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LPI009

Unidade curricular: Fundamentals of Composition and Orchestral Production I
Code: LPI009
ECTS: 4
Cientific area: Performance Practices

Learning outcomes

This curricular unit aims to provide students with the knowledge to compose within the 18th century common-practice harmonic language, write down reduced orchestral scores, and orchestrate by 18th-century principles. Upon successful completion of this curricular unit, students will be able to:

– Outline the fundamentals of proficient orchestration.
– Master the orchestration principles for winds, strings and timpani.
– Produce a piano reduction of orchestral scores.
– Harmonize a chorale in the style of J.S. Bach
– Orchestrate in the Classical Style of J. Haydn and W.A. Mozart.

Syllabus

– Principles of harmonizing a melody and bass in the style of a J.S. Bach chorale (in simple meters, with ornaments, but no modulations);
– Principles of basic orchestral instrumentation (woodwinds, brass, strings, timpani);
– Orchestral Score reduction principles for piano, condensed score, and sketch-score;
– Principles of orchestral planes of tone distribution (foreground, background, middleground);
– Principles of style and techniques in J. Haydn and W.A. Mozart’s Classical orchestration (thematic lines, function of each of the orchestral sections).

Teaching methodologies

Each semester consists of 15 two and a half hour sessions. Classes are usually divided into 2 blocks (1.30h allocated for composition and 1h for orchestral production). In each class is provided the theoretical and practical knowledge that will be worked out by the students, by means of in-class and homework assignments of which steady and weekly feedback is provided by the professor.

Bibliografia

ADLER, Samuel. (2002). The Study of Orchestration. Nova Iorque, W. W. Norton & Company.
BERLIOZ, Hector, & STRAUSS, Richard. (1991). Treatise on Instrumentation. Nova Iorque, Dover Publications, Inc.
BELKIN, Alan. (2018). Musical Composition, Art and Craft. New Haven & Londres, Yale University Press.
BLACK, Dave, & GEROU, Tom. (2009). Essentials of Orchestration, Alfred Publishing Co., Inc.
BOCHMANN, Christopher. (2006). A Linguagem Harmónica do Tonalismo: Análises e Exercícios. Lisboa, Juventude Musical Portuguesa.
BUKOFZER, Manfred. (1947). Music in the Baroque Era. Nova Iorque, W. W. Norton & Company.
CASELA, Alfredo, & MORTARI, Virgílio. (1993). La Tecnica dell’ Orchertra Contemporânea. G. Ricordi & C.
DUNSBY, Jonathan, & WHITALL, Arnold. (1988). Music Analysis in Theory and Practice, Nova Iorque, W. W. Norton & Company.
FORSYTH, Cecil. (1982). Orchestration. Nova Iorque, Dover Publications, Inc.
JEPPESEN, Knud. (1939). Counterpoint. The Polyphonic Style of the Sixteenth Century. Nova Iorque, W. W. Nortom & Company.
LAMAS, Elisa. (2006). Sebenta de Harmonia com Vista à Realização do Baixo-Cifrado. Lisboa, Juventude Musical Portuguesa.
LA RUE, Jan. (1970). Guidelines for Style Analysis. Nova Iorque, W. W. Norton & Company.
MOORE, Douglas. (1992). Guide to Musical Styles: From Madrigal to Modern Music (Ed. Rev.). Nova Iorque, W. W. Norton & Company.
OWEN, Harold. (1992). Modal and Tonal Counterpoint: From Josquin to Stravinsky. Schirmer Books.
PERSICHETTI, Vincent. (1961). Twentieth Century Harmony. Nova Iorque, W. W. Norton & Company.
PISTON, Walter. (1970). Counterpoint. Nova Iorque, W. W. Norton & Company.
PISTON, Walter. (1978). Orquestación. Madrid, Real Musical S. A.
READ, Gardner, Style and Orchestration, Nova Iorque, Schirmer Books, 1979
RIMSKY-KORSAKOV, Nikolay. (1964). Principles of Orchestration. Nova Iorque, Dover Publications, Inc.
SCHOENBERG, Arnold. (1970). Fundamentals of Musical Composition. Londres – Boston, Faber and Faber.
SCHOENBERG, Arnold. (1999). Structural Functions of Harmony. Londres, Faber and Faber.
SOLOMON, Samuel. Z. (2002). How to Write for Percussion. Oxford University Press.
TARUSKIN, Richard. (2010). Music in the Seventeenth and Eighteenth Centuries. The Oxford History of Western Music. OUP.

Equipa Docente
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