Musical Theory and Analysis - 1750 to 1815 - 1st semester
a) To develop technical and conceptual skills in Musical Analysis
b) To know the principal aspects of the theoretical and musical thought in the period
c) To be able to insert the musical phenomena of the period in its historical, social and esthetical context
d) To obtain a deep knowledge of the musical and dramatic repertoire of the period
e) To know the actual methodologies for presentation of the results of the investigation
Luís Miguel Lopes dos Santos
Weekly - 4
Total - Available soon
Cook, N. (1987). A Guide to Musical Analysis. Oxford: Oxford University Press.
Downs, Ph. G. (1992). Classical Music: the Era of Haydn, Mozart and Beethoven. New York: Norton.
Dunsby, J. & Whittall, A. (1988). Music Analysis in Theory and Practice. London: Faber Music.
Pestelli, G. (1984). The Age of Mozart and Beethoven. Cambridge: Cambridge University Press
Ratner, L. G. (1980). Classic Music: Expression, Form, and Style. New York: Schirmer.
Rosen, C. (1972). The Classical Style: Haydn, Mozart, Beethoven. New York: Norton.
Rosen, C. (1988). Sonata Forms. New York: Norton.
Taruskin, R. (2010). The Oxford History of Western Music, vol. 2: Music in the Seventeenth and Eighteenth Centuries. Oxford: Oxford University Press.
Theoretical and practical subject (40% + 60%). In the theoretical classes the teacher will present the repertoire and expose the historical and technical foundations of the subjects. The practical classes imply that students will do a preparatory personal work over the musical scores; they will be invited to comment musical auditions and films and to discuss the musical analysis of the repertoire. They will be asked to prepare small written assignments and oral presentations during the semester. NB: the repertoire, mainly of works by Haydn, Mozart and Beethoven, will be defined in the first class.
Two written tests (45% + 45%). Written assignments and oral presentations (10%).
Methodology of the musical analysis in the classical era. Characteristic structures and forms in the period: thematic, formal and harmonic problems. Small forms. Two-parts sonata. Sonata form in keyboard music, chamber music and orchestral music (symphony, concerto, overture). Opera in the classical era. NB: the repertoire, mainly founded on Haydn, Mozart and Beethoven works, will be defined in the first class.
Programs where the course is taught: