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Curricular Unit: Aural Training and Music Theory III
Code: LFM009
Cientific Area: Musical Training

Learning Outcomes

> Development of aural skills: inner hearing, relative pitch, musical memory, polyphonic and harmonic structures and comprehension of global music theory.

> Development of sight-reading skills: intervals, sound anticipation, recognition of rhythmic and melodic patterns.

> To provide contact with large variety of repertoire, style and interpretation aspects, that enhances connection between aural skills and performance. – To learn musical terminology generic definitions, concerning technique, musical genres and instrumentation


> Aural recognition of melodic and harmonic intervals, simple and compounded, played on the piano in various registers (continued).

> Score and aural recognition of 3 and 4 tone chords (continued).

> Harmonic functions (continued).

> Aural recognition of cadences (continued).

> Modes, diatonic scales, hexatonic, heptatonic and pentatonic scales (continued).

> Rhythm: memorization, readings and dictations (continued).

> Polyphonic recognition: memorization of excerpts, readings and dictations (continued).

Teaching Methodologies

Aural work (rhythmic, melodic, harmonic) with memorization and writing practice (rhythmic dictation, tonal and modal melody dictation, ciphered bass writing from listening to excerpts of musical works, space filling dictation, identification of errors), identification of intervals, chords, harmonic functions and modes.

Rhythmic reading (slow tempos in Baroque works and irregular metrics in 20th century works), sung reading (tonal, modal and non-tonal) a capella, monodic and with voices, without or with piano accompaniment.

Auditory analysis, reading and performance of repertoire works of various styles and eras in progressive study, which are evident in composition, performance and richness of musical elements. Create short rhythmic, melodic, harmonic and polyphonic improvisations using the instrument or voice.

Translated with (free version)


Chépélov, P. e Menut, B. (2003) La Dictée en Musique. Paris: Editions Henry Lemoine.

Dufourcet, M-B. (1991) Guide pratique d’analyse musicale. Paris: Éditions Combre.

Edlund, L. (1963) Modus Novus. Studies in Reading Atonal Melodies. Stockholm / New York: Edition Wilhelm Hansen / Chester Music.

Gartenlaub, O. (1986) Memorisations choisies dans les oeuvres. Paris: Éditions Musicales Hortensia.

Jackson, R. (2005) Performance Practise – A Dictionary-Guide for Musicians, New York: Routledge.

Jollet, J.-C. (1995) Jeux de rythmes et jeux de clés, vol.VII e VIII. Paris: Gérard Billaudot Éditeur.

Ottman, R.W. (1996) Music for sight singing. Boston: Prentice Hall.

Ribour, P. (1991) Le Solfège a rendez-vous avec le Jazz. Paris: Gérard Billaudot.

Rudolf, N., Lászlo, N., János, P. (1984) Szolfézs Antologia. Budapeste: Editio Musica Budapest.

Steiner, J., Barrett, W. (Eds.) (2009) A Dictionary of Musical Terms. New York: Cornell University Library.

VanHandel. Leigh, (Ed.) (2020) The Routledge Companion to Music Theory Pedagogy. New York: Routledge.

Teaching Staff

Rafael Filipe Moreira Araújo
Gustavo Jorge Silva Lopes
Maria Salomé Oliveira Monteiro