History of Music: 1890-1950 - 1st semester

Objectives

a) To acquire and develop methodological and conceptual competences in the field of the History of Music;
b) To gain knowledge about the main issues, composers, movements, institutions and musical genres in the period in question;
c) To acquire the ability to contextualize musical phenomena from the historical, sociological and ideological points of view;
d) To gain knowledge about the musical and music-theatrical repertoire in the period in question;
e) To gain knowledge about the current methodologies of research, and to develop presentation and communication skills according to academic standards.

General characterization

Code

711021026

Credits

6

Responsible teacher

Paulo Ferreira de Castro

Hours

Weekly - 4

Total - Available soon

Teaching language

Portuguese

Prerequisites

None

Bibliography

TARUSKIN, Richard, The Oxford History of Western Music IV: The Early Twentieth Century, New York, Oxford University Press, 2005
COOK, Nicholas e Anthony POPLE (coord.), The Cambridge History of Twentieth-Century Music, Cambridge: Cambridge University Press, 2004
MORGAN, Robert P. (coord.), Modern Times, Houndmills: Macmillan, 1993
MORGAN, Robert P., Twentieth-Century Music, New York: Norton, 1991
SALVETTI, Guido, La nascita del Novecento, Torino: E.D.T., 1991

Teaching method

60% theoretical sessions, 40% practical sessions. A combination of theoretical exposition, discussion, reading assignments and practical work. Listening to music examples and audiovisual presentations.

Evaluation method

One or two written tests. Presence and active participation are taken into account in the final assessment.

Subject matter

General survey of Western music in the first half of the 20th century, especially with regard to technical, formal and aesthetic changes characteristic of the modernist era. Discussion of the concepts ‘modernism’, ‘modernity’ and ‘avant-garde’ and their application to music. Contextualization of musical phenomena against the background of social and political emancipation and counter-emancipation movements, the imperatives of rupture and innovation, the interrelations among the arts, and the discourse of aesthetic autonomy. Detailed approach to some of the main trends during the period in question, namely: Debussy and French music of the turn of the century; Stravinsky and Franco-Russian cultural exchanges; the Second Viennese School and its legacy; the musical culture of the Weimar Republic; modernism, primitivism, nationalism and neoclassicism.

Programs

Programs where the course is taught: