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Cultural Management III (Programming)

Code: 100665
Credits: 6
2026/2027
Degree programme Type Course
Musicology OP 3
Musicology OP 4

Contact lecturer

Name :
María Esther Fernandez Mostaza
Email :
mariaesther.fernandez@uab.cat

Group languages

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

Prerequisites

None. 

Objectives

The most well-known sociological approach to Western popular culture is the critique of “mass culture.” Although the concepts of “mass society” and “mass culture” are older, they did not take on a central role in the analysis of culture and society until the 1930s, and became firmly established mainly after the Second World War. The protagonists of this debate are diverse and of a different nature. On the one hand, intellectuals from the North American and European cultural elite take up again the critique initiated in the 19th century, based on the idea that modernity has weakened intermediate social institutions, leaving individuals more isolated in the face of increasingly centralized structures of power. On the other hand, authors linked to the Frankfurt School argue that, in mass society, the individual becomes alienated and isolated, and can be manipulated both politically by authoritarian leaders and culturally by the culture industry.

With the consolidation of consumer society, this debate has expanded and been enriched with new perspectives that analyze both cultural production and consumption. In this sense, the general objective of the course is apparently simple: to define and understand how the concepts of cultural production and consumption are used in everyday life, in the media, and in literary and academic contexts. The course will address the following:

1. To acquire and master some of the fundamental concepts and theories for the study of culture consumed by the majority, in order to facilitate a critical and comprehensive analysis.

2. To analyze, discuss, and question texts, videos, images, and other communicative formats that address the central concepts of the course, linked to practices, tastes, and cultural judgments. In this regard, participatory methodologies such as Theatre of the Oppressed will also be introduced, allowing for critical reflection on cultural production and consumption based on experience.

3. To construct a research object on cultural production and consumption. Practices and discourses within contemporary culture will be compared through observation and analysis of real situations, both in-person and virtual.

4. To put into practice two key sociological competencies: on the one hand, formulating a theoretical question that can guide a comparative research project beyond prejudice and dominant discourse; on the other hand, developing a reflexive attitude when observing cultural practices.

5. To develop basic research tools, such as an observation sheet and an interview guide, in order to collect information, analyze it, and present it clearly and attractively, using relevant examples in the final presentation.

6. To carry out a group research project, essential for developing a qualitative, intersubjective, and reflexive approach to the study of culture.

Learning outcomes

  1. Identifying the theories concerning the different meanings of the concept of culture.
  2. Applying the knowledge of cultural variability and its genesis to avoid ethnocentric projections.
  3. Solving problems autonomously.
  4. Carrying out a planning for the development of a subject-related work.
  5. Evaluate the consumption of music in contemporary society.
  6. Establishing relationships between science, philosophy, art, religion, politics, etc.
  7. Make a detailed assessment of the capacity for working in homogeneous or interdisciplinary research teams.
  8. Acquire skills for the organisation of working groups with adequate planning, division of tasks and methodological flexibility.
  9. Localize and evaluate the role of music in the different sectors of contemporary societies according to the historical time and artistic objective.
  10. Interrelate technological and scientific changes in each period with the creation and reception of music.
  11. Write critical papers on musicology that are planned and organised efficiently.
  12. Develop habits for transfer to the ambit of musical dissemination and information the musical training acquired.
  13. Integrate knowledge of the role of music in the market society in musical praxis.
  14. Integrate musical creation and praxis in the programming and marketing of musical activity.
  15. Analysing a contemporary fact and relating it to its historical background.
  16. Develop organisational skills for transfer to the area of cultural and leisure management in musicology.
  17. Carry out all phases of anevents management project.

Contents

One of the key skills in qualitative research in the social sciences and humanities is the ability to conduct good observations and interviews. For this reason, the course includes three sessions in which you will acquire the basic tools needed to take field notes on artistic practices, following criteria of rigor, validity, and honesty; you will design a research interview guide for a professional in the cultural or artistic sector; and you will learn how to code both your notes and the interview in order to extract sociological meaning through the development of an observation sheet.

These three practical sessions will be developed progressively. In the first, you will be introduced to the observation of cultural practices, learning how to describe contexts, interactions, and meanings with precision, and how to produce field notes suitable for sociological analysis. In the second session, you will work on the design of qualitative interviews, creating a guide that enables you to capture the perspectives of professionals in the cultural sector, while reflecting on the types of questions asked, the relationship with the interviewee, and the production of discourse. Finally, in the third session, you will focus on analyzing the material collected: you will learn how to code the data, identify relevant categories, and construct an observation sheet that brings coherence to the results and facilitates their sociological interpretation.

In summary, the theoretical content of the course is structured around the following axes:

1. The standpoint from which the topic will be addressed: the sociological perspective.

2. The central concepts: cultural production and consumption, as well as practices and discourse.

3. Cultural theory: mass culture and popular culture.

4. The rules of art and the culture industry.

5. The state, the economic market, and the market for symbolic goods.

6. A comprehensive approach to cultural consumption from a sociology of taste perspective.

Learning activities and methodology

Title Hours ECTS Learning outcomes
Information Seeking 3 0.12 2, 3, 8, 9, 10, 13, 14
Office Hours 1 0.04 7, 8, 9, 10, 17
Theory 30 1.2 1, 5, 6, 10, 15
Woking on your project 15 0.6 1, 2, 3, 5, 6, 8, 11, 16
Tasks Discussion 1 0.04 13, 14
Class notes Organization 10 0.4 1, 2, 12, 16
Readings 8 0.32 1, 2, 3, 5, 6, 9, 13, 14
Tasks in class 6 0.24 3, 4, 8, 17

As this is a continuous assessment course, regular attendance is required, with a minimum attendance rate of 80% of classes.

The weighting of the different assessment activities and examinations is detailed below.

Active participation in classes, text discussion seminars and the reading club (20%)

Students’ active participation in class sessions, individual work, discussion seminars and the reading club will be assessed. This component accounts for 20% of the final grade.

Applied Research Project (30%)

Within this methodological framework, students will carry out the following practical activities: field-note taking at the UAB Theatre, designing an interview guide for a cultural or artistic producer in small groups, preparing a coding sheet for the analysis of the collected data, and participating in the reading club. These activities, together with the partial submissions and the final paper, will form part of a team-based applied research project accounting for 30% of the final grade.

Individual Theoretical Examination (50%)

The assessment of the theoretical content of the course will be conducted through an individual written examination, which will account for 50% of the final grade.

Summary of Assessment Weighting

• Active participation in classes, seminars and the reading club: 20%

• Individual theoretical examination: 50%

• Team-based applied research project (including practical activities, partial submissions and the final paper): 30%

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
Observation template and Interview script team project 5 10 0.4 2, 3, 4, 8, 13, 14, 16
Final project 30 20 0.8 1, 3, 4, 6, 7, 9, 12, 15, 16, 17
Readings 10 20 0.8 1, 2, 6, 9, 13, 14, 15
Fieldnotes 5 10 0.4 1, 5, 7, 13, 14, 15
Individual production activity 50 16 0.64 1, 2, 3, 5, 6, 10, 11, 12, 16

As this is a course based on continuous assessment, regular attendance is required (a minimum of 80% of classes). Students’ regular and active participation in class sessions will be assessed, as well as the work carried out based on the readings. In relation to the latter, students must submit two questions on the readings for each seminar session. In addition, active participation in class will be encouraged through individual and group partial submissions, culminating in a team project presented both in written and oral form.

All submissions, both individual and group-based, are mandatory. Failure to complete them or to achieve a minimum grade of 4 will result in failing the course. A student will be considered “not assessed” (formerly “not presented”) only if they inform the instructor that they are withdrawing from the course within the first two weeks, or if all assignments have been completed with a grade above 4 except for one.

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


APPROPRIATE USE OF AI

By enrolling, students sign a declaration of academic honesty and declare themselves the sole author of their work. It should be noted that academic knowledge relies on the ability to verify the traceability of data and the theoretical sources used. Therefore, the use of AI IS NOT CONSIDERED APPROPRIATE in stages involving theoretical construction (state of the art, theoretical framework, and contextualization), nor in the formulation of the research question, objectives, the development of the analytical model and hypotheses, diagnostic work, data collection and construction, data interpretation, or the writing of results and conclusions.

Its use is considered appropriate for overcoming initial writing blocks, as a formal text editor, for summarizing, code correction and data analysis, as well as for searching and formally reviewing bibliographic references.

Students must clearly identify which parts have been generated using this technology, specify the tools used, and include a critical reflection on how these tools have influenced both the process and the final outcome of the activity. Lack of transparency in the use of AI in this assessed activity will be considered a breach of academic honesty.

Total or partial plagiarism in submitted work and improper use of AI will result in a grade of 0 for the corresponding assignment and, in cases of repetition, a final grade of 0 for the course.

Students who opt for Single Assessment must submit all required work on the date scheduled for the course exam. They must inform the instructor within the first two weeks of the course.

At the time of publishing the grades for the different assessment components, the procedure and deadlines for review will also be communicated.


Seminar questions must be submitted in class, and coursework must be handed in on the dates specified in the syllabus. SUBMISSIONS WITHOUT A NAME OR AFTER THE DEADLINE WILL NOT BE ACCEPTED.

Plagiarism is a serious offense. Copying ideas or sentences from another person without proper citation, whether direct or indirect, will result in FAILING THE COURSE.

Students invest time and resources in attending class; therefore, the use of mobile phones, laptops, tablets, or other electronic devices in the classroom is not permitted.


If a student commits any irregularity that may lead to a significant alteration in the grade of an assessment activity, that activity will be graded with a 0, regardless of any disciplinary procedures that may follow. If multiple irregularities occur in the assessment activities of the same course, the final grade for the course will be 0.

Bibliography

Core Bibliography

1. The Sociological Gaze

Muntanyola-Saura, Dafne & del Val Ripollés, Fernando (2024). La mirada desconfiada: el arte en la sociología. Encrucijadas. Revista Crítica de Ciencias Sociales, 24(1), p2401.

2. The Social Conditions of Culture

Rosenblum, Barbara (1978). “A sociology of photographic styles”, in Photographers at Work. New York: Holmes & Meier.

3. Sociology of Art

Varela, Julia & Álvarez-Uría, Fernando (2008). “Reflexiones finales”, in Materiales de sociología del arte. Madrid: Siglo XXI.

4. Forms of Interaction as Culture

Simmel, Georg (2001 [1908]). “Sociología de la comida” and “El individuo y la libertad”, in El individuo y la libertad. Barcelona: Península.

5. Art and Social Change: Avant-garde Manifestos

Marinetti, Filippo Tommaso (1909). “Manifest del futurisme”.

De Saint-Point, Valentine (1912). Manifesto della donna futurista.

Salvat-Papasseit, Joan (1920). Contra els poetes amb minúscula.

Dalí, Salvador et al. (1928). Manifest Groc.

6. Mass Culture and High Culture

Eco, Umberto (2006 [1968]). “Introducción”, in Apocalípticos e integrados. Barcelona: Tusquets.

Woolf, Virginia (1932). “Letter to the editor of the New Statesman” (unpublished).

7. Bourdieu and the Cultural Field

Heinich, Nathalie (2017). “Bourdieu’s culture”, in Bourdieu in Question: New Directions in French Sociology of Art.

8. Artistic Production

Moulin, Raymonde (2017). “The museum and the marketplace”, in Bourdieu in Question.

9. Creative Industries

McRobbie, Angela (2015). “A good job well done? Richard Sennett and the new work regime”, in Be Creative. London: Polity.

10. Relations with Other Subjectivities

Despret, Vinciane (2015). A la salut dels morts. Barcelona: Virus.

Despret, Vinciane (2014). ¿Qué dirían los animales si les hiciéramos las preguntas correctas?. Buenos Aires: Cactus.z


Additional Bibliography for Group Work

Theoretical Texts

Ariño, Antonio (1997). La sociología de la cultura. Barcelona: Ariel.

Becker, Howard S. (2009 [1995]). “El poder de la inercia”, Apuntes de investigación del CEYP, 15, 99–105.

Bourdieu, Pierre (2010 [1979]). El sentido social del gusto. Buenos Aires: Siglo XXI.

Benjamin, Walter (1993 [1936]). L’obra d’art a l’època de la seva reproductibilitat tècnica. Barcelona: Edicions 62.

Calvino, Italo (1993). “L’avventura di un fotografo”, in Gli amori difficili. Milano: Arnoldo Mondadori.

Gramsci, Antonio (2017). “La formación de los intelectuales”, in Escritos (Antología). Madrid: Alianza.

Noya, Javier; del Val, Fernando; Muntanyola-Saura, Dafne (2014). “Paradigmas teóricos contemporáneos…”, Revista Internacional de Sociología, 72(3).

Rodríguez Morató, Arturo (2017). Introduction to La nueva sociología de las artes. Barcelona: Gedisa.

Sontag, Susan (2019 [1981]). Sobre la fotografía. Barcelona: Arcadia.

Williams, Raymond (2008 [1958]). “La cultura es algo ordinario”, in Historia y cultura común. Madrid: Los Libros de la Catarata.


Empirical Texts

Ariño, Antonio & Llopis, Ramón (2016). La participació cultural de la joventut catalana 2001–2015. Generalitat de Catalunya.

Ariño, Antonio & Llopis, Ramón (2017). “Asociacionismo, amateurismo y socialization cultural”, in Culturas en tránsito. Madrid: Fundación SGAE.

Muntanyola-Saura, Dafne (2020). “El gusto es nuestro: el consumo cultural desde una aproximación pragmática”, in Estudios sociales del consumo. Madrid: CIS.

Software

Qualitative Analysis of the collected data can be analyzed by ATLAS.TI and ELAN. They are not included as part of this course due to lack of university resources.

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