Degree | Type | Year | Semester |
---|---|---|---|
2500240 Musicology | FB | 1 | 2 |
It is recommended to have the musical knowledge equivalent of a Conservatoire degree at the lower professional level (grau mitjà de música).
This course explores Musical Language and intends to focus on significant aspects of musical elements in order to offer basic tools for understanding both content and structure of musical discourse.
Students are expected to:
• Deepen their comprehension of all elements that make up the musical language.
• Listen to and understand a work or musical fragment.
• Deepen the practice of their musical ear.
• Analyse a work or musical fragment as globally as possible using music examples and analysis of scores.
• Know the basics of musical structure.
• Consolidate the knowledge they acquired in Musical Language I.
Elements of musical language:
• Rhythm, melody and harmony.
• Modality, tonality and atonality.
• Modal and tonal degrees.
• Tonal functions.
• Triads and four-part chords
• Function of a chord in different tonalities
• Construction of inverted chords.
• Figured bass.
• Chord successions
• The melody and the harmonic scheme.
• Cadences, modulations and cadential process.
• Harmonic realization.
Formal analysis:
• Form and structure.
• Phrase, subject and motif.
• Repetition, imitation and contrast.
• Musical texture: monody, accompanied melody, homophony and counterpoint.
Genre and style:
• Vocal and instrumental genres:
Motet, Madrigal, Aria and Recitative, Choir, Cantata, Oratory, Opera, Lied, Villancico / Prelude, Fugue,
Suite, Sonata, Concert, Symphony, Quartet, Variation.
The methodological approach throughout the course will be based on the following principles:
On Moodle the student will find a diverse range of auxiliary material for different activities, such as;
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Analysis of structures and musical textures | 14 | 0.56 | 2, 4, 1, 6, 5, 8 |
Reading and listening to musical works | 14 | 0.56 | 5, 3 |
Recognition of vocal and instrumental genres | 14 | 0.56 | 2, 4, 6, 5, 8 |
Type: Supervised | |||
Analysis activities and musical practice in small groups | 11 | 0.44 | 2, 4, 5, 8 |
Participation in the proposed tasks on moodle | 13 | 0.52 | 2, 4, 8 |
Use of computer software | 10 | 0.4 | 2, 4, 5, 8 |
Type: Autonomous | |||
Performing melodies, figured bass, cadences, harmonic functions, dictations | 40 | 1.6 | 2, 4, 5, 8 |
Reading and studying proposed repertoire | 25 | 1 | 4, 5, 8 |
The assessment will be composed of the following elements:
The assessment schedule will contain a number of different activities:
An additional 0.5 points will be added to the final grade for students who deliver all class assessment elements and all assessment elements on Moodle (approx. 14 voluntary assignments.)
Students with a medium score of 3.5/10 will have the right to take the reevaluation exam (written assessment elements only).
The review of the exams will be done in class during the week following the publication of the final grades.
In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.
In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject,the student will be given a zero as the final grade for this subject.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Composition project | 30% | 4 | 0.16 | 2, 4, 6, 5, 8, 7 |
Fugue Analysis | 5% | 0 | 0 | 2, 4, 6, 5, 8, 7 |
Melody Analysis | 5% | 0 | 0 | 2, 6, 5, 8 |
Oral exam (individual sight reading) | 8% | 1 | 0.04 | 5 |
Questionnaires with dictations or listening exercises on Moodle. | 20% | 0 | 0 | 2, 4, 1, 6, 5, 3, 8 |
Questionnaires with harmony exercises on Moodle. | 15% | 0 | 0 | 2, 4, 1, 6, 5, 3, 8, 7 |
Recordings of score reading | 12% | 4 | 0.16 | 2, 4, 6, 5, 8 |
Sonata Analysis | 5% | 0 | 0 | 2, 4, 6, 5, 8 |
GARCÍA, J. M., Forma y estructura en la música del s. XX, ed. Alpuerto, Madrid, 1996.
HINDEMITH, P., Armonía Tradicional, ed. Ricordi Americana, Buenos Aires, 2009.
HODEIR, A., Cómo conocer las Formas de la Música, ed. Edaf, Madrid, 1988.
KÜHN, C., Tratado de la Forma Musical, ed. Labor, Barcelona, 1992.
MICHELS, U., Atlas de Música, I, Alianza Editorial, Madrid, 1985.
MICHELS, U., Atlas de Música, II, Alianza Editorial, Madrid, 1992.
PISTON, WALTER, Armonía,Labor, Barcelona, 1992.
SCHOENBERG, A., Funciones Estructurales de la Armonía, ed. Labor, Barcelona,1990.
SEGARRA, I., El Meu llibre de Música V, ed. Publicacions de l'Abadia de Montserrat, 1986.
XUCLÀ, T., Harmonia popular i moderna, Edicions El mèdol, Tarragona, 1998.
ZAMACOIS, J., Tratado de Armonía, ed. Labor, Barcelona, 1982 (3 volums).
ZAMACOIS, J., Curso de formas musicales, ed. Labor, Barcelona, 1994.
(There will be complementary information on Moodle for this course: harmony material, websites of exercises and musical theory etc ...)