Musical Theory and Analysis - 1300 to 1600
Objectives
a) To understand the theoretical and systemic bases of musical thought and practice in the period 1300-1600;
b) To be aware of the main composition techniques for polyphony in this period (covering the Ars Nova and the Renaissance);
c) To be conversant with the main forms, genres, and styles of the repertory in this period and their historical and functional framework;
d) Being able to identify the different musical components in selected works and understand how they interact with each other;
e) To master certain analytical tools appropriate to the Renaissance repertory;
f) To develop the skill of synthesizing an analysis of a musical work in a concise, effective way.
General characterization
Code
711021073
Credits
6.0
Responsible teacher
Manuel Pedro Ramalho Ferreira
Hours
Weekly - 4
Total - 168
Teaching language
Portuguese
Prerequisites
Prerequisites: Previous musical education (including music reading and writing skills) is taken for granted
Bibliography
- Atlas, A. (Ed.).(1998).Anthology of Renaissance music. Norton.
- Atlas, A. (1998).Renaissance music. Norton.
- Canguilhem, P.(2013).Chanter sur le livre à la Renaissance: Les traités de contrepoint de Vicente Lusitano. Brepols.
- Christensen, T.(2002).The Cambridge history of western music theory. CUP.
- Ferreira, M. P.(2009). Dufay in Analysis, or - Who Invented the Triad? In J. P. d’Alvarenga & M. P. Ferreira (Eds.), 'New Music', 1400-1600:Papers from an International Colloquium on the Theory, Authorship and Transmission of Music in the Age of the Renaissance (pp. 48-66).Editora Casa do Sul/CESEM/Centro de História de Arte e Investigação
- Artística.Gauldin, R.(1995). A practical approach to sixteenth-century counterpoint. Waveland Press.
- Leech-Wilkinson, D.(1992). Machaut's Mass: An introduction. Clarendon Press
- Oliveira, M. T. de(2007). Maneirismo inquieto: Os responsórios da semana santa de Carlo Gesualdo. Imprensa Nacional.
- Perkins, L.(1999). Music in the age of the Renaissance. Norton.
Teaching method
Theoretical component (40%, syllabus contents 1 to 3): exposition of the theoretical, conceptual, and historical fundamentals essential to the understanding of the repertoire to be analysed, with the support of musical examples, and small practical exercises for a preliminary application of knowledge.
Practical component (60%, syllabus content 4): analysis of several musical works from the repertoire under consideration, guided by the teacher, with scores and audio excerpts. All materials studied in class (scores and recordings) are made available to students through the NONIO platform.
Evaluation method
Continuous assessment - Attendance and Participation(10%), Two written assessments(90%)
Subject matter
1) Theoretical fundamentals: modes and tones, hexachord system, tactus and mensuration;
2) composition techniques: counterpoint, imitation, textures, clauses, figuration;
3) functions and context: forms, genres, text-music relationship;
4) analysis of repertoire: late-medieval French polyphony, Burgundian school, Franco-Flemish school, Roman school.