value (examining concepts such as "author," "style," and "artistic creation"). They will also have gained familiarity with key moments in the history of philosophy, along with the conceptual tools provided by the phenomenological approach. This foundation will enable them to establish meaningful connections with other fields of study and to apply the theoretical and methodological insights acquired to their broader academic and professional paths.
Lesson period: Second semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course can be attended as a single course.
Course syllabus and organization
Single session
Responsible
Lesson period
Second semester
Course syllabus
Title: What is a musical idea?
The course aims to promote a philosophical interrogation concerning the creation process of a musical idea, with particular reference to the notion of melody.
The first module will provide a general introduction to the Aesthetics of the Encyclopédie. It will examine fundamental aesthetic categories that originated in the eighteenth century and outline the key features of the Rameau-Rousseau quarrel on the relationship between harmony and melody.
By developing a phenomenological approach to the notion of melody, the second module will introduce the question concerning musical creation by rethinking it in light of notions such as improvisation, contingency, necessity and recognition.
The third module, focusing on the analyses Proust's Recherche devotes to music, will finally delve into the controversial question concerning the nature of the musical idea, presenting the differences between "Platonistic" and "anti-Platonistic" approaches and discussing the possibility of a reversal of the classically understood relationship between theme and variations.
Part A (20 hours, 3 cfu): The Origin of Melody
Part B (20 hours, 3 cfu): Improvisation, Creation, Recognition
Part C (20 hours, 3 cfu): What is a Musical Idea? A Proustian Proposal
The course aims to promote a philosophical interrogation concerning the creation process of a musical idea, with particular reference to the notion of melody.
The first module will provide a general introduction to the Aesthetics of the Encyclopédie. It will examine fundamental aesthetic categories that originated in the eighteenth century and outline the key features of the Rameau-Rousseau quarrel on the relationship between harmony and melody.
By developing a phenomenological approach to the notion of melody, the second module will introduce the question concerning musical creation by rethinking it in light of notions such as improvisation, contingency, necessity and recognition.
The third module, focusing on the analyses Proust's Recherche devotes to music, will finally delve into the controversial question concerning the nature of the musical idea, presenting the differences between "Platonistic" and "anti-Platonistic" approaches and discussing the possibility of a reversal of the classically understood relationship between theme and variations.
Part A (20 hours, 3 cfu): The Origin of Melody
Part B (20 hours, 3 cfu): Improvisation, Creation, Recognition
Part C (20 hours, 3 cfu): What is a Musical Idea? A Proustian Proposal
Prerequisites for admission
Course attendance does not require any particular prerequisites, as the course introduces the main topics of Aesthetics, with particular focus on the theme of creation and the notion of "process". It requires commitment and a genuine interest in philosophical inquiry (especially with regard to artistic practices), as well as an excellent command of the Italian language.
Teaching methods
Lectures based on analysis, synthesis, and discussion of philosophical texts, intended to foster students' ability to elaborate a critical point of view on the relevant subjects.
Teaching Resources
Bibliography for attending students:
Parte A
M. Mazzocut-Mis (ed.), L'estetica nella Encyclopédie. Saggi critici e selezione antologica, Mimesis, Milano 2023 (selection)
Parte B
H. Bergson, L'evoluzione creatrice, Cortina, Milano 2002, "Quarto capitolo"
OR:
Bergson, "Il movimento retrogrado del vero" e H. Bergson, "Il possibile e il reale", in H. Bergson, Pensiero e movimento, Bompiani 2000 (or Mimesis 2025).
A. Bertinetto, Eseguire l'inatteso. Ontologia della musica e improvvisazione, Il glifo ebook, Roma 2016, CAP. 2: "L'ontologia dell'improvvisazione musicale
OR:
A. Bertinetto, Performing the unexpected. Improvisation and Artistic Creativity, "Daimon. Revista Internacional de FilosofiaI, 57, 2012, pp. 117-135 (disponibile online)
C. Rozzoni, The Familiar Unknown: On the Essence of a Musical Idea, "Philosophies" 2025, 10(3), 69, Special Issue: The Aesthetics of the Performing Arts in the Contemporary Landscape, ed. by A. Bertinetto, L. Giombini (available online)
Parte C
R. Barthes, G. Deleuze et al., «Tavola rotonda su Proust», in G. Deleuze, Due regimi di folli e altri scritti. Testi e interviste 1975- 1995, Einaudi, Torino, pp. 18-42
G. Deleuze, Che cos'è l'atto di creazione?, Cronopio, Napoli, 2024
M. Merleau-Ponty, È possibile oggi la filosofia? Lezioni al Collège de France 1958-1959 e 1960-1961, Cortina, Milano, 2003, pp. 19-36; pp. 154-188.
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010 (any edition may be used), parte seconda: "Un amore di Swann"
M. Proust, La Prigioniera, Mondadori, Milano (selection), (any edition may be used)
Bibliography for non-attending students:
Parte A
M. Mazzocut-Mis (ed.), L'estetica nella Encyclopédie. Saggi critici e selezione antologica, Mimesis, Milano 2023
Parte B
H. Bergson, L'evoluzione creatrice, Cortina, Milano 2002 OR: Pensiero e movimento, Bompiani 2000 (or Mimesis 2025).
A. Bertinetto, Eseguire l'inatteso. Ontologia della musica e improvvisazione, Il glifo ebook, Roma 2016.
C. Rozzoni, The Familiar Unknown: On the Essence of a Musical Idea, "Philosophies" 2025, 10(3), 69, Special Issue: The Aesthetics of the Performing Arts in the Contemporary Landscape, ed. by A. Bertinetto, L. Giombini (available online)
Parte C
R. Barthes, G. Deleuze et al., «Tavola rotonda su Proust», in G. Deleuze, Due regimi di folli e altri scritti. Testi e interviste 1975- 1995, Einaudi, Torino, pp. 18-42
G. Deleuze, Che cos'è l'atto di creazione?, Cronopio, Napoli, 2024
M. Merleau-Ponty, È possibile oggi la filosofia? Lezioni al Collège de France 1958-1959 e 1960-1961, Cortina, Milano, 2003, pp. 19-36; pp. 154-188
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010 (any edition may be used)
usedscelta), parte seconda: "Un amore di Swann"
Parte A
M. Mazzocut-Mis (ed.), L'estetica nella Encyclopédie. Saggi critici e selezione antologica, Mimesis, Milano 2023 (selection)
Parte B
H. Bergson, L'evoluzione creatrice, Cortina, Milano 2002, "Quarto capitolo"
OR:
Bergson, "Il movimento retrogrado del vero" e H. Bergson, "Il possibile e il reale", in H. Bergson, Pensiero e movimento, Bompiani 2000 (or Mimesis 2025).
A. Bertinetto, Eseguire l'inatteso. Ontologia della musica e improvvisazione, Il glifo ebook, Roma 2016, CAP. 2: "L'ontologia dell'improvvisazione musicale
OR:
A. Bertinetto, Performing the unexpected. Improvisation and Artistic Creativity, "Daimon. Revista Internacional de FilosofiaI, 57, 2012, pp. 117-135 (disponibile online)
C. Rozzoni, The Familiar Unknown: On the Essence of a Musical Idea, "Philosophies" 2025, 10(3), 69, Special Issue: The Aesthetics of the Performing Arts in the Contemporary Landscape, ed. by A. Bertinetto, L. Giombini (available online)
Parte C
R. Barthes, G. Deleuze et al., «Tavola rotonda su Proust», in G. Deleuze, Due regimi di folli e altri scritti. Testi e interviste 1975- 1995, Einaudi, Torino, pp. 18-42
G. Deleuze, Che cos'è l'atto di creazione?, Cronopio, Napoli, 2024
M. Merleau-Ponty, È possibile oggi la filosofia? Lezioni al Collège de France 1958-1959 e 1960-1961, Cortina, Milano, 2003, pp. 19-36; pp. 154-188.
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010 (any edition may be used), parte seconda: "Un amore di Swann"
M. Proust, La Prigioniera, Mondadori, Milano (selection), (any edition may be used)
Bibliography for non-attending students:
Parte A
M. Mazzocut-Mis (ed.), L'estetica nella Encyclopédie. Saggi critici e selezione antologica, Mimesis, Milano 2023
Parte B
H. Bergson, L'evoluzione creatrice, Cortina, Milano 2002 OR: Pensiero e movimento, Bompiani 2000 (or Mimesis 2025).
A. Bertinetto, Eseguire l'inatteso. Ontologia della musica e improvvisazione, Il glifo ebook, Roma 2016.
C. Rozzoni, The Familiar Unknown: On the Essence of a Musical Idea, "Philosophies" 2025, 10(3), 69, Special Issue: The Aesthetics of the Performing Arts in the Contemporary Landscape, ed. by A. Bertinetto, L. Giombini (available online)
Parte C
R. Barthes, G. Deleuze et al., «Tavola rotonda su Proust», in G. Deleuze, Due regimi di folli e altri scritti. Testi e interviste 1975- 1995, Einaudi, Torino, pp. 18-42
G. Deleuze, Che cos'è l'atto di creazione?, Cronopio, Napoli, 2024
M. Merleau-Ponty, È possibile oggi la filosofia? Lezioni al Collège de France 1958-1959 e 1960-1961, Cortina, Milano, 2003, pp. 19-36; pp. 154-188
M. Proust, Dalla parte di Swann, Mondadori, Milano, 2010 (any edition may be used)
usedscelta), parte seconda: "Un amore di Swann"
Assessment methods and Criteria
The objectives of the course will be assessed through an oral examination aimed at verifying that students have achieved mastery of the fundamental concepts introduced during the course and are able to apply them critically. Students will be expected to demonstrate the ability to reconstruct the philosophical positions discussed in the course with argumentative clarity and to formulate, on that basis, original connections between the topics covered and possible new avenues of inquiry that may also intersect with themes addressed in other courses within the degree program.
Nota bene
International students or incoming Erasmus students are invited to make timely contact with the professor. The examination modalities for students with disabilities and/or DSA must be agreed with the professor, complying with the competent Office.
Nota bene
International students or incoming Erasmus students are invited to make timely contact with the professor. The examination modalities for students with disabilities and/or DSA must be agreed with the professor, complying with the competent Office.
Modules or teaching units
Part C
M-FIL/04 - AESTHETICS - University credits: 3
Lessons: 20 hours
Parts A and B
M-FIL/04 - AESTHETICS - University credits: 6
Lessons: 40 hours
Professor(s)