Important notice
The course guide is provisional.
The PDF version of the course guide may take a few days to become available in the DDD.
Interpretative Praxis of Early Music
Code: 42206Credits: 10
| Degree programme | Type | Course |
|---|---|---|
| Musicology, Musical Education and Interpretation of Early Music | OP | 1 |
Contact lecturer
- Name :
- Lidia López Gómez
- Email :
- lidia.lopez@uab.cat
Teaching staff (external to UAB)
- Lluís Coll i Trulls (coord. ESMUC)
Group languages
You can consult this information at the end of the document.
Prerequisites
There are no compulsory requirements for the inscription in this subject, beyond the general administration requirements for the master inscription. General notions of music theory and interpretation are, however, highly advised.
Objectives
- Acquire the necessary tools to manage and carry out early music projects (concerts).
- Identify, analyse and assess all elements involved in the management and implementation of an early music project.
- Use these elements in a way that increments the interest and value of the project, as well as its final result.
- Acquire the ability to carry out early music projects understood as artistic creations throughout their process.
- Know different strategies and approaches in the practice of the processes of creation, preparation and realization of early music programmes.
- Define your own framework of possibilities to carry out early music projects based on the analysis and comparison of the examples shown and those that are part of each one's experience.
- Foresee the modification or expansion of this framework of possibilities based on the acquisition of future knowledge and experiences.
- Apply the strategies and knowledge acquired to the process of creation, preparation and realization of the final Master’s concert.
Learning outcomes
- Discerning the different methodologies and resources to obtain basic data on early music file.
- Apply a simple way to obtain these resources of different kinds of data from early music.
- Relate musical systems of early music with their contexts of production and reception
- Discern several distinct stages of early music and its cultural and geographical characteristics varaibilidad
- Develop a style and a concrete and high excellence in early music productions in which the student participates aesthetic proposal.
- Adapt the results of contextual analysis to different social realities involved in contemporary musical practice in relation to early music.
- Mastering historiographical analysis tools adapted to ethnomusicological study
- Demonstrate self-learning skills in the field of study of musicology, music education and interpretation.
- Propose innovative projects proposed in musicological research and interpretive projects.
Contents
Understanding an "Early Music Project" as an early music concert, this module aims to identify, analyse, evaluate, and compare the different elements involved in its planning, management, and implementation. It begins with the initial ideas and their development into an artistic concept and musical discourse, and continues through to the final performance in the form of a concert. Along the way, it addresses logistical, planning, management, and organisational aspects, including rehearsal scheduling, acoustic rehearsals, dress rehearsals, and the concerts themselves. Exposure to different approaches to the planning and execution of an artistic project is ensured through the Projects, which constitute the core of the module. These allow students to work under the guidance of distinguished musicians with extensive careers as creators, conductors, and performers in the field of early music.
Sessions:
Introductory Session: Common procedural aspects in the planning and implementation of Early Music projects. Artistic creation and logistical management.
The Three Projects: Each project consists of the preparation and performance of a concert and is led by specialists in the creation, direction, and performance of early music projects, either members of the ESMUC faculty or invited external professionals.
Review and group discussion of the work carried out during the Projects.
Review and group discussion of the work related to the Master's Final Concert.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Practical exercises related to the theoretical syllabus | 25 | 1 | 1, 2, 3, 4, 5, 6 |
| Individual study for the preparation of the projects | 56.25 | 2.25 | 1, 2, 4, 7, 8, 9 |
| Study cases - Practical application of theoretical concepts | 12.5 | 0.5 | 1, 2, 3, 4, 5, 6, 7 |
| Study cases - Critical tools for research | 12.5 | 0.5 | 1, 2, 3, 4, 6 |
| Masterclasses with ICT support | 18.75 | 0.75 | 1, 2, 3, 5, 7 |
In the introductory session, the students will be explained what the three tasks consist of and how they should be performed.
Work 1:
Simulation of the preparation and presentation of a proposal of an Early Music Project for a group, interacting with the person interested in acquiring the proposal. This work will be done in class.
Work 2:
Work on projects: Descriptive text, analysis and comparison of the procedures and strategies followed in the Projects by the different directors.
Work 3:
Preparation of all required documentation to carry out the Final Master’s Concert.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Individual task - Final concert (Presentation) | 45% | 56.25 | 2.25 | 1, 2, 4, 5, 8, 9 |
| Task I (Presentation) | 45% | 56.25 | 2.25 | 1, 2, 3, 4, 5, 6, 7 |
| Proposal of an Early Music project | 10% | 12.5 | 0.5 | 1, 3, 7, 8, 9 |
The assessment of the module will be carried out according to the following criteria:
- a. Submission of a project paper (45%)
- b. Submission of a paper on the Final Master's Concert (45%)
- c. Simulation of an early music project (10%)
During the course, review sessions for the assessment activities will be scheduled. Whenever possible, these will take place within fifteen days following the submission of each assessment activity, either in person or online (via TEAMS or similar platforms).
If the minimum passing grade for the module (5) is not achieved, the student will be required to complete a specific assignment as a resit assessment.
A student will be considered "Not Assessable" if they submit less than 60% of the established assessment evidence or fail to justify attendance of at least 80% of the module sessions.
RELEVANT OBSERVATIONS
If a student commits any irregularity that may lead to a significant alteration of the grade for an assessment activity, that activity will be graded 0, regardless of any disciplinary proceedings that may be initiated. If multiple irregularities occur in the assessment activities of the same course, the final grade for the course will be 0.
If assessments cannot be conducted in person, their format will be adapted (while maintaining the same weighting) to the possibilities offered by ESMUC's virtual learning tools. Assignments, activities, and class participation will be carried out through forums, wikis, and/or discussions via Teams, etc. The lecturer will ensure that students have access to these resources or will provide alternative means within their reach.
The single-assessment option will consist of completing, on a single day, assessment items b. (45%), c. (45%), and d. (10%).
For this course, the use of Artificial Intelligence (AI) technologies is permitted exclusively for support tasks, such as bibliographic or information searches and text editing. Students must clearly identify which parts of their work have been generated using these technologies, specify the tools used, and include a critical reflection on how these tools have influenced both the process and the final outcome of the assignment. Failure to disclose the use of AI in this assessed activity will be considered a breach of academic integrity and may result in a partial or total reduction of the activity grade, or more severe disciplinary sanctions in serious cases.
Bibliography
Basic references
Butt, John. Playing with History: The Historical Approach to Musical Performance. Cambridge: Cambridge University Press, 2002.
Taruskin, Richard. Text and Act: Essays on Music and Performance. Oxford: Oxford University Press, 1995.
Haynes, Bruce. The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century. Oxford: Oxford University Press, 2007.
Haynes, Bruce; Burgess, Geoffrey. The Pathetick Musician: Moving an Audience in the Age of Eloquence. Oxford: Oxford University Press, 2016.
Cook, Nicholas. Beyond the Score: Music as Performance. Oxford: Oxford University Press, 2013.
Small, Christopher. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press, 1998.
Harnoncourt, Nikolaus. La música como discurso sonoro. Barcelona: Acantilado, 2011.
Beeching, Angela Myles. Beyond Talent: Creating a Successful Career in Music. 3a ed. Oxford: Oxford University Press, 2020.
Complementary references
Dreyfus, Laurence. “Early Music Defended against its Devotees: A Theory of Historical Performance in the Twentieth Century.” The Musical Quarterly 69, núm. 3 (1983): 297–322.
Kenyon, Nicholas, ed. Authenticity and Early Music: A Symposium. Oxford: Oxford University Press, 1988.
Tarling, Judy. The Weapons of Rhetoric: A Guide for Musicians and Audiences. St Albans: Corda Music, 2004.
Lawson, Colin; Stowell, Robin. The Historical Performance of Music: An Introduction. Cambridge: Cambridge University Press, 1999.
Leech-Wilkinson, Daniel. The Modern Invention of Medieval Music: Scholarship, Ideology, Performance. Cambridge: Cambridge University Press, 2002.
Stein, Tobie S. Performing Arts Management: A Handbook of Professional Practices. 2a ed. New York: Allworth Press, 2022.
Software
Does not apply.
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 |
|---|---|---|---|---|
| (TEm) Theory (master) | 1 | Catalan/Spanish | annual | morning-mixed |