Analysis and Music Theory 1300-1600
Code
711021073
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências Musicais
Credits
6
Teacher in charge
David Cranmer
Weekly hours
4
Teaching language
Portuguese
Objectives
a) Adquirir conhecimentos sobre as problemáticas mais relevantes da teoria musical desta época;
b) Apreciar as técnicas composicionais desta época e as questões que estas levantam;
c) Analisar uma selecção de obras musicais à luz desta teoria e prática composicional.
d) Reconhecer os fatores contextuais relevantes para cada obra;
e) Avaliar a reacção do ouvinte da actualidade aos sons da música desta época;
f) Refletir sobre a disciplina (avaliação e auto-avaliação).
Prerequisites
None.
Subject matter
1) Soundscape of the period 1300-1600 and the importance of context;
2) Modes, hexachords and solmisation;
3) Harmony, counterpoint and the treatment of dissonance;
4) The mensural system, tactus, hocket and the great rhythmical complexity of the ´Ars subtilior´;
5) Interaction between voices, polyphonic textures and the evolution of cadences;
6) Structural questions, such as the use of pre-existing material (including cantus firmus and parody masses), imitation, canon, repetition in «formes fixes», forms with repeated sections, rhetorical repetition;
7) The relation between the literary text and the music; word-painting;
8) Practice in analysing a varied range of works of the period.
Bibliography
Atlas, A. (Ed.) (1998). Anthology of renaissance music. New York: Norton.
Atlas, A. (1998). Renaissance music. New York: Norton.
Hoppin, R. (1978). Medieval Music. New York: Norton (trad. espanhola: Hoppin, R. (2000), La música medieval. Madrid: Akal).
Hoppin, R. (Ed.) (1978). Anthology of medieval music. New York: Norton.
Leech-Wilkinson, D. (1990). Machaut´s Mass: an introduction. Oxford: Oxford University Press.
Reese, G. (1954). Music in the renaissance. New York: Edward J. Dent.
Taruskin, R. (2010). Music from the earliest notations to the sixteenth century (Oxford History of Western Music, vol. I). Oxford: Oxford University Press.
Teaching method
Theoretical and practical subject (50%/50%). The semester is divided into 2 phases (cycles): the first (principles of analysis) is, in turn, divided into two - expositive classes on ´hard´ theory (8 hours) and on compositional practices (16 hours), followed by a test, which assesses the knowledged acquired in this phase, and a first reflective report; the second phase (practical analysis) is devoted to analysis and discussion of a range of works: vocal and instrumental, sacred and secular, from the 300 years covered by this subject, terminating with another test, which assesses the ability to analyse a specific work (typically a sacred or secular vocal work), and a final reflective report. As well as reflection on the subject itself (assessment and self-assessment), the reports enable the student to inform the teacher about concerns and suggestions.
Evaluation method
Each test has the weighting of 40% of the assessment; the remaining 20% is awarded to the reports and participation in class.