Degree in Music Performance

Objectives

It is guaranteed that, upon completion of the Bachelor’s Degree in Music, students will be fully prepared to:

1. Apply all their knowledge, both theoretical and practical, demonstrating a thorough understanding, in order to begin their professional career. They will possess the artistic maturity and independence required for each of the professional roles they may undertake.

2. Apply all the knowledge acquired in a professional manner, whilst demonstrating the ability to critically assess and evaluate their own work. They will possess a proven and assessed knowledge of all periods and styles within their specialism.

3. To continue their training through the Master’s degree in performance, in order to continue gathering the information, data and practical experience essential for their technical and artistic development.

4. Demonstrate a high degree of personal autonomy, enabling them to continue developing their skills and to begin working in the professional sphere, progressing through self-directed learning and self-discipline.

Competencies

Basic and general competences:

CG1 – Ability to analyse and synthesise

CG11 – Problem-solving

CG5 – Information management skills

CB1 – Students have demonstrated that they possess and understand knowledge in a field of study building on the foundations of general secondary education; this is typically at a level which, whilst drawing on advanced textbooks, also includes some aspects requiring knowledge from the cutting edge of their field of study

CB2 – Students are able to apply their knowledge to their work or profession in a professional manner and possess the competences typically demonstrated through the formulation and defence of arguments and the resolution of problems within their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study) in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB4 – Students should be able to communicate information, ideas, problems and solutions to both specialist and non-specialist audiences

CB5 – Students should have developed the learning skills necessary to undertake further study with a high degree of autonomy

Specific Competences:

CE2 – Ability to recognise musically and analyse the formal and harmonic characteristics of different musical periods

CE23 – Ability to analyse and understand musical phenomena

CE1 - Ability to acquire the necessary and compulsory knowledge of music theory

CE14 - Ability to search for and select any type of source material and score for the in-depth study and research of the works to be performed

Learning Outcomes

• Understanding of the concepts and techniques specific to the modules the student chooses to undertake

• To provide the musical knowledge essential for any graduate in arts-related studies.

• Ability to engage in artistic and aesthetic reasoning and musical thinking.

• Ability to engage in abstract reasoning and logical thinking

• Ability to solve highly complex technical and musical problems.

• To foster in students the capacity for abstraction, rigour, analysis and synthesis.

• To know and understand the fundamentals of music.

Course content

Knowledge of music theory; fundamentals of applied harmony. Development of skills and acquisition of knowledge to facilitate students’ musical perception, creation, performance, reflection and documentation. Development of aural skills, concentration whilst listening, memory and musical intelligence. Common module for all pathways.

Teaching activities

1) Classroom-based presentation of concepts related to the topics comprising each subject and problem-solving exercises to enable students to learn how to tackle them, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty that enable students to gradually develop the ability to work independently in solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the ordinary examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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1) Assessment will be based on practical exercises carried out in small groups or individually, as well as on students’ performance in the classroom whilst undertaking these exercises. 30%

2) Submission of theoretical and practical assignments. 35%

3) For skills requiring knowledge of the course content, a series of written examinations and practical tests will be set to cover the range of learning activities carried out in the classroom. (Written and/or practical assessments throughout the semester, to assess the technical skills associated with the subject matter acquired through the student’s individual study). 35%

MARKING AND RUBRIC: each minor flaw in the various assignments, activities and examinations will result in a deduction of 0.5 out of 10. No work submitted after the last day of class will be marked.

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Essential:

1. PISTON, WALTER

HARMONY

IDEA MÚSICA. 2008.

ISBN: 9788493663117

2. Schoenberg

Harmony

Real Musical. 1992.

ISBN: 8438700543

Objectives

To acquire the necessary skills using existing methods to achieve a C1 level in English, with particular emphasis on individual expression (spoken and written), the communicative process (speaking and listening), the correct use of spoken and written language (accuracy, coherence and appropriateness, lexical accuracy, spelling, vocabulary, pronunciation and creativity), and reading texts (reading, comprehension and critical thinking).

Skills

General and Basic Skills:

CG3 – Knowledge of a foreign language

CG5 – Information management skills

Basic Competences: CB1 – Students must have demonstrated that they possess and understand knowledge in an area of study building on the foundations of

general secondary education, and is typically at a level which, whilst drawing on advanced textbooks, also includes

certain aspects requiring knowledge drawn from the cutting edge of their field of study

CB2 – That students are able to apply their knowledge to their work or vocation in a professional manner and possess the

skills typically demonstrated through the development and defence of arguments and the resolution of problems within

their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study)

in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB4 - Students should be able to communicate information, ideas, problems and solutions to both specialist and non-specialist

specialist

CB5 – Students should have developed the learning skills necessary to undertake further study

with a high degree of autonomy

Specific Competences:

CE21 – Knowledge of foreign languages.

Learning outcomes

1. Proficiency in a foreign language

2. Carrying out work on specific topics.

3. Knowledge of professional procedures.

4. Knowledge of work methodology.

Course description

The content of this module is designed to enable students to acquire the skills and competences in reading comprehension, listening comprehension, speaking and writing that will allow them to function effectively in a professional context in a foreign language. Specifically, the course focuses on developing reading comprehension, listening comprehension, oral production and written production in English within the field of modern music.

Teaching activities

1) Classroom-based presentation of concepts related to the topics covered in each module and problem-solving exercises to help students understand how to tackle these topics, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty enabling students to gradually develop the ability to work independently on solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

6) 7- Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat. 0% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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ASSESSMENT SYSTEM:

1. Assessment will be based on practical interpretative exercises or the submission and defence of case studies carried out in small groups or individually: 50%

2. Submission of theoretical and practical activities and reports on their completion: 35%

3. For skills requiring knowledge of the course content, a series of written examinations and practical tests

covering the full range of classroom-based learning activities. (Written and/or practical assessments throughout the semester, to assess the technical skills associated with the course content acquired through the student’s independent study): 15%

The assessment systems used to verify and evaluate students’ acquisition of competences can be divided into two types:

- E1: Written tests throughout the semester to assess the technical skills associated with the subject, acquired through the student’s individual study.

- E3: Problem-solving, completing assignments, drafting reports, and presenting and defending case studies or projects (individually or in small groups).

The assessment process will be carried out with the aim of achieving the learning outcomes set out in the course description.

The assessments carried out will primarily evaluate two language skills (listening comprehension and oral expression).

To assess these skills, the following tests will be carried out:

• Vocabulary exercises (applied to oral presentation).

• Preparation and delivery of presentations on topics relating to the workplace and academia.

• Listening comprehension tests.

• Speaking tests.

CONTINUOUS ASSESSMENT

Students will be assessed through continuous assessment, as follows:

Practical exercises and partial assignments (Reading, Listening, Grammar, Vocabulary): 50%

Submission of theoretical and practical assignments and oral presentations: 35% (If a student passes the oral test with a minimum mark of 5 in class, this mark will be carried over to the main examination session)

Written test (Writing): 15%

Once all continuous assessment tests have been completed, if the overall average mark in any of these tests is below 2.5, the mark cannot be included in the overall average. In this case, the final mark will be a maximum of 3 and, therefore, the student must sit the corresponding ordinary examination session.

IMPORTANT:

Should a student have failed to sit any of the mid-term assessments or fail them, the ordinary examination will count for 100 per cent. In this case, students will be assessed as follows:

Assessment of various skills 50%

Oral presentation 50%

FINAL EXAM: EXTRAORDINARY EXAM SESSION.

Students will be assessed as follows:

Assessment of various skills: 50%

Oral presentation 50%

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Core:

1. Helen Stephenson, Lewis Lansford & Paul Dummett

TEDTalks Keynote – Upper Intermediate B2 (Student’s Book)

National Geographic Learning. 2022.

ISBN: 978-1-305-399

Objectives

It is guaranteed that, upon completion of the Bachelor’s Degree in Music, students will be fully prepared to:

1. Apply all their knowledge, both theoretical and practical, demonstrating a thorough understanding, so that they may begin their professional career. They will possess the artistic maturity and independence required for each of the professional roles they may undertake.

2. Apply all the knowledge acquired in a professional manner, whilst demonstrating the ability to critically assess and evaluate their own work. They will possess a proven and assessed knowledge of all periods and styles within their specialism.

3. To continue their training through the Master’s degree in performance, in order to continue gathering the information, data and practical experience essential for their technical and artistic development.

4. Demonstrate a high degree of personal autonomy, enabling them to continue developing their skills and to begin working in the professional sphere, progressing through self-directed learning and self-discipline.

Competencies

Basic and General Competencies:

CG11 – Problem-solving

CG12 – Teamwork

CG14 – Knowledge of communication and leadership techniques

CG5 – Information management skills

CG7 – Independent learning

CG8 – Creativity, Leadership, Initiative and Entrepreneurial Spirit

CB1 - Students have demonstrated that they possess and understand knowledge in a field of study building on the foundations of general secondary education, typically at a level which, whilst drawing on advanced textbooks, also includes some aspects requiring knowledge from the cutting edge of their field of study

CB2 – Students should be able to apply their knowledge to their work or profession in a professional manner and possess the skills typically demonstrated through the formulation and defence of arguments and the resolution of problems within their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study) in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB4 – Students should be able to communicate information, ideas, problems and solutions to both specialist and non-specialist audiences

CB5 – Students should have developed the learning skills necessary to undertake further study with a high degree of autonomy

Specific competences:

CE16 – Ability to use fingering, pedal technique and perform the various types of touch required in the piano repertoire for the piano course, and ability to use fingering and bowing in the string instrument repertoire, as well as the correct selection of technique and appropriate bowing

CE18 – Ability to memorise

CE20 – Sufficient knowledge and understanding of the mechanics and construction of the instrument to enable a correct assessment of its sound and functioning

CE25 – Knowledge of a specific choral and orchestral repertoire

CE4 – Ability to exercise musical judgement

CE8 – Sufficient ability to sight-read and perform a piece correctly

CE9 - Ability to develop and deepen interpretative knowledge using the most appropriate study method

CE10 - Ability to analyse and reflect on all knowledge acquired in order to convey it effectively and apply that knowledge to professional practice

CE11 - Sufficient ability and knowledge to work in the music sector in any field related to performance and to adapt to different working environments

CE12 - Ability to develop all the knowledge required for ensemble work in orchestras, choirs and chamber music

CE15 - Adequate postural control and the necessary relaxation for instrumental practice

Learning outcomes

• To address interdisciplinary topics and work as part of a team to solve complex problems.

• To provide the musical culture essential for any graduate in arts-related studies.

• Ability to apply the knowledge acquired to the resolution of musical and technical problems.

• Ability to engage in artistic and aesthetic reasoning and musical thinking.

• Ability to solve highly complex technical and musical problems.

• To know and understand the main techniques of instrumental or vocal ensemble performance.

• To be familiar with the main choral or orchestral repertoire.

Description of the course content

Practical experience in various types of orchestral, vocal and mixed ensembles.

In-depth study of the skills involved in understanding and responding to the conductor’s instructions, and integrating into the ensemble, through an exploration of the choral and orchestral repertoire.

Further development of skills relating to understanding and responding to instructions within a medium-sized ensemble, and integration into the ensemble, through an exploration of 20th- and 21st-century repertoire.

Development of rehearsal habits and techniques.

Collaboration in establishing interpretative criteria, rapport and collective work.

Work by instrument sections.

Knowledge of the orchestral repertoire.

Training activities

1) Classroom-based presentation of concepts relating to the topics comprising each subject and problem-solving exercises enabling students to understand how to tackle them, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty enabling students to gradually develop the ability to work independently in solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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REGULAR EXAMINATION PERIOD

1) Assessment will be based on practical interpretative exercises or the submission and defence of case studies carried out in small groups or individually, as well as students’ performance in the classroom whilst undertaking these tasks. 40%

2) Submission of theoretical and practical activities and reports on their completion. 40%

3) For skills requiring knowledge of the course content, a series of written examinations and practical tests will be set to cover the range of learning activities carried out in the classroom. (Written and/or practical assessments throughout the semester, to assess the technical skills associated with the subject matter acquired through the student’s individual study). 20%

- Attendance at the orchestra rehearsals scheduled during the academic year is compulsory.

EXTRAORDINARY EXAMINATION SESSION

Any student who has not passed the module in the ordinary assessment period must sit an ordinary examination, which will account for 100% of the final mark. The examination will consist of an individual performance of a selection of works or excerpts studied during the academic year.

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Core:

1. Harnoncourt, Nikolaus

Music as Sonic Discourse

Acantilado. 2007.

ISBN: 9788496136984

2. Lawson, Colin

The Cambridge Companion to the Orchestra

Cambridge University Press. 2003.

ISBN: 6234567890

3. Rosen, Charles

Beethoven

Yale University Press, 2002.

ISBN: 9780300090703

4. Rosen, Charles

Sonata Forms

Madrid: Mundimúsica Ediciones, 2010. 2010.

ISBN: 8482363204

Objectives

1. To apply all knowledge, both theoretical and practical, demonstrating a thorough understanding of the subject matter, in order to begin carrying out their professional work. To possess the artistic maturity and independence required to apply this knowledge to each of the roles they are called upon to fulfil.

2. To apply all the knowledge acquired in a professional manner, whilst demonstrating the ability to self-critique and evaluate the work being carried out. This should be underpinned by a proven and assessed understanding of all periods and styles within their specialism.

3. To continue their training through the Master’s degree in performance, in order to continue gathering the information, data and practical experience essential for their technical and artistic development.

4. Demonstrate a high degree of personal autonomy, enabling them to continue developing their skills and to begin working in the professional sphere, progressing through self-directed learning and self-discipline.

Competencies

Basic and General Competencies:

CG1 Ability to analyse and synthesise

CG9 Commitment to quality

CG11 Problem-solving

CB1 – That students have demonstrated that they possess and understand knowledge in an area of study which builds on the foundations of

general secondary education, and is typically found at a level which, whilst drawing on advanced textbooks, also includes

certain aspects requiring knowledge from the cutting edge of their field of study

CB2 – That students are able to apply their knowledge to their work or vocation in a professional manner and possess the

skills typically demonstrated through the development and defence of arguments and the resolution of problems within

their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study)

in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB4 - Students should be able to communicate information, ideas, problems and solutions to both specialist and non-specialist audiences

specialist

CB5 – Students should have developed the learning skills necessary to undertake further study

with a high degree of autonomy

Specific Competencies:

CE6. The ability to express oneself musically through technical and interpretative skills, based on one’s own artistic vision.

CE8. Sufficient ability to sight-read and perform music correctly.

CE10. The ability to analyse and reflect on all the knowledge acquired in order to convey it effectively and to apply that knowledge to professional practice.

CE17. Ability to execute phrasing, articulation, dynamics and all other elements inherent to the work’s distinctive style.

Learning outcomes

• Understanding of the concepts and techniques specific to the modules the student chooses to study

• Proficiency in the techniques and tools specific to the course area studied.

• Ability to apply the knowledge acquired to problem-solving.

• To foster in students the capacity for abstraction, rigour, analysis and synthesis.

• Ability to solve highly complex technical problems.

• Knowledge and understanding of the main techniques of vocal practice and aural training.

Course content description

Vocal practice involving reading, intonation and the performance of exercises.

Analysis of various elements through sight-reading and listening.

Understanding and expanding knowledge of musical terminology, notation and notation systems.

Understanding and expanding knowledge of the fundamentals and structure of musical language. Repertoire and variety of styles and genres.

Development of aural skills relating to the specific content of the subject through exercises, ‘live’ listening sessions and the use of information and communication technologies.

Transcription of rhythmic, melodic and harmonic passages, as well as other musical elements.

Recognition of keys.

Written or verbal commentary on the most relevant aspects of a musical excerpt.

Training activities

1) Classroom-based presentation of concepts related to the sub-subjects comprising each module and problem-solving exercises enabling students to learn how to tackle them, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty enabling students to gradually develop the ability to work independently on solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

----

1) Assessment will be based on practical interpretative exercises or the submission and defence of case studies carried out in small groups or individually, as well as students’ performance in the classroom whilst undertaking these tasks. 35%

2) Submission of theoretical and practical activities and reports on their progress. 35%

3) For skills requiring knowledge of the course content, a series of written examinations and practical assessments will be set to cover the full range of learning activities carried out in the classroom. (Written and/or practical assessments throughout the semester, to assess the technical competences associated with the course content acquired through the student’s independent study). 30%

Bibliography

Essential:

1. CAROTHERS HALL, ANNE

STUDYING RHYTHM

UPPER SADDLE RIVER. 1998.

ISBN: 0136145205

2. BERKLEE COLLEGE OF MUSIC

THE REAL BOOK: VOLUME I, SIXTH EDITION

HAL LEONARD CORPORATION. 2004.

ISBN: 0634060384

3. BERKOWITZ, SOL; FONTRIER, GABRIEL

A NEW APPROACH TO SIGHT-SINGING

W. W. NORTON. 1997.

ISBN: 0393969088

Supplementary:

4.- BERKLEE COLLEGE OF MUSIC

THE REAL LATIN BOOK: C INSTRUMENTS

HAL LEONARD PUB CO. 2014.

ISBN: 142348763X

5. BERKLEE COLLEGE OF MUSIC

THE REAL VOCAL BOOK, VOLUME I: LOW VOICE

HAL LEONARD PUBLISHING CO. 2009.

ISBN: 1423451228

6. GLEN ETHIER

EAR TRAINING AND SIGHT SINGING

OUP Canada. 2013.

ISBN: 0195446178

7. MARTÍ, JOSÉ MARÍA

HOW TO DEVELOP YOUR MUSICAL EAR

MANOD. 2017.

ISBN: 8494650424

8. SIERRA, FELIX

HARMONIC DICTATIONS FOR 3 VOICES (VOLUME I)

SI BEMOL EDICIONES. 2017.

ISBN: 978-84-16337-

Objectives

It is guaranteed that, upon completion of the Bachelor’s Degree in Music, students will be fully prepared to:

1. Apply all their knowledge, both theoretical and practical, demonstrating a thorough understanding, so that they can begin their professional career. They will possess the artistic maturity and independence required for each of the professional roles they may undertake.

2. Apply all the knowledge acquired in a professional manner, whilst demonstrating the ability to critically assess and evaluate their own work. They will possess a proven and assessed knowledge of all periods and styles within their specialism.

3. To continue their training through the Master’s degree in performance, in order to continue gathering the information, data and practical experience essential for their technical and artistic development.

4. Demonstrate a high degree of personal autonomy, enabling them to continue developing their skills and to begin working in the professional sphere, progressing through self-directed learning and self-discipline.

Competencies

General Competencies:

GC1 – Ability to analyse and synthesise

CG15 – Ability to integrate into other cultures

CG2 – Oral and written communication in their native language

CB1 – That students have demonstrated knowledge and understanding in an area of study building on the foundations of

general secondary education, and is typically at a level which, whilst drawing on advanced textbooks, also includes

certain aspects requiring knowledge drawn from the cutting edge of their field of study

CB2 – That students are able to apply their knowledge to their work or vocation in a professional manner and possess the

skills typically demonstrated through the development and defence of arguments and the resolution of problems within

their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study)

in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB4 - Students should be able to communicate information, ideas, problems and solutions to both specialist and non-specialist

specialist

CB5 – Students should have developed the learning skills necessary to undertake further study

with a high degree of autonomy

Specific Competences:

CE2 – Ability to recognise musically and analyse the formal and harmonic characteristics of different musical periods

CE3 – Knowledge of the history of music and art, aesthetics and the cultural movements of each period

CE4 – Ability to form a musical judgement

CE1 – Ability to acquire the necessary and compulsory knowledge of music theory

Learning Outcomes

• Understanding of the concepts and techniques specific to the modules the student chooses to study

• Writing reports on the proposed case studies

• Ability to engage in artistic and aesthetic reasoning and musical thinking

• To develop in students the capacity for abstraction, rigour, analysis and synthesis.

• Knowledge and understanding of the main movements in the history of music

Description of the course content

Knowledge of the fundamental movements and trends in the history of music: artistic, cultural and social aspects.

Fundamental knowledge of music in relation to culture, from a historical and systematic perspective.

Analysis and interpretation of the social contexts in which this phenomenon occurs.

Integration of research and interpretation to achieve a comprehensive understanding of the phenomenon of musical practice.

Teaching activities

1) Classroom-based presentation of concepts related to the topics comprising each subject and problem-solving exercises enabling students to learn how to tackle them, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty that enable students to gradually develop the ability to work independently in solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

6) Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat. 0% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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1) For learning outcomes involving proficiency in the use of the instrument, assessment will be based on practical performance exercises or the submission and defence of case studies carried out in small groups or individually, as well as the student’s performance in the classroom whilst undertaking these tasks. 20%

2) Submission of theoretical and practical activities and reports on their progress. 20%

3) For competences involving knowledge of the course content, a series of written examinations and practical tests will be set to assess the range of learning activities carried out in the classroom. (Written and/or practical assessments throughout the semester, to assess the technical competences associated with the course content acquired through the student’s independent study). 60%

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Essential:

1. Atlas, Allan W.

Renaissance Music

Madrid: Akal. 2002.

ISBN: 9788446012085

2. Burkholder, J. Peter; Grout, Donald Jay; Palisca, Claude V.

A History of Western Music

Alianza. 2015.

ISBN: 9788420699141

3. Kamien, Rogers

The Norton Scores – An Anthology for Listening, Third Edition, expanded in two volumes, Volume I – Gregorian Chant to Beethoven

Norton. 1990.

ISBN: 9780393957457

4. ULRICH, Michels

Atlas of Music 1

Alianza. 1998.

ISBN: 9788420662015

5. ULRICH, Michels

Atlas of Music 2

Alianza. 1998.

ISBN: 9788420662107

Supplementary:

6. Atlas, A. W.

Anthology of Renaissance Music

Madrid: Akal. 2002.

ISBN: 9788446016151

7.- BUKOFZER, M.F

Music in the Baroque Period

Alianza. 2002.

ISBN: 978-84-206-64

8. DIBELIUS, Ulises

Contemporary Music since 1945

Akal. 2005.

ISBN: 978-84-460-12

9. Hoppin, Richard H.

Medieval Music

Madrid: Akal, 1991. 1991.

ISBN: 978-84-7600-6

10. Plantinga, León

Romantic Music:

: Akal. 1992.

ISBN: 8446000407

11. Rosen, Charles

The Classical Style: Haydn, Mozart, Beethoven

Alianza. 2015.

ISBN: 9788420697406

Objectives

It is guaranteed that, upon completion of the Bachelor’s Degree in Music, students will be fully prepared to:

1. Apply all their knowledge, both theoretical and practical, demonstrating a thorough understanding, so that they may begin their professional career. They will possess the artistic maturity and independence required for each of the professional roles they may undertake.

2. Apply all the knowledge acquired in a professional manner, whilst demonstrating the ability to critically assess and evaluate their own work. They will possess a proven and assessed understanding of all periods and styles within their specialism.

3. To continue their training through the Master’s degree in performance, in order to continue gathering the information, data and practical experience essential for their technical and artistic development.

4. Demonstrate a high degree of personal autonomy, enabling them to continue developing their skills and to begin working in the professional sphere, progressing through self-directed learning and self-discipline.

Competencies

General Competencies (GC)

(In drawing up these competences, relevant course descriptions in the field of Arts and Humanities have been taken into account)

Basic and General Competencies:

GC10 – Technical and interpretative ability

GC7 – Independent learning

CG9 – Commitment to quality

CB1 – Students have demonstrated that they possess and understand knowledge in an area of study building on the foundations of general secondary education; this is typically at a level which, whilst drawing on advanced textbooks, also includes certain aspects requiring knowledge from the cutting edge of their field of study

CB2 – That students are able to apply their knowledge to their work or vocation in a professional manner and possess the competences typically demonstrated through the formulation and defence of arguments and the resolution of problems within their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study) in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB5 - Students should have developed the learning skills necessary to undertake further study with a high degree of autonomy

Specific competences of the degree programme:

CE20 – Sufficient knowledge and understanding of the mechanics and construction of the instrument to enable a proper assessment of its sound and functioning

CE24 – Knowledge of a specific instrumental repertoire

CE4 – Ability to exercise musical judgement

CE6 - The ability to convey musical expression through technical and interpretative skills, based on one’s own

artistic vision

CE9 – Ability to develop and deepen interpretative knowledge using the most appropriate method of study

CE10 - Ability to analyse and reflect on all acquired knowledge in order to convey it effectively and

assess this knowledge for professional practice

CE13 - Ability to present the repertoire correctly, both technically and interpretatively, in the context of a

concert

Learning outcomes

• Understanding of the concepts and techniques specific to the modules the student chooses to undertake

• Proficiency in the techniques and tools specific to the course area studied.

• To provide the musical knowledge essential for any graduate in arts-related studies.

• Ability to apply the knowledge acquired to the resolution of musical and technical problems.

• Ability to engage in artistic and aesthetic reasoning and musical thinking.

• Ability to solve highly complex technical and musical problems.

• Knowledge and understanding of the main techniques of instrumental performance.

• To be familiar with the main instrumental repertoire

Description of the course content

Refinement of artistic, musical and technical skills, enabling students to tackle the performance of each instrument’s repertoire for each specialisation at the level required to complete the Bachelor’s degree in Performance. Knowledge of the interpretative criteria applicable to this repertoire, in accordance with its stylistic evolution. Stage presence. Synthesis and mastery of the fundamental aspects of professional musical performance. Development of a personal style as a performer and of creative maturity. Basic knowledge of the construction, maintenance, acoustic behaviour

and characteristics of the instrument in each specialisation.

Specialisations:

A. Piano, guitar, accordion, harp

B. Strings: violin, viola, cello, double bass

C. Wind instruments: flute, oboe, clarinet, bassoon, trombone, saxophone, trumpet, French horn, euphonium, English horn.

D. Percussion.

E. Voice

Training activities

1) Classroom-based presentation of concepts relating to the topics covered in each subject and the resolution of technical, interpretative or theoretical problems, enabling students to learn how to tackle them, as well as other face-to-face sessions: 100% face-to-face

2) Activities of increasing difficulty enabling students to gradually develop the ability to work independently in resolving subject-specific problems: 100% face-to-face

3) Completion of individual or group assignments outside the classroom: 0% face-to-face

4) Personal study, performing concerts, rehearsals, reading, etc., either individually or in groups: 0% face-to-face

5) Assessment tests: 100% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities requiring the student’s physical or virtual presence will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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Assessment will be based on practical interpretative exercises or the submission and defence of case studies carried out in small groups or individually: 60%

Submission of theoretical and practical activities and reports on their progress: 30%

For skills requiring knowledge of the course content, a series of written examinations and practical assessments will be set to cover the range of learning activities carried out in the classroom. (Written and/or practical assessments throughout the semester, to assess the technical competences associated with the subject matter acquired through the student’s individual study): 10%

EXTRAORDINARY EXAMINATION SESSION

Any student who has not passed the module in the ordinary assessment period must sit an ordinary examination, which will account for 100% of the final mark. The examination will consist of an individual performance of a selection of works or excerpts studied during the course.

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Core:

1. Brown, Clive

Classical and Romantic Performing Practice 1750–1900

Oxford University Press. 2000.

ISBN: 9780195166651

2. Capellino, Ricard; Posadas, Alberto

New Perspectives on the Saxophone: From Sound Exploration to Composition

Sis i Set Didàctiques Musicals. 2018.

ISBN: 9788494295829

3. Donington, Robert

The Interpretation of Early Music

Norton. 1992.

ISBN: 9780393960037

4. Hudson, Richard

Stolen Time: the history of tempo rubato

Oxford University Press. 1997.

ISBN: 9780198166672

5. Lawson, C. and Stowell, R.

The Historical Interpretation of Music

Alianza. 2005.

ISBN: 9788420682075

6. Mozart, Leopold

Violin Method

Arpegio Publishing. 2013.

ISBN: 9788415798002

7. Quantz, Johann Joachim

Treatise on a Method for Playing the Transverse Flute

Dairea. 2017.

ISBN: 9788494403507

8. Rink, J.

Musical Interpretation

Alianza. 2011.

ISBN: 9788420664958

9. Weiss, Marcus, Netti, Giorgio

Die Spieltechnik des Saxophons / The Techniques of Saxophone Playing

Bärenreiter. 2010.

ISBN: 9783761821145

Supplementary:

10. Miguel Asensio Segarra

Adolphe Sax and the Making of the Saxophone

Improntu Editores. 2017.

ISBN: 8415972865

11. Miguel Asensio Segarra

History of the Saxophone

Improntu Editores. 2018.

ISBN: 978-84-948369

Objectives

It is guaranteed that, upon completion of the Bachelor’s Degree in Music, students will be fully prepared to:

1. Apply all their knowledge, both theoretical and practical, demonstrating a thorough understanding, so that they may begin their professional career. They will possess the artistic maturity and independence required for each of the professional roles they may undertake.

2. Apply all the knowledge acquired in a professional manner, whilst demonstrating the ability to critically assess and evaluate their own work. They will possess a proven and assessed knowledge of all periods and styles within their specialism.

3. To continue their training through the Master’s degree in performance, in order to continue gathering the information, data and practical experience essential for their technical and artistic development.

4. Demonstrate a high degree of personal autonomy, enabling them to continue developing their skills and to begin working in the professional sphere, progressing through self-directed learning and self-discipline.

Competencies

Basic and General Competencies:

CG1 – Capacity for analysis and synthesis

CG12 – Teamwork

CG15 – Ability to integrate into other cultures

CB1 – Students have demonstrated that they possess and understand knowledge in a field of study building on the foundations of general secondary education; this is typically at a level which, whilst drawing on advanced textbooks, also includes certain aspects requiring knowledge from the cutting edge of their field of study

CB2 – That students are able to apply their knowledge to their work or profession in a professional manner and possess the competences typically demonstrated through the development and defence of arguments and the resolution of problems within their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study) in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB5 – Students should have developed the learning skills necessary to undertake further study with a high degree of autonomy

Specific competences:

CE16 – Ability to use fingering, pedal technique and perform the various types of touch required in the piano repertoire for the piano pathway, and ability to use fingering and bowing in the string instrument repertoire, as well as the correct selection of technique and appropriate bow stroke

CE17 – Ability to execute phrasing, articulation, dynamics and all elements inherent to the style of the work

CE18 – Ability to memorise

CE6 – Ability to convey musical expression through technical and interpretative skills, based on one’s own artistic vision

CE9 - Ability to develop and deepen interpretative knowledge using the most appropriate method of study

CE11 - Sufficient ability and knowledge to work in the music sector in any field related to performance and to adapt to different working environments

CE13 - Ability to present the repertoire correctly, both technically and interpretatively, in the context of a concert

Learning outcomes

• To address interdisciplinary topics and work as part of a team to solve complex problems.

• To provide the musical culture essential for any graduate in arts-related studies.

• The ability to apply the knowledge acquired to the resolution of musical and technical problems.

• Ability to engage in artistic and aesthetic reasoning and musical thinking.

• Ability to solve highly complex technical and musical problems.

• To know and understand the main techniques of ensemble instrumental performance.

• To be familiar with the main chamber music repertoire.

Course content

In-depth study of the specific aspects of chamber music performance.

Development of skills relating to the understanding and execution of the gestures necessary for ensemble coordination, and the ability to control not only one’s own part but also the overall result of the ensemble

through engagement with the repertoire.

Development of rehearsal habits and techniques.

Collaboration in establishing interpretative criteria, rapport and collective work.

Knowledge of the chamber music repertoire.

Training activities

1) Classroom-based presentation of concepts relating to the topics covered in each module and problem-solving exercises to enable students to understand how to tackle them, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty enabling students to gradually acquire the ability to work independently in solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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1) Assessment will be based on practical interpretative exercises or the submission and defence of case studies carried out in small groups or individually, as well as students’ performance in the classroom whilst undertaking these tasks. 40%

2) Submission of theoretical and practical activities and reports on their progress. 40%

3) For skills requiring knowledge of the course content, a series of written examinations and practical tests will be set to assess the range of learning activities carried out in the classroom. (Written and/or practical assessments throughout the semester, to assess the technical competences associated with the subject matter acquired through the student’s independent study). 20%

A class attendance rate of over 80 per cent is required to pass the module.

Bibliography

Essential:

1. Marín López, Miguel Ángel

Joseph Haydn and the string quartet

Alianza. 2009.

ISBN: 9788420682693

2. Martin Linde, Hanz

A Short Guide to the Ornamentation of Music from the 16th–18th Centuries

Melos. 2007.

ISBN: 9789876112116

3. Rosen, Charles

The Classical Style: Haydn, Mozart, Beethoven

Alianza. 2015.

ISBN: 9788420697406

4. Salas Merino, Vicente

The History of Chamber Music and its Combinations

Vision Net, Publisher. 2005.

ISBN: 9788498210132

5. Torres del Rincón, Marta

In Unison: An Essential Guide to the Practice of Chamber Music

Alpuerto. 2015.

ISBN: 9788438104880

6. Tranchefort, François-René

A Guide to Chamber Music

Alianza. 2010.

ISBN: 9788420651224

Objectives

The main aim of the ‘Professional Communication Techniques’ module is to develop the communication skills of musicians who will need to communicate in various professional contexts. By taking this module, students will be able to introduce themselves, conduct an interview, present their work individually or as part of a team, describe a musical work and use a range of linguistic registers.

Prerequisites

None specified.

Competencies

Not applicable.

Learning outcomes

RCG2 Develops interpersonal skills in oral and written communication for the presentation of programmes, knowledge and group work in the field of modern music.

(Skills)

RCG11 Develops teamwork skills, with the aim of adapting effectively to the various interdisciplinary contexts typical of the field of modern music production, performance and dissemination.

(Skills)

RVODS Is able to develop effective communication, teamwork, analytical thinking, creativity and ethical leadership from a cross-disciplinary perspective, clearly inspired by democratic principles and values, as well as the Sustainable Development Goals, in order to thrive in a professional environment with integrity.

(Competence)

Description of course content

The course focuses on developing students’ interpersonal communication skills, their capacity for analysis and synthesis, and basic communication and information management techniques. Students acquire the skills and competences in reading comprehension, listening comprehension, oral expression and written expression that will enable them to function effectively in a professional context.

1. Introduction to Communication

1.1. Communication theory

1.2. Communication Channels

1.3. Communication strategies

2. Oral Communication

2.1. Verbal communication

2.2. Non-verbal communication

2.3. Presentations

2.4. Types of discourse and structures

3. Written communication

3.1. Textual properties and modes

3.2. Writing techniques

3.3. Summary techniques

3.4. Types of texts

4. Specialised communication

4.1. Specialised communication in the field of music

4.2. Introduction to academic work

Learning activities

Activities of increasing difficulty that enable students to gradually develop the ability to work independently in solving subject-specific problems.

Completion of individual or group assignments outside the classroom.

Assessment system and criteria

Without prejudice to any other requirements that may be set out in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s learning activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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ASSESSMENT CRITERIA:

Completion of set practical work and exercises

Submission of individual and/or group assignments

Exams testing knowledge of the subject matter, problem-solving, reasoning, analysis of case studies, and the completion of projects or case studies, etc.

The assessment process will consist of verifying and evaluating the student’s acquisition of the competences. To this end, the following assessment activities will be used to determine the degree to which each of the listed competences has been mastered:

a) By type:

1. Completion of practical work and set exercises:

1.1. Coursera (5%)

1.2. Content tests (5%)

1.3. Summary (10%)

1.4. Discourse analysis (10%)

2. Presentation of individual and/or group assignments:

2.1. Oral presentation (30%). Minimum mark: 5

3. Exams testing knowledge of the subject matter (40%). Minimum mark: 5

b) Based on performance over the course of the two terms:

First term

o Continuous assessment test: Coursera (5%)

o Continuous assessment test (5%): test on the content covered in the module and on Coursera. 15 questions (multiple-choice and short-answer)

o Oral presentation (30%). Minimum mark: 5

Second term

o Continuous assessment test (10%): summary

o Continuous assessment test (10%): discourse analysis

o Written exam (40%). Minimum mark: 5

To be eligible for continuous assessment marks, students must have a minimum attendance rate of 70 per cent.

Students who have not passed the module through continuous assessment or in the ordinary examination session (oral presentation + written exam) must sit the examination in the supplementary session:

Supplementary sitting (100%). Students required to sit the supplementary sitting must take both parts of the examination: oral and written.

- Oral (40%). Minimum mark: 5

- Written (60%). Minimum mark: 5

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Core:

1. Instituto Cervantes

The Book of Correct Spanish. Keys to Speaking and Writing Spanish Well.

Espasa. 2012.

ISBN: 978-84-670-41

Supplementary:

2.- Alcalde, Jesús

Music and Communication. Basic Points of Contact

Fragua. 2007.

ISBN: 9788470742316

3.- De Aguilera, Miguel, (ed.)

Communication and Music 1: Language and Media

UOC (Open University of Catalonia). 2008.

ISBN: 9788497887205

4. Hermida, José

Speaking Without Words: How to Master Any Situation Through Gestures

5th ed. Fragua. 2010.

ISBN: 9788484608912

5. – Instituto Cervantes

The 500 Most Frequently Asked Questions about Spanish

Espasa. 2013.

ISBN: 978-84-670-39

6. Merayo Pérez, Arturo

A Practical Course in Oral Communication Techniques

2nd ed. Madrid: Tecnos, 2008. 2008.

ISBN: 9788430937363

7. REYES, Graciela

How to Write Well in Spanish: A Writing Guide

Madrid: Arco Libros, 1999. 1999.

ISBN: 8476353278

8. Victoriano Darias de las Heras

Music and the Media

Dykinson S.L. 2018.

ISBN: 978-84-9148-7

Others:

9. Alcoba, S.

Oral Expression

Barcelona: Ariel, 2000. 2000.

ISBN: 8434428512

10. Djamil Tony Kahale Carrillo

Music and Equality through its Lyrics

Dykinson S.L. 2021.

ISBN: 9788413902937

11. Gómez Torrego, Leonardo

Speaking and Writing Correctly

Arco Libros. 2006.

ISBN: 978-84-7635-8

12. Guijarro, T. and Muela, C.

Music, the Voice, Sound Effects and Silence in Advertising

Dossat. 2000.

ISBN: 8489656657

13. Montolío, Estrella

A Practical Guide to Academic Writing

Ariel. 2000.

ISBN: 8434428679

14. Royal Spanish Academy

Spelling of the Spanish Language

Espasa-Calpe. 2010.

ISBN: 9788467034264

Links

Body language: The body reveals what the mind conceals. Jordi Reche – Non-verbal communication has a considerably greater impact than words in most situations. And people are often not even remotely aware of this. Every gesture, every glance, every posture shapes a first impression. Your body language affects the people around you, how you relate to them and how they treat you. And, of course, it affects you.

Learn to communicate your ideas. Leonardo Daniel Tlaloni Zepeda – Communication depends on what you feel, what you think and who you are. Discover the elements which, in his experience, are essential for successful communication or conveying a message in any context.

A love of opera through musical outreach – The musician and outreach specialist, Ramón Gener, is able to introduce us to a world that awakens our curiosity, stirring something deep within us and making us feel.

Objectives

- To recognise the graphical representation of sound and its notation in Western musical notation.

- To identify and use each of the basic rhythmic symbols.

- To understand the role of melody within a musical work.

- To recognise and interpret the importance of harmony within the tonal system.

Prerequisites

None

Learning outcomes

RCE3. Understands the theoretical and practical principles of musical expression, such as melody, rhythm, harmony, counterpoint and texture, in order to analyse musical scores correctly.

Course content

- Fundamentals of music theory: basic elements.

- Rhythm. Note values and time signatures.

- Melody (I). Scales.

- Melody (II). Key.

- Harmony.

Learning activities

Theoretical content and supplementary activities.

- Online classes via the OpenUAX platform.

- Practical exercises.

- Tutoring and answering queries.

Objectives

It is guaranteed that, upon completion of the Bachelor’s Degree in Music, students will be fully prepared to:

1. Apply all their knowledge, both theoretical and practical, demonstrating a thorough understanding, in order to begin their professional career. They will possess the artistic maturity and independence required for each of the professional roles they may undertake.

2. Apply all the knowledge acquired in a professional manner, whilst demonstrating the ability to critically assess and evaluate their own work. They will possess a proven and assessed knowledge of all periods and styles within their specialism.

3. To continue their training through the Master’s degree in performance, in order to continue gathering the information, data and practical experience essential for their technical and artistic development.

4. Demonstrate a high degree of personal autonomy, enabling them to continue developing their skills and to begin working in the professional sphere, progressing through self-directed learning and self-discipline.

Competencies

Basic and general competences:

CG1 – Ability to analyse and synthesise

CG11 – Problem-solving

CG5 – Information management skills

CB1 – Students have demonstrated that they possess and understand knowledge in a field of study building on the foundations of general secondary education; this is typically at a level which, whilst drawing on advanced textbooks, also includes some aspects requiring knowledge from the cutting edge of their field of study

CB2 – Students are able to apply their knowledge to their work or profession in a professional manner and possess the competences typically demonstrated through the formulation and defence of arguments and the resolution of problems within their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study) in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB4 – Students should be able to communicate information, ideas, problems and solutions to both specialist and non-specialist audiences

CB5 – Students should have developed the learning skills necessary to undertake further study with a high degree of autonomy

Specific Competences:

CE2 – Ability to recognise musically and analyse the formal and harmonic characteristics of different musical periods

CE23 – Ability to analyse and understand musical phenomena

CE1 - Ability to acquire the necessary and compulsory knowledge of music theory

CE14 - Ability to search for and select any type of source material and score for the in-depth study and research of the works to be performed

Learning Outcomes

• Understanding of the concepts and techniques specific to the modules the student chooses to undertake

• To provide the musical knowledge essential for any graduate in arts-related studies.

• Ability to engage in artistic and aesthetic reasoning and musical thinking.

• Ability to engage in abstract reasoning and logical thinking

• Ability to solve highly complex technical and musical problems.

• To foster in students the capacity for abstraction, rigour, analysis and synthesis.

• To know and understand the fundamentals of music.

Course content

Knowledge of music theory; fundamentals of applied harmony. Development of skills and acquisition of knowledge to facilitate students’ musical perception, creation, performance, reflection and documentation. Development of aural skills, concentration whilst listening, memory and musical intelligence. Common module for all pathways.

Teaching activities

1) Classroom-based presentation of concepts related to the topics comprising each subject and problem-solving exercises to enable students to learn how to tackle them, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty that enable students to gradually develop the ability to work independently in solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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1) Assessment will be based on practical exercises carried out in small groups or individually, as well as on students’ performance in the classroom whilst undertaking these exercises. 30%

2) Submission of theoretical and practical assignments. 35%

3) For skills requiring knowledge of the course content, a series of written examinations and practical tests will be set to cover the range of learning activities carried out in the classroom. (Written and/or practical assessments throughout the semester, to assess the technical skills associated with the subject matter acquired through the student’s individual study). 35%

MARKING AND RUBRIC: each minor flaw in the various assignments, activities and examinations will result in a deduction of 0.5 out of 10. No work submitted after the last day of class will be marked.

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Essential:

1. PISTON, WALTER

HARMONY

IDEA MÚSICA. 2008.

ISBN: 9788493663117

2. SCHOENBERG, ARNOLD

STRUCTURAL FUNCTIONS OF HARMONY

IDEA BOOKS. 1999.

ISBN: 9788482361345

Objectives

To acquire the necessary skills using existing methods to achieve a C1 level in English, with particular emphasis on individual expression (spoken and written), the communicative process (speaking and listening), the correct use of spoken and written language (accuracy, coherence and appropriateness, lexical accuracy, spelling, vocabulary, pronunciation and creativity), and reading texts (reading, comprehension and critical thinking).

Skills

General and Basic Skills:

CG3 – Knowledge of a foreign language

CG5 – Information management skills

Basic Competences: CB1 – Students must have demonstrated that they possess and understand knowledge in a field of study building on the foundations of

general secondary education, and is typically at a level which, whilst drawing on advanced textbooks, also includes

certain aspects requiring knowledge drawn from the cutting edge of their field of study

CB2 – That students are able to apply their knowledge to their work or vocation in a professional manner and possess the

skills typically demonstrated through the development and defence of arguments and the resolution of problems within

their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study)

in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB4 - Students should be able to communicate information, ideas, problems and solutions to both specialist and non-specialist

specialist

CB5 – Students should have developed the learning skills necessary to undertake further study

with a high degree of autonomy

Specific Competences:

CE21 – Knowledge of foreign languages.

Learning outcomes

1. Proficiency in a foreign language

2. Carrying out work on specific topics.

3. Knowledge of professional procedures.

4. Knowledge of work methodology.

Course description

The content of this module is designed to enable students to acquire the skills and competences in reading comprehension, listening comprehension, speaking and writing that will allow them to function effectively in a professional context in a foreign language. Specifically, the course focuses on developing reading comprehension, listening comprehension, oral production and written production in English within the field of modern music.

Teaching activities

1) Classroom-based presentation of concepts related to the topics covered in each module and problem-solving exercises to help students understand how to tackle these topics, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty enabling students to gradually develop the ability to work independently on solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

6) 7- Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat. 0% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

----

ASSESSMENT SYSTEM:

1. For competences involving knowledge of course content, a series of written examinations and practical assessments will be set to cover the range of teaching activities carried out in the classroom. (Written and/or practical tests throughout the semester, to assess the technical competences associated with the subject matter acquired through the student’s individual study): 55%

2. Submission of theoretical and practical activities and reports on their completion: 35%

3. Assessment will be based on practical interpretative exercises or the submission and defence of case studies carried out in small groups or individually: 10 per cent

The assessment methods used to verify and evaluate students’ acquisition of skills can be divided into two types:

- E1: Written tests throughout the semester, to assess the technical skills associated with the module acquired through the student’s independent study.

- E3: Problem-solving, completing assignments, drafting reports, and presenting and defending case studies or projects (either individually or in small groups).

The assessment process will be carried out with the aim of achieving the learning outcomes set out in the course description.

The assessments carried out will primarily evaluate three language skills (listening comprehension, oral expression and written expression).

To assess these skills, the following tests will be carried out:

• Vocabulary exercises (applied to oral and written expression).

• Preparation and delivery of presentations on topics relating to the workplace and academia.

• Listening comprehension tests.

• Speaking tests.

CONTINUOUS ASSESSMENT – 70% attendance required

Students will be assessed through continuous assessment, provided they have attended 70 per cent of the classes, as follows:

Practical exercises and two mid-term exams (Reading, Listening, Grammar, Vocabulary, Writing): 55 per cent [25 per cent first mid-term and 30 per cent second mid-term]

Submission of theoretical and practical assignments and two oral presentations: 35% [15% first oral and 20% second oral] (If a student passes the oral assessment with a minimum mark of 5 in class, this mark will be carried over to the main examination session)

Lecturer’s assessment and classwork or Coursera course: 10%

Once all continuous assessment tests have been completed, if the overall average mark in any of these tests is below 3, no average will be calculated. Therefore, the student must sit the corresponding ordinary examination session.

IMPORTANT:

If a student has not taken any of the mid-term assessments, has failed them, or has not attended 70 per cent of the classes, the ordinary examination will account for 100 per cent of the mark. In this case, students will be assessed as follows:

Assessment testing multiple skills 50 per cent

Oral presentation 50 per cent

FINAL EXAM: EXTRAORDINARY SESSION

Students will be assessed as follows:

Assessment of various skills: 50 per cent

Oral presentation 50%

Bibliography

Core:

1. Helen Stephenson, Lewis Lansford & Paul Dummett

TEDTalks Keynote - Advanced C1 (Student’s Book)

National Geographic Learning. 2015.

ISBN: 978-1-305-399

Objectives

It is guaranteed that, upon completion of the Bachelor’s Degree in Music, students will be fully prepared to:

1. Apply all their knowledge, both theoretical and practical, demonstrating a thorough understanding, in order to begin their professional career. They will possess the artistic maturity and independence required for each of the professional roles they may undertake.

2. Apply all the knowledge acquired in a professional manner, whilst demonstrating the ability to critically assess and evaluate their own work. They will possess a proven and assessed knowledge of all periods and styles within their specialism.

3. To continue their training through the Master’s degree in performance, in order to continue gathering the information, data and practical experience essential for their technical and artistic development.

4. Demonstrate a high degree of personal autonomy, enabling them to continue developing their skills and to begin working in the professional sphere, progressing through self-directed learning and self-discipline.

Competencies

Basic and General Competencies:

CG11 – Problem-solving

CG12 – Teamwork

CG14 – Knowledge of communication and leadership techniques

CG5 – Information management skills

CG7 – Independent learning

CG8 – Creativity, Leadership, Initiative and Entrepreneurial Spirit

CB1 - Students have demonstrated that they possess and understand knowledge in a field of study building on the foundations of general secondary education, typically at a level which, whilst drawing on advanced textbooks, also includes some aspects requiring knowledge from the cutting edge of their field of study

CB2 – Students should be able to apply their knowledge to their work or profession in a professional manner and possess the skills typically demonstrated through the formulation and defence of arguments and the resolution of problems within their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study) in order to form judgements that include reflection on relevant social, scientific or ethical issues

CB4 – Students should be able to communicate information, ideas, problems and solutions to both specialist and non-specialist audiences

CB5 – Students should have developed the learning skills necessary to undertake further study with a high degree of autonomy

Specific competences:

CE16 – Ability to use fingering, pedal technique and perform the various types of touch required in the piano repertoire for the piano course, and ability to use fingering and bowing in the string instrument repertoire, as well as the correct selection of technique and appropriate bowing

CE18 – Ability to memorise

CE20 – Sufficient knowledge and understanding of the mechanics and construction of the instrument to enable a correct assessment of its sound and functioning

CE25 – Knowledge of a specific choral and orchestral repertoire

CE4 – Ability to exercise musical judgement

CE8 – Sufficient ability to sight-read and perform a piece correctly

CE9 - Ability to develop and deepen interpretative knowledge using the most appropriate study method

CE10 - Ability to analyse and reflect on all knowledge acquired in order to convey it effectively and apply that knowledge to professional practice

CE11 - Sufficient ability and knowledge to work in the music sector in any field related to performance and to adapt to different working environments

CE12 - Ability to develop all the knowledge required for ensemble work in orchestras, choirs and chamber music

CE15 - Adequate postural control and the necessary relaxation for instrumental practice

Learning outcomes

• To address interdisciplinary topics and work as part of a team to solve complex problems.

• To provide the musical culture essential for any graduate in arts-related studies.

• Ability to apply the knowledge acquired to the resolution of musical and technical problems.

• Ability to engage in artistic and aesthetic reasoning and musical thinking.

• Ability to solve highly complex technical and musical problems.

• To know and understand the main techniques of instrumental or vocal ensemble performance.

• To be familiar with the main choral or orchestral repertoire.

Description of the course content

Practical experience in various types of orchestral, vocal and mixed ensembles.

In-depth study of the skills involved in understanding and responding to the conductor’s instructions, and integrating into the ensemble, through an exploration of the choral and orchestral repertoire.

Further development of skills relating to understanding and responding to instructions within a medium-sized ensemble, and integration into the ensemble, through an exploration of 20th- and 21st-century repertoire.

Development of rehearsal habits and techniques.

Collaboration in establishing interpretative criteria, rapport and collective work.

Work by instrument sections.

Knowledge of the orchestral repertoire.

Training activities

1) Classroom-based presentation of concepts relating to the topics comprising each subject and problem-solving exercises enabling students to understand how to tackle them, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty enabling students to gradually develop the ability to work independently in solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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REGULAR EXAMINATION PERIOD

1) Assessment will be based on practical interpretative exercises or the submission and defence of case studies carried out in small groups or individually, as well as students’ performance in the classroom whilst undertaking these tasks. 40%

2) Submission of theoretical and practical activities and reports on their completion. 40%

3) For skills requiring knowledge of the course content, a series of written examinations and practical tests will be set to cover the full range of learning activities carried out in the classroom. (Written and/or practical assessments throughout the semester, to assess the technical skills associated with the subject matter acquired through the student’s individual study). 20%

- Attendance at the orchestra rehearsals scheduled during the academic year is compulsory.

EXTRAORDINARY EXAMINATION SESSION

Any student who has not passed the module in the ordinary assessment period must sit an ordinary examination, which will account for 100% of the final mark. The examination will consist of an individual performance of a selection of works or excerpts studied during the academic year.

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Core:

1. Harnoncourt, Nikolaus

Music as Sonic Discourse

Acantilado. 2007.

ISBN: 9788496136984

2. Lawson, Colin

The Cambridge Companion to the Orchestra

Cambridge University Press. 2003.

ISBN: 6234567890

3. Rosen, Charles

Beethoven

Yale University Press, 2002.

ISBN: 9780300090703

4. Rosen, Charles

Sonata Forms

Madrid: Mundimúsica Ediciones, 2010. 2010.

ISBN: 8482363204

Objectives

It is guaranteed that, upon completion of the Bachelor’s Degree in Music, students will be fully prepared to:

1. Apply all their knowledge, both theoretical and practical, demonstrating a thorough understanding, in order to begin their professional career. They will possess the artistic maturity and independence required for each of the professional roles they may undertake.

2. Apply all the knowledge acquired in a professional manner, whilst demonstrating the ability to critically assess and evaluate their own work. They will possess a proven and assessed knowledge of all periods and styles within their specialism.

3. To continue their training through the Master’s degree in performance, in order to continue gathering the information, data and practical experience essential for their technical and artistic development.

4. Demonstrate a high degree of personal autonomy, enabling them to continue developing their skills and to begin working in the professional sphere, progressing through self-directed learning and self-discipline.

Competencies

General Competencies (GC)

GC1 – Ability to analyse and synthesise

GC11 – Problem-solving

GC12 – Teamwork

GC2 – Oral and written communication in one’s native language

GC5 – Information management skills

CG6 – Critical reasoning

CB1 - Students have demonstrated that they possess and understand knowledge in a field of study building on the foundations of general secondary education; this is typically at a level which, whilst drawing on advanced textbooks, also includes some aspects requiring knowledge from the cutting edge of their field of study

CB2 - Students are able to apply their knowledge to their work or profession in a professional manner and possess the skills typically demonstrated through the formulation and defence of arguments and the resolution of problems within their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study) in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB4 – Students should be able to communicate information, ideas, problems and solutions to both specialist and non-specialist audiences

CB5 – Students should have developed the learning skills necessary to undertake further study with a high degree of autonomy

Specific competences:

CE3 – Knowledge of the history of music and art, aesthetics and the cultural movements of each period

CE4 – Ability to exercise musical judgement

CE5 - Ability to understand the importance of musical creation as the basis for the communication of ideas

Learning outcomes

• To use the vocabulary, codes and concepts inherent to the artistic field.

• Critically understand the theory, evolution and current discourse on aesthetic values, as well as the social dimension of art.

• Understand and evaluate artistic discourses in relation to one’s own work.

• Be familiar with research methodology covering sources, analysis, interpretation and synthesis.

• To be familiar with and understand the main aesthetic trends in music

• Ability to engage in artistic and aesthetic reasoning and musical thinking.

• Identify artistic and/or socio-cultural issues, as well as the factors that give rise to specific artistic discourses.

• To present complex artistic problems and projects clearly, both orally and in writing

Course content

Basic concepts of Art History.

Introduction to historical methods. Parameters and models.

Historiographical diversity, in formal, iconographic, anthropological, social and economic terms. Art movements and manifestos.

Art in relation to society and culture, and shifts in aesthetic paradigms.

Historical knowledge and critical assessment of the various trends and movements relating to musical aesthetics.

Fundamental understanding of music in relation to culture, from an aesthetic perspective.

Analysis and interpretation of the social contexts in which this phenomenon occurs.

Stylistic approaches and requirements associated with performance.

Teaching activities

1) Classroom-based presentation of concepts related to the topics comprising each subject and problem-solving exercises enabling students to learn how to tackle them, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty enabling students to gradually develop the ability to work independently in solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

6) Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat. 0% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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1) Assessment will be based on practical interpretative exercises or the submission and defence of case studies carried out in small groups or individually, as well as students’ performance in the classroom whilst undertaking these tasks (10%).

2) Submission of theoretical and practical activities and reports on their completion (30 per cent).

3) For skills requiring knowledge of the course content, a series of written examinations and practical tests will be set to assess the range of learning activities carried out in the classroom. (Written and/or practical assessments throughout the semester, to assess the technical competences associated with the course content acquired through the student’s independent study) (60%).

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Core:

1. ADORNO, Theodor W.

On Music

Paidós. 2000.

ISBN: 844930931X

2. Bayer, Raymond

A History of Aesthetics

: Fondo de Cultura Económica. 1993.

ISBN: 8437503566

3. Dahlhaus, Carl

Aesthetics of Music

Madrid: Antonio Machado. 2002.

ISBN: 9788477746164

4. FIXCHER-LICHTE

Aesthetics of the Performative

Abada Editores. 2013.

ISBN: 9788415289180

5. FUBINI, Enrico

The Aesthetics of Music from Antiquity to the 20th Century

ALIAZA. 2010.

ISBN: 9788420690711

6. Goodman, Nelson

The Languages of Art

Paidós. 2010.

ISBN: 9788449324451

7. Wölfflin, Heinrich

Fundamental Concepts of Art History. /

Madrid: Espasa, 2011. 2011.

ISBN: 9788467037845

Objectives

It is guaranteed that, upon completion of the Bachelor’s Degree in Music, students will be fully prepared to:

1. Apply all their knowledge, both theoretical and practical, demonstrating a thorough understanding, in order to begin their professional career. They will possess the artistic maturity and independence required for each of the professional roles they may undertake.

2. Apply all the knowledge acquired in a professional manner, whilst demonstrating the ability to critically assess and evaluate their own work. They will possess a proven and assessed knowledge of all periods and styles within their specialism.

3. To continue their training through the Master’s degree in performance, in order to continue gathering the information, data and practical experience essential for their technical and artistic development.

4. Demonstrate a high degree of personal autonomy, enabling them to continue developing their skills and to begin working in the professional sphere, progressing through self-directed learning and self-discipline.

Competencies

General Competencies:

GC1 – Ability to analyse and synthesise

CG15 – Ability to integrate into other cultures

CG2 – Oral and written communication in their native language

CB1 – That students have demonstrated knowledge and understanding in an area of study building on the foundations of

general secondary education, and is typically at a level which, whilst drawing on advanced textbooks, also includes

certain aspects requiring knowledge drawn from the cutting edge of their field of study

CB2 – That students are able to apply their knowledge to their work or vocation in a professional manner and possess the

skills typically demonstrated through the development and defence of arguments and the resolution of problems within

their field of study

CB3 – Students should be able to gather and interpret relevant data (usually within their field of study)

in order to make judgements that include reflection on relevant social, scientific or ethical issues

CB4 - Students should be able to communicate information, ideas, problems and solutions to both specialist and non-specialist audiences

specialist

CB5 – Students should have developed the learning skills necessary to undertake further study

with a high degree of autonomy

Specific Competences:

CE2 – The ability to recognise musically and analyse, in terms of form and harmony, the different musical periods

CE3 – Knowledge of the history of music and art, aesthetics and the cultural movements of each period

CE4 – Ability to exercise musical judgement

CE1 – Ability to acquire the necessary and compulsory knowledge of music theory

Learning Outcomes

• Understanding of the concepts and techniques specific to the modules the student chooses to study

• Writing reports on the proposed case studies

• Ability to engage in artistic and aesthetic reasoning and musical thinking

• To develop in students the capacity for abstraction, rigour, analysis and synthesis.

• Knowledge and understanding of the main movements in the history of music

Description of the course content

Knowledge of the fundamental movements and trends in the history of music: artistic, cultural and social aspects.

Fundamental knowledge of music in relation to culture, from a historical and systematic perspective.

Analysis and interpretation of the social contexts in which this phenomenon occurs.

Integration of research and interpretation to achieve a comprehensive understanding of the phenomenon of musical practice.

Teaching activities

1) Classroom-based presentation of concepts related to the topics comprising each subject and problem-solving exercises enabling students to learn how to tackle them, as well as other face-to-face sessions. 100% face-to-face

2) Activities of increasing difficulty that enable students to gradually develop the ability to work independently in solving subject-specific problems. 100% face-to-face

3) Completion of individual or group assignments outside the classroom. 0% face-to-face

4) Personal study, preparing for concerts, rehearsals, reading, etc., either individually or in groups. 0% face-to-face

5) Assessment tests. 100% face-to-face

6) Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat. 0% face-to-face

Assessment system and criteria

Without prejudice to any other requirements that may be specified in the relevant course syllabus, as a general rule, failure to attend more than 70 per cent of the course’s teaching activities—which require the student’s physical or virtual presence—will result in the loss of the right to continuous assessment during the standard examination period. In this case, the examination to be held during the official period set by the University will be the sole assessment criterion, with the weighting specified in the course syllabus.

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1) For learning outcomes involving proficiency in the use of the instrument, assessment will be based on practical performance exercises or the submission and defence of case studies carried out in small groups or individually, as well as the student’s performance in the classroom whilst undertaking these tasks. 20%

2) Submission of theoretical and practical activities and reports on their progress. 20%

3) For competences involving knowledge of the course content, a series of written examinations and practical tests will be set to assess the range of learning activities carried out in the classroom. (Written and/or practical assessments throughout the semester, to assess the technical competences associated with the course content acquired through the student’s independent study). 60%

Timetable

Click on this link to view the detailed timetable in Excel