Competences developed in the course

Transversal Competences:

CT3: Solve problems and make decisions that respond to the objectives of the work being carried out.

CT8: Develop ideas and arguments in a reasoned and critical manner.

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

General Competences:

CG1: Know the theoretical principles of music and have adequately developed skills for the recognition, understanding, and memorization of musical material.

CG2: Demonstrate appropriate skills in music reading, improvisation, creation, and re-creation.

CG4: Recognize musical materials through the development of aural skills and apply these abilities in professional practice.

CG6: Demonstrate proficiency on one or more musical instruments at a level appropriate to the principal field of activity.

CG7: Demonstrate the ability to interact musically in different types of collaborative musical projects.

CG8: Apply the most appropriate working methods to overcome challenges arising in individual study and collective musical practice.

CG9: Understand the characteristics of the principal instrument, including its construction, acoustics, historical development, and relationships with other disciplines.

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

CG17: Be familiar with different musical styles and practices in order to understand and enrich one’s own field of activity within a broader cultural context.

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

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

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

CG24: Develop the capacity for lifelong self-directed learning.

CG25: Know and apply study and research methodologies that support the continuous development and innovation of musical activity throughout a professional career.

CG26: Be able to relate one’s own musical activity to other scientific and humanistic disciplines, to the arts in general, and to other musical disciplines, enriching professional practice through a multidisciplinary perspective.

Specific Competences:

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

IN2: Develop a coherent and personal interpretative concept.

IN3: Demonstrate the ability to interact musically in all kinds of collaborative musical projects, from duos to large ensembles.

IN4: Express oneself musically through one’s instrument or voice, based on mastery of instrumental and physical technique as well as knowledge of acoustical, organological, and stylistic characteristics.

IN5: Communicate musical structures, ideas, and materials rigorously as a performer.

IN6: Explain and justify interpretative approaches verbally, while helping audiences understand the musical work.

IN7: Develop skills in music reading and improvisation.

IN9: Understand the processes and resources involved in orchestral and ensemble performance, demonstrating strong sight-reading skills, flexibility in responding to the conductor, and effective integration within the ensemble.

IN10: Understand the stage-related implications of professional performance and apply them effectively in practice.

Learning outcomes (general objectives)

1. Use improvisation, whether free or within traditional styles, as a valuable means of expression in a wide range of musical situations beyond the musical tradition associated with the instrument.
2. Demonstrate mastery of the most common techniques and idiomatic features of improvisation within the musical tradition of the instrument, where applicable, and apply them in performance.
3. Acquire the techniques and agility required to use the most appropriate improvisational patterns for each situation.
4. Develop versatility and spontaneity on the instrument, together with coordination skills in interaction with other performers through improvisation.
5. Assume both soloist and accompanist roles within instrumental ensembles and recognize the characteristics of each.

Contents

Improvisational styles best suited to the relevant musical tradition. Concepts of improvisation and accompaniment within the specific musical tradition. Characteristic rhythmic, melodic, and harmonic patterns. Contexts and functions of improvisation and accompaniment. Improvisation techniques specific to the relevant musical tradition. Skills for applying different types of patterns to improvisation and accompaniment. Application of improvisational and accompaniment techniques and styles to different contexts, situations, and ensembles within the relevant musical tradition. Adaptation of improvisational and accompaniment techniques to the specific musical tradition. Rhythmic and free flamenco styles. Accompaniment techniques. Harmonic tension and resolution. Stops, pauses, and cadential endings. Anticipations. Rhythmic fluctuations. Passing chords. Harmonic substitutions. Accompaniment of flamenco singing and dance: accompaniment structures and patterns. Main flamenco dance styles. Participation in flamenco singing and dance ensembles. Application of a wide variety of vocal or instrumental expressive resources in ensemble performance. Use of flamenco forms and styles in spontaneous musical contexts. Participation, interaction, and coordination with other musicians.

Teaching methodology

Teaching and learning in individual lessons focuses on monitoring each student’s progress. Independent work includes studying and preparing the repertoire to be worked on in class. Teaching and learning in semi-group classes is primarily based on individual and ensemble musical practice. Independent work consists of personal study and practice.

Assessment systems

Assessment is based on continuous evaluation, founded on an initial diagnostic assessment and culminating in a summative assessment that determines the final grade. Continuous assessment is carried out through different assessment records derived from specific evaluation activities, such as progress in class and participation in recitals or concerts.