Competences developed in the course

Transversal competences:

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

CT6: Carry out self-criticism regarding one’s own professional and interpersonal practice.

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

CT13: Seek excellence and quality in professional activity.

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

General competences:

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

CG2: Demonstrate appropriate skills for musical reading, improvisation, creation and recreation.

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

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

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

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

CG9: Know the specific characteristics of their 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, focused on their speciality while remaining open to other traditions. Recognise the stylistic features that characterise this repertoire and be able to describe them clearly and comprehensively.

CG17: Be familiar with different musical styles and practices that allow them to understand their own field of activity within a broader cultural context and enrich it.

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

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

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

CG25: Know and be able to use study and research methodologies that enable the continuous development and innovation of their musical activity throughout their career.

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

Learning outcomes (general objectives)

1. Assume the role of soloist or accompanist within an instrumental ensemble and recognise its elements.
2. Carry out a critical analysis of the concept of traditional music and of the notions and values historically associated with it.
3. Identify the main characteristics and recognise the models of sound organisation of ancient oral musical traditions in the flamenco area. Locate and use historical documentation sources and archives that allow their study. Relate their functions and meanings to other Mediterranean musical expressions and to academic music from different historical periods.
4. Recognise the models of sound organisation of ancient oral tradition through oral sources, recordings and graphic notations.
5. Critically assess edited materials and historical documentation in relation to the objectives they pursued. Critically assess musical activity carried out under the name “flamenco” and analyse its significance as a social and musical phenomenon.
6. Develop criteria and a broad perspective in order to have access to diverse repertoires according to the elements involved in a given situation.
7. Have an overview of the flamenco repertoire that allows a broader understanding of this musical style.
8. Recognise, from a historical, aesthetic and formal perspective, the important features of flamenco musical literature.
9. Become aware of the essential role of the voice and its use in communication.

Contents

Models of sound organisation in the various flamenco styles. Instrumental characteristics, ensemble configurations, and concepts and behaviours related to music. Sources of flamenco music. Analysis and auditory and interpretative experimentation with different models of sound organisation within the flamenco field. Practical application of the characteristics studied through specific examples (recordings, musical notation, fieldwork). Use of specialised bibliography and other types of sources.

Historical overview of the general repertoire. Historical-stylistic perspective. Models of sound organisation. Geographical variations and classification by areas. Critical listening, analysis and reading, from a global perspective, of works and versions from the flamenco repertoire. Placement within styles, regions, periods and trends.

Elements of oral communication. Elements that shape the voice. Elements of vocal technique. Language, speech and flamenco singing.

Teaching methodology

The teaching-learning methodology in individual lessons involves monitoring the student’s progress. Independent work involves studying and preparing the works to be addressed in class.

The teaching-learning methodology in semi-group classes involves mainly group or individual musical practice. Independent work involves personal study and practice.

Assessment systems

The assessment system is based on continuous assessment, founded on a diagnostic evaluation and developed into a summative evaluation that determines the final grade.

Continuous assessment is carried out through different assessment records derived from specific assessment activities, such as progress in class and the performance of auditions or concerts.