{"id":82710,"date":"2023-06-28T13:14:51","date_gmt":"2023-06-28T11:14:51","guid":{"rendered":"https:\/\/www.esmuc.cat\/?page_id=82710"},"modified":"2023-06-28T13:14:53","modified_gmt":"2023-06-28T11:14:53","slug":"interpretation-of-early-music-historical-voice","status":"publish","type":"page","link":"https:\/\/www.esmuc.cat\/en\/studies\/grau\/interpretacio-musica-antiga\/interpretation-of-early-music-historical-voice\/","title":{"rendered":"Interpretation of Early Music Historical Voice"},"content":{"rendered":"\n
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<\/div>\n<\/div>\n\n\n
\n\t<\/span>\n\tESMUC<\/span><\/a><\/span> > Studies<\/span><\/a><\/span> > Bachelor’s Degree<\/span><\/a><\/span> > Performance: early music<\/span><\/a><\/span> > Interpretation of Early Music Historical Voice<\/span><\/span><\/div>\n\n\n\n

Interpretation Early Music Historical Voice Curriculum <\/h1>\n\n\n\n

Speciality: Historical Voice<\/h3>\n\n\n\n

Subjects marked with an asterisk (*) are NOT offered every year. Please check the current schedules.<\/p><\/div><\/div>\n\n\n\n\n\n\n\t\n\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\n\t
Subjects<\/th>1st year<\/th>2nd year<\/th>3rd year<\/th>4th year<\/th> Total
\n <\/th>\n<\/tr>\n<\/thead>\n
<\/td>ECTS<\/td>hrs<\/td>ECTS<\/td>hrs<\/td>ECTS<\/td>hrs<\/td>ECTS<\/td>hrs<\/td>ECTS<\/td>hrs<\/td>\n<\/tr>\n
Culture, thinking and history (Core Classes)<\/center><\/td>\n<\/tr>\n
Introduction to Music in Western Culture<\/a>, History of Western Music<\/a> and Introduction to Music in World Cultures<\/a>
\n <\/td>		 6
\n <\/td>		 90
\n <\/td>		 3
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 9<\/b>
\n <\/td>		 135<\/b>
\n <\/td>\n<\/tr>\n
Professional Development <\/a>\u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 45
\n <\/td>		 3<\/b>
\n <\/td>		 45<\/b>
\n <\/td>\n<\/tr>\n
Aesthetics of Music<\/a> I, II
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 60
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4<\/b>
\n <\/td>		 60<\/b>
\n <\/td>\n<\/tr>\n
Language and Techniques of Music (Core Classes)<\/center><\/td>\n<\/tr>\n
Fundamentals of Musical Acoustics<\/a>
\n <\/td>		 3
\r\n <\/td>		22,5<\/td> \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 3<\/b>
\r\n <\/td>		 22,5<\/b>
\r\n <\/td>\n<\/tr>\n
Methodologies of Music Analysis<\/a>
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4<\/b>
\n <\/td>		 45<\/b>
\n <\/td>\n<\/tr>\n
General Ear Training<\/a><\/td> 3
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3<\/b>
\n <\/td>		 45<\/b>
\n <\/td>\n<\/tr>\n
Fundamentals of Composition<\/a>
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4<\/b>
\n <\/td>		 45<\/b>
\n <\/td>\n<\/tr>\n
Instrument\/ Voice (Mandatory Classes)<\/center><\/td>\n<\/tr>\n
Main Instrument 1 to 8
\n <\/td>		 24
\n <\/td>		 37,5
\n <\/td>		 24
\n <\/td>		 37,5
\n <\/td>		 23
\n <\/td>		 37,5
\n <\/td>		 \u00a022
\n <\/td>		 \u00a037,5
\n <\/td>		 93<\/b>
\n <\/td>		 150<\/b>
\n <\/td>\n<\/tr>\n
Sources for Historically Informed Performance I <\/a>and II<\/a><\/td> 2
\r\n <\/td>		22,5<\/td> 2
\r\n <\/td>		22,5<\/td> \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 4<\/b>
\r\n <\/td>		 45<\/b>
\r\n <\/td>\n<\/tr>\n
Additional instrumental training (Mandatory Classes)<\/center><\/td>\n<\/tr>\n
Supplementary Instrument 1 to 6<\/a>
\n <\/td>		 4
\n <\/td>		 15
\n <\/td>		 4
\n <\/td>		 15
\n <\/td>		 4
\n <\/td>		 15
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 12
\n <\/td>		 45
\n <\/td>\n<\/tr>\n
Improvisation and ornamentation I, II, III and IV<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2
\n <\/td>		 30
\n <\/td>		 2
\n <\/td>		 30
\n <\/td>		 4
\n <\/td>		 60
\n <\/td>		 8
\n <\/td>		 120
\n <\/td>\n<\/tr>\n
Specific seminar in Music Interpretation *<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2
\n <\/td>		 30
\n <\/td>		 2
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Acting Techniques I and II<\/td> 2
\n <\/td>		 45
\n <\/td>		 3
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 5
\n <\/td>		 90
\n <\/td>\n<\/tr>\n
Early Music Vocal Repertoire *
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3<\/td>45 \u00a0
\n <\/td>		 <\/td> <\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 45
\n <\/td>\n<\/tr>\n
Applied phonetics for voice I, II, III and IV<\/td> 2
\n <\/td>		 45
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		 8
\n <\/td>		 180
\n <\/td>\n<\/tr>\n
Plainchant<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>\n<\/tr>\n
Historical Temperaments<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3<\/b>
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Ensemble Music (Mandatory Classes)<\/center><\/td>\n<\/tr>\n
Large ensembles<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 90
\n <\/td>\n<\/tr>\n
Coro para cantantes<\/td> 2
\n <\/td>		 45
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		8 <\/td>180 <\/td>\n<\/tr>\n
Chamber Music 1 to 7<\/a><\/td> 2
\n <\/td>		 22,5
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>		14<\/td>157,5<\/td>\n<\/tr>\n
Theory and history (Mandatory Classes)<\/center><\/td>\n<\/tr>\n
Analysis of Early Music<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 45
\n <\/td>\n<\/tr>\n
Notation II<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>\n<\/tr>\n
Fortepiano Secondary Instrument<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 45
\n <\/td>\n<\/tr>\n
Specific Ear Training<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>\n<\/tr>\n
History of Seventeenth Century Music<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>		 4
\n <\/td>		 45
\n <\/td>\n<\/tr>\n
Music technology (Mandatory Classes)<\/center><\/td>\n<\/tr>\n
Fundamentals of music technology <\/a>
\n <\/td>		 2
\r\n <\/td>		22,5<\/td> \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 2<\/b>
\r\n <\/td>		 22,5<\/b>
\r\n <\/td>\n<\/tr>\n
Audio recording techniques l<\/a>
\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 \u00a02
\r\n <\/td>		22,5<\/td> \u00a0
\r\n <\/td>		 \u00a0
\r\n <\/td>		 2<\/b>
\r\n <\/td>		 22,5<\/b>
\r\n <\/td>\n<\/tr>\n
Electives (Mandatory Classes)<\/center><\/td>\n<\/tr>\n
Elective Credits<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 \u00a045
\n <\/td>		 9
\n <\/td>		 135
\n <\/td>		 12<\/b>
\n <\/td>		 180<\/b>
\n <\/td>\n<\/tr>\n
Final Term Project (TFG)<\/center><\/td>\n<\/tr>\n
Introduction to Research<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2<\/b>
\n <\/td>		 30<\/b>
\n <\/td>\n<\/tr>\n
Final Term Project<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 8
\n <\/td>		 15
\n <\/td>		 8<\/b>
\n <\/td>		 15<\/b>
\n <\/td>\n<\/tr>\n<\/tbody>\n
TOTAL<\/b>
\n <\/th>		 60<\/b>
\r\n <\/th>		 502,5<\/b>
\r\n <\/th>		 60<\/b>
\r\n <\/th>		 555<\/b>
\r\n <\/th>		 60<\/b>
\r\n <\/th>		 540<\/b>
\r\n <\/th>		 60<\/b>
\r\n <\/th>		 502,5<\/b>
\r\n <\/th>		 240<\/b>
\r\n <\/th>		 2100<\/b>
\r\n <\/th>\n<\/tr>\n<\/tfoot>\n<\/table>\n\n","protected":false},"excerpt":{"rendered":"

Interpretation Early Music Historical Voice Curriculum Speciality: Historical Voice<\/p>\n","protected":false},"author":35,"featured_media":0,"parent":44223,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[1120],"tags":[1458],"class_list":["post-82710","page","type-page","status-publish","hentry","category-especialitats-en","tag-pla-destudis-en"],"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-04-13 21:52:47","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/pages\/82710","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/users\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/comments?post=82710"}],"version-history":[{"count":1,"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/pages\/82710\/revisions"}],"predecessor-version":[{"id":82713,"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/pages\/82710\/revisions\/82713"}],"up":[{"embeddable":true,"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/pages\/44223"}],"wp:attachment":[{"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/media?parent=82710"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/categories?post=82710"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.esmuc.cat\/en\/wp-json\/wp\/v2\/tags?post=82710"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}