History of Music: 1890-1950
a) To acquire and develop methodological and conceptual competences in the field of the History of Music;
b) To gain knowledge about the main issues, composers, movements, institutions and musical genres in the period in question;
c) To acquire the ability to contextualize musical phenomena from the historical, sociological and ideological points of view;
d) To gain knowledge about the musical and music-theatrical repertoire in the period in question;
e) To gain knowledge about the current methodologies of research, and to develop presentation and communication skills according to academic standards.
Paulo Manuel Rêgo Ferreira de Castro
Weekly - 4
Total - 168
TARUSKIN, Richard, The Oxford History of Western Music IV: The Early Twentieth Century, New York, Oxford University Press, 2005
COOK, Nicholas e Anthony POPLE (coord.), The Cambridge History of Twentieth-Century Music, Cambridge: Cambridge University Press, 2004
MORGAN, Robert P. (coord.), Modern Times, Houndmills: Macmillan, 1993
MORGAN, Robert P., Twentieth-Century Music, New York: Norton, 1991
SALVETTI, Guido, La nascita del Novecento, Torino: E.D.T., 1991
60% theoretical sessions, 40% practical sessions. A combination of theoretical exposition, discussion, reading assignments and practical work. Listening to music examples and audiovisual presentations.
Método de avaliação - practical classes(40%), theoretical classes(60%)
General survey of Western music in the first half of the 20th century, especially with regard to technical, formal and aesthetic changes characteristic of the modernist era. Discussion of the concepts ‘modernism’, ‘modernity’ and ‘avant-garde’ and their application to music. Contextualization of musical phenomena against the background of social and political emancipation and counter-emancipation movements, the imperatives of rupture and innovation, the interrelations among the arts, and the discourse of aesthetic autonomy. Detailed approach to some of the main trends during the period in question, namely: Debussy and French music of the turn of the century; Stravinsky and Franco-Russian cultural exchanges; the Second Viennese School and its legacy; the musical culture of the Weimar Republic; modernism, primitivism, nationalism and neoclassicism.
Programs where the course is taught: