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Introduction to Musicology

Code: 100660 ECTS Credits: 6
Degree Type Year Semester
2500240 Musicology FB 1 2
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.


Lidia López Gómez

Use of Languages

Principal working language:
spanish (spa)
Some groups entirely in English:
Some groups entirely in Catalan:
Some groups entirely in Spanish:


There are no specific prerequisites, although having a high level of musical theory is recommended.

Objectives and Contextualisation

- To know the most relevant trends and manifestations of the historical evolution of musical discourse.
- Outline the main lines of contact between musical discourse and its sociocultural, intellectual, aesthetic, and scientific context.
- Identify the disciplinary interrelationships of Musicology with other areas of artistic and cultural research.
- Evaluate the newest methodological trends within the field of Musicology.
- Offer systematic, conceptual, and terminological tools suitable for the oral and written expression of the musicological contents of the course.


  • Developing critical thinking and reasoning and communicating them effectively both in your own and other languages.
  • 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. Accurately describing an artistic object with the specific language of art criticism.
  2. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  3. Apply knowledge acqured in emerging areas of musicology, both in the field of historical musicology and in that of urban , popular tradition and non-western music.
  4. Conceptually analysing a work of the subject matter.
  5. Drawing up an academic text using the discipline's specific vocabulary.
  6. Identify the main trends in current musical research.
  7. Link periods of the history of music with periods of the history of art
  8. Put into practice the methodological knowledge acquired in the first phase of bibliographical and documentary research.
  9. Recognise in musical praxis element of different cultures and different historical periods.
  10. Recognise the main models and their application in musical works.
  11. Relate concepts and information from different humanistic, scientific and social disciplines, especially the interactions established between music and philosophy, history, art, literature and anthropology
  12. Relate musical creations with their different contexts, discriminating between the different social funtions of the music, its role and that of the musician in society and in relation to other artistic manifestations.
  13. Summarising acquired knowledge about the origin and transformations experienced in its several fields of study.


Subject Matter 1. Musicology and anthropological and sociological perspectives.

Subject Matter 2. Musicology and history.

Subject Matter 3. Musicology and iconography.

Subject Matter 4. Musicology and text.

Subject Matter 5. Musicology and audiovisual media.

Subject Matter 6. Musicology and analysis.

Subject Matter 7. Evolution of the discipline: history and current trends in musicology.
Subject Matter 8. Basics of digital audio edition and sheet music writing.


The central part of the course will consist of theoretical sessions, as well as sessions where theory and practice will be combined. It will be four sessions of eminently practical workshops of audio editing and sheet music edition.

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      
Practical seminar for digital audio editing 3 0.12 4, 3, 6, 8, 10, 12
Practical seminar for the digital edition of sheet music 3 0.12 6, 8, 10
Seminars on specific aspects of musicological research 3 0.12 3, 6, 8
Theoretical-practical sessions 44 1.76 4, 2, 3, 6, 10, 9, 11, 12, 7
Type: Supervised      
Individual and/or group tutorials 4 0.16 13
Mandatory readings 30 1.2 5, 8, 11, 12, 13, 7
Type: Autonomous      
Organization of notes and class material 20 0.8 11, 13
Search of bibliographic information 15 0.6 8, 13
Study of the subject of the course 25 1 4, 2, 3, 1, 8, 9, 11, 12, 13, 7


To pass the course, the student must obtain an average of 5/10.

During the course, the following evaluable activities will be carried out:

  1. A first partial exam with qüestions about the theoretical contents worked in class and the compulsory readings (which will be available at the Moodle).  It will weight 37,5% of the overall score.
  2. A second partial exam with qüestions about the theoretical contents worked in class and the compulsory readings (which will be available at the Moodle). It will weight 37,5% of the overall score. 
  3. Workshops of digital sheet music editing and audio editing. Along the semester, it will be four sessions of digital sound editing and sheet music edition with practices in the classroom. It will weight 25% of the overall score. 

In 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.

The corrections and results of the works and exams will be delivered to the student through the UAB mail service or the Moodle, and any revision will be by virtual means or during the established tutorial hours of the teacher.

In case of partial failure of the tasks, the student may only opt for the retake of 2 of the evaluation items, on the date set by the Faculty, providing that has obtained a minimum average of 3/10. The maximum grade in the retake exams and tasks is a 5/10.

The fact that the student delivers one of the tasks or present one of the written tests, will consist of an on-site event. Therefore, only the student who has not made any evaluation test during the course may be considered as "non evaluable."

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.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
1st Written Test 37,5% 1.5 0.06 4, 2, 3, 1, 5, 6, 8, 10, 9, 11, 12, 13, 7
2n Written Test 37,5% 1.5 0.06 4, 2, 3, 1, 5, 6, 8, 10, 9, 11, 12, 13, 7
Workshops on Sound Editing and Sheet Music Editing 25% 0 0 4, 3, 6, 10, 11, 12


Blacking, J. (2006) ¿Hay música en el hombre? Alianza Editorial, Madrid

Boecio (2009) Sobre el fundamento de la música. Cinco Libros. Editorial Gredos, Madrid.

Chion, M. (1997). La música en el cine. Paidós Comunicación, Barcelona.

Cook, N (2001) De Madonna al canto gregoriano. Una muy breve introducción a la música. Alianza Editorial, Madrid.

Cook, N. (1994) A Guide to Musical Analysis. Oxford University Press

Cook, N., Everist, M (2010) Rethinking Music. Oxford University Press 

Cruces, F. et al., (2001) eds. Las culturas musicales, Ed. Trotta, Madrid.

Dahlhaus, C. (1997) Fundamentos de la Historia de la Música. Editorial Gedisa

Dahlhaus, Carl; Eggebrecht, H.H (2012) ¿Qué es la música? Ed. Acantilado, Barcelona.

Grout, D.J; Palisca, C (1996). Historia de la Música Occidental. Madrid: Alianza Editorial.

Kerman, J. (1985) Contemplating Music: Challenges to Musicology. Cambridge: Harvard University Press.

LaRue, J. (2004) Análisis del estilo musical. Idea Books, S.A. Coleeción Idea Música, Cornellà del Llobregat.

Martí i Pérez, J (1992) “Hacia una antropología de la música” Anuario Musical (47): p.195-225, CSIC – Institució Milá i Fontanals

Martí i Pérez, J. (2000) Más allá del arte. La música como generadora de realidades sociales. Sant Cugat del Vallès: Deriva Editorial.

Mendívil, J. (2016) En contra de la música. Herramientas para pensar, comprender y vivir las músicas. Gourmet Musical

Merriam. A. P (1964) The Anthropology of Music, Northwestern University Press, Illinois, USA.

Mugglestone, Erica; Adler, G (1981) “Guido Adler's "The Scope, Method, and Aim of Musicology" (1885): An English Translationwith an Historico-Analytical Commentary”; Yearbook for Traditional Music, Vol. 13 (1981), pp. 1-21.

Nattiez, J.J. (1990) Music and Discourse. Toward a Semiology of Music. Princenton University Press, New Jersey.

Piquer, R. (2013) “Aquello que se escucha con el ojo. La iconografía musical en la encrucijada” Síneris, Revista de Musicología, Nº 9, Marzo.

Ros-Fábregas E. (2006) “Retos de la Musicología en la España del siglo XXI: de la reflexión a la aplicación práctica en el aula” Revista de Musicología, XXIX, 1.

Sadie, S (2000) Guía Akal de la música, Ediciones AKAL, S.A.

Scherzo, 249 (febrero de 2010). Dossier Iconografía Musical

Tagg, Philip (2015) Music’s Meanings. A modern musicology for non-musos. MMMsp Publications


The sofware that will be used at the course is: the audio editing software Reaper, and the score editor Finale.