Musical Theory and Analysis - 1750 to 1820
Objectives
a) To gain and develop conceptual and technical skills in the field of Music Theory and Analysis, particularly directed towards the music of the Classical Era;
b) To gain and deepen knowledge about the theoretical foundations that structure the compositional practice of the period considered;
c) To gain and deepen knowledge about the main styles, genres and forms of musical theatre and instrumental repertoires of this period,and be able to contextualize them from a historical, sociological and aesthetic point of view;
d) To promote an understanding of Classical music in terms of its formal, melodic, harmonic and syntactic conception, among others things, as well as to develop a capacity for its critical appreciation, in the light of contemporary practice;
e) To gain experience and autonomy with regard to approaching relevant, up-to-date scientific bibliography of international scope, as well as with regard to the effective presentation and communication of research results.
General characterization
Code
01107700
Credits
6.0
Responsible teacher
Paulo Manuel Rêgo Ferreira de Castro
Hours
Weekly - 4
Total - 168
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
- Bonds, M. E. (1991). Wordless rhetoric. Musical form and the metaphor of the Oration musical form and the metaphor of the Oration (Vol.4, Series Studies in the History of Music). Harvard University Press.
- Cook, N. (1987). A Guide to Musical Analysis. Oxford University Press.
- Hepokoski, J., & Darcy, W. (2006), Elements of Sonata theory: Norms, Types, and Deformations in Late-Eighteenth-Century Sonata.Oxford University Press.
- Keefe, S. P. (Ed.). (2009). The Cambridge history of Eighteenth-Century music. Cambridge University Press.
- Mirka, D. (Ed.). (2014). The Oxford handbook of topic theory. Oxford University Press.
- Ratner, L. G. (1980). Classic music: Expression, Form, and Style. Schirmer.
Teaching method
40% theoretical classes, 60% practical classes. Theoretical classes focus on the theoretical, conceptual, analytical, and historical foundations essential to the understanding of the repertoire to be worked on during the semester, which is defined in the first class. Practical classes involve joint discussion around the selected repertoire, taking into account previous work on conceptual elements and appropriate analytical tools. This component promotes auditory analysis skills (with the support of audiovisual resources and the piano),as well as skills for approaching the score. There is also room for discussion of passages from the supporting bibliography, questions,and other perspectives.
Evaluation method
Continuous assessment - Individual written essay(30%), Two written tests, carried out in the middle and at the end of the semester (35% +35%)(70%)
Subject matter
1. Methodological issues related to the analysis of music of the Classical era.
2. The tonal system and harmonic vocabulary characteristic of the music of the second half of the 18th century.
3. Introduction to the theory of musical topics: typologies, styles and pictorialism according to Leonard Ratner.
4. An approach to the repertoire of musical theatre during the Classical period: genres, forms, text/music relationship, and musical topics, among other aspects.
5. Eighteenth-century musical theorists and the conception of instrumental music as a language. Notions of syntax in instrumental musicof the classical period.
6. Sonata form in keyboard music, chamber music, symphony and solo concerto during the Classical era.