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  4. Area of specialisation in Historical Musicology
  5. History of Western Music

History of Western Music

Objectives

At the end of the seminar, students should: a) have acquired and developed advanced theoretical, methodological and conceptual skillsin the area of Western Music History; b) know in depth the problems, institutions, movements, schools of thought and musical genresconcerning the topics being studied; c) have acquired skills in the field of historical, aesthetic, sociological and cultural discussion of themusical phenomena envisaged; d) have developed their knowledge, as well as competences of auditory analysis, of the musical,multimedia and music-theatrical repertoire of the period being studied; e) have developed knowledge of the state of the art of the topics being studied, and have acquired the ability to interpret and discuss them from various perspectives; f) master current researchmethodologies from an interdisciplinary perspective, and have developed the ability to present and communicate research results inaccordance with current academic norms.

General characterization

Code

722021037

Credits

10.0

Responsible teacher

Manuel Pedro Ramalho Ferreira

Hours

Weekly - 3

Total - 280

Teaching language

Portuguese

Prerequisites

N/A

Bibliography

  • Born, G., & Hesmondhalgh, D. (Eds.) (2000). Western music and its others. University of California P.
  • Cook, N., & Everist, M. (Eds.) (1999). Rethinking music. Oxford UP.
  • Cook, N., & Pople, A. (Eds.) (2004). The Cambridge history of 20th century music. Cambridge UP.
  • Drolet, M. (Ed.) (2004). The postmodernism reader. Routledge.
  • Gloag, K. (2012). Postmodernism in music. Cambridge UP.
  • Lokhead, J., & Auner, J. (2001). Postmodern music, postmodern thought. Routledge.
  • Maus, F., & Whiteley, S. (Eds.). (2022). The Oxford handbook of music and queerness. Oxford UP.
  • Kramer, L. (1996). Classical music and postmodern knowledge. University of California P.
  • Kramer, J. (2016). Postmodern music, postmodern listening. Bloomsbury Academic.
  • Nogueira, I. (2007). Do pós-modernismo à exposição "Alternativa Zero". Vega.
  • Pasler, J. (Ed.) (2008). Writing through music: Essays on music, culture, and politics. Oxford UP.

Teaching method

The methodology adopted is directly related to the learning objectives, permitting the acquisition of skills and theoretical and methodological tools, as well as development of an informed and critical attitude towards knowledge. Active methodologies are used, combining expositive and demonstrative components, collaborative and interactive problem solving, discussion of case studies, oral and written presentations resulting from the reading of articles as well as from auditions and audiovisualizations. References are provided at the beginning of the semester via Nonio, and recommendations for further reading and listening are introduced in the course of the semester.

Evaluation method

Continuous assessment - Research paper and its presentation and discussion(60%), Student interventions and their participation in exercises(40%)

Subject matter

Perspectives of musical historiography associated with: 1) the expressions of post-modernism as an aesthetic and cultural current, 2) the intersection between post-modernity as a sociocultural condition, post-structuralism and New Musicology, 3) the dynamics of the theory of history in the final decades of the 20th century.
To this end, the following problems are addressed:
1. The implications of postmodernism and new perspectives of History (Veyne 1971; Lyotard 1979; Huyssen 1987; Jenkins 1997; Burke1997);
2. The revision of canons, conventions and meta-narratives by New Musicology (Kerman 1985; Weber 1999; McClary & Leppert 1987;Citron 1993);
3. New music history at the intersection with cultural studies (Born & Hesmondhalgh 2000; Cook & Everist 1999; Solie 1993 et. al);
4. Postmodern music production and listening (Kramer 2016) based on musical works by Adams, Andriessen, Berio, Rochberg, Schnittke,Tinoco, Azevedo, Pinho Vargas, et al.