{"id":1402,"date":"2019-03-01T07:40:02","date_gmt":"2019-03-01T07:40:02","guid":{"rendered":"https:\/\/www.conservatorialcoi.com\/\/analisi\/"},"modified":"2024-05-13T20:45:13","modified_gmt":"2024-05-13T20:45:13","slug":"analisi","status":"publish","type":"page","link":"https:\/\/www.conservatorialcoi.com\/ca\/informacio-academica\/ensenanza-profesional\/continguts-terminals-per-assignatures\/analisi\/","title":{"rendered":"An\u00e0lisi"},"content":{"rendered":"\n\n\n\n
ESPECIALITAT<\/strong><\/td>\nCURS<\/strong><\/td>\n<\/tr>\n
An\u00e0lisi Musical<\/td>\nAcc\u00e9s sis\u00e8 E.P<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

CONTINGUTS:<\/strong><\/p>\n

    \n
  • INTRODUCCI\u00d3 A l’ESTUDI DE LA FORMA.<\/em> Concepte de Forma musical.\n
      \n
    • Evoluci\u00f3 i renovaci\u00f3 dels diferents tipus formals. Els g\u00e8neres musicals i la Forma.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
        \n
      • L’ESTRUCTURA FORMAL:<\/em><\/li>\n<\/ul>\n

         <\/p>\n

          \n
        • Microorganizaci\u00f3 interna:<\/em>\n
            \n
          • La frase musical i les seves seccions. Tema, motiu i disseny. Ictus inicial i final. Tipus r\u00edtmics segons els seus ictus inicial i final. F\u00f3rmules mel\u00f2diques. F\u00f3rmules de car\u00e8ncia. F\u00f3rmules combinades.<\/li>\n<\/ul>\n<\/li>\n
          • Tipus d’estructura:<\/em>\n
              \n
            • Tipus r\u00edtmics de per\u00edode. Exposici\u00f3, repetici\u00f3 i reexposici\u00f3. Modificacions en repeticions i reexposicions. Estructures bin\u00e0ries i tern\u00e0ries. Frase bin\u00e0ria, tern\u00e0ria i quatern\u00e0ria. Combinaci\u00f3 dels per\u00edodes conclusius i suspensius. Frases amb m\u00e9s de quatre per\u00edodes. Estructura sim\u00e8trica o regular. Frase quadrada. La frase asim\u00e8trica i les seues causes. El proc\u00e9s tonal i el proc\u00e9s modulen-te en estructures bin\u00e0ries i tern\u00e0ries. Per\u00edode principal i secundari. Introducci\u00f3 i Coda. Soldadura. Delimitaci\u00f3 de frase, per\u00edode i subper\u00edode. Xicotets tipus formals: Xicotet tipus primari; Xicotet tipus binari: Lied binari; Xicotet tipus ternari: Lied ternari. Introducci\u00f3 als grans tipus formals.<\/li>\n<\/ul>\n<\/li>\n
            • IMITACI\u00d3 I C\u00c0NON:<\/em>\n
                \n
              • La imitaci\u00f3: antecedents i particularitats. Parts de la imitaci\u00f3. Classes d’imitaci\u00f3: per moviment directe, retr\u00f2grad, contrari, aumentaci\u00f3, disminuci\u00f3, etc. El C\u00e0non i les seves diferents esp\u00e8cies: obert, tancat i enigm\u00e0tic.<\/li>\n<\/ul>\n<\/li>\n
              • LA FUGIDA:<\/em>\n
                  \n
                • Concepte. Fugida d’escola i Fugida lliure. Elements constitutius de la Fugida. Subjecte, Resposta: real i tonal (la mutaci\u00f3). Contrasujeto. Fugida tonal i Fugida real. Les entrades i les tonalitats d’aquestes. Els Episodis, Codes i Codettas. Material dels Episodis. Els Estrets i les seves denominacions. Les Cad\u00e8ncies. Reducci\u00f3 i ampliaci\u00f3 del nombre de parts d’una Fugida. Pla formal de la Fugida. La 1a secci\u00f3: Exposici\u00f3; Particularitats. La 2a Secci\u00f3: Desenvolupament; Tipus de Desenvolupament; Els episodis en aquesta secci\u00f3. La 3a secci\u00f3: Reexposici\u00f3n, la seva constituci\u00f3 quant a tonalitat, estrets, episodis, pedals, etc.<\/li>\n<\/ul>\n<\/li>\n
                • LA SUITE:<\/em>\n
                    \n
                  • La Suite antiga i la Suite moderna. Constituci\u00f3 de la Suite antiga. La forma bin\u00e0ria denominada tipus Suite. Principals caracter\u00edstiques de les peces que amb m\u00e9s freq\u00fc\u00e8ncia van figurar en la Suite antiga: Allemande, Courante, Sarabanda, Giga, Rond\u00f3, Bourr\u00e9e i Rigod\u00f3n, Gavota, Pavana, Minuet, Gallarda, Passepied, Siciliana, Musette, Hornpipe. Suite moderna: Cassaci\u00f3, Serenata o Divertimento.<\/li>\n<\/ul>\n<\/li>\n
                  • ESTUDI DE LA F\u00d3RMULA SONATA I LA SEVA VERIFICACI\u00d3 POSTERIOR EN LA FORMA SONATA:<\/em>\n
                      \n
                    • Definici\u00f3 i diverses accepcions del vocable Sonata. Proc\u00e9s evolutiu de la Suite a la Sonata.<\/li>\n<\/ul>\n<\/li>\n
                    • Temps constitutius de la Sonata cl\u00e0ssica. Temps Viu inicial: Tipus Sonata. Temps Lent:<\/li>\n
                    • Tipus Suite, Tipus Lied ternari, Tipus Lied desenvolupat, Tipus Sonata amb i sense desenvolupament. Temps Moderat: Tipus Minue de sonata, Tipus Scherzo de Sonata. Temps Viu final: Tipus Rond\u00f3 simple, Tipus Rond\u00f3 Sonata. La Sonata en les obres pian\u00edstiques. La Sonata c\u00edclica.<\/li>\n<\/ul>\n

                       <\/p>\n

                      CRITERIS D’AVALUACI\u00d3:<\/strong><\/p>\n

                        \n
                      1. Recon\u00e8ixer en l’an\u00e0lisi els elements morfol\u00f2gics (harm\u00f2nic-contrapunt\u00edsticos, mel\u00f2dics, r\u00edtmics, t\u00edmbrics, etc.) dels diferents estils.<\/li>\n
                      2. Demostrar comprensi\u00f3 del paper sint\u00e0ctic, estructural i expressiu dels elements morfol\u00f2gics dins de l’obra que s’analitza, aix\u00ed com de la interrelaci\u00f3 de cadascun d’ells amb els restants elements compositius que constitueixen l’obra.<\/li>\n
                      3. Manifestar el grau de coordinaci\u00f3 i subordinaci\u00f3 de les diferents unitats formals i el seu significat dins del conjunt formal.<\/li>\n
                      4. Relacionar en l’an\u00e0lisi les estructures formals amb el seu context estil\u00edstic mostrant un coneixement dels procediments i esquemes formals propis de cada per\u00edode, aix\u00ed com de la seva evoluci\u00f3 i adaptaci\u00f3.<\/li>\n<\/ol>\n

                        PROVA:<\/strong><\/p>\n

                          \n
                        1. Part pr\u00e0ctica: realitzar una detallada an\u00e0lisi musical d’una obra proposada.<\/li>\n
                        2. Part te\u00f2rica: contestar a diverses q\u00fcestions breus o desenvolupar algun tema proposat, concernent a la mat\u00e8ria.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

                          ESPECIALITAT CURS An\u00e0lisi Musical Acc\u00e9s sis\u00e8 E.P   CONTINGUTS: INTRODUCCI\u00d3 A l’ESTUDI DE LA FORMA. Concepte de Forma musical. Evoluci\u00f3 i renovaci\u00f3 dels diferents tipus formals. Els g\u00e8neres musicals i la Forma. L’ESTRUCTURA FORMAL:   Microorganizaci\u00f3 interna: La frase musical i les seves seccions. Tema, motiu i disseny. Ictus inicial i final. Tipus r\u00edtmics segons […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1473,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1402","page","type-page","status-publish","hentry"],"yoast_head":"\nAn\u00e0lisi - Conservatori Professional de M\u00fasica Juan Cant\u00f3 en Alcoi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.conservatorialcoi.com\/ca\/informacio-academica\/ensenanza-profesional\/continguts-terminals-per-assignatures\/analisi\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"An\u00e0lisi - Conservatori Professional de M\u00fasica Juan Cant\u00f3 en Alcoi\" \/>\n<meta property=\"og:description\" content=\"ESPECIALITAT CURS An\u00e0lisi Musical Acc\u00e9s sis\u00e8 E.P   CONTINGUTS: INTRODUCCI\u00d3 A l’ESTUDI DE LA FORMA. Concepte de Forma musical. Evoluci\u00f3 i renovaci\u00f3 dels diferents tipus formals. Els g\u00e8neres musicals i la Forma. L’ESTRUCTURA FORMAL:   Microorganizaci\u00f3 interna: La frase musical i les seves seccions. Tema, motiu i disseny. Ictus inicial i final. 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