Music History and Arts 2

Base Knowledge

N/A

Teaching Methodologies

The cognitive method of learning is valued. Teaching methodologies include the involvement and accountability of students in the conception, development and implementation of a project, monitored by the teacher in view of its rationale and ultimate goal.

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).

Learning Results

1. Acquisition of methodological and conceptual skills in History of Music and Arts.
2. Knowledge of specific literature in the fields of history and culture of music and art from Baroque, Classical and Romantic.
3. 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
4. Create a critical and constant problematization sensitivity towards knowledge;
5. Promoting the study and the approach between the different areas of scientific knowledge.
6. Mastery of current research methodologies.

Program

The Baroque. The assertion of power through music in court. The music in the structure of mecenatismo. The primacy of the figured bass. The formation of the orchestra. The transnational syntheses of the final Baroque (European diffusion of the Italian models, Querelle Des Bouffons). The Italianization of musical life. Music and the new public and domestic spaces of urban sociability.
Classicism. Romanticism. Features and Outline of evolution.The path to the Classicism and the openness to Romanticism: Haydn, Mozart and Beethoven.
The action of the French Revolution, the projection and liberalization of the Arts. Musician patronage to the independent musician.
The sorts of classicism and its expansion/transformation in Romanticism.
The hegemony of Italian opera in the nineteenth century. Dramatic music and the new music-theatrical conceptions. The lied: similarities and differences. Relevant composers: Schubert, Schumann, Wolf and Brahms. Post romanticism to twelve-tone serialism.

Curricular Unit Teachers

Grading Methods

Continuing Evaluation
  • - Attendance and Participation - 20.0%
  • - Individual and/or Group Work - 50.0%
  • - Oral presentation - 30.0%
Examen
  • - Exam - 100.0%

Internship(s)

NAO

Bibliography

Blanning,T.(2011). The Romantic Revolution ((Chapters 1 and 2). London: Phoenix.
Boffi, G.2002). História da Música Clássica. Lisboa: Edições 70.
Buelow,G.J.(Ed.) (2004). The History of Baroque Music. Bloomington: Indiana Univ. Press.
Carvas-Monteiro, M.A.(2003). A ópera e a temática greco-latina. In Som e Imagem no Ensino dos Estudos Clássicos (p. 321-326). Coimbra: IEC/CECH.
Carvas-Monteiro, M.A.(2012). A Arte no Sagrado: Música e Imagem em Coimbra. Pretov, P., Sousa,P.Q., Samartim, R.Lópes-Iglésias &Torres Feijó, E.J.(Eds). Avanços em Literatura e Culturas Portuguesas. Da Idade Média ao Séc XX. (p. 199-219). Santiago de Compostela: Através Editora.
Casoy, S.(2006). Óperas e outros cantares. São Paulo:Editora Perspectiva.
Taruskin, R. (2005). The Seventeenth and Eighteenth Centuries, The Oxford History of Western Music, v. 2. Oxford: Oxford University Press.
Outras referências bibliográficas serão indicadas.