Competences developed in the course

Cross‑cutting Competences

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

CT6: Exercise self‑criticism regarding one’s professional and interpersonal practice.

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

CT13: Pursue excellence and quality in one’s professional activity.

CT15: Work autonomously and value the importance of initiative and entrepreneurial spirit in professional practice.

CT17: Contribute through one’s professional activity to social awareness of the importance of cultural heritage, its impact in different spheres, and its capacity to generate significant values.

General Competences

CG1: Understand the theoretical principles of music and have adequately developed skills for recognising, understanding and memorising musical material.

CG2: Demonstrate appropriate skills for reading, improvisation, creation and re‑creation of music.

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

CG4: Recognise musical materials through the development of auditory capacity and apply this ability to professional practice.

CG6: Master one or more musical instruments at a level appropriate to one’s main field of activity.

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

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

CG9: Understand the characteristics of one’s main instrument in relation to its construction and acoustics, historical evolution and mutual influences with other disciplines.

CG11: Be familiar with a broad and updated repertoire centred on one’s specialty but open to other traditions. Recognise the stylistic traits that characterise this repertoire and describe them clearly and comprehensively.

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

CG21: Create and shape one’s own artistic concepts, having developed the ability to express oneself through them using assimilated techniques and resources.

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

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

CG24: Develop capacities for self‑training throughout one’s professional life.

CG25: Understand and be able to use study and research methodologies that enable continuous development and innovation in musical activity throughout one’s career.

CG26: Be able to link one’s musical activity to other disciplines of scientific and humanistic thought, to the arts in general and to other musical disciplines in particular, enriching professional practice with a multidisciplinary dimension.

Specific Competences

IN1: Perform the significant repertoire of one’s specialty, addressing appropriately the aspects that define its stylistic diversity.

IN2: Build a coherent and personal interpretative approach.

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

IN4: Express oneself musically with one’s instrument/voice based on solid knowledge and mastery of instrumental and bodily technique, as well as acoustic, organological and stylistic characteristics.

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

IN6: Argue and verbally express one’s viewpoints on interpretation, and respond to the challenge of facilitating understanding of the musical work.

IN7: Develop skills for reading and improvising on musical material.

IN9: Understand the processes and resources inherent to orchestral and ensemble work, mastering sight‑reading, showing flexibility regarding the conductor’s indications, and demonstrating the ability to integrate into the group.

IN10: Understand the stage implications of one’s professional activity and be able to apply them in practice.

Learning outcomes (general objectives)

1. Broaden one’s musical and professional horizon and complement overall training through familiarisation with an instrument.
2. Develop versatility and the ability to adapt to diverse situations, as well as the possibility of ongoing self‑training.
3. Assimilate and practically apply all types of conceptual, theoretical and methodological elements specific to the music of the chosen instrument, and deepen its specific interpretative aspects.
4. For harmonic instruments, support and facilitate the assimilation and practical application of various technical contents, and enable access to individual study of all types of classical and contemporary repertoires.
5. Acquire a solid linguistic foundation and sufficient familiarity with the most common singing languages, in order to resolve all pronunciation and expressivity issues related to vocal repertoire texts, and develop a working habit that includes formal and literary analysis, understanding of meaning and context, expressive pronunciation and diction, and correct adaptation to music.
6. Become aware of the essential role of the voice and its use in communication, particularly in musical performance and pedagogy, and demonstrate mastery of vocal technique.
7. Use improvisation as a highly valuable expressive resource in diverse musical situations.
8. Possess the necessary agility to use the most appropriate improvisational patterns in each situation.
9. Develop versatility and spontaneity with the instrument, as well as coordination skills with other performers through improvisation.
10. Apply the main elements of harmony to accompaniment and improvisation in group contexts.
11. Expand knowledge of the literature of the instrument, especially the most important works for professional practice, including solo, chamber and orchestral repertoire.
12. Achieve mastery of interpretative and stylistic aspects in relation to the most significant passages and works from a professional perspective, essential for entering the performance job market. Acquire criteria and a broad vision for programming and performing repertoire according to the elements present in each situation.
13. Assimilate the main theories and practices of musical interpretation according to historical context and relevant texts, and apply this knowledge appropriately.
14. Acquire communicative resources and interpretative skills typical of the performing arts.
15. Perform lyric repertoire on stage. Develop an analytical and musical approach to studying musical works, and critically assess the main analytical methodologies and their strengths and limitations regarding the characteristics of the work studied.

Contents

Instrument‑specific characteristics and repertoire adapted to each student’s needs. Interpretative criteria applied to the instrument’s repertoire.

Variable conceptual elements depending on study modality or context. Constructive elements and basic principles of technique.

Interpretative and communicative techniques specific to the instrument, according to an individualised curricular approach.

Application of historical criteria to interpretation. Instrumental techniques applied to global understanding of the specific musical field. Sight‑reading.

Appropriate use of the secondary instrument in various situations and contexts.

General concepts of phonetics and phonology. Special issues of prosody and phonosyntax. Elements of rhetoric and declamation. Poetic language and literary styles. Application of general phonetic and phonological concepts to the languages studied. Basic oral conversation in the different languages. Text translation with dictionary support. Phonetic transcription. Expressive reading and declamation. Vocal interpretation with appropriate textual criteria. Elements of oral communication. Voice‑shaping elements. Vocal technique. Language, speech and singing.

Melodic, rhythmic and harmonic patterns for improvisation. Concept and limits of accompaniment and improvisation in classical tradition and contemporary music. Accompaniment in diverse contexts and ensemble configurations, according to different styles.

Reasoned application of acquired knowledge to corresponding repertoires and contexts. Relationships between text and interpretation: critical reading of manuscripts and Urtext editions. Application of interpretative theory to instrumental practice.

Principles of dramatic art applied to stage music. Interpretative elements of standard lyric‑stage repertoire.

Application of dramatic art principles to performance. Diction. Stage movement. Character construction and interpretation. Performance of operetta, zarzuela, musical theatre and opera of all periods.

Structural reduction techniques: harmonic skeleton. Procedures of harmonic expansion and derivation. Formal techniques in major/minor modal music. Expanded modal scalar structures. Tonal thinking as an ideal reference for mechanistic, systematic and scientific thought.

Teaching methodology

Individual classes involve monitoring the student’s progress.
Autonomous work includes studying and preparing the pieces to be worked on in class.
Semi‑collective classes involve mainly group or individual musical practice.
Autonomous work includes personal study and practice.

Assessment systems

Continuous assessment based on diagnostic evaluation and specified through summative evaluation leading to the final grade.
Continuous assessment is carried out through various records derived from activities such as class progress and the performance of auditions or concerts.