Organology
Code: 100637 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500240 Musicology | OB | 2 | 1 |
Contact
- Name:
- Francesc d'Assis Cortes Mir
- Email:
- francesc.cortes@uab.cat
Teaching groups languages
You can check it through this link. To consult the language you will need to enter the CODE of the subject. Please note that this information is provisional until 30 November 2023.
Prerequisites
This course has no prerequisites.
Objectives and Contextualisation
The aim of the course is to provide an introduction to musical instruments, their history, their individual characteristics and their classification.
This introduction focuses on:
- An overview of the main currents of organology.
- An overview of the classification of musical instruments.
- The identification of the different families of musical instruments.
- The social and historical contextualization of musical instruments.
Competences
- Identify and compare the different channels of reception and consumption of music in society and in culture in each period.
- Identify the historical functioning and evolution of musical instruments.
- Recognise and appreciate musical manifestations in non-western, traditional, popular and urban cultures.
- 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.
Learning Outcomes
- Applying the knowledge of cultural variability and its genesis to avoid ethnocentric projections.
- Demonstrate basic knowledge of research methodology in the field of organology.
- Identify and situate in the consumption of music in each period and each culture the corresponding musical instruments.
- Identify and situate the main musical instrument in non-wester, traditional, popular and urban cultures.
- Identify the main concepts related to organology as well as the vocabulary specific to it.
- Integrate knowledge acquired in the production of clear and concise appropriate to the academic and specialist communication.
- Locate the main types of musical instrument in their correct historical context.
- Prepare oral presentations on an analytical question and adapt them to the level and expectations of the audience or group.
- Produce correct, precise and clear argumental and terminological writing of knowledge acquired, both in the area of musical specialisation and dissemination.
- Use basic vocabularyand tools to describe and transmit knowledge acquired through effective oral presentations of musicological content adapted to the audience.
- Value and manage the main documentary and archive sources related to music instruments.
Content
I- Organology and classification of musical instruments:
1. Concept of ‘musical instrument’
2. Concept of ‘organology’
3. Concept of ‘classification of musical instruments’
4. Methodologies of classifications
5. Hornbostel-Sachs classification (and other Western classifications)
6. Non-western classifications
II- Western musical instruments: their characteristics, history and social context:
1. String instruments
1.1. Harps
1.2. Zithers
1.3. Lutes
1.4. Lyres
2. Wind instruments
2.1. Edge instruments
2.2. Reed instruments
2.3. Labrosone instruments
3. Membranophones
4. Idiophones
5. Electrophones
Methodology
Several teaching-learning strategies will be combined in order to achieve the objectives of the course:
- Lectures: teacher will explain the basic concepts of the subject.
- Practical activities and tasks: students will work individually or in small groups to solve practical activities.
- External lecturers: external lecturers can be occasionally invited to bring their expertise on a particular issue.
- A visit to the Museu de la Música or other instituions will be scheduled, if possible.
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 | |||
| Classroom discussions | 9 | 0.36 | 1, 2, 5, 4, 3, 7, 10, 11 |
| External lecturers | 3 | 0.12 | 5, 4, 3, 7, 11 |
| Lectures | 24 | 0.96 | 5, 4, 3, 7, 11 |
| Type: Supervised | |||
| Oral and written tasks (individual) | 6 | 0.24 | 1, 2, 5, 4, 3, 6, 8, 10, 11 |
| Oral discussions and written tasks (group) | 6 | 0.24 | 1, 2, 5, 4, 3, 6, 8, 7, 10, 11 |
| Type: Autonomous | |||
| Readings | 28 | 1.12 | 1, 9, 2, 5, 4, 3, 7, 11 |
| Study | 50 | 2 | 1, 2, 5, 4, 3, 7, 11 |
Assessment
a. Written test on the classification of musical instruments (40%) [it will be held mid-semester]
b. Written exam on Western musical instruments (35%) [it will be held at the end of the semester]
c. Exercize(s) on bowed instruments (15%) [it will be held during th 3rd month of the semester].
d. Participation in classroom discussions, group tasks and presentations (5%)
e. Class attendance (5%) [a minimum of 80% is required for acceptable attendance]
Grade revision process
After each assessable item is given a grade, students will be informed of the date and way in which they will be published. Students will also be informed of the procedure, place, date and time of grade revision (following University regulations).
Resitting Process
A resit will be held for students whose grade average is lower than 5 points out of 10. However, in order to take part in the resit, students must have been previously assessed in, at least, 80% of the assessment activities. The date of the resit exam will be posted in the calendar of the Faculty assessment activities.
Non-assessable
Astudent submitting less than 50%of grading tasks, will be considered as 'non-assessable'.
Important: 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.
Unique Assessment
Students who opt for it, and on the date that will be reported on the Virtual Campus, must do:
1. Evaluation on images of 5 instruments (45%)
2. Evaluation around questions taken from the syllabus (45%)
3. Evaluation of hearings of different instruments (10%)
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Class attendance (a minimum of 80% is required for acceptable attendance) | 5% | 0 | 0 | 1, 5, 4, 3, 7 |
| Exam | 35% | 1.5 | 0.06 | 1, 9, 2, 5, 4, 3, 6, 7, 11 |
| Exercize(s) on bowed instruments | 15% | 21 | 0.84 | 1, 9, 2, 5, 4, 3, 6, 7, 11 |
| Group tasks and presentations | 2.5% | 0 | 0 | 1, 2, 5, 4, 3, 8, 7, 10, 11 |
| Participation in classroom discussions | 2.5% | 0 | 0 | 1, 2, 5, 4, 3, 8, 7, 10, 11 |
| Written test on classifications | 40% | 1.5 | 0.06 | 1, 9, 2, 5, 4, 6, 7, 11 |
Bibliography
Bibliography
A- On classifications of musical instruments:
HORNBOSTEL, Erich M. von - SACHS Curt, "Classification of Musical Instruments" The Galpin Society Journal XIV (1961), p. 3-29 [Online resource:
https://cataleg.uab.cat/iii/encore/record/C__Rb1631066__Sgalpin%20society%20journal__Orightresult__U__X8;jsessionid=9CF67CE79C61430A6C58028929305339?lang=cat&suite=def ]. See also: http://www.mimo-international.com/documents/hornbostel%20sachs.pdf and https://www.dropbox.com/s/4fsqp2s1iwrrale/Serrano%20Godoy%2C%20Javier.%20Clasificaci%C3%B3n%20de%20los%20instrumentos%20musicales.%20CIMCIM-MIMO%202011_%202017.pdf
KARTOMI, Margaret J., On Concepts and Classifications of Musical Instruments (Chicago & London: University of Chicago Press, 1990).
B1- Historical sources:
AGRICOLA, Martin, Musica instrumentalis deudsch (Wittenberg, 1528-29; 1545)[Hettreck, W. E. (trad. i ed.) The Musica instrumentalis deudsch of Martin Agricola (Cambridge: Cambridge University Press, 1994)].
BAINES, Anthony C., "Fifteenth-century Instruments in Tinctoris's De Inventione et Usu Musicae" The Galpin Society Journal III (1950), p. 19-26.
MERSENNE, Marin, Harmonie Universelle (Paris, 1636-37/R. R. E. Chapman, La Haia: Martinus Nijhoff, 1957 / Facsímil, Paris: Centre National de la Recherche Scientifique, 1975).
PAGE, Christopher, “Fourteenth-century Instruments and Tunings: a Treatise by Jean Vaillant? (Berkeley Ms. 744)” The Galpin Society Journal XXXIII (1980), p. 17-35.
PEDRELL, Felip, Emporio científico e histórico de organografía musical antigua española (Barcelona: Imp. Juan Gili, 1901).
PRAETORIUS, Michael, Syntagma Musicum II: De Organographia (Wolfenbüttel, 1618 / R. D. Z. Crookes; Oxford: Clarendon Press, 1986).
ROUSSIER, Pierre-Joseph (ed), Textes sur les instruments de musique au XVIIIe siècle (Genève: Minkoff, 1972).
VIRDUNG, Sebastian, Musica Getutscht (Bâle, 1551 /R. Cambridge: Cambridge University Press, 1993).
B2- General references:
BAINES, Anthony C., Historia de los instrumentos musicales (Madrid: Taurus, 1988).
BAINES, Anthony C. (ed), The Oxford Companion to Musical Instruments (Oxford: Oxford University Press, 1995).
BALLESTER, Jordi, Els instruments musicals a la Corona d’Aragó (1350-1500): Els cordòfons (Sant Cugat del Vallès: Amelia Romero, 2000).
BENADE, Arthur H., Fundamentals of Musical Acoustics (New York: Dover, 1976 /R. 1990).
BORDAS, Cristina - VÁZQUEZ, Elena (eds.), Colecciones de instrumentos musicales. Recomendaciones para su gestión (Madrid: Centro de Documentación de las Artes Escénicas y de la Música. INAEM, 2019) https://www.musicadanza.es/ficheros/documentos/colecciones-de-instrumentos
CALVO-MANZANO, Antonio, Acústica físico-musical (Madrid: Real Musical, 1991).
CAMPBELL, Murray, Musical instruments: history, technology and performance of instruments of Western music (Oxford: Oxford University Press, 2004).
DONINGTON, Robert, La música y sus instrumentos (Madrid: Alianza, 1982 /R.1986). [DONINGTON, R., Los instumentos de música (Madrid: Alianza, 1962)].
DURKIN, Rachael, The viola d’amore. Its history and development (Milton Park: Routledge, 2022).
FERNÁNDEZ DE LA GÁNDARA, Gonzalo ‑ LORENTE, Miguel, Acústica musical (Madrid: ICCMU, 1996).
HOPKIN, Bart & TEWARI, Sudhu, Sound Inventions. Selected Articles from Experimental Musical Instruments (Waltham, Massachusetts: Focal Press, 2021).
MAIDEU, Joaquim, Instruments musicals (Vic: Eumo, 1995).
MONTAGU, Jeremy, Origins and development of musical instruments (Lanham: The Scarecrow press, 2007).
REMNANT, Mary, Historia de los instrumentos musicales (Barcelona: De. Robinbook - MaNonTroppo, 2002).
RÉVEILLAC, Jean-Michel, Electronic Music Machines: The New Musical Instruments (London:Iste, 2019).
RICE, Albert R. The Baroque Clarinet And Chalumeau. (Oxford: Oxford University Press, 2020).
SACHS, Curt, The History of Musical Instruments (New York: Norton, 1940 / R. Mineola : Dover Publications, 2006) [versió castellana: Historia universal de los instrumentos musicales (Buenos Aires: Centurión, 1947)].
TRANCHEFORT, François-René, Los instrumentos musicales en el mundo (Madrid: Alianza, 1985 / R. 1994).
The Galpin Society Journal
Musique - Images - Instruments
Journal of the American Musical Instrument Society
Links (museums and associations):
MIMO – Musical Instruments Museums Online: https://mimo-international.com/MIMO/default.aspx?_lg=ca-ES
Musée des instruments de musique (MIM): http://www.mim.be/fr
Museu de la Música de Barcelona: www.museumusica.bcn.es
Museo Interactivo de la Música de Málaga: www.musicaenaccion.com
Asociación Instrumenta: https://www.instrumenta.es/
Software
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