Competences developed in the course

Transversal Competences

CT3: Solve problems and make decisions aligned with the objectives of the work being carried out.

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

CT13: Seek excellence and quality in professional activity.

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

General Competences

CG2: Demonstrate adequate skills for musical reading, improvisation, creation, and re‑creation.

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.

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

CG21: Create and shape personal artistic concepts, having developed the ability to express oneself 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 languages.

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

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

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

CG26: Link musical activity to other scientific, humanistic, and artistic disciplines, enriching professional practice with a multidisciplinary dimension.

Specific Competences

IN1: Interpret significant repertoire of the speciality, addressing appropriately the aspects that identify it in its stylistic diversity.

IN2: Construct a coherent and personal interpretative idea.

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

IN4: Express oneself musically with the instrument/voice, grounded in technical and bodily mastery, acoustic and organological characteristics, and stylistic variants.

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

IN7: Develop skills for reading and improvisation based on musical material.

IN9: Know the processes and resources of orchestral and ensemble work, mastering sight‑reading, showing flexibility regarding conductor indications, and demonstrating group integration.

IN10: Know the stage implications of professional activity and be able to develop their practical applications.

Learning outcomes (general objectives)

1. Broaden musical and professional horizons and complement overall training through familiarisation with an instrument.
2. Develop versatility and adaptability to diverse situations and the possibility of continuous self‑training.
3. Assimilate and apply practically conceptual, theoretical, and methodological elements specific to classical and contemporary music, deepening their interpretative aspects.
4. When harmonic, accompany and facilitate the practical assimilation of diverse technical contents, enabling access to individual study of all types of classical and contemporary repertoire.
5. Use improvisation as a valuable means of expression in diverse musical situations.
6. Acquire the agility necessary to use the most appropriate improvisation patterns for each situation.
7. Develop versatility and spontaneity with the instrument, as well as coordination skills with other performers through improvisation.
8. Assume the soloist or accompanist role within instrumental training and recognise its elements.
9. Apply the main elements of harmony to accompaniment and improvisation in group contexts.
10. Broaden knowledge of the instrument’s literature, especially the most important works for professional practice (solo, chamber, orchestral).
11. Achieve mastery of interpretative and stylistic aspects in relation to significant passages and works for professional practice, acquiring criteria and a broad vision for programming and interpreting repertoire according to contextual needs.
12. Assimilate the main theories and practices of musical interpretation according to historical context and relevant texts.
13. Apply this knowledge in appropriate contexts.

Contents

Instrument‑specific particularities and repertoire adapted to each student. Interpretative criteria applied to repertoire. Variable conceptual elements depending on modality or study context. Constructive elements and basic technical principles. Interpretative and communicative techniques specific to the instrument within an individualised curricular approach. Application of historical criteria to interpretation. Instrumental techniques applied to global understanding of the musical field. Sight‑reading. Appropriate use of secondary instruments in diverse contexts. Keyboard realisation of works from various periods written for instrumental, vocal, or mixed ensembles. Application of constructive elements and procedures to reduction. Melodic, rhythmic, and harmonic patterns for improvisation. Concept and limits of accompaniment and improvisation in classical and contemporary traditions. Accompaniment in diverse contexts and ensemble configurations according to style. Reasoned application of acquired knowledge to repertoire and contexts. Relations between text and interpretation: critical reading of manuscripts and Urtext editions. Application of interpretative theory to instrumental practice.

Teaching methodology

Individual lessons include progress monitoring. Autonomous work consists of studying and preparing works. Semi‑collective lessons focus on group or individual musical practice. Autonomous work consists of personal study and practice.

Assessment systems

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