Collegium Musicum 2
Encourage and maintain explicit the union between musical performance and theoretical musicology; demonstrate, theoretically and practically, that the performance and the interpretation must be supported by the musical analysis and the knowledge of historical and social context and style; analyse, discuss and experiment different stylistic approaches in early music interpretation, with the necessary theoretical support; encourage the excellence in musical performance, through the musicality, the vivacity and the maximum exploration of interpretation possibilities; encourage and develop the critical opinion in the appreciation of musical interpretation.
Paulo Fernando Vassalo Neves Lourenço
Weekly - 4
Total - 84
COOK, Nicholas, Music, performance, meaning: Selected Essays, Cambridge, Cambridge University Press, 2007
COOK, Nicholas, Rethinking music, Cambridge, Cambridge University Press, 1999
DONINGTON, Robert, The Interpretation of Music, London, Faber, 1989
HARNONCOURT, Nikolaus, Le Discours Musical, Paris, Galimard, 1982
RINK, John, The practice of performance: Studies in musical interpretation, Cambridge, Cambridge University Press, 1995
HILL, Peter, “From score to sound”, in Rink, John (ed.), Musical Performance – a Guide to Understanding, Cambridge, Cambridge University Press, 2002
PINNOCK, Trevor, “Reflexions of a “pioneer”” in Rink, John (ed.), Musical Performance – a Guide to Understanding, Cambridge, Cambridge University Press, 2002
TARUSKIN, Richard, Text ans Act: Essays on Music and Performance, Oxford, Oxford University Press, 1995
The goal of this unit being the relationship beetween theoretical musicology and pratical music, each class will do it, through the critical rehearsal of pieces of several periods, genres and styles. Comparative auditions will have a close relationship with the rehearsed pieces and respective performative issues.
Vocal / instrumental music ensemble performance: vocal and instrumental works performance of diverse stylistic periods, making connexions between interpretation and musical analysis (global structure, harmonic organisation, melodic contour, etc.) and between interpretation and historical - social context and style. If possible works of renaissance, baroque, classical and romantic periods, and from 20th and 21st centuries will be rehearsed. The final choice depends of the students´ previous vocal and choral experience.
Musical interpretation introductory studies, through the audition of distinct interpretations of the same works; establishment of performance – interpretation criteria. Preparation and realization of an ensemble project.
Programs where the course is taught: