The course deals with the relationship between music and society in the following twofold aspects: a) “music as agency” in everyday life; b) the social construction of the carriers of musical texts and musicians. The first part of the course will provide to the students the analytical tools for understanding how and to what extent the music can contribute to construct the social meanings of experience, time and space. The second part will address and problematize the notion of musical genius, by showing its social aspects.
teacher profile teaching materials
2) Anna Lisa Tota (2001), When Orff meets Guiness: music in advertising as a form of cultural hybrid, «Poetics. Journal of Empirical Research on Literature, the Media and the Arts», n. 29, pp. 109-123.
3) Tia DeNora (2001), Memoria e tradizione nella costruzione del talento di Beethoven, in La memoria contesa. Studi sulla comunicazione sociale del passato, a cura di Anna Lisa Tota, Milano, Angeli, pp. 172-196.
4) Tia De Nora (2000), Corpo e genere al piano. Repertorio, tecnologia e comportamento nella Vienna di Beethoven, “Rassegna italiana di Sociologia, n. XII, n. 2, aprile –giugno, pp. 165-188.
5) Pinan Güran and Tia DeNora (2016), Remembering through music: Turkish diasporic identities in Berlin, in Anna Lisa Tota and Trever Hagen (Eds.), Routledge International Handbook of Memory Studies, London, Routledge, pp. 233-246.
6) Tia DeNora (1999), Music as a Technology of the Self, «Poetics. Journal of Empirical Research on Literature, the Media and the Arts» (27), pp. 31-56.
Moreover, one among the following books:
7) Norbert Elias (1991), Mozart. Sociologia di un genio, Bologna, il Mulino.
8) Oliver Sacks (2007), Musicofilia. Racconti sulla musica e il cervello, Milano, Adelphi.
9) Anita Lasker Wallfish (2010), “Ereditate la verità". Memorie di una violoncellista ad Auschwiz, Milano, Mursia.
The articles (from 1 to 6) will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (see the professor's webpage).
Programme
The course deals with the relationship between music and society focusing on the following twofold aspects: a) “music as agency” in everyday life; b) the social construction of the carriers of musical texts and musicians. The first part of the course will provide to the students the analytical tools for understanding how and to what extent the music can contribute to construct the social meanings of experience, time and space. In everyday life music can function as technology of memory, emotions, cognition, constructing for the listeners frames, within which they are asked to experience their life. There are songs that contributed to defend human rights, others that became symbols of an epoch, historically and/or politically. The second part will address and problematize the notion of musical genius, by showing its social aspects. It will focus on the relation among genius, ethnicity, gender and social classCore Documentation
1) Anna Lisa Tota (2000), Musica e vita quotidiana: la composizione musicale dell’esperienza sociale, «Konsequenz», 3-4, pp. 63-72.2) Anna Lisa Tota (2001), When Orff meets Guiness: music in advertising as a form of cultural hybrid, «Poetics. Journal of Empirical Research on Literature, the Media and the Arts», n. 29, pp. 109-123.
3) Tia DeNora (2001), Memoria e tradizione nella costruzione del talento di Beethoven, in La memoria contesa. Studi sulla comunicazione sociale del passato, a cura di Anna Lisa Tota, Milano, Angeli, pp. 172-196.
4) Tia De Nora (2000), Corpo e genere al piano. Repertorio, tecnologia e comportamento nella Vienna di Beethoven, “Rassegna italiana di Sociologia, n. XII, n. 2, aprile –giugno, pp. 165-188.
5) Pinan Güran and Tia DeNora (2016), Remembering through music: Turkish diasporic identities in Berlin, in Anna Lisa Tota and Trever Hagen (Eds.), Routledge International Handbook of Memory Studies, London, Routledge, pp. 233-246.
6) Tia DeNora (1999), Music as a Technology of the Self, «Poetics. Journal of Empirical Research on Literature, the Media and the Arts» (27), pp. 31-56.
Moreover, one among the following books:
7) Norbert Elias (1991), Mozart. Sociologia di un genio, Bologna, il Mulino.
8) Oliver Sacks (2007), Musicofilia. Racconti sulla musica e il cervello, Milano, Adelphi.
9) Anita Lasker Wallfish (2010), “Ereditate la verità". Memorie di una violoncellista ad Auschwiz, Milano, Mursia.
The articles (from 1 to 6) will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (see the professor's webpage).
Type of delivery of the course
The course will be based on traditional lectures. In the case of an extension of the health emergency due to COVID-19, all the provisions regulating the teaching activities and the students' assessments will be implemented. In particular, the following methods will be applied: the lessons will be carried out interactively on the Microsoft Teams platform and the teaching materials will be made available to the students on the Moodle platform.Type of evaluation
The exam will be written and it will last two hours. The students will be asked to reply extensively to three questions. In the case of an extension of the health emergency due to COVID-19, all the provisions regulating the teaching activities and the students' assessments will be implemented. In particular, the final exam will consist of an oral examination.