Degree | Type | Year | Semester |
---|---|---|---|
2500240 Musicology | OT | 3 | 0 |
2500240 Musicology | OT | 4 | 0 |
No prerequisites required, although basic knowledge of technical vocabulary from different musical fields -i.e. classical, urban, contemporary, traditional music- is recommendable.
The course encourages an open format of a seminar, with an active learning that involves all the students. The course contents will be achieved mainly from the reading and critical discussion of the course readings and other materials, as well as the analysis and debate on the proposed audiovisual cases. Supervised work in the classroom may be done in person in the classroom or through the online teaching channels established by the UAB (Teams, Zoom, etc.)
Throughout the theoretical-practical class sessions, collective work on various audiovisual and written materials will be shared. The work material will be proposed mainly by the teaching staff, although the contribution of the students will be encouraged. Collaborative work will also be promoted in small groups in the classroom, organized to reflect and discuss the proposed materials, from which written or audiovisual materials will be derived and considered in the final evaluation.
These activities will be complemented, insofar as circumstances permit, with attending live concerts from which the student will have to prepare several critical works that will be presented throughout the course.
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.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Attendance to live concerts, which will be the material to prepare the pieces of criticism | 10 | 0.4 | |
Theoretical and practical classes | 50 | 2 | 14, 1, 8, 6, 9 |
Type: Supervised | |||
Personal or group tutorials (online or offline) | 5 | 0.2 | |
Support for the personal exercises in writing and audiovisual format | 15 | 0.6 | 2, 3, 1, 5, 6, 9, 10 |
Support to prepare the individual composition of written pieces about live concerts | 5 | 0.2 | 2, 7, 13, 14, 1, 5, 8, 9, 10, 11 |
Type: Autonomous | |||
Personal work analysis and study on bibliographic and audiovisual materials proposed for the course | 34 | 1.36 | 2, 3, 5, 6, 11, 15, 12 |
Personal work in audiovisual supports related to music criticism | 20 | 0.8 | 2, 7, 13, 14, 1, 5, 8, 9, 10, 11, 12 |
Personal work on writing exercises related to music criticism | 5 | 0.2 | 2, 3, 1, 5, 4, 6, 9, 10, 11, 12 |
The class sessions are prepared for the active participation of the students, who undertake to carry out the proposed readings for the correct follow-up of the course, as well as to bring examples and joint discussion at classroom when requested.
The evaluation will be the result of two written tests -or equivalent activities online- and some writing and audiovisual works carried out in groups. Each of these items will have a weight of 30% in the overall course. The remaining 10% will be valued from the participation in class discussions and the proactive attitude to the case studies raised by the teaching staff.
The re-evaluation is considered an exceptional measure, since the objective is to pass a continuous evaluation of the activity throughout the entire semester. To appear for the reevaluation, at least one of the two written partial tests must have been passed with a mark of 5.5.
To consider the grade "not assessable" (previous "no presentat"), the student will have to have abandoned without having taken any written evaluation test or only the first one.
The review of the final grades will be carried out on dates announced in advance and agreed with the class group.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Exercises (writing and audiovisual formats) related to music criticism | 30% | 2 | 0.08 | 2, 7, 1, 5, 4, 8, 12 |
Proactive attitude and participation in class activities | 10% | 0 | 0 | 2, 13, 14, 1, 5, 8, 9, 10, 15 |
Test (I) | 30% | 2 | 0.08 | 2, 7, 1, 8, 6, 11, 15, 12 |
Test (II) | 30% | 2 | 0.08 | 2, 7, 13, 14, 3, 1, 5, 6, 10, 11, 12 |
Ballester, Jordi and Germán Gan Quesada (eds.), Music Criticism, 1900-1950, Turnhout: Brepols, 2018.
Blum, Stephen y Philip V. Bohlman (eds.). Ethnomusicology and Modern Music History. Urbana and Chicago: University of Illinois Press, 1991.
Cantón García, José Antonio. «Prensa y música, divulgación y crítica». Comunicar: Revista científica iberoamericana de comunicación y educación, 23 (2004): 43-47
Carreira, Xoán Manuel. «Variaciones sobre la crítica musical». Ritmo, 51-508 (1981): 29-36
Cascudo García-Villaraco, Teresa. «Apuntes sobre la crítica musical». Doce notas preliminares: revista de arte, 9 (2002): 113-122
Cascudo Teresa y Palacios, Maria: Los señores de la crítica.Periodismo musical e ideologia del modernismo en Madrid (1900-1950). Madrid: Doble J, Editorial, 2012
Chiantore, Luca; Domínguez, Áurea; Martínez, Sílvia. Escribir sobre música. Barcelona: Musikeon Books, 2016
Citron, Marcia J. Gender and the Musical Canon. Cambridge and New York: Cambridge University Press, 1993
Graf, Max: Composer and Critic. Two hundret years of Musical Criticism. Norton and Company. New york, 1946
Monelle, Raymond. «La crítica de la interpretación musical». En La interpretación musical, editado por John Rink. Madrid: Alianza Editorial, 2006, 249-262.
Rink, John (ed.). The practice of performance: studies in musical interpretation. Cambridge: Cambridge University Press, 1995
Ros Fábregas, Emilio. “Retos de la musicología en la España del siglo XXI: de la reflexión a la aplicación práctica en el aula”. Revista de Musicología, 29-1 (2006), pp. 11-44.
No specific software needed