Musical Training 2
Objectives
To consolidate the knowledge of musical theory; to develop score-reading and musical writing skills; to acquire the ability to sight-read choral, voice and piano, and orchestral scores, understanding what is more significant, or singing and / or at the piano, with detail.
General characterization
Code
711021090
Credits
3.0
Responsible teacher
Svetlana Yurievna Poliakova
Hours
Weekly - 4
Total - 84
Teaching language
Portuguese
Prerequisites
None
Bibliography
Adler, S. (2016). The Study of Orchestration (4th ed.). Norton.
Bennet, R. (1990). Como ler uma partitura (tradução autorizada). Jorge Zahar Editor. (Original work published 1986).
Brant, H. (2009). Textures and Timbres: An Orchestrator’s Handbook. Carl Fischer Music.
Emily, I., & Dolan, A. (2021). The Oxford Handbook of Timbre. Oxford University Press.
Huessenstamm, G. (1987). The Norton Manual of Music Notation. Norton.
Michels, U. (2003). Atlas de Música (Vol. 1). (A. M. Cardo, F. Pinho, J. Simões, R. M. Puga & S. Mendes, Trans.). Gradiva. (Original work published 1977).
Michels, U. (2007). Atlas de Música (Vol. 2). (A. M. Cardo, F. Pinho, J. Simões & S. Mendes, Trans.). Gradiva. (Original work published 1985).
Piston, W. (1969). Orcheastration. Victor Gollancz
Roemer, C. (1985). The Art of Music Copying. Roerick.
Teaching method
Classes consist of theoretical and practical components. In a course of the theoretical component the lecturer exposes the elements of syllabus, provides and comments on the listening with the score, analyses the studied parameters in scores, exemplifies the way of carrying out the proposed exercises, comments the discussion of the syllabus in the bibliography. The practical component includes carrying out exercises, in and out of class. Main forms of exercises are: spelled reading of vocal and instrumental parts, with or without transposition, in various clefs; rhythmic reading at one or several levels; reduction of writing in variable textures down to the basic element, both in writing and on piano; transcription of choral writing and instrumental ensembles for piano; instrumentation of written excerpts for the piano; 2.6 analysis of various elements of scores.
Evaluation method
The evaluation includes two written tests (40%x2), and a piano test (20%).
Subject matter
1. Review of theoretical bases, received and/or systematized in IMF classes;
2. Introduction of new elements of music theory - tempos, agogic, dynamics, general types of interpretive articulation and its fixation in a score, abbreviations for repeated notes, rules for using clefs;
3. Review of the history of writing vocal and instrumental music in the European tradition: Baroque – ancient clefs, musical genres and respective forms of writing – general bass, tablatures; 17th-21st centuries - writing for piano, singing and piano, instrumental chamber music, chamber orchestra, symphony orchestra, opera;
4. Instruments: fixation on a score and respective terminology, use of clefs, transposing instruments;
5. Musical writing textures: a) orchestra unison: single element texture; b) melody and accompaniment; c) second melodic voice; d) parts writing (melodized texture), e) counterpoint texture, f) chords; g) combined textures.