Course Unit Form
Course unit title:
Music Theory and Analysis (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-30.0
% of distance-learning contact hours:
0.00%
ECTS credits:
10.0
Responsible lecturer and corresponding teaching load in the course unit:
Daniel Moreira - 15.0h
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. Acquire an in-depth view of current music theory and analysis, enabling the doctoral student to situate themselves within the field's main debates. O2. Be able to develop original theoretical and analytical thinking. O3. Develop the capacity for active listening directly from musical sound material, without the mediation of scores, promoting more integrated and productive analyses. O4. Productively articulate theoretical knowledge, analytical practice and artistic practice, according to the doctoral student's interest in their project. O5. Develop theoretical thinking from the self-analysis of artistic practice, whether in composition, performance or production. O6. Apply general theoretical principles to one's own artistic work and to the analysis of works by other authors, with an emphasis on music developed within the Portuguese context.
Syllabus:
P1. Musical practice, analysis and theory: complementarities and tensions P2. Fundamental concepts of music theory and their application to analysis and artistic practice: a) Tempo, rhythm and metre b) Sound, timbre and texture c) Melody, counterpoint and harmony P3. Musical analysis as a mode of performance and composition P4. Artistic practice as a producer of theoretical and analytical knowledge
Demonstration of the coherence between the syllabus and the course unit's learning outcomes:
The course unit aims to provide an in-depth understanding of music theory and analysis (O1 and O2) and to provide tools for articulating theory, analysis and artistic practice (O3 to O6). The course begins with a discussion of the relationship between theory, analysis and artistic practice, addressing synergies and tensions between these fields (P1). This is followed by an approach adapted to the doctoral students' needs (P2), offering an in-depth view of the field (O1) and enabling the development of original thinking (O2). The approach will not be strictly theoretical, discussing concepts through active listening (O3) and analytical and artistic practice. This contributes to an articulation between theory and practice (O4). The final part of the programme deepens this articulation, treating analysis as a form of artistic practice (P3) and artistic practice as a producer of theoretical knowledge (P4).
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, favouring an interactive and reflective model in theoretical-practical sessions. The course unit promotes debate and the application of analytical and theoretical concepts, articulating them with active listening and artistic practice.
method: debate-based learning strategy - discussion of theoretical, analytical and musical texts previously studied by students tools - guided reading, analytical listening, group presentation and argumentation students develop critical thinking and a well-grounded position within the debates of the field of music theory and analysis
method: practice-based learning strategy - application of theoretical concepts through analytical practice and active listening tools - aural analysis exercises, reconstruction of musical structures, experimentation in a performative context this approach allows students to deepen the relationship between analysis and musical practice, promoting the integration of theoretical perspectives into their own artistic output
method: collaborative teaching strategy - sharing and discussing aspects of each student's artistic work in light of theoretical and analytical concepts tools - individual presentations, collective feedback, group discussion of analytical practices this model stimulates mutual learning and encourages the articulation of different approaches to music theory and analysis
method: project development strategy - production of short assignments articulating theory, analysis and artistic practice tools - essay writing, production of structured analyses, creation of teaching materials applicable to performance and composition the projects are adjusted to students' interests and allow the connection between theoretical knowledge and artistic practice to be consolidated
Assessment:
Doctoral students must carry out the following three tasks:
Review: by 31 December, produce a critical review of a theoretical or analytical text relevant to their research area, discussing its implications for listening and/or artistic practice. Essay: by 15 March, produce an essay exploring the impact of an analysis or theoretical perspective on the creative process. Creative outcome: by 31 May, present an original work (performance, composition, recording, audiovisual record, etc.) demonstrating the practical application of the knowledge acquired in Task 2.
Depending on students' interests, these tasks may be carried out strictly individually or collaboratively in small groups.
Assessment: Each task will culminate in a 15-minute oral presentation, followed by a 15-minute question-and-answer session, which 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 set out below.
This is intended to simulate the peer-review process and prepare doctoral students for the defence of their final doctoral work. At the end of the year, students will receive detailed feedback from lecturers on their presentations, indicating both strengths and areas for improvement.
Assessment criteria: understanding of the topic, quality of argumentation, originality and creativity, command of language, capacity to answer questions
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 Music Theory and Analysis ensure a structured path for the acquisition and application of knowledge, articulating analytical practice, theoretical reflection and artistic experimentation. The theoretical-practical approach allows students to integrate different perspectives of musical analysis into their own creative and academic work.
The course unit is based on an interactive and reflective model, in which the student develops competences through four main methods: debate-based learning, practice-based learning, collaborative teaching and project development.
O1, which aims to deepen understanding of the field of music theory and analysis, is worked on through debate-based learning. Discussing fundamental texts and concepts allows for a critical position within the field's debates.
O2, which encourages the development of original analytical and theoretical thinking, is sustained by project development. Producing essays and structured analyses allows students to consolidate knowledge and apply it in creative and academic contexts.
O3, which promotes active listening and musical analysis without the mediation of scores, is developed through practice-based learning. Students carry out aural analysis exercises and reconstruct musical structures, deepening the relationship between theory and musical perception.
O4, which fosters the articulation between theoretical knowledge, analysis and artistic practice, is reinforced by collaborative teaching. Presenting and discussing individual and collective work encourages the sharing of different approaches and methodologies.
O5 and O6, which promote the self-analysis of artistic practice and the application of theoretical principles to one's own work and that of other authors, are developed through the combination of the different methods, allowing students to integrate theory and practice critically and innovatively.
Assessment is structured to reflect this articulation between theory and practice. Students carry out three tasks:
critical review - analysis of a text relevant to the research area, discussing its implications for listening and artistic practice (O1, O3) essay - exploration of the impact of an analysis or theoretical perspective on the creative process (O2, O4) creative outcome - presentation of an original work demonstrating the practical application of the knowledge acquired (O5, O6)
Each task includes a 15-minute oral presentation, followed by a question-and-answer session, ensuring that students develop argumentation and communication competences.
The assessment combines a qualitative model, based on peer review, with a quantitative model, carried out by a panel of lecturers. This model simulates academic and professional assessment processes, preparing students for the defence of their final doctoral work.
Bibliography (recommended/compulsory reading):
Agawu, K. (2004). How we got out of analysis, and how to get back in again. Music Analysis, 23(2/3), 267–286. Burkhart, D. (2014). Aural skills acquisition: A comprehensive guide for teachers and students. Oxford University Press. Christensen, T. (Ed.). (2002). The Cambridge history of western music theory. Cambridge University Press. Cook, N. (2013). Beyond the score: Music as performance. Oxford University Press. Kostka, S., & Payne, D. (2016). The musician's guide to theory and analysis. (9th ed.). McGraw-Hill Education. Lehman, F. (Ed.). (2024). Film music analysis: Studying the score. Routledge. Rehding, A., & Rings, S. (Eds.). (2019). The Oxford handbook of critical concepts in music theory. Oxford University Press. Scotto, C., Smith, K. M., & Brackett, J. (Eds.). (2019). The Routledge companion to popular music analysis: Expanding approaches. Routledge.
Remarks:
This course unit is intended for doctoral students wishing to apply analytical and theoretical tools in their creative projects. Content will be adjusted to the profile and needs of enrolled students. 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.
