Musical Theory and Analysis - 1815 to 1890 - 2nd semester
The student should:
a) Develop conceptual and technical skills in analysis within selected musical genres of the 19th century: chamber music, piano music, orchestral music, vocal music;
b) Discern the analytical approaches to musical genres according to their theoretical values, using different methodologies;
c) Have capacity for critical appraisal in relation to the musical and vocal repertoires considered;
d) Build interdisciplinary approaches and appreciate different levels of interaction between literary text, voice and instrumental texture;
e) Know current methodologies of research, presentation and communication of results and apply knowledge in innovative and original ways.
Weekly - 4
Total - Available soon
Skills in harmony and couterpoint are recommended.
AGAWU, Kofi, \"Part ITheory\", \"Music as Language\", \"Criteria for Analysis\", in Music as Discourse. Semiotic Adventures in Romantic Music, Oxford , OUP, 2009.
AGAWU, Kofi, \"Theory and Practice in the Analysis of the Ninetenth- Century LIED\", in Music and Analysis, 1999, XI, 1, pp.3-36.
BYRNE, Lorraine, Schubert´s Goethe Settings, Ashgate, 2003, pp.209-212.
COOK, Nicholas, A Guide to Musical Analysis, Oxford, O UP, 1987.
GUT, Serge, \"Analyse musicale et musicologie: le choix des méthodes pour l´analyse d´un lied de H. Wolf\", in Révue d´ Analyse Musicale ( fotoc)
MONELLE, Raymond, The Sense of Music: Semiotic Essays. Princeton, New Jersey: P UP, 2000.
POWERS, Harold, La solita forma and the uses of convention, Nuove Prospettive nella Ricerca Verdiana, Parma/Milão, Istituto di Studi Verdiani/Ricordi, 1987, pp. 74-109.
ROSEN, Charles, The Romantic Generation, Harvard, Harvard University Press, 1995 (trad. portuguesa A Geração Romântica, S. Paulo, Edusp, 2000).
30% theoretical classes and 70% practical classes The thematic plan will be presented early in the unit. The theoretical component is expository with discussion of some issues. The student must be prepared by prior critical reading of oriented texts. Practical classes consist of listening to musical works, and to the construction, presentation and discussion of their analyzes. In vocal music, in-depth interpretations of literary background and its interactions with the music are developed. Analytical work: structures, principles concearning the continuity, derivation, transformation,and expansion of motifs and phrasing, local fragments, melodic techniques, harmonic problems, musical prose, modal hybridity, rhythmic counterpoint, timbre, vocal expression techniques, rhetoric driving, roles of silence. Composition and possible symbolic/evocative functions. Intertextuality.
In class teaching
Two written tests (each having a weight of 30%). Presentation of theoretical and analytical exercises, relevant participation and attendance (40%). Mandatory attendance of at least 50% of classes.
Two written tests (each of them weighing 30% of the final grade). The student
1. Introduction to the theory and analysis of the 19th century music: clarify relevant concepts and the adjacent constellation of Germanic organiscist theory values; musical implications of Gestalttheorie; perspectives on music hermeneutics and semiotics.
2. Lied e mélodie : Schubert, Brahms, Mahler, Fauré
3. Lyric piece for piano and chamber music: Chopin, Schubert, Schumann, Brahms.
4. Sacred Music:
4.1. Oratoria: Mendelssohn, Elias (excerpts).
4.2. Requiem: Verdi (excerpts).
5. Symphonic poem: Liszt, Orpheus
6. Ópera: Verdi, Othello (excerpts)
Programs where the course is taught: