Performance and Interpretation Studies


a) Indepth understanding of the specific characteristics of the main musical styles and their connection with
performance and interpretation;
b) Obtaining knowledge about the milestones of performance history and its main protagonists.

General characterization





Responsible teacher

Available soon


Weekly - 3 letivas + 1 tutorial

Total - Available soon

Teaching language





Brown, C. (1999). Classical and Romantic Performance Practice 1750-1900. Oxford: OUP.
Cook, N. (2009). The Cambridge Companion to Recorded Music. Cambridge: CUP.
Davis, T. (Ed.) (2008). The Cambridge Companion to Performance Studies. Cambridge: CUP.
Dorian, F. (1966). The History of Music in Performance. New York: Norton.
Spitzer, J. & Zaslaw, N. (2004). The Birth of the Orchestra. Oxford: OUP.
Harnoncourt, N. (1998). O discurso dos sons: caminhos para uma nova compreensão musical. Rio de Janeiro: Jorge Zahar.
MacClintock, C. (1979). Readings in the History of Music in Performance. Bloomington: Indiana University Press.
Schecher, R. (2006). Performance Studies: An Introduction. New York: Routledge.
Taruskin, R. (1995). Text and Act: Essays on Music and Performance. Oxford: OUP.

Teaching method

40% theoretical lessons, 60% practical. In practical lessons texts and recorded interpretations are analysed and critically discussed.

Evaluation method

Curricular unit without examination. Four short critical essays are demanded (up to 5 pages) about theoretical texts and recorded performances.

Subject matter

1. Authenticity and personality: a dialogue between historical musicology and a personal approach.
2. Style: definition factors; the main styles; national styles; personal styles.
3. Performance and interpretation questions: instrumentation; accidentals; embellishment; accompaniment;


Programs where the course is taught: