Degree | Type | Year |
---|---|---|
2500240 Musicology | OB | 3 |
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To take this subject, the students must have passed the subject "Music and Cultures". The basic knowledge taught in “Musical Language I” and “Musical Language II” is also required.
Review of the main lines of research in ethnomusicology with special attention to its development in the last forty years.
Study of the main theoretical and methodological concepts of research in the discipline.
Preparation for fieldwork.
Ethnomusicology as a field of study. Review of contents of the subject "Music and cultures".
Music as a social and cultural fact.
Analytical models: The three stages of Josep Martí and the triangle of Alan Merriam.
Introduction to Fieldwork. General approaches and applications.
Mantle Hood and the concept of bi-musicality.
Sound structure and social structure.
Technology applied to research in ethnomusicology (I): a brief historical perspective; discussion of models and practical applications.
Theoretical approaches, 1980s and 1990s (rice, Finnegan, Vila)
Presentation of the research done in the subject.
READINGS:
Helen Meyers: "Ethnomusicology."
Mantle Hood: "Transcription and notation."
Alan Merriam: "The Anthropology of Music."
Tim Rice: "Towards the remodeling of ethnomusicology."
Charles Keil: "Participatory Discrepancies and the Power of Music."
Ruth Finnegan "Senderos de la vida urbana."
Simon Frith: "Towards an aesthetic of popular music."
Pablo Vila: "Identidades narrativas y música".
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Lesson | 30 | 1.2 | 1, 6, 9, 10, 12, 15 |
Seminaries and discussions around reading | 15 | 0.6 | 6, 14 |
Type: Supervised | |||
Tutorials | 7 | 0.28 | 13 |
Type: Autonomous | |||
Search information | 15 | 0.6 | 2, 8, 13, 14 |
Study and reading | 30 | 1.2 | 2, 8, 13, 14 |
The subject has a theoretical character but aims to provide the student with the necessary tools to address fieldwork in the field of ethnomusicology. Thus, expository sessions of general theoretical training will be alternated with others where the applicability of these theoretical paradigms will be discussed.
Expository sessions: conceptualization and synthesis of each one of the subjects of study. The aim is to show the different contemporary orientations of ethnomusicology and which are the most suitable means of research for each issue. They can be done both in the classroom and online.
Practical sessions, structured from the critical analysis of texts in the classroom, combining small group format, and synthesis sharing. They can be done both in the classroom and online.
Monographic work of observation of a musical situation and application of an own analytical model of the discipline. This work will put into practice the theoretical and practical knowledge acquired in the classroom through the autonomous work of the student.
15 minutes of a class will be reserved, within the timetable established by the centre/title, for the complementation by the students of the assessment surveys of the teaching staff's performance and the assessment of the subject.
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 |
---|---|---|---|---|
Discussions and participation with collective exercices | 10% | 1 | 0.04 | |
Field work | 35% | 41 | 1.64 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 |
Planing a musical observation | 10% | 10 | 0.4 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 |
Test of theoretical subjects | 45% | 1 | 0.04 | 7, 14 |
The evaluation of the subject will be based on:
1. A written test that will aim to show the assimilation of the basic theoretical concepts acquired through the expository classes. It will have a weight of 45% of the total of the subject. For the overall calculation of the final mark, this test must be passed with a minimum qualification of 5 out of 10.
2. A planning work preparing the observation of a musical activity that must be descrived ans analysed using the concepts given in theory sessions. 10% of the total of the subject.
3. A monographic work based on the observation of a musical activity that must be descrived ans analysed using the concepts given in theory sessions. 35% of the total of the subject. For the overall calculation of the final mark, this work must have a minimum qualification of 5 out of 10.
4. Participation in the class discussions about obligatory readings. 10% of the total of the subject.
A student who does not present the work within the established calendar will be considered "non-evaluable". A reassessment is planned for those students who do not reach the minimum grade. In no case will the mark of the theory test be considered if the monographic work has not been presented.
The test may be reviewed at a date and place advertised by the teacher on the Virtual Campus.
There will be an initial assessment that will not be counted in any case in the final grade of the subject.
This subject/module does not incorporate single assessment.
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 evaluation
Unique evaluation encompasses thethree evaluation. The monographic work has be done in 2,5 hours.
The percent will be: Test theoretical, 45%; Planing a musical observation 20 %; Test around field work, 35%.
The date will be published in the Campus Virtual.
MANDATORY READINGS
Finnegan, Ruth: “Senderos en la vida urbana”, a Las culturas musicales. Madrid, Trotta.
Frith, Simon: “Hacia una estética de la música popular”, a Las culturas musicales. Madrid, Trotta.
Keil, Charles: “Las discrepancias participatorias y el poder de la música”, dins Las culturas musicales. Madrid, Trotta.
Merriam, Alan (1964): The Anthropology of Music. Evaston (Illinois), Northwestern University Press. Cap II. Meyers, Helen P.:
“Etnomusicología”, a Las culturas musicales. Lecturas de etnomusicología, Madrid, Trotta.
Nettl, Bruno: “Últimas tendencias en etnomusicología”, a Las culturas musicales. Lecturas de etnomusicología, Madrid, Trotta.
Rice, Timothy (1987): “Toward the Remodeling of Ethnomusicology” (amb la trad. castellana “Hacia la remodelación de la etnomusicología”, a Las culturas musicales. Madrid, Trotta.
Rice, Timothy (1914): Ethnomusicology: A very short introduction. Oxford: Oxford University Press.
Small, Christopher (1980): Música. Sociedad. Educación. Madrid, Alianza editorial. Capítols I i II.
Vila, Pablo, 1996, “Identidades narrativas y música. Una primera propuesta teórica para entender sus relaciones” dins Trans - TransculturalMusic Review, 2:
<ahref="http://www.sibetrans.com/trans/a288/identidades-narrativas-y-musica-una-primera-propuesta-para-entender-sus-relaciones">http://www.sibetrans.com/trans/a288/identidades-narrativas-y-musica-una-primera-propuesta-para-entender-sus-relaciones
COMPLEMENTARY BIBLIOGRAPHY
Blacking, John (1994): Fins a quin punt l’home és músic?, Vic, Eumo Editorial.
Bucciarelli, M. i Joncus, B. (ed) (2007). Music as social and cultural practice. New York: The Boodle Press.
Cámara de Landa, Enrique (2003): Etnomusicología, Madrid: ICCM.
Chiantore, Luca; Domínguez, Áurea; Martínez, Silvia (2016): Escribir sobre música. Valencia: Musikeon Books.
Cook, Nicholas (2001): De Madonna al canto gregoriano. Madrid: Alianza.
Hornbostel, Erich M. von: “Los problemas de la musicología comparada”, a Las culturas musicales. Lecturas de etnomusicología, Madrid, Trotta.
Frith, Simon (1986): Performing Rites. On the value of popular music. Harvard University Press.
Frith, Simon & Goodwind, Andrew. (1990): On record. Londres: Pantheon Books.
Martí, Josep, (1996): “Música y Etnicidad: una introducción a la problemática” dins Trans – Transcultural Music Review, 2:
http://www.sibetrans.com/trans/a283/musica-y-etnicidad-una-introduccion-a-la-problematica
______________2000): Más allá del arte. La música como generadora de realidades sociales, Sant Cugat del Vallès, Deriva editorial.
Nettl, Bruno, 1996, Música folklórica y tradicional de los continentes occidentales, Madrid, Alianza editorial. (per a referència de les àrees culturals en música).
Middleton, Richard (1990): Studing popular music. Filadelphia: Open University Press.
______________ (2000): Reading pop. New York: Oxford University Press.
Negus, Keith (1996): Popular music in theory, Cambridge: Polity Press.
Pelinski, Ramón (2000): Invitación a la etnomusicología. Quince fragmentos y un tango. Madrid, Akal.
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Name | Group | Language | Semester | Turn |
---|---|---|---|---|
(PAUL) Classroom practices | 1 | Catalan | second semester | morning-mixed |
(TE) Theory | 1 | Catalan | second semester | morning-mixed |