Compositorial techniques before 1600 (module I) 3106-1TEKO-KON

This course has not yet been described...

Term 2023Z:

1. Introduction
2. Chant-based cantus firmus
3. Song-based cantus firmus.
4. Hexachord-based cantus firmus.
5. Multiple cantus firmus
6. Parody technique
7. Canon.

Term 2024Z:

1. Introduction
2. Chant-based cantus firmus
3. Song-based cantus firmus.
4. Hexachord-based cantus firmus.
5. Multiple cantus firmus
6. Parody technique
7. Canon.

Prerequisites (description)

RENAISSANCE COMPOSITION: FROM A TECHNIQUE TO A SYMBOL The aim of the course is to familiarize students with the world's musicological literature on Renaissance compositional techniques. On this basis, various types of using them will be discussed, as well as possible ways to give music a symbolic meaning.

Course coordinators

Agnieszka Leszczyńska

Type of course

elective courses
obligatory courses

Mode

Classroom

Learning outcomes

Knowledge of selected issues in the field of Renaissance composition techniques in terms of the most eminent European and American musicologists.

Assessment criteria

Students are required to be present and actively participate in classes. They should report on one of the scientific articles proposed by the lecturer and provide a written version of its discussion. Seminar ends with a test.

Bibliography

Term 2023Z:

- B. J. Blackburn, The Virgin in the Sun: Music and Image for a Prayer Attributed to Sixtus IV, “Journal of the Royal Musical Association” 1999 nr 2
- M. J. Bloxam, Text and Context: Obrecht’s Missa de Sancto Donatiano in Its Social and Ritual Landscape, „Journal of the Alamire Foundation” 2011 nr 1
- W. Elders, Symbolic Scores. Studies in the Music of Renaissance, Leiden 1994
- A. Fiumara, "Escobedo's Missa Philippus Rex Hispanie: A Spanish Descendent of Josquin's
- J. Haar, A Wedding Mass by Lasso, “The Journal of Musicology” 1999 nr 1
- M. Long, Symbol and Ritual in Josquin's Missa Di Dadi, „Journal of the American Musicological Society” 1989 nr 1
- K. Schiltz, Music and Riddle Culture in the Renaissance, Cambridge 2015
- M. Steib, A Composer Looks at His Model: Polyphonic Borrowing in Masses from the Late Fifteenth Century, „Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis” 1996 nr 1

Term 2024Z:

Additional information

Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system:

Description of 3106-1TEKO-KON in USOSweb