Cultural Management II (Heritage)
Code: 100666 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500240 Musicology | OT | 3 | 1 |
| 2500240 Musicology | OT | 4 | 1 |
Contact
- Name:
- Gabrielle Kaufman
- Email:
- gabrielleemelie.kaufman@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
Good level of spoken and written Catalan. Good comprehension of written English and Spanish recomended.
Objectives and Contextualisation
The student is expected to:
- Be able to analyse and comment on music as a sound phenomenon and its evolution
- Be able to manage pertinent software, such as Sonic Visualizer
- Be able to recognise and comment on technological elements in recordings and their effects
- Elaborate written papers, in a reliable way, both critical and comparative, on topics related to musical performance and reception
- Design and develop a performance analysis project, with commentary on different aspects such as perception, reception and musical expressivity
Competences
- Musicology
- Relate concepts and information from different humanistic, scientific and social disciplines, especially the interactions which are established between music and philosophy, history, art, literature and anthropology.
- Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
- Students must develop the necessary learning skills to undertake further training with a high degree of autonomy.
- 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
- Acquire skills for the organisation of working groups with adequate planning, division of tasks and methodological flexibility.
- Analysing a contemporary fact and relating it to its historical background.
- Carrying out a planning for the development of a subject-related work.
- Establishing relationships between science, philosophy, art, religion, politics, etc.
- Interpret the rules localized information on the websites of regulatory bodies on the Internet.
- Interrelate methodological concepts and innovations of music and of humanities with the set of humanistic disciplines in activities of musical and cultural management.
- Make a detailed assessment of the capacity for working in homogeneous or interdisciplinary research teams.
- Solving problems autonomously.
- Write critical papers on musicology that are planned and organised efficiently.
Content
The course syllable offers a wide view into musical performance as a sonorous phenomenon, including the psychological and evolutional aspects of human musical capacity.
The course will include basic concepts of performance theory and psychology, as well as the analysis of a number of different musical situations with the use of visualization software.
Some of the concepts analysed include;
- Style and Taste
- Expressivity and Technique
- Reception and Perception
- Improvisation and Transcription
- The psychology of musical Performance
- Performance and Technology
- Musical Gesture
- Performance and Authenticity
Methodology
Teacher-led classes, using different methodologies.
Activities in small groups, case studies, teacher-led monitoring sessions and tutoring.
During the academic period of the course, the teacher will require the completion of individual tasks related to different course topics. This work will be done in the classroom or requested as autonomous tasks online.
The final task will consist of a performance analysis group project supervised by the teacher. After the completion of the project, there will be a written and oral presentation.
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 | |||
| Presentation of the Final Project | 6 | 0.24 | 1, 7, 4, 3, 9, 6 |
| Teacher-led Classes | 33 | 1.32 | 2, 4, 3, 5, 6 |
| Type: Supervised | |||
| Monitoring Sessions and Tutoring | 16 | 0.64 | 1, 7, 3 |
| Type: Autonomous | |||
| Development of the Final Project | 20 | 0.8 | 1, 2, 7, 4, 3, 5, 9, 6, 8 |
| Personal Study of the Course Material | 32 | 1.28 | 8 |
| Reading and Assignment Preparation | 40 | 1.6 | 2, 4, 3, 5, 9, 6, 8 |
Assessment
There will be continuous assessment of this course, but with the option of the single assessment method.
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 through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.
TASKS (35%)
Individual tasks assessing key course knowledge will be carried out in connection with classes. These will be obligatory and a minimum grade of 5 is needed for each task. In the event of a lower grade, students can take the re-evaluation exams in February.
FINAL GROUP ASSIGNMENT (45%)
The final performance analysis assignment will be done in small groups and is obligatory to pass the course. The minimum grades of 4 is required to pass. The assignment will include several submissions and a session of co-evaluation.
CLASS ROOM PARTICIPATION (20%)
This section includes different activities or proposed reading related to the classes and debates. These activities are not obligatory and, in some cases, will be evaluated as passed/not passed only.
The single assessment option will consist of three parts:
- A written project (45%)
- Oral defence of the project (10%).
- Different tasks and assignments (with a total of 45%), related to each section of the course, that will be obligatory and need a passing grade. A minimum grade of 5 out of 10 is needed for each task.
The same re-evaluation assessment method as for the re-evaluation of the continuous assessment will be used.
Students will obtain aNot assessed/Not submitted course grade unless they have submitted more than 1/3 of the assessment items. On carrying out each evaluation activity, lecturers will inform students (on Moodle) of the procedures to be followed for reviewing all grades awarded, and the date on which such a review will take place.
The rest of the details related to course evaluation will be published at the virtual campus of the course at the beginning of the trimester.
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.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Class room participation | 20% | 1.5 | 0.06 | 2, 4, 6, 8 |
| Group assignment | 45% | 0 | 0 | 1, 2, 7, 4, 3, 5, 9, 6 |
| Tasks | 35% | 1.5 | 0.06 | 2, 4, 3, 5, 9, 6, 8 |
Bibliography
BENSON, Bruce Ellis (2003) The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge University Press, Cambridge.
COCHRANE, FANTINI i SCHERER (2013) The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. Oxford University Press, Oxford.
COOK, CLARKE, LEECH-WILKINON i RINK (2009) The Cambridge Companion to Recorded Music. Cambridge University Press, Cambridge.
CUNNINGHAM, Mark (1996) Good Vibrations. A history of record production. Sanctuary Publishing, London.
DAVIES, Stephen (2001) Musical Works and Performances: A Philosophical Exploration. Oxford University Press, Oxford.
EASTMAN, Ralph (1988) "Country Blues Performance and the Oral Tradition” a Black Music Research Journal, Vol. 8, No. 2, pp. 161-176.
FABIAN, TIMMERS, SCHUBERT (2014) Expressiveness in music performance: Empirical approaches across styles and cultures. Oxford University Press, Oxford.
GOEHR, Lidia (1995) “The perfect performance of music and the perfect musical performance”, a New Formations no.27, pp.1-22.
GOEHR, Lidia (1994) The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford University Press, Oxford.
JUSLIN,P.N. i LAUKKA,P. (2004) "Expression, perception, and induction of musical emotions: a review and a questionnaire study of everyday listening" In Journal of New Music Research, 33, pp. 217–238.
KATZ, Mark (2004) Capturing Sound: How Technology has changed music. University of California Press, Berkely i Los Angeles.
KREGOR, Jonathan (2012) Liszt as Transcriber. Cambridge University Press, Cambridge.
LEECH-WILKINSON, Daniel (2009) The Changing Sound of Music: Approaches to Studying Recorded Musical Performances. King’s College, London.
LEVINSSON, Jerrold (2006) "Musical Expressiveness as Hearability-as-expression", in M. Kieran (ed.) Contemporary Debates in Aesthetics and the Philosophy of Art, pp. 192–204, Oxford Universit Press, Oxford.
LOPEZ-CANO, Rubén i SAN CRISTOBAL OPAZO, Ursula (2014) Investigación artística en música Problemas, métodos, experiencias y modelos. ESMUC, Barcelona.
PEREZ SANCHEZ, Alfonso (2013) "Líneas de investigación, fuentes y recursos en relación con la grabación sonora" a Trans: Revista Transcultural de música, vol. 17, pp. 2-41.
PHILIP, Robert (2004) Performing Music in the Age in Recording. Yale University Press, New Haven and London.
PHILIP, Robert (1992) Early Recordings And Musical Style. Cambridge University Press, Cambridge.
PROUTY, Kenneth (2006) “Orality, Literacy, and Mediating Musical Experience: Rethinking Oral Tradition inthe Learning of Jazz Improvisation” a Popular Music and Society Vol. 29, No. 3, pp. 317-344.
RINK, John "The Work of the Performer" a Virtual Works – Actual Things: Essays in Music Ontology, ed: Paulo de Assis. Leuven University Press, pp. 89-114.
SLOBODA, J. (2004). "Musical Performance and Emotion: Issues and Developments" In J. Sloboda (ed.) Exploring the Musical Mind: Cognition, emotion, ability, function, pp. 225–240: Oxford University Press, Oxford.
TARUSKIN, Richard (1992) “Authority and Tradition” In Early Music, Vol. 20, No. 2. pp. 311-325.
TARUSKIN, Richard (1995) Text and Act; Essays on Music and Performance: Oxford University Press, Oxford.
Software
Sonic Visualizer
Audacity