
Introduction to Musicology
Code: 100660Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Musicology | FB | 1 |
Contact lecturer
- Name :
- Diego Alonso Tomás
- Email :
- diego.alonso@uab.cat
Group languages
You can consult this information at the end of the document.
Prerequisites
There are no specific prerequisites, although having a high level of musical theory is recommended.
Objectives
- To be aware of the objectives and methodology of the main branches and subdisciplines of musicology, both in the present and throughout history.
- To know and apply the main techniques and methods of musicological research.
- To understand the historical changes in the interests and methodologies linked to musicology.
- To appreciate the latest methodological trends within the field of musicology, from the 1980s to the present.
- To improve oral and written expression in relation to the field of musicology.
Learning outcomes
- Summarising acquired knowledge about the origin and transformations experienced in its several fields of study.
- Analysing the recipients of an artistic phenomenon in a specific cultural context.
- Conceptually analysing a work of the subject matter.
- Drawing up an academic text using the discipline's specific vocabulary.
- Relate concepts and information from different humanistic, scientific and social disciplines, especially the interactions established between music and philosophy, history, art, literature and anthropology
- Link periods of the history of music with periods of the history of art
- Identify the main trends in current musical research.
- Recognise the main models and their application in musical works.
- Apply knowledge acqured in emerging areas of musicology, both in the field of historical musicology and in that of urban , popular tradition and non-western music.
- Put into practice the methodological knowledge acquired in the first phase of bibliographical and documentary research.
- Relate musical creations with their different contexts, discriminating between the different social funtions of the music, its role and that of the musician in society and in relation to other artistic manifestations.
- 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
Block 1. What is Musicology? Definitions, Subdisciplines, and Methodologies.
Block 2. History of the Discipline
Block 3. Branches and Subdisciplines
Block 4. Contemporary Horizons: Key Debates and Concepts
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Seminars on specific aspects of musicological research | 3 | 0.12 | |
| Organization of notes and class material | 20 | 0.8 | |
| Theoretical-practical sessions | 44 | 1.76 | |
| Individual and/or group tutorials | 4 | 0.16 | |
| Mandatory readings | 28.5 | 1.14 | |
| Search of bibliographic information | 21 | 0.84 | |
| Study of the subject of the course | 25 | 1 |
The main part of the course will consist of face-to-face theory sessions in the format of lectures by the lecturer, oral presentations by the students, as well as sessions combining theory and practice.
Use of AI permitted: In this course, the use of Artificial Intelligence (AI) technologies is allowed as an integral part of the development of the work, provided that the final result reflects a significant contribution from the student in analysis and personal reflection. The student must clearly identify which parts have been generated using this technology, specify the tools employed, and include a critical reflection on how these have influenced the process and the final outcome of the activity. Lack of transparency in the use of AI will be considered an act of academic dishonesty and may result in a penalty on the activity grade, or more severe sanctions in serious cases.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Test 1 | 40% | 1.5 | 0.06 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 |
| Assigment | 20% | 1.5 | 0.06 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14 |
| Test 1 | 40% | 1.5 | 0.06 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 |
To pass the course, a total average grade of 5/10 must be obtained.
The course will be assessed through:
• Exam 1 on the theoretical content covered in class and the required readings. It accounts for 40% of the final grade.
• Exam 2 on the theoretical content covered in class and the required readings. It accounts for 40% of the final grade.
• Completion of a written assignment on the content covered in class. It accounts for 20% of the final grade.
The results of the assessable activities will be submitted through the UAB Virtual Campus service. Any review will take place during the designated hours (always by prior appointment).
Requirements to be eligible for the resit examination on the date set by the Faculty:
• The student must have submitted the assignment and all required deliverables in accordance with the guidelines set by the instructor and within the established deadlines.
• A minimum average grade of 3.5/10 must have been obtained across all assessment components.
• The student will receive a “not assessable” grade if they have submitted less than 30% of the assessment activities.
Any submission of one of the assignments or participation in one of the written exams will be considered an act of “in-person participation” in the course. Therefore, only those students who have not completed any assessment activity during the course may be considered “not assessable”.
In the event that any irregularities are carried out that could lead to a significant change in the grade of a given assessment activity, it will be marked with a 0, regardless of any disciplinary proceedings that may follow. If multiple irregularities are detected in the assessment activities of the same course, the final grade for the course will be 0.
This course does not provide for a single-assessment system.
At the time of each assessment activity, the lecturer will inform students (via Moodle) of the procedure and the date for reviewing the grades.
Permitted use of AI: In this course, the use of Artificial Intelligence (AI) technologies is allowed as an integral part of the development of the work, provided that the final outcome reflects a significant contribution by the student in terms of analysis and personal reflection. The student must clearly identify which parts were generated using such technology, specify the tools used, and include a critical reflection on how they influenced the process and the final outcome of the activity. Lack of transparency in the use of AI will be considered academic misconduct and may result in a penalty to the grade of the activity, or more severe sanctions in serious cases.
Exchange students who request to take an exam earlier must submit to the instructor a written document from their home university justifying their request.
Bibliography
Beard, David and Gloag, Kenneth. Musicology: the Key Concepts (London/New York: Routledge, 2005.
Carreras, Juan José. “Hijos de Pedrell. La historiografía musical española y sus orígenes nacionalistas (1780-1980)”, Il Saggiatore musicale Vol. 8, No. 1, (2001), pp. 121-169
López Cano, Ruben. “Decolonizar el Canon en la Música Clásica 1, Sonus Litterarum 2 (noviembre 2021).
López Cano, Ruben. “Decolonizar el Canon en la Música Clásica 2, Sonus Litterarum 2 (enero 2022).
Chiantore, Luca; Domínguez, Aurea; Martínez, Silvia. Escribir sobre música. Barcelona: Musikeon, 2016.
Cook, Nicholas et al (eds.). The Cambridge companion to music in digital culture. Cambridge: Cambridge University Press, 2019.
Cook. Nicholas. Music. A Very Short Introduction. 2nd edition. Oxford: Oxford University Press, 2020.
Harper-Scott, J. P. E. and Samson, Jim. An Introduction to Music Studies. Cambridge: Cambridge University Press, 2009.
Mendívil, Julio. En contra de la música. Herramientas para pensar, comprender y vivir las músicas. Buenos Aires: Gourmet Musical 2016.
Ramos, Pilar. Feminismo y música: Introducción crítica. Madrid: Narcea, 2003.
Shuker, Roy. Popular Music. The Key concepts. 2nd edition. London and New York: Routledge, 2005.
Tagg, Philip. Music’s Meanings. A modern musicology for non-musos. MMMsp Publications, 2015.
Rice, Timothy. Ethnomusicology. A very short introduction. Oxford: Oxford University Press, 2014.
Rodríguez Suso, Carmen. Prontuario de Musicología. Música, sonido y sociedad. Barcelona: Clivis, 2002.
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 | Spanish | second semester | morning-mixed |
| (PAUL) Classroom practices | 1 | Spanish | second semester | morning-mixed |