Musical practice -Music in the World


At the end of the unit, the student will have:
a) Expanded his field of musical experiences through the practice of Russian folk music and Eastern Church´s
sacred music ;
b) Developed capacities and taste for ensemble performance;
c) Acquired an historical and stylistic understanding of the above mentioned repertoires.

General characterization





Responsible teacher

Svetlana Yurievna Poliakova, João Manuel Nunes da Silva Nogueira


Weekly - 4

Total - 168

Teaching language





Levy K. & Troelsgård Chr. (1995). Byzantine chant. The New Grove Dictionary of Music Musicians, v.4. London: MacMillan, 685699.
Moody I. (2002). Um Panorama da Música Sacra Russa. Música Russa. Um Panorama, Público, Centro Cultural de Belém. Lisboa: CCB, 8389.
Moody, I. & Poliakova, S. (2013) Russian Hymnology, in J. R. Watson, E. Hornby (ed.), The Canterbury Dictionary of Hymnody. Retrieved from ISBN 9789727896.
Poliakova S. (2009). Sin 319 and Voskr 27 and the triodon cycle in the liturgical praxis in Russia during the Studite Period. PhD thesis. Lisboa: FCSH-UNL.
Strunk O. (1977). Essays on Music in the Byzantine World, New York: W. W. and Norton Company

Teaching method

This curricular unit consists of 70% of practical classes of choral interpretation of the repertoire and 30% of theoretical classes. The practical component includes the performance in concert of pieces. The theoretical component includes explanation by the lecturer of historical, interpretative and analytical matters concerning the course and the discussion of these matters.


Evaluation method

Available soon

Subject matter

1. Introduction to Russian choral practices: folk and liturgical chant historicalcultural
2. Folk music genres, periodization, regional styles.
3. Folk music repertoire analysis and interpretation.
4. Byzantine liturgical chant as the matrix of Russian liturgical chant. Historical and liturgical background of the central Byzantine tradition, local traditions of the Coptic, Armenian and Georgian churches, Syriac and Slavonic traditions. Systematization of the Byzantine chant; typology of musical writing and sources.
5. Byzantine liturgical repertoire analysis and interpretation.
6. Russian sacred music periodization and systematization; monodic and polyphonic tradition of plainchant; sacred works of Russian composers from the 18th to the 21st century.
7. Russian sacred repertoire: analysis and interpretation of examples from various periods and regional
traditions, including its direct, responsorial and antiphonal forms and contrafactum singing.


Programs where the course is taught: