1. Partial exam (30%): it will be necessary to develop a proposed theme, identify and analyze a musical fragment and an audition.
										
											
										
											2. Subject exam (50%): it will be necessary to develop a proposed theme, identify and analyze two musical fragments and two auditions.
										
											
										
											3. Completion of questionnaires and oral debates for each of the two thematic blocks in which the course is divided (20%).
										
											
										
											
										
											Clarifications for the evaluation
										
											
										
											- In the event that the average mark of the partial exam is less than 5, it will be necessary to re-evaluate the contents suspended in the resit exam
										
											
										
											- Class activities are not recoverable
										
											
										
											- In no case will it be possible to pass the course with the a failed partial exam 
										
											
										
											- To be able to access the resit exam, you must have taken the partial exam and the final exam with a minimum average grade of 3,5.
										
											
										
											- In the resit exam, only the suspended contents will be re-evaluated.
										
											
										
											- Individual exams will not be carried out outside the established day and time, except in duly justified cases of force majeure.
										
											
										
											- Students will be considered "non-assessable" if they have not taken the partial exam or the final exam.
										
											
										
											- In the event that the student performs any irregularity that may lead to a significant variation in the grade of an evaluation act, this evaluation act will be graded with 0, regardless of the disciplinary process that may be instituted. In the event that various 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 carried out in person, their format will be adapted (maintaining their weighting) to the possibilities offered by the virtual tools of the UAB. Homework, activities and class participation will be done through forums, wikis and/or exercise discussions through Teams,etc. Theteacher or teacher will ensure that the student can access it or offer alternative means, which are within their reach.

SINGLE ASSESSMENT
										
											
										
											On a single date, 2 evaluation activities will be carried out, of which one will be identification and analysis of 3 fragments and 3 auditions and a second activity will be a questionnaire of 4 questions about the contents of the syllabus.
										
											
										
											- The weight of the first activity corresponds to the sum of 30%+30% and the second activity corresponds to 40%.

										
											- 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 re-evaluation system will be applied as for the continuous assessment.
										
											
										
											
										
											Possible date of the final exam: consult the degree information list.

Bibliography

BIBLIOGRAFIA BÀSICA

Cattin G., La monodia nel medioevo, Torino, EDT, 1991 (Storia della musica, a cura della Società Italiana di Musicologia, 2)

Fassler M., Music in the Medieval west, New York - London, W. W. Norton & Company, Inc., 2014 (trad. La música en el Occidente medieval, ed. Akal Música, 2020)

Fassler M., Music in the Medieval west Anthology, New York - London, W. W. Norton & Company, Inc., 2014

Gallo A., La polifonia nel medioevo, Torino, EDT, 1991 (Storia della musica, a cura della Società Italiana di Musicologia, 3), chapters I-III (Il
Duecento, Il Trecento francese, Il Trecento italiano).

Hoppin, R.H., Medieval Music (New York, 1978; edic. española, 1991)

Ibidem, Anthology of Medieval Music (New York, 1978; edic. española Madrid, 2002)

 Source readings in music history O. Strunk & L. Treitler eds. (New York, 1998) [“The Early Christian period and the latin middle ages”]

 The New Grove Dictionary of Music and Musicians, S. Sadie ed. (London etc., 2001)

 Gómez, MªC., La música medieval en España (Kassel, 2001)

 Ibidem, Historia de la Música en España e Hispanoamérica 1. De los orígenes hasta c.1470, MªC. Gómez ed. (Madrid, 2009)

Rossell A., Literatura i música a l'Edat Mitjana, 2 voll. (Lírica i Cancó èpica), Dinsic (Barcelona, 2004)

 

 BIBLIOGRAFIA ESPECÍFICA

 Música

Liber Usualis

Graduale Triplex

Monumenta Monodia Medii Aevi

Werf, H.Van der, The Extant Troubadour Melodies (Rochester, 1984)

Anglés, H., La música de las Cantigas de Santa María del rey Alfonso el Sabio (Barcelona, 1943-64) (3 vols.)

Karp, Th., The Polyphony of Saint Martial and Santiago de Compostela (Oxford, 1992) (2 vols.)

Magnus Liber Organi, E.H. Roesner, ed. (7 vols.)

The Montpellier Codex, H. Tischler ed. (Madison, 1978-85) (4 vols.)

Polyphonic Music of the Fourteenth-Century (24 vols.) [PMFC]

Corpus Mensurabilis Musicae [CMM]

 

Libros (según temario)

1.

Haynes, B., The End of Early Music (Oxford, 2007)

Leech-Wilkinson, D., The Modern Invention of Medieval Music (Cambridge, 2002)

Sherman Bernard D., Inside Early Music: Conversations with Performers (Oxford University Press, New York, 1997)

 

2.

Boecio, Tratado de Música, trad. S. Villegas (Madrid, 2005)

Fubini, E., Música y estética en la época medieval (Pamplona, 2008)

Schueller, H.M., The Idea of Music. An Introduction to Musical Aesthetics in Antiquity and the Middle Ages (Kalamazoo, 1988)

 

3-4.

Busse Berger, A.M., Medieval Music and the Art of Memory (Berkeley-Los Angeles-London, 2005)

Chailley, J., L’imbroglio des modes (Paris, 1960)

Levy, K., Gregorian Chant and the Carolingians (Princeton, 1998)

Treitler, L., With Voice and Pen. Coming to Know Medieval Song and How it was Made (Oxford, 2003)

 

5-10.

Apel, W., Gregorian Chant (Bloomington, 1958)

Asensio, J.C., Elcanto gregoriano (Madrid, 2003)

Baroffio G. – Ju Kim E., Cantemus Domino Gloriose. Introduzione al canto gregoriano, Saronno, Urban, 2003

Carrillo Rojo R., Text, Liturgy, and Music in the Hispanic Rite, Oxford University Press, 2021

Colantuono M. I., Música i litúrgia medieval a la Biblioteca de Catalunya, s. IX-XIII. Vol. 3 de la col·lecció Escrits i Memòries. Generalitat de Catalunya: Departament de Cultura.

Harper, J., The Forms and Orders of Western Liturgy from the Tenth to the Eighteenth Century. A Historical Introduction and Guide for Students and Musicians (Oxford, 1991)

Hiley, D., Western Plainchant. A Handbook (Oxford, 1993)

 

11.

Donovan, R.B., The liturgical drama in medieval Spain (Toronto, 1958)

Nardini L., Chants, Hypertext, and Prosulas, Oxford University Press, 2022

Orden, D.H., The Staging of Drama in the Medieval Chuch (Wewak-London, 2002)

Ranking, S., The Music of the Medieval Liturgical Drama in France and England (New York & London, 1989)

 

12.

Aubrey, E., The Music of the Troubadours (Bloomington-Indianapolis, 1996)

Krause K. M. & Stones, A., Gautier de Coinci. Miracles, Music and Manuscripts, ed. Brepols, 2007

Menéndez Pidal, R., Poesía juglaresca y juglares (Madrid, 1991/9ª edic., etc.)

Rossell A., El cant dels trobadors, Ajuntament de Castelló d'Empuries (Castelló d'Empuries, 1992)

Van der Werf, H., The chansons of the troubadours and trouvères. A studyof the melodies and their relation to the poems (Utrecht, 1972)

Zuchetto, G., Terredes troubadours XII-XIIIe siècles (Paris, 1996)

 

 

13.

Colantuono M. I., Memoria y composición melódica en las Cantigas de amigo de Martin Codax, a Roda de Fortuna, Revista electrónica 2 (2015)

Ibidem, De la vox mortua a lavox viva: sistemas de composición y oralidad en las Cantigas de Santa Maria, a Boitatá, Revista de Literatura oral de la Universidad de Londrina (Brasil),  n. 19 Voz, poesia e performance na Idade Média.

Ferreira, M.P., O som de Martin Codax (Lisboa, 1986)

 

14.

E. Baldassarre, Musica instrumentalis mediaevalis, Il Salentino editore (Melendugno, 2014)

 

15-17

Musica enchiriadis and Scolica enchiriadis, trad. R. Erickson (New Haven-London, 1995)

Wright, C., Music and Ceremony at Notre Dame of Paris 500-1550 (Cambridge,1989)

Everist, M., French Motets in the Thirteenth Century (Cambridge, 1994)

Fauvel Studies. Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS Français 146 (Oxford, 1998)

 

Gómez Muntané, Maricarmen, El Llibre Vermell. Cantos y danzas de fines del Medioevo (Madrid, Fondo de Cultura Económica, 2017)

Kügle, K., The Manuscript Ivrea, Biblioteca Capitolare 115: Studies in the Transmission and Composition of Ars Nova Polyphony (Ottawa, 1997)

Leech-Wilkinson, D., Machaut’s Mass. An Introduction (Oxford, 1990)

Robertson. A.W., Guillaume de Machaut and Reims (Cambridge, 2002)

Stäblein-Harder, H., Fourteenth-Century Mass Music in France (MSD 7, 1962)

 

18.

Beck, E.M., Singing in the Garden. Music and culture in the Tuscan Trecento (Innsbruck, 1998)

Pirrotta, N., Music and Culture in Italy from the Middle Ages to the Baroque (Cambridge, 1984)

 

 

Revistas

Early Music [EM]

Early Music History [EMH]

Musica Disciplina [MD]

Plainsong & Medieval Music

 

Acta Musicologica [AcM]

Archiv für Musikwissenschaft [AfMw]

Journal of the American Musicological Society [JAMS]

Notes

The Musical Quarterly [MQ]

Revista de Musicología [RdM]