Degree | Type | Year |
---|---|---|
Musicology | OB | 2 |
You can view this information at the end of this document.
1. Students must have general a knowledge of History of Music, Art and Philosophy.
2. Students must have consolidated knowledge of Music Harmony, Counterpoint and Musical Form.
The coursewill describe and explain the development of music and the musical phenomenon from the Mannerist era and the period in which took place the Reformation and Counterreformation, to the late Baroque in thed early 18th Cantury. Thus, there will be a contextualized tour through the most significant composers, forms, genres, instruments and theories that shape the musical fact of Baroque music from the late sixteenth century to around 1730.
Women's contributions to music in the Baroque Era will be considered through the course.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Analysis of musical works | 37 | 1.48 | 2, 1, 26, 15, 10, 19, 20, 18, 21 |
Comment of hearing | 50 | 2 | 2, 1, 26, 9, 15, 10, 11, 19, 20, 14, 21 |
Type: Supervised | |||
Contextualized identification of the styles and aesthetics of musical baroque | 60 | 2.4 | 3, 4, 7, 12, 17, 15, 25, 19, 20, 18, 22, 23, 29, 30, 31, 24 |
The content of the course will be developed through master classes, along with practical sessions deazling with analytical commentary of musical works (fugues) and guided listening.
ON THE USE OF AI TECHNOLOGIES IN THIS SUBJECT
The use of AI technologies in this subject will be permitted exclusively for bibliographic research, text correction, and translation. Students must explicitly identify any sections generated using AI tools, specifying which tools were used and providing a critical reflection on their impact on both the process and the final outcome of the activity.
Failure to maintain transparency in AI use will be regarded as academic dishonesty and may result in significant grade reductions, as well as more severe sanctions in serious cases
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 |
---|---|---|---|---|
Examination of analysis of musical works | 25% | 0.75 | 0.03 | 2, 3, 1, 6, 26, 10, 11, 20, 13, 14, 18, 16, 21, 8, 27, 29, 30, 31, 5, 24 |
Examination of comment of musical hearing | 25% | 0.75 | 0.03 | 2, 3, 1, 26, 10, 11, 14, 18, 21, 28, 29, 30, 31 |
Thematic development review (50%) | 50% | 1.5 | 0.06 | 2, 3, 1, 4, 26, 7, 9, 12, 17, 15, 25, 10, 19, 20, 14, 18, 22, 23, 30, 31, 24 |
Assessemen
The assessment of this course will consist of three compulsory activities:
1. Thematic development review (50%)
2. Analysis of a fugue (25%)
3. Comentary on musical auditions (25%)
To pass the course students must obtain a minimum grade of 5 in each of the three compusolry assessment activities.
Reassessment
At the re-evaluation exam, scheduled by the Faculty, students will have to be examined on the failed part(s).
The examinations will only be reviewed in person.
Those students who only take part in one of the compulsory assessment activities wil be considered as "non-evaluable".
SINGLE ASSESSMENT
The date for the assessment will be published at the Virtual Campus.
Single Assessment (reassessment)
The reassessment procedure will be the same as that for ordinary 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.
AAVV, Història Crítica de la Música Catalana, Servei de Publicacions de la Universitat Autònoma de Barcelona, 2009.
ABRAHAM, G., Concert Music, 1630 – 1750, vol. VI, The New Oxford History of Music, Oxford Univ. Press, London, 1986.
ABRAHAM, G., Opera and Church Music, 1630 – 1750, vol. V, The New Oxford History of Music, Oxford Univ. Press, London, 1968.
ANTHONY, J. R., La Musique en France à l´époque baroque, Harmoniques /Flammarion, 1981.
ARNOLD, Denis, NEWCOMB, A. y TALBOT, M., Maestros del Barroco Italiano, 1. Monteverdi, Frescobaldi, Corelli, Muchnik Editores, Barcelona, 1987. (Forma parte de la colección «New Grove», nº 9).
BASSO, A., Historia de la Música, 6, ed. Turner, Turner Música, Madrid, 1986.
BASSO, A., Jean Sébastien Bach, vol. 1 i 2, Fayard, París, 1984
BEAUSSANT, Ph., François Couperin, AM 71, Madrid, 1996.
BEAUSSANT, Ph., Les plaisirs de Versailles (théâtre et musique), ed. Fayard, col. les chemins de la musique, Ligugé, Poitiers, 1996.
BEAUSSANT, Ph., Louis XIV artiste, Payot, París, 1999.
BEAUSSANT, Ph., Lully ou le musicien du soleil, Gallimard, París,1992.
BEAUSSANT, Philippe, Versailles, Opéra, Gallimard, París, 198
BIANCONI, L., Historia de la Música V, ed. Turner, Turner Música, Madrid, 1986.
BLUME, F., Renaissance and Baroque Music, ed. Norton, London, 1967.
BONASTRE, F. “El Barroc Musical a Catalunya”, Barroc català, ed. Quaderns Crema, Barcelona, 1989.
BOYD, M.., CARRERAS, J.J., eds, La Música en España en el siglo XVIII, Cambridge Univ Press, Madrid 2000
BUELOW, G.J.(ed.), The late Baroque Era. From the 1680s to 1740, Prentice Hall, New Jersey, 1993.
BUKOFZER, M., La música en la época barroca. De Monteverdi a Bach, Alianza ed., Alianza Música 30, Madrid, 1986.
BURROWS, Donald, Haendel, Oxford University Press, Oxford, 1996.
CLERCX, S., Le Baroque et la Musique, ed. Librairie Encyclopédique, Bruxelles, 1948
CODINA, D., DOLCET, J., RIFÉ, J. i VILAR, J.M., Història de la Música Catalana, Valenciana i Balear. Barroc i Classicisme. Vol II, ed. 62, Barcelona, 1999.
DEAN, Winton y MERRILL KNAPP, John, Handel's Operas, 1704-1726, Clarendon Press, Oxford, 1995.
DEAN, Winton, Handel's Dramatic Oratorios and Masques, Clarendon Press, Oxford, 1990.
FABBRI, P., Monteverdi, ed. Turner, Madrid, 1989.
GREGOR-DELLIN, Martin, Heinrich Schütz, Fayard, París, 1986.
HEARTZ, Daniel, Music in European Capitals. The Galant Style 1720-1780, WW. Norton & Company, New York-London, 2003.
HOGWOOD, Ch., Haendel, AM 33, Alianza ed., Madrid, 1988.
HUTCHINGS, A.J.D., The Baroque Concerto, London, 1973.
JEPPESEN, K., The Style of Palestrina And the Dissonance, Dover, New York, 1970.
KING, R., Henry Purcell, AM 72, Alianza ed., Madrid, 1996.
LÓPEZ-CALO, J., Historia de la Música Española: 3. Siglo XVII, Alianza ed., AM 3, Madrid, 1983.
MANNIATES, M.R., Mannerism inj Italian Music and Culture, 1530 – 1630, Manchester University Press, Manchester, 1979.
MARTÍN MORENO, Antonio, Historia de la música española, 4. Siglo xviii, Alianza, Madrid, 1985.
NEWMAN, W., The Sonata in the Baroque Era, Norton, New York – London, 1983.
OTTERBACH, F., Johann Sebastian Bach, AM 52, Alianza ed., Madrid, 1990.
PALISCA, C., La Música del Barroco, ed. Victor Leru, Buenos Aires, 1968.
PALISCA, C., Studies inthe History of Italian Music and Music Theory, Oxford University Press, Oxford, 1994.
PALISCA, C., The Florentine Camerata, Yale University Press, Yale, 1989.
SCHWEITZER, Albert, J. S. Bach. El músico poeta, Ricordi, Madrid, 1955.
SELFRIDGE-FIELD, E., Venetian Instrumental Music, Dover, New York, 1994.
SMITHER, H., A History of the Oratorio, 3 vols., Oxford University Press, Oxford, 1987.
TALBOT, M., Vivaldi, AM, Alianza ed., Madrid. 1990.
WEBBER, G., North German Church Music in the Age of Buxtehude, Oxford Monographs on Music, Clarendon Press, Oxford, 1996.
WEBER, E., Le Concile de Trente et la Musique. De la Réforme à la Contre-Réforme, Librairie Honoré Champion, col. musique-musicologie nº 12, Paris, 1982.
WOLFF, Ch., Johann Sebastian Bach, vol. I y II, ed. Robinbook, Barcelona, 2000.
WALTER HILL, John, La Música Barroca, Akal Música 3, Madrid, 2008.
WALTER HILL, John, Antología de la Música Barroca, Akal Música, 2013.
Not used
Please note that this information is provisional until 30 November 2025. You can check it through this link. To consult the language you will need to enter the CODE of the subject.
Name | Group | Language | Semester | Turn |
---|---|---|---|---|
(PAUL) Classroom practices | 1 | Catalan | first semester | morning-mixed |
(TE) Theory | 1 | Catalan | first semester | morning-mixed |