Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Contenidos
1. Genealoga de la crtica musical moderna
La autonoma de la obra de arte. Msica, literatura, y la aparicin de la crtica esttica
moderna. Conceptos modernos de criticism (tradicin angloamericana) y Kritik
(tradicin continental). El Romanticismo temprano y la teora crtica literaria. La
reformulacin de la teora hermenutica clsica: Schleiermacher, F. Schlegel, y E. T. A.
Hoffmann. El crculo hermenutico y la relacin entre el todo y las partes. La dicotoma
objetividad-subjetividad en el proceso interpretativo. Autonoma, obra, gnero y medium.
Bibliografa
Theodor W. Adorno, Monografas musicales, Obras completas,13;Madrid:Akal,2006.
Theodor W. Adorno, Essays on Music, Richard Leppert, editor; Berkeley: University of
California Press, 2002.
Silvia Alonso, editora, Msica y literatura: Estudios comparativos y semiolgicos; Madrid:
Arco, 2002.
Arved Ashby, Absolute Music, Mechanichal Reproduction; Berkeley: University of
California Press, 2010.
Attali, Jacques, Noise: The Political Economy of Music; Minneapolis: University of
Minnesota Press, 1985.
Carolyn Abbate, In Search of Opera; Princeton: Princeton University Press, 2003.
Carolyn Abbate, Music: Drastic or Gnostic?; Critical Inquiry, 30:505-36.
Carolyn Abbate y Roger Parker, A History of Opera; New York: Norton, 2012.
Kofi Agawu, Analyzing Music Under the New Musicological Regime, Journal of
Musicology, 15: 297-307 (1997).
Kofi Agawu, La msica como discurso: Aventuras semiticas en la msica romntica;
Buenos Aires: Eterna Cadencia, 2011.
Alain Badiou and Slavoj Zizek, Cinco lecciones sobre Wagner; Madrid: Akal, 2013.
Jess Martn Barbero, De los medios a las mediaciones: Comunicacin, cultura y
hegemona; Naucalpn: Gili, 2001.
Tim Blanning, El triunfo de la msica. Barcelona: Acantilado, 2011.
Ian Bent, Music Theory in the Age of Romanticism; Cambridge: Cambridge University
Press, 1996.
Katharine Bergeron and Philip V. Bohlman, Disciplining Music: Musicology and Its
Canons; Chicago: The University of Chicago Press, 1992.
Henri Bergson, Materia y memoria: Ensayo sobre la relacin del cuerpo con el espritu;
Buenos Aires: Cactus, 2006.
Scott Burnham, Theory and The Music Itself, The Journal of Musicology, 15: 316-29
(1997)
Esteban Buch, La novena de Beethoven: Historia poltica del himno europeo; Barcelona:
El Acantilado, 2001.
Esteban Buch, editor, Tangos cultos: Kagel, J. J. Castro, Mastropiero, y otros cruces
musicales; Buenos Aires: Gourmet musical, 2012.
Edward Cone, Musical Form and Musical Performance; New York: Norton, 1968.
Nicholas Cook, Analysing Performance and Performing Analysis, in Rethinking Music,
239-61; Oxford: Oxford University Press, 1999.
Nicholas Cook y Mark Everist, editores, Rethinking Music; Oxford: Oxford University
Press, 1999.
Daniel Chua, Absolute Music and the Construction of Meaning; Cambridge: Cambridge
University Press, 1999.
Carl Dahlhaus, La idea de la msica absoluta, Barcelona: Idea Books, 1999.
Carl Dahlhaus, La msica del Siglo XIX, Madrid: Akal 2014.
Andrew Dell Antonio, editor, Beyond Structural Listening? Postmodern Modes of Hearing;
Berkeley: University of California Press, 2004.
Enrico Fubini, La esttica musical de la Antigedad al siglo XX; Barcelona: Alianza, 2da.
Edicin, 2005.
Enrico Fubini, Esttica de la msica; Madrid: Machado, 2001.
Hans Ulrich Gumbrecht, The Production of Presence: What Meaning Cannot Convey;
Stanford: Stanford University Press, 2004.
Hans Ulrich Gumbrecht, Presencias de Mozart podemos describir los placeres que nos
produce escuchar msica?, Historia y Grafa, 27 (2006): 173-95.
Paul Hegarty, Noise/Music: A History; London: Bloomsbury Academic, 2007.
Antoine Hennion, La pasin musical;Barcelona:Paids,2002.
Vladimir Janklvitch, La msica y lo inefable; Barcelona: Alpha Decay, 2005.
Kathryn Kalinak, Film Music: A Very Short Introduction; New York: Oxford University
Press, 2010.
Anahid Kassabian, Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity;
Berkeley: University of California Press, 2013.
Mark Katz, Capturing Sound: How Technology Has Changed Music, nueva edicin
revisada; Berkeley: University of California Press, 2010.
Joseph Kerman, Contemplating Music: Challenges to Musicology; Cambridge, Mass.:
Harvard University Press, 1986.
Joseph Kerman, Opera as Drama; Berkeley: University of California Press, 1986.
Kevin Korsyn, Decentering Music: A Critique of Contemporary Musical Research; New
York: Oxford University Press, 2003.
Lawrence Kramer, Classical Music and Postmodern Knowledge; Berkeley: University of
California Press, 1995.
Lawrence Kramer, Narratologa musical: un esbozo terico, Quodlibet, 25 (2003):
113-39.
Lawrence Kramer, Interpreting Music; Berkeley: University of California Press, 2010.
Elisabeth Le Guin, Boccherinis Body: An Essay in Carnal Musicology; Berkeley:
University of California Press, 2005.
Richard Leppert, Music and Image: Domesticity, Ideology, and Socio-Cultural Formation in
Eighteenth-Century England; Cambridge: Cambridge University Press, 1993.
Susan McClary, Conventional Wisdom: The Content of Musical Form; Berkeley: University
of California Press, 2000.
Susan McClary, Feminine Endings: Music, Gender, and Sexuality, nueva edicin revisada;
Minneapolis: University of Minnesota Press, 2002.
Susan McClary, Lo narrativo en msica absoluta: Identidad y diferencia en la Tercera
Sinfona de Brahms, Quodlibet, 25 (2003): 140-57.
BrianMassumi,ParablesoftheVirtual:Movement,Affect,Sensation;Durham:DukeUniversityPre
ss,2002.
Jean-Jacques Nattiez, Music and Discourse: Toward a Semiology of Music;
Princeton: Princeton University Press, 1990.
Jean-Jacques Nattiez, Proust Msico; Buenos Aires: Gourmet musical, 2009.
Judith Peraino, Listening to the Sirens: Musical Technologies of Queer Identity from Homer
to Hedwig; Berkeley: University of California Press, 2006.
Silvia Alonso Prez, editora, Msica y literatura: estudios comparativos y metodolgicos,
Madrid: Arco Libros, 2002.
John Rink, editor, The Practice of Performance: Studies in Musical
Interpretation; Cambridge: Cambridge University Press, 1995.
Edward Said, Msica al lmite. Barcelona: Debate, 2010.
Ruth A. Solie, Musicology and Difference: Gender and Sexuality in Music
Scholarship; Berkeley: University of California Press, 1993.
Jonathan Sterne, MP3: The Meaning of a Format; Durham: Duke University Press,
2012.
Jonathan Sterne, editor, The Sound Studies Reader; New York: Routledge, 2012.
Rose Rosengard Subotnik, Deconstructive Variations: Music and Reason in Western
Society; Minneapolis: University of Minnesota Press, 1995.
Eero Tarasti, Semiotics of Classical Music: How Mozart, Brahms, and Wagner Talk to Us;
Berlin: De Gruyter Mouton, 2012.
Richard Taruskin, The Oxford History of Western Music; New York: Oxford University
Press, 2005.
Richard Taruskin, The Danger of Music and Other Anti-Utopian Essays; Berkeley:
University of California Press, 2009.
Gary Tomlinson, Music in Renaissance Magic: Toward a Historiography of Others; Chicago:
The University of Chicago Press, 1993.
Gary Tomlinson, The Web of Culture: A Context for Musicology; 19th-Century Music, 7:
350-82 (1984).
Gary Tomlinson, Canto metafsico: un ensayo sobre la pera, Barcelona: Idea books,
2001.
Leo Treitler, Music and the Historical Imagination; Cambridge, Mass.: Harvard University
Press, 1989.
George Ydice, Nuevas Tecnologas, Msica y Experiencia; Barcelona: Gedisa, 2007.
Lawrence Zbikowski, Conceptualizing Music: Cognitive Structure, Theory, and Analysis;
New York: Oxford University Press, 2002.
Evaluacin
La evaluacin estar basada en dos trabajos individuales, uno oral y el otro escrito. El
primer trabajo consiste en una presentacin oral de 15 minutos en la que el