Music and Literature - 2nd semester
1. Critical knowledge about major trends of theoretical, conceptual and methodological approaches to vocal pieces (Lied ,mélodie, canção) and instrumental pieces with latent mythical references.
2. Ability for an interdisciplinary approach to the works and critical skills; openness to possible interpretations wihin the work´s horizon in aesthetic, hermeneutic and analytic perspectives.
3. Openness to the archetypical, mytical and poetical realms of the work.
4. Ability to grasp intertextual and intermedial crossings in the works.
5. Awareness of the various levels of interaction/expressive tension between the poeticmusical
work, the voice and the instrument.
6. Performance criticism, justified with phenomenological, aesthetic,hermeneutical, rhetorical, stylistic,expressive criteria.
7. Portuguese, French and German languages: pronunciation, musical world, temporal, imagetic and evocative realms and their immediate effects in instrumental performance.
Maria Manuela Toscano
Weekly - 3 letivas + 1 tutorial
Total - Available soon
Recommended: reading skills in Portuguese, English and French.German translations are provided.
Agawu, Kofi (1999). Theory and Practice in the Analysis of the Nineteenth-Century Lied, in Music Analysis, XI,1, pp.3- 36.
Bernac, Pierre (1978). The interpretation of French mélodies, in The Interpretation of French Song. New York: The Norton Library.
Bergeron, Katherine (2010). LArt de dire, or Language in Performance, in Voice Lessons. French mélodie in the Belle Époque. Oxford: OUP, pp.183-254.
Faure, Michel e Vives, Vincent (2000). Histoire et poétique de la mélodie française, pref.Pierre Bernac, sobretudo The interpretation of French melodies, in The Interpretation of French Song. New York: The Norton Library.
Herr, Sophie (2009). Geste de la voix et theâtre du corps. Paris: LHarmattan.
Ricoeur, Paul, The Metaphorical Process as Cognition, Imagination, Feeling (fotoc).
a) Study of the writings about music and letters.
b) Expositions by the lecturer.
analysis, followed by collective discussion.
d) Audition and comparative criticism of performances of vocal music, preceded by the poem´s performance. Videos: gesture and bodily expression.
e) Development of insights into the phonetic possibilities of the word and how their effects shape interpretation, characterization and performance. Shaping of silences, atmospheres, energy and plasticity of musical phrasing.
f) Grasping the ways how literary and mythical topics are interpreted by musical works.Describe the teaching methods
1. Active participation: quality of problematization and argumentation, mature artistic sensibility.
2. Analytic presentations
3. A written essay.
Analytic perspectives of Lied and mélodie around 1900.
1. Aesthetic questions: imitation, evocation, liberation from the semantic realm.
2. Texts and ideas about words and music: Poe, Baudelaire, Verlaine, Mallarmé, Ghil, Maeterlinck, Jankélévitch, Barthes, Deleuze; Goethe, Nägeli, Schopenhauer, Wagner, Schoenberg.
3. Between poetry, voice and instrument. Levels of relationship, tension and mutual interaction.
4. Intertextuality; crossings, correspondences, affinities or lack of affinities among the arts.
5. Some literary topics and mythical figures. Comparative approach to their metamorphosis into a vocalmusical setting. Hermeneutic readings.
6. Word, voice, instrument: performance aesthetics of vocal and pianistic German and French cultures.
7. Communication systems regarding the production and performance: places, institutions, patronage and