Competences developed in the course

Transversal Competencies

CT7: Use communication skills and constructive criticism in teamwork.

CT8: Develop ideas and arguments through reasoned and critical thinking.

CT12: Adapt, in competitive environments, to cultural, social, and artistic changes, as well as to developments within the professional field, and select appropriate pathways for continuing professional development.

CT17: Contribute, through professional activity, to raising social awareness of the importance of cultural heritage, its impact across different fields, and its capacity to generate meaningful values.

General Competencies

CG1: Demonstrate knowledge of the theoretical principles of music and develop appropriate abilities for the recognition, understanding, and memorization of musical material.

CG2: Demonstrate appropriate abilities in reading, improvisation, musical creation, and recreation.

CG3: Produce and accurately interpret the graphic notation of musical texts.

CG4: Recognize musical materials through the development of aural skills and apply this ability to professional practice.

CG5: Understand the technological resources relevant to the field of activity and their applications in music, while preparing to assimilate future developments in this area.

CG10: Present and justify personal viewpoints on different musical concepts.

CG11: Be familiar with a broad and updated repertoire, focused on the student’s specialization while remaining open to other traditions. Recognize and clearly describe the stylistic features that characterize this repertoire.

CG12: Demonstrate sufficient knowledge of music as a phenomenon and its relationship with the evolution of aesthetic, artistic, and cultural values.

CG13: Understand the foundations and structure of musical language and apply them in performance, creative practice, research, or educational contexts.

CG14: Understand the historical development of music in its different traditions from a critical perspective that places musical art within its social and cultural context.

CG15: Possess broad knowledge of the most representative works in the historical and analytical literature of music.

CG17: Be familiar with different musical styles and practices, enabling an understanding of one’s own field of activity within a broader cultural context and enriching it.

CG18: Communicate, both orally and in writing, the content and objectives of professional activity to specialized audiences, using appropriate technical and general terminology.

CG20: Understand the classification and acoustic, historical, and anthropological characteristics of musical instruments.

CG21: Create and develop personal artistic concepts, having acquired the ability to express them through assimilated techniques and resources.

CG22: Possess broad and diverse musical resources to create or adapt musical pieces and improvise in different contexts based on knowledge of various styles, formats, techniques, trends, and musical languages.

CG23: Value musical creation as the act of giving sonic form to rich and complex structural thought.

Specific Competencies

IN1: Perform the significant repertoire of the specialization while appropriately addressing the aspects that define it within its stylistic diversity.

IN2: Develop a coherent and personal interpretative concept.

IN6: Present and articulate viewpoints on interpretation and respond to the challenge of facilitating understanding of the musical work.

IN7: Develop skills in reading and improvising based on musical material.

Learning outcomes (general objectives)

1. Arrange specifically for cobla instruments and Catalan traditional music instruments.
2. Demonstrate mastery of the idiomatic and expressive resources of cobla instruments and Catalan traditional music instruments, using them together while controlling their aesthetically characteristic phrasing.
3. Identify the theoretical approaches and methodological models of ethnomusicological research from the mid-20th century to the present, establishing the relativity of Western concepts of music and the scope of the research object.
4. Evaluate different models of ethnomusicology and music sociology in relation to the social sciences as a whole and according to research objectives.
5. Explain and apply research methods and sound-organization models used by ethnomusicology to describe different traditional musics through specific musical examples.
6. Adapt and create appropriate models for newly described musical traditions.
7. Relate sound-organization models to concepts of music and to the musical behaviours of each culture studied.
8. Evaluate these models in relation to theoretical models of European art music.
9. Understand musical activity as a communicative practice whose meaning emerges from specific social and cultural contexts, while deepening knowledge of concepts within ethnomusicological research.
10. Understand graphic musical notation as a tool that must adapt to the specific objectives of each research project.
11. Use critically the different models applied to sound notation up to the present day, evaluating and positioning each model according to the intended communicative purposes.
12. Apply various transcription models practically and critically to specific research objects and develop personal musical perception skills.

Contents

Concepts of ethnomusicology as a discipline and of the most relevant theoretical and analytical models from the mid-20th century to the present day. Application of theoretical models and analytical procedures. Positioning and evaluation of each theoretical and methodological model according to the objectives and characteristics of a specific research project.

Constructive materials of traditional musics from different cultures. Research methods and different models for describing traditional musics (metrical, rhythmic, intervallic, melodic, and polyphonic), situated within the cultural context of each musical activity.

Analysis and use of different models for describing traditional musics in relation to specific research projects. Different models of graphic musical notation (including the main technological procedures), situated within the historical development of ethnomusicology and according to their corresponding communicative purposes.

Methodologies and objectives of musical notation and transcription. Analysis and transcription of sound documents according to different models of graphic musical notation in relation to specific research projects. Development of sound discrimination skills based on the parameters established by each notation model.

Instrumentation and arranging of cobla music and Catalan traditional music.

Teaching methodology

The teaching and learning methodology in classes includes lectures (presentation of topics), discussion and seminar sessions, group work sessions, and student presentations of selected topics.

Independent study involves the creation of compositions, the study of musical works, and the completion of written assignments, both individually and in groups.

Assessment systems

The assessment system is based on continuous assessment, founded on a diagnostic assessment and consolidated through a summative assessment that determines the final grade.

Continuous assessment is carried out through different assessment records derived from specific activities, such as participation and work in class, in-class presentations, completion of assignments, compositions, analyses and/or readings outside class, submission of written work, and written, oral, or aural examinations.