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Analysis, Hearing and Creation

Code: 106076
Credits: 3
2026/2027
Degree programme Type Course
Early Childhood Education OP 4
Primary Education OP 4

Contact lecturer

Name :
Cristina Gonzalez Martin
Email :
cristina.gonzalez.martin@uab.cat

Group languages

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

Prerequisites

Students must demonstrate to have passed at least the entrance examination for the professional music program, or an equivalent qualificationan in order to sign up for this course. If he/she didn’t study in a music school (formal education), he/she must pass an examination (students who have already taken it during academic year are exempt from this test).


Objectives

  • To promote active listening.
  • To encourage interest, respect and aesthetic sensitivity for musical and cultural diversity.
  • To encourage critical sense in the face of musical listening to works from different periods, styles, genres and composers.
  • To identify the musical elements of a musical work and make didactical approaches.
  • To analyze the organization of music discourse, observing the different techniques and compositional procedures.
  • To understand the compositional process of a musical work, from the initial idea to the elaboration of the final piece.
  • To perform musical productions and make didactical approaches.

Learning outcomes

  1. Be able to work in a team.
  2. Knowing how to explain the main consequences of the effect of teaching the arts on people's cultural, personal and social education.
  3. Learn to establish relationships between different artistic languages taking theory and praxis of musical activity as a central focus.
  4. Knowing how to understand, analyse and compare texts belonging to different spheres of thought, culture and the arts with their possible linkages with music.
  5. Know and master the elements of musical language on an expression, understanding and creation level.
  6. Knowing how to listen to and analyse a musical work on a rhythmic, melodic, harmonic and formal level.
  7. Being able to work together.
  8. Apply the practice of writing, composition analysis and recognition through information and communications technology.
  9. Learn to understand, analyze and compare texts from different domains of thought, culture and the arts with their possible links with the musical event.
  10. Propose viable projects and actions to boost social, economic and environmental benefits.
  11. Identify the social, economic and environmental implications of academic and professional activities within one?s own area of knowledge.

Contents

  1. The selection criteria of the musical repertoire.
  2. Listening and analysis of musical works within their historical, cultural and musical context (importance of musical contextualitzation)
  3. Analysis and knowledge of the musical elements that make up the musical works.
  4. Analysis and knowledge of the processes of musical creation and introduction to some compositional techniques.
  5. Study and knowledge of composers and composers of different periods and styles.
  6. The processes of musical creation from audition and music analysis.
  7. Detection of the most perceptible elements to be worked in a didactic way.
  8. The abortion of musical repertoire to work in primary school.
  9. Field trip: observation of a musical exploration and/or creation session at school.
  10. Didactic practice with 2nd year GEP students.

Learning activities and methodology

Title Hours ECTS Learning outcomes
Face-to-face with the whole group 22.5 0.9
Autonomous activities and tasks 37.5 1.5
Tutored activities 15 0.6

During the theoretical sessions, the active and reflexive participation of the students will be encouraged. Students will also be encouraged to work cooperatively and autonomously through theoretical and practical work, presentations, academic tutorials, etc. Students must be able to obtain information and broaden their knowledge through various sources in order to deepen the contents of the subject. This work will be guided and tutored by the teacher.

SUPERVISED

  • Tutoring and other tutoring activities.

AUTONOMOUS

  • Search for auditions.
  • Performing tasks of musical analysis and creation.
  • Theoretical and practical presentations by students.

DIRECTED

  • Exhibitions by the teaching staff on the contents of the program.
  • Practical activities of listening, analysis and musical creation.
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
Repertoire list 30 0 0 5, 6, 8, 9
Listening and composing task 30 0 0 1, 2, 3, 4, 5, 6, 7, 10, 11
Listening and composition exam 40 0 0 5, 6, 8
  • Although is not mandatory, attendance at class is necessary because this subject has a practical nature and focuses on the teaching skills of the musical field. Attending class makes possible to observe and analyse the teaching model and the didactical process, which we consider fundamental to being able to successfully complete the subject.
  • It is necessary to show an attitude compatible with the educational profession, developing basic skills such as participation, cooperation, empathy, argumentation and respect for others. The student has to prove to be responsible and rigorous in self-employed work, show critical thinking and behaviors that promote a friendly and positive, democratic environment where differences are respected.
  • The active, positive and creative participation of the students will be valued in the classes. The degree of participation and the level of reflection of the contributions will be valued in the debates.
  • In accordance with UAB regulations, plagiarism or copying of any work will be penalized with a 0 as a mark for this work, losing the possibility of recovering it, whether it is individual or group work (in this case, all group members will have a 0).
  • If, while doing individual work in class, the teacher considers that a student is trying to copy or discovers some type of document or device not authorized by the teacher, the work will be graded with a 0, with no option for recovery.
  • The course can only be passed if the different parts of the course are approved.
  • Only failed assignments that have been submitted by the due date can be re-evaluated. Late submission will result in a fail (criteria for both continuous and single evaluation).
  • The restricted use of Artificial Intelligence (AI) technologies is allowed exclusively in support tasks such as bibliographic or information search and text correction of all evaluation activities. It will be very important that the student will have clearly identified which parts have been generated with this technology, specify the tools used and include a critical reflection on how these have influenced the process and the final result of the activity. Non-transparency of the use of AI in this evaluable activity will be considered academic dishonesty and may result in a partial or total penalty in the grade of the activity, or higher penalties in serious cases. Penalties will result in a direct and non-recoverable failure of the evaluation activity.
  • This subject does not admit synthesis test for students enrolled for the second time.
  • It will be considered “not evaluable” when the student has not been able to provide sufficient evaluation evidence to allow an overall grade for the course, i.e., has not provided a minimum of 50% of the evaluation work.
  • Evaluation activities will be returned within a maximum period of 20 working days.

Specification of continuous evaluation

Evaluation activity Typology of activities Evaluation date Recovery date
Elaboration of the repertoire related to classroom topics (30%) Individual September, October and November 2026
Listening and composing task (30%) Collective 16/12/2026
Listening and composition exam (40%) Individual 09/12/2026



The failed evaluation task could be recovered on 20/01/2026

Specification of single evaluation

Evaluation activity Typology of activities Evaluation date Recovery date
Elaboration of the repertoire related to classroom topics (40%) Individual 16/12/2026
Listening and composing task (30%) Individual 16/12/2026
Listening and composition exam (30%) Individual 16/12/2026



The failed evaluation task could be recovered on 20/01/2026

To pass this course, the student must show a good general communicative competence, both orally and in writing, and a good command of the language or languages spoken in the teaching guide. In all the activities (individual and in group) will take into account, therefore, the linguistic correction, the writing and the formal appearances of presentation. Students must be able to express themselves fluently and correctly and must show a high degree of comprehension of academic texts. An activity can be returned (not evaluated) or suspended if the teacher considers that he / she does not meet these requirements



Bibliography

Barniol, E. (2000). La formació de l'oient: Una tasca educativa en la perspectiva del segle XXI. Comunicació Educativa: revista d’ensenyament de les comarques meridionals de Catalunya, 13, 39-46. Disponible a: https://revistes.urv.cat/index.php/comeduc

Bennett, R. (1998). Investigando los estilos musicales. Akal.

Botella, A. M., i Marín, P. (2016). La utilización del musicomovigrama como recurso didáctico para el trabajo de la audición atenta, comprensiva y activa en educación primaria. Cuadernos de música, artes visuales y artes escénicas, 11(2), 213-235. Disponible a: https://roderic.uv.es/handle/10550/58594

Burnard, P. (2016). Rethinking ‘musical creativity’and the notion of multiple creativities in music. A O. Òdena (ed), Musical creativity: Insights from music education research (pp. 27-50). Taylor & Francis Group. Disponible a ProQuest Ebook Central: https://ebookcentral.proquest.com/lib/uab/detail.action?docID=823580.

Copland, A. (1994). Como escuchar la música. Fondo de Cultura Económica.

Droe, K. (2006). Music preference and music education: A review of literature. Update: Applications of Research in Music Education, 24(2), 23-32. Disponible a: https://journals.sagepub.com/home/upd

Giráldez, A. (coord.) (2015). De los ordenadores a los dipositivos móviles: Propuestas de creación musical y audiovisual. Barcelona: Graó. Disponible a través de: https://csuc-uab.primo.exlibrisgroup.com/permalink/34CSUC_UAB/1eqfv2p/alma991005782259706709

Gluschankof, C. (2017). Crear con la voz / crear con objetos e instrumentos: aspectos teóricos. A C.Gluschankof i J. Pérez-Moreno (eds), La música en Educación Infantil. Investigación y práctica (pp. 123-139). Madrid: Dairea.

Malagarriga, T. (2017). La creación musical en la etapa de educación infantil: propuestas prácticas. A C.Gluschankof i J. Pérez-Moreno (eds), La música en Educación Infantil. Investigación y práctica (pp. 141-150). Dairea.

Malagarriga, T., i Valls, A. (2003). La audición musical en la Educación Infantil. CEAC.

Paynter, J. (2000). Making progress with composing. British Journal of Music Education, 17(1), 5-31.

Rius, R. (2020). L'escolta musical: Jeanne Hersch i la miniatura d'eternitat. Compàs d'amalgama, 2, 64-67.

Schafer, R. M. (1965, 1969, 1975). El compositor en el aula / El nuevo paisaje sonoro / El rinoceronte en el aula. Un manual para el maestro de música moderno. Ricordi Americana.

Tranchefort, F. (2002). Guia de la música sinfónica. Alianza Editorial.

Vella, R. (2003). Sounds in space, sounds in time. Boosey & Hawkes Music Publishers Limited.

Wiggins, J. (1990). Composition in the Classroom: A Tool for Teaching. Reston. MENC.

Wuytack, J., & Boal-Palheiros, G. (2009). Audición musical activa con el musicograma. Eufonía: Didáctica de la música, 47, 43-55.

Software

This subject mainly uses software related to listening to music.

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