I obtained my PhD in September 2018 with the thesis 'Musical Stage Theory: A Novel Account for the Ontology of Musical Works and the Authenticity of Music'.
I graduated in 2012 from University of Bologna with a Bachelor's degree in Philosophy of Language. I received my MA in 2014 with a thesis about the role of creativity in musical transcription. In 2014 I also graduated in piano from the Conservatory of Bologna.
Appearance and Reality, Department of Philosophy (Module Convenor)
Self, Mind, and Body, Department of Philosophy (Seminar Leader)
History of Western Philosophy, Department of Philosophy (Seminar Leader)
Introduction to Ethics, Department of Philosophy (Seminar Leader)
Dissertation or Editorial project, Department of Music (Seminar Leader)
Introduction to Aesthetics and Philosophy of Music, Department of Music (Seminar Leader)
Research Techniques, Department of Music (Seminar Leader)
Guest Lecture for the following modules: Mind and Consciousness, Reasoning and Argument, Introduction to Aesthetics and Philosophy of Music, Advanced Topics in Aesthetics, Research Techniques
In my current research I investigate the impact of revolutionary development of AI technology on ontological, aesthetic, and evaluative considerations on music. In particular, I aim to answer two… read more
In my current research I investigate the impact of revolutionary development of AI technology on ontological, aesthetic, and evaluative considerations on music. In particular, I aim to answer two research questions: 'How does the development of computer-generated music affect the ontology of musical works?' and 'Do we deem computer-generated music as creative as human-generated music? If not, why?'. The scope of this research is to fill the existing gap in the literature in regard to the impact that cutting-edge developments in AI have on aesthetic and ontological debates on music and art. Given its interdisciplinary approach, it will build a bridge between research on computer-generated music, aesthetics, and behavioural analysis of attitudes of reception. This will be decisive to shed light on the controversial issue of creativity and, consequently, on pressing questions over matters of intellectual property and AI. It will also contribute to explain the role that intuitions play in our relation with artefacts produced by AI systems.
In my PhD project I defend and develop a new account for the ontology of musical works: Musical Stage Theory, the view hat a musical work is a performance. I propose this account as an alternative to mainstream and well accepted views on the nature of musical works with a specific intent, that of suggesting a way to analyse the identity of musical works which gives due relevance to musical practices and, at the same time, is grounded on a solid ontological basis. As a corollary to the main ontological thesis, Musical Stage Theory also allows for contextually dependent senses of authenticity of musical performances.