Music and Audiovisual Media
Code: 104155 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500240 Musicology | OT | 3 | 1 |
| 2500240 Musicology | OT | 4 | 1 |
Contact
- Name:
- Lidia López Gómez
- Email:
- lidia.lopez@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
No specific prior knowledge is required to complete the course.
Objectives and Contextualisation
- Recognize the different historical stages and stylistic tendencies in audiovisual creation.
- Reflect and innovate about the different tendencies in contemporary audiovisual creation.
- Know and apply different audiovisual analytical methodologies.
- Apply in a practical way (in various audiovisual projects) the theoretical knowledge acquired.
- Acquire essential skills for the creation of the sonic and musical section of an audiovisual project.
Competences
- Musicology
- Apply technological and informatic media (internet, data bases, specific editing software and sound processing, etc.) to the discipline of musicology.
- Critically analyse musical works from any of the points of view of the discipline of musicology.
- Define relevant musicological research topics and manage the appropriate methods and sources to carry out the research.
- Identify and compare the different channels of reception and consumption of music in society and in culture in each period.
- Recognise the role of music in current society, its function in performances, its relationship with audio-visual culture, technology and informatics, and with leisure and cultural enterprises.
- Relate musical creations with their different contexts, differentiating between the social functions of music, its roles and that of the musician in society and in relation to other artistic manifestations.
- 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 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 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.
- 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
- Carry out projects and/or give presentations using the appropriate terminology corresponding to the analyses used by images and music as support in their language.
- Coherently relate the data included in audiovisual documents to argue their discourse.
- Distinguish between the basic tools to carry out research autonomously.
- Dominate and relate the technical language of music analysis to the contexts of History of music on a basic level.
- Identify new lines of research according to the changes taking place in audiovisual media.
- Identify the different musical languages and relate them to the different historical period in which they were developed.
- Identify the new functions of music in audiovisual media.
- Recognise the different functions of audi-visual discourse, staying up to date with new analytical methods.
- Relate and argue in a coherent and ordered manner the projects of the subject with the rudimentary knowledge of musicology.
- Relate images to music analysing their social functions and the relationship between music and images in a cultural environment.
- Use different technological and computer methods as support for projects and analysis.
Content
BLOCK OF HISTORY.
- Beginnings of cinema and sound processes during the silent film era.
- First years of sound cinema.
- The classic soundtrack. The Hollywood of the 30s and 40s.
- Plurality of tendencies. 50's and 60's
- Rock and electronic music.
- Music video
- Video game music
- New trends
BLOCK of ANALYSIS.
- Analytical models of film music.
- Functions of music in the cinema
- Basic analitical concepts for films
- Music functions of videoclips, video games, and new audiovisual formats.
- Practical analysis exercises.
BLOCK of AUDIOVISUAL CREATION.
- Performing exercises with various techniques of musical creation for the audiovisual.
- Creation of an audiovisual sound project.
Methodology
The first block of the subject will consist of theoretical sessions in master-class format.
The second block will be configured from sessions where the theory and practice will be combined, carrying out specific analysis and expositions during the classes.
The third block will be eminently practical. During the sessions, the students will carry out a project to create the sonic and musical part of a given visual fragment.
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 | |||
| Block of Audiovisual Creation - On-site lessons | 23 | 0.92 | 3, 4, 1, 6, 7, 5, 10, 11 |
| Block of History - On-site lessons | 30 | 1.2 | 3, 4, 2, 9, 10 |
| Block of analysis - On-site lessons | 22 | 0.88 | 4, 1, 6, 7, 5, 8, 10, 11 |
| Type: Supervised | |||
| Individual or group mentoring sessions | 4 | 0.16 | |
| Presentation of the work's results | 3 | 0.12 | 3, 4, 11 |
| Type: Autonomous | |||
| Creation and writting of the proposed works | 25 | 1 | 3, 4, 1, 2, 9 |
| Organization of notes and class material | 15 | 0.6 | 3, 4, 5, 11 |
| Study of the course matter | 25 | 1 | 3, 6, 7, 10 |
Assessment
To pass the course, the student must obtain an average of 5/10.
During the course, the following evaluable activities will be carried out:
- Block of History: there will be a written test of the theoretical contents.
- Block of Analysis: there will be a written test with the theoretical contents, with a weight of 8 (out of 10) of the present Block. In this Block, students are also expected to participate in practical exercices in class, that will weight 2 points of the Block's qualification.
- Block of Audiovisual Creation: the quality of the projects will be qualified concerning the items worked in class using a rubric, in teacher assessment and co-assessment.
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.
In case of partial failure of the tasks, the student may only opt for the retake of 2 of the evaluation items, on the date set by the Faculty, providing that has obtained a minimum average of 3,5/10. The maximum grade in the retake exams and tasks is a 5/10.
The fact that the student delivers one of the tasks or present one of the written tests, will consist of an on-site event. Therefore,only the student who has notmade any evaluation test during the course may be considered as "non evaluable."
The fact of presenting two of the works or tests will be an "in-site" event in the course. Therefore, only the student who has not made any evaluation test during the sessions or has solely presented one
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.
SINGLE ASSESSMENT
Three evidence will be taken into account on a date that will be indicated once the course has started on the Virtual Campus: a written exam with the contents of the Block of Historyt (40%), a written exam with the contents of the Block of Analysis (30%), and the delivery of an Audiovisual Creation (30%).
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 |
|---|---|---|---|---|
| Block of Analysis | 30% | 1.5 | 0.06 | 4, 6, 7, 5, 8, 2, 10 |
| Block of Audiovisual Creation | 30% | 0 | 0 | 3, 4, 1, 7, 5, 8, 2, 9, 10, 11 |
| Block of History | 40% | 1.5 | 0.06 | 6, 7, 5, 2, 9 |
Bibliography
ALTMAN, Richard. Silent film sound. New York: Columbia University Press, 2004.
CHION, Michel. La audiovisión. Introducción a un análisis conjunto de la imagen y el sonido. Barcelona: Paidós Comunicación, 1993.
CHION, Michel. La música en el cine. Barcelona: Paidós Comunicación, 1997.
COLLINS, Karen. Game Sound. An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design, MIT Press, 2008.
COOK, Nicholas. Analising musical multimedia. Oxford University Press, 2000.
DAVIS, Richard. Complete guide to Film Scoring. Boston: Berklee Press, 2010.
EISENSTEIN, Sergei. Hacia una teoría del montaje. Barcelona: Paidós Comunicación, 2001.
ENCABO, Enrique (Ed.) Más allá de la pantalla: Música, sonido e imagen. El Poblet Edicions, 2018.
FRAILE,Teresa, DE LAS HERAS, Beatriz (Eds.) La música en la pantalla. Intersecciones entre la historia y el sonido fílmico. Madrid: Editorial Síntesis, 2019.
GÈRTRUDIX, Manuel. Música y narración en los medios audiovisuales. Madrid: Ediciones del Laberinto, 2003.
GORBMAN, Claudia. Unheard Melodies. Narrative Film Music. Bloomington: Indiana University Press, 1987.
KALINAK, Kathryn. Film Music. A very short introduction. USA: Oxford University Press, 2010.
OLARTE, Matilde (ed). La música en los medios audiovisuales. Salamanca: Plaza Universitaria Ediciones, 2005.
PAVIS, Patrice. El análisisde los espectáculos. Teatro, mimo, danza, cine. Barcelona: Paidós comunicación, 2000.
ROMÁN. Alejandro. El lenguaje Musivisual. Semiótica y estética de la músicacinematográfica. Madrid: Visión Libros, 2008.
SUMMERS, Tim. Underetanding video game music, Cambridge University Press, 2018.
TAGG, Philip. Music's Meanings. A modern musicology for non-musos. New York: The Mass Media Music Scholars’ Press (MMMSP), 2013.
VIÑUELA, Eduardo. El videoclip en España (1980-1995): Gesto audiovisual, discurso y mercado. Madrid: ICCMU, 2009
Software
The programme REAPER (or similar, according to the student's preference) will be used in the Audiovisual Creation Block.