Musical Training 2

Objectives

The main objective of FM2 is to apply the theoretical knowledge acquired in FM1 to the reading and analysis of scores from the repertoire created between the Baroque and the 1st half of the 20th century. This objective is achieved through a set of aims:
A. To develop the detailed reading of a score with regard to the reading of clefs, parts of transposing instruments, orientation in indications of dynamics, tempo, expression and articulation;
B. To develop skills in transcribing elements of choral and orchestral scores for simplified non-transposing writing.
C. To develop the ability to transcribe a piano score for a set of string or wind instruments;
D. To develop analytical skills and score reading while listening to the musical piece;
E. To develop reading instrumental and vocal scores, or elements of scores, at the piano;
F. To understand the types of texture in a musical work.

General characterization

Code

711021090

Credits

3.0

Responsible teacher

Svetlana Yurievna Poliakova

Hours

Weekly - 4

Total - 84

Teaching language

Portuguese

Prerequisites

N/A

Bibliography

Adler, S. (2016). The study of orchestration (4th ed.). Norton.

Bennet, R. (1990). Como ler uma partitura. Jorge Zahar Editor. (Original work published 1986).

Brant, H. (2009). Textures and timbres: An orchestrator’s handbook. Carl Fischer Music.

Emily, I., & Dolan, A. (2021). The Oxford handbook of timbre. Oxford University Press.

Huessenstamm, G. (1987). The Norton manual of music notation. Norton.

Michels, U. (2003). Atlas de música (Vol. 1). (A. M. Cardo, F. Pinho, J. Simões, R. M. Puga & S. Mendes, Trans.). Gradiva. (Original workpublished 1977).

Michels, U. (2007). Atlas de música (Vol. 2). (A. M. Cardo, F. Pinho, J. Simões & S. Mendes, Trans.). Gradiva. (Original work published1985).

Piston, W. (1969). Orchestration. Victor Gollancz

Roemer, C. (1985). The art of music copying. Roerick.

Teaching method

Classes consist of theoretical and practical components. 1.In the course of the theoretical component the lecturer 1.1 describes the elements of the syllabus, 1.2 provides and comments on listening with the score, 1.3 analyses the parameters studied in scores, 1.4 exemplifies the way of carrying out the proposed exercises, 1.5 comments the discussion of the syllabus in the bibliography. 2.The practical component includes carrying out exercises, in and out of class. Main forms of exercises are: 2.1 solfa reading of vocal and instrumental parts, with or without transposition, in various clefs; 2.2 rhythmic reading at one or several levels; 2.3 reduction of writing invariable textures down to the basic element, both in writing and on the piano; 2.4 transcription of choral writing and instrumental ensembles for piano; 2.5 instrumentation of written excerpts for the piano; 2.6 analysis of various elements of scores.

Evaluation method

Continuous assessment

Piano test - 20.0%

2 written tests (40% + 40%) - 80.0%

Subject matter

1.Review of theoretical bases, received and/or systematized in IMF classes;

2.Introduction of new elements of music theory - tempos, expression markings, dynamics, general types of interpretative articulation andestablishing them in a score, abbreviations for repeated notes, rules for using clefs;

3.Review of the history of writing vocal and instrumental music in the European tradition: Baroque – old clefs, musical genres andrespective forms of writing – figured bass, tablatures; 17th-21st centuries - writing for piano, singing and piano, instrumental chambermusic, chamber orchestra, symphony orchestra, opera;

4.Instruments: fixing on a score and respective terminology, use of clefs, transposing instruments;

5.Musical writing textures: a) orchestral unison: single element texture; b) melody and accompaniment; c) second melodic voice; d) part-writing (melodized texture), e) counterpoint texture, f) chords; g) combined textures.

Programs

Programs where the course is taught:

Bachelor in Musicology