Degree | Type | Year | Semester |
---|---|---|---|
4312637 Musicology, Musical Education and Interpretation of Early Music | OT | 0 | 0 |
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.
- 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.
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.
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 |
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".
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 |
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
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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.
To take advantage of the couse, the following basic software is required: