|Course Name||Code||Semester||T+U Hours||Credit||ECTS|
|Introduction To Music Philosophy and Esthetics||MZK 002||9||2 + 0||2||0|
|Recommended Optional Courses|
|Course Level||Bachelor's Degree|
|Course Coordinator||Öğr.Gör. EMEL DEMİRGEN|
|Course Category||Available Basic Education in the Field|
The philosophy of music aims to understand its close relation with the superphysics and aesthetics by asking fundamental questions about music. What is music? What is called music? What are the connections to music, mind, emotion; What is the meaning in music, what is the historical meaning of music, what is the quality of music? asks questions like. The philosophical questioning of music as an important element of human history and life is among the aims and principles of the course. Even though it is considered under the philosophy of art, "philosophy of music" is an important area of interest, free from the philosophy of art, due to its wide use of music. It can be counted as one of the important data sources that they will tell philosophy as an activity belonging to all times.
Music philosophy in Antiquity. Platon, Aristotales, Pythagoras, Empiricus. Music philosophy in Middle Ages. Anselmus, Aquinolu Thomas, Ockhamlı William, Bacon. Music in Islam philosophy. Farabî, El-Kindi, El Gazzâli, İbn-i Sina, Mevlana Celaleddin-i Rumi. Music philosophy in Renaissance. Zarlino, Marpurg. Music philosophy in 17th cc. Leibniz, Decartes, Spinoza. Music philosophy in 18th century. Rousseu, Kant, Hegel, Herder, Heinse. Music philosophy in 19th century. Schiller, Goethe, Schelling, Nietzsche, Schelling, Schopenhauer, Music Philosophy in 20th century. The meaning, ontology and values of music based on these thinkers.
|#||Course Learning Outcomes||Teaching Methods||Assessment Methods|
|1||Examines fundamental questions about the philosophy of music, the nature and value of music, and our experience of music.||Discussion, Brain Storming,||Homework,|
|2||Like any "X philosophy", it presupposes the knowledge of its target.||Discussion, Question-Answer, Lecture,||Homework, Performance Task,|
|3||As with fundamental problems of metaphysics and epistemology, most people only grasp the philosophical questions raised by music. They tend to think about some of these questions before confronting the academic discipline itself.||Discussion, Question-Answer, Lecture,||Homework,|
|4||Analyzes today's philosophy of music approaches.||Brain Storming, Lecture,||Homework,|
|Week||Course Topics||Preliminary Preparation|
|1||What Is Music?||Weekly notes and readings from basic reading resources.|
|2||The Definition of "Music" Beyond Music||Weekly notes and readings from basic reading resources.|
|3||Musical Ontology||Weekly notes and readings from basic reading resources.|
|4||The Fundamentalist Debate.||Weekly notes and readings from basic reading resources.|
|5||Ontological Issues||Weekly notes and readings from basic reading resources.|
|6||Music and the Emotions||Weekly notes and readings from basic reading resources.|
|7||Emotions in Music||Weekly notes and readings from basic reading resources.|
|8||Emotions in the Listener||Weekly notes and readings from basic reading resources.|
|9||Understanding Music||Weekly notes and readings from basic reading resources.|
|10||Music and Value||Weekly notes and readings from basic reading resources.|
|11||Aesthetics and Basic Problems in Music||Weekly notes and readings from basic reading resources.|
|12||Crisis of Musical Language and Twentieth Century Aesthetics||Weekly notes and readings from basic reading resources.|
|13||Aestheticism||Weekly notes and readings from basic reading resources.|
|14||General Evaluation||Weekly notes and readings from basic reading resources.|
|Course Notes||<p class="MsoNormal"> </p> <p class="MsoNormal">Notes arranged according to the weekly course flow will be used.</p>|
Peter Kivy, Introduction to a Philosophy of Music.
Theodor W. Adorno, Philosophy of New Music.
William Pole, The Philosophy of Music.
Dr. Ritwik Sanyal, Philosophy of Music.
Halbert Hains Britan, The Philosophy of Music.
Theodor W. Adorno, Philosophy of Modern Music.
Philip Alperson, An Introduction to the Philosophy of Music.
Vural Yıldırım, Müzik Felsefesine Giriş.
Aaron Ridley, Müzik Felsefesi.
|Order||Program Outcomes||Level of Contribution|
|1||The students attain high level informations about their field.||X|
|2||The students can be explain simple skills and able to apply them into voice performances.||X|
|3||The students have enough knowledge about ethics of art and science.||X|
|4||The students acquire problem solving ability as a team or individual.||X|
|5||The students know colleagues, regulations and laws about their fields.||X|
|6||The students attain an ability to life long learning while following technological and cultural innovations up.||X|
|7||The students have ability about planning and developing new methods in variable circumstances.||X|
|8||The students get European Language Portfolio Scale, Level B1.||X|
|9||The students get ability about multidimensional thinking in traditional voice training field||X|
|10||The students perform Turkish Folk Music and Turkish Classical Music songs in public and evaluate the results.||X|
|11||The students acquire to ability of performing traditional music as a singer at appropriate environments.||X|
|12||The students have ability to use new computer and communication technologies.||X|
|Semester Studies||Contribution Rate|
|1. Ara Sınav||50|
|1. Kısa Sınav||10|
|2. Kısa Sınav||10|
|1. Yıl İçinin Başarıya||50|
|ECTS - Workload Activity||Quantity||Time (Hours)||Total Workload (Hours)|
|Course Duration (Including the exam week: 16x Total course hours)||14||0||0|
|Total Workload / 25 (Hours)||0.28|