Musical Theory and Analysis - 800 to 1300
Code
711021072
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências Musicais
Credits
6
Weekly hours
4
Teaching language
Portuguese
Objectives
a) To acquire the basic notions implied in medieval music theory (modality and counterpoint);
b) To build a critical appreciation of compositional techniques used during the timeframe 800-1300 in religious or secular monody and polyphony;
c) To be able to analyse selected musical works from the perspective of the above theory and corresponding modern approaches;
d) To be able to identify by ear Gregorian modes, as embodied in specific historical melodies.
Prerequisites
None.
Subject matter
1) The main currents of medieval music theory. Basic principles of psalmody. How to read Gregorian melodies in modern liturgical books . Modal behaviour of Gregorian melodies according to the octoechos. Limits of the traditional analytical tools and the importance of Jean Claire´s contributions.
2) How to approach theory-deprived secular monody: specific behaviour of troubadour music.
3) Characteristics of style and evolution of polyphonic writing between 1100-1300 and associated problems (contrapuntal textures, hierarchy of intervals, rhythm).
Bibliography
Apel, W. (1958). Gregorian Chant. Bloomington: Indiana University Press.
Asensio, J. C. (2003). El canto gregoriano. Madrid: Alianza Editorial
Cardine, E. (1989). Primeiro Ano de Canto Gregoriano. São Paulo: Attar / Palas Athena
Hilley, D. (2009). Gregorian chant. New York: Cambridge University Press
Graduale (1961). Graduale Romanum. Tournai: Desclbe & Co
Graduale (1979). Graduale Triplex. Solesmes: Abbaye Saint-Pierre de Solesmes
Powers, H. (2001). Mode. Sadie, S. (Ed.). The New Grove Dictionary of Music and Musicians. London: Macmillan.
Wilson, D. F. (1990). Music of the Middle Ages: Style and Structure. New York: Schirmer Books
Teaching method
Lessons are both theoretical and practical, 40% being theoretical and 60% practical. The theoretical component includes explanation by the lecturer of the elements that make up the content of the course, and discussion of historical and analytical concepts; the practical component includes reading square notation, aural analysis of modal passages sung or played , written exercises and analysis of the notated repertoire.
Evaluation method
Means of evaluation include:
a) One test on Gregorian chant (40%);
b) One test on troubadour monody and polyphonic music (40%);
c) Exercises performed and discussed in the classes, participation and attendance (20%).