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2021/2022

History of Hispanic Music

Code: 100633 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:
Francesc D Assi Cortes Mir
Email:
Francesc.Cortes@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

There are no special prerequisites

Objectives and Contextualisation

The course aims at a full understanding of the most significant aspects of Hispanic Music History, while, at the same time, placing those aspects in the context  where they arose and relating them with the rest of Europe. The evolutionary aspects of the musical style that was given in different geographical areas of the Iberian Peninsula will also be considered.

At the end of the course:

  • Students will be able to correctly identify the stylistic peculiarities belonging to each period and each specific genre.
  • Students will be able to analyze, from scores and auditions, the stylistic traits belonging to a certain time and a certain genre.
  • They will have to know the main composers and the most prominent Hispanic musical repertoire.
  • Students will be able to contextualize musical works, establishing a link between the forms and stylistic musical features, and social, economic and cultural context in which they occur.
  • They will have to be able to handle with critical knowledge and scientific rigor the most important literature and musicological sources of the different studied periods, both to expand knowledge and for research.

Competences

    Musicology
  • Critically analyse musical works from any of the points of view of the discipline of musicology.
  • 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.
  • Know and understand the historical evolution of music, its technical, stylistic, aesthetic and interpretative characteristics from a diachronic perspective.
  • 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 communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  • 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. Contextualise musical works in their hsitorical and cultural setting from a critical perspective.
  2. Define the processes of periodisation and stylistic classification and usual typology in the historical conceptualisation of the musical fact.
  3. Identify and critically place different musical typologies in their historical periods.
  4. Identify phenomena of the circulation of ideas in music proficiency.
  5. Identify the stylistic properties of each historical period.
  6. Identifying the context of the historical processes.
  7. Identifying the main and secondary ideas and expressing them with linguistic correctness.
  8. Reconise the general characteristics of the history of music in the history of Hispanic music.
  9. Relating elements and factors involved in the development of historical processes.
  10. Solve problems of a methodological nature in the area of musicology.
  11. Use specific vocabulary of history correctly.

Content

1. Middle Ages

1.1. Music in the primitive Hispanic Church

1.2. Gregorian chant in the Iberian Peninsula: formation, development and consolidation. Paraliturgical forms: tropes, sequences and others.

1.3. The origins of polyphony in the Iberian Peninsula: the Codex Calixtinus, Toledo Manuscript and Codex de las Huelgas.

1.4. Secular Medieval music: Cantigas de Martin Codax, and Cantigas de Santa Maria.

1.5. Ars Nova musical sources: Llibre Vermell de Montserat.

   

2. Renaissance

2.1. Musical sponsorship: musical chapels linked to different political and social institutions.

2.2. Written sources on Renaissance music: Treatises (Ramos Pareja, Fray Juan Bermudo, Francisco Salinas).

2.3. Religious music: liturgical organization and musical forms. Main composers

2.4. Secular music: musical forms, sources (songbooks) and main composers.

2.5. Instrumental music: organ and vihuela.

  

3. The 17th Century

3.1. Elements that explain the emergence of the new baroque style: polychorality, thoroughbass and melody.

3.2. Religious vocal music.

3.3. Instrumental music: organ, vihuela, lute and guitar.

3.4. Secular vocal music: opera and zarzuela.

3.5. Pietro Cerone, Andrés Lorente and Pablo Nasarre.

  

4. The 18th Century

4.1. Religious music: main chapels and most outstanding composers.

4.2. Chamber music: musicians and musical trends in the court and nobility.

4.3. The music of the bourgeoisie: the emergence of a new audience.

4.4. Theater music:  Italian influence to the Court. Spanish Theatre companies and Spanish composers.

4.5. General features of the theory of the 18th Century Spanish music.

  

5. The 19th Century

5.1. Basic concepts of the music of the 19th Century in Spain.

5.2. Symphonic music of the 19th Century.

5.3. 19th Century zarzuela.

5.4. The spanish opera, and the national proposals

5.5. Women and music.

  

6. 20th and 21st Centuries

6.1. Music until 1939: social and cultural context of the time.

6.2. The legacy of Spanish nationalism: Felip Pedrell, Isaac Albéniz and Enrique Granados. Spain between modernism and nationalism.

6.3. The work of Manuel de Falla.

6.4. Generation of 27: group of Barcelona and group of Madrid.

6.5. The music after the Civil War: social and cultural context, and musical institutions.

6.6. The new avant-garde: from the Generation of 51 to today.

Methodology

The syllabus of the subject will be developed based on different activities: face-to-face classes, practical comments, musical auditions and analysis of works.
										
											
										
											The materials can be consulted on the Virtual Campus.
 

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Lessons 33 1.32 1, 2, 4, 6, 3, 5, 8, 9, 10, 11
Musical analysis 10 0.4 3, 5, 8, 10
Type: Supervised      
Activities 9 0.36 1, 7, 5, 10, 11
Type: Autonomous      
Study 25 1 1, 2, 6, 3, 5, 9, 10, 11
Study of text 25 1 1, 2, 4, 6, 3, 5, 8, 9, 10, 11
Suplementary lectures and auditions 5 0.2 1, 6, 3, 5, 10, 11

Assessment

The subject will be evaluated on the basis of three compulsory activities, in addition to class attendance and participation: two exams (30% each) and a series of exercises (30%). 
Attendance and participation, on the other hand, will have a weight, in the final grade, of 10%: a point will be added to the final grade of all those students who have accredited 80% or more attendance.
										
											
										
											The date of the exams will be advertised on the Virtual Campus.
										
											
										
											Reassessment: In the re-assessment period, set by the Faculty, students who have not passed the assessment activities described may apply to be re-assessed with an examination. 
It should be borne in mind, however, that in order to apply for re-assessment the student must have participated in all the mandatory assessment activities indicated in the first paragraph of this section.
 

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Attendance and participation 10 30 1.2 1, 6, 7, 5, 8, 10, 11
Exam 1 30 2 0.08 1, 2, 4, 6, 3, 7, 5, 8, 9, 10, 11
Exam 2a half 30 1 0.04 1, 2, 4, 6, 3, 7, 5, 8, 9, 10, 11
Exercices 30 10 0.4 1, 2, 4, 6, 3, 7, 5, 8, 9, 10, 11

Bibliography

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ALIER, R., L'òpera a Barcelona al segle XVIII, Institut d'Estudis Catalans, Societat Catalana de Musicologia, Barcelona, 1990.

ANGLÈS, H., Monodia cortesana trobadoresca, seixanta-quatre transcripcions inèdites de Mn. Higini Anglès a cura d'Antoni Rossell, Diputació de Barcelona, Barcelona, 1986.

ANGLÈS, H., La música en la Corte de Carlos V, vol.I i II, CSIC, Barcelona, 1a. ed. 1944, 1984.

AVIÑOA, X. (coord). Història de la Música Catalana, Valenciana i Balear. Vols I - X. Barcelona, eds 62, 1998 – 2003.

BALLESTER, J., "Retablos Marianos Tardomedievales con ángeles músicos procedentes del antiguo reino de Aragón. Catálogo", Revista de Musicología, vol. XIII, núm. 1, Madrid, 1990.

BONASTRE, F., "El Barroc musical a Catalunya", a El barroc català, actes de les jornades celebrades a Girona 17-19/XIV/1987, Quaderns Crema, Barcelona, 1989.

BONASTRE, F.; CORTÈS, F. (coords). Història Crítica de la Música Catalana. Universitat Autònoma de Barcelona Servei de Publicacions, 2009.

CASARES RODICIO, E. y Alonso González, C. La música española en el siglo XIX, Universidad de Oviedo, Gijón, 1995. 

CASARES RODICIO, E. (Director i coordinador), Diccionario de la Música Española e Hispanoamericana, SGAE, Madrid, 1999-2000.

CLIMENT, J.,Historia de la música contemporánea valenciana, Valencia, 1978.

CORTES, FRANCESC. Història de la música a Catalunya. Barcelona, Editorial Base, 2012.

CORTES, FRANCESC. Felip Pedrell a la Biblioteca de Catalunya. Barcelona, Generalitat de Catalunya - Biblioteca de Catalunya, 2017. https://botiga.bnc.cat/?product=felip-pedrell-a-la-biblioteca-de-catalunya

CRIVILLÉ, J., Historia de la música española (7). El folklore musical, Alianza, Madrid, 1988.

DAUFÍ, X., "Bases para el estudio de la historia del oratorio en Catalunya en el siglo XVIII" Revista de Musicología, XXVI, nº 1, 2003, pp. 207-231.

DAUFÍ, X., Els oratoris de Francesc Queralt (1740-1825). Història de l'oratori a Catalunya al segle XVIII, Institut d'Estudis Ilerdencs - Diputació de Lleida, Lleida, 2004.

DAUFÍ, X., "Els oratoris catalans de finals del segle XVIII i principis del XIX com a elements receptors del classicisme musical" Recerca musicològica, XVI, 2006, pp. 65-96.

DAUFÍ, X., "Study on the Decrease in Production of Oratorio in Catalonia in the Last Decades of the Eighteenth Century and the First Decades of the Nineteenth Century" Revista de Musicología, XXXVI, nos 1-2, 2013, pp. 171-188.

Estudios sobre Ferran Sor, Luis Gásser (ed.), ICCMU, Colección Música Hispana Textos, Madrid, 2003. 

FALLA, Manual de, Escritos sobre música y músicos, Espasa Calpe, Madrid, 1950 (nueva ed. 1988).

FERNANDEZ DE LA CUESTA, I., Historia de la música española (1). Desde los orígenes hasta el "ars nova", Alianza, Madrid, 1988.

GARRIGOSA, J., Catálogo de los manuscritos e impresos musicales del Archivo Histórico Nacional y del Archivo de la Corona de Aragón, Dirección General de Bellas Artes y Archivos, Ministerio de Cultura, Madrid, 1994.

GOMEZ, Ma.C., La Música en la Casa Real Catalano-Aragonesa 1336-1442, vol. I i II, Antoni Bosch editor, Barcelona, 1979.

GOMEZ, Ma.C., La Música Medieval, Dopesa 31, Barcelona, 1980.

GONZALEZ VALLE, J.V., Tradición y progreso en los maestros de música de las catedrales de Zaragoza durante el siglo XVIII, Estudios de Musicología aragonesa, pórtico, Zaragoza, 1977.

GREGORI, J.M., "Els mestres de cant de la seu de Barcelona en el Renaixement", Recerca Musicològica, IV, UAB, Barcelona, 1984.

HOPIN, R. H., La música medieval, Akal, Madrid, 1991.

JAMBOU, L., Evolución del órgano español. Siglos XVI-XVIII, vol. I i II, Ethos-Música núm.2, Universidad de Oviedo, Oviedo, 1988.

KARP, Th., The Polyphony of Saint Martial and Santiago de Compostela, Clarendon Press, Oxford, 1992, 2 vols. 

La Capilla Real de los Austrias, Fundación Carlos de Amberes, Madrid, 2001.

La Música española en el siglo XIX, Universidad de Oviedo servicio de publ., colec. Estudios Sociales Iberoamericanos núm. 4, Oviedo, 1995.

LOPEZ-CALO, J., Historia de la Música española.(3) Siglo XVII, Alianza, Madrid, 1983.

MARCO, T., Historia de la música española (6). Siglo XX, Alianza, Madrid, 1989.

MARTÍN MORENO, A., Historia de la música española (4). Siglo XVIII, Alianza, Madrid, 1985.

MEDINA, A., “Primeras oleadas vanguardistas en el área de Madrid” en Actas del Congreso Internacional “España en la Música de Occidente”, serv. Publ del Ministerio de Cultura, Madrid, 1987, vol. 2, p.369.

MITJANA, R., Historia de la Música en España, Centro de Documentación Musical, INAEM, Ministerio de Cultura, Madrid, 1993.

PAVIA,J. La música a la catedral de Barcelona, durant el segle XVII, Fundació Vives Casajuana, ed. Rafael Dalmau, Barcelona, 1986.

QUEROL, M., Los orígenes del Barroco Musical español, Piles, ed. de música, València, 1982.

RIQUER, M. de, Los Trovadores, vol I,II i III, Ariel, Barcelona, 1992.

ROSSELL, A., El cant dels trobadors, Ajuntament de Castelló d'Empúries, Barcelona, 1989.

RUBIO, S., Historia de la música española (2). Desde el "ars nova" hasta 1600, Alianza, Madrid, 1988.

SALAZAR, A., La música contemporánea en España (2 vols.), Ethos Música, Serv. Publ. de la Univ. De Oviedo, 1982.

STEVENSON, R., La música en las catedrales españolas del Siglo de Oro, Alianza, Madrid, 1993.

The New Grove Dictionary of Music and Musicians, 20 vols., Macmillan Publishers Limited, London. Edición on-line consultable des de les Biblioteques de la UAB.

VELA DEL CAMPO, JUAN ÁNGEL. Historia de la música en España e Hispanoamérica. 8 vols. Fondo de Cultura Económica. (De los orígenes hasta c. 1470; De los Reyes Católicos a Felipe II; La música en el siglo XVII; La música en el siglo XVIII; La música en España en el siglo XIX; La música en Hispanoaméricaen el siglo XIX; La música en Hispanoamérica en el siglo XX.

 

Software

No necessary