Degree | Type | Year | Semester |
---|---|---|---|
2500240 Musicology | OT | 3 | 0 |
2500240 Musicology | OT | 4 | 0 |
The subjects "Llenguatge musical I", "Llenguatge musical II" and "Anàlisi musical" must have been previously studied.
Since the 1960s to the present, there are several practices and knowledge that are identified under the terms semiology or semiotics of music. Despite the absence of a unified theoretical framework, what is shared is the fact of putting in the first place concepts like sign or meaning and the reflection on the musical meaning, always from an interdisciplinary perspective.
The subject presents the main currents of musical semiology, relating them to the different sign theories that are taken as a starting point, proposing guidelines and strategies for the practice of musical analysis.
1. Historical introduction to the theory of signs.
2. The origins of musical semiology.
3. Main trends of musical semiotics.
4. Music and narrative.
5. Music and audiovisual media.
6. Intertextuality.
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 | |||
Masterclass | 30 | 1.2 | 2, 13, 1, 4, 3, 18, 15, 6, 7, 8, 9, 14, 20, 11, 10, 12, 19, 5, 16, 17 |
Tutorials | 7 | 0.28 | 15, 20, 12, 16, 17 |
Type: Supervised | |||
Seminars for debate on readings | 13 | 0.52 | 2, 13, 1, 4, 3, 18, 15, 6, 7, 8, 9, 14, 20, 11, 10, 12, 19, 5, 16, 17 |
Type: Autonomous | |||
Carrying out work | 40 | 1.6 | 2, 4, 18, 15, 9, 14, 20, 11, 10, 12, 16, 17 |
Search for information | 15 | 0.6 | 15, 12, 16, 17 |
Study and reading articles | 39 | 1.56 | 2, 1, 3, 18, 15, 7, 8, 9, 14, 20, 12, 19, 16, 17 |
There will be two written tests, one in half and the other at the end of the semester, the result of each of which will represent 30% of the overall score.
A compulsory group work will be carried out on a topic that will have to be agreed with the teacher. The work note will represent 30% of the overall score.
Class attendance and participation will also be valued (10% of the overall grade).
To pass the course, it will be necessary to approve the work and each of the two written tests with a minimum grade of 5.
The qualifications of the written tests and of the work will be published in the Virtual Campus. At the time the results are published, the revision dates will also be published.
To qualify for the recovery test will be necessary to have passed the mandatory work, and have passed one of the two written tests with a minimum grade of 5. It will not be recoverable that test has not been done within the deadline.
It will not be possible to opt for the consideration "not evaluable" from the moment in which the student is submitted to one of the written tests or deliver the mandatory work.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Class attendance and participation in activities | 10% | 0 | 0 | 2, 13, 4, 18, 15, 14, 20, 11, 10, 12, 16, 17 |
Group task | 30% | 2 | 0.08 | 2, 4, 18, 15, 14, 20, 11, 10, 12, 16, 17 |
Written test 1 | 30 % | 2 | 0.08 | 2, 13, 1, 4, 3, 18, 15, 6, 7, 8, 9, 14, 20, 11, 10, 12, 19, 5, 16, 17 |
Written test 2 | 30 % | 2 | 0.08 | 2, 13, 1, 4, 3, 18, 15, 6, 7, 8, 9, 14, 20, 11, 10, 12, 19, 5, 16, 17 |
Agawu, Kofi (2012). La música como discurso: Aventuras semióticas en la música romántica. Buenos Aires: Eterna Cadencia Editora.
Almén, Byron, & Pearsall, Edward (Eds.). (2006). Approaches to Meaning in Music. Bloomington: Indiana University Press.
Barthes, Roland (1999). Mitologías. México, D.F.: Siglo XXI.
Barthes, Roland, et al. (1972). La Semiología. Buenos Aires: Tiempo Contemporáneo.
Barthes, Roland, et al. (2016). Análisis estructural del relato. México, D.F.: Coyoacán.
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 (2001). Theorizing Musical Meaning. Music Theory Spectrum, 23, No. 2, 170–195.
Eco, Umberto (1992). Obra abierta. Barcelona: Planeta.
Eco, Umberto (2012). El superhombre de masas. Barcelona: Random House Mondadori.
Eco, Umberto (2013). Apocalípticos e integrados. Barcelona: Fábula
Foucault, Michel (2015). El orden del discurso. Barcelona: Tusquets.
Greimas, Algirdas Julien, & Courtès, Joseph (1982). Semiótica. Diccionario razonado de la teoría del lenguaje. Madrid: Gredos.
Grimalt, Joan (2014). Música i sentits. Introducció a la significació musical. Barcelona: Dux.
Grupo de Entrevernes (1982). Análisis semiótico de los textos. Introducción – Teoría – Práctica. Madrid: Ediciones Cristiandad.
Hatten, Robert S. (2004). Interpreting Musical Gestures, Topics and Tropes. Indiana University Press.
López Cano, Rubén (2012). Música i retórica en el barroco. Barcelona: Amalgama.
Martinez, José Luiz (2001). Semiótica de la música: una teoría basada en Peirce. Signa. Revista de la Asociación Española de Semiótica 10.
Nattiez, Jean-Jacques (1990). Music and Discourse. Toward a Semiology of Music. Princeton: Princeton University Press.
Neumeyer, David (2015). Meaning and Interpretation of Music in Cinema. Bloomington: Indiana University Press.
Sebeok, Thomas (1996). Signos: Una introducción a la semiótica. Barcelona: Paidós.
Stam, Robert (2001). Teorías del cine. Una introducción. Barcelona: Paidós.
Tagg, Philip (2013). Music's Meanings. New York: The Mass Media Music Scholars' Press.
Tarasti, Eero (1994). A Theory of Musical Semiotics. Indiana University Press.