{"id":31749,"date":"2021-07-21T14:11:08","date_gmt":"2021-07-21T12:11:08","guid":{"rendered":"https:\/\/www.esmuc.cat\/grau\/produccio-i-gestio\/produccio-i-gestio\/"},"modified":"2022-09-14T16:51:23","modified_gmt":"2022-09-14T14:51:23","slug":"produccio-i-gestio","status":"publish","type":"page","link":"https:\/\/www.esmuc.cat\/es\/estudios\/grau\/produccio-i-gestio\/produccio-i-gestio\/","title":{"rendered":"Curr\u00edculum Producci\u00f3n y gesti\u00f3n"},"content":{"rendered":"\n
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<\/div>\n<\/div>\n\n\n
\n\t<\/span>\n\tESMUC<\/span><\/a><\/span> > Estudios<\/span><\/a><\/span> > Grado<\/span><\/a><\/span> > Producci\u00f3n y gesti\u00f3n<\/span><\/a><\/span> > Curr\u00edculum Producci\u00f3n y gesti\u00f3n<\/span><\/span><\/div>\n\n\n\n

Curr\u00edculum Producci\u00f3n y gesti\u00f3n<\/h1>\n\n\n\n

Las asignaturas marcadas con un asterisco (*) NO se ofrecen cada curso. Consulta horarios vigentes.<\/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\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
Materias y Asignaturas
\n <\/th>		 1r curso
\n <\/th>		 2o curso
\n <\/th>		 3r curso
\n <\/th>		 4o curso
\n <\/th>		 Total
\n <\/th>\n<\/tr>\n<\/thead>\n
<\/td>ECTS
\n <\/td>		h
\n <\/td>		ECTS
\n <\/td>		h
\n <\/td>		ECTS
\n <\/td>		h
\n <\/td>		ECTS
\n <\/td>		 h<\/td>ECTS<\/td> h <\/td>\n<\/tr>\n
Cultura, pensamiento e historia (FB)<\/center> <\/td>\n<\/tr>\n
M\u00fasica y cultura I<\/a>, II<\/a> y III<\/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
Desarrollo profesional<\/a>\u00a0
\n <\/td>		 \u00a03
\n <\/td>		 \u00a045
\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
Est\u00e9tica<\/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
Lenguajes y t\u00e9cnica de la m\u00fasica (FB)<\/center> <\/td>\n<\/tr>\n
Fundamentos de ac\u00fastica<\/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
Metodolog\u00edas de an\u00e1lisis musical<\/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
Percepci\u00f3n auditiva general<\/a>
\n <\/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
Fundamentos de la composici\u00f3n<\/a><\/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
Formaci\u00f3n instrumental complementaria (OB)<\/center> <\/td>\n<\/tr>\n
Instrumento secundario 1 a 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
M\u00fasica de conjunto (OB)<\/center> <\/td>\n<\/tr>\n
Coro
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		2 <\/td>45 <\/td>\n<\/tr>\n
Conjunto instrumental 1 y 2<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2
\n <\/td>		 22,5
\n <\/td>		 2
\n <\/td>		 22,5
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		4 <\/td>45 <\/td>\n<\/tr>\n
Comunicaci\u00f3n, promoci\u00f3n y representaci\u00f3n (OB)<\/center><\/td>\n<\/tr>\n
Marketing<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		3 <\/td>30 <\/td>\n<\/tr>\n
M\u00fasica y comunicaci\u00f3n en el entorno global<\/a>\u00a0*
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		3 <\/td>30 <\/td>\n<\/tr>\n
Management e intermediaci\u00f3n<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		3 <\/td>30 <\/td>\n<\/tr>\n
Distribuci\u00f3n y comercializaci\u00f3n de contenidos musicales<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		3 <\/td>30 <\/td>\n<\/tr>\n
Sociolog\u00eda de la m\u00fasica *
\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 <\/td>45 <\/td>\n<\/tr>\n
T\u00e9cnicas de comunicaci\u00f3n<\/a>
\n <\/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
\r\n <\/td>		30<\/td> 3<\/b><\/b>
\r\n <\/td>		 30<\/b><\/b>
\r\n <\/td>\n<\/tr>\n
Gesti\u00f3n econ\u00f3mica (OB)<\/center> <\/td>\n<\/tr>\n
Dimensi\u00f3n econ\u00f3mica del sector musical<\/a>\u00a0*
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		4 <\/td>30 <\/td>\n<\/tr>\n
Patrocinio y mecenazgo * <\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		4 <\/td>30 <\/td>\n<\/tr>\n
Gesti\u00f3n contable y financiera<\/a>\u00a0*
\n <\/td>		 6
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 6
\n <\/td>		45 <\/td>\n<\/tr>\n
Gesti\u00f3n y planificaci\u00f3n presupuestaria<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 6
\n <\/td>		 45
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		6 <\/td>45 <\/td>\n<\/tr>\n
Emprendimiento y creaci\u00f3n de empresas<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		3 <\/td>30 <\/td>\n<\/tr>\n
Entornos de la gesti\u00f3n cultural (OB)<\/center> <\/td>\n<\/tr>\n
Gesti\u00f3n de centros educativos<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		3 <\/td>30 <\/td>\n<\/tr>\n
Gesti\u00f3n de proyectos comunitarios * <\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Las artes en vivo<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
El entorno empresarial<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
El entorno municipal<\/a>\u00a0*
\n <\/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
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Patrimonio musical\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		3 <\/td>30 <\/td>\n<\/tr>\n
Legislaci\u00f3n (OB)<\/center><\/td>\n<\/tr>\n
Marco p\u00fablico e institucional de la m\u00fasica<\/a>
\n <\/td>		 2
\n <\/td>		 30
\n <\/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>\n<\/tr>\n
Derecho I<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		30 <\/td>\n<\/tr>\n
Derecho II<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		4 <\/td>30 <\/td>\n<\/tr>\n
Derechos de propiedad intelectual<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2
\n <\/td>		 15
\n <\/td>		2 <\/td>15 <\/td>\n<\/tr>\n
Producci\u00f3n (OB)<\/CENTER><\/td>\n<\/tr>\n
Planificaci\u00f3n estrat\u00e9gica y dise\u00f1o de proyectos culturales*
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Producci\u00f3n de conciertos y eventos musicales<\/a>
\n <\/td>		 4
\r\n <\/td>		 30
\r\n <\/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>		 4
\r\n <\/td>		30<\/td>\n<\/tr>\n
Producci\u00f3n aplicada en la industria musical<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Programaci\u00f3n musical<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Gesti\u00f3n de equipos<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Gesti\u00f3n de la innovaci\u00f3n<\/a>\u00a0*
\n <\/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
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Tecnolog\u00eda musical (OB)<\/center><\/td>\n<\/tr>\n
Introducci\u00f3n a la tecnolog\u00eda musical<\/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
\r\n <\/td>		22,5<\/td>\n<\/tr>\n
T\u00e9cnicas de grabaci\u00f3n y postproducci\u00f3n I<\/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
\r\n <\/td>		22,5<\/td>\n<\/tr>\n
T\u00e9cnicas de grabaci\u00f3n y postproducci\u00f3n II<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Tecnolog\u00eda aplicada a la producci\u00f3n y difusi\u00f3n I<\/a>
\n <\/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
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Tecnolog\u00eda aplicada a la producci\u00f3n y difusi\u00f3n II<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Ac\u00fastica de recintos<\/a>\u00a0*
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Pr\u00e1cticas (OB)<\/CENTER> <\/td>\n<\/tr>\n
Pr\u00e1cticum de producci\u00f3n y gesti\u00f3n I<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 20
\n <\/td>		 20
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 20
\n <\/td>		 20
\n <\/td>\n<\/tr>\n
Pr\u00e0cticum de producci\u00f3 i gesti\u00f3 II<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 20
\n <\/td>		 20
\n <\/td>		 20
\n <\/td>		 20
\n <\/td>\n<\/tr>\n
Pr\u00e1cticas internas I, II y III<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 20
\n <\/td>		 4
\n <\/td>		 20
\n <\/td>		 4
\n <\/td>		 20
\n <\/td>		 12
\n <\/td>		 60
\n <\/td>\n<\/tr>\n
Materias optativas (OP)<\/CENTER> <\/td>\n<\/tr>\n
Historia de la m\u00fasica popular<\/a>,
Historia de la m\u00fasica de los siglos XX y XXI<\/a> \/ Historia del jazz<\/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>		 8
\n <\/td>		 90
\n <\/td>\n<\/tr>\n
Cr\u00e9ditos optativos
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3
\n <\/td>		 45
\n <\/td>		 6
\n <\/td>		 45
\n <\/td>		 9
\n <\/td>		 90
\n <\/td>\n<\/tr>\n
Trabajo Final (TFG)<\/center> <\/td>\n<\/tr>\n
Metodolog\u00edas de investigaci\u00f3n<\/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
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
Trabajo fin de grado
\n <\/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
\n <\/td>		 15
\n <\/td>\n<\/tr>\n<\/tbody>\n
TOTAL\u00a0<\/b>
\n <\/th>		 60<\/b>
\r\n <\/th>		 637,5<\/b>
\r\n <\/th>		 60<\/b>
\r\n <\/th>		 507,5<\/b>
\r\n <\/th>		 60<\/b>
\r\n <\/th>		 407,5<\/b>
\r\n <\/th>		 60<\/b>
\r\n <\/th>		 310<\/b>
\r\n <\/th>		 240<\/b>
\r\n <\/th>		 1862,5<\/b>
\r\n <\/th>\n<\/tr>\n<\/tfoot>\n<\/table>\n\n","protected":false},"excerpt":{"rendered":"

Curr\u00edculum Producci\u00f3n y gesti\u00f3n<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":31037,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[1126],"tags":[1644,1210],"class_list":["post-31749","page","type-page","status-publish","hentry","category-especialitats-es","tag-pla-destudis-es-2","tag-pla-destudis-es"],"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-09-28 01:45:19","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/pages\/31749","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/comments?post=31749"}],"version-history":[{"count":7,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/pages\/31749\/revisions"}],"predecessor-version":[{"id":59696,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/pages\/31749\/revisions\/59696"}],"up":[{"embeddable":true,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/pages\/31037"}],"wp:attachment":[{"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/media?parent=31749"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/categories?post=31749"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/tags?post=31749"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}