History of Music: 1300-1600
The student should:
a) acquire a knowledge of the historical context of the period;
b) be able to trace the evolution of the principal musical genres of this period;
c) acquire a notion of traditions, in the midst of which certain individuals stand out;
d) gain experience of free but guided research;
e) become aware of aspects of the sources and musical practices of the period, including notation, instruments and performance practices.
David John Cranmer
Weekly - 4
Total - 168
Atlas, A. (1998). Renaissance Music. New York: W.W. Norton.
Cranmer, D. (2007). Cantate Domino: introdução à música sacra. Lisboa: Paulus Editora.
Fenlon, I. (Ed.) (1989). Man and Music: The Renaissance. London: MacMillan (Man & Music).
Hoppin, R. (1978). Medieval Music. New York: W.W. Norton. (Trad. espanhola.: Hoppin, R. (2000). La música medieval. Madrid: Akal).
McKinnon, J. (Ed.) (1989). Antiquity and the Middle Ages. London: MacMillan (Man & Music).
Taruskin, R. (2010). Oxford History of Western Music, Vol. 1: The Earliest Notations to the Sixteenth Century. Oxford: Oxford University Press.
Expositive lessons, organised in four cycles (contexts, key-figures, practices and genres). Listening to musical examples constitutes a fundamental element, encouraging students to recognise stylistic characteristics of the music they hear. Collective and individual support lessons for the individual research project.
Avaliação contínua - a written test (40%), an individual research project (40%), classroom participation together with two reflective reports on this subject(20%)
Aspects of the historical context: the Church, some of the principal dynasties, cities and states. The evolution of the principle genres, such as the Mass, the motet, the chanson, the madrigal, instrumental music. The principal composers, for example Machaut, Ciconia, Dufay, Ockeghem, Josquin, Palestrina, Lassus and Byrd. The means of musical transmission: notation, manuscripts and prints.
Programs where the course is taught: