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2022/2023

History of Hispanic Music

Code: 100633 ECTS Credits: 6
Degree Type Year Semester
2500240 Musicology OT 3 2
2500240 Musicology OT 4 2

Contact

Name:
Jordi Roquer Gonzalez
Email:
jordi.roquer@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.
  • 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. Reconise the general characteristics of the history of music in the history of Hispanic music.
  8. Relating elements and factors involved in the development of historical processes.
  9. Solve problems of a methodological nature in the area of musicology.
  10. Use specific vocabulary of history correctly.

Content

The subject is based on a model of inverse diachrony:

1. The 21st century

  • Hybridization or cultural appropriation? C Tangana, Rosalia and other recent ‘conflicts’.
  • The arrival and consolidation of sampling in Spain.
  • The legacy of hip hop and electronica in mainstream pop.

2. The twentieth century (I)

  • From the fall of the regime to the pop of the end of the millennium.
  • From 'La Movida' to the ‘Catalan rock’.
  • Nova Cançó, Ona Laietana and progressive rock.
  • The entry of pop and rock in Spain in the 1960s.

3. The twentieth century (II)

  • The arrival of electronics in Spain.
  • The generation of the 51.
  • The 27th generation and the groups from Barcelona and Madrid.
  • The legacy of Spanish nationalism: Albéniz, Granados and Falla.
  • A look at historical recordings from the turn of the century.

4. The nineteenth century

  • Zarzuela and national opera: Arrieta, Barbieri, Guerrero et al. The revolution of 1870 and the arrival of the ‘género chico’.
  • The violinists Sarasate and Monasterio.
  • Crisóstomo Arriaga, halfway between the XVIII and the romantic symphony of the XIX.
  • The guitar school from the 18th to the 19th: Aguado, Sor, Tàrrega, Llobet ...

5. The eighteenth century

  • Chamber music. The weight of the Italian model: Scarlatti, Brunetti, Bocherinni.
  • Theatrical music. Political conjunctures and key spaces.
  • Religious music. The main chapels, structures and characters.
  • Transition from Baroque to Classicism: Carlos Seixas in Portugal, Antoni Soler and Antonio Abadia in Spain.

6. The seventeenth century

  • Polychorality continuous bass andmelody. Religious vocal music.
  • Opera, semi-opera and the birth of baroque zarzuela.
  • Instrumental music: organ, hand viola, lute and guitar.
  • The baroque guitar: Gaspar Sanz and Francesc Guerau.
  • Francisco Correa de Arautxo as a link between the Renaissance and the Baroque.

6. The 15th and 16th centuries

  • Religious music: liturgical organization and musical forms. Main representatives.
  • Profane music: musical forms, sources (songbooks) and main representatives.
  • Instrumental music: organ and hand viola.

7. Pre-Renaissance music

  • Musical sources from the Ars Nova: The 'Llibre Vermell' of Montserrat.
  • Medieval profane music: the Cantigues de Martín Còdax and the Cantigues de Santa Maria.
  • The origins of polyphony in the Iberian Peninsula: the Codex Calixtinus, Manuscript of Toledo and Codex de las Huelgas.
  • Gregorian chant in the Iberian Peninsula.
  • Arab-Andalusian music.

Methodology

The syllabus of the subject will be worked with the technique of the reverse chronology, starting from the 21st century to parade the authors, works and genres in the opposite direction to the traditional.

The sessions will be developed from different activities: expository classes, practical comments, musical auditions and analysis of works.

 

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, 7, 8, 9, 10
Musical analysis 10 0.4 3, 5, 7, 9
Type: Supervised      
Activities 9 0.36 1, 5, 9, 10
Type: Autonomous      
Study 25 1 1, 2, 6, 3, 5, 8, 9, 10
Study of text 25 1 1, 2, 4, 6, 3, 5, 7, 8, 9, 10
Suplementary lectures and auditions 5 0.2 1, 6, 3, 5, 9, 10

Assessment

The subject will be evaluated based on two exams (not cumulative) in the middle and at the end of the course (30% each) and an individual work(30%). Attendance and participation in class will have a weight of 10% in the final grade.

Assessment Activities

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

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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.

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Software

No necessary