Musical practice -Music in the World
Objectives
At the end of the unit, the student will have:
a) Developed capacities and taste for ensemble performance;
b) Developed sight-singing abilities of solo and ensemble musical pieces;
c) Acquired experiences of musical interpretation on stage.
d) Expanded his field of musical experiences through the observation, analysis and interpretation of the sacred repertoires of several Eastern Church´s families, both of the Byzantine rite (Greek, Georgian, Bulgarian, Serbian, Romanian and Russian) and the Coptic rite;
e) Acquired an understanding of the historical-sociological context of the aforementioned repertoires.
General characterization
Code
711021080
Credits
6.0
Responsible teacher
Svetlana Yurievna Poliakova, João Manuel Nunes da Silva Nogueira
Hours
Weekly - 4
Total - 168
Teaching language
Portuguese
Prerequisites
Available soon
Bibliography
Gardner, J. (1980). Russian church singing. Worship and Hymnography (Vol. 1). St. Vladimir´s Seminary Press.
Mango, C. (2008). Bizâncio. O Império da Nova Roma (A. Morais & V. Rodrigues, Trans.). Edições 70. (Original work published 1980).
Strunk, O. (1977). Essays on Music in the Byzantine World. Norton.
Troelsgaard, C. (2011). Byzantine Neumes: A New Introduction to the Middle Byzantine Musical Notation (Subsidia, Vol. 9., Series Monumenta Musicae Byzantinae). Museum Tusculanum Press.
Troelsgård, C. (Ed.), & Wolfram, G. (2022). Byzantine Chant, Radiation and Interaction: Proceedings of the Congress Held at Hernen Castle, the Netherlands, in December 2015 (Vol. 29, Series Eastern Christian Studies). Peeters.
Utidjian, H. (2018). Treasures of the earliest Christian nation: Spirituality, Art and Music in Mediaeval Armenian Manuscripts. Strahovská knihovna Královské kanonie premonstrátů na Strahově.
Teaching method
CU combines, in each class, rehearsal of choral pieces (60%), and theoretical study (40%). The methodology of the practical component is based on a demonstration by the teacher of vocal techniques and realization by students of vocal warm-up exercises at the beginning of each class; a gradual introduction of the repertory in increasing order of difficulty; a detailed rehearsal of elements of the score, going through solmization, singing without text, reading of the rhythmic line with and without text, reading of the parts, and finally, complete reading; solo and group rehearsal. The theoretical component is carried out by means of an exposure, by the teacher, of the syllabus; a discussion and comments by student during the exposure.
Evaluation method
Evaluation is carried out through performance of 8-10 choral pieces, carried out on a continuous basis (60%), a test of aural recognition of the examples of the analysed repertories (10%), and a theoretical knowledge test (30%).
Subject matter
This CU is dedicated to choral interpretation and contextualization of the sacred chant repertories of the East, in Greek, Georgian, Coptic, Armenian, Syriac, Italian-Greek, Romanian, Russian, Serbian, Ukrainian and Bulgarian traditions. The practical component presupposes the study and interpretation of 8–10 solo and choir pieces, which will be heard, via available recordings, and analysed, rehearsed, and sung at the final performance. The theoretical component aims to fit the sung pieces into an overview of the Eastern sacred chant through the study of the contexts of periodization of the Byzantine history and liturgy, system of sacred chant (genres, services, books, notation), aesthetic fundamentals (synthetic nature, canonicity and collegiality, symbolism), system of the chant styles (Byzantine, Coptic and Russian Znamenny monody; polyphonic varieties –Georgian, Russian dissonant; harmonizations from the Baroque; contemporary music).