Musical Research in Contemporary Urban Environments
Code: 40829 ECTS Credits: 10| Degree | Type | Year |
|---|---|---|
| 4312637 Musicology, Musical Education and Interpretation of Early Music | OT | 0 |
Contact
- Name:
- Lidia López Gómez
- Email:
- lidia.lopez@uab.cat
Teachers
- German Gan Quesada
- Gabrielle Kaufman
- Elsa Calero Carramolino
Teaching groups languages
You can view this information at the end of this document.
Prerequisites
Cap
Objectives and Contextualisation
- Introduce the main lines of debate of contemporary research on musical practices in urban space.
- Mastering methodologies of historiography, aesthetic and musicological analysis in the study of urban music.
- Relate contemporary musical systems with their respective contexts of production and reception.
- Explore the mechanisms that manage the relationships between the different artistic languages of contemporary era.
- Understand the mechanisms of action and social articulation ofmusic in changing environments, with special emphasis ontechnological and media advances in recent decades.
- Adapt the contents of the course to various educational and training contexts.
Competences
- Analyze music according to cultural areas and according to the social contexts in which they arise and develop by applying it to research and interpretive projects.
- Applying critical projects musicological research and interpretive projects.
- Consider innovative projects musicological research and interpretive projects.
- Develop the capacity to assess sex and gender inequalities in order to design solutions to them.
- Distinguish and apply different methodologies musicological research and research in music education-oriented projects.
- To analyze the different contexts (social, economic, historical, artistic) involved in the music profession to develop appropriate research work.
Learning Outcomes
- Adapt the results of contextual analysis of the study of contemporary urban environment where different social realities involved
- Apply critical capacity in musicological research projects and interpretive projects.
- Apply research methodologies prior to every type of music research project in the contemporary urban environment.
- Compare methodological procedures developed in the last three decades in the study of complex musical activity of contemporary societies, and especially in urban environments.
- Develop the capacity to assess sex and gender inequalities in order to design solutions to them.
- Discuss contemporary socio-musical contexts from the perspective of gender studies.
- Distinguish the distinctive characteristics of the various musical cultures of the contemporary urban environment
- Mastering historiographical analysis tools adapted to the study of urban music
- Propose innovative projects proposed in musicological research and interpretive projects.
- Recognise the contributions of gender studies to the topics being researched.
- Relate contemporary music systems with their contexts of production and reception
Content
- Current Trends and Methodologies in Audiovisual Media Research: Ludomusicology
- Researching music in Catalonia in the early Franco regime (1939-1960): open topics, sources and methodologies.
- Musical performance in science. Methodologies, objectives and application of performative studies in medicine.
- Power and representation in the contemporary world. Analysis of music as a mediator in political participation.
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Seminar (possible on line meetings included) | 40 | 1.6 | 1, 2, 3, 4, 7, 8, 9, 11 |
| Workshops (occasionally out of classroom) | 14 | 0.56 | 1, 2, 3, 4, 7, 8, 9, 11 |
| Type: Supervised | |||
| Cases practice | 14 | 0.56 | 1, 2, 3, 4, 7, 8, 9, 11 |
| Dissemination practices | 8 | 0.32 | 1, 2, 3, 4, 7, 8, 9, 11 |
| Doctorial seminaries | 4 | 0.16 | 1, 2, 3, 4, 7, 8, 9, 11 |
| Tutorial class | 4 | 0.16 | 1, 2, 3, 4, 7, 8, 9, 11 |
| Type: Autonomous | |||
| Work on mandatory audiovisual materials | 10 | 0.4 | 1, 2, 3, 4, 7, 8, 9, 11 |
| Work on mandatory readings | 23 | 0.92 | 1, 2, 3, 4, 7, 8, 9, 11 |
| Writing and editing on papers and audiovisual essays | 40 | 1.6 | 1, 2, 3, 4, 7, 8, 9, 11 |
The course has a hybrid format, with a part of the theoretical presentation of the teaching staff and another part of work in the classroom. This work will be done about practical cases, and the main theoretical aspects and key concepts of the syllabus will be arise from them.
This seminar format and learning methodology, actively involve the student. The course contents will be acquired mainly by reading and discussing the selected texts, as well as by analyzing and discussing the proposed audiovisual materials.
The active follow-up of the module implies the personal commitment to prepare the readings and the viewing of the proposed materials in order to be able to participate in their discussion in the classroom.
As a postgraduate course, the autonomous work of each student will have an important specific weight in the work methodology. This will be done individually and in collaborative groups. The students will also participate in the co-evaluation of the materials generated throughout the seminars.
The course has a Moodle classroom open, where the calendar of activities and the pedagogical materials will be published.
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.
Assessment
Continous Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Evaluation of the work done by the classmates | 10% | 4 | 0.16 | 2, 3, 4, 5 |
| Paper on a selected reading | 25% | 30 | 1.2 | 1, 2, 3, 4, 7, 8, 9, 11 |
| Participation in work sessions | 25% | 40 | 1.6 | 1, 3, 4, 7, 8, 11 |
| Questionnaires on readings and other course materials | 40 % | 19 | 0.76 | 1, 2, 3, 4, 6, 7, 8, 9, 10, 11 |
Each teacher will carry out an evaluation test (paper, presentation or written test) which will count the same percentage as the sessions given: Ludomusicology (40%), Researching music in Catalonia (20%), Musical performance (20%), Music as a mediator in political participation (20%).
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.
If the student delivers one of the tasks or present one of the written tests, this will count as participation in the course. Therefore, only the student who has not made any evaluation test during the course may be considered as "not assessed."
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:The same four elements will be taken into account on a date that will be indicated once the course has started on the Virtual Campus.
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 azero as the final grade for this subject.
Bibliography
Collins, Karen. 2008. Game Sound. An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design, MIT Press.
Cureses, Marta. 2013. "The institutionalization of the Avant-Garde in Catalonia as of 1939". In: Music and Francoism, eds. Gemma Pérez Zalduondo i Germán Gan Quesada. Turnhout: Brepols, 203-231.
D'Angelo, Robin. 2021. Fragilidad blanca. Ediciones del Oriente y del Mediterráneo
Gan Quesada, Germán. 2014. "La recepció de la música de Robert Gerhard a Catalunya durant el Franquisme (1948-1970): trobades i desavinences". Revista catalana de musicologia, 7, 153-171. https://publicacions.iec.cat/repository/pdf/00000216/00000019.pdf
Gan Quesada, Germán. 2012. "Músicas para después de una guerra... Compromisos, retiradas y resistencias en la creación musical catalana del primer franquismo". In: Discursos y prácticas musicales nacionalistas (1900-1970), ed. Pilar Ramos López. Logroño: Servicio de Publicaciones de la Universidad de La Rioja, 277-299.
J. Sloboda i S. O’Neill. 2001. “Emotions in everyday listening to music”. In: Music and emotion: Theory and researched, ed. per J. Sloboda i P.N Juslin. Oxford: Oxford University Press, 415-429
Manchado, Marisa (ed.). 2019. Música y mujeres: Género y poder. Ménades Editorial
Marín, Miguel Angel. 2018. “Challenging the Listener: How to Change Trends in Classical Music Programming”. Resonancias, vol. 22, n° 42, 115-130.
Martín Nieva, Helena. 2019. "El apoyo de los institutos de cultura extranjeros a la música de vanguardia en Barcelona (1939-1974)". In: Puentes sonoros y coreográficos durante el franquismo. Imaginarios, intercambios y propaganda en clave internacional, ed. per Belén Vega Pichaco, Elsa Calero Carramolino i Gemma Pérez Zalduondo. Granada: Libargo, 171-203.
Mikutta, C.A.; G. Maissen, A. Altorfer W. Strik i T. Koenig.2014. “Professional musicians listen differently to music”. Neuroscience. 268, 102-111
Müllensiefen, D.; B. Gingras, J. Musil i L. Stewart. 2014. “The Musicality of Non-Musicians: An Index for Assessing Musical Sophistication in the General Population.” PLoS ONE 9(2) (https://doi.org/10.1371/journal.pone.0089642)
National Endowment for the Arts. Office of Research and Analysis. 2020. Why we Engage: Attending, Creating, and Performing Art. Sept 2020 (https://www.arts.gov/sites/default/files/Why-We-Engage-0920_0.pdf)
Ramos, Pilar. 2003. Feminismo y música: Introducción crítica. Narcea Ediciones
Summers, T, 2016. Understanding Video Game Music, Cambridge University Press
Williamon, A.; J. Ginsborg, R. Perkins, i G. Waddell. 2021. Performing Music Research: Methods in Music Education, Psychology, and Performance Science. Oxford: Oxford University Press.
Software
To take advantage of the couse, the following basic software is required:
- A Word processor (Word or similar)
- A basic video editor (Emovie, Filmora or similar)
- Regular internet connection
Language list
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (TEm) Theory (master) | 1 | Catalan/Spanish | first semester | afternoon |