Analysis of Orally Transmitted Musics
a) To make students aware of forms and models of musical practices outside the art music tradition.
b) To promote an extended knowledge of the musical practices of different traditions of the world.
c) To make accessible and raise the interest in various typologies of musical analysis.
d) To encourage the interest in musical analysis.
e) To encourage the articulation of musical analysis with contemporary debates and problematization in the fields of Musicology and Ethnomusicology.
Pedro Miguel Meio-Tostão Roxo
Weekly - 4
Total - 168
KIPPEN, JAMES R. (2001). Hindustani Tala. In Alison A. (ed.). The Garland Encyclopedia of World Music. South Asia - The Indian Subcontinent. New York: Garland Publishing.
RUCKERT, G.; WIDDESS, R. (2001). Hindustani Raga. In A. Arnold (ed.). The Garland Encyclopedia of World Music. South Asia-The Indian Subcontinent. New York: Garland Publishing.
MARCUS, S. (2007). Music in Egypt: Experiencing Music, Expressing Culture. Oxford: Oxford University Press
RACY, A. J. (2003). Making Music in the Arab World: The Culture and Artistry of Tarab. Cambridge: Cambridge University Press.
EVANS, D. (2001). Blues. In Ellen K. (ed.). The Garland Encyclopedia of World Music.The United States and Canada. New York:Garland Publishing.
MONSON, I. (2001) Jazz. In The Garland Encyclopedia of World Music.The United States and Canada. New York:Garland Publishing.
COVACH, J. (1997)Understanding Rock: Essays in Musical Analysis. Oxford:Oxford Univ.Press
CARDOSO, C. (2016) Teoria do Jazz. Lisboa: Chiado Ed.
The classes are structured around the presentation and discussion of the topics previously stated, through presentations by the lecturer and discussion with the students, including the listening and analysis of musical examples. The use of audiovisual materials and the live performance on class using musical instruments belonging to the practices under analysis are also planned activities.
the third is related to the making of a short research project related to an issue analysed in class or based on a proposal by the student approved by the teacher(40%), the first relates to classroom participation (30%), the second parameter consists of a written test (30%)
1. North Indian rhythmic music system - Hindustani Taal.
2. North Indian melodic music system - Hindustani Raag.
3. Arab music in theory and in practice: An introduction.
4. Analysis of melodic and rhythmic organization. Maqam and iqa´
5. Maqam and iqa´ - Analysis of formal organization and improvisation
6. Maqam and iqa´ - Performative practice
7. Blues. Context and historical background
8. Blues. Scales and harmonic progressions
9. Blues performance
10. Jazz. Jazz standards analysis
11. Jazz standards´ performance
12. Emergence of rock´n´roll and pop music: Innovations
13. Analysis of song format: lyrics and music; structure verse/chorus and multiple variations
14. The role of organology in pop/rock music: amplification, electric guitar, synthesizer, computer
15. Recording and editing.
16. Analysis tools: sheet music, cipher, studio recording and live recording.
17. Practice of musical analysis: Harmony, melody, structures, arrangements and orchestration.
Programs where the course is taught: