Music History and Arts 3

N/A

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).

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 the turn of the 19th century, from post-war to present day.
3. Knowledge of the main problems, composers, movements, musical genres of the problematic, stylistic trends, institutions, practices and discourses, musical genres, musical repertoire, musician-theatrical and multimedia of the time.
4. Mastery of current research methodologies.

Brief approach to Western music from the first half of the 20th century. XX. Concepts of “modernism”, “modernity” and “vanguard” and application to music. Multipolarity of the musical nessage. Nationalisms. Pictorial-Musical parallelism: Monet, Manet, Pissarro, Degas, Renoir and Cezanne and the importance of light and color; Debussy and other composers such as M. Ravel, G. Fauré, E. Satie. From the heirs of the past: Mahler and Richard Strauss. From revolutionary men: Stravinsky and Schoenberg. Dodecaphonism or serial music and the Vienna School.
Pluralism of styles of the / in the twentieth century.
From pop and rock music. The jazz. The blues.
Dance and Ballet: Diaghileff and the Russian Ballet.
O Futurism. Sound and image technologies in the exploration of sound and audiovisual space: Stockhausen, Schaeffer, Xenakis. Digital and multimedia literacy and the exploration of new practices and forms of expression.

• - Exam - 100.0%

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

NAO

Borges, V; Costa, P. et al. (2012)(orgs.) Criatividade e Instituições: novos desafios à vida dos artistas e dos profissionais da cultura. Lisboa: Imprensa de Ciências Sociais.
Carvas-Monteiro,M.A.(2015).Da música na Universidade de Coimbra (1537-2007).Das Artes Liberais aos Estudos Artísticos. Coimbra:Ed.CIEC/UC
Griffits, P. (2010). Modern music and after. Oxford:Oxford University Press.
Lévy, P. (2000). Cibercultura. Lisboa: Instituto Piaget.
Taruskin,R (2010). Oxford History of Western Music, V. 5: Music in the Late Twentieth Century. Oxford: Oxford University Press.
Taylor, T. (2001). Strange Sounds: Music, Technology & Culture. New York: Routledge.
Outras referências bibliográficas serão indicadas.