Applied Techniques of Ethnomusicology
Code: 43190 ECTS Credits: 10| Degree | Type | Year |
|---|---|---|
| 4312637 Musicology, Musical Education and Interpretation of Early Music | OT | 0 |
Contact
- Name:
- Jordi Roquer Gonzalez
- Email:
- jordi.roquer@uab.cat
Teachers
- Jaume Ayats Abeya
- Silvia Victoria Martinez Garcia
- Albert Casals Ibaņez
- Joan Escoda Domenech
Teaching groups languages
You can view this information at the end of this document.
Prerequisites
Throughout this module, you will acquire the necessary skills to tackle ethnomusicological research of quality and in accordance with the current international state of the discipline. The course will provide students with the required theoretical tools such as paradigms, theories, concepts and practical tools strategies for fieldwork, analysis tools, new media tools. The main objective is to apply this theoretical and practical corpus to the analysis of real situations that are susceptible to a better understanding, analysis and transformation through ethnomusicological research.
Musical knowledge and the basics of ethnomusicology practices and procedures are necessary, as well as the theoretical principles of the subject. It is recommended to follow the indicated bibliography.
Objectives and Contextualisation
Understand the interrelationships between ethnomusicology and education, considering how the acquired knowledge can be applied in educational contexts to promote a better understanding and appreciation of the musical activity.
Get in touch with current relations ethnomusicology and Digital Humanities.
Apply the methodologies of research in ethnomusicology, paying particular attention to digital technologies.
Initiate and apply technical methods in the study and reproduction of music, especially in ethnographic fields and sociological studies.
Deepen the characteristics and conditions of the musical language produced in different cultural areas.
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 contexts (social, economic, historical, artistic) involved in the music profession to conduct interpretive projects
- Transmitted orally and written musicological aspects, educational and interpretive projects carried out.
- Working in interdisciplinary contexts related to musicology, music education and interpretation.
Learning Outcomes
- Adapt the results of contextual analysis to different social realities involved in contemporary musical practice in relation to early music.
- Apply critical capacity in musicological research projects and interpretive projects.
- Develop the capacity to assess sex and gender inequalities in order to design solutions to them.
- Discern distinctive features of various musical cultures
- Mastering historiographical analysis tools adapted to ethnomusicological study
- Music systems relate to their contexts of production and reception
- Propose innovative projects proposed in musicological research and interpretive projects.
- Recognise the dimension of sex and gender present in the socio-cultural contexts studied.
- Transmitting oral and written musicological, educational and interpretive aspects of the projects.
- Working in interdisciplinary contexts related to musicology, music education and interpretation.
Content
- Historical overview and fundamental paradigms of the discipline.
- Large cultural spaces in relation to musical activities.
- Relations between ethnomusicology and pedagogical approaches.
- Exemplary cases of research in each of the cultural fields, to face new phases of study and more specific investigations.
- Recent research that, as a whole, presents a panorama of methodological and hermeneutic orientations in relation to the music of the different cultural environments of the world.
- Study of the different methodological options in relation to the specificity of each of the research projects, and of the cultural area covered.
- Analysis with sonograms and spectrograms on sound files of ethnomusicological interest.
- Presentation of an individual work in academic paper format.
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Practical activities and comments on texts and audiovisual material | 3 | 0.12 | 1, 2, 4, 5, 6, 7, 9, 10 |
| Teacher lectures | 25 | 1 | 1, 2, 4, 5, 6, 7, 9, 10 |
| Type: Supervised | |||
| Practical activities and comments on texts and audiovisual material from reference | 10 | 0.4 | 1, 2, 4, 5, 6, 7, 9, 10 |
| Type: Autonomous | |||
| Autonomous work | 50 | 2 | 1, 2, 4, 5, 6, 7, 9, 10 |
| Reflection and applied work based on the theoretical and methodological tools of the module | 32 | 1.28 | 1, 2, 4, 5, 6, 7, 9, 10 |
| Research and elaboration of the work of the module | 30 | 1.2 | 1, 2, 4, 5, 6, 7, 10 |
The module will provide students with the main theoretical and practical tools contemplated by the ethnomusicological discipline in the current context. Crucial aspects will be worked on, such as the relationship between technology and ethnomusicology, exploring how new technologies can transform musical research and dissemination. Ethnomusicology in the urban environment will also be explored, analyzing how the dynamics of modern cities affect musical practices and research.
From a lose perspective to the Digital Humanities paradigm, we will review how these new methodologies and digital tools can enrich ethnomusicological study. Additionally, the relationship between ethnomusicology and pedagogy will be discussed, considering how the knowledge acquired can be applied in educational contexts to promote a better understanding and appreciation of the musical fact.
A workshop on music from other cultures is scheduled at the Barcelona Music Museum, the content and format of which may vary slightly from one year to the next.
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 |
|---|---|---|---|---|
| Linked to the module work | 40% | 40 | 1.6 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 |
| Linked to the test on the first half of the subject | 30% | 30 | 1.2 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 |
| Linked to the test on the second half of the subject | 30% | 30 | 1.2 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 |
The module has three assessment tools: an individual work and two tests to assess the theoretical-practical content.
The work will be proposed by the teaching staff (or agreed upon between student and teacher) and its format will be published on the Virtual Campus. The weight of this work in the overall grade of the module will be 40%.
There will be two online tests (but in class) designed to assess the acquisition of the theoretical-practical skills of the module. Its weight on the overall grade will be 30% each test.
The three assessment activities will be averaged and a minimum grade in any of the three activities will not be necessary for the calculation of the overall grade. In case of not obtaining the overall minimum grade (5), specific work will be required as a recovery mechanism.
In the event that the student commits any irregularity that could lead to a significant variation in the grade of an assessment act, this assessment act will be graded with 0, regardless of the disciplinary process that may be instituted. In the event that several irregularities occur in the evaluation acts of the same subject, the final grade for this subject will be 0.
Students who take the single assessment must submit three specific exercises: a) the work of the module in the form of an academic article (40%); b) a questionnaire related to the contents of the second part of the module (30%); c) a synthesis exercise on 10 concepts proposed by the module coordinator (30%). Regarding recovery, the same recovery system will apply as for continuous assessment.
Bibliography
Ayats, Jaume. 2010: Las canciones olvidadas en los cancioneros de Catalunya: cómo se construyen las canciones de la nación imaginada. Jentilbaratz, Cuadernos de folklore. Donostia: Eusko Ikaskuntza.
Ayats, Jaume; Costal, Anna; Gayete, Iris; Rabaseda, Quim. 2011 «Polyphonies, Bodies and Rhetoric of senses: latin chants in Corsica and the Pyrenees», Transposition Núm. 1
Ayats, Jaume; Marchi; Lucia. 2020: La liturgia di Francesco: un’ipotesi sul Cantico di frate Sole e la sua musica. Studi musicali Nuova serie, anno 11, 2020, n. 01
Beard, David; Gloag, Kenneth. 2005: Musicology, the key concepts. New York: Routledge.
Blacking, John. 1994: Fins a quin punt l’home és músic?, Vic, Eumo Editorial.
Cámara de Landa, Enrique. 2003: Etnomusicología, Madrid: ICCM.
Clarke, Eric, and Cook, Nicholas. 2004: Empirical Musicology: Aims, Methods, Prospects. New York: Oxford University Press.
Cook, Nicholas. 1998: Analysing Musical Multimedia. Oxford: Oxford University Press.
Cook, Nicholas. 2001: De Madonna al canto gregoriano. Una muy breve introducción a la música. Madrid: Alianza Editorial.
Cook, Nicholas. 2009: Methods for Analysing Recordings. Cambridge: Cambridge University Press.
Frith, Simon. 1986: Art versus Technology: the strange case of popular music. London: Media, Culture and Society.
Geertz, Clifford. 1973: The Interpretation of Cultures. New York: Basic Books.
Goebl, W. and Widmer, G. 2009: ‘On the Use of Computational Methods for Expressive Music Performance’, en Crawford, T. and Gibson, L. (eds) Modern Methods for Musicology: Prospects, Proposals, and Realitie. Londres: Ashgate Publishing, pp. 93–113.
Gordon, Alan D. 2004. «A Survey of the Development of the Theories of Ethnomusicology from 1955 to 2003: From “Sciencing about Music” to “People Experiencing Music».
Martí i Pérez, Josep. 2000: Más allá del arte. La música como generadora derealidades sociales, Sant Cugat del Vallès, Deriva editorial.
Merriam, Alan. 1964: The Anthropology of Music. Evaston (Illinois), Northwestern University Press. Capítol II. (n’existeix una traducció italiana).
Small, Christopher. 1980: Música. Sociedad. Educación. Madrid, Alianza editorial. Capítols 1 i2.
Small, Christopher. 1998: Musicking: the meanings of performing and listening. Middletown: Wesleyan University Press.
Rice, Timothy. 1987: “Toward the Remodeling Ethnomusicology” (amb la trad. castellana “Hacia la remodelación de la etnomusicología”, a Las culturas musicales. Lecturas de etnomusicología, Madrid, Trotta, p.155-178) dins Ethnomusicology, 31, tardor de 1987.
Roquer, Jordi. 2018: Sound hyperreality in popular music: on the influence of audio production in our sound expectations. En Sound In Motion, Cap. 2, pp. 22-45. Londres: Cambridge Scholar Press.
Roquer, Jordi; Rey, Mauricio; Sola, Gala. 2020: Remixing Merriam, Rethinking the prism. El modelo analítico de Alan Merriam para el estudio potencial de nuevos modos de escucha mediada tecnológicamente. Dins: Enrique Encabo (ed.), Bits, Cámara, acción. Castelló: El Poblet Edicions.
Tagg, Philip. 2013: Music’s Meanings: A Modern Musicology for Non-Musos. New York and Huddersfield: Mass Media Music Scholars Press.
Velasco, Honorio; Rada, Ángel. 2003: La lógica de la investigación etnográfica. Madrid: Trotta.
Zagorski-Thomas, Simon. 2014: The Musicology of Record Production. Cambridge: Cambridge University Press.
Software
NEARPOD
https://nearpod.com
AUDACITY
https://www.audacityteam.org
REAPER Digital Audio Workstation.
https://www.reaper.fm
Language list
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (TEm) Theory (master) | 1 | Catalan | second semester | morning-mixed |