Musical Theory and Analysis - 1600 to 1750
Objectives
a) To know the main Baroque composition techniques;
b) to know the Baroque genres and musical forms, of diverse dimensions and complexity;
c) to understand the theoretical criteria that underlie the musical thought and practice of this period;
d) to obtain skills to carry out the historical, aesthetic and stylistic framework of the Baroque repertoire;
e) to develop the ability to synthesize the conclusions of the analysis of a musical work from this period.
General characterization
Code
711021074
Credits
6.0
Responsible teacher
Svetlana Yurievna Poliakova
Hours
Weekly - 4
Total - 168
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
Buelow, G. J. (Ed.) (1994). The Late Baroque Era: From the 1680 to 1740. Prentice-Hall.
Cook, N. (1987). A Guide to Musical Analysis. Oxford University Press.
Hatten, R. S. (2018). A theory of virtual agency for Western Art Music. Indiana University Press.
Heller, W. (2013). Music in the Baroque. Norton.
Hill, J. W. (2005). An anthology of Baroque music. Norton.
Hill, J. W. (2005). Baroque music: Music in Western Europe 1580-1750. Norton.
Howard, A. (2019). Compositional artifice in the music of Henry Purcell (Musical Performance and Reception). Cambridge University Press.
Hutchings, A. (1978). The Baroque Concerto. Faber and Faber.
Taruskin, R. (2009). The Seventeenth and Eighteenth Centuries (Vol.2, Series The Oxford History of Western Music). Oxford University Press.
Teaching method
The classes consist of 1. theoretical components which foresees the exposition by the teacher of the repertoire and of the respectivehistorical, theoretical and analytical issues, and 2. a practical component, which includes analytical exercises carried out by students in class and outside class time, individually or in groups. The presentation of the elements of the syllabus by the teacher relies on the use of audiovisual tools, a set of scores, and videos accessible on streaming platforms. Within the practical component, students will beasked to comment on auditions and/or viewings of works, and to participate in the discussion on the analysis of the musical works under study. Short written assignments or oral presentations will be requested throughout the semester.
Evaluation method
Continuous assessment
Two written assessments which combine theoretical and analytical elements (30% + 40%) - 70.0%
Regular presentation of written and oral works - 30.0%
Subject matter
1. Introduction to analytical principles applicable to the Baroque repertoire. Presentation of analytical techniques used in the C. U.
2. Multidimensional language of the musical work of the period. Prima prattica and seconda prattica, modalism and tonality, polyphonyand homophony, basso continuo, free style of counterpoint, irregular rhythm and organization in measures, idiomatic writing,improvisation and obbligato; compositional technique and affects. Systems of theoretical thought and respective bibliography.
3. Instrumental genres: a) keyboard: ricercare, fugue, canon; prelude, toccata fantasia; sonata, suite; b) orchestra: concerto grosso;soloist concerto symphony; suite.
4. Vocal genres: motet; madrigal; aria-da-capo.
5. Vocal and instrumental genres: sacred concerto; chamber cantata; religious cantata, oratorio, passion; opera.
6. Questions of interpretation and performance of baroque music. “Historically informed performance”.