Musical Notation I
Code: 100654 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500240 Musicology | OB | 3 | 1 |
Contact
- Name:
- Maria Incoronata Colantuono Santoro
- Email:
- mariaincoronata.colantuono@uab.cat
Teaching groups languages
You can check it through this link. To consult the language you will need to enter the CODE of the subject. Please note that this information is provisional until 30 November 2023.
External teachers
- Maria Incoronata Colantuono
Prerequisites
A good level of musical language is recommended
Objectives and Contextualisation
The student will learn the basis theoretical and practice, and will transcribe and perform the Medieval Music written in the main systems of notation
Competences
- Demonstrate a sufficient level of knowledge of historical and current musical language and theory, including the rudiments of harmony and counterpoint, to be able to correctly approach the study of composition.
- Know and understand the historical evolution of music, its technical, stylistic, aesthetic and interpretative characteristics from a diachronic perspective.
- Relate knowledge acquired to musical praxis, working with musicians through the analysis and contextualisation of different repertoires, both related to historical music and to the different manifestations of contemporary music.
- Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
- Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
- Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
- Students must have and understand knowledge of an area of study built on the basis of general secondary education, and while it relies on some advanced textbooks it also includes some aspects coming from the forefront of its field of study.
Learning Outcomes
- Acquire fluency of sightreading to practical musical ends.
- Apply different models of musical notation in musical praxis.
- Be familiar with editions of early music.
- Discuss musical theory and praxis with musicians.
- Identify the main systems of writing in Western music, both vocal and instrumental (10th to 17th centuries).
- Identifying the context of the historical processes.
- Integrate knowledge acquired in the production of clear and concise appropriate to the academic and specialist communication.
- Make condifent use of vocabulary relative to musical paleography.
- Make historical distinctions between the different systems of musical notation.
- Produce correct, precise and clear argumental and terminological writing of knowledge acquired, both in the area of musical specialisation and dissemination.
- Transcribe the main systems of Western music according to the modern conventions of notation and edition.
- Use the appropriate terminology in the construction of an academic text.
- Write critical papers on musicology that are planned and organised efficiently.
Content
- Gregorian semiology
- Neumatic notation
- Earlier polyphonic notation
- Modal notation
- Mensural Notation
- Notation of the French Ars nova
- Italian Notation around 1300
Methodology
Development of the syllabus through practical classes based on the musical fragments, after explaining the theoretical-practical principles on which they are based.
Resolution, with the active participation of the student, of how many transcription exercises are commissioned.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Activities
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Face-to-face lessons, theoric and practice | 45 | 1.8 | 1, 2, 4, 9, 3, 6, 5, 11, 8 |
| Type: Autonomous | |||
| Reading of specific bibliography (books and articles) | 7 | 0.28 | 10, 12, 6, 7, 13 |
| Study of the course | 32 | 1.28 | 1, 2, 10, 4, 9, 3, 12, 6, 5, 7, 13, 11, 8 |
| Transcription excercices | 62 | 2.48 | 10, 9, 3, 12, 5, 13, 11, 8 |
Assessment
ASSESSMENT
Completion of two partial exams (25% each) and a final exam (50%). The exams will consist of the transcription of one or more musical fragments and a questionnaire with questions about the history of the notations and the repertoires they transmit.
Each test, if necessary, must be justified orally in group or individual tutoring sessions
Clarifications
- In order to be able to calculate the final grade of the subject, both partial exams must be passed independently
- Only the suspended contents will be re-evaluated in the resit exam
- In no case will it be possible to pass the subject with the global of the failed partial exams
- To be able to access the resit exam, you must have completed the two partial exams and the final exam and have obtained a minimum average grade of 3.5
- Only the suspended contents will be re-evaluated in the resit exam
- Individual exams will not be held outside the assigned day and time, except in duly justified cases of force majeure
- In the event that the student commits any irregularity that could lead to a significant variation in the grade of an assessment act, this assessment act will be graded with 0, regardless of the disciplinary process that may be instituted. In the event that several irregularities occur in the evaluation acts of the same subject, the final grade for this subject will be 0.
- In the event that the tests cannot be taken in person, their format will be adapted (maintaining their weighting) to the possibilities offered by the UAB's virtual tools. Homework, activities and class participation will be done through forums, wikis and/or exercise discussions through Teams, etc. The teacher will ensure that the student can access it or will offer him or her alternative means, which are within their reach.
- A student will be considered "non-evaluable" if he has not attended the partial exams or the final exam of the subject
SINGLE ASSESSMENT
- In the same day, 3 activities will be carried out: 2 transcription activities of 30% weight each and 1 activity of filling in a questionnaire of questions about the history of the notations and the repertoires they transmit corresponding to 40% of the grade end
- At the time of carrying out each assessment activity, lecturers will inform the students (Moodle) of the procedure and the date of review of the qualifications.
- The same assessment method as continuous assessment will be used.
For the date of the final exam, please refer to the Degree information list
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Final exam | 50% | 2 | 0.08 | 1, 2, 10, 4, 9, 3, 12, 6, 5, 7, 13, 11, 8 |
| Test 1 | 25% | 1 | 0.04 | 10, 9, 12, 5, 7, 11, 8 |
| Test 2 | 25% | 1 | 0.04 | 10, 9, 12, 5, 7, 11, 8 |
Bibliography
C. Elmes, Cantigas of Alfonso X, el Sabio, a performing edition, ed. Gaita medieval music (4 voll.), 2020
F. Luisi, M. Gozzi, A. Scotti, Il canto fracto. L’altro gregoriano, ed. Torre d’Orfeo, 2005
Bradley, Catherine, Poliphony in Medieval Paris: the art of composing with plainchant, ed. Cambridge University Press (2020)
Apel, W., The Notation of Polyphonic Music 900-1600 (Cambridge, 1953/5ª edic., etc.)
Hiley D. - Szendrei J., Notation, § III.1, Plainchant, in Groveonline
Colette M. N. - Popin M.– Vendrix PH., Histoire de la notation du Moyen Âge à la Renaissance, Paris, Minerve, 2003
Kelly TH. F., Capturing Music. The Story of Notation, New York, W.W. Norton, 2014
Schimd M.E., La notazione musicale. Scrittura e composizione tra il 900 e il 1900, a cura di A. Cecchi, Roma, Astrolabio, 2017
Paléographie musicale: les principaux manuscrits de chant grégorien, ambrosien, mozarabe, gallican, Solesmes, 1889-.
Les Clausulae a deux voix du Manuscrit de Florence, Biblioteca Mediceo-Laurenziana, Pluteus 29.1, pub. par R. A. Baltzer, Paris, L’Oiseau-Lyre, 1995 (“Le Magnus Liber Organi de Notre-Dame de Paris”, 5).
The music treatise of Anonymous IV. A new translation, J. Yudkin ed. (MSD 41, 1985)
Franconis de Colonia, Ars cantus mensurabilis, G. Reaney & A. Gilles eds. (CSM 18, 1974)
Philippi de Vitriaco, Ars nova, G. Reaney, A. Gilles & J. Maillard eds. (CSM 8, 1964)
Fuller, S., “A Phantom Treatise of the Fourteenth Century? The Ars nova”, The Journal of Musicology IV/1 (1985/6), pp. 23-50
Tractatus figurarum, Ph. E. Schreur ed. (Lincoln-London, 1989)
Software
There is not