Theory and Musical Analysis
a) To develop technical and conceptual competencies at advanced level in the area of Music Analysis;
b) To develop knowledge and foster the critical evaluation of some of the main currents of musictheoretical
c) To understand the historical, sociological and aesthetic context of the musical phenomena that constitute the object of analysis;
d) To acquire the methodological tools required for specific analytical and/or theoretical tasks.
Weekly - 3 letivas + 1 tutorial
Total - Available soon
Antokoletz, E. (2014). A History of Twentieth-Century Music in a Theoretic-Analytical Context. New York: Routledge.
Christensen, T. (Ed.) (2002). The Cambridge History of Western Music Theory. Cambridge, CUP.
Cook, N. & Pople, A. (Eds.) (2004). The Cambridge History of Twentieth-Century Music. Cambridge: CUP.
Cross, J. (Ed.) (2003). The Cambridge Companion to Stravinsky. Cambridge: CUP.
Devoto, M. (2004). Debussy and the Veil of Tonality. Hillsdale: Pendragon.
Morgan, R. P. (Ed.) (1993). Modern Times. Houndmills: Macmillan.
Shaw, J. & Auner, J. (Eds.) (2010). The Cambridge Companion to Schoenberg. Cambridge: CUP.
Simms, B. (2000). The Atonal Music of Arnold Schoenberg, New York: OUP.
Taruskin, R. (1996). Stravinsky and the Russian Traditions. Oxford: OUP.
Taruskin, R. (2010). Music in the Early Twentieth Century. Oxford: OUP.
Trezise, S. (Ed.) (2003). The Cambridge Companion to Debussy, Cambridge: CUP.
Van Den Toorn, P. (1983). The Music of Igor Stravinsky. New Haven: YUP.
Theoretical, methodological and analytical issues are investigated through an intensive programme of group discussions, practical exercises and readings, thus promoting the development of high-level critical and technical standards. No single analytic method is imposed, but the student is encouraged to develop his/her own analytic approach to the musical works.
30% theoretical exposition and 70% practical work. Practical work consists mainly of oral presentations of individual work by students, followed by group discussion. Assessment is based on the quality of the oral presentations and the participation in group discussions (30%) and at least one extended essay (70%).
The musical languages of Debussy, Stravinsky and Schoenberg. Analysis of selected works of these
composers, to be determined each year according to the students areas of interest, in connection with the
reading programme established at the beginning of the semester.