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2020/2021

Cultural Management III (Programming)

Code: 100665 ECTS Credits: 6
Degree Type Year Semester
2500240 Musicology OT 3 0
2500240 Musicology OT 4 0
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.

Contact

Name:
Dafne Muntanyola Saura
Email:
Dafne.Muntanyola@uab.cat

Use of Languages

Principal working language:
catalan (cat)
Some groups entirely in English:
No
Some groups entirely in Catalan:
Yes
Some groups entirely in Spanish:
No

Prerequisites

None. 

Objectives and Contextualisation

Neither highbrows nor lowbrows nor midbrows, but elastic-brows.
										
											George Orwell
										
											
										
											The general objective of the course is to understand the basic concepts and methods of qualitative research in the sociology of culture. We start from everyday contexts, and talk about institutions that work as agents of socialization and social control. We approach the mechanisms of communication, production and consumption that we find in cultural and artistic environments. It will be:
										
											
										
											1) Master some of the fundamental concepts and theories for the study of current societies, focusing on European and American societies, thus facilitating comprehensive analysis. The compulsory bibliography includes classical authors of sociology, but also contemporary authors and other disciplines, which also follow a sociological perspective.
										
											
										
											2) Discuss, dissect and criticize texts, videos, images and other media products about practices, tastes and trials that cultural agents carry out in their daily lives. The look of sociology is critical, demystifying and revolutionary.
										
											
										
											3) Know how to construct an ethnographic project based on the analysis of cultural scenarios. Ask a question of research beyond the prejudices given by all means of common knowledge. Identify the dominant discourses in culture and contrast them with observed practices, based on mandatory and recommended bibliography.
										
											
										
											4) To put into practice various methodological abilities typical of sociology, among which is the taking of good field notes, the design of an interview script, and the creation of an observation file. You will learn a key competence in the sociological gaze: maintaining a reflective attitude in observing real social scenarios.
										
											
										
											5) Teamwork is a constant search: In a grouped and supervised way you will develop the project on cultural scenarios by applying another methodological ability, that of intersubjectivity, which consists in sharing and discussing ways of thinking and experiencing the reality that you are analyzing
										
											
										
											6) Knowing how to interpret empirical data is a need not to fall victim to ideological manipulation. You will work qualitative and quantitative data in class to get used to this language and thus understand the real content of the data that appears in scientific and informative documents.

Competences

    Musicology
  • Apply management strategies related to the programming, production and dissemination of musical events.
  • Developing critical thinking and reasoning and communicating them effectively both in your own and other languages.
  • Identify and compare the different channels of reception and consumption of music in society and in culture in each period.
  • Producing innovative and competitive proposals in research and professional activity.
  • Recognise the role of music in current society, its function in performances, its relationship with audio-visual culture, technology and informatics, and with leisure and cultural enterprises.
  • Respecting the diversity and plurality of ideas, people and situations.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  • Students must develop the necessary learning skills to undertake further training with a high degree of autonomy.
  • Students must have and understand knowledge of an area of study built on the basis of general secondary education, and while it relies on some advanced textbooks it also includes some aspects coming from the forefront of its field of study.

Learning Outcomes

  1. Acquire skills for the organisation of working groups with adequate planning, division of tasks and methodological flexibility.
  2. Analysing a contemporary fact and relating it to its historical background.
  3. Applying the knowledge of cultural variability and its genesis to avoid ethnocentric projections.
  4. Carry out all phases of anevents management project.
  5. Carry out knowledge transfer projects planned and scientifically based on the area of musical management.
  6. Carrying out a planning for the development of a subject-related work.
  7. Detect possible fields of innovation and improvement for proposals of cultural and leisure management.
  8. Develop habits for transfer to the ambit of musical dissemination and information the musical training acquired.
  9. Develop organisational skills for transfer to the area of cultural and leisure management in musicology.
  10. Engaging in debates about historical facts respecting the other participants' opinions.
  11. Establishing relationships between science, philosophy, art, religion, politics, etc.
  12. Evaluate the consumption of music in contemporary society.
  13. Identifying the theories concerning the different meanings of the concept of culture.
  14. Integrate knowledge of the role of music in the market society in musical praxis.
  15. Integrate musical creation and praxis in the programming and marketing of musical activity.
  16. Interrelate technological and scientific changes in each period with the creation and reception of music.
  17. Localize and evaluate the role of music in the different sectors of contemporary societies according to the historical time and artistic objective.
  18. Make a detailed assessment of the capacity for working in homogeneous or interdisciplinary research teams.
  19. Personally and critically transfer knowledge acquired in the field of musicology to the pertinent professional and work environments.
  20. Solving problems autonomously.
  21. Write critical papers on musicology that are planned and organised efficiently.

Content

Subjects of the course
										
											The place from which we will deal with the question: The sociological perspective.
										
											The central concepts: production and consumption of culture. Practices and discourse.
										
											Cultural theory: culture of masses and popular culture.
										
											The rules of art and the cultural industry.
										
											The state, the economic market and the symbolic goods market.
										
											Comprehensive approach to cultural consumption from a sociology of taste.
										
											CLASSES PROGRAMMING
										
											Presentation of the course and assessment criteria: What is cultural production and consumption?
										
											How to make an ethnography of cultural practices (reading Panofsky, Becker and Thompson)
										
											Marx (reading Marx and Malcom Bradbury)
										
											
										
											Presentation of work topics and timetable
										
											How to make the observation station and the interview script
										
											Freud (Freud reading)
										
											Simmel and Veblen (reading Simmel)
										
											School of Frankfurt: Benjamin, Marcuse (reading Benjamin)
										
											Cultural elitism: Eco and Woolf (Eco and Woolf reading)
										
											Neomarxist criticism: Eagleton, Williams (Williams reading)
										
											The cultural distinction: Bourdieu, Peterson (Bourdieu reading)
										
											The crisis of modernity: Foucault and Sontag (Foucault Reading)

Methodology

Since it is a continuous assessment subject, constant assistance is required (min 80% of the total)
										
											classes). Regular and active participation will be evaluated in class sessions and work done with readings. In
										
											In relation to the latter, you will have to present two questions about the readings in each seminar session. A
										
											Furthermore, active participation in class will be enhanced with partial deliveries by part of the students who
										
											It will culminate in teamwork.

Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Tasks in class 15 0.6 1, 2, 18, 12, 4, 14, 15, 17, 16, 19
Theory 30 1.2 1, 2, 3, 18, 9, 11, 6, 13, 17, 16, 20
Type: Supervised      
Office Hours 1 0.04 8
Tasks Discussion 1 0.04 11, 21
Type: Autonomous      
Class notes Organization 10 0.4 2, 3, 12, 4, 11, 13, 14, 15, 16
Information Seeking 3 0.12
Readings 4 0.16 2, 3, 21
Woking on your project 15 0.6 1, 2, 3, 12, 8, 17, 20

Assessment

This subject has no final exam. Because it is a continuous assessment subject, constant assistance is required. Regular and active participation in class sessions and work done with readings will be evaluated (min. 9 of 10). In relation to the latter, you will have to present two questions about the readings in each seminar session.
										
											
										
											• In case of not being able to attend the classes for an exceptional reason as an illness it is necessary to speak with the teacher the first two weeks of the course. Must be submitted to all deliveries. If these do not reach a minimum of 4, the subject will be considered suspended.
										
											
										
											• Seminar questions must be submitted in class, and deliver them from work on the marked day in the program  before 6 in the afternoon. NO DELIVERY IS NOT ACCEPTED THAT DOES NOT BE PAPER, WITHOUT NAME OR WITHOUT A TERM.
										
											
										
											• You dedicate time and money to come to class. Therefore, the use of the mobile, the computer, the tablet and other electronic devices in the chat room is not allowed.

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.

 

n 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.

 

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Fieldnotes 15 15 0.6 2, 3, 11
Final project 40 36 1.44 9, 8, 14, 15, 21
Observation template and Interview script 15 10 0.4 1, 18, 12, 9, 4, 11, 6, 14, 15, 17, 21, 16, 20
Readings 30 10 0.4 2, 3, 5, 7, 11, 13, 10, 19

Bibliography

COMPULSORY READINGS

 

1. Becker, H. (1995/2009). El poder de la inercia, Apuntes de investigación del CEYP, 15: 99-105.

 

2. Gramsci, A. (1948/2017.) "La formación de los intelectuales" (traducción M. Sacristán) a Rendueles, C. (Ed.) Escritos (Antología). Madrid: Alianza. Bradbury, M. (2012) The History Man. Picador. (fragment)

 

3. Simmel, G. (1908/2001) El Individuo y la libertad : ensayos de crítica de la cultura. Barcelona : Península. ( Sociología de la comida i El individuo y la libertad).

 

4. Benjamin, W. (1936/1993). L'obra d'art a l'època de la seva reproductibilitat tècnica. Barcelona: Edicions 62.

 

5. Manifestos avantguardistes

Manifest del futurisme deMarinetti (1909) http://www.xtec.cat/~malons22/personal/manifestos.htm

Manifest Dada de Picabia (1920) http://www.xtec.cat/~malons22/personal/manifestos.htm - dada11 Manifest Groc de Dalí et al.(1928) http://filcat.uab.cat/gelcc/modern/textos/mod106.pdf

 

6. Eco, U. (1968/ 2006) Apocalípticos e integrados, Tusquets, Barcelona.(Introducción).

Woolf, V. (October 1932, Unsent) “Letter to the editor of the “New Statesman”.

 

7. Williams, R. (1958/2008) La cultura es algo ordinario”. A Historia y cultura común. Antología. Madrid: Los libros de la Catarata.

 

8.  Bourdieu, P. (1979/2010) El sentido social del gusto. Elementos para una sociología de la cultura. Buenos Aires: SigloXXI. (Consumo cultural)

 

9. Ariño, A. i Llopis, R. (2015). Participació cultural de la joventut catalana. Generalitat de Catalunya. (Tipologia i Reflexions finals pp. 27-55.)

 

10. Goffman, E. (1982/1999) "Microsología e historia"  y Uria, F. A. (1999) "Tatuajes", Revista Archipélago, 37: 105-112.

 

PROJECT READINGS

 

THEORETICAL

Ariño, A. (1997). La sociología de la cultura. Barcelona: Ariel.  (Capítols Las teorías de la cultura de masas  i Las audiencias activas) a Moodle

Buscatto, M. (2007). Women in Artistic Professions. An emblematic paradigm for gender studies, Social Cohesion and Development, 2(1): 69-77.  a Moodle

Rodriguez Morató, A. (2017) "Introducción" a Rodríguez Morato y Santa-Acuña, A. (2017). La nueva sociología de las artes. Barcelona: Gedisa.  a Moodle

 

EMPIRICAL

Ariño, A. y Llopis, R. (2017). "Asociacionismo, Amateurismo y Socialización cultural" a Culturas en Tránsito. Las prácticas culturales en España en el comienzo del siglo XXI. Madrid: Fundación SGAE.  Moodle

Herrera-Usagre, M. (2011). La transmisión intergeneracional de aptitudes y actitudes culturales. Revista Internacional de Sociología  (RIS) 71(1): 143-167. http://revintsociologia.revistas.csic.es/index.php/revintsociologia/article/view/473/0

Martínez, R. (2013). Gust musical, inautenticitat i classe social. Sobre com es signifiquen les jerarquies socials malgrat l’aparent fluïdesa de la cultura popular contemporània, Quaderns de l'Institut Català d'Antropologia, 29: 25-45.https://dialnet.unirioja.es/servlet/articulo?codigo=4762977

Muntanyola Saura, D. (2012). La decisió artística i les seves condicions de producció: parlant amb un equip de rodatge, Athenea Digital, 12(2): 89-109. http://psicologiasocial.uab.es/athenea/index.php/atheneaDigital/article/view/Muntanyola

 

 

RECOMENDED BIBLIOGRAPHY

 

Adorno, T. 1967.La industria cultural y sociedad de masas, Monte Avila, Caracas,

Baudrillard, J. (1978) Cultura y simulacro, Kairós, Barcelona.

Bauman, Z. (2002) La cultura como praxis, Paidós, Barcelona.

Bourdieu, P. (1979).  La distinction. Seuil, Paris.

Burke, P. (1991). La cultura popular en la Europa moderna, Alianza, Madrid.

Becker, H. (2002). ”Studying the New Media”. Qualitative Sociology, 25-3, 337-343.

Durkheim, E. (1912) Les formes élémentaire de la vie religieuse. Paris: PUF.

Eagleton, T. (2000) The ideal of culture. Blackwell Publishing.

Elias, N. (1988) El proceso de la civilización, F.C.E., México.

Foucault, M. (2006) Historia de la sexualidad, Siglo XXI, México.

Freud, S. (1930/2008) El malestar de la civilització. Girona: Accent Editorial.

Goffman, E. (1988) “La ritualización de la feminidad”, en Los momentos y sus hombres. La reinvención de la naturaleza, Paidós, Barcelona.

Haraway, D. (1995) Ciencia, “ciborgs” y mujeres, Cátedra, Madrid.

Harris, M. (1985)El desarrollo de la teoría antropológica: historias de las teorías de la cultura, Siglo XXI, Madrid.

Hoggart, R. (1957) The Uses of Literacy. New York: Chatto and Windus.

Horkheimer, M.(1966) La función de las ideologías, Taurus, Madrid.

Mcluhan, M. (1998) La galaxia Gutemberg: génesis del “Homo Tipographicus”, Círculo de Lectores, Barcelona.

Manheim, K. (1987) Ideología y Utopía, F.C.E., México.

Marcuse, H. (1999)Eros y civilización, ed. Ariel, Barcelona.

Marx, K., La ideología alemana, Grijalbo.

Morin, E. (1966). El espíritu del tiempo. Ensayo sobre la Cultura de Masas, Taurus, Madrid.

Menand, L. (2011) Browbeaten: Dwight Macdonald’s war on Midcult. The New Yorker, Sept 5 2011.

Molotch, H. (2002). “Place in Product”, International Journal of Urban and Regional Research, 26: 665–88.

Muntanyola-Saura, D. (2017). "El habitus en la danza: las habilidades sociales y artísticas de un ensayo", en Morató y Santana-Acuña. La nueva sociología de las artes. Barcelona: Gedisa

Peterson R. A. and Kern, R. (1996) Changing highbrow taste: from snob to omnivore’, American Sociological Review, 61, 900-909.

Savage, M & Silva, E. B. (2013). Field analysis in cultural sociology Cultural sociology, 7 (2). 111-126.

Varela, J. y Alvarez-Uria, F.  (2008). Materiales de sociología del arte, Siglo XXI, Madrid.

Veblen, T. (1899) Teoria de la clase ociosa. Madrid: Alianza.

Warde, A. Wright, D. & Gayo-Cal, M. (2007). Understanding Cultural Omnivorousness: Or, the Myth of the Cultural Omnivore, Cultural Sociology, July, 1. 2: 143-164.