Musical Theory and Analysis - 1600 to 1750
Objectives
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.
General characterization
Code
711021074
Credits
6.0
Responsible teacher
Svetlana Yurievna Poliakova
Hours
Weekly - 4
Total - 168
Teaching language
Portuguese
Prerequisites
Available soon
Bibliography
Buelow, G. J. (Ed.) (1994). The Late Baroque Era: From the 1680 to 1740. Prentice-Hall.
Cook, N. (1987). A Guide to Musical Analysis. Oxford University Press.
Hatten, R. S. (2018). A Theory of Virtual Agency for Western Art Music. Indiana University Press.
Heller, W. (2013). Music in the Baroque. Norton.
Hill, J. W. (2005). An Anthology of Baroque Music. Norton.
Hill, J. W. (2005). Baroque Music: Music in Western Europe 1580-1750. Norton.
Howard, A. (2019). Compositional Artifice in the Music of Henry Purcell (Musical Performance and Reception). Cambridge University Press.
Hutchings, A. (1978). The Baroque Concerto. Faber and Faber.
Taruskin, R. (2009). The Seventeenth and Eighteenth Centuries (Vol.2, Series The Oxford History of Western Music). Oxford University Press.
Cambridge University Press.
Teaching method
The classes consist of theoretical component (40%), providing explanation by the lecturer of the repertoire and the respective historical, theoretical, and analytical issues, and practical component (60%), including analysis exercises realised by students in class and home, individually or in groups. The exhibition of programmatic elements by the teacher relies on the use of audiovisual tools, including PowerPoint, a collection of scores, prepared by the lecturer, and streaming platforms, for example, recordings of analysed works on Youtube. Withing the practical componente, 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 assignments and oral presentations during the semester.
Evaluation method
The evaluation is carried out by means of two theoretical and analytical tests (30% e 40%), and continuous presentation of written and oral works (30%).
Subject matter
1. Introduction to analytical principles applicable to the repertoire of the period in question. Presentation of analysis techniques assumed at the UC.
2. Multidimensional language of the music of the time. Prima prattica and seconda prattica, modalism and tonality, polyphony and homophony, basso continuo, freestyle counterpoint, irregular rhythm and organization in measures, idiomatic writing, improvisation and obbligato; compositional technique and affects. Systems of theoretical thought and the respective bibliography.
3. Instrumental genres: a) keyboard: ricercare, fugue, canon, prelude, toccata, fantasy, sonata, suite; b) orchestral: concerto grosso; soloist concerto; symphony; suite.
4. Vocal genres: motet; madrigal; aria-da-capo.
5. Vocal/instrumental genres: sacred concerto; chamber cantata; religious cantata, oratorio, passion; opera.
6. The interpretation and performance of Baroque music. “Historically informed performance”.