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Objetivo Geral:

Adquirir uma visão contextualizada da função social da crítica musical. Desenvolver as competências para o exercício da crítica musical e da capacidade de produção de textos e comentários críticos sobre música.

Bibliografia Básica:

• ADORNO, Theodor. Essays on music. Berkeley: University of California Press, 2002. BOLLOS, Liliana Harb. Crítica musical no jornal: uma reflexão sobre a cultura brasileira. In: Opus: revista da Associação Nacional de Pesquisa e Pós-graduação em Música. Vol. 11, n.11 (2005); p. 147-158. __________. Mário de Andrade e a formação da crítica musical brasileira na imprensa. In: Música hodie. Vol. 6, n.2 (2006), p.119-132. BOURDIEU, Pierre. La distinción: critério y bases sociales del gusto. Madrid: Taurus, 1988. CALDEIRA FILHO, João da Cunha. A aventura da música: subsídios críticos para apreciação musical. São Paulo: Ricordi Brasileira, 1968. COLI, Jorge. Música final: Mário de Andrade e sua coluna jornalística Mundo musical. Campinas: Editora da UNICAMP, 1998. CONE, EDWARD T. ‘The Authority of Music Criticism’, Music: a View from Delft. Chicago: University of Chicago Press, 1989. CRITICISM. IN: The New Grove’s Dictionary of Music and Musicians. 3th ed. DEMUTH, Norman. An anthology of musical criticism. Westport: Greenwood Press, 1971. FAIRCLOUGH, Norman. Critical discourse analysis: the critical study of language (language in social life). Harlow: Addison Wesley Publishing Company, 1995. HASKELL, Harry (ed.). The attentive listener: three centuries of music criticism. New Haven: Princeton University Press, 1996. HEBLE, Ajay. Jazz, dissonance and critical practice. New York: Routledge, 2000. HOLOMAN, D. Kern. Writing about music: a style sheet. 2nd ed. Los Angeles: University of California Press, 2008. KERMAN, Joseph. Write all these down: essays on music. Berkeley and Los Angeles: University of California Press, 1994. KRAMER, Lawrence. Musical meaning: toward a critical history. Los Angeles: University of California Press, 2001. LEBRECHT, Norman. Who killed classical music? Maestros, managers, and corporate politics. New Jersey: Birch Lane Press, 1997. NESTROVSKI, Artur. Notas musicais: de barroco ao jazz. São Paulo: Publifolha, 2000. SAID, Edward. Musical elaboratio

Bibliografia Complementar:

• ADORNO, Theodor: The culture industry. New York: Routledge, 2001. AGAWU, Kofi. Music as discourse: semiotic adventures in Romantic music. Oxford: Oxford University Press, 2008. COHAN, Steven. Hollywood Musicals, The Film Reader. IN: Focus Routledge Film Readers. New York: Routledge, 2001. FRITH, Simon. Performing rites: on the value of popular music. Cambridge: Harvard University Press, 1998. GOEHR, Lydia. Imaginary Museum of Musical Works: an essay in the philosophy of Music. Oxford: Oxford University Press, 2007. GOTTLIEBE, Robert. Reading jazz: a gathering of autobiography, reportage, and criticism from 1919 to now. New York: Vintage, 1999. HOY, David Couzens. Critical Resistance: From Poststructuralism to Post-Critique. Massachusetts Institute of Technology, 2004. KARNES, Kevin. Music, criticism, and the challenge of history: shaping modern musical thought in late nineteenth century Vienna. Oxford: Oxford University Press, 2008. SCOTT, Derek B. From the Erotic to the Demonic: On Critical Musicology. Oxford: Oxford University Press, 2003. SWAIN, Joseph. Musical languages. New York: W. W. Norton and Company, 1997. TARUSKIN, Richard. Text and act: essays on music and performances. Oxford: Oxford University Press, 1995. TREITLER, Leo. Music and the historical imagination. Cambridge: Cambridge University Press, 1989.