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History of Hispanic Music

Code: 100633
Credits: 6
2026/2027
Degree programme Type Course
Musicology OP 3
Musicology OP 4

Contact lecturer

Name :
Xavier Daufi Rodergas
Email :
xavier.daufi@uab.cat

Group languages

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

Prerequisites

There are no special prerequisites, but it would be advisable some knowledge on History of Spain and History of Music, as well as Musical analysis


Objectives

The course aims at a full understanding of the most significant aspects of Hispanic Music History, while, at the same time, placing those aspects in the context where they arose and relating them with the rest of Europe. The evolutionary aspects of the musical style that was given in different geographical areas of the Iberian Peninsula will also be considered.


At the end of the course:

  • Students will be able to correctly identify the stylistic peculiarities belonging to each period and each specific genre.
  • Students will be able to analyze, based on scores and auditions, the stylistic traits belonging to a certain time and to a certain genre.
  • They will have to know the main composers and the most prominent Hispanic musical repertoire.
  • Students will be able to contextualize musical works, establishing a link between the forms and stylistic musical features, and social, economic and cultural context in which they occur.
  • They will have to be able to handle, with critical knowledge and scientific rigor, the most important literature and musicological sources of the different periods considered, both to expand knowledge and for research.

Learning outcomes

  1. Solve problems of a methodological nature in the area of musicology.
  2. Identifying the context of the historical processes.
  3. Relating elements and factors involved in the development of historical processes.
  4. Use specific vocabulary of history correctly.
  5. Identify the stylistic properties of each historical period.
  6. Define the processes of periodisation and stylistic classification and usual typology in the historical conceptualisation of the musical fact.
  7. Identify phenomena of the circulation of ideas in music proficiency.
  8. Contextualise musical works in their hsitorical and cultural setting from a critical perspective.
  9. Identify and critically place different musical typologies in their historical periods.
  10. Reconise the general characteristics of the history of music in the history of Hispanic music.

Contents

1. Middle Ages


  • Music in the early Hispanic church.
  • Gregorian chant in the Iberian Peninsula: formation, implantation and consolidation. Paraliturgical forms: tropes, sequences and liturgical dramas.
  • Early polyphony in the Iberian Peninsula: Codex Calixtinus, Manuscript of Toledo and Codex of Las Huelgas.
  • Secular Medieval music: Cantigas de Martín Codax, and Cantigas de Santa Maria.
  • Ars Nova musical sources: Llibre Vermell de Montserrat.


2. Renaissance


  • Musical patronage: musical chapels linked to different political and social institutions.
  • The main musical treatises: Ramos de Pareja, Fray Juan Bermudo amd Francisco Salinas.
  • Religious music: liturgical organization and musical forms. Main representatives. Impact of the Counter-Reformation.
  • Secular music: musical forms, sources (songbooks) and main representatives.
  • Instrumental music: vihuela and organ.
  • The main musical theorists: Ramos de Pareja, Juan Bermudo, Francisco Salinas.


3. The 17th century


  • Characteristics that mark the new Baroque style: polychorality,thoroughbass and melody.
  • Vocal religious music.
  • Instrumental music: vihuela, lute, and guitar.
  • Vocal secular music: opera and zarzuela.
  • Treatises: Pietro Ceron, Andrés Lorente and Pablo Nasarre.


4. The 18th century


  • Religious music: main chapels and chapelmasters.
  • Chamber music: musicians and main musical tendencies in the Court and the nobility.
  • The music of the bourgeoisie: the advent of a new public.
  • Theater music: Italian influence at the Court, Spanish Companies and local composers.
  • Spanish musical theory in the 18th Century.


5. The 19th century


  • Fundamental concepts of the music in Sapain in the 19th Century
  • Symphonic music in the 19th century.
  • The zarzuela in the 19th Century.


6. The 20th and 21st centuries


  • Music up to 1939: social and cultural contexts of the time.
  • The heritage of Spanish nationalism: Felip Pedrell, Isaac Albéniz and Enric Granados. Spain between modernism and nationalism.
  • The work of Manuel de Falla.
  • The Generation of 27: group from Madrid and group from Barcelona.
  • Music since the Civil War: social and cultural context, musical institutions.
  • The new avant-gardes: from the Generation of 51 to the present day.


Learning activities and methodology

Title Hours ECTS Learning outcomes
Lessons 35 1.4
Individual and group tutorials 5 0.2
Group exercise 30 1.2
Study of text 21 0.84
Musical analysis 21 0.84
Study 25 1
  • The theoretical-practical sessions will serve as a general introduction to the contents of each topic, but auditions, analysis essays, and text commentaries will also be carried out.
  • Individual study and the completion of individual and group essays,supervised or autonomous..
  • Individual and group tutorials will be held.


Note: 15 minutes of a class will be reserved, within the calendar established by the center/degree, for the completion by the students of the surveys to evaluate the performance of the teaching staff and to evaluate the subject.

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
Second partial exam 35 1 0.04 2, 3, 4, 5, 6, 7, 8, 9, 10
First partial exam 35 2 0.08 2, 3, 4, 5, 6, 7, 8, 9, 10
Essay 30 10 0.4 1, 2, 4, 8, 10

ASSESSMENT


This subject will be assessed on the basis of three compulsory activities:


  • Exam I, 35%
  • Exam II, 35%
  • Essay, 30%


Both of the exams, which will teka place during the teaching period, will consist of different execises: topics to develope, resolution of short questions and audition comentaries.


A final qualification will only be obtained if the student is graded 5 or more in all three compulsory assessment activities.


REASSESSMENT


During the period of reassessment, those students who have not passed some the mentioned assessment activities will reassessed. Only the exams not passed will have to be reassessed. To attend the reassessment exam students must have participated in all three of the compulsory assessment activities descrived above.


Students will obtain a not assessed/not submitted course grade unless they have submitted more than 30% of the assessment items.


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 studient will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of a several irregularities in assessment activities of the same subject, the student will be given a zero as tha final grade for this subject.



USE OF AI TECHNOLOGIES


This subject allows the use of AI technologies exclusively for support tasks such as bibliographic searches and text correction or translations,

The student must clearly (i) identify which parts have been generated using AI technology; (ii) specify the tools used; and (iii) include a critical reflection on how these have influenced the process and final outcome of the activity.

Lack of transparency regarding the use of AI in the assessed activity will be considered academic deshonesty; the corresponding grade may be lowered, or the work may even be awarded a zero. In cases of greater infringement, more seriou action may be taken.


UNIQUE ASSESSMENT


Fopr those students who ask for it, there will be a unique assessment. The date will be informed in the campus virtual.


These are the exercises


  • Exam, 40%
  • Audition, 30%
  • Text comentaries


ERASMUS STUDENTS


Erasmus and exchange students who request to advande an exam must present a document from their home university justifying their request.


REVIEWING GRADES AWARDED


On carrying out each evaluation activity, lecturers will inform students (on Moodle) of the procedure to be followed for reviewing all grades awarded, and the date on which such a review will take place.

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CORTÉS GARCÍA, Manuela “La mujer y la música en la sociedad arabo-musulmana y su proyección en la cristiana medieval”. Música Oral del Sur, 2 (1996), pp. 193-206. http://www.centrodedocumentacionmusicaldeandalucia.es/ojs/index.php/mos/article/view/44

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EGUIZÁBAL, Luis, La radio musical española de los sesenta y su influencia en el desarrollo de la música popular, Universidad Complutense de Madrid, 2021. https://eprints.ucm.es/id/eprint/65980/

ESCRIVÀ LLORCA, Ferran Eruditio, pietas et honor: Joan de Borja i la música del seu temps (1533-1606). València: Editorial Universitat Politècnica de València, 2015. https://riunet.upv.es/handle/10251/51022

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_______ El Llibre Vermell: cantos y danzas de fines del Medievo, Madrid: Fondo de Cultura Económica, 2017.

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FERNÁNDEZ GONZÁLEZ, Juan Pablo Mujeres y música en la Casa Ducal de Osuna (siglos XVII-XIX): coordenadas y documentos para un estudio, Madrid: Sociedad Española de Musicología, 2011.

FERNÁNDEZ MANZANO, Reynaldo, De las melodías del Reino Nazarí de Granada a las estructuras musicales cristianas. Granada: Diputación de Granada, 1985.

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VEGA, Pilar de, et al., Teatro lírico español: ópera, drama lírico y zarzuela grande entre 1868 y 1925, Madrid: UNED, 2010.

VELA DEL CAMPO, Juan Ángel (dir.). Historia de la música en España e Hispanoamérica. 8 vols. Madrid: Fondo de Cultura Económica, 2009-2015 (I. De los orígenes hasta c. 1470; II. De los Reyes Católicos a Felipe II; III. La música en el siglo XVII; IV. La música en el siglo XVIII; V. La música en España en el siglo XIX; VI. La música en Hispanoamérica en el siglo XIX; VII. La música en España en el siglo XX; VIII. La música en Hispanoamérica en el siglo XX).

Software

No necessary

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 second semester morning-mixed
(PAUL) Classroom practices 1 Catalan second semester morning-mixed