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concordo

LPI027

Curricular Unit: Fundamentals of Composition and Orchestral Production III
Code: LPI027
ECTS: 4
Cientific area: Performance Practices

Learning outcomes

This curricular unit aims to provide students with the knowledge to compose within the common-practice of chromatic tonal harmony in the second half of the 19th century, as well as to orchestrate effectively and professionally according to this period‘s styles. Upon successful completion of this curricular unit, students will be able to:
– Harmonize a vocal melody in the style of the German Lied of Brahms.
Write well-balanced melodic, tonal, musical phrases.
– Orchestrate in the style of the Romantic and late Romantic orchestra of J. Brahms and R. Wagner.
– Understand the orchestral writing of the second half of the 19th century, throughout the study of orchestral works by German, Italian, French and Eastern European composers.

Syllabus

– Characteristics of J. Brahms’ Lied: accompaniment, syncopation and displacement, functional-character comping figuration and motors.
– Characteristics of tonal musical phrasing in the romantic and late romantic eras: contour, melodic rhythm, meter, ornaments, fragmentation, growth and thematic transformation, dynamics)
– Principles of style in J. Brahms and R. Wagner’s Romantic and late Romantic orchestration.

Teaching methodologies

Each semester consists of 15 two and a half hour sessions. 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. Classes are usually divided into 2 blocks (1.30h allocated for composition and 1h for orchestral production).

Bibliography

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.

Teaching Staff
Nuno Dario (regent)