Analysis and Music Theory 1820-1890
Objectives
a) To have developed conceptual and technical skills in the stylistic analysis of various nineteenth-century musical genres: Lied, pianomusic, orchestral music, opera;
b) To be able to understand analytical approaches to musical genres according to their theoretical worth, complemented by modern methodologies;
c) To have obtained a capacity for critical assessment in relation to the musical and vocal repertoire under consideration;
d) To be able to build interdisciplinary approaches and appreciate different levels of interaction between literary text, voice and instrumental texture.
e) To be familiar with current methodologies of research, presentation and communication of results in accordance with the academic standards of the discipline.
General characterization
Code
01107696
Credits
6.0
Responsible teacher
Rui Magno da Silva Pinto
Hours
Weekly - 4
Total - 168
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
• Agawu, K. (2009). Music as discourse: Semiotic adventures in Romantic music. Oxford UP
• Bent, I. (Ed.) (1996). Music theory in the age of romanticism. Cambridge University Press
• Cook, N. (1992). A guide to musical analysis. J. M. Dent.
• Hepokoski, J. (2020). A sonata theory handbook. Oxford University Press
• Horton, J. (Ed.) (2014). The Cambridge companion to the symphony. Cambridge University Press
• LaRue, J. (1992). Guidelines for style analysis. Harmonie Park Press.
• Parker, R. (1997), “‘Insolite forme’ or Basevi’s Garden Path” in Leonora’s last act. Essays on Verdian discourse, Princeton UniversityPress. 42-60.
• Parsons, J. (Ed.) (2004), The Cambridge companion to the Lied, Cambridge University Press
• Powers, H. (1987), “La solita forma and the uses of convention”, Nuove Prospettive nella Ricerca Verdiana, INSV/Ricordi. 74-109.
• Samson, J. (Ed.) (1991). Chopin studies. Cambridge University Press
• Till, N. (Ed.) (2012), The Cambridge companion to opera studies. Cambridge University Press
Teaching method
After an introduction on the methodologies and techniques of analysis best suited to each type of repertoire chosen, as well as a contextualisation of each musical genre covered, the course is mainly composed of practical classes, in which students work under the supervision of the teacher or present previously prepared work. Some works, such as Schubert's Winterreise cycle, Chopin's Preludesop. 28, or a group of symphonic works, will be assessed individually, or in groups of two students, in class and commented on by classmates and the teacher.
Evaluation method
Continuous assessment
Written Test - 60.0%
Oral presentations, one of them presented in writing - 40.0%
Subject matter
Introduction to the problems of stylistic analysis of nineteenth-century music: relevant concepts and values inherent in them. Criteria offormal, melodic-rhythmic and harmonic analysis. In-depth study of a limited number of pieces representative of nineteenth-century European music: