Course Unit Form
Course unit title:
Performance Practice (Optional Course Unit)
Code of the scientific area:
Mus
Duration (annual, semester or term):
Annual
Total student workload (total hours):
260.0
Contact hours:
In-person (P) - TP-0.0; PL-15.0
% of distance-learning contact hours:
0.00%
ECTS credits:
10.0
Responsible lecturer and corresponding teaching load in the course unit:
Pedro Sousa Silva - 6.0h
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 Assist students from performance fields (instrumentalists, singers) in developing the specific competences required to carry out their artistic projects. O2 Preparation and public presentation of a final project. O2 Develop and master technical and interpretive competences enabling professional-level results. O3 Broaden the artist's aesthetic-performative and conceptual universe as a performer. O4 Stimulate, through practice, experimentation, analysis and reflection around the creative process, with an impact on the artistic project being developed.
Syllabus:
P1 - Interpretive styles and practices in different historical and cultural contexts. P2 - Knowledge and specific interpretive technical skills for each instrument or voice. P3 - Techniques and forms of musical creation and interpretation. P4 – Individual and collaborative working methods appropriate to the nature of each artistic project being developed. P5 – Strategies for anticipating and resolving unexpected problems.
Demonstration of the coherence between the syllabus and the course unit's learning outcomes:
The correspondence between the syllabus and the learning outcomes is ensured by the structuring of the topics addressed, guaranteeing their direct application to the development of students' performative competences. The study of interpretive styles and practices (P1) consolidates the artistic foundation needed to carry out the projects (O1). The deepening of specific technical skills (P2) contributes to interpretive mastery and preparation for public performance (O1, O2). The exploration of techniques of musical creation and interpretation (P3) broadens the performer's aesthetic and conceptual vision (O1, O3). The study of individual and collaborative working methodologies (P4) stimulates experimentation and critical reflection on the creative process (O1, O4). The syllabus thus sustains a coherent pedagogical path, allowing an effective articulation between knowledge, practice and critical reflection.
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 programme's pedagogical model, which favours laboratory practice as the central axis of training. Teaching combines experimentation, critical reflection and technical refinement, promoting the performer's autonomy in developing their artistic project.
Method: immersive teaching - Strategy - participation in masterclasses and workshops with guest artists - Tools - practical sessions, live demonstrations, moderated debates on interpretive strategies - Direct contact with specialists allows students to explore different performative approaches and develop critical awareness of interpretive practice
Method: practice-based learning - Strategy - development of individual and collaborative performance projects - Tools - supervised rehearsals, experimental recordings, comparative analysis of musical performances - Students apply technical and stylistic knowledge in constructing their performance, testing interpretive and methodological solutions
Method: applied artistic research - Strategy - reflection on the performative process and experimentation with new interpretive approaches - Tools - recording of rehearsals, performance analysis, use of technologies supporting musical practice - Laboratory experimentation encourages the integration of theoretical and technical elements into performance, promoting an ongoing research process
Method: collaborative teaching - Strategy - exchange of experiences and feedback between students and lecturers - Tools - repertoire-sharing sessions, discussion of performative challenges, simulation of professional contexts - Collaboration between performers provides a rich learning environment, stimulating adaptability and artistic communication
Method: problem-based learning - Strategy - identifying and resolving interpretive and technical challenges - Tools - analysis of performance difficulties, simulation of solutions for unforeseen situations in performance - Developing problem-solving capacity strengthens the performer's autonomy and preparation for professional challenges
These methodologies ensure a solid training path, allowing students to consolidate their artistic identity and develop competences essential to performance practice at a professional level.
Assessment:
Assessment comprises two moments: intermediate assessment and final assessment.
Intermediate assessment – a written essay of approximately 2,000 words (a length equivalent to a 15-minute oral presentation) on one of the core questions on interpretative practice proposed by the lecturer. The essay is submitted one week before the intermediate assessment session, so that it can be read in advance by fellow students; in that session, it is presented orally by the doctoral student and examined by three fellow students acting as discussants.
Final assessment – Students may choose between three assessment formats, depending on the nature of their performance project and their research interests.
Live recital – public presentation of a recital lasting approximately 60 minutes, with repertoire chosen by the doctoral student. After the performance, the student gives a 15-minute oral presentation, justifying the choice of repertoire in relation to their research interests and the interpretive choices made.
Audio recording – production and submission of an audio recording of approximately 30 minutes, likewise with repertoire chosen by the doctoral student. The recording must be accompanied by an analytical text of 1000–1500 words, written in the style of CD booklet programme notes, contextualising the interpretation and musical choices.
Video documentary – creation of a video lasting approximately 15 minutes, presenting a documentary on one or more works selected by the student. The video must explore interpretive, historical and conceptual aspects, reflecting on the underlying performative and research process.
Assessment takes place in two complementary stages. In the first stage, students carry out a qualitative self-assessment, allowing critical reflection on their path and artistic results. In the second stage, quantitative assessment is conducted by a panel of three lecturers, who examine the technical, interpretive and conceptual aspects of the work presented, ensuring a rigorous process aligned with the course unit's objectives.
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 Performance Practice course unit are aligned with the learning outcomes, promoting a balance between practical experimentation, technical refinement and critical reflection. The structure of the course favours laboratory practice, ensuring that students develop interpretive and creative competences in real performance contexts.
O1, which aims to assist students in developing the specific competences needed to carry out their artistic projects, is addressed through practice-based learning. Masterclasses and workshops with guest artists (M1) offer opportunities for technical and interpretive refinement, allowing students to directly apply the knowledge acquired.
O2, which focuses on the preparation and public presentation of a final project, is sustained by collaborative teaching (M2). Sharing collective processes allows students to test repertoire, discuss interpretive approaches and receive real-time feedback, consolidating their preparation for public performances.
O3, which promotes the broadening of the performer's aesthetic-performative and conceptual universe, is addressed through applied artistic research (M3). Disciplinary workshops encourage students to explore new interpretive possibilities, experimenting with different stylistic approaches and performative contexts.
O4, which stimulates experimentation, analysis and reflection on the creative process, is worked on through artistic residencies (M4). These immersive experiences provide a favourable environment for exploring and developing a personal artistic language, fostering integration between technical knowledge and artistic expression.
Assessment is structured to reflect the diversity of performative approaches within the course unit. Students may choose different formats for presenting their final project, ensuring suitability to their artistic path: • live recital - directly assesses interpretive capacity, technical solidity and stage presence (O1, O2) • audio recording - emphasises attention to technical detail and sound production, requiring rigorous planning of performance and interpretation (O2, O3) • video documentary - focuses on reflection on the creative process, interpretive analysis and artistic communication (O3, O4)
Assessment combines a qualitative component, based on self-assessment and peer review, and a quantitative component, conducted by a panel of three lecturers. Peer review develops critical and argumentative capacity, while quantitative assessment ensures rigour and fairness in appraising the results. In this way, the course unit ensures a structured training path, allowing students to consolidate their artistic identity and acquire competences essential to performance practice at a professional level.
Bibliography (recommended/compulsory reading):
Cook, N. (2018). Music as creative practice. Oxford University Press.
Coessens, K. (2018). To Submit or Not to Submit: Negotiating Artistic Research in the Academic World. In B. van Kerckhoven & W. Ysebaert (Eds.), Evaluating Art and Design Research (pp. 41-52). ASP.
Haynes, B. (2007). The End of Early Music: A Period Performer's History of Music for the Twenty-First Century. Oxford University Press.
Rink, J., Gaunt, H., & Williamon, A. (Eds.). (2017). Musicians in the making: Pathways to creative performance. Oxford University Press.
Taruskin, R. (1995). Text and Act: Essays on Music and Performance. Oxford University Press.
Remarks:
This course unit is intended to support doctoral students wishing to carry out projects in the field of performance practice. The course unit requires a minimum of 3 enrolments to run. The selection of lecturers to teach this course unit will be made based on the students' profile.
