Degree | Type | Year | Semester |
---|---|---|---|
2500240 Musicology | OB | 3 | 1 |
It's compulsory to have a minimum of knowing in musical analysis.
4.1. Study of the social and cultural context.
4.2. Formative objectives:
1. Identify the different patterns.
2. Knowing the technical base, and his chronological evolution.
3. Arguing correctly the listening activities. Raonar analíticament a través d’audicions els trets cabdals d’obres pertanyents al moment històric estudiat.
4. Knowing the different periods, with features, composition techniques, and his aesthetics links.
5.Use properly the bibliograhy and terminology of the Romantic period.
1. The Romanticisme period: origins, signifiances.
2. Others determinants: music nacionalism, the genius, the birth of the musicology, society and musical uses.
3. Musical language in the XIXth century
3.1. The novelty as a concept.
3.2. The musical form.
3.3. Melody and harmony: complex and originality.
3.4. The romantic orchestra.
3.5. Sacred music.
3.6. El concepto de modelo: focos y periferias.
4. From the beginning to 1830.
5. The asthetical turn between 1830 and 1848: the rising of Romanticism.
Music in the second half of 19th Century
6. The Great Boom of the orchestral music
7. The irruption of "peripheral" nationalisms
8. Realistic paradigm in the post-romantic Opera
9. Symbiosis between music an Arts at the end of 19th Century
The course combines theoritical matters withe the practice. It's very important relate romantic music with art, literature and science of the time. For the best understanding, you should link the sociopolitical and economical circumstances, that contributed to the profound changes in the Romantic century. The course will be make up with:
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Lesson | 25 | 1 | 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20 |
Musical analysis | 10 | 0.4 | 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20 |
Text commentary and listening | 10 | 0.4 | 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20 |
Type: Supervised | |||
Commentaries, lectures, listening and orchestration | 27 | 1.08 | 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20 |
Type: Autonomous | |||
Information search | 37 | 1.48 | 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20 |
Study and articles reading | 30 | 1.2 | 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20 |
The assessment will combine four activities: two exams (60%) and four activities (two text's commentaries and two auditions commentaries) (40%) To pass the course is compulsory a mark 5 in, minimum, in each test. An absent without reason, will be considered "no valuable", and without make-up. The first exam and the two first activities will be referred to the specific academic contents treated until the first half of the 19th Century Music's History. The second exam and the two last activities will be referred to the specific academic contents treated from the second half of the 19th Century Music's History. These activities will revolve around musical listening lists and specific texts that will be respectively fixed for the first and the second half of the course, and that will be published in Moodle.
|
P It's compulsary the attendance to the 75% of the lessons. The exams have to be done, the commentaries should be done in the fixed day.
-In the event that tests or exams cannot be taken onsite they will be adaptet to an online format made available through the UAB's virtual tools (original weigthing will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access thes virtual tolls or will offer them feasible alternatives.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Commentary of auditions | 20 % | 3 | 0.12 | 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20 |
First exam | 30 % | 2 | 0.08 | 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20 |
Second Examen | 30 % | 2 | 0.08 | 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 19, 24, 25, 26, 20 |
Text Commentaries | 20 % | 4 | 0.16 | 2, 3, 1, 4, 22, 5, 6, 9, 12, 11, 21, 7, 8, 14, 16, 10, 15, 13, 17, 18, 23, 19, 24, 25, 26, 20 |
MANUALS AND BIBLIOGRAPHY
AVIÑOA, X. (ed) Història de la Música Catalana, Valenciana i Balear, vol. III. Barcelona, ed 62, 2000.
BONASTRE, Francesc; CORTÈS, Francesc. Història Crítica de la Música Catalana. Bellaterra, servei de publicacions de la UAB, 2009.
CALMELL, Cèsar. La música europea en el context cultural de la primera meitat del segle XiX. Servei de Publicacions de la UAB. Barcelona, 2006.
CASARES, Emilio (ed); ALONSO, Celsa (ed). La música española en el siglo XIX. Oviedo, Servicio de Publicacions de la U. de Oviedo, 1995.
CASINI, Claudio. Historia de la música. El siglo XIX, segunda parte. Madrid, Turner Música, 1987.
CORTÈS, Francesc. Història de la Música a Catalunya. Barcelona, editorial Base, 2011.
CORTÈS, Francesc; ESTEVE, Josep-Joaquuim. Músicas en tiempos de guerra. Cancionero (1503-1939), col·lecció El espejo y la lámpara, 6. Bellaterra,
Servei de Publicacions de la UAB, 2012.
DAHLHAUS, Carl. La Musical dell’ottocento. Firenze, ed. Discanto, 1990.
DAHLHAUS, Carl. Between Romanticisme and modernism. Berkley, University of California Press, 1982.
DAHLHAUS, Carl. La idea de la música absoluta. Barcelona, Idea Books, 1999.
DAHLHAUS, Carl. Realism in Nineteenth-Century Music. Cambridge, 1985.
DI BENEDETTO, Renato. Historia de la música, 8. El siglo XIX, primera parte. Madrid,Turner Música, 1987.
EINSTEIN, Alfred. La música en la época romántica. Madrid, AlianzaMúsica, 1986.
FUBINI, Enrico. El romanticismo: entre músicay filosofía. Valencia, U. de Valencia, 2002.
LONGYEAR, Rey Morgan. La música del siglo XIX: el romanticismo. Buenos Aires, ed. Víctor Leru, 1983.
NATTIEZ, Jean-Jacques. Musiques. Une encyclopédie pour le XXIe siècle. Vol IV. Paris, Actes Sud-Cité de la Musique, 2006 (també en edició en italià. Bologna, Einaudi, 2004)
PLANTINGA, Leon. La música romántica. Madrid, ed. Akal, 1992.
ROSEN, Charles. The Romantic Generation. Harvard University press, Cambridge, 1995.
VV. AA. El segle romàntic. Actes del Col·loqui sobre el romanticisme a Catalunya. Vilanova i la Geltrú, 1998.
SELECTION BY CHAPTERS
Lesson 2
Abrams, Meyer. El espejo y la lámpara. Teoría Romántica y Tradición Crítica. Barcelona, Barral, 1975.
Bartoli, Jean-Pierre. Dictionnaire de la musique en France aux XIXè siècle. Paris, Fayard, 2003.
Brown, Clive. Classical and Romantic performing practice. 1750-1900- Oxford, Oxford university press, 1999.
Candoni, Jean-François. Penser la musique au siècle du romantisme. Discours esthétiques dans l’Allemagne et l’Autriche du XIXe siècle. Paris, PUPS, 2012.
Claudon, Francis. La Musique des romantiques. Paris, Presses Universitaires Françaises, 1992.
Dalmonte, Rossana. “La musica della Rivoluzionefrancese”. M/R, nº1, 1980.
Gérard Herzhaft, Americana. Histoire des musiques de l'Amérique du Nord, de la préhistoire à l'industrie du disque. Paris, Fayard, 2005.
Hayes, Ellen M. Women’s music. Grove Music online, 2013.
Haynes, Bruce. The End of Early Music. Oxford, Oxford University Press, 2007.
Jones, Howard Mumford. Revolution and Romanticism. Cambridge, Harvard University Press, 1974.
Marcel, Brion. La Vida cotidiana en Viena en tiempos de Mozart y de Schubert. México, Fondo de Cultura Económica, 1990.
Lesson 3
Bartoli, Jean-Pierre. L’harmonie classique et romantique (1750-1900). Éléments et évolution. Paris, éditions Minerve, 2001.
Bent, Ian. (ed.) Music Theory in the Age of Romanticism. Cambridge University Press, 1996.
Carse Adam. The orchestra from Beethoven toBerlioz. Cambridge, W. Heffer & Sons, 1948.
Garrat, James. Palestrina and the German Romantic Imagination: Interpreting Historicism in 19th-Century Music. Cambridge:Cambridge University Press, 2002.
Gonnard, H. La musique modale en France de Berlioz à Debussy. Paris, H. Champion, 2000.
Matassi, Elio. L'idea di musica assoluta. Nietzsche-Benjamin. Rapallo,Il Ramo editore, 2007.
Poirier, Alain. “Dimensions et voies spécifiques d'analyse du répertoire romantique”. Analyse Musicale, 21, 1990.
Rosen, Charles. The Romantci generation. Cambridge, Harvard University Press, 1995.
Spitzer, John; Zaslaw, Neal. The birth of the orchestra: history of an institution, 1650-1815. Oxford, Oxford University Press, 2004.
VV. AA. “Orchestres aux XVIIIe et xIxe siècles: composition, disposition,direction, représentation”, a « Musique/images/ instruments », Revue française d'organologie et d'iconographie, nº 12. Paris, CNRS éditions, 2011.
Whitwell, D. The History and Literature of the Wind Band and Wind Ensemble, ol 5: The 19th Century wind band and wind ensemble in Western Europe. Adliswill, Ruh musik, 2000.
Lesson 4
Adkins Chiti, Patricia. Las Mujeres en la música. Madrid, Alianza Música, 1995.
Bailbé, Joseph-Marc; Bernard, Elisabeth. La Musique en France à l’époque romantique. Paris,Flammarion, 1991.
Bortolotto, Mario. Introduzione al Lied romantico. Milano, Adelphi, 1984.
Davy-Rigaux, Cécile. La musique d’église et ses cadres de création dans la France d’Ancien Régime. Biblioteca della Rivista di storia e letteratura religiosa. Studi, vol. 30. Firenze, Olschki, 2014.
Cortès, Francesc. “La música religiosa”, a Aviñoa, Xosé. Història de la Música Catalana, Valenciana i Balear vol III. Barcelona, ed 62, 2000.
Eigeldinger, Jean-Jacques (ed). Interpréter Chopin. Actes du Colloque. Paris, Cahiersdu Musée nº8, 2006.
Ellis, Katherine, "Palestrina et la musique dite "palestrinienne" en France au XIXe siècle: questions d'exécution et de réception", in Vendrix, Philippe (éd.), La Renaissance et sa musique au XIXe siècle. Paris, Klinclsieck, 2000, p. 155-190.
Ellis, Katherine. Interpreting the Past. Early Music in 19th-Century France. Oxford, Oxford University Press, 2005.
Kramer, Lawrence. Franz Schubert: sexuality, subjectivity, song. Cambridge, Cambridge University Press, 1998.
Massin, Brigitte. Franz Schubert. Madrid, Turner (ed en castellà), 1991.
Reibel, Emmanuel. Les musiciens romantiques. Fascinations parisiennes. Paris, Fayard/Mirare, 2003.
Steen, Michale. Schubert. The Great Composers. The Independent, eBook, 2014.
Wollenberg, Susan; Kenry, Aisling. Women and the Nineteenth-century Lied. Burlington, Routledge, 2015, eBook.
Lesson 5
Altenburg, Detlef. “Franz Liszt and the Legacy of the Classical Era”, a19th Century Music, vol. XVIII, nº 1, 1994, pp. 46-63.
Alwes, Chester Lee A History of Western Coral Music. Oxford, Oxford University Press, 2015.
Artís i Benach, Pere. El cant coral a Catalunya: 1891-1979. Barcelona, Barcino, 1980.
Barraud, Henry. Hector Berlioz (traducció al castellà). Madrid, Alianza editorial, 1994.
Baude, Michel. “Le vie musicale sous la Restauration et le Monarchie de Juillet”. Revue International de Musique Française, nº 10, febrero, 1983.
Biget, Michelle. “Le pianiste romantique face aux imposibles de l'écriture”. Analyse Musicale, nº 7, Abril, 1987.
Carbonell i guberna, Jaume. Josep Anselm Clavé i el naixement del cant coral a Catalunya: 1850-1874. Barcelona, Galerada, 2000.
Dömling, Wolfgang. Franz Liszt y su tiempo. Madrid, Alianza Editorial, 1993.
Hardy, Lisa. The British piano sonata, 1870-1946. Suffolk, Boydell Press, 2012.
Lespinard, Bernadette. Les passions du choeur. La musique chorale et ses pratiques en France 1800-1950. Paris, Librairie Arthème Fayard, 2018.
Ochse, Orpha. Organists and Organ Playing in Nineteenth-Century France and Belgium. Bloomington, Indiana University Press, 2000.
Rosen, Charles. Piano Notes. Il pianista e il suo mondo. Torino, EDT, 2008.
Sharp, Avery T.; Floyd, James Michael. Choral Music. A Research and Information Guide (2ª ed). New York, Routledge, 2011.
Sugden, John. Paganini. Londres, Omnibus Press, 1986.
Szulc, Tad. Chopin in Paris: The life and times of the Romantic composeri. New York, Da Capo Press, 2000.
Thistlethwaite, Nicholas; Webber, Geoffrey. The Cambridge Companion to the Organ. Cambridge, Cambridge University Press, 1998.
VV. AA. La Virtuosité, a Romantisme, nº 128, 2005.
Lesson 6
Duneton, Claude. Histoire de la chanson française. Paris, éditions du Seuil, 1998.
Floros, Constantin; Bernhardt-Kabisch, Ernest. Brahms and Bruckner as artistic Antipodes: Studies in Musical Semantics, 2015.
Frisch, Walter. Brahms and the principle of developing variation. 1990.
Gasnault, François. “Les bals publics parisiens”. Revue Internationale de Musique Française, nº 3, novembre, 1980.
Hallmark, Rufus E. German Lieder in the Ninettenth Century. New York, Routledge, 2010.
Kant, Marion. The Cambridge companion to ballet. Cambridge, Cambridge University Press, 2007.
Rodmell, Paul (ed). Music and Institutions in the Nineteenth Century. Burlington, Ashgate, 2012.
Schönzeler, Hans Hubert. Bruckner. Marion Boyars Publishers, 2001
Storni, Eduardo. Johann Strauss y su dinastía. Madrid, Espasa Calpe, 1986.
Swafford, Jan. Johannes Brahms: a biography. New York, Random Housepublishers, 1999.
Tranchefort, François-René (dir). Guide de la musique de chambre. Paris, Fayard, 2010.
Lesson 7
Charles-Dominique, Luc; Defrance, Yces; Pistone, Danièle. Fascinantes Étrangetés. La découverte de l'altérité musicale en Europe au XIXe siècle. PAris, L'Harmattan, 2014.
Cortès, Francesc. Felip Pedrell a la Biblioteca de Catalunya. Baracelona, Biblioteca de Catalunya, 2017, free on-line.
Flintde Medicis, Catrina. "Nationalism and Early Music at the French fin de siècle : Three Case Studies", a Nineteenth-Century Music Review, I, 2004, p. 43-66.
Leerssen, Josep (ed). Encyclopedia of Romantic Nationalism in Europe (2 vols). Amsterdam, Amsterdam University Press, 2018.
Hebert, David. Patriotism and Nationalism in Music Education. Oxon, Ashgate, 2012.
Schneider, Mathieu. L'utopie suisse dans la musique romantique. Paris, Hermann, 2016.
Charles-Dominique, Luc; Defrance, Yces; Pistone, Danièle. Fascinantes Étrangetés. LA découverte de l'altérité musicale en Europe au XIXe siècle. Paris, L'Harmattan, 2014.
White, Harry; Murphy, Michael (eds). Musical Constructions of Nationalism: Essays on teh History and Ideology. Cork, University of Cork Press, 2001
Lesson 8
Balardelle, Genevieve. “L'exotisme extrême-orientel en France au fin du siècle”. Revue Internationale de Musique Française, nº 6, noviembre, 1981.
Beauvois, J. L. Prélude, aria et final avec César Franck. Cinquante ans de musique française (1830-1880). Paris, Presses Universitaires de Grenoble, 1990.
Fauser, Annegret. Musical encounters at the 1889 Paris World’s Fair. Rochester, University of Rochester Press, 2005.
Gordon, Tom (ed). Regarding Fauré. Amsterdam, Gordon and Breach, 1999.
Janik, Allan/Toulmin, Stephen. La Viena de Wittgestein. Madrid, Taurus, 1987.
Jann Pasler. “Political anxieties and musical reception: japonisme and the problem of assimilation”. 2008.(http://musicweb.ucsd.edu/~jpasler/wp/wp-content/uploads/2012/06/Pasler-Japonisme2008.pdf)
Langham Smith, Richard; Potter, Caroline. French Music since Berlioz. Oxon, Routledge, 2006.
HISTORICAL SOURCES
Berlioz, Hector. Berlioz on Music: Selected Criticism (1824-1837). Kolb, Katherin; Rosenberg , Samuel N. 2015.
Berlioz, Hector. Grand traité d'instrumentation et d'orchestration modernes. Paris, Schonenberger,1844.
Berlioz, Hector. Les soirées de l'orchestre. 1852. (consultables on-line: http://www.hberlioz.com/Writings/SOindex.htm)
Fétis, François- Joseph. La musique mise à la portée de tout le monde. París, Brandus et cie., 1847.
Heine, Henri. Mais qu’est-ce que la musique? París, Actes Sud, 1997 (reed).
Hoffmann, Edward T. A. Ecrits sur la musique. Laussane, L'Age d'Homme, 1985.
Mazzini, Giuseppe. Filosofia della musica. París, 1867.
Pedrell, Felip. Por Nuestra Música. Barcelona, Henrich ed, 1891 (ed facsímil, UAB, 1991).
Riemann, Hugo. Die Elemente der musikalischen Ästhetik. Stuttgart, 1900.
Schumann, Robert. Escfritos sobre la música y losmúsicos (ed de Eduard López Chávarri).
Schumann, Robert. Schumannon music: a selection from the writings (ed. Henry Pleasants. New York, Dover, 1988.
Spohr, Louis. Autobiography. Nueva York, Da Capo, 1969.