Music History and Arts 1

N/A

The classes have a theoretical component (50%), a practical component (35%) and a tutorial component (15%). The practical part consists of the comments of the texts prepared and presented by the students and the interpretation of images, video clips and performances in concert.
Teaching methodologies also involve the involvement and responsibility of students in the idealization, development and execution of a project, monitored by the teacher in view of its rationale and final objective.

Evaluation
1. Continuous
a) Oral presentation (30%) – 2 oral presentations (30m);
b) Participation (20%)- of proposed themes; seminars/workshops/study visits planned and/or to be organized and implemented;
c) individual research project and/or a group of 2 students (50%) – c. 25 p. (except notes and bibliography).
Delivery of the final version one week after the presentations.

2. The evaluation by exam (100%) – made through written and oral exam (if the classification is 8 or 9 points).

1. Acquisition of methodological and conceptual skills in History of Music and Arts.
2.Provide students with solid knowledge of the languages of art in general and music in particular, from Antiquity to the Renaissance;
3. Create a critical and constant problematization sensitivity towards knowledge;
4. To encoage a taste for research in knowledge domains;
5. Knowledge of the main problems, composers, movements, musical genres of the problematic, stylistic trends, institutions, practices and discourses, musical genres, musical and theatrical repertoire of historical periods

Antiquity (pre-classical and classical). Musical iconography, as a heritage of images. Music in performances. Aulectic and cytarodic. The “servile” arts and the “liberal” arts and influence on the medieval university. Western Antiquity and Middle Ages. From speculative music: ars and discipline.
Music in Hispanic Universities. Afonso X and the perspective of teaching the arts at university. The secularization of music.
The singing arts as a pedagogical tool. The arts of singing and the press. European courts: from ceremonial to entertainment.
The Renaissance. Vernacular singing arts printed in Portugal and Spain (1492-1626): production,consumption and dissemination. Analysis of some treaties. Relation of the arts and female patronage and the invisibility of women. The role of the musician and the most relevant composers. European courts: from ceremonial to entertainment.

• - Attendance and Participation - 20.0%
• - Oral presentation - 30.0%
• - Individual and/or Group Work - 50.0%

• - Exam - 100.0%

NAO

Adams, R.,Hnatiuk,D.& Weiss,D.(2017). Music supervision: The complete guide to selecting music for movies, tv, games & new media (2nded). London: Omnibus Press.
Carvas-Monteiro, M.A. (2015). Da música na Universidade de Coimbra (1537-2007). Das Artes Liberais aos Estudos Artísticos. Coimbra: Centro Interuniversitário de Estudos Camonianos/UC.
Carvas-Monteiro, M.A.(2012). A Arte no Sagrado: Música e Imagem em Coimbra. P.Pretov, P. Q. Sousa, R.L-I.Samartim & E.J.Torres Feijó (Eds). Avanços em Literatura e Culturas Portuguesas. Da Idade Média ao Séc XX. (pp.199-219). Santiago de Compostela: Através Editora.
Grout,D.J.&Palisca,C. (2007). História da Música Ocidental.Lisboa:Gradiva.
Mazuela-Anguita, A. (2012). Artes de Canto (1492-1626) y mujeres en la cultura musical del mundo ibérico renacentista. Barcelona:Univ.Barcelona.
Taruskin,R. (2010). Oxford History of Western Music, v.1:The Earlies Notations to the Sixteenth Century.Oxford:Oxford.

Outras referências bibliográficas serão indicadas.