Course Unit Form
Course unit title:
Reading and Interpretation of Sources
Code of the scientific area:
Mus
Duration (annual, semester or term):
Annual
Total student workload (total hours):
130.0
Contact hours:
In-person (P) - TP-15.0; S-15.0
% of distance-learning contact hours:
0.00%
ECTS credits:
5.0
Responsible lecturer and corresponding teaching load in the course unit:
Pedro Sousa Silva - 10.0h
Other lecturers and their teaching load in the course unit:
Learning outcomes and their compatibility with the teaching method (knowledge, skills and competences to be developed by students):
O1 Introduce doctoral students to the reading and interpretation of sources (scores, instruments, texts about music, catalogues, databases, historical documentation, audiovisual materials, among others) in the context of musical creation (performance, composition, production, etc.), promoting the development of analytical skills and the expression of critical thinking.
O2 Expose doctoral students to the diversity and appropriateness of the resources required to interpret different types of sources, including notational, palaeographic, theoretical, organological, stylistic and technological sources.
O3 Enable doctoral students to research, select and interpret sources relevant to the realisation of a creative project.
Syllabus:
P1 Typology of musical sources: - Written sources: manuscripts, critical editions, scores, analytical and theoretical studies, articles, essays, programmes, letters, diaries, legislation, reports. - Audiovisual sources: historical and commercial recordings, recordings of rehearsals or concerts, sound libraries. - Musical instruments: historical, modern, technological, hardware and software. - Digital sources: databases, repositories, streaming platforms, software libraries.
P2 Tools for interpretation: - Disciplines and methods: palaeography, musical notation, transcription, textual criticism, critical editing, codicology, music history, musicology, ethnomusicology, musical iconography, acoustics, organology, sociology, economics and psychology of music. - Practical techniques: active listening, visual analysis, instrument-making, performance techniques. - Technology and analysis: music computing and coding, data analysis.
Demonstration of the coherence between the syllabus and the course unit's learning outcomes:
The syllabus is clearly aligned with the learning outcomes. P1 provides a broad foundation for achieving O1, by introducing doctoral students to a wide typology of musical sources and their reading in the context of musical creation. The specification of source categories promotes analytical skills and the development of critical thinking. P2 complements this objective by presenting methodological tools, such as palaeography and musical notation, required for source interpretation, addressing O2. The technological and practical approach of P2 also supports exposure to the diversity and appropriateness of resources for source analysis, as required in O3. The programme thus enables students to research, select and interpret relevant sources, offering complete and integrated training in support of realising creative projects.
Teaching and learning methodologies specific to the course unit, articulated with the pedagogical model:
The teaching and learning methodologies of this course unit are aligned with the DocMus.pt pedagogical model, integrating theory, practice, historical context and creativity. They favour research through practice, promoting autonomy, experimentation and the development of technical, analytical and creative competences. The selection of methodologies will be adjusted to each doctoral student's profile and interests, ensuring effective articulation with their academic and professional path. The course unit will be taught in theoretical-practical sessions and seminars, combining exposition, critical analysis and practical application of the knowledge acquired.
Project-Based Learning (PBL) Development of projects integrating analysis, interpretation and practical application, such as contextualised recitals or annotated editions. Fosters autonomy and creativity, strengthening the link between theory and practice.
Case Study In-depth analysis of specific sources, considering historical context, interpretive decisions and differences between editions. Applies theoretical concepts to concrete situations, articulating academic analysis and artistic practice.
Problem-Solving Solving concrete challenges, such as interpreting incomplete or ambiguous sources. Stimulates critical thinking, autonomous research and creativity in formulating innovative approaches.
Strategies and Tools Interactive Lectures Theoretical presentations combined with dynamic discussions, analysis of musical examples (live or recorded) and critical debate, encouraging active student engagement.
Practical Workshops Sessions of interpretive experimentation with historical or modern instruments, with continuous and constructive feedback. Create a space for practice and reflection essential to artistic research. Collaborative Teaching Group work on source analysis, presentations and performances, promoting the exchange of ideas and critical debate. Develops collaborative competences fundamental to the programme's creative ecosystem.
Commented Recitals Performances accompanied by analytical and interpretive explanations, integrating practice and critical reflection. Foster meaningful interactions between peers and lecturers, encouraging constructive feedback.
Written Reflections and Logbooks Ongoing record of progress in reading and interpreting sources, documenting decisions and learning. Encourages self-assessment and reflective thinking in building an artistic and research identity.
Use of Digital Technologies Application of music-editing software and collaborative platforms for analysing and sharing materials. Reinforces the flexibility of teaching and the dissemination of artistic research results.
Assessment:
By 31 December, doctoral students must propose and discuss a topic for producing an assignment involving the consultation of a set of sources and the application of methods associated with the typologies listed in the syllabus. Examples of assignments include, but are not limited to: diplomatic or semi-diplomatic transcriptions, critical editions, contextualised essays, source-based creative projects, comparative analyses of editions or audiovisual recordings, the creation of databases or catalogues, the resolution of interpretive problems, and the creation of teaching materials.
By 31 May, doctoral students must give an oral and written presentation of their work, followed by a 15-minute question-and-answer session. This presentation will be assessed in two ways:
Qualitative assessment: carried out by peers in the course unit, fostering the exchange of ideas and the development of feedback skills.
Quantitative assessment: carried out by three doctoral programme lecturers, based on the criteria indicated below.
The purpose of this activity is to simulate the peer-review process, preparing doctoral students for the defence of their final doctoral work. At the end of the year, doctoral students will receive detailed feedback from lecturers, highlighting strengths and identifying areas for improvement.
Assessment criteria (to be applied according to the nature of the assignments): fidelity to originals, application of conventions, clarity and organisation, grounding, technical presentation and typography/musicography, quality of research/analysis/argumentation, originality, relevance, organisation, command of technological resources, completeness, autonomy.
Students who do not pass the assessment may submit a revised version of the assignment by 30 June.
Demonstration of the coherence between the teaching and assessment methodologies and the course unit's learning outcomes:
The teaching and assessment methodologies of the course unit are carefully aligned with its learning outcomes, ensuring an integrated and effective approach to developing the intended competences in doctoral students.
O1, which aims to introduce doctoral students to the reading and interpretation of musical sources, is supported by methodologies such as interactive lectures, which combine theory and practice, and case study, which allows specific sources to be explored within their historical and technical context. These approaches encourage critical analysis and promote a technical and stylistic understanding of sources.
O2, which exposes doctoral students to the diversity of resources and methods, is fostered through activities such as practical workshops, where interpretive approaches and the use of historical or modern instruments are explored. Problem-solving stimulates adaptation to different source typologies, including notational, palaeographic and technological ones, while the use of digital technologies reinforces the capacity for analysis and the use of contemporary tools.
O3, which focuses on enabling doctoral students to select and interpret sources relevant to creative projects, benefits from project-based learning (PBL), in which students develop work connecting theory and practice, such as critical editions or source-based creative projects. Commented recitals and written reflections support the link between research and practical performance, promoting reflective thinking and self-assessment.
With regard to assessment, the process is equally coherent with the objectives. Proposing and discussing the topic by 31 December ensures that students begin applying the analytical and research competences developed at an early stage. The oral and written presentation, followed by a question-and-answer session, simulates the academic context of peer review, promoting critical and communication competences, in line with the course unit's objectives.
The dual assessment approach (qualitative by peers and quantitative by lecturers) reinforces the development of feedback and self-assessment skills, while offering a rigorous and constructive analysis of the work. The assessment criteria — such as fidelity to originals, grounding, clarity, originality and command of technological resources — reflect the technical and creative competences defined in the objectives and syllabus.
Bibliography (recommended/compulsory reading):
Cook, N. (1990). Music, imagination, and culture. Oxford University Press.
Grier, J. (1996). The critical editing of music: History, method, and practice. Cambridge University Press.
Katz, M. (2010). Capturing sound: How technology has changed music (2nd ed.). University of California Press.
Leech-Wilkinson, D. (2009). The changing sound of music: Approaches to studying recorded musical performances. Routledge.
Moore, A. F. (2012). Song means: Analysing and interpreting recorded popular song. Routledge.
Taruskin, R. (1995). Text and act: Essays on music and performance. Oxford University Press.
Teicher, H. (Ed.). (2020). Sourcebook for research in music. Indiana University Press.
Remarks:
[No response]
