PRO 420 Western Music VII Re-understandig the music act. “REFLECTIONS ON THE READING, UNDERSTANDING, PERFORMANCE AND COMMUNICATION CRITERIA OF THE MUSICAL ACT. THE TEXTUAL AND CONTEXTUAL ELEMENTS IN MUSIC” HERMENEUTIC AND MUSICAL EXEGESIS. by Professor Santiago Lusardi Girelli Anthony Gonsalves Chair in Western Music Visiting Research Professors Program, Goa University

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  • July 15, 2016 at 12:54 pm
  • Goa University

    Visiting Research Professors Programme

    Anthony Gonsalves Chair in Western Music

    Organizes a course on

    PRO 420 Western Music VII

    Re-understandig the music act.

    “REFLECTIONS ON THE READING, UNDERSTANDING, PERFORMANCE AND COMMUNICATION CRITERIA OF THE MUSICAL ACT. THE TEXTUAL AND CONTEXTUAL ELEMENTS IN MUSIC”

    HERMENEUTIC AND MUSICAL EXEGESIS.

    by

    Girelli

    Professor Santiago Lusardi Girelli

    Anthony Gonsalves Chair in Western Music

    Visiting Research Professors Program, Goa University

     Schedule

    COURSE SCHEDULE

    Timetable: 15 hours / 1 credit course. Five sessions including exam, between 9.30 a. m -12.30 p.m

    Class I  – Saturday 23th   (Jul)

    Class II  – Saturday 30th (Jul)

    Class III  – Saturday 06th (Aug)

    Class IV – Saturday 13th (Aug)

    Class V  – Saturday 20th (Aug).

    Venue- Conference Hall, Administrative Building, Goa University

    The course includes a guided concert attendance with Prof. Lusardi Girelli.

     

    CLICK HERE FOR ONLINE Registration 

    The course is open to students, general public and all music lovers. Certificate will be awarded to all the participants who fulfill 75% attendance record. Credit Grade will be awarded to registered PG students who fulfil attendance criteria and answer the exam.

     Course Information and Syllabus

     

    Introduction.

    This new course follows up the research line of Music in Dialogue with Western Philosophy, History and Arts and it is called:

    PRO 420 Western Music VII

     Re-understandig the music act.

    “REFLECTIONS ON THE READING, UNDERSTANDING, PERFORMANCE AND COMMUNICATION CRITERIA OF THE MUSICAL ACT. THE TEXTUAL AND CONTEXTUAL ELEMENTS IN MUSIC”

    HERMENEUTIC AND MUSICAL EXEGESIS.

                        Is a course that seeks to understand the evolution, theory and technique of the western vocal musical tradition. We long to understand the real meaning of the human need to comprehend the cultural process. The course analyses the history of Western Music, sacred and profane.

    Through the philosophical and theological processes of the Hermeneutic and Exegesis we will debate and rethink the method of understanding the music act and its artistic, symbolic and non-linguistic world.

    This course is structured in 4 classes and three days module called: “NEW FRONTIERS MUSICAL DIALOGUE / Re-Understanding the music act and its role as a builder of societies”. The whole course is a complete experience of practical and theoretical lectures and conferences. Through their participation in the Workshop students will take part in a multicultural-artistic event where Professor Santiago Lusardi and Professors and Artists from different places and traditions will discuss and share thoughts and knowledge about music, art and other subjects.

    This course (Classes and Module) will dissert about the ideas and evolution of the music parameters through the analysis of different pieces of the corpus of the vocal music tradition from west. We assume the goal to study the foundations of Western Music through the analysis of different works and composers and while studying them, both theoretically and practically, including analysing the elements that constitute them.

    This Western Music course will cover all the topics discussed from two points of view; 1. Theoretical 2. Practical by performing exercises, singing choir sessions, joint activities and various musical practices. Through the understanding of the innate human act of comprehension we expect to appreciate a little more of the artistic and historical processes that have woven the weave of the musical tradition of the West.

    Syllabus.

    PRO 420 Western Music VII

    RE-UNDERSTANDIG THE MUSIC ACT.

     

    “REFLECTIONS ON THE READING, UNDERSTANDING, PERFORMANCE AND COMMUNICATION CRITERIA OF THE MUSICAL ACT. THE TEXTUAL AND CONTEXTUAL ELEMENTS IN MUSIC”

     

    HERMENEUTIC AND MUSICAL EXEGESIS.

    Class 1

    ANCIENT ROOTS OF THE MUSIC ACT AND ITS COMPREHENSION.

    Introduction to the course: Basic ideas.

    Conference I: “REFLECTIONS ON THE READING, UNDERSTANDING, PERFORMANCE AND COMMUNICATION CRITERIA OF THE MUSICAL ACT. THE TEXTUAL AND CONTEXTUAL ELEMENTS IN MUSIC”

    • Activity 1: Perception and Musical Hermeneutic of the musical phenomena: Analysis of the listening structure phenomena. Introduction to the concepts of resonance and timbre.  The inner world: the perception of your own voice.
    • Lecture I: The textual and contextual elements in music”

    Hermeneutic vs. Exegesis

    • Introduction, Structure, History and the Social context of the Music comprehension.
    • Activity 2  – Singing Music I.: Gregorian chant and ancient chants.
    • Activity 3 – Music Reading I / Writing Music I.

     

    Class 2

    MUSICAL EXEGESIS

    Musical Hermeneutic process

    • Review – Activity Class 1.
    • Conference II: Music – the expression of an anthropological truth. Theoretical and practical experience of the evolution of music and philosophy”.
    • Activity 5 – Breathing and air control exercises.
    • Activity 6: Perception Hermeneutic process of the musical phenomena: tonality and gravity in contemporary vocal Music.
    • Lecture II: “REFLECTIONS ON THE READING AND UNDERSTANDING, CRITERIA OF THE MUSICAL ACT.
    • Activity 7  – Singing Music II.
    • Introduction, structure, history and the social context: Literalism.
    • Activity 2  – Singing Music I.: Gregorian chant and Neumatic writing.
    • Activity 3 – Music Reading I / Writing Music I. Transcription of manuscripts.
    • Lecture III: Music and Theology: Musical Theism – Atheism and Agnosticism.

     

     

     

    Class 3

     

    THE FRONTIERS OF THE UNDERSTANDING

    MUSICAL HERMENEUTIC

    Class III.

    • Review – Activity Class 2.
    • Conference III: The human voice: the expression of a anthropological truth II. Theoretical and practical experience of the evolution of vocal music”.
    • Historical and anthropological review of the human need to sing. New trends in Africa, America and Asia: limits between academic and popular music.
    • Activity 9: Perception and Deconstruction of the musical phenomena: analysis of the evolution of beauty in arts. Review on past’s courses.
    • Lecture III:  Cartesian coordinates: Space and time.

     

    Musical Hermeneutic.

     

    • Lecture: “REFLECTIONS ON THE PERFORMANCE AND COMMUNICATION CRITERIA OF THE MUSICAL ACT.
    • Activity 10 – Music Reading II.
    • Activity 11 – Music Singing II:
    • Activity 12  – Music Writing II.

     

     

    Class 4

     

    NEW FRONTIERS MUSICAL DIALOGUE & COMPREHENSION

    Reflection and Research on the musical culture and its role as a builder of society.

     

    • Review – Activity Class 3.
    • Conference IV: The human voice: the expression of a anthropological truth IV. Theoretical and practical experience of the evolution of vocal music”.
    • Historical and philosophical review of the SINCRETISM concept.
    • Activity 13: Perception and Deconstruction of the Musical Phenomena: The “Musical Zero gravity” concept. The atonalism: “Disharmony”
    • Lecture IV: Other elements that govern harmony (apart of intonation and pitch): / Schoenberg – Serialism & Dodecaphonism. Singing exercises IV.

    Within the hermeneutic and the exegesis.

    • INTRODUCTION WORKSHOP.
    • Structure and operation.
    • Parameters and virtues of the intercultural music dialogue.
    • Practical Guide to understanding the musical intercultural dialogue.

    Workshop: Reflection and Research on the musical phenomena and its role as a builder of society.

    GOA CENTRAL LIBRARY

    v 1st. session.

    v 2nd session.

    v Practical Module – Concert.

     

     

     

    Final Examina¡tion / Report.      

     

    • Exam.

     

    Prof. Santiago Lusard Girelli:

    He was born in Buenos Aires (Argentina), his work as a choir and orchestra conductor has taken place in the last recent years in Argentina, Bolivia, Peru, Venezuela and Spain.

    He started his studies in music and philosophy since he was very young; his profile has been developed by these two paths of study. He is a Choir and Orchestra conductor,Girelli performer, composer and scholar of theological philosophical traditions of the East and West.

    In Bolivia he has worked as the main conductor of the Orchestra San José de Chiquitos, located in the Chiquitania, Santa Cruz de la Sierra, Bolivia, with which he has made national and international tours during 2007/08. He worked within the Venezuela´s musical system (EL SISTEMA) durin 2007/ 2008; invited as a conductor of the

    “Symphonic Orchestra Hombres Nuevos” during 2007/08, conductor in the “National Youth Orchestra of Peru”, the “Imperial Orchestra from Cuzco” (2008), and the “Banuev´s Choir” during the Youth International Meeting in Rome (2000). In Buenos Aires he worked with several choirs, orchestral groups and musical projects as conductor and producer. He has recorded more than 25 CDs and conducted more than 15 musicals like Jesus Christ Superstar, Les Miserable or The Phantom of the Opera.

    He did several researches on baroque vocal music of Moxos and Chiquitania´s archives in Latin-America, and he conducted brand-new musical pieces with his “Seville Chamber Choir” (Spain).He had attended to several coral conduction courses and workshops with renamed masters of different countries: José Carlos Carmona (Spain), Antonio Abreu

    (Venezuela), A. Alonso (France), Julio Domínguez (Spain) G. Céspedes (Colombia), N. Andrenacci (Argentina), W. Ptaff (Germany), and vocal performance with Mirella Frenni (Italy).

    Currently, he is Sub-director in the “Seville Symphony Orchestra Hispalense” (Spain) and assistant conductor at the Seville University Choir. He is also conductor of the Seville Chamber Choir and Orchestra since March 2010. He is nowadays in charge of the presidency of the FESECO (Choir Federation of Seville).

    He studied Theology and Philosophy in the Argentinean Catholic University and the Universidad del Salvador (Buenos Aires, Argentina), he also studied Oriental Philosophies, Yoga and Meditation in Argentina and India. He studied Orchestra conduction in Buenos Aires at the UCA University and Choir Conduction in the Manuel Castillo Conservatory of Seville, Spain. Nowadays he is finishing the PhD in music at the University of Seville where he also teaches.

     

    Course Coordinator- Ms Marise D Lima, Former Faculty, Dept of Portuguese, Goa University

     

    For further details www.unigoa.ac.in/vrpp  email- vrpp@unigoa.ac.in

     

    Ramrao Wagh, VRPP Coordinator, Goa University