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2020/2021

Musical Research in Contemporary Urban Environments

Code: 40829 ECTS Credits: 10
Degree Type Year Semester
4312637 Musicology, Musical Education and Interpretation of Early Music OT 0 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:
Francesc D Assi Cortes Mir
Email:
Francesc.Cortes@uab.cat

Use of Languages

Principal working language:
catalan (cat)

Teachers

César Calmell Piguillem
Germán Gan Quesada
Xavier Daufí i Rodergas

Prerequisites

The students should demonstrate a good level of musical analysis.

During the course, it will be desired to strengthen the knowledge of the contemporary thought, specificaly the aesthetic movements, the artistic languages and the main sociopolitical movements.

 

Objectives and Contextualisation

- Compare the different methodologies of the last 30 years, in the study of the musical activities in the contemporary societies, primarly in the urban environment.

- Knowledge of the musical and historical analysis methodologies, through the contemporary era in urban environment.

- Connect the contemporary musical systems with the production and reception contexts.

- Realize the procedures regulating the relationship between the different artistic languages in contemporary era.

- Knowledge of the procedures of social tampering over the music, primarly during the time of politic confilcts.

- Knowledge of the production systems in the lyric theatre.

- Understand the interrelationship between the musical language and other artistic or literary languages in contemporary era.

Competences

  • Analyze music according to cultural areas and according to the social contexts in which they arise and develop by applying it to research and interpretive projects.
  • Applying critical projects musicological research and interpretive projects.
  • Consider innovative projects musicological research and interpretive projects.
  • Distinguish and apply different methodologies musicological research and research in music education-oriented projects.
  • To analyze the different contexts (social, economic, historical, artistic) involved in the music profession to develop appropriate research work.

Learning Outcomes

  1. Adapt the results of contextual analysis of the study of contemporary urban environment where different social realities involved
  2. Apply critical capacity in musicological research projects and interpretive projects.
  3. Apply research methodologies prior to every type of music research project in the contemporary urban environment.
  4. Compare methodological procedures developed in the last three decades in the study of complex musical activity of contemporary societies, and especially in urban environments.
  5. Distinguish the distinctive characteristics of the various musical cultures of the contemporary urban environment
  6. Mastering historiographical analysis tools adapted to the study of urban music
  7. Propose innovative projects proposed in musicological research and interpretive projects.
  8. Relate contemporary music systems with their contexts of production and reception

Content

1. Musicology, Contemporaneity and Digital Humanities

 2. The musical analysis, and his use on the study of lyricial repertoire during the XIXth and XXth centuries.

-Musical Analysis and image: the Granados case.

-Different tecniques of musical analysis and the opera.

-The oratory as musical genre during contemporary: the representation without stage.

-The scientific research in music and dissemination nowadays.

- Fifty years without Robert Gerhard

From Valls to Cambridge (1918-1939): formation and consolidation
The paths of exile (1939-1955): ruptures and continuities
An unmistakable voice (1955-1970): the “timeless” avant-garde

3. Contemporary aesthetics and hybridizations
										
											
										
											- The image of the past in contemporaneity: recreation, reinterpretation, renewal.
 
 


 

Methodology

The topics will be based on three main subjects: 

a) the connection between different artitic languages

b) the music and the involvement genres (dances, music hall, zarzuela, operetta and varieties)

c) the dissemination of the musical research through the society

Some of the lessons will be done in musical archives of Barcelona (SGAE, Biblioteca de Catalunya), if possible by sanitary circumstances. 

This Unit has a virtual Moodle. There will be published the calendar and several pedagogical documents.

Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Lessons 38 1.52 1, 2, 3, 4, 5, 6, 7, 8
Practice of musical analysis 14 0.56 1, 2, 3, 4, 5, 6, 7, 8
Type: Supervised      
Case practice, in archives 14 0.56 1, 2, 3, 4, 5, 6, 7, 8
Dissemination practices 8 0.32 1, 2, 3, 4, 5, 6, 7, 8
Doctorial seminaries 4 0.16 1, 2, 3, 4, 5, 6, 7, 8
Tutorial class 4 0.16 1, 2, 3, 4, 5, 6, 7, 8
Type: Autonomous      
Musical analysis and Commentaries 60 2.4 1, 2, 3, 4, 5, 6, 7, 8
Study of the musical patrimony 16 0.64 1, 2, 3, 4, 5, 6, 7, 8
Text reading 18 0.72 1, 2, 3, 4, 5, 6, 7, 8

Assessment

We propose three courseworks:

a) composition of a brief study of a musical piece connected with other artistic languages.

b) a musical analysis over a partition, or a musical audition: will be comented during the different lessons.

c) writing of a synopsis of a lyrical plot, or a text comentary.

Time of completion: wil be published in the Moodle.

Reappraisal: The works submited after the dead line can not be reassessed. The reappraisal of a coursework needs a prior discussion in the seminaries. The courseworks failed could be submited again. it's necessary pass the three courseworks.

A student could be "no assessed" when any of the works has not be submited.

In the event that the student commits any irregularity that may lead to a significant variation in the grade of an assessment act, this assessment act will be graded with 0, regardless of the disciplinary process that may be instructed. 
In the event of several irregularities in the evaluation acts of the same subject, the final grade for this subject will be 0.
										
											
										
											In the event that the tests cannot be carried out in person, their format will be adapted (maintaining their weighting) to the possibilities offered by the UAB’s virtual tools. 
Homework, activities and class participation will be done through forums, wikis and / or exercise discussions through Teams, etc. The teacher will ensure that the student can access it or offer alternative means, which are available to them.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Analytical work 30 % 17 0.68 1, 2, 3, 4, 5, 6, 7, 8
Summary of a plot 30% 40 1.6 1, 2, 3, 4, 5, 6, 7, 8
Work around the relationship between a piece of music with another artistic language 40% 17 0.68 1, 3, 4, 5, 6, 8

Bibliography

Musical Analysis Bibliography

- AIELLO, Rita (ed) Musical Perceptions. New Yoork, Oxford University Press, 1994.

- BARTEL, Dietrich. Musica poetica. Musical-rhetorical figures in german baroque music. Nebraska, University of Nebraska Press, 1997.

-  CITRON, M. Gender and the Musical Canon. Cambridge, Cambridge University Press, 1993.

- COOK, Nicholas. A guide to musical analysis. London, ed. Dent & Sons Ltd., 1992.

- GUT, Serge. “Plaidoyer pour une utilisation pondérée des principes riemanniens d’analyse tonale”, a Analyse musicale, 30, 1993.

- MOLINO, JEAN. “Analyser”, a Analyse Musicale nº 16, 1989, pp. 11-14.
 

- MONELLE, Raymond. The Sense of Music. Semiotic Essays, Princeton & Oxford, Princeton University Press, 2000.

- POPLE, Anthony.  Theory, Analysis and Meaning in Music. Lancaster University, 1994. 

- SALZER, Felix. Structural Hearing . New York, Dover, 1961. ( Audición estructural. Barcelona, Labor, 1990).

- SOBRINO, Ramón. «Análisis musical. De las metodologías del análisis al análisis de las metodologías». Revista de Musicología, Vol. XXVIII nº 1 (2005), pp. 667-696.

- STOÏANOVA, Ivanka. Manuel d’analyse musicale. Paris, Minerve, 1996.

- TARASTI, Eero. A Theory of Musical Semiotics. Bloomington, Indiana University Press, 1994.

 

Lyric Repertoire in Spain: short Bibliography

 - ALVAREZ CAÑIBANO, Antonio. “Teatros y Música escénica. Del antiguo régimen al estado burgués”, a La música española en el siglo XIX. Oviedo, Universidad de Oviedo, 1995.

 - AVIÑOA, Xosé. La música i el modernisme. Barcelona, Curial, 1985.

 - CLARCK, Aaron. Isaac Albéniz: A Guide to Research. New York, Garland, 1998.

 - BARCE, Ramón. “La ópera y la zarzuela en el siglo XIX”, a Actas del Congreso Internacional “España en la Música de Occidente”. Madrid, INAEM, 1987.

 - BARRERA MARAVER, Antonio. Crónicas del género chico y de un Madrid divertido. Madrid, Avapiés, 1983.

 - BARCE, Ramón. “El sainete lírico (1880-1915)”, a La música española en el siglo XIX. Oviedo, Universidad de Oviedo, 1995.

 - CASARES RODICIO, Emilio. Francisco Asenjo Barbieri. Madrid, Ediciones del ICCMU, 1994.

 - CASARES RODICIO, Emilio (ed). Diccionario de la Zaruela. España e Hispanoamérica, 2 vols. Madrid, ICCMU, 2003-2004.

 - CORTÈS i MIR, Francesc. “ La zarzuela en Cataluña y la zarzuela en catalán”, a Cuadernos de Música Iberoamericana, II-III, Madrid, CIMUS, 1997.

-  CORTÈS I MIR, Francesc. "La quadratura del cechio: questioni metodologiche nelle edizioni di opere liriche in Spagna, e la ricenzione nella stampa", a COTTICEELI, F.; PUGIONI, R. Filologia, Teatro, Spettacolo. Dai Greci alla contemporaneità. Milano, Franco Angeli, 2017.

 - CORTIZO, Ma. Encina. “La zarzuela del siglo XIX. Estado de la cuestión (1832-1856), a La música española en el siglo XIX. Oviedo, Universidad de Oviedo, 1995.

 - CORTIZO, Ma. Encina. Emilio Arrieta. Madrid, Ediciones del ICCMU, 1998.

 - CURET, Francesc. Història del teatre català. Barcelona, Aedos, 1967.

 - HESS, Carol. Enrique Granados: a bio-bibliography. New York, Greenwood Press, 1991.

 - IBERNI, Luís G. Ruperto Chapí. Madrid, Ediciones del ICCMU, 1995.

 - RADOMSKI, James. Manuel García (1775-1832). Maestro del bel canto y compositor. Madrid, Ediciones del ICCMU, 2002

 - SANCHEZ, Víctor. Tomás Bretón. Un música de la Restauración. Madrid, Ediciones del ICCMU, 2002.

 

Link web

- Centre de Documentació i Museu de les Arts Escèniques (Institut del Teatre, Barcelona). http://www.cdmae.cat

- Museo Nacional del Teatro (Almagro). http://museoteatro.mcu.es

- Centro de Documentación de Música y Danza (INAEM): http://musicadanza.es

- Arxiu Històric de la Societat del Gran Teatre del Liceu: http://www.bib.uab.cat/human/arxiusocietatliceu/publiques/indexcat.php

- Portal digital anglès sobre la “zarzuela”: http://www.zarzuela.net

- Diccionario de cantantes líricos hispano: http://www.liricahispana.com

- Encyclopédia multimédia de la comédie musicale et théâtrale en France: http://comedie-musicale.jgana.fr

- Stage and Music: Bibliography

- Albertí, Xavier; Molner, Eduard (eds). El Paral·lel (1894-1939). Barcelona, CCCB, 2012.

- Arblaster, A. Viva la liberta! Politics on Opera. London, Verso, 1997.

- Basso, A. (ed). Musica in scena. 6 vols Torino, UTET, 1995-97.

- Berg, Alban. “The problem of opera”, Classic essays on twentieth-century music: A continuing symposium. New York, Schirmer, 1996.

- Drew, David. “Brecht versus Opera”, a Score, nº 23, 1958.

- Everett, William A.; Laird, Paul R. The Cambridge companion to the musical. Cambridge, Cambridge University Press, 2002.

- Fearn, R.  Italian opera since 1945. Routledge, 1995.

- Kerman, J. Opera as Drama. New York, Knopf, 1956 [reed. Renovada a University of California Press, 1988].

- Merlin, C. Opéra et mise en scène. Paris, Editions Premières Loges, 2007.

- Salaün, Serge. El cuplé (1900-1936). Madrid, Espasa-Calpe, 1990.

 

The Musical Oratory

- Alaleona, Domenico. Storia dell’oratorio in Italia. Milano: Bocca, 1945

- Bonastre, Francesc. «L’oratori a Barcelona en el priomer terç del segle xix». Anuario Musical, núm. 48 (1993): 207-16

- Carreras Bulbena, José Rafael. El oratorio musical desde su origen hasta nuestros días. Barcelona: Tip. L’Avenç, 1906

- Daufí, Xavier. «Carreras i Bulbena i el naixement de l’oratori a Catalunya» Recerca Musicològica, XVII-XVIII, (2007-2008): 153-79

- Smither, Howard E. A History of the Oratorio. Vol I, The Oratorio in the Baroque Era: Italy, Vienna, Paris. Chapel Hill: The Universityof North Carolina Press, 1987

- Smither, Howard E. A Historyof the Oratorio. Vol. II, Tho Oratorio in the Baroque Era: Protestant Countries. Chapel Hill: The University of North Carolina Press, 1988

- Smither, Howard E. A History of the Oratorio. Vol III, The Oratorioin the Classical Era. Chapel Hill: The University of North Carolina Press, 1987

- Smither, Howard E. A History of the Oratorio. Vol. IV, The Oratorio in the Nineteenth and Twentieth Centuries. Chapel Hill: The University of North Carolina Press, 2000

 

Around Robert Gerhard sessions:

Adkins, Monty i Russ, Michael, eds. The Roberto Gerhard Companion (Farnham: Ashgate, 2013; London / New York: Routledge, 2016).

Adkins, Monty i Russ, Michael, eds. Essays on Roberto Gerhard (Newcastle upon Tyne: Cambridge Scholars Publishing, 2017).

Gan Quesada, Germán. “La recepció de la música de Robert Gerhard a Catalunya durant el franquisme (1948-1970): trobades i desavinences”, Revista Catalana de Musicologia, 7 (2014), pp. 153-171 [https://publicacions.iec.cat/repository/pdf/00000216/00000019.pdf]

Gerhard on Music. Selected Writings, ed. Meirion Bowen. Abingdon / New York: Routledge, 2019 [Aldershot / Burlington, VT, 2000].

Sánchez de Andrés, Leticia. Pasión, desarraigo y literatura: el compositor Robert Gerhard. Madrid: Fundación Scherzo, 2013.

 

Web links

https://iev.cat/fons-robert-gerhard/

https://www.bnc.cat/cat/Fons-i-col-leccions/Cerca-Fons-i-col-leccions/Gerhard-Robert

https://www.lib.cam.ac.uk/collections/departments/music/collections/music-archives/roberto-gerhard-archive

https://research.hud.ac.uk/institutes-centres/roberto-gerhard-archive/