Degree | Type | Year | Semester |
---|---|---|---|
2500240 Musicology | OB | 2 | 2 |
The subjects “Llenguatge musical I” and “Llenguatge musical II” must have been previously studied.
There are a large number of analytical strategies that at first glance may seem very different from each other. Analytical methods have been transformed over time, always depending on the cultural and aesthetic concerns that have prevailed in a specific historical moment.
The main objective of this subject is to provide students with basic tools that allow them to break down the pieces of music, dividing them into more or less independent parts, as well as finding relationships between the different parts and reflecting on the extent to which these derive their effect from the context in which they are found.
1. Meaning, uses and functions of music.
2. Historical approach to the main analytical strategies.
3. Introduction to Schenkerian analysis.
4. Analysis of specific works based on the application of different methodologies.
5. Music and audiovisual media.
6. Introduction to the analysis of music production.
7. New technologies applied to musical analysis.
Theoretical classes will be combined with several practical activities that can be individual or collective.
Various musical works will be analyzed in class and text comments related to the contents of the subject will be carried out.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Knowledge test class | 2 | 0.08 | 1, 17, 12, 2, 5, 4, 3, 7, 6, 8, 11, 15, 13, 14, 16, 9, 10, 18 |
Master class | 40 | 1.6 | 1, 17, 12, 2, 5, 4, 3, 7, 6, 8, 11, 15, 13, 14, 16, 9, 10, 18 |
Type: Supervised | |||
Tutorials | 7 | 0.28 | 1, 17, 12, 2, 5, 4, 3, 7, 6, 8, 11, 15, 13, 14, 16, 9, 10, 18 |
Type: Autonomous | |||
Carrying out work | 41 | 1.64 | 1, 17, 12, 2, 5, 4, 3, 7, 6, 8, 11, 15, 13, 14, 16, 9, 10, 18 |
Search for information | 8 | 0.32 | 1, 17, 12, 2, 5, 4, 3, 7, 6, 8, 11, 15, 13, 14, 16, 9, 10, 18 |
Study and reading articles | 40 | 1.6 | 1, 17, 12, 2, 3, 6, 8, 11, 15, 13, 14, 16, 9, 10, 18 |
There will be two written tests, one in half and one at the end of the semester, the result of which will represent 30% of the overall grade.
Obligatory group work will be carried out on a topic that will be agreed with the teacher. The work note will represent 30% of the overall grade.
Class attendance and participation (10% of the overall grade) will also be valued.
To pass the subject, the work must be approved and each one of the two written tests with a minimum grade of 5.
The qualifications of the written and work tests will be published in the Virtual Campus. At the time the results are published, the revision dates will also be published.
In order to qualify for the second-chance test, the obligatory work must have been approved, and having passed one of the two written tests with a minimum score of 5. The test that has not been made within the set period will not have a second chance.
It will not be possible to opt for the "non-evaluable" consideration from the moment the student is present in one of the written tests or deliver the obligatory work.
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.
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.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Class attendance and participation in activities | 10% | 7 | 0.28 | 1, 17, 12, 2, 5, 4, 3, 7, 6, 8, 11, 15, 13, 14, 16, 9, 10, 18 |
Group task | 30% | 2 | 0.08 | 1, 17, 12, 2, 5, 4, 3, 7, 6, 8, 11, 15, 13, 14, 16, 9, 10, 18 |
Written test 1 | 30% | 1.5 | 0.06 | 1, 17, 12, 2, 5, 4, 3, 7, 6, 8, 11, 15, 13, 14, 16, 9, 10, 18 |
Written test 2 | 30% | 1.5 | 0.06 | 1, 17, 12, 2, 5, 4, 3, 7, 6, 8, 11, 15, 13, 14, 16, 9, 10, 18 |
Agawu, Kofi (2004). How we got out of analysis, and how to get back in. Music Analysis, 23, 267–286.
Bent, Ian D.; Pople, Anthony (2001). “Analysis”. The New Grove Dictionary of Music and Musicians. London: Macmillan Publishers.
Cámara, Enrique (2003). “Metodologías de Análisis”. Etnomusicología. Madrid: Instituto Complutense de Ciencias Musicales.
Casetti, Francesco, & di Chio, Federico (1991). Cómo analizar un film. Barcelona: Paidós.
Chion, Michel (1993). La audiovisión: Introducción a un análisis conjunto de la imagen y el sonido. Barcelona: Paidós.
Clayton, Martin, Herbert, Trevor, & Middleton, Richard (Eds.). (2012). The Cultural Study of Music. A Critical Introduction. New York: Routledge.
Cook, Nicholas (1994). A Guide to Musical Analysis. Oxford: Oxford University Press.
Cook, Nicholas (1998). Analysing Musical Multimedia. New York: Oxford University Press.
Cook, Nicholas; Everist, Mark (eds.) (2001). Rethinking Music. New York: Oxford University Press.
Daniélou, Alain (2010). The Ragas of Northern Indian Music. New Delhi: Munshiram Manoharlal.
Duffin, Ross W. (2008). How Equal Temperament Ruined Harmony (and Why You Should Care). New York: W. W. Norton & Company.
Forte, Allen; Gilbert, Steven E. (2003). Análisis musical. Introducción al anàlisis Schenkeriano. Barcelona: Idea Books.
Kerman, Joseph (1980). How We Got into Analysis, and How to Get out. Critical Inquiry, 7, No. 2, 311–331.
Kühn, Clemens (1998). Tratado de la forma musical. Barcelona: SpanPress Universitaria.
Kühn, Clemens (2003). Historia de la composición musical. Barcelona: Idea Books.
LaRue, J. (2007). Análisis del estilo musical. Madrid: Mundimúsica.
Lerdahl, Fred; Jackendoff, Ray (2003). Teoría generativa de la música tonal. Madrid: Akal.
Lester, Joel (2005). Enfoques analíticos de la música del siglo XX. Madrid: Akal.
Messiaen, Olivier (1993). Técnica de mi lenguaje musical. París: Alphonse Leduc.
Moore, Allan F. (Ed.). (2009). Analyzing Popular Music. New York: Cambridge University Press.
Moorefield, V. (2005). The Producer as Composer. Shaping the Sounds of Popular Music. Cambridge, Massachussets: The MIT Press.
Richardson, John, Gorbman, Claudia, & Vernallis, Carol (Eds.). (2013). The Oxford Handbook of New Audiovisual Aesthetics. New York: Oxford University Press.
Supper, M. (2004). Música electrónica y música con ordenador. Historia, estética, métodos, sistemas. Madrid: Alianza.
Tagg, Philip (2013). Music's Meanings. A Modern Musicology for Non-Musos. New York: The Mass Media Music Scholars' Press.