Degree | Type | Year | Semester |
---|---|---|---|
2500240 Musicology | OT | 3 | 0 |
2500240 Musicology | OT | 4 | 0 |
-Solid knowledge of History of Music
-Music analysis skills
-Music Aesthetics knowledge
-Knowledge of the fundamentals of organology
-Writing and speaking proficiency
-Being in possession of a extensive repertoire of music in different styles and genres
Given the fact that a lot of historical critical pieces that will be commented at class come from collections of critical texts translated to English, we recommend students be able read English fluently
Talking or writing about music are both activities that always have accompanied the aural and visual experience of music; but if talking and writing are general means of expression and communication in all the scientific disciplines –musicology included-, in the commentary and critics of music, those activities: talking and writing, have a very definite objective that brings with it the use of an specific oral or written methodology: to inform amateur musically whatever it may be the level of his/her musical competences, or to enrich his/her aesthetic experiences throughout well exposed or written stories, solidly well-founded, and sufficiently intelligent and imaginative to attract his/her interest.
1/ Aesthetic foundation of music criticism
2/ The three great categories of critical analysis: descriptive, interpretative and evaluative statements
3/ Music’s meaning
4/ Criteria and considerations of the critic and the music commentator facing a piece of music
5/ Criticism throughout History of music: trends and approaches
6/ Workshop for building critical texts
In the course, master classes will be complementary with musical auditions, images of great masterworks, or by conceptual synthesis of the subject in Power-point. These professor’s speeches count on the participation of students in specific aspects that have to be explained both in practical sessions and through tutorials.
On the other hand, students will be required to expose, in groups of two, brief conferences around compositor’s works, music styles, or specific musical and artistic movements, prior agreement between the group and the professor.
This activity will be will go with the responsibility to attend two live-concerts from which the two pieces of criticism are built. On the contrary, for the listening analysis of a fragment of music, students can use recorded music (Cd’s, You-tube’s, etc.). This analytical piece must be delivered at the end of November, and must be based on analysis of a mouvement of a concert, symphony in baroque, classic, romantic or contemporary styles or of a vocal work within the same styles.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Attendance to two live concerts which will be the material to prepare the pieces of criticism | 10 | 0.4 | |
Theoretical and practical master classes around musical criticism and commentary | 50 | 2 | 14, 1, 8, 6, 9 |
Type: Supervised | |||
Indications to prepare the individual composition of two written pieces of criticism corresponding to two live-concerts, as well as the listening musical analysis of a part of a musical masterwork | 5 | 0.2 | 2, 7, 13, 14, 1, 5, 8, 9, 10, 11 |
Indications to prepare, in group, a commentary about a compositor's master-piece, about a genre, an style or an aesthetical musical trend, putting them in their correct sociocultural context | 15 | 0.6 | 2, 3, 1, 5, 6, 9, 10 |
Personal and in group tutorials in both face-to-face and virtual modalities | 5 | 0.2 | |
Type: Autonomous | |||
Preparation and coordination of an oral music commentary exposed in group | 5 | 0.2 | 2, 3, 1, 5, 4, 6, 9, 10, 11, 12 |
Study of the notes taken down at class and reading of items included in the Bibliography | 34 | 1.36 | 2, 3, 5, 6, 11, 15, 12 |
composition of two pieces of criticism correponding to 2 live concerts in different styles, and a listening musical analysis of a musical composition co | 20 | 0.8 | 2, 7, 13, 14, 1, 5, 8, 9, 10, 11, 12 |
-Final written test of Theory of criticism (30%)
-Class attendance and proactive attitude (10%)
-Conference exposed in group (2 students) about a composer’s work, genre, style, or about a aesthetic movement and its relationship with music (20%)
- A listening musical analysis of a movement of a concert or symphony in baroque, classic, romantic or contemporary styles, or of a vocal work within the same styles (delivery at the end of November) (5%)
- Individual composition of two written pieces of criticism corresponding to two live concerts belonging to different styles. (Delivery at the end of the course) (35%)
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Class attendance | 10% | 0 | 0 | 2, 13, 14, 1, 5, 8, 9, 10, 15 |
Exposition, in groups of two, of brief conferences around compositor's works, music styles, or specific musical and artistic movements | 20% | 2 | 0.08 | 2, 7, 1, 8, 6, 11, 15, 12 |
Final written test about theory of criticism and practical text analysis of a piece of musical criticism | 30% | 2 | 0.08 | 2, 7, 1, 5, 4, 8, 12 |
Presentation at the end of the course of two written pieces of criticism and at the end of November, of an listening musical analysis of a section of music taken from classical repertoire | 40% | 2 | 0.08 | 2, 7, 13, 14, 3, 1, 5, 6, 10, 11, 12 |
Bibliografia