Musical Analysis
Code: 100662 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500240 Musicology | OB | 2 | 2 |
Contact
- Name:
- Francisco Javier Daufi Rodergas
- Email:
- xavier.daufi@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
Subjects “Llenguatge musical I” and “Llenguatge musical II” must have been previously studied.
Objectives and Contextualisation
The aim of this subject is to provide students with basic tools that allow them to break down musical compositions, dividing them into more or less independent parts, as well as finding the relationships between them, and thus understanding how musical compositions are built.
Competences
- Critically analyse musical works from any of the points of view of the discipline of musicology.
- Demonstrate a sufficient level of knowledge of historical and current musical language and theory, including the rudiments of harmony and counterpoint, to be able to correctly approach the study of composition.
- 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 develop the necessary learning skills to undertake further training with a high degree of autonomy.
Learning Outcomes
- Assimilate rudiments of msuical langauge (reading, harmony, counterpoint, msucial forms) in their current perspective.
- Discern the objective of musical analysis.
- Draw conclusions for musical interpretation from the application of different analytical methods.
- Draw hermaneutic conclusions from the analysis of scores, applying different analytical methods.
- Establish links between musical analysis and other musicological disciplines, with the aim of understanding the complementary character of the auxiliary discipline.
- Identify the most pertinent methodologies to use according to the objectives to be demonstrated or found through musical analysis.
- Integrate knowledge acquired in the production of clear and concise appropriate to the academic and specialist communication.
- Make correct use of the methods of musical analysis.
- Make correct use of the terminology of each analytical system.
- 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.
- Recognise the main analytical models and their application in musical works.
- Relate the different analystical methods to their principal or secondary scientific and philosophical substrata.
- Submitting works in accordance with both individual and small group demands and personal styles.
- Summarising acquired knowledge about the origin and transformations experienced in its several fields of study.
- Understand the propedeutic use of musical analysis, especially in its semiological appraoch.
- Use basic vocabularyand tools to describe and transmit knowledge acquired through effective oral presentations of musicological content adapted to the audience.
Content
1. Practica sessions
2. Genre, style, form, structure. Rhythm, melody, harmony
3. Suite
4. Sonata Form
5. Minuet
6. Rondo
7. Imitation, canon and fugue
8. Arnold Schönberg. Composition with 12 tones
9. An introduction to schenkerian analysis
Methodology
Theoretical classes will be combined with several practical activities that can be individual or collective.
Various musical works will be analyzed in class and text comments related to the contents of the subject will be carried out.
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 | |||
| Knowledge test class | 2 | 0.08 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Master class | 40 | 1.6 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Type: Supervised | |||
| Tutorials | 7 | 0.28 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Type: Autonomous | |||
| Carrying out work | 41 | 1.64 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Search for information | 8 | 0.32 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Study and reading articles | 40 | 1.6 | 1, 16, 11, 2, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
Assessment
There will be two written tests, one in half and one at the end of the semester, the result of which will represent 30% of the overall grade.
Obligatory group work will be carried out on a topic that will be agreed with the teacher. The work note will represent 40% of the overall grade.
To pass the subject, the work must be approved and each one of the two written tests with a minimum grade of 5.
The qualifications of the written and work tests will be published in the Virtual Campus. At the time the results are published, the revision dates will also be published.
In order to qualify for the second-chance test, the obligatory work must have been approved, and having passed one of the two written tests with a minimum score of 5. The test that has not been made within the set period will not have a second chance. The exam will be the same for every student.
Single assessment
Students will have to solve three types of excecises. They will have to:
- Write a short essay on a proposed subject, 30%
- Analyze different musical scores, 40%
- Comentary of a text, 30%
It will not be possible to opt for the "non-evaluable" consideration from the moment the student is present in one of the written tests or deliver the obligatory work.
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.
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 throughforums, wikisand/ordiscussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Group task | 40% | 9 | 0.36 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Written test 1 | 30% | 1.5 | 0.06 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Written test 2 | 30% | 1.5 | 0.06 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
Bibliography
Agawu, K. (2004). How we got out of analysis, and how to get back in. Music Analysis, 23, 267–286.
Audissino, E. (2017). Film/Music Analysis. A Film Studies Approach. Southampton: Palgrave Macmillan.
Bent, I. D.; Pople, A. (2001). “Analysis”. The New Grove Dictionary of Music and Musicians. London: Macmillan Publishers.
Cámara, E. (2003). “Metodologías de Análisis”. Etnomusicología. Madrid: Instituto Complutense de Ciencias Musicales.
Casetti, F., & di Chio, F. (1991). Cómo analizar un film. Barcelona: Paidós.
Chion, M. (1993). La audiovisión: Introducción a un análisis conjunto de la imagen y el sonido. Barcelona: Paidós.
Cook, N. (1994). A Guide to Musical Analysis. Oxford: Oxford University Press.
Cook, N.; Everist, M. (eds.) (2001). Rethinking Music. New York: Oxford University Press.
Daniélou, A. (2010). The Ragas of Northern Indian Music. New Delhi: Munshiram Manoharlal.
Duffin, R. W. (2008). How Equal Temperament Ruined Harmony (and Why You Should Care). New York: W. W. Norton & Company.
Forte, A.; Gilbert, S. E. (2003). Análisis musical. Introducción al anàlisis Schenkeriano. Barcelona: Idea Books.
Grimalt, J. (2014). Música i sentits. Introducció a la significació musical. Barcelona: Dux.
Kalinak, K. (1992). Settling the score: music and the classical Hollywood film. Madison: The University of Wisconsin Press.
Kerman, J. (1980). How We Got into Analysis, and How to Get out. Critical Inquiry, 7, No. 2, 311–331.
Kühn, C. (1998). Tratado de la forma musical. Barcelona: SpanPress Universitaria.
Kühn, C. (2003). Historia de la composición musical. Barcelona: Idea Books.
LaRue, J. (2007). Análisis del estilo musical. Madrid: Mundimúsica.
Lerdahl, F.; Jackendoff, R. (2003). Teoría generativa de la música tonal. Madrid: Akal.
Lester, J. (2005). Enfoques analíticos de la música del siglo XX. Madrid: Akal.
Messiaen, O. (1993). Técnica de mi lenguaje musical. París: Alphonse Leduc.
Meyer, L. B. (2020). La emoción y el significado en la música. Madrid: Alianza Editorial.
Moore, A. F. (Ed.). (2009). Analyzing Popular Music. New York: Cambridge University Press.
Moorefield, V. (2005). The Producer as Composer. Shaping the Sounds of Popular Music. Cambridge, Massachussets: The MIT Press.
Supper, M. (2004). Música electrónica y música con ordenador. Historia, estética, métodos, sistemas. Madrid: Alianza.
Tagg, P. (2013). Music's Meanings. A Modern Musicology for Non-Musos. New York: The Mass Media Music Scholars' Press.
Software
There will be practical activities with the DAW Reaper (https://www.reaper.fm)