Musical Training 2 - 1st semester
1. To consolidate the knowledge of musical theory; 2. to develop score-reading and musical writing skills; to acquire the ability to sight-read choral, voice and piano, instrumental ensembles and orchestral scores, understanding what is more significant, or singing and / or at the piano, with detail; 3. To develop techniques of analysis of vocal, instrumental and orchestral scores.
Weekly - 4
Total - Available soon
BENNETT, Roy, Como ler uma partiture (Score Reading), Jorge Zahar Editor, Rio de Janeiro, 1990.
BENNETT, Roy, Elementos Básicos da Música, Jorge Zahar Editor, Rio de Janeiro, 1990.
CARSE, Adam, The History of Orchestration, London, Dover, 1964.
LINDENBERG, E., Comment Lire une Partition dOrchestre, Paris, Heugel, 1952.
MORRIS, R e FERGUSON, Howard, Preparatory Exercises in Score Reading, Oxford, Oxford University Press, 1985.
PISTON, Walter, Orcheastration, London, Victor Gollancz LTD, 1969.
SPITZER, John e ZASLAW, Neal, The Birth of the Orchestra, Oxford, Oxford University Press, 2004.
Partituras corais e orquestrais (excertos) de várias épocas e géneros.
he classes consist of 1. theoretical component, providing explanation by the lecturer of the elements that make up the content of the course, and 2. practical component. Lessons are both theoretical and practical, 20% being theoretical and 80% practical. Main practice methods: a) reading, singing and playing of simple and transpositional vocal and instrumental parts, including ancient keys; rhythmic reading at one or several levels; b) reduction of scores with variable textures to their basic elements, both in written form and on the piano; c) transcription of chamber ensemble and choral writing to the piano; d) instrumentation of piano excerpts; analysis of various elements of the score.
The methodologies to be applied presuppose the simultaneous differentiation of difficulty levels of the proposed tasks.
The evaluation is carried out by means of four short tests (25% x 4).
1. Brief overview of the musical writing practices of the European tradition. Writing in the baroque era: ancient keys, paleographic particularities, general bass, tablatures. 2. Modern musical writing - height, rhythm, texture, dynamics, tempo, agogic, timbre, articulation; music and word. 3.a) Writing for piano, singing and piano, chamber vocal and instrumental ensembles. 3.b) Writing for orchestra: introduction to the history of orchestration; instruments, their families and characteristics; instruments in the score; notation terminology.
Programs where the course is taught: