
Musical Language II
Code: 100658Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Musicology | FB | 1 |
Contact lecturer
- Name :
- Gabrielle Kaufman
- Email :
- gabrielleemelie.kaufman@uab.cat
Teaching staff
- Marta Dosaiguas Canal
Group languages
You can consult this information at the end of the document.
Prerequisites
In order to complete the course, previous musical studies are recommended.
Knowledge comparable to that of having successfully completed Musical Language I is considered the minimum required.
Objectives
This course develops further the knowledge of music as a language with conscious and individualised work recognising and reproducing different musical elements. It offers tools for ear training and for better comprehension of the musical discourse.
After the course the student is expected to:
- Know how to read a musical score for four voices with some complexity
- Be able to sing annotated melodies with some preparation and to sing four-part music together with other students
- Be able to recognise musical elements by ear, such as characteristics like timbre, structure, texture, pitch, tempo or rhythm
- Know how to read and write musical chords
- Be familiar with the function and process of the musical ear
- Be able to harmonise a popular melody, creating a musical arrangement with different sections for a musical ensemble
Learning outcomes
- Conceptually analysing a work of the subject matter.
- Critically taking part in classroom oral debates and using the discipline's specific vocabulary.
- Demonstrate knowledge of the fundamental problems, vocabulary and concepts of music.
- Recognise the main models and their application in musical works.
- Discern equivalences and differences.
- Discern the basic elements of the main areas of music and culture and relate them to musical praxis. Develop the experience of cultural relativity in the act of listening.
- Recognise in musical praxis element of different cultures and different historical periods.
- Identify situations in which a change or improvement is needed.
- Communicate using language that is not sexist or discriminatory.
- Analyse a situation and identify points for improvement.
Contents
- Modality, tonality and atonality
- Musical writing (scores, functional and modern chord notation)
- Timbre, dynamics and texture
- Rhythm, pulse and tempo
- Vocal technique and expression
- Harmonic progressions and modulation
- Foundations of musical form
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Aural training | 21 | 0.84 | 1, 2, 3, 4, 5, 6, 7, 9 |
| Aural and visual recognition of different musical elements | 26 | 1.04 | 1, 6 |
| Reproduction work of different musical elements, such as pitch, rhythm etc. and harmonic arrangement | 40 | 1.6 | 3, 4, 7 |
| Analysis activities and musical practice | 34 | 1.36 | 1, 3, 5, 8, 10 |
| Reading and listening to musical works | 22.5 | 0.9 | 1, 2, 3, 5, 9 |
The methodological approach throughout the course will be based on the following principles:
- Reflexive practice, self-assessment and the inverted classroom
- The connection between listening, self-diagnosing, performance and composition
- Practical work individually and in groups
- Individual use of specific software with gamification elements
On Moodle the student will find a diverse range of complementary material for different activities, such as;
- Aural skills training
- Score reading and analysis
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Composition project | 30% | 0 | 0 | 1, 3, 4, 6, 7, 8, 9, 10 |
| Oral exams | 25% | 1 | 0.04 | 3, 5, 6 |
| Exams for aural skills and musical writing | 45% | 5.5 | 0.22 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 |
The assessment will be composed of the following elements:
- Identification of written musical elements (scores, chords)
- Recognition of aural elements (pitch, rhythm, timbre, tempo, dynamics etc.)
- Reproduction of aural elements (pitch, rhythm etc.)
- Creation and arrangement of melodies
- Self-assessment and peer-review of the musical ear
- Reflexion and commentary regarding the evolution of musical capacity
The assessment schedule will contain a number of different activities:
EXAMS FOR AURAL SKILLS AND MUSICAL WRITING 45%
There will written exams related to differents parts of the essential part of the course syllabus. These will be obligatory with a minimum grade of 4 to pass the course. Elements of peer review and self-assessment will be included.
ORAL EXAMS 25%
There will be differents tasks related to vocal reproduction during the course. These will be obligatory with a minimum grade of 4/10.
COMPOSITION PROJECT 30%
There will be creative assignment at the end of the trimestre consisting of writing a harmonic arrangement of a folkmelody and recording a performance of the arrangement. The assignment will be obligatory but without a minimum grade.
The written exams, the first singing assignment and the Composition Project can be recuperated during the corresponding time at the end of the trimester.
Students will obtain a \"Not assessed\" course grade unless they have submitted more than 1/3 of the assessment items. On carrying out each evaluation activity, lecturers will inform students (on Moodle) of the procedures to be followed for reviewing allgrades awarded, and the date on which such a review will take place.
In order to have access to the re-evaluation the student must have been previously evaluated for a group of activities that together conform at least two-thirds of the total grade for the continuous evaluation of the course.
Exchange students that request an advancement of an exam must present a document to the teacher from their origin university that justifies that request.
The use of Articificial Intelligence (AI) is not permitted for this course. Any assignment including fragments generated by AI will be consided as lacking in academic honesty and will result in th parcial or total suspension of the grade, or greater sanctions.
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.
This course does not contemplate single assessment. From the second enrolment and onwards, students can choose to substitute the continuous evaluation system with a synthesis examination.
Any additional details regarding assessment and other details of the course will be published on the moodle page of the course at the beginning of the semester.
Bibliography
BERKMAN, David, The Jazz Harmony Book, Sher Music Co, Petaluma, 2013.
GARCÍA, José María, Forma y estructura en la música del s. XX, ed. Alpuerto, Madrid, 1996.
HINDEMITH, Paul, Armonía Tradicional, ed. Ricordi Americana, Buenos Aires, 2009.
KARPINSKI, Gary. S., Aural skills acquisition : the development of listening, reading, and performing skills in college-level musicians, Oxford University Press, 2000.
KÜHN, Clemens, Tratado de la Forma Musical, ed. Labor, Barcelona, 1992.
MAYFIELD, Connie E., Theory Essentials: An Integrated Approach to Harmony, Ear Training, and Keyboard Skills, Schirmer (Thomson Learning), 2003.
PISTON, Walter, Armonía,Labor, Barcelona, 1992.
SCHOENBERG, Arnold, Funciones Estructurales de la Armonía, ed. Labor, Barcelona,1990.
THACKRAY, Rupert. The seeing ear: exercises in aural musicianship, University of Western Australia Press, Nedlands, 1995.
VALLES, Alexa, ANDERSEN, Sophie, RAMOS, Aidan and HUERTA-LINA, Leonardo, "Harmony, Texture, and Timbre in Popular Culture: Undergraduate Edition," Journal of Music Theory Pedagogy: Vol. 38, Article 10, 2024.
DOI: https://doi.org/10.71156/2994-7073.1474
XUCLÀ, Toni, Harmonia popular i moderna, Edicions El mèdol, Tarragona, 1998.
ZAMACOIS, Joaquín, Tratado de Armonía, ed. Labor, Barcelona, 1982 (3 volums).
ZAMACOIS, Joaquín, Curso de formas musicales, ed. Labor, Barcelona, 1994.
(Hi haurà la informació complementària al moodle de l'assignatura).
(There will be complementary information on Moodle for this course: harmony material, websites of exercises and musical theory etc ...)
Software
Musescore/Finale/Sibelius
Audacity or sim.
Aural skills training apps
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 |
|---|---|---|---|---|
| (PAUL) Classroom practices | 1 | Catalan | second semester | morning-mixed |
| (PAUL) Classroom practices | 2 | Catalan | second semester | morning-mixed |