Musical Aesthetics

N/A

Tha cognitive method of learning is valued. Teaching methodologies include the involvement and accountability of students in the conception, development and implementation of a project, monitored by the teacher in view of its rationale and ultimate goal.

Evaluation:
a) Oral Presentation (40%) -Students should prepare 2 shorts scholarly talk (30 minutes) based on both a film sequence and a text
b) Participation in Class discussions (20%) – It’s expected for everyone to attend classes regularly and discuss previous given readings in relation to specific projected images, as well as seminars/workshops and field trips.
c) individual research project (40%) – c. 25 p. (excluding notes and bibliography).
Delivery of the version one week after the presentations.

Evaluation by Exam:
Will be made through written test (100%

The course aims to provide students with the knowledge of languages of art in general and the art of music at different times and historical periods, beyond knowing and recognizing the different stages aesthetic in Western Music.
It also seeks to establish the relationship between music history and aesthetics of valuation subject abstratismo musical and fashion (s). It also has a view, the analysis of the musical work, their resistance to the transience and survival in praxis, while communis opinio.
Justified the inclusion of the subject in the course MUSIC importance which it contains, in structural terms, the aesthetic-artistic support essential knowledge and future performance, particularly with respect to aspects of design, production and direction and editing of phonograms and videograms.

Arts and music: concepts, meanings and historical assumptions and their relationship.
Aesthetic, musical languages and codes: perceptive, iconic, iconographic.
Synopsis of aesthetic phases in Western music.
Theories of aesthetics development and creativity.
Artwork and aesthetic object – aestheticization of the world. Mechanisms of the work of art legitimacy.
The art and communication. Sound framework and image: inter-individual communication and dialogue between cultures instrument.
The arts of word and image. Music reading models for image and word. The dichotomy music and painting (Kandinsky and Schoenberg).
Investigação num contexto artístico e musical adequada ao desempenho profissional.
Research in an artistic and musical context appropriate professional performance.
Analysis and study of textual sources and others, and their relationship, taking into account the multiple transformations occurred, and the production, dissemination and public.

• - Exam - 100.0%

• - Oral presentation - 40.0%
• - Individual and/or Group Work - 40.0%
• - Attendance and Participation - 20.0%

NAO

Becker, H. S.(2008). Mundos da Arte. Lisboa: Livros Horizonte.
Blanning, T (2011). El triunfo de la música. Barcelona: Acantilado.
Danto, A.(2005). El Abuso de la Belleza. La Estética y el Concepto del Arte. Barcelona: Paidós.
Eco, H. (2006). A definição da arte. Lisboa: Ed. 70.
Fróis, J.P. et al. (2000). A Educação Estética e Artística na Formação ao Longo da Vida. Lisboa: FCG.
Fridman, A.L.(2015). Experiências em ambientes de criação musical: interações corpo-cognitivas entre performer e ouvinte. Ver. Hodie, v.15,n.1:132-144
Fubini, E. (2008). Estética da Música. Lisboa: Edições 70.
Golan, L. S. (2016). Estética e contemporaneidade: por uma outra filosofia da música nova. São Paulo.
Heidegger,M.(2007). A Origem da Obra de Arte. Lisboa: Edições 70.
Hume, D.(2002). Do padrão do gosto. Ensaios Morais, Políticos e Literários. Lisboa:INCM.
Kandinsky, W.(2013). Do Espiritual na Arte. Alfragide: Publicações Dom Quixote.
Talon-Hugon,C.(2008).A estética, História e Teorias. Lx. Texto&Grafia