Content

The dates will be published in the Campus Virtual of the UAB.

This subject is structured into the following main parts:

Prof. Maria Incoronata Colantuono [Part I]

Medieval Marian monodic repertoires

The subject, articulated in two sessions, contemplates the analysis of medieval Marian monodic repertoires and their re-creation as a performative act. The material includes chants from ancient liturgical hymns to Italian and Galician-Portuguese devotional repertoire, passing through sequential production and Aquitanian and Catalan lyric poetry.

The classes, which have the purpose to determining the main features related to the recovery of the repertoire as a living sound experience, are articulated through the analysis of the oral systems of composition and transmission in comparison with their manuscript reality.

Prof. Aurèlia Pessarrodona [Part II] 

 Music, body and identities in the XVIII century.

The creation of a corporal imaginary around “the Spanish” will be analyzed, which musically took shape in dances with popular roots used as topics in works by composers such as Gluck, Paisiello, Mozart or Boccherini, among many others. On the other hand, we will approach the role of the singing body as a shaper of gender identity in the sexual paradigm shift that occurred throughout the 18th century and that vocally culminated around 1840 with the establishment of “chest” vocal registers and “head” associated with the masculine and the feminine respectively.

Prof. Xavier Daufí i Rodergas [Part III] 

An approach to music education in 18^th-Century Catalonia

During two sessions, some aspects related to music teaching in 18^th-century Catalonia will be analysed. To understand the way this teaching was offered it will be useful to focus on three main points: chapel masters, the extant music treatises, and the foundation of the first institution for music teaching in Barcelona in the early 19^th century.

Chapel masters,existing not only in Barcelona but also throughout Catalonia, were, in their respective cities and villages, the most expert musicians and composers of the time. They were entrusted with the job of teaching music to the prospective chapel masters. No extant documentation explains how these composers worked in their classes and what pedagogical methods they used. On the other hand, itis quite clear, according to the contracts and other surviving documents, that it was them who taught music (and other subjects) to the boys in the choir and to the adult singers who wished to improve their knowledge in music.

Music treatises were used by prospective composers for their education. Among those treatises, different tendencies could be found: some focus on plainchant, others on composition, others are of a conservative vein, a few are speculative… An insight into these works will reveal the knowledge expected from the 18^th-century musician. Besides, these treatises will contribute to a better understanding of the performing practices of the time.

Finally, the so-called Estudi Públic de Música was an institution created in the late 18^th and early 19^th centuries by musicians who formerly worked at the extinct chapel of the Cathedral of Barcelona. This public institution was the precursor of the subsequent music schools created in the city.

Practical exercises: As a practical class assignment, excerpts drawn from 18^th-century Hispanic music treatises will be proposed for further analysis. Their study should reveal what a musician of that time had to know to successfully carry out his profession. Besides, studying these theoretical sources should give us insight into how to understand and perform, today, the music of the 18^th century. Students will be asked to solve some exercises to deepen their knowledge of the subject.

Compulsory reading: Before the beginning of the sessions,students must have read the article loaded in the subject’s Aula Moodle.

Prof. to be determined [Part IV] 

Prof. Francesc Cortès [Part V] 

Technical and aesthetic approach to intertextual dialogue in the lyrical world. Repertoires and opera houses in the ss. XIX and XX.