{"id":32188,"date":"2021-07-22T14:03:15","date_gmt":"2021-07-22T12:03:15","guid":{"rendered":"https:\/\/www.esmuc.cat\/grau\/interpretacio-musica-antiga\/interpretacio-musica-antiga-clarinet-etc\/"},"modified":"2022-09-28T15:37:24","modified_gmt":"2022-09-28T13:37:24","slug":"interpretacio-musica-antiga-clarinet-etc","status":"publish","type":"page","link":"https:\/\/www.esmuc.cat\/es\/estudios\/grau\/interpretacio-musica-antiga\/interpretacio-musica-antiga-clarinet-etc\/","title":{"rendered":"Interpretaci\u00f3n M\u00fasica Antigua (Instrumentos mel\u00f3dicos y percusi\u00f3n)"},"content":{"rendered":"\n
\n
<\/div>\n<\/div>\n\n\n
\n\t<\/span>\n\tESMUC<\/span><\/a><\/span> > Estudios<\/span><\/a><\/span> > Grado<\/span><\/a><\/span> > Interpretaci\u00f3n: m\u00fasica antigua<\/span><\/a><\/span> > Interpretaci\u00f3n M\u00fasica Antigua (Instrumentos mel\u00f3dicos y percusi\u00f3n)<\/span><\/span><\/div>\n\n\n\n

Curr\u00edculum Interpretaci\u00f3n M\u00fasica Antigua<\/h1>\n\n\n\n

Modalidad<\/h4>\n\n\n\n

Clarinete hist\u00f3rico, Contrabajo hist\u00f3rico\/Violone, Corneta, Fagot hist\u00f3rico, Flauta de pico, Flauta travesera hist\u00f3rica, Oboe hist\u00f3rico, Percusi\u00f3n hist\u00f3rica, Sacabucho, Trompa natural, Trompeta natural, Viola de gamba, Viola hist\u00f3rica, Viol\u00edn hist\u00f3rico, Violonchelo hist\u00f3rico.<\/strong><\/p><\/div><\/div>\n\n\n\n

Las asignaturas marcadas con un asterisco (*) NO se ofrecen cada curso. Consulta los 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\n\t
Materias y Asignaturas
\n <\/th>		 1r curso
\n <\/th>		 2ndo curso
\n <\/th>		 3r curso
\n <\/th>		 4to curso
\n <\/th>		 Total
\n <\/th>\n<\/tr>\n<\/thead>\n
<\/td>ECTS<\/td>h<\/td>ECTS<\/td>h<\/td>ECTS<\/td>h
\n <\/td>		ECTS<\/td>h
\n <\/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>		 \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
Est\u00e9tica<\/a> I, II <\/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
\n <\/td>		22,5<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 3<\/b>
\n <\/td>		 22,5<\/b>
\n <\/td>\n<\/tr>\n
Metodolog\u00edas de an\u00e1lisis musical<\/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
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>
\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
Instrumento \/ Voz (OB)<\/center> <\/td>\n<\/tr>\n
Instrumento principal 1 a 8
\n <\/td>		 24
\n <\/td>		 37,5
\n <\/td>		 24
\n <\/td>		 37,5
\n <\/td>		 23
\n <\/td>		 37,5
\n <\/td>		 \u00a024
\n <\/td>		 \u00a037,5
\n <\/td>		 95<\/b>
\n <\/td>		 150<\/b>
\n <\/td>\n<\/tr>\n
Formaci\u00f3n corporal y comunicaci\u00f3n I <\/a>y II<\/a><\/td> 2
\n <\/td>		22,5<\/td> 2
\n <\/td>		22,5<\/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
Improvisaci\u00f3n y ornamentaci\u00f3n I<\/a>, II<\/a>, III<\/a> y IV<\/a>
\n
\n
\n <\/td>		 4
\n <\/td>		 60
\n <\/td>		 4
\n <\/td>		 60
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 8
\n <\/td>		 120
\n <\/td>\n<\/tr>\n
Pr\u00e1ctica de bajo continuo
\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
Repertorio de la m\u00fasica antigua *
\n <\/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
Canto plano<\/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
Afinaciones hist\u00f3ricas<\/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<\/b>
\n <\/td>		 30
\n <\/td>\n<\/tr>\n
M\u00fasica de conjunto (OB)<\/center> <\/td>\n<\/tr>\n
Grandes conjuntos 1 a 7
\n <\/td>		 2
\n <\/td>		 45
\n <\/td>		 4
\n <\/td>		 90
\n <\/td>		 4
\n <\/td>		 90
\n <\/td>		 4
\n <\/td>		 90
\n <\/td>		 14
\n <\/td>		 315
\n <\/td>\n<\/tr>\n
Coro I
\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<\/b><\/b>
\n <\/td>		 45<\/b><\/b>
\n <\/td>\n<\/tr>\n
C\u00e1mara 1 a 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<\/b><\/b>
\n <\/td>		 157,5<\/b><\/b>
\n <\/td>\n<\/tr>\n
Teor\u00eda e historia (OB)<\/center> <\/td>\n<\/tr>\n
An\u00e1lisis de la m\u00fasica antigua<\/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
Taller de an\u00e1lisis de la m\u00fasica antigua<\/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
\n <\/td>\n<\/tr>\n

\n Metodolog\u00edas de investigaci\u00f3n musical I<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 4
\n <\/td>		 22,5
\n <\/td>		 4<\/b>
\n <\/td>		 22,5
\n <\/td>\n<\/tr>\n
Organolog\u00eda<\/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
Notaci\u00f3n y edici\u00f3n 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
Fuentes hist\u00f3ricas de la interpretaci\u00f3n de la m\u00fasica antigua<\/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
Historia de la m\u00fasica del siglo XVII<\/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
Tecnolog\u00eda musical (OB)<\/center><\/td>\n<\/tr>\n
Introducci\u00f3n a la tecnolog\u00eda musical <\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2
\n <\/td>		22,5<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2<\/b>
\n <\/td>		 22,5<\/b>
\n <\/td>\n<\/tr>\n
T\u00e9cnicas de grabaci\u00f3n y postproducci\u00f3n I<\/a>
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 \u00a02
\n <\/td>		22,5<\/td> \u00a0
\n <\/td>		 \u00a0
\n <\/td>		 2<\/b>
\n <\/td>		 22,5<\/b>
\n <\/td>\n<\/tr>\n
Materias optativas (OP)<\/center> <\/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>		 9
\n <\/td>		 135
\n <\/td>		 12<\/b>
\n <\/td>		 180<\/b>
\n <\/td>\n<\/tr>\n
Trabajo Final (TFG)<\/center><\/td>\n<\/tr>\n
Metodolog\u00edas de investigaci\u00f3n<\/a><\/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
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<\/b>
\n <\/td>		 15<\/b>
\n <\/td>\n<\/tr>\n<\/tbody>\n
TOTAL<\/b>
\n <\/th>		 60<\/b>
\r\n <\/th>		 495<\/b>
\r\n <\/th>		 60<\/b>
\r\n <\/th>		 487,5<\/b>
\r\n <\/th>		 60<\/b>
\r\n <\/th>		 540<\/b>
\r\n <\/th>		 60<\/b>
\r\n <\/th>		 435<\/b>
\r\n <\/th>		 240<\/b>
\r\n <\/th>		 1957,5<\/b>
\r\n <\/th>\n<\/tr>\n<\/tfoot>\n<\/table>\n\n","protected":false},"excerpt":{"rendered":"

Curr\u00edculum Interpretaci\u00f3n M\u00fasica Antigua Modalidad<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":30985,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[1126],"tags":[1210],"class_list":["post-32188","page","type-page","status-publish","hentry","category-especialitats-es","tag-pla-destudis-es"],"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-04-13 23:58:12","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\/32188","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=32188"}],"version-history":[{"count":10,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/pages\/32188\/revisions"}],"predecessor-version":[{"id":61779,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/pages\/32188\/revisions\/61779"}],"up":[{"embeddable":true,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/pages\/30985"}],"wp:attachment":[{"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/media?parent=32188"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/categories?post=32188"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.esmuc.cat\/es\/wp-json\/wp\/v2\/tags?post=32188"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}