Degree | Type | Year |
---|---|---|
2500240 Musicology | OB | 2 |
You can view this information at the end of this document.
The 1st year courses “Llenguatge musical I” and “Llenguatge musical II” should have been succesfully passed before enrolling in this course.
The aim of this course is to provide students with basic tools that allow them to deconstruct 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.
1. Practical sessions
2. An Introduction to Musical Analysis and Analysis Methodologies I
3. Analysis Methodologies II
4, Genre and Style
5. Form and Structure
6. The Fugue
7. The Lied
8. The Suite
9. Sonata Forms
10. The Classical Minuet
11. The Rondo
12. Dodecaphonic Theory
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Knowledge test class | 5 | 0.2 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 |
Master class | 40 | 1.6 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 |
Type: Supervised | |||
Practical sessions | 15 | 0.6 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 |
Type: Autonomous | |||
Carrying out work | 26 | 1.04 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 |
Individual practice | 26 | 1.04 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 |
Study and reading articles | 26 | 1.04 | 1, 2, 3, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 |
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 commentary 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.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Group task | 40% | 9 | 0.36 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 |
Written test 1 | 30% | 1.5 | 0.06 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 |
Written test 2 | 30% | 1.5 | 0.06 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 |
Assessment: This course will be assessed on the basis of two written exams, 30% each (one in the middle and the other at the end of the term), and a written group essay (40%).
For the calculation of the final grade, students will have to complete and pass all three activities with the grade of 5 or higher.
Once the qualifications are published, a date and place will be announced for the students to revise their assignments and grades. Revisions will only be in person and at the scheduled time.
Reassessment: Those students who fail some of the compulsory activities will have the opportunity of a re-evaluation exam. It will be necessary, however, to have obtianed a grade of 5 or more for the written essay and for one of the exams. The reassessment test will be the same for everybody.
Those students who only participate in one of the three compulsory assessment activities will be considered as “not assessable”.
Single assessment
Those students who take the option of single assessment will have to complete, at the indicated date, three different activities:
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 availablethrough the UAB’s virtual tools (originalweighting will be maintained). Homework, activitiesand class participation willbe 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.
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.
If needed, it will be indicated in class.
Name | Group | Language | Semester | Turn |
---|---|---|---|---|
(PAUL) Classroom practices | 1 | Catalan | second semester | morning-mixed |
(TE) Theory | 1 | Catalan | second semester | morning-mixed |