Seminários Avançados em Música

A constituição do pensamento musical em quatro textos fundadores, dois sobre contraponto e fuga e dois sobre harmonia. Subjacente à história da teoria musical, sua  articulação com o pensamento em geral e os processos de racionalização

Bibliografia:
DAHLHAUS, Carl. Foundations of Music History. Cambridge (UK) et alli: Cambridge University Press, 1983.
FORTE, Allen & GILBERT, Steven. Introduction to Schenkerian Analysis. New York, London: W. W. Norton, 1982.
HOLOMAN, D. Kern & PALISCA, Claude V. Musicology in the 1980s. Methods, Goals, Oppotunities. New York: Da Capo Press, 1982.
KERMAN, Joseph. Music at the Turn of Century.Berkeley, Los Angeles, Oxford: University of California Press, 1990.
KRAMER, Lawrence. Classical Music and Postmodern Knowledge.Berkeley, Los Angeles, London: University of California Press, 1995.
LERDAHL, Fred & JACKENDOFF, Ray. A Generative Theory of Tonal Music. Cambridge MA: The MIT Press, 1996.
MORGAN, Robert P. Anthology of Twentieth-Century Music. New York, London: W. W. Norton, 1992.
__________. Twentieth-Century Music. New York, London: W. W. Norton, 1991.
NATTIEZ, Jean-Jacques. Music and Discourse. Toward a Semiology of Music. Princeton: Princeton University Press, 1990.
PERLE, George. Serial Composition and Atonality. 6th ed. Berkeley, Los Angeles, Oxford: University of California Press, 1991.
POUSSEUR, Henri. Música, Semántica, Sociedad. Madrid: Alianza Editorial, 1984.
SIMMS, Bryan R. Music of the Twentieth Century. Style and Structure. New York: Schirmer Books; London: Collier Macmillan P., 1986.
SOLIE, Ruth A. Musicology and Difference. Berkeley, Los Angeles, London: University of California Press, 1993.
WEISS, Piero & TARUSKIN, Richard. Music in the western world. A history in documents. New York: Schrimer Books, 1984.