Musical Training 5

N/A

The course will be taught in practical-theoretical lessons, based on the presentation and discussion of models of music theory, analysis, transcription and execution of auditory examples that can be presented, particularly in the form of musical scores and audio examples.

Continuous evaluation:
Quality of participation in class: 20%
Written Assessments: 40%
Oral assessments: 40%

Assessment by exam:
Written exam – 50%
Oral exam – 50%

1. Consolidate and standardize previously acquired knowledge;
2. Read, recognize, write and perform a musical score, obeying the diversified writing standards;
3. Recognize, relate and operationalize melodic structures with harmonic structures;
4. Expand rhythmic, melodic and timbric skills;
5. Identify harmonic sequences in various contexts (tonal, atonal, modal);
6. Perform and analyze basic improvisations, in accordance with various patterns.

1. Melody / Harmony:
1.1.Read, analysis and writing of melodic structures in tonal, atonal and modal (expansion of knowledge);
1.2.Identifying writing 4 voices;
1.3.Harmonic Progressions in different contexts;
1.4.Politonalism;
1.5.Polimodalism;
-1.6. Dodecafonism.
2. Rhythm:
2.1. Rhythmic patterns characteristic of different musical styles (Pop-rock, jazz, Latin music);
2.2. Mixed meter;
2.3. Bars with aggregated values or diminished.
3. Improvisation:
3.1. Techniques of improvisation (expansion of knowledge).
4. Timbre:
4.1. Auditory Recognition of the role of each instrument in a variety of strandards, conventional and unconventional instruments.
5. Music theory:
5.1. Summary of the main contents of music theory;
5.2. Musical Trends of the 20th and 21st century: contemporary Artwork.

• - Oral assessments - 40.0%
• - Attendance and Participation - 20.0%
• - Written assessments - 40.0%

• - Written exam - 50.0%
• - Oral exam - 50.0%

NAO

BENNETT, Roy (1995). Como ler uma partitura. Cadernos de música da Universidade de Cambridge. Rio de Janeiro: Jorge Zahar
BERKOWITZ, S; FONTRIER, G.; KRAFT, L. (1986). A New Approach to Sight Singing. Third edition. New York: Norton & Company
CLELAND, K.; DOBREA-GRINDAHL, M. (2010). Developing musicianship through aural skills : a holisitic approach to sight singing and ear training. 1st edition. New York: Taylor & Francis
GEROU, T.; LUSK, L. (2000). Essential Dictionary of music notation. Alfred Publishing
PROSSER, S. (2000). Essential Ear Training. Boston: Berklee Press
RADLEY, Roberta (2005) Harmonic Ear Trainning. Boston. Berklee Press