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Music, History and Society

Code: 100533
Credits: 6
2026/2027
Degree programme Type Course
Art History FB 1

Contact lecturer

Name :
Francesc D Assi Cortes Mir
Email :
francesc.cortes@uab.cat

Teaching staff

Bruna Escolà i Parra

Group languages

You can consult this information at the end of the document.

Prerequisites

There are no special prerequisites

Objectives

This is an introductory course in music in which various aspects of the musical art, as well as its connections to the Visual Arts, will be considered. The syllabus of the course is divided into four main areas: basic concepts of music and its relations to Literature, Philosophy and the Fine Arts, form and structure of music, History of music and its thought, and music as a social activity.

At the end of the course:

  • Students will have to possess a general knowledge of the history of music in the Western world, as well as its relations to the rest of the Arts.
  • Students will have to be able to recognize the different musical styles and compare them with the various pictorial styles.
  • Students will have to be able to put musical production in its context.
  • They will have to know the main theoretical musical concepts and will have to be able to explain and apply them appropriately.
  • Students will have to know the main musical forms from different eras.
  • They will have to understand the social use of music.
  • They will have to know and undestand the relationships between music and the rest of the artistic disciplines.

Learning outcomes

  1. Analysing ideas about an artistic phenomenon, and its creators and recipients in a given cultural context.
  2. Identifying the specific methods of history and their relationship with the analysis of particular facts.
  3. Identifying the context of the historical processes.
  4. Identifying and interpreting the several historical periods from Prehistory to the Late Modern Period.
  5. Identifying and analysing the specific vocabulary produced by every analysed social formation.
  6. Relating elements and factors involved in the development of historical processes.
  7. Using the specific vocabulary of History.
  8. Recognising the bases of the most appropriate bibliographic databases in order to obtain sources of a specific issue.
  9. Accessing electronic information sources and producing and communicating this information in electronic format. 
  10. Critically taking part in classroom oral debates and using the discipline's specific vocabulary.
  11. Properly using the specific vocabulary of History.
  12. Identifying the main ideas of a related text and drawing a diagram.
  13. Carrying out a planning for the development of a subject-related work.
  14. Connecting an artistic imagery with other cultural phenomena within its period.
  15. Reconstructing the artistic outlook of a particular cultural context.
  16. Propose projects and actions in accordance with the principles of ethical responsibility and respect for fundamental rights, diversity and democratic values.

Contents

MUSIC AND ITS COMPONENTS (FOUNDATIONS OF LISTENING AND SOUND THOUGHT)


  • Musical texture. A combination of elements: Melody, counterpoint, harmony. How musical thought is organized. Reading of excerpts from historical treatises on the perception of sound.


  • Timbre. Instruments through history and their symbolic or social weight.


  • Musical structure. Basic concepts. Music and the sense of form in time.


A BRIEF HISTORICAL OVERVIEW OF MUSICAL THOUGHT THROUGH LITERATURE, ART AND PHILOSOPHY


  • Ethos, mimesis, and politics in Ancient Greece. Music as a shaper of the soul and the State.


  • The sacred Word and the order of the cosmos in the Middle Ages. Medieval mysticism and musical theory as part of the Quadrivium.


  • Humanism and rhetoric. Music at the service of expressing human passions.


  • The Baroque. The birth of opera and the Theory of the Affects.


  • The Enlightenment and Musical Classicism. The search for clarity and naturalness.


THE ROMANTIC IDEOLOGY: Aesthetic and Musical Pursuit as the culmination of the Absolute


  • The Romantic spirit of the Absolute and Instrumental music as the supreme Art.


  • Literature and the cultural landscape of the 19th century. Romantic dissolution and the abyss of the 20th century.

Learning activities and methodology

Title Hours ECTS Learning outcomes
Reading of books in the Bibliography 25 1 1, 2, 3, 4, 5, 6, 7, 11, 12, 14, 15
Reading of texts proposed in class 25 1 1, 3, 4, 5, 6, 7, 8, 11, 12, 14, 15
Individual tuition 12 0.48 5, 8, 9, 11, 13
Coursework preparatory sessions 3 0.12 8, 9, 10, 13
Individual work 25 1 1, 2, 3, 4, 5, 6, 7, 11, 12, 14, 15
Writing a coursework 15 0.6 1, 2, 3, 5, 6, 7, 8, 9, 12, 13, 14, 15
Classroom activities 5 0.2 1, 3, 4, 5, 6, 7, 11, 12, 14
Master classes 40 1.6 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15

During the course there will be two types of sessions: masterclasses and sessions dedicated to the preparation of the coursework. Masterclasses will develop the different chapters in the syllabus of the course. The preparatory sessions will serve to define the general guidelines of the coursework and to supervise its process.

Students will be able to talk to the professor about any aspect related to the course at agreed hours.

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.

Assessment

Continuous assessment activities

Title Weight Hours ECTS Learning outcomes
Coursework 30 0 0 5, 7, 8, 9, 11, 12, 13, 15, 16
Classroom assignments 10 0 0 1, 3, 4, 5, 6, 7, 10, 11, 12, 14
Exams 60 0 0 2, 3, 4, 5, 6, 7, 11, 14, 15

This subject will be assessed on the basis of three compulsory activities: Test at class (30%), two exams during the course (30%each one), presence in the class and interest (10%). For the calculation of his final mark, it is mandatory for the student to complete and pass all three activities. It will be needed a mark of, at least 4 in the test on a text in English, and at least a mark of 5 in each the coursewok and the exam.

The examination will consist in a variety of different exercices, such as writing about a proposed topic, answering short questions, writing on a proposed music that will be heard, among others.

Reassessment: Those students who fail some of the compulsory activities will have the opportuniny of a further exam. It is necessary, however, that those students would have participated in all of the mandatory activities.

The final retake grade will be calculated based on the same percentages, making up any exams that have been failed.

Those students who only participate in one of the three compulsory assessing activities will be considered as \"No avaluable\".

Once the qualifications are published, a date and place will be announced for the students to see their assignments and marks. No revisions will be made out of schedule.

Single assessment: There is no possibility of single assessment in this subject.

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 asthe final grade for this subject.

Bibliography

ABRAHAM, G. (1986), Historia universal de la música, Madrid: Taurus. 

ANGLÈS, H. (1935 / R. 1988), La música a Catalunya fins al segle XIII, Barcelona: Biblioteca de Catalunya. 

BAINES, A. (1988), Historia de los instrumentos musicales, Madrid: Taurus. 

BALLESTER, J.- ESCALAS, R.- GARRIGOSA, J. (2000), Història de la música catalana, valenciana i balear, vol. I: dels orígens al Renaixement, Barcelona: Edicions 62. 

BASSO, A. (1986), Historia de la música 6: La época de Bach y Haendel, Madrid: Turner Música. 

BIANCONI, L. (1986), Historia de la música 5: El siglo XVII,  Madrid: Turner Música. 

BONASTRE, F. (1977), Música y parámetros de especulación, Madrid: Alpuerto. 

BONASTRE, F. (1999), Introducció a la història de la música, Barcelona: ed.de la Universitat Oberta de Catalunya. 

CALDWELL, J. (1984), La música medieval, Madrid: Alianza. 

CASINI, C. (1987), Historia de la música 9: El siglo XIX (segunda parte), Madrid: Turner Música. 

CATTIN, G. (1987), Historia de la música 2: El medioevo (primera parte), Madrid: Turner Música. 

CHAILLEY, J. (1979), La musique grecque antique, Paris : Les belles lettres. 

COMOTTI, G. (1986), Historia de la música 1: La música en la cultura griega i romana, Madrid: Turner. 

De CANDÉ, R. (1982), Diccionari de la música, Barcelona: Edicions 62. 

Di BENEDETTO, R. (1987), Historia de la música 8: El siglo XIX (primera parte), Madrid: Turner Música. 

DOWNS, Ph. G. (1998), La música clásica: La era de Haydn, Mozart y Beethoven, Madrid: Akal Música. 

FUBINI, E. (1988), La estética musical desde la Antigüedad hasta el siglo XX, Madrid: Alianza. 

FUBINI, E. (2001), Estética de la música, Madrid: A. Machado Libros. 

GALLICO, C. (1986), Historia de la música 4: La época del humanismo y del renacimiento, Madrid: Turner Música. 

GALLO, F. A. (1987), Historia de la música 3: El medioevo (segunda parte), Madrid: Turner Música. 

GROUT, D. J. - PALISCA, C. (1984), Historia de la música occidental, Madrid: Alianza. 

HARNONCOURT, N.(2006), La música como discurso sonoro. Hacia una nueva comprensión de la música. Barcelona: Acantilado. 

HOPPIN, R. (1991), La música medieval, Madrid: Akal Música. 

KAROLYI, O. (1975 /R. 1992), Introducción a la música, Madrid: Akal. 

LANZA, A. (1986),  Historia de la música 12: El siglo XX (tercera parte), Madrid: Turner Música. 

MICHELS, U. (1982), Atlas de música, Madrid: Alianza. 

MORGAN, R. (1999), La música del siglo XX, Madrid: Akal Música. 

MULLER, A. et Alii (1995), Ateliers: Instruments, musiques et musiciens de l’antiquité classique, Cahiers de la Maison de la Recherche, Université Charles-de-Gaulle. 

PESTELLI, G. (1086), Historia de la música 7: La época de Mozart y Beethoven, Madrid : Turner Música. 

PISTON, W. (1955), Orchestration, New York : W. W. Norton & Company. 

PISTON, W. (1991), Armonía, Barcelona : Editorial Labor. 

PISTON, W. (1998), Contrapunto, SpanPress Universitaria. 

PLANTINGA, L. (2002), La música romántica, Madrid : Akal Música. 

RANDEL, D.,editor. (1997), Diccionario Harvard de música, Madrid: Alianza editorial (Alianza Diccionarios). 

RAYNOR, H. 1986), Una historia social de la música, Madrid:  Siglo XXI. 

REESE, G. (1989), La música en la edad media, Madrid, Alianza. 

SADIE, S., editor. (1980, 6a ed.) The New Grove Dictionary of Music and Musicians, 20 vols., Londres: Macmillan Pub. 

SADIE, S. (1994), Guia Akal de la Música, Madrid: Akal (Akal Música nº 7). 

SALVETTI, G.(1986),  Historia de la música 10: El siglo XX (primera parte), Madrid, Turner Música. 

STEVENS,D., ROBERSTSON, A. (1972), Historia General de la Música, 4 vols., Madrid: Istmo (Fundamentos nº 5).

VALLS, M. (1978), Para entender la Música, Madrid: Alianza editorial. 

VINAY, G. (1986), Historia de la música 11: El siglo XX (segunda parte), Madrid: Turner Música.

Software

This information will be given during the course, as needed.

Course groups and languages

The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE

Type of teaching Group Language Semester Shift
(TE) Theory 1 Catalan first semester morning-mixed
(PAUL) Classroom practices 1 Catalan first semester morning-mixed