Musical Theory and Analysis - 1600 to 1750
a) To obtain knowledge of the main Baroque composition techniques;
b) To obtain knowledge of the Baroque genres and musical forms of different dimensions and complexity;
c) To understand the theoretical criteria that underlie the musical thought and practice of this period;
d) To obtain skills to carry out the historical, aesthetic and stylistic framework of the Baroque repertoire;
e) To develop the ability to synthesize the conclusions of the analysis of a musical work from this period.
Svetlana Yurievna Poliakova
Weekly - 4
Total - 168
Buelow, G. J. (Ed.) (1994). The Late Baroque Era: From the 1680 to 1740. Englewood Cliffs, NJ: Prentice-Hall.
Cook, N. (1992). A Guide to Musical Analysis. London: J. M. Dent.
Hill, J. W. (2005). An Anthology of Baroque Music. New York & London: Norton.
Hill, J. W. (2005). Baroque Music: Music in Western Europe 1580-1750. New York & London: Norton.
Hutchings, A. (1978). The Baroque Concerto. London: Faber and Faber.
Taruskin, R. (2005). The Seventeenth and Eighteenth Centuries, The Oxford History of Western Music, vol. 2. Oxford: Oxford University Press.
The classes consist of 1. theoretical component (40%), providing explanation by the lecturer of the repertoire and the respective historical, theoretical, and analytical issues, and 2. practical component (60%), including analysis exercises realised by students in class and home, individually or in groups. Students will be invited to comment musical recordings and to discuss the musical analysis of the repertoire. They will be asked to prepare small written
Assessment - Continuous presentation of written and oral works(30%), Two theoretical and analytical tests (30% e 40%).(70%)
1. Methodology of the analysis of the Baroque repertoire: historic context, musical languages, working strategies, technical questions.
2. Instrumental genres:
a) keyboard: ricercare, fugue, canon, prelude, toccata, fantasy, sonata, suite;
b) orchestral: concerto grosso; soloist concerto; symphony; suite.
3. Vocal genres: motet; madrigal; aria-da-capo.
4. Vocal/instrumental genres: sacred concerto; chamber cantata; religious cantata, oratorio, passion; opera.
5. The interpretation and performance of Baroque music: issues.
Programs where the course is taught: