Degree | Type | Year |
---|---|---|
2500240 Musicology | OB | 3 |
You can view this information at the end of this document.
There are no compulsory requirements for the enrollment in this course.
On successfully completing this course, students will be able to:
This subject is structured into the following units and seminars:
Unit 1. Modernism and Avant-garde trends: the beginning of the 20th century.
Unit 2. Music during the inter-war period: le retour à l’ordre.
Seminar I. Revolution on Stage: Diaghilev’s Ballets Russes (1909-1929).
Unit 3. Music, Politics and Authoritarian regimes.
Unit 4. Music(s) for a post-war world: Darmstadt and the second Avant-garde.
Seminar II. A Composer in Conflicting Times: Olivier Messiaen.
Unit 5. Postmodern pluralism (I): concept and practices of musical intertextuality.
Unit 6. Postmodern pluralism (II): musical actions, spatial and acousmatic experiences.
Unit 7. Rethinking form as process: minimalist trends.
Unit 8. The end of the Avant-garde paths: towards a new musical expression.
Unit 9. Sound gestures: new timbre resources and performance embodiment.
Unit 10. Crossbreeding and globalisation of music composition.
Unit 11. Music in the Digital Age: end of history or endless story?
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Analytical description of selected scores | 10 | 0.4 | 1, 2, 3, 4, 7, 8, 9, 10, 11, 12, 14, 15, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 29, 30, 31 |
Theoretical and practical sessions | 26 | 1.04 | 1, 2, 3, 4, 7, 8, 9, 10, 11, 12, 14, 15, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 29, 30, 31 |
Type: Supervised | |||
Group meetings - Text commentary and analytical seminars | 11 | 0.44 | 1, 2, 3, 4, 7, 8, 9, 10, 11, 12, 14, 15, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 29, 30, 31 |
Individual tutorials | 2 | 0.08 | |
Reading and commentary of bibliographical sources | 28 | 1.12 | 1, 2, 3, 4, 7, 8, 9, 10, 11, 12, 14, 15, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 29, 30, 31 |
Type: Autonomous | |||
Search of bibliographical sources, preparation of the dossier of complementary music examples, analysis practice and individual study | 67 | 2.68 | 1, 2, 3, 4, 7, 8, 9, 10, 11, 12, 14, 15, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 29, 30, 31 |
Throughout the course, theoretical-practical lectures, in which a conceptualization and synthetic approach of every unit will be provided, alternate with others of a more open nature (commentaries of scores, auditions and texts, as well as seminars), from a flipped classroom methodological perspective. These practical sessions will be developed in small groups, depending on the size of the entire group.
In order to ensure the successful development of the students regarding the subject, two tutorials (one individual, another for the whole group) will be scheduled, to solve general enquiries on the syllabus and supervise the autonomous task of every student.
At the beginning of the course activities, an Moodle Class room will be opened as the only repository of the teaching materials and links needed for the preparation of the subject, according to its general schedule and to the legal copyright regulations. In this sense, this Moodle Class room is the reference space for the activities of the subject and for the communications related to it; any question concerning the subject is to be submitted, therefore, through the Moodle’s mail and the lecturer will not answer enquiries sent to his main E-mail address.
Complementary music examples (Units 1-5 and 7)
Unit 1
GUSTAV MAHLER, Symphony n. 5 (1902)
MAURICE RAVEL, String Quartet (1902/03)
CLAUDE DEBUSSY, La Mer (1903/1909)
SERGEI RACHMANINOV, The Bells op. 35 (1913)
ARNOLD SCHÖNBERG, Pierrot lunaire op. 21 (1912)
LEOŠ JANAČEK, Sinfonietta (1926)
ANTON WEBERN, Five pieces for String Quartet op. 5 (1909)
Unit 2
IGOR STRAVINSKY, Pulcinella (1920)
PAUL HINDEMITH, Kammermusik n. 1op. 24/1 (1921)
ALFREDO CASELLA, Scarlattiana op. 44 (1926)
AARON COPLAND, El Salón México (1936)
ALBAN BERG, Violin Concerto (1935)
ALBERTO GINASTERA,Estancia op.7 (1941), ‘Malambo’
Unit 3
SERGEI PROKOFIEV, Overture on Hebrew Themes (1919)
OLIVIER MESSIAEN, Quatuor pour la fin du temps (1940)
BENJAMIN BRITTEN, Les Illuminations (1940)
ANDRÉ JOLIVET, Les Trois Complaintes du Soldat (1940)
DMITRI SHOSTAKOVICH, Symphony n. 8 (1941)
Unit 4
PIERRE HENRY, Symphonie pour un homme seul (1950)
KARLHEINZ STOCKHAUSEN, Gesang der Jünglinge (1955/56)
IANNIS XENAKIS, Achorripsis (1956)
KARLHEINZ STOCKHAUSEN, Zyklus (1959)
HENRI POUSSEUR, Scambi (1958)
PIERRE BOULEZ, Pli selon pli (1959), ‘Improvisation I sur Mallarmé’
ROBERT GERHARD, Symphony n. 3 ‘Collages’ (1960)
JOSEP MARIA MESTRES QUADRENY, Quartet de Catroc (1962)
GYÖRGY LIGETI, Nouvelles aventures (1962/65)
LUCIANOBERIO, Sequenza III (1966)
WITOLD LUTOSŁAWSKI, Trois poèmes d’Henri Michaux (1963), ’Le Grand Combat’
Unit 5
KARLHEINZ STOCKHAUSEN, Hymnen (1966)
MAURICIO KAGEL, Ludwig van (1970)
ALFRED SCHNITTKE, String Quartet n. 3 (1983)
LUCIANO BERIO, Rendering (1989/90)
BENET CASABLANCAS, Full d’àlbum (1993)
XAVIER BENGUEREL, Llibre Vermell (1988)
SOFÍA GUBAIDULINA, Reflections on B-A-C-H (2002)
JOAN MAGRANÉ, Madrigal. Musik mit Gesualdo (2012)
Unit 6 [not included]
Unit 7
TERRY RILEY, In C (1964)
CARMELO A. BERNAOLA, Sinfonía en Do (1974)
TOMÁS MARCO, Pulsar (1986)
PHILIP GLASS, String Quartet n. 3 ‘Mishima’ (1985)
ARVO PÄRT, Berliner Messe (1990)
JOHN ADAMS, Dr. Atomic (2005)
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.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Dossier of complementary music examples | 40% | 2 | 0.08 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 29, 30, 31 |
Final exam | 30% | 2 | 0.08 | 1, 2, 3, 4, 7, 8, 9, 10, 11, 12, 14, 15, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 28, 29, 30, 31 |
Intermediate exam | 30% | 2 | 0.08 | 1, 2, 3, 4, 7, 8, 9, 10, 11, 12, 14, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 29, 30, 31 |
Assessable activities are as follows:
- Two written exams, of theoretical-practical nature [pre-scheduled dates: April 7, 2025; June 4, 2025].
- Preparation of a dossier of complementary music examples, regarding units 1-5 and 7, an illustrative selection of which is copied at the end of the "Methodology" chapter. Additional information regarding the task's deadline and main features (length, layout…) will be provided at the beginning of the course.
All assessment activities are obligatory and independent. Following the academic schedule established by the Faculty, students may retake assessment activities they have failed or compensate for any they have missed, provided that they have already performed assessment elements covering at least 70% of the course grade, and after discussing this possibility with the lecturer. The highest grade for this retaken activity is 6.
When publishing final grades prior to recording them on the student transcripts, the lecturer will provide written notification of a date and time for reviewing assessment activities. Students must arrange reviews in agreement with the lecturer.
In the event of participating in 30% or less of the assessment elements of the course, the student will be classified as “not assessed” on their transcript.
IMPORTANT NOTICES
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 on-site, they will be adapted toan 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.
SINGLE ASSESSMENT [pre-scheduled date: June 5, 2025]: 1) Conceptual and factual test [30%]; 2) Historical/contextual test [30%]; 3) Dossier of complementary music exemples [40%]. The same assessment method and grade averages will be used in the event of retaken or compensated failed activities, on the date established by the Faculty for this purpose.
Main Bibliography
Antokoletz, Elliott. A History of Twentieth-Century Music in a Theoretical-Analytical Context. London and New York: Routledge, 2014.
Auner, Joseph. La música en los siglos XX y XXI. Madrid: Akal, 2017.
Berger, Karol - Anthony Newcomb (eds.). Music and the Aesthetics of Modernity. Cambridge, MA: Harvard University Press, 2005.
Carredano, Consuelo - Victoria Eli (eds.). Historia de la música en España e Hispanoamérica, vol. 8: La música en Hispanoamérica en el siglo XX. Madrid: Fondo de Cultura Económica, 2015.
Cook, Nicholas - Anthony Pople (eds.). The Cambridge History of Twentieth-Century Music. Cambridge / New York: Cambridge University Press, 2004.
Cooke, Mervyn (ed.). The Cambridge Companion to Twentieth-Century Opera. Cambridge / New York: Cambridge University Press, 2008.
Cox, Christoph - Daniel Warner (eds.). Audio Culture. Readings in Modern Music. New York: Continuum, 2006.
Dibelius, Ulrich. La música contemporánea a partir de 1945. Madrid: Akal, 2004.
Donin, Nicolas (ed.). Un siècle d’écrits réflexifs sur la composition musicale. Anthologie d’auto-analyses, de Janáček à nos jours. Genève: Droz / Haute école de musique de Genève, 2019.
Floros, Constantin. New Ears for New Music. Bern et al.; Peter Lang Verlag, 2013.
González Lapuente, Alberto (ed.). Historia de la música en España e Hispanoamérica, vol. 7: La música en España en el siglo XX. Madrid: Fondo de Cultura Económica, 2012.
Griffiths, Paul. Modern Music and after. Directions since 1945. New York: Oxford University Press, 1995.
Hamer, Laura (ed). The Cambridge Companion to Women in Music since 1900. Cambridge: Cambridge University Press, 2021.
Illiano, Roberto (ed.). Twentieth-Century Music and Mathematics. Turnhout: Brepols, 2019.
Kostelanetz, Richard - Joseph Darby (eds.). Classic Essays on Twentieth-Century Music. A Continuing Symposium. New York: Schirmer, 1996.
Lester, Joel. Enfoques analíticos de la música del siglo XX. Madrid: Akal, 2005.
Marco, Tomás. Escuchar la música de los siglos XX y XXI. Madrid: Fundación BBVA, 2017.
Morgan, Robert P. La música del siglo XX. Una historia del estilo musical en la Europa y la América modernas. Madrid: Akal, 1994.
Solomos. Makis. From Music to Sound. The Emergence of Sound in 20th- and 21st-Century Music. Abingdon: Routledge, 2020.
Whittall, Arnold. Musical Composition in the Twentieth Century. Oxford: Oxford University Press, 1999.
Whitall, Arnold. Exploring Twentieth-Century Music. Tradition and Innovation. Cambridge: Cambridge University Press, 2003.
Additional Bibliography
Adell, Joan-Elies - Jaume Radigales (eds.). (Des)acords. Música i músiques als Països Catalans (1975-2009). Vilanova i la Geltrú: El Cep i la Nasa, 2009.
Albright, Daniel. Music’s Monisms. Disarticulating Modernism. Chicago: The University of Chicago Press, 2021.
Beal, Amy C. New Music, New Allies. American Experimental Music from the Zero Hour to Reunification. Berkeley, CA: University Of California Press, 2006.
Besada, José Luis. Metamodels in Compositional Practices. The Case of Alberto Posadas's Liturgia fractal. París: Delatour, 2017.
Blánquez, Javier. Una invasión silenciosa. Cómo los autodidactas del pop han conquistado el espacio de la música clásica. Barcelona: Capitán Swing, 2014.
Bofill Levi, Anna. Los sonidos del silencio. Aproximación a la historia de la creación musical de las mujeres. Barcelona: Aresta, 2015.
Born, Georgina. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Berkeley, CA: University of California Press, 1995.
Bosseur, Dominique - Jean-Yves Bosseur. Révolutions musicales. La musique contemporaine depuis 1945. Évreux: Minerve, 1999 (5.ª ed.).
Bosseur, Jean-Yves. Musiques traditionelles et création contemporaine. Paris: Éditions Minerve, 2022.
Bosseur, Jean-Yves - Pierre Michel. Musiques contemporaines. Perspectives analytiques (1950-1985). Évreux: Minerve, 2007.
Bowie, Andrew. Music, Philosophy and Modernity. Cambridge: Cambridge University Press, 2007.
Carroll, Mark. Music and Ideology in Cold War Europe. Cambridge: Cambridge University Press, 2003.
Charles Soler, Agustín. Análisis de la música española del siglo XX. En torno a la generación del 51. Valencia: Rivera Editores, 2002.
Chew, Geoffrey (ed.). New Music in the New Europe 1918-1938. Ideology, Theory and Practice. Prague: Koniasch Latin Press, 2007.
Cobussen, Marcel - Vincent Meelberg - Barry Truax. The Routledge Companion to Sounding Art. London / New York: Routledge, 2017.
Collins, Nick - Julio d’Escrivan (eds.). The Cambridge Companion to Electronic Music. Cambridge: Cambridge University Press, 22017.
Creació musical contemporània a Catalunya. Barcelona: Associació Catalana de Compositors, 2013.
Darbon, Nicolas. Musica Multiplex. Dialogique du simple et du complexe en musique contemporaine. Paris: L'Harmattan, 2007.
Dávila, Ana María - Javier Pérez Senz. Compositors d'avui. Guia de la música contemporània a Catalunya. Barcelona: Caixa Catalunya - Obra Social, 2008.
Doce notas preliminares, 8 (2001). "Postmodernidad, veinte años después".
Dufourt, Hugues. La musique spectrale. Une révolution épistémologique. Paris: Delatour, 2014.
Dufourt, Hugues - Joël-Marie Fouquet. La musique depuis 1945. Matériau, esthétique et perception. Sprimont: Mardaga, 1996.
Eichler, Jeremy. El eco del tiempo. La Segunda Guerra Mundial, el Holocausto y la música de la memoria. Barcelona: Paidós Ibérica, 2024.
Fairclough, Pauline. Clásicos para las masas. Moldeando la identidad musical soviética bajo los regímenes de Lenin y Stalin. Madrid, Akal Música, 2021.
Fernández Guerra, Jorge. Cuestiones de ópera contemporánea. Metáforas de supervivencia. Madrid: Ed. Gloria Collado, 2009.
Fosler-Lussier, Danielle. Music in America's Cold War Diplomacy. Oakland, CA: University of California Press, 2015.
Fulcher, Jane F. The Composer as Intellectual. Music and Ideology in France 1914-1940. Oxford / New York: Oxford University Press, 2005.
Gann, Kyle. American Music in the Twentieth Century. New York: Schirmer, 1997.
Fulcher, Jane F. The Composer as Intellectual. Music and Ideology in France 1914-1940. Oxford / New York: Oxford University Press, 2005.
Gendron,B. Between Montmartre and the Mudd Club. Popular Music and the Avant-Garde. Chicago / London: University of Chicago Press, 2002.
Gloag, Kenneth. Postmodernism inMusic. Cambridge: Cambridge University Press, 2012.
Grant, M. J. Serial Music, Serial Aesthetics. Compositional Theory in Post-War Europe. Cambridge: Cambridge University Press, 2001.
Guldbrandsen, Erlang. Transformations of Musical Modernity. Cambridge: Cambridge University Press, 2015.
Heile, Björn (ed.). The Modernist Legacy. Essays on New Music. Aldershot: Ashgate, 2009.
Herrera, Eduardo. Elite Art Worlds. Philanthropy, Latin Americanism and Avant-garde Music. New York: Oxford University Press, 2020.
Hodgkinson, Tim. Music and the Myth of Wholeness. Toward a new aesthetic paradigm. Cambridge, MA / London: The MIT Press, 2016.
Holmes, Thom. Electronic and Experimental Music: Pioneers in Technology and Composition. London and New York: Routledge, 2016.
Iges, José et al. MASE. Historia y presencia del arte sonoro en España. Madrid: Bandaàparte Editores, 2015.
Illiano, Roberto (ed.). Twentieth-Century Music and Mathematics. Turnhout: Brepols, 2019.
Iverson, Jennifer. Electronic Inspirations. Technologies of the Cold War Musical Avant-Garde. Oxford et al.: Oxford University Press, 2018.
Johnson, Steven. The New York School of Music and theVisual Arts. New York: Routledge, 2002.
Kahn, Douglas - Gregory Whitehead. Wireless imagination. Sound, radio and the avant-garde. Cambridge, MA: The MIT Press, 1992.
Knight-Hill, Andrew i Margetson, Emma. Art of Sound, Creativity in Film Sound and Electroacoustic Music. Waltham, Mass.: Focal Press, 2024.
Koay, Kheng K. The Kaleidoscopeof Women’s Sounds in Music of the Late 20th and Early 21st Centuries. Newcastle upon Tyne: Cambridge Scholars Publishing, 2015.
Kramer, Lawrence. Opera and modern culture. Berkeley: California University Press, 2004.
Labelle, Brandon. Background Noise. Perspectives on Sound Art. London et al.: Bloomsbury Publishing, 22015.
Lochhead, Judy - Joseph Auner. Postmodern music/postmodern thought. New York: Routledge, 2002.
Manning, Peter. Electronic and Computer Music. Oxford: Oxford University Press, 2013.
MASE. Historia y proyección del arte sonoro en España. Córdoba: Bandaàparte Editores, 2015.
McHard, James L. The Future of Modern Music. A Philosophical Exploration of Modernist Music in the 20th Century and Beyond. Lavinia, MI: Iconic Press, 2008.
McKay, Tristan. A Semiotic Approach to Open Notations. Cambridge: Cambridge University Press, 2021.
Nattiez, Jean-Jacques. Musiques du XXIème siècle. Paris: Actes Sud, 2003.
Nexus, 37 (primavera 2007). "La música contemporània: nous reptes a Catalunya i a Europa".
Nicholls, David. American Experimental Music. Cambridge et al.: Cambridge University Press, 1990.
Nyman, Michael. Música experimental: de John Cage en endavant. Girona: Documenta Universitaria, 2006.
Potter, Keith, Kyle Gann - Pwyll ap Siôn (eds.). The Ashgate Research Companion to Minimalist and Postminimalist Music. Aldershot: Ashgate, 2013.
Prendergast, Mark. The Ambient Century. From Mahler to Moby – The Evolution of Sound in the Electronic Age. London: Bloomsbury, 2003.
Quodlibet, 50 (maig-agost de 2011) [dossier "Estética musical contemporánea"].
Quodlibet, 68 (maig-agost de 2018) [dossier "Arte sonoro (I)"]
Quodlibet, 69 (setembre-desembre de 2018) [dossier "Entartete Musik"].
Ramaut-Chevassus, Béatrice. Musique et postmodernité. París: Presses Universitaires de France, 1998.
Ramos, Francisco. La música del siglo XX. Una guía completa. Madrid: Turner, 2013.
Rutherford-Johnson, Tim. Music after the Fall. Modern Composition and Culture since 1989. Oakland, CA: University of California Press, 2017.
Sánchez de Andrés, Leticia - Adela Presas (eds.). Música, ciencia y pensamiento en España e Iberoamérica durante el siglo XX. Madrid: Servicio de Publicaciones de la UAM, 2013.
Scherzo, 323 (novembre de 2016) [dossier "Minimalismo"].
Schmelz, Peter J. Such Freedom, if only musical. Unofficial Soviet Music during the Thaw. New York: Oxford University Press, 2009.
Schwartz, Elliott - Daniel Godfrey. Music since 1945. Issues, Materials, and Literature. Belmont, CA: Wadsworth/Thomson Learning, 1993.
Straus, Joseph. Remaking the Past. Musical Modernism and the Influence of the Tonal Tradition. Cambridge: Harvard University Press, 1990.
Supper, Martin. Música electrónica y música con ordenador. Historia, estética, métodos, sistemas. Madrid: Alianza Editorial, 2004.
Taylor, Timothy D. Strange Sounds. Music, Technology, and Culture. New York: Routledge, 2011.
Téllez, Enrique (ed.). Música y represión política. De la Alemania nazi a la España franquista. Valencia: Edictoràlia Música, 2021.
Thorau, Christian - Hansjakob Ziemer (eds.) The Oxford Handbook of Music Listening in the 19th and 20th Centuries. London: Oxford University Press, 2019.
Vadillo Pérez, Eneko. El sinfonismo en los siglos XX y XXI. Herencia y modelos. Madrid: Visión Libros, 2020.
Valle, Andrea. Contemporary Music Notation. Semiotic and Aesthetic Aspects. Berlin: Logos Verlag, 2019.
Veitl, Anne. Politiques de la musique contemporaine. Le compositeur, la ‘Recherche musicale’ et l’État en France de 1958 à 1991. Paris: L’Harmattan, 1997.
Watkins, Glenn. Proff through the Night. Music and the Great War. Berkeley, CA: University of California Press, 2003.
Whitall, Arnold. Serialism. Cambridge: Cambridge University Press, 2008.
Williams, Alastair. Music in Germany since 1968. New York: Cambridge University Press, 2013.
Wittje, Roland. The Age of Electroacoustics. Transforming Science and Sound. Cambridge, MA / London: The MIT Press, 2016.
Wörner, Felix – Scheideler, Ullrich – Rupprecht, Philip Ernst. Tonality since 1950. Stuttgart: Franz Steiner Verlag, 2017.
Webresources
Databases and general webpages:
- The Living Composers Project [www.composers21.com]
- Base de Documentation sur la musique contemporain (B.R.A.H.M.S.), IRCAM [brahms.ircam.fr]
- Groupe de Recherches Musicales [inagrm.com./fr]
- Fondo de Música Española Contemporánea, Fundación Juan March [https://www.march.es/es/fondo/musica-espanola-contemporanea]
- Associació Catalana de Compositors (ACC) [www.accompositors.com]
Journals:
- Perspectives of New Music [www.perspectivesofnewmusic.org], 1962-
- Contemporary Music Review [www.tandfonline.com/loi/gcmr20#.UdsA0KxmPKc], 1984-
- Leonardo Music Journal [https://www.mitpressjournals.org/lmj], 1991-
- Cahiers de l’IRCAM [http://web4.ircam.fr/270.html], 1992-
- Organised Sound [https://www.cambridge.org/core/journals/organised-sound], 1996-
- Espacio sonoro [espaciosonoro.tallersonoro.com], 2004-
- Sonograma Magazine [http://sonograma.org/], 2008-
- Twentieth-Century Music [https://www.cambridge.org/core/journals/twentieth-century-music], 2004-
Does not apply.
Name | Group | Language | Semester | Turn |
---|---|---|---|---|
(PAUL) Classroom practices | 1 | Catalan/Spanish | second semester | morning-mixed |
(TE) Theory | 1 | Catalan/Spanish | second semester | morning-mixed |