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2021/2022

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:
Silvia Martínez García
Email:
Silvia.Martinez.Garcia@uab.cat

Use of Languages

Principal working language:
catalan (cat)

Other comments on languages

Mandatory readings also include texts in Spanish and English

Teachers

Francesc D Assi Cortes Mir
Germán Gan Quesada
Gabrielle Kaufman

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

- Introduce the main lines of debate of contemporary research on musical practices in urban space.

- Mastering methodologies of historiography, aesthetic and musicological analysis in the study of urban music.

- Relate contemporary musical systems with their respective contexts of production and reception.

- Explore the mechanisms that manage the relationships between the different artistic languages of contemporary era.

- Understand the mechanisms of action and social articulation ofmusic in changing environments, with special emphasis ontechnological and media advances in recent decades.

- Adapt the contents of the course to various educational and training contexts.

 

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.
  • Develop the capacity to assess sex and gender inequalities in order to design solutions to them.
  • 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. Develop the capacity to assess sex and gender inequalities in order to design solutions to them.
  6. Discuss contemporary socio-musical contexts from the perspective of gender studies.
  7. Distinguish the distinctive characteristics of the various musical cultures of the contemporary urban environment
  8. Mastering historiographical analysis tools adapted to the study of urban music
  9. Propose innovative projects proposed in musicological research and interpretive projects.
  10. Recognise the contributions of gender studies to the topics being researched.
  11. Relate contemporary music systems with their contexts of production and reception

Content

  1. Music, power and representation in the contemporary world
  2. Creative aesthetics and politics in the 20th century
  3. Time and space in urban musical performance
  4. Spaces and musical path networks in the city
  5. Urban Music: Ethnicity and Gender after postcolonial theory
  6. The musical concert as a phenomenon of current research
  7. Interactions and potential of musical performance
  8. Concert programming and reception contexts

Methodology

The course has a hybrid format, with a part of the theoretical presentation of the teaching staff and another part of work in the classroom. This work will be done about practical cases, and the main theoretical aspects and key concepts of the syllabus will be arise from them.

This seminar format and learning methodology, actively involve the student. The course contents will be acquired mainly by reading and discussing the selected texts, as well as by analyzing and discussing the proposed audiovisual materials.

The active follow-up of the module implies the personal commitment to prepare the readings and the viewing of the proposed materials in order to be able to participate in their discussion in the classroom.

As a postgraduate course, the autonomous work of each student will have an important specific weight in the work methodology. This will be done individually and in collaborative groups. The students will also participate in the co-evaluation of the materials generated throughout the seminars.

The course has a Moodle classroom open, where the calendar of activities and the pedagogical materials will be published.

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      
Seminar (possible on line meetings included) 40 1.6 1, 2, 3, 4, 7, 8, 9, 11
Workshops (occasionally out of classroom) 14 0.56 1, 2, 3, 4, 7, 8, 9, 11
Type: Supervised      
Cases practice 14 0.56 1, 2, 3, 4, 7, 8, 9, 11
Dissemination practices 8 0.32 1, 2, 3, 4, 7, 8, 9, 11
Doctorial seminaries 4 0.16 1, 2, 3, 4, 7, 8, 9, 11
Tutorial class 4 0.16 1, 2, 3, 4, 7, 8, 9, 11
Type: Autonomous      
Work on mandatory audiovisual materials 10 0.4 1, 2, 3, 4, 7, 8, 9, 11
Work on mandatory readings 23 0.92 1, 2, 3, 4, 7, 8, 9, 11
Writing and editing on papers and audiovisual essays 40 1.6 1, 2, 3, 4, 7, 8, 9, 11

Assessment

Three pieces of evidence are proposed:

a) Writing a short paper on a case study relating personal postgraduate research with the contents of the course (30%)

b) A presentation, live or recorded, on the main conclusions of the research carried out (15%)

c) A bunch of questionnaires on mandatory reading and audiovisual materials, which will be carried out individually and in preparation for the different class sessions (30%) 

Besides these evidences, the critical capacity and the knowledge acquired through a co-evaluation activity will also be evaluated. In this case, the student will have to carry out a critical reading of the work of another class group (15%). Likewise, despite the fact that class attendance is not compulsory, active participation in the work sessions will be positively valued (10%).

Deadlines: The delivery of each evidence will be published in the Moodle classroom. The works will be delivered through Moodle too.

* Review Procedure: Any work delayed will not be reevaluated. In order to be able to re-evaluate a work, it will be necessary to have followed up regularly the seminars.

* To pass the course implies pass all three evidences (a, b, c). Not presenting any of them will mean that the student is considered "not assessable".

 

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Evaluation of the work done by the classmates 15% 4 0.16 2, 3, 4, 5
Paper on a study case 30% 30 1.2 1, 2, 3, 4, 7, 8, 9, 11
Participation in work sessions 10% 40 1.6 1, 3, 4, 7, 8, 11
Questionnaires on readings and other course materials 30 % 17 0.68 1, 2, 3, 4, 7, 6, 8, 9, 10, 11
Study case presentation (live o recorded) 15% 2 0.08 3, 6, 8, 9, 10, 11

Bibliography

Alsina, Miquel. 2007. El Cercle Manuel de Falla de Barcelona (1947-ca. 1957). L'obra musical i el seu context. Lleida: Institut d'Estudis Ilerdencs

Butler, Judith. 2021 [1990] Problemes de gènere. El feminisme i la subversió de la identitat (trad. de Bel Olid). Ed. Angle 

Castro, Ernesto. 2019. El trap: filosofía millennial para la crisis en España. Ed. Errata naturae

Cureses, Marta. 2013. "The institutionalization of the Avant-Garde in Catalonia as of 1939". In: Music and Francoism, eds. Gemma Pérez Zalduondo i Germán Gan Quesada. Turnhout: Brepols, 203-231.

D'Angelo, Robin. 2021. Fragilidad blanca. Ediciones del Oriente y del Mediterráneo

Gan Quesada, Germán. 2014. "La recepció de la música de Robert Gerhard a Catalunya durant el Franquisme (1948-1970): trobades i desavinences". Revista catalana de musicologia, 7, 153-171. https://publicacions.iec.cat/repository/pdf/00000216/00000019.pdf

Gan Quesada, Germán. 2012. "Músicas para después de una guerra... Compromisos, retiradas y resistencias en la creación musical catalana del primer franquismo". In: Discursos y prácticas musicales nacionalistas (1900-1970), ed. Pilar Ramos López. Logroño: Servicio de Publicaciones de la Universidad de La Rioja, 277-299.

Herrera Quintana, Elena. 2021. Beyoncé en la intersección: pop, género, raza y clase social : recepción y discursos en torno a su trabajo. Tesi doctoral. E-Prints Complutense https://eprints.ucm.es/id/eprint/64622/

Ivaldi, Antonia.2011. “Routes to adolescent musical expertise”. In: Music and the Mind: Essays in honour of John Slobodaed, ed. per Irène Deliège i Jane Davidson. Oxford: Oxford University Press, 205-224.

J. Sloboda i S. O’Neill. 2001. “Emotions in everyday listening to music”. In: Music and emotion: Theory and researched, ed. per J. Sloboda i P.N Juslin. Oxford: Oxford University Press, 415-429

Manchado, Marisa (ed.). 2019. Música y mujeres: Género y poder. Ménades Editorial 

Marín, Miguel Angel. 2018. “Challenging the Listener: How to Change Trends in Classical Music Programming”. Resonancias, vol. 22, n° 42, 115-130. 

Martín Nieva,  Helena. 2019. "El apoyo de los institutos de cultura extranjeros a la música de vanguardia en Barcelona (1939-1974)". In: Puentes sonoros y coreográficos durante el franquismo. Imaginarios, intercambios y propaganda en clave internacional, ed. per Belén Vega Pichaco, Elsa Calero Carramolino i Gemma Pérez Zalduondo. Granada: Libargo, 171-203.

Martínez, Sílvia. 2019. “Mainstream Popular Music as a Challenge to Gender Studies: Latin Music and Feminism in Contemporary Spain”. In: Recent Trends and New Directions in Ethnomusicology: A European Perspective on Ethnomusicology in the 21st Century, editat per Gerd Grupe. Aachen: Shaker, 71-95.

Mikutta, C.A.; G. Maissen, A. Altorfer W. Strik i T. Koenig.2014.  “Professional musicians listen differently to music”. Neuroscience. 268, 102-111

Müllensiefen, D.; B. Gingras, J. Musil i L. Stewart. 2014. “The Musicality of Non-Musicians: An Index for Assessing Musical Sophistication in the General Population.” PLoS ONE 9(2)  (https://doi.org/10.1371/journal.pone.0089642)

National Endowment for the Arts. Office of Research and Analysis. 2020. Why we Engage: Attending, Creating, and Performing Art. Sept 2020 (https://www.arts.gov/sites/default/files/Why-We-Engage-0920_0.pdf)

Ramos, Pilar. 2003. Feminismo y música: Introducción crítica. Narcea Ediciones

Ribalta Coma-Cros  Martina. 2017. "El Lied a través del temps. Una història del gènere narrada des del domicili de Josep Bartomeu durant el primer franquisme", Revista catalana de musicologia, 10, 191-206.
(https://publicacions.iec.cat/repository/pdf/00000253/00000022.pdf)

Sanz, Marta. 2018. Monstruas y centauras. Nuevos lenguajes del feminismo. Ed. Anagrama

Viñuela, Eduardo (ed.). 2018. Bitch, She's Madonna. La reina del pop en la cultura contemporánea. Ed. Dos Bigotes

Williamon, A.; J. Ginsborg, R. Perkins, i G. Waddell. 2021. Performing Music Research: Methods in Music Education, Psychology, and Performance Science. Oxford: Oxford University Press.

Software

To take advantage of the couse, the following basic software is required:

  • A Word processor (Word or similar)
  • A basic video editor (Emovie, Filmora or similar)
  • Regular internet connection