Bachelor’s Degree in Modern Music Performance

Objectives

1. To understand the theoretical foundations of modern harmony in order to apply them in performance, composition and improvisation.

(Links to CG13, CE5, RCE1, RCE5)

2. To recognise and analyse the harmonic processes characteristic of the main styles of modern music (jazz, pop, rock, soul, funk, R&B, etc.), developing active and critical listening skills. (Relates to CE7, CE20, RCE2, RCE18)

3. Develop the ability to identify and reproduce advanced harmonic progressions through aural training applied to the modern context. (Relates to CE20, RCE18)

4. Apply the harmonic knowledge acquired to artistic creation, devising accompaniments, reharmonisations or harmonic foundations that reflect stylistic understanding and creativity. (Relates to CG7, CE17, RCE4, RCE5, RCE8)

5. Explore the instrument’s sonic and timbral possibilities within the modern harmonic context, fostering a personal, coherent and aesthetically pleasing performance. (Relates to CG8, CE9, RCE9)

6. Develop artistic initiative and autonomy in the application of harmonic concepts, encouraging experimentation and creative decision-making in both individual and group practice. (Relates to CG7, CE17, RCE8)

7. To value harmony as a tool for musical expression and communication, understanding its role within the aesthetic and cultural framework of modern music. (Relates to CE17, RCE8)

Prerequisites

No prerequisites have been established.

Competencies

BASIC AND GENERAL COMPETENCIES:

CG7 – Demonstrate leadership and initiative in launching projects within the context of modern music.

CG8 – Be able to distinguish between indicators of quality in the performance of modern music

CG13 - Understand harmonic processes in the field of modern music

SPECIFIC COMPETENCIES:

CE5 - Be able to apply informed musical criteria when interpreting different types of modern music

CE7 - Recognise the most representative repertoire of modern music

CE9 - To appreciate the sonic and timbral possibilities of the instrument in modern music

CE17 - Be able to approach modern musical performance in a creative and imaginative manner, recognising these aspects as fundamental to the training of a professional in this field

CE20 - To develop the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles

through appropriate aural training

Learning outcomes

RCE1 Understands the specific theoretical principles of modern music for their application in artistic practice. (Knowledge)

RCE2 Is able to distinguish the melodic, rhythmic, harmonic and textural characteristics of modern musical languages in order to develop a personal and compelling interpretation. (Knowledge)

RCE4 Applies the knowledge acquired to solve musical and technical problems for use in artistic creation. (Competence)

RCE5 Understands harmonic processes within the field of modern music for application in composition, orchestration or improvisation. (Competence)

RCE8 Understands the importance of modern musical creation as a vehicle for aesthetic thought, in order to develop their own artistic and cultural output. (Knowledge)

RCE9 Appraises the sonic and timbral possibilities of the instrument in modern music in order to produce their own compelling musical work. (Competence)

RCE18 Develops the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training. (Skills)

Course description

This module focuses on the fundamental principles of modern harmony. Solving harmonic problems. The use and application of harmony in different styles and contexts. Aural recognition of harmony. Harmonic analysis.

The fundamentals of modern harmony are studied. Solving harmonic problems.

Content divided into teaching units:

· Unit 1. Elements of music, the harmonic series and tuning systems.

· Unit 2. Intervals and keys.

· Unit 3. Triads and tetrads.

· Unit 4. Major keys

· Unit 5. Cadences

· Unit 6. Harmonic progressions

· Unit 7. Melodic analysis

· Unit 8. Pentatonic scales

· Unit 9. Traditional blues

· Unit 10. Secondary dominants, extended dominants, substitute dominants and II–V progressions

· Unit 11. Minor key

· Unit 12. Modal interchanging

Training activities

• Classroom-based presentation of concepts relating to the topics covered in each module 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. 105 hours

• Activities of increasing difficulty enabling students to gradually develop the ability to work independently in solving subject-specific problems. 60 hours

• Completion of individual or group assignments outside the classroom. 120 hours

• Personal study, performing in concerts, rehearsals, reading, writing reports, etc., either individually or in groups. 90h

• Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat rooms, etc. 60h

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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Ordinary examination period

Throughout the academic year, the following will take place:

1. Completion of set practicals and exercises (20%). Students must submit two exercises, one per term, each accounting for 10% of the final mark for the module. These exercises will consist of composing pieces that comply with the stipulated guidelines regarding form, harmonic resources used and style.

2. Submission of individual and/or group projects (20 per cent). Students must submit two free-form compositions, one per term, each accounting for 10 per cent of the final mark for the module. In these compositions, students must apply the harmonic techniques studied.

3. Examinations testing knowledge of the subject matter, problem-solving, reasoning, analysis of case studies, project implementation, or practical case studies, etc. (60%). Two examinations will be held, one in the January examination session and the other in the May examination session. Each will account for 30 per cent of the final mark for the module. These examinations will contain theoretical questions and practical exercises.

- A class attendance rate of over 70 per cent is required to pass the module.

SUPPLEMENTARY EXAMINATION SESSION:

Students will sit a final examination on the date set by the University for the July examination session, covering the entire syllabus of the module; this examination will account for 60 per cent of the module mark. They must also submit the two practical exercises and the two assignments stipulated for the ordinary examination session. Each of these submissions will account for 10 per cent of the final mark for the module. Marks for assignments and exercises submitted and passed during the ordinary examination period will be retained, unless the student decides to resubmit them.

Timetable

Click on this link to view the detailed timetable in Excel

Reading list

Essential:

1. HERRERA, ENRIC

MUSICAL THEORY AND MODERN HARMONY (VOLUME 1)

ANTONI BOSCH. 1990.

ISBN: 8485855442

2. HERRERA, ENRIC

MUSICAL THEORY AND MODERN HARMONY (VOLUME 2)

ANTONI BOSCH. 2009.

ISBN: 8485855450

3. MULHOLLAND, JOE

THE BERKLEE BOOK OF JAZZ HARMONY

BERKLEE PRESS. 2013.

ISBN: 0876391420

Supplementary:

4.- MOTTE, DIETHER DE LA

HARMONY

IDEA BOOKS. 2008.

ISBN: 9788493663131

5.- PISTON, WALTER

HARMONY

IDEA MUSIC. 2008.

ISBN: 9788493663117

6. SCHOENBERG, ARNOLD

STRUCTURAL FUNCTIONS OF HARMONY

IDEA BOOKS. 1999.

ISBN: 9788482361345

7. VERGÉS, LLUIS

THE LANGUAGE OF HARMONY: FROM THE BEGINNINGS TO THE PRESENT DAY

BOILEAU. 2007.

ISBN: 8480208260

Objectives

General objectives for the Complementary Instrument:

1. To acquire technical and interpretative skills on a second instrument.

2. To develop autonomy in instrumental study, using different resources (sheet music, recordings, digital resources) to resolve technical and musical challenges. (RCG6, RCE16)

3. To foster aural perception and active listening as a tool for improving intonation, articulation and phrasing on the instrument across various modern styles. (RCE18)

4. To promote expressiveness and creativity in performance, enabling students to begin developing a personal artistic voice through the complementary instrument. (RCE10)

Specific objectives for supplementary piano:

1. To acquire the basic technical foundations of piano playing, including correct posture, wrist rotation and independence between both hands, with the aim of developing a solid foundation in technique. (RCE3)

2. To read and perform simple two-handed scores, applying knowledge of musical language to the instrument and recognising the harmonic and melodic function of each hand. (RCG5, RCE3, RCE4)

3. To understand and play major and pentatonic scales, both for technical development and for their practical application in modern musical contexts. (RCE3, RCE18)

4. Identify, construct and play triads in root position and inversions, understanding their harmonic function and their use in simple progressions such as I–IV. (RCE3, RCE4)

5. Understand and use American chord notation as a tool for the analysis and interpretation of chords and progressions. (RCG5, RCE4)

6. Perform basic accompaniments within various genres of modern music, applying different techniques such as shell voicings, Mixolydian thirds and open positions. (RCE3, RCE10)

7. Apply three- and four-part II-V-I harmonic progressions, using functional voicings for performance and accompaniment. (RCE3, RCE4)

Specific objectives for complementary drumming:

1. Acquire a basic understanding of the rhythmic language of jazz, through working on simple musical forms. (RCG5, RCE3, RCE4)

2. Develop basic technique in modern drumming. (RCE3, RCE10)

3. To understand the role of the drums within an ensemble context, internalising their function as accompaniment and their interaction with other instruments. (RCG5, RCE3)

4. Establish an initial control over sound and articulation, with particular attention to balance, dynamics and musicality within the jazz style. (RCE18, RCE10)

5. Begin to develop limb independence to achieve greater coordination and musicality. (RCE3, RCE4)

6. Recognise and interpret different rhythmic styles of traditional jazz. (RCG5, RCE18)

7. To encourage active listening and rhythmic aural perception. (RCE18)

Prerequisites

None specified.

Competencies

Basic and general:

CG6 – Demonstrate the ability to learn music independently

CG9 – Acquire the technical skills required for the performance of modern music

Specific:

CE3 – Acquire the instrumental technique required for professional performance within the context of modern music

CE9 – Appreciate the sonic and timbral possibilities of the instrument in modern music

CE10 - Be able to express one’s own artistic vision in musical performance

CE16 - Through the use of resources familiar from the classroom, be able to search for and select any type of source, score or recording for the study of repertoire within modern music

CE20 – To develop the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training

Learning outcomes

RCG5 Possesses the musical knowledge essential for the pursuit of artistic studies. (Knowledge)

RCG6 Demonstrates the ability to work independently in the musical learning process in order to facilitate their professional development as a performer and artist. (Competence)

RCE3 Acquires the instrumental technique necessary for professional performance within the context of modern music. (Skills)

RCE4 Applies the knowledge acquired to solve musical and technical problems for use in artistic creation. (Competence)

RCE10 Expresses their own artistic vision in musical performance with a view to developing their artistic and cultural individuality at a professional level. (Competence)

RCE16 Selects appropriately from different types of source material, scores or recordings for the study of repertoire within modern music. (Skills)

RCE18 Develops the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training. (Skills)

Description of the content

General content as per the programme specification:

- Knowledge of the technical and theoretical fundamentals associated with the performance of a complementary instrument.

- Application of musical language to the complementary instrument and understanding of its function within a musical context.

Content for Complementary Piano I:

Topic 1. Basic piano techniques.

- Wrist rotation.

- Right-hand sight-reading.

- Reading with both hands.

- Major scales.

Topic 2. Triads and chord symbols.

- Root position.

- Triads with inversions.

- Bass and melody.

- I–IV chord progressions.

Topic 3. Pentatonic scales.

- Pentatonic and blues scales.

- Fingering patterns.

Topic 4. Four-note chords and chord symbols.

- 4-note voicings in closed position.

- Shell voicings.

- 3-part open position.

Topic 5. Open position in practice.

- II–V–I progressions in 3-part harmony (guide notes).

- II–V–I progressions in 4-part harmony.

- Mixolydian thirds.

- Left-hand voicings.

- Montunos for piano.

- Bossa Nova.

Training activities

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.

Activities of increasing difficulty, enabling students to gradually develop the ability to work independently in resolving subject-specific problems.

Completion of individual or group assignments outside the classroom.

Personal study, performing in concerts, rehearsals, reading, writing reports, etc., either individually or in groups.

Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat rooms, etc.

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. Practical musical performance exercises carried out in small groups or individually (30 per cent): this assessment corresponds to the mid-term exam for the first term. This section consists of two parts: performance of the class repertoire and a theoretical test on voicings. In the first part, students will perform two pieces from the repertoire, applying the harmonic techniques studied during the course. This section will account for a total of 30%, with 25% allocated to the first part (12.5% for each piece in the repertoire) and 5% to the theory test.

2. Instrumental technique exercises and/or sight-reading (30 per cent): this assessment involves performing one or more pieces or technical exercises (to be determined for each assessment) that reflect the various aspects covered in class during the term. There will be three assessments during the course. This section will account for a total of 30%, with 10% allocated to each assessment. 

3. Final examination in the form of a musical audition and/or written tests (40 per cent): this section consists of three tests: performance of the class repertoire, performance of the written repertoire or transcription, and a theory test. This section will account for a total of 40 per cent, with 25 per cent allocated to the performance of the repertoire, 7.5 per cent to the written repertoire and 7.5 per cent to the theory exam.

EXTRAORDINARY EXAM SESSION

The Extraordinary Examination consists of three parts: performance of the class repertoire, performance of the written repertoire and a theory test. In the first part, four of the six pieces from the repertoire will be performed. The exam mark is broken down as follows: 60% for the repertoire exam (with 15% allocated to each of the four pieces performed), 10% for the performance of the written repertoire and 30% for the theory exam.

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Core:

1. Dan Haerle

Jazz Piano Voicing Skills

Jamey Aebersold. 2010.

ISBN: 1562240587

2. Luke Gillespie

Stylistic II/V7/I Voicings for Keyboardists

Jamey Aebersold Jazz. 2010.

ISBN: 1562240846

3. Mark Levine

The Jazz Piano Book

Sher Music Co. 1989.

ISBN: 0961470151

Supplementary:

4. Art Tatum

The Art Tatum Collection (Artist Transcriptions)

Hal Leonard. 1996.

ISBN: 9780793544646

5. Bill Evans

Bill Evans: solo piano

Hal Leonard. 2015.

ISBN: 1495022528

6. Bill Evans

The Bill Evans Collection

Hal Leonard. 1998.

ISBN: 0793570468

Objectives

To explore the specific aspects of ensemble playing. To understand the role of one’s own instrument, as well as that of others, within the musical ensemble. To develop the ability to participate actively in the group’s creative process and the skills required for playing in an ensemble.

Specific objectives for Year 1:

1. To recognise and apply the basic harmonic, melodic and rhythmic structures of the blues and ballads, understanding their significance in modern music.

2. Integrate into the ensemble by adjusting pitch, tempo and sound balance, following the instructions of the teacher or group leader.

3. To develop initial skills in musical communication within a group, promoting coordination and mutual listening.

4. Apply basic techniques for reading and transcribing simple repertoire.

5. To begin improvising using melodic patterns and basic scales in guided contexts.

6. To participate actively in rehearsals and performances with a collaborative, receptive and respectful attitude.

7. Begin to develop autonomy in the study of repertoire through analytical listening and the use of accessible resources.

8. Demonstrate a willingness to take on different roles within the group, understanding their function in the collective outcome.

The main aim of this course is to consolidate the technical, aural and collaborative foundations necessary to perform confidently in a modern group music setting.

Prerequisites

None specified.

Competencies

1. BASIC AND GENERAL

· CG7 – Demonstrate leadership and initiative in launching projects within the context of modern music.

· CG11 – Develop teamwork skills, with the aim of adapting effectively to the various interdisciplinary contexts typical of the fields of modern music production, performance and dissemination.

2. SPECIFIC

· CE13 – Apply the necessary knowledge in orchestral work and in small instrumental ensembles.

· CE14 – Understand the main stylistic conventions and their application within a modern music ensemble, demonstrating flexibility, critical thinking and empathy when considering differing opinions within the group.

· CE16 – Through the use of resources familiar from the classroom context, be able to search for and select any type of source, score or recording for the study of the modern music repertoire.

· CE20 – To develop the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training.

Learning outcomes

· RCG04. Recognises the value of diversity and multiculturalism in contemporary musical styles in order to engage with the breadth of current artistic, cultural and musical expressions (Knowledge)

· RCG7. Demonstrates leadership and initiative in launching projects within the context of modern music (Competence)

· RCG11. Develops teamwork skills, with the aim of adapting effectively to the various interdisciplinary contexts characteristic of the fields of modern music production, performance and dissemination (Skills)

· RCE4. Applies the knowledge acquired to solve musical and technical problems for use in artistic creation (Competence)

· RCE7. Performs a broad and varied repertoire of modern music as a vehicle for artistic expression, with a view to developing a professional career (Knowledge)

· RCE9. Assesses the sonic and timbral possibilities of the instrument in modern music in order to produce their own compelling musical creations (Competence)

· RCE11. Demonstrates the ability to improvise through mastery of melodic and rhythmic tools and concepts, enabling them to perform effectively in the various performance situations typical of the field of modern music (Competence)

· RCE13. Applies the skills associated with musical performance when practising in different ensembles and groups (Skills)

· RCE14. Recognises the main stylistic conventions and their application within a modern music ensemble, with a view to fostering flexibility, critical thinking and empathy when dealing with differing opinions within the ensemble (Knowledge)

· RCE15. Acquires the technical and psychological skills required for giving concerts (Skills)

· RCE16. Selects appropriately from different types of source material, such as sheet music or recordings, for the study of the modern music repertoire (Skills)

· RCE18. Develops the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training (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)

Course content description

In-depth study of the specific aspects of ensemble 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 an exploration of the repertoire. Development of rehearsal habits and techniques. Cooperation in establishing interpretative criteria, rapport and collective work. Knowledge of the modern ensemble repertoire.

Content divided into Teaching Units:

· Unit 1. Repertoire and styles

· Unit 2. Interaction and group dynamics

· Unit 3. Improvisation.

· Unit 4. Sight-reading.

· Unit 5. Transcription

· Unit 6. Original arrangements (compulsory in Year 3)

· Unit 7. Applied composition (compulsory in Year 4)

· Unit 8. Advanced musical languages and styles

· Unit 9. Artistic project and concerts

Teaching activities

· 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. 150 hours 

· Activities of increasing difficulty enabling students to gradually develop the ability to work independently in resolving subject-specific problems. 350 hours 

· Completion of individual or group projects outside the classroom. 50 hours 

· Personal study, performing in concerts, rehearsals, reading, writing reports, etc., either individually or in groups. 300 hours 

· Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat rooms, etc. 50 hours

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 examination 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

Throughout the academic year, the following will take place:

1. Practical musical performance exercises in small groups or individually (30%). A practical performance test will take place during the January assessment period, in which the ensemble will perform two pieces from the repertoire studied in class.

2. Instrumental technique and/or sight-reading exercises (30%): one assessment per term will be held, consisting of the sight-reading of pieces or excerpts selected by the lecturer.

3. Final examination in the form of a musical performance and/or written tests (40 per cent). An open recital will take place during the May–June examination period, in which the ensemble will perform a selection from the repertoire studied throughout the course; this will account for 40 per cent of the final mark for the module.

Continuous assessment: a class attendance rate of over 80% is required to be eligible for continuous assessment.

EXTRAORDINARY EXAMINATION SESSION

Students will sit a final examination for the module on the date set by the University for the July examination period, covering the entire course syllabus; this will account for 100 per cent of the mark, and students must give a convincing performance of the entire repertoire worked on throughout the course by the ensemble.

Bibliography

Essential:

1. Sher, Chuck

The Latin Real Book

Hal Leonard Corp. 1999.

ISBN: 9780634006937

2. Sher, Chuck

The New Real Book

Ama Verlag. 1988.

ISBN: 9780961470142

3. Sher, Chuck

The New Real Book Volume 2

Ama Verlag. 1990.

ISBN: 9780961470173

4. Sher, Chuck

The New Real Book Volume 3

Sher Music Co. 2005.

ISBN: 9781883217037

Objectives

To gain an understanding of the fundamentals of computer-based music through the use of various music editing and production software programmes.

Skills

1 BASIC AND GENERAL

CG4 – Master the IT tools specific to the field of music

CG5 – To be familiar with the tools associated with the management and organisation of musical information

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 – Students should be 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 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

2 SPECIFIC

CE12 – Acquire sufficient knowledge to utilise multimedia musical technology in

modern music.

Learning outcomes

RCG5 Possesses the musical culture essential for the pursuit of artistic studies. Knowledge

RCE4 Applies the knowledge acquired to solve musical and technical problems for use in artistic creation. Competence

RCE12 Acquires IT skills for the use of multimedia musical technology in modern music. Knowledge

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

Course description

This is a core and foundational module that facilitates learning in the following areas:

- Information systems, data analysis and retrieval, etc.

- Basic concepts of multimedia elements for professional use.

- Document management.

- Recording techniques.

- Recording software (DAW).

- Notation software.

Training activities

- Activities of increasing difficulty that enable students to gradually develop the ability to work independently in solving subject-specific problems. 35 hours, 100% face-to-face.

- Completion of individual or group assignments outside the classroom. 35 hours, 0% face-to-face.

- Personal study, performing in concerts, rehearsals, reading, writing reports, etc., either individually or in groups. 80 hours, 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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Ordinary examination period:

1. Completion of set practicals and exercises (30%).

- UAX Skill School - Coursera (10%).

2. Submission of individual and/or group assignments for the course (30%).

3. Exams testing knowledge of the subject matter, problem-solving, reasoning, analysis of case studies, and the completion of projects or case studies, etc. (40%).

Supplementary assessment:

1. Submission of individual coursework (50%).

2. Examination covering subject knowledge, problem-solving, reasoning, analysis of case studies, and the completion of projects or case studies, etc. (50%).

Timetable

Click on this link to view the detailed timetable in Excel

Reading list

Core:

1. Escriban, J

Music Technology

Cambridge University Press. 2012.

ISBN: 978-110700080

2. Hosken, D

An Introduction to Music Technology

Routledge. 2015.

ISBN: 978-041582573

3. Larriba, M.A.

Sound Systems

Ñaque. 2000.

ISBN: 9788489987081

4. Owsinski, B.

The Mastering Engineer’s Handbook: The Audio Mastering Handbook

Boston: Thomson Course Technology PTR. 2008.

ISBN: 978-159863449

Objectives

To develop aural recognition and intonation skills. To develop active and analytical listening skills. To deepen stylistic knowledge.

1. To develop aural perception as a fundamental tool for the performance, creation and understanding of modern music, strengthening the connection between the inner ear and instrumental or vocal practice.

2. To recognise and reproduce intervals, scales, chords and rhythmic patterns characteristic of different styles of modern music, applying active listening and aural analysis as a basis for intonation, pitch accuracy and rhythmic precision.

3. To acquire skills in the aural identification of melodic, harmonic and rhythmic elements in both written works and recordings, fostering critical and conscious listening.

4. To distinguish the melodic, harmonic, rhythmic and textural characteristics specific to various modern musical genres (pop, jazz, rock, soul, funk, etc.), in order to develop a solid stylistic understanding.

5. To apply aural knowledge in the context of artistic practice, integrating aural perception and memory into performance, improvisation and composition.

6. To foster sensitivity to the phenomenon of sound in all its dimensions — timbre, dynamics, space and expression — as the basis for a more conscious and creative performance.

7. To develop critical thinking skills in relation to modern musical productions and performances, accurately identifying the technical, expressive and aesthetic aspects that define sound quality.

8. To promote teamwork and cooperative listening in dictation, intonation and collective aural practice exercises, whilst valuing the diversity of musical approaches and styles.

9. To understand the value of multiculturalism and stylistic diversity in modern music, using comparative listening as a means of broadening the student’s musical culture.

10. To foster the modern musician’s aural autonomy, developing personal strategies for ear training and self-assessment aimed at continuous improvement.

Prerequisites

None specified.

Competencies

1. GENERAL AND BASIC COMPETENCIES:

· CG11 – Develop teamwork skills, with the aim of adapting effectively to the various

interdisciplinary contexts typical of the field of modern music production, performance and dissemination.

2. SPECIFIC COMPETENCIES:

· CE18 – Be able to initiate musical projects and carry them out by applying the appropriate methodologies to achieve their objectives

· CE20 – To develop the ability to perceive and appreciate the phenomenon of sound in different modern musical styles

through appropriate aural training.

Learning outcomes

RCG4 Recognises the value of diversity and multiculturalism in contemporary musical styles in order to engage with the breadth of current artistic, cultural and musical expressions (Knowledge)

RCG5 Possesses the musical knowledge essential for the pursuit of artistic studies. (Knowledge)

RCG8 Develops critical skills regarding modern musical productions and performances to enhance their creative, interpretative and teaching abilities (Skills)

· RCE1 Is familiar with the specific theoretical principles of modern music for application in artistic practice (Knowledge)

· RCE2 Is able to distinguish the melodic, rhythmic, harmonic and textural characteristics of modern musical languages in order to develop a personal and convincing interpretation. (Knowledge)

· RCE18 Develops the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training. (Skills)

Course description

This module is fundamental to training in the specific development of the ear.

Recognition and study of a wide-ranging repertoire, including accompaniment patterns from different periods and styles. Complementary activities linked to the practical performance of the instrument and its recognition. Recognition of patterns, melodies, harmonies and different musical styles. Development of aural skills, concentration whilst listening, memory and musical intelligence.

Analysis of repertoire and applied harmony. Aural training through the aural analysis of repertoire across different styles.

Content divided into teaching units:

· Unit 1. Active listening and sound perception

· Unit 2. Recognition of intervals and modal/tonal intonation

· Unit 3. Rhythmic patterns and metre in modern music

· Unit 4. Melodic dictation and motivic construction

· Unit 5. Basic harmonic listening

· Unit 6. Introduction to texture and aural analysis

· Unit 7. Aural training applied to ensemble playing

· Unit 8. Integrative aural project

Training activities

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. 70 hours

Activities of increasing difficulty, enabling students to gradually develop the ability to work independently in solving subject-specific problems. 50 hours

Completion of individual or group assignments outside the classroom. 80 hours

Personal study, performing in concerts, rehearsals, reading, writing reports, etc., either individually or in groups. 60 hours

Online activities on the e-learning platform, such as downloading materials, listening to recordings, accessing sheet music,

, participation in forums, chat, etc. 40 hours

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. Completion of practical work and exercises set in class (25 per cent). In each term, perception and expression exercises set by the teaching staff will be assessed in class.

2. Submission of individual and/or group assignments (25 per cent). Each term, dictations (melodic and/or harmonic) and a transcription set by the teaching staff will be assessed in class.

3. Exams testing knowledge of the subject matter, problem-solving skills, reasoning, analysis of case studies, and the completion of projects or practical assignments, etc. (50 per cent). Perception exam (melodic and harmonic dictation) and performance exam (sight-reading and intonation). There will be a termly examination covering the material learnt during that teaching period.

EXTRA SESSION

- Written examination (melodic and harmonic dictation) and practical examination (intonation) covering the content of the entire course on a date to be determined by the university (100%)

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Core:

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

To gain an understanding of the main periods and stylistic expressions of jazz and modern music, and the historical and social context in which they developed.

Prerequisites

No prior learning requirements have been set.

Competencies

BASIC AND GENERAL

CG1 – To acquire the skills of analysis, synthesis and critical judgement in the field of modern music

CG2 – To develop interpersonal skills in oral and written communication for the presentation of programmes, knowledge and work in the field of modern music.

CG5 - Be familiar with the tools associated with the management and organisation of musical information

CG8 - Be able to identify indicators of quality in the performance of modern music

CG12 - To appreciate the diversity and multicultural nature of contemporary musical styles

CB1 – Students should 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 – 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 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

Learning outcomes

RCG4 Recognises the value of diversity and multiculturalism in contemporary musical styles in order to engage with the breadth of current artistic, cultural and musical expressions (Knowledge)

RCG5 Possesses the musical knowledge essential for the pursuit of artistic studies (Knowledge)

RCG8 Develops critical skills regarding modern musical productions and performances to enhance their creative, interpretative and teaching abilities (Skills)

RCE6 Relates musical history to the aesthetic principles and cultural movements of each era to gain an understanding of the music they perform (Knowledge)

RCE17 Evaluate the various artistic expressions of modern music as musical and cultural heritage of indisputable and essential social value, with a view to developing a well-founded critical attitude (Competence)

Course content description

Knowledge of the fundamental movements and trends in the history of jazz and modern music: artistic, cultural and social aspects. Fundamental knowledge of the musical phenomenon 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 modern musical creation.

Teaching activities

Classroom presentation of concepts related to the topics comprising 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. 15 hours

Activities of increasing difficulty enabling students to gradually develop the ability to work independently in solving

specific problems within the subject. 45 hours

Completion of individual or group assignments outside the classroom. 10h

Self-study, preparing for concerts, rehearsals, reading, writing reports, etc., either individually or in groups. 65h

Online activities on the e-learning platform, such as downloading materials, listening to recordings, accessing sheet music, completing self-assessment tests, participating in forums and chats, etc. 15h

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 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.

----

REGULAR EXAMINATION PERIOD

1. Completion of practical sessions and set exercises (25 per cent): completion and submission of a portfolio of music listening exercises, which must include all the examples covered in the practical sessions. Students will be provided with a template for the listening exercise sheet to use. The only additional element students will be required to provide is a well-reasoned critical commentary on each example, based on the theoretical content.

2. Submission of individual and/or

group work (25%). Students must produce a written assignment on a topic of their choice related to the course content. Topics will be agreed with the lecturer during classes and also in tutorials. In addition, students will be provided with a detailed guide on how to prepare and present their work.

Total weighting: 25%.

3. Exams assessing knowledge of the subject matter, problem-solving, reasoning, analysis of case studies, completion of projects or case studies, etc. (50%). Final Exam. This section consists of two parts:

A. Practical: recognition and commentary on two audio recordings selected by the lecturer from among all those covered during the sessions (a list for each topic will be posted on the campus); and the analysis of a score in accordance with the procedures covered in class.

Weighting: 25%

B. Theory: an examination covering the course content. This may include long-answer, short-answer or multiple-choice questions. Weighting: 25%

Total weighting: 50 per cent.

ASSESSMENT CRITERIA:

- A minimum attendance rate of 80 per cent is required to pass the module in the standard assessment period.

- The final mark will be the sum of all the weighted components (1, 2, 3). Students must achieve at least 4 out of 10 in each of the exercises for the marks to be weighted and the final total calculated.

- The marks for exercises 1 and 2 will be retained for the supplementary assessment should the student fail or decide not to sit the theory exam in the main assessment period.

- If the above point does not apply, students sitting the supplementary examination must submit their work for exercises 1 and 2 one week before the exam.

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Core:

1. Berliner, Paul F.

Thinking in Jazz: The Infinite Art of Improvisation

University of Chicago Press. 1994.

ISBN: 9780226043814

2. Gioia, Ted

A History of Jazz

Turner. 2018.

ISBN: 9788417141714

3. Schuller, Gunther

Early Jazz: Its Roots and Musical Development

Oxford University Press. 1986.

ISBN: 9780195040432

4. Schuller, Gunther

The Swing Era: The Development of Jazz, 1930–1945

OUP USA. 1992.

ISBN: 9780195071405

Supplementary:

5.- Carr, Ian

MILES DAVIS: THE DEFINITIVE BIOGRAPHY

RBA LIBROS. 2007.

ISBN: 9788489662209

6. Gitler, Ira

The Masters of Bebop: A Listener’s Guide

Da Capo Press. 2001.

ISBN: 978-030681009

7. Rolf, Julia

Jazz: The Complete History

Robinbook Editions. 2007.

ISBN: 8496222993

8. Russell, Ross

The Biography of Charlie Parker

Ediciones B. 1995.

ISBN: 978-844065901

9. Schuller, Gunther

Early Jazz: Its Roots and Musical Development (The History of Jazz)

OUP USA. 1986.

ISBN: 978-019504043

10. TIRRO, FRANK

HISTORY OF JAZZ

REEDBOOK EDICIONES. 2016.

ISBN: 8415256876

11. Tirro, Frank

History of Modern Jazz

Ma Non Troppo. 2009.

ISBN: 8495601168

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

1. BASIC AND GENERAL

· CG4 – Master the IT tools specific to the field of music

· CG5 – Be familiar with the tools associated with the management and organisation of musical information

· 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 – Students should be able to apply their knowledge to their work or vocation 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

2. SPECIFIC

· CE12 – To acquire sufficient knowledge to utilise multimedia musical technology in modern music

Learning outcomes

· RCG2. Develop 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 appropriately to different 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 the content

The module focuses on developing students’ interpersonal communication skills, analytical and synthesis abilities, and basic communication and information management techniques. Students acquire competences and skills in reading comprehension, listening comprehension, oral expression and written expression, enabling 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.

----

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 introduce students to the technical, stylistic and expressive study of the instrument, familiarising them with the foundational genres of modern music (blues and ballads), whilst encouraging independent study and the development of aural perception.

General Objectives for Year 1

• To perform a blues piece and a ballad with formal and expressive proficiency, recognising their value within the diversity of modern styles. (RCG4, RCE7)

• To develop basic instrumental technique in order to tackle simple repertoire with precision, control and musicality. (RCG9, RCE3)

• Apply knowledge of the instrument’s anatomy and acoustics to develop healthy and effective study habits. (RCE15)

• Use the classroom workbook as a tool for self-organisation, critical reflection and monitoring of study progress. (RCG6, RCE4)

• Begin to read chord symbols and simple melodies, and to improvise using pentatonic and blues scales, with an awareness of style. (RCE11, RCE18)

• Take part in guided stage practice, beginning work on emotional control and stage presence. (RCE15)

• Listen to, analyse and imitate basic modern repertoire, developing aural training specific to the instrument. (RCE18)

Prerequisites

None specified.

Competencies

1. Basic and General Competencies:

· CG6 – Demonstrate the ability to work independently in the process of musical learning

· CG7 – Demonstrate leadership and initiative in launching projects within the context of modern music.

· CG9 – Acquire the technical skills required for the performance of modern music

2. Specific Competencies:

· CE3 – Acquire the instrumental technique required for professional performance within the context of modern music

· CE9 – Appreciate the sonic and timbral possibilities of the instrument in modern music

· CE10 – Be able to express one’s own artistic vision in musical performance

· CE15 – Acquire the technical and psychological skills required for concert performance

· CE16 – Using resources familiar from the classroom, be able to search for and select any type of source, score or recording for the study of the repertoire within modern music

· CE20 - Develop the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training

Learning outcomes

· RCG4 Recognises the value of diversity and multiculturalism in contemporary musical styles in order to engage with the breadth of current artistic, cultural and musical expressions (Knowledge)

· RCG5 Possesses the musical knowledge essential for the pursuit of artistic studies (Knowledge)

· RCG6 Demonstrates the ability to work independently in the musical learning process in order to facilitate their professional development as a performer and artist (Competence)

· RCG8 Develops critical skills regarding modern musical productions and performances to enhance their creative, interpretative and teaching abilities (Skills)

· RCG9 Possesses the technical ability required for the performance of modern music at a professional level (Skills)

· RCG10 Resolves technical and stylistic problems in instrumental or vocal performance and music theory related to the field of modern music in order to achieve a professional-level performance (Competence)

· RCE3 Acquires the instrumental technique required for professional performance within the context of modern music (Skills)

· RCE4 Applies the knowledge acquired to resolve musical and technical problems for use in artistic creation (Competence)

· RCE7 Performs a broad and varied repertoire of modern music as a vehicle for artistic expression, with a view to developing a professional career (Knowledge)

· RCE9 Appraises the sonic and timbral possibilities of the instrument in modern music in order to produce their own compelling musical creations (Competence)

· RCE10 Expresses their own artistic vision in musical performance with the aim of developing their artistic and cultural individuality at a professional level (Competence)

· RCE11 Demonstrates the ability to improvise, through mastery of tools and melodic and rhythmic concepts, in order to perform effectively in the various performance situations typical of the field of modern music (Competence)

· RCE15 Acquires the technical and psychological skills required for concert performance (Skills)

· RCE16 Selects appropriately from different types of sources, such as scores or recordings, for the study of repertoire within modern music. (Skills)

· RCE18 Develops the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training (Skills)

Description of course content

Cross-curricular content for the Bachelor’s degree.

- Refinement of artistic, musical and technical abilities, enabling students to perform the instrument’s repertoire 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 itself.

First-year content by unit:

Unit 1. Introduction to the workbook and study routines

Unit 2. Basic technique: acoustics, posture, warm-up, maintenance, anatomy and physiology. (depending on the instrument)

Unit 3. 12-bar blues: major and minor.

Unit 4. Ballads: phrasing, dynamic control, expression, diction (depending on the instrument).

Unit 5. Reading simple chord symbols and straightforward melodies.

Unit 6. Improvisation using pentatonic and blues scales.

Unit 7. Aural training applied to the instrument: analysis and transcription of solos, grooves or accompaniments.

Unit 8. Performance practice.

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. 70 hours, 100% face-to-face.

2 – Activities of increasing difficulty enabling students to gradually develop the ability to work independently in resolving subject-specific problems. 110 hours, 100% face-to-face.

3 - Completion of individual or group assignments outside the classroom. 240 hours, 0% face-to-face.

4 – Personal study, performing in concerts, rehearsals, reading, writing reports, etc., either individually or in groups. 400 hours, 0% face-to-face.

5 - Online activities on the e-learning platform, such as downloading materials, listening to recordings, accessing sheet music, completing self-assessment tests, participating in forums and chat sessions, etc. 80 hours. 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.

----

REGULAR EXAMINATION PERIOD

1. Practical musical performance exercises carried out in small groups or individually (30 per cent): a recital-style assessment will take place during the January partial assessment period, in which the student must:

a) Perform a repertoire consisting of two pieces (20% of the final mark).

b) Perform a technical piece or exercise (10% of the final mark).

2. Instrumental technique and/or sight-reading exercises (20 per cent): one in-class assessment per term will be held, each accounting for 10 per cent of the final mark. These assessments will evaluate aspects such as:

- Technical exercises applied to the repertoire.

- Sight-reading: notation, rhythm and/or melody.

3. Final examination in the form of a musical audition and/or written tests (50 per cent): a final examination will be held during the ordinary examination session in May, consisting of three parts:

a) A recital-style test in which the student will present a repertoire of three pieces, one of which must include a prepared solo (30 per cent).

b) Performance of a piece or technical exercise (10 per cent).

c) Submission of the class notebook (10%).

EXTRAORDINARY EXAMINATION SESSION

Students will sit a final examination for the module on the date set by the University for the July examination session. This examination will account for 100 per cent of the final mark for the module and will be structured as follows:

1. Repertoire preparation (50%):

Students must prepare five pieces. The examination board will select three of these, which will be performed during the exam.

2. Technical test (20%):

Students must present two technical pieces worked on during the course. The examination board will select one for performance during the examination.

3. Applied technique tests (20 per cent):

Exercises designed by the examination board to assess the application of technical skills covered in the course (such as sight-reading, accompaniment, voicings, scales, arpeggios, etc.).

4. Submission of a workbook (10%):

The student must submit a workbook which must include:

- A brief musical analysis of the pieces performed, with particular attention to their melodic and harmonic characteristics.

- A critical analysis of the technical work carried out to prepare these pieces.

- Sheet music used in the examination.

- Attendance records for the course’s masterclasses and seminars.

Timetable

Click on this link to view the detailed timetable in Excel

Reading list

Core:

1. Aebersold, Jamey

Charlie Parker Omnibook

Hal Leonard Corp. 1982.

ISBN: 9780769260532

2. Leonard, Hal

Jazz Guitar Omnibook

HAL LEONARD PUB CO. 2019.

ISBN: 9781540025135

3. Leonard, Hal

Scat Omnibook: For Vocalists and C Instruments

HAL LEONARD PUBLISHING CO. 2015.

ISBN: 9781480355620

4. Levine, Mark

The Jazz Piano Book

Sher Music. 1989.

ISBN: B005QA9HLM

5. Reed, Ted

Syncopation

Alfred Music. 2007.

ISBN: 0882847953

6. Sher, Chuck

The Latin Real Book

Hal Leonard Corp. 1999.

ISBN: 9780634006937

7. Sher, Chuck

The New Real Book

Ama Verlag. 1988.

ISBN: 9780961470142

8. Sher, Chuck

The New Real Book Volume 2

Ama Verlag. 1990.

ISBN: 9780961470173

9. Sher, Chuck

The New Real Book Volume 3

Sher Music Co. 2005.

ISBN: 9781883217037

Supplementary:

10. Bergonzi, Jerry

Developing a Jazz Language – Inside Improvisation Series Vol. 6

Advance Music. 2003.

ISBN: 9790206303739

11. Ricker, Ramon

Ramon Ricker: Pentatonic Scales for Jazz Improvisation

Alfred. 2009.

ISBN: 978-076923072

12. Ricker, Ramon

Ramon Ricker: Pentatonic Scales for Jazz Improvisation

Alfred. 2009.

ISBN: 978-076923072

13. Technique Development in Fourths for Jazz Improvisation

Ricker, Ramon

Alfred. 1983.

ISBN: 978-076923024

14. Technique Development in Fourths for Jazz Improvisation

Ricker, Ramon

Alfred. 1983.

ISBN: 978-076923024

Objectives

To acquire the necessary skills using existing methods to achieve a B2 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).

1. To acquire a general command of the English language equivalent to level B2 of the Common European Framework of Reference for Languages, with particular emphasis on oral and written expression in academic and professional contexts related to modern music.

2. To develop oral and written communication skills in order to participate effectively in conversations, debates, presentations and group work within the artistic and academic spheres.

3. To apply the principles of correctness, coherence and linguistic appropriateness in oral and written production, improving grammatical accuracy, lexical appropriateness, pronunciation, spelling and expressive fluency.

4. To understand and analyse written texts in English of various types (academic, journalistic, artistic or musical), demonstrating critical and reflective thinking regarding their content.

5. To use the specific terminology of modern music in English correctly, both in musical performance and analysis and in the preparation of assignments, presentations and critical commentaries.

6. Develop reading and active listening strategies that enable students to grasp essential information, main ideas and expressive nuances in real-life and specialised communicative contexts.

7. Foster autonomy in learning English, promoting the use of digital tools, audiovisual resources and active methodologies for the continuous improvement of language skills.

8. To integrate language skills into professional musical practice, thereby facilitating international mobility, participation in collaborative projects and access to sources and materials in English.

9. To promote ethical, creative and collaborative communication, applying language skills in situations requiring leadership, critical thinking and a commitment to democratic values and the Sustainable Development Goals.

10. To develop an open, reflective and critical attitude towards the English language and Anglo-Saxon culture, understanding their relevance in the globalisation of the contemporary music scene.

Prerequisites

None have been established.

Competencies

1. BASIC AND GENERAL

· CG3 – To express oneself correctly in a foreign language: English (level B2)

· 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 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

2. SPECIFIC

· CE21 – To have a command of the specific terminology of modern music in English

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)

RCG3 Expresses themselves correctly in English to facilitate their professional development in an international context (Skills)

RCE19 Has a command of the specific terminology of modern music in English for the use and understanding of various bibliographic sources (Skills)

RVODS Is able to communicate effectively, 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)

Course description

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

Teaching Activities

Classroom-based presentation of concepts related to the topics covered in each module 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. 60 hours.

Activities of increasing difficulty enabling students to gradually develop the ability to work independently in solving subject-specific problems. 90 hours.

Completion of individual or group assignments outside the classroom. 90 hours

Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums, chat, etc. 60 hours.

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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The assessment systems used to verify and evaluate students’ acquisition of learning outcomes can be categorised into two types:

- E1: Written tests throughout the semester, to assess the technical competences associated with the module acquired through the student’s individual 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 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:

Mid-term exams (Reading, Listening, Grammar, Vocabulary): 40%

Written test (Writing): 20%

Oral presentations (30%) (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)

Class participation and completion of assignments/homework: 10%

Once all continuous assessment tests have been completed, if the overall average mark in any of these tests is below 2.5, it will not be included in the final 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 have failed 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%

Bibliography

Core:

1. Paul Dummett, Helen Stephenson & Lewis Lansford

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

National Geographic Learning. 2015.

ISBN: 9781305399136

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

1. To deepen understanding of the harmonic processes in modern music, building on the knowledge acquired in Modern Harmony I through the study of diminished chords, substitute dominants and II–V progressions. (Relates to CG13, CE5, RCE1, RCE5)

2. To analyse and apply advanced reharmonisation techniques — including substitutions, modal exchanges and higher triad structures — to enrich one’s personal harmonic language. (Relates to CG7, CE17, RCE4, RCE5, RCE8)

3. Understand the tonal and non-tonal functions of dominant chords and their relationship with the associated scales, developing a flexible and modern understanding of the harmonic system. (Relates to CE5, CE9, RCE5, RCE9)

4. Recognise and utilise the harmonic resources characteristic of jazz forms, applying them to analysis, composition and improvisation in various modern styles. (Relates to CE7, CE17, RCE2, RCE5)

5. Develop the ability to modulate between keys and modes using functional and modal resources, applying this to the creation and adaptation of modern works or arrangements. (Relates to CG13, CE17, RCE4, RCE5)

6. Explore the expressive use of pedals, ostinatos and harmonic tensions as elements of cohesion, contrast and texture in modern music. (Relates to CE9, CE20, RCE9, RCE18)

7. Apply advanced aural training to the identification of complex harmonic progressions, improving the perception of tensions, resolutions and modal relationships. (Related to CE20, RCE18)

8. Integrate harmonic knowledge into performance and creative practice, developing individual or group projects that reflect stylistic understanding and artistic originality. (Relates to CG7, CG8, CE17, RCE4, RCE8)

9. Appreciate modern harmony as a means of aesthetic expression and contemporary musical thought, understanding its role in the evolution of jazz and other modern genres. (Relates to CG8, CE7, RCE8)

Prerequisites

To enrol on Modern Harmony II, students must have successfully completed Modern Harmony I.

Competencies

1. BASIC AND GENERAL COMPETENCIES:

· CG7 – Demonstrate leadership and initiative in launching projects within the context of modern music.

· CG8 – Be able to identify indicators of quality in the performance of modern music

· CG13 – Understand harmonic processes within the field of modern music

2. SPECIFIC COMPETENCIES:

· CE5 – Be able to apply informed musical criteria to the performance of various forms of modern music

· CE7 - Recognise the most representative repertoire of modern music

· CE9 - To appreciate the sonic and timbral possibilities of the instrument in modern music

· CE17 - Be able to approach modern musical performance in a creative and imaginative manner, recognising these aspects as fundamental to the training of a professional in this field

· CE20 - To develop the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles

through appropriate aural training

Learning outcomes

· RCE1 Understands the specific theoretical principles of modern music for application in artistic practice. (Knowledge)

· RCE2 Is able to distinguish the melodic, rhythmic, harmonic and textural characteristics of modern musical languages in order to develop a personal and compelling interpretation. (Knowledge)

· RCE4 Applies the knowledge acquired to solve musical and technical problems for use in artistic creation. (Competence)

· RCE5 Understands harmonic processes within the field of modern music for application in composition, orchestration or improvisation. (Competence)

· RCE8 Understands the importance of modern musical creation as a vehicle for aesthetic thought in order to develop their own artistic and cultural output. (Knowledge)

· RCE9 Appraises the sonic and timbral possibilities of the instrument in modern music in order to produce their own compelling musical work. (Competence)

· RCE18 Develops the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training. (Skills)

Course description

This module focuses on the fundamental principles of modern harmony. Solving harmonic problems. The use and application of harmony in different styles and contexts. Aural recognition of harmony. Harmonic analysis.

The fundamentals of modern harmony are studied. Solving harmonic problems.

Content divided into teaching units:

Unit 1. Diminished passing chords

Unit 2. Substitute dominants

Unit 3. II–V progressions

Unit 4. Reharmonisation techniques

Unit 5. Modal substitution

Unit 6. Jazz forms

Unit 7. Modulation

Unit 8. Dominant Chords and Associated Scales

Unit 9. Dominant Chords Without a Dominant Function

Unit 10. Higher triad structures

Unit 11. Pedals and ostinatos

Training activities

• Classroom-based presentation of concepts relating to the subjects comprising each module 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. 105 hours

• Activities of increasing difficulty enabling students to gradually develop the ability to work independently in solving subject-specific problems. 60 hours

• Completion of individual or group assignments outside the classroom. 120 hours

• Personal study, performing in concerts, rehearsals, reading, writing reports, etc., either individually or in groups. 90h

• Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat rooms, etc. 60h

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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Ordinary examination period

Throughout the academic year, the following will take place:

1. Completion of set practicals and exercises (20%). Students must submit two exercises, one per term, each accounting for 10% of the final mark for the module. These exercises will consist of composing pieces that comply with the stipulated guidelines regarding form, harmonic resources used and style.

2. Submission of individual and/or group projects (20 per cent). Students must submit two free-form compositions, one per term, each accounting for 10 per cent of the final mark for the module. In these compositions, students must apply the harmonic techniques studied.

3. Examinations testing knowledge of the subject matter, problem-solving, reasoning, analysis of case studies, project implementation, or practical case studies, etc. (60%). Two examinations will be held, one in the January examination session and the other in the May examination session. Each will account for 30 per cent of the final mark for the module. These examinations will contain theoretical questions and practical exercises.

- A class attendance rate of over 70 per cent is required to pass the module.

SUPPLEMENTARY EXAMINATION SESSION:

Students will sit a final examination on the date set by the University for the July examination session, covering the entire syllabus of the module; this examination will account for 60 per cent of the module mark. They must also submit the two practical exercises and the two assignments stipulated for the ordinary examination session. Each of these submissions will account for 10 per cent of the final mark for the module. Marks for assignments and exercises submitted and passed during the ordinary examination period will be retained, unless the student decides to resubmit them.

Timetable

Click on this link to view the detailed timetable in Excel

Reading list

Essential:

1. HERRERA, ENRIC

MUSICAL THEORY AND MODERN HARMONY (VOLUME 1)

ANTONI BOSCH. 1990.

ISBN: 8485855442

2. HERRERA, ENRIC

MUSICAL THEORY AND MODERN HARMONY (VOLUME 2)

ANTONI BOSCH. 2009.

ISBN: 8485855450

3. LEVINE, MARK

THE JAZZ THEORY BOOK

SHER MUSIC. 1995.

ISBN: 1883217040

4. MULHOLLAND, JOE

THE BERKLEE BOOK OF JAZZ HARMONY

BERKLEE PRESS. 2013.

ISBN: 0876391420

Supplementary:

5.- MOTTE, DIETHER DE LA

HARMONY

IDEA BOOKS. 2008.

ISBN: 9788493663131

6. PISTON, WALTER

HARMONY

IDEA MUSIC. 2008.

ISBN: 9788493663117

7. SCHOENBERG, ARNOLD

STRUCTURAL FUNCTIONS OF HARMONY

IDEA BOOKS. 1999.

ISBN: 9788482361345

8. VERGÉS, LLUIS

THE LANGUAGE OF HARMONY: FROM THE BEGINNINGS TO THE PRESENT DAY

BOILEAU. 2007.

ISBN: 8480208260

Objectives

General objectives for the Complementary Instrument:

1. To acquire technical and interpretative skills on a second instrument.

2. To develop autonomy in instrumental study, using different resources (sheet music, recordings, digital resources) to resolve technical and musical challenges. (RCG6, RCE16)

3. To foster aural perception and active listening as a tool for improving intonation, articulation and phrasing on the instrument across various modern styles. (RCE18)

4. To promote expressiveness and creativity in performance, enabling students to begin developing a personal artistic voice through the complementary instrument. (RCE10)

Specific objectives for supplementary piano:

1. To acquire the basic technical foundations of piano playing, including correct posture, wrist rotation and independence between both hands, with the aim of developing a solid foundation in technique. (RCE3)

2. To read and perform simple two-handed scores, applying knowledge of musical language to the instrument and recognising the harmonic and melodic function of each hand. (RCG5, RCE3, RCE4)

3. To understand and play major and pentatonic scales, both for technical development and for their practical application in modern musical contexts. (RCE3, RCE18)

4. Identify, construct and play triads in root position and inversions, understanding their harmonic function and their use in simple progressions such as I–IV. (RCE3, RCE4)

5. Understand and use American chord notation as a tool for the analysis and interpretation of chords and progressions. (RCG5, RCE4)

6. Perform basic accompaniments within various genres of modern music, applying different techniques such as shell voicings, Mixolydian thirds and open positions. (RCE3, RCE10)

7. Apply three- and four-part II-V-I harmonic progressions, using functional voicings for performance and accompaniment. (RCE3, RCE4)

Specific objectives for complementary drumming:

1. Acquire a basic understanding of the rhythmic language of jazz, through working on simple musical forms. (RCG5, RCE3, RCE4)

2. Develop basic technique in modern drumming. (RCE3, RCE10)

3. To understand the role of the drums within an ensemble context, internalising their function as accompaniment and their interaction with other instruments. (RCG5, RCE3)

4. Establish an initial control over sound and articulation, with particular attention to balance, dynamics and musicality within the jazz style. (RCE18, RCE10)

5. Begin to develop limb independence to achieve greater coordination and musicality. (RCE3, RCE4)

6. Recognise and interpret different rhythmic styles of traditional jazz. (RCG5, RCE18)

7. To encourage active listening and rhythmic aural perception. (RCE18)

Prerequisites

None specified.

Competencies

Basic and general:

CG6 – Demonstrate the ability to learn music independently

CG9 – Acquire the technical skills required for the performance of modern music

Specific:

CE3 – Acquire the instrumental technique required for professional performance within the context of modern music

CE9 – Appreciate the sonic and timbral possibilities of the instrument in modern music

CE10 - Be able to express one’s own artistic vision in musical performance

CE16 - Through the use of resources familiar from the classroom, be able to search for and select any type of source, score or recording for the study of repertoire within modern music

CE20 – To develop the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training

Learning outcomes

RCG5 Possesses the musical knowledge essential for the pursuit of artistic studies. (Knowledge)

RCG6 Demonstrates the ability to work independently in the musical learning process in order to facilitate their professional development as a performer and artist. (Competence)

RCE3 Acquires the instrumental technique necessary for professional performance within the context of modern music. (Skills)

RCE4 Applies the knowledge acquired to solve musical and technical problems for use in artistic creation. (Competence)

RCE10 Expresses their own artistic vision in musical performance with a view to developing their artistic and cultural individuality at a professional level. (Competence)

RCE16 Selects appropriately from different types of source material, scores or recordings for the study of repertoire within modern music. (Skills)

RCE18 Develops the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training. (Skills)

Description of the content

General content as per the programme specification:

- Knowledge of the technical and theoretical fundamentals associated with the performance of a complementary instrument.

- Application of musical language to the complementary instrument and understanding of its function within a musical context.

Content for Complementary Piano II:

Topic 1. Review of four-note chords.

- II–V–I progressions in three parts (guide notes).

- II–V–I progressions in four parts.

- Left-hand voicings.

Topic 2. Improving piano technique.

- Major scales.

- Montunos

- Harmonising in 3-part open position.

- Bud Powell voicings.

Topic 3. Accompaniment techniques.

- II–V–I progressions in four-part harmony.

- II–V–I progressions in 5-part harmony.

- II–V–I progressions in Drop 2.

- Introduction to improvisation.

Topic 4. Voicings in fourths.

- Perfect fourths.

- Chords based on pentatonic scales.

- Upper structures.

- Chords in the Dorian mode.

Training activities

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.

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

Completion of individual or group assignments outside the classroom.

Personal study, giving concerts, rehearsals, readings, writing reports, etc., either individually or in groups.

Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat rooms, etc.

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. Practical musical performance exercises carried out in small groups or individually (30 per cent): this assessment corresponds to the mid-term exam for the first term. This section consists of two parts: performance of the class repertoire and a theoretical test on voicings. In the first part, students will perform two pieces from the repertoire, applying the harmonic techniques studied during the course. This section will account for a total of 30%, with 25% allocated to the first part (12.5% for each piece in the repertoire) and 5% to the theory test.

2. Instrumental technique exercises and/or sight-reading (30 per cent): this assessment involves performing one or more pieces or technical exercises (to be determined for each assessment) that reflect the various aspects covered in class during the term. There will be three assessments during the course. This section will account for a total of 30%, with 10% allocated to each assessment. 

3. Final examination in the form of a musical audition and/or written tests (40 per cent): this section consists of three tests: performance of the class repertoire, performance of the written repertoire or transcription, and a theory test. This section will account for a total of 40 per cent, with 25 per cent allocated to the performance of the repertoire, 7.5 per cent to the written repertoire and 7.5 per cent to the theory exam.

EXTRAORDINARY EXAM SESSION

The Extraordinary Examination consists of three parts: performance of the class repertoire, performance of the written repertoire and a theory test. In the first part, four of the six pieces from the repertoire will be performed. The exam mark is broken down as follows: 60% for the repertoire exam (with 15% allocated to each of the four pieces performed), 10% for the performance of the written repertoire and 30% for the theory exam.

Timetable

Click on this link to view the detailed timetable in Excel

Bibliography

Core:

1. Dan Haerle

Jazz Piano Voicing Skills

Jamey Aebersold. 2010.

ISBN: 1562240587

2. Luke Gillespie

Stylistic II/V7/I Voicings for Keyboardists

Jamey Aebersold Jazz. 2010.

ISBN: 1562240846

3. Mark Levine

The Jazz Piano Book

Sher Music Co. 1989.

ISBN: 0961470151

Supplementary:

4. Art Tatum

The Art Tatum Collection (Artist Transcriptions)

Hal Leonard. 1996.

ISBN: 9780793544646

5. Bill Evans

Bill Evans: solo piano

Hal Leonard. 2015.

ISBN: 1495022528

6. Bill Evans

The Bill Evans Collection

Hal Leonard. 1998.

ISBN: 0793570468

Objectives

To explore the specific aspects of ensemble playing in greater depth. To understand the role of one’s own instrument, as well as that of others, within the musical ensemble. To develop the ability to participate actively in the group’s creative process and the skills required for playing in an ensemble.

Specific content for Year 2:

1. Analyse and perform repertoire incorporating more advanced structures such as rhythm changes, African-American grooves or modal forms.

2. Develop greater precision in intonation, rhythmic control and collective dynamics.

3. Independently apply strategies for sight-reading, transcription and improvisation across a variety of tempos and styles.

4. Explore the relationship between scales and static harmonies, promoting melodic coherence and expressive phrasing.

5. Employ group interaction techniques that promote a balance between sections and soloists.

6. Participate in shaping the group’s musical discourse, contributing one’s own interpretative ideas with stylistic discernment.

7. Demonstrate leadership when organising rehearsals or performances, fostering initiative and artistic responsibility.

8. Maintain a critical and collaborative attitude when working together, valuing a diversity of approaches and styles.

At this level, students consolidate their ability to improvise with artistic intent, tackle more complex structures and actively contribute to the group’s interpretative direction.

Prerequisites

To enrol on the Combo 0221112 module, students must have previously passed Combo 0121112, as the content and skills covered in the second year involve the consolidation and practical application of the interpretative, rhythmic and collaborative foundations covered in the first year.

Competencies

1. BASIC AND GENERAL

CG7 – Demonstrate leadership and initiative in launching projects within the context of modern music.

CG11 – Develop teamwork skills, with the aim of adapting effectively to the various interdisciplinary contexts typical of the fields of modern music production, performance and dissemination.

2. SPECIFIC

· CE13 – Apply the necessary knowledge to orchestral work and small instrumental ensembles.

· CE14 – Understand the main stylistic conventions and their application within a modern music ensemble, demonstrating flexibility, critical thinking and empathy when considering differing opinions within the group.

· CE16 – Through the use of resources familiar from the classroom context, be able to search for and select any type of source, score or recording for the study of the modern music repertoire.

· CE20 – To develop the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training.

Learning outcomes

· RCG04. Recognises the value of diversity and multiculturalism in contemporary musical styles in order to engage with the breadth of current artistic, cultural and musical expressions (Knowledge)

· RCG7. Demonstrates leadership and initiative in launching projects within the context of modern music (Competence)

· RCG11. Develops teamwork skills, with the aim of adapting effectively to the various interdisciplinary contexts characteristic of the fields of modern music production, performance and dissemination (Skills)

· RCE4. Applies the knowledge acquired to solve musical and technical problems for use in artistic creation (Competence)

· RCE7. Performs a broad and varied repertoire of modern music as a vehicle for artistic expression, with a view to developing a professional career (Knowledge)

· RCE9. Assesses the sonic and timbral possibilities of the instrument in modern music in order to produce their own compelling musical creations (Competence)

· RCE11. Demonstrates the ability to improvise through mastery of melodic and rhythmic tools and concepts, enabling them to perform effectively in the various performance situations typical of the field of modern music (Competence)

· RCE13. Applies the skills associated with musical performance when practising in different ensembles and groups (Skills)

· RCE14. Recognises the main stylistic conventions and their application within a modern music ensemble, with a view to fostering flexibility, critical thinking and empathy when dealing with differing opinions within the ensemble (Knowledge)

· RCE15. Acquires the technical and psychological skills required for concert performance (Skills)

· RCE16. Selects appropriately from different types of source material, such as sheet music or recordings, for the study of the modern music repertoire (Skills)

· RCE18. Develops the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training (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)

Course content description

In-depth study of the specific aspects of ensemble 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 an exploration of the repertoire. Development of rehearsal habits and techniques. Cooperation in establishing interpretative criteria, rapport and collective work. Knowledge of the modern group repertoire.

Content divided into Teaching Units:

· Unit 1. Repertoire and styles

· Unit 2. Interaction and group dynamics

· Unit 3. Improvisation.

· Unit 4. Sight-reading.

· Unit 5. Transcription

· Unit 6. Original arrangements (compulsory in Year 3)

· Unit 7. Applied composition (compulsory in Year 4)

· Unit 8. Advanced musical languages and styles

· Unit 9. Artistic project and concerts

Teaching activities

· Classroom-based presentation of concepts relating to the topics comprising 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. 150 hours 

· Activities of increasing difficulty enabling students to gradually develop the ability to work independently in resolving subject-specific problems. 350 hours 

· Completion of individual or group projects outside the classroom. 50 hours 

· Personal study, performing in concerts, rehearsals, reading, writing reports, etc., either individually or in groups. 300 hours 

· Online activities on the e-learning platform, such as downloading materials, listening exercises, sheet music, self-assessment tests, participation in forums and chat rooms, etc. 50 hours

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 regular 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

Throughout the academic year, the following will take place:

1. Practical musical performance exercises in small groups or individually (30%). A practical performance assessment will take place during the January assessment period, in which the ensemble will perform two pieces from the repertoire studied in class.

2. Instrumental technique and/or sight-reading exercises (30 per cent): one assessment per term will be held, consisting of the sight-reading of pieces or excerpts selected by the lecturer.

3. Final examination in the form of a musical performance and/or written tests (40 per cent). An open recital will take place during the May–June examination period, in which the ensemble will perform a selection from the repertoire studied throughout the academic year; this will account for 40 per cent of the final mark for the module.

Continuous assessment: a class attendance rate of over 80% is required to be eligible for continuous assessment.

EXTRAORDINARY EXAMINATION SESSION

Students will sit a final examination for the module on the date set by the University for the July examination session, during which they will be examined on the syllabus for the entire course; this will account for 100 per cent of the mark, and students must give a convincing performance of the entire repertoire worked on throughout the course by the ensemble.

Bibliography

Essential:

1. Sher, Chuck

The Latin Real Book

Hal Leonard Corp. 1999.

ISBN: 9780634006937

2. Sher, Chuck

The New Real Book

Ama Verlag. 1988.

ISBN: 9780961470142

3. Sher, Chuck

The New Real Book Volume 2

Ama Verlag. 1990.

ISBN: 9780961470173

4. Sher, Chuck

The New Real Book Volume 3

Sher Music Co. 2005.

ISBN: 9781883217037

Objectives

1. To identify and perform choral repertoire representative of different styles of modern music, demonstrating an understanding of its aesthetic, cultural and stylistic diversity. (RCG4)

2. Participate actively, respectfully and collaboratively in the choral ensemble’s rehearsals and performances, demonstrating teamwork skills in musical contexts. (RCG11)

3. Perform vocal works competently as part of a group, fulfilling one’s role within the choir and applying technical skills relating to intonation, rhythm, blend and dynamics. (RCE13)

4. Apply stylistic conventions of jazz and other genres of modern music in choral performance, adapting to the musical language of the style being performed. (RCE14)

5. Demonstrate aural awareness of the choral ensemble, correcting its intonation, rhythm and balance in accordance with the collective result. (RCE18)

6. Communicate musical ideas clearly within the group, show initiative and responsibility, and contribute to the ensemble’s artistic development with a critical, creative and ethical attitude. (RVODS)

Note:

These objectives are common to students in the 2nd and 3rd years. In the case of 2nd-year students, these skills are expected to be developed at a basic level, focusing on the acquisition of choral working habits, an understanding of group dynamics and the progressive application of vocal technique and choral sight-reading. Particular emphasis will be placed on a participatory attitude, receptiveness to direction and the ability to integrate within the ensemble as a foundation for a more autonomous artistic performance in subsequent years.

Skills

Basic and General Competencies:

CG7 – Demonstrate leadership skills and initiative in launching projects within the context of modern music.

CG11 – Develop teamwork skills, with the aim of adapting effectively to the various interdisciplinary contexts typical of the fields of production, performance and dissemination of modern music

CG12 – Appreciate the diversity and multicultural nature of contemporary musical styles

Specific Competencies:

CE13 - Apply the necessary knowledge to orchestral work and small instrumental ensembles

CE14 - Understand the main stylistic conventions and their application within a modern music ensemble, demonstrating flexibility, critical thinking and empathy when considering differing opinions within the group.

CE16 – Through the use of resources familiar within the classroom setting, be able to search for and select any type of source, score or recording for the study of the repertoire within modern music

CE20 – To develop the qualities of perception and sensitivity towards the phenomenon of sound in different modern musical styles through appropriate aural training

Learning outcomes

RCG4 Recognises the value of diversity and multiculturalism in contemporary musical styles in order to engage with the breadth of current artistic, cultural and musical expressions (Knowledge)

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)

RCE13 Applies the skills associated with musical performance in practice within different ensembles and groups. (Skills)

RCE14 Recognises the main stylistic conventions and their application within a modern music ensemble, with the aim of fostering flexibility, critical thinking and empathy when dealing with differing opinions within the ensemble. (Knowledge)

RCE18 Develops the qualities of perception and awareness of the phenomenon of sound in different modern musical styles through appropriate aural training. (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 the content

Practical experience in vocal and mixed ensembles. Appropriate development of skills relating to understanding and responding to the conductor’s instructions, and integration into the ensemble, through an exploration of the modern choral repertoire. Development of rehearsal habits and techniques. Cooperation in establishing interpretative criteria, rapport and collective work. Work in vocal sections.

Course content:

· Unit 1. Repertoire: performance of choral repertoire in various styles linked to modern music: jazz, bossa nova, pop, rock, soul and funk, amongst others, with a focus on their stylistic and vocal conventions.

· Unit 2. Sight-reading and sight-singing: sight-reading and sight-singing of choral works, aimed at developing musical autonomy and integration within the ensemble.

· Unit 3. Vocal improvisation: an introduction to collective vocal improvisation techniques through Circle Singing, fostering creativity, active listening and group musical creation.

· Unit 4. Vocal technique: basic principles of vocal technique applied to choral singing: anatomy and physiology of the voice, vocal qualities, specific terminology and criteria for use in the context of modern music.

Training activities

1 – Classroom-based presentation of concepts related to the topics comprising 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. 50 hours.

2 – Activities of increasing difficulty enabling students to gradually develop the ability to work independently in resolving subject-specific problems. 70 hours.

3 – Completion of individual or group assignments outside the classroom. 60 hours.

4 – Personal study, performing in concerts, rehearsals, reading, writing reports, etc., either individually or in groups. 100 hours.

5 – Online activities on the e-learning platform, such as downloading materials, listening to recordings, accessing sheet music, completing self-assessment tests, participating in forums and chats, etc. 20 hours.

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

Throughout the academic year, the following will take place:

1. Practical musical performance exercises carried out in small groups or individually (30 per cent): a test will be held in January to assess the student’s ability to sing as part of a vocal ensemble.

2. Instrumental technique and/or sight-reading exercises (20 per cent): one assessment per term will be held in class to evaluate the student’s theoretical and practical abilities when singing in a choir, each accounting for 10 per cent of the final mark for the module. The assessment will consist of an individual performance of a piece and/or excerpts selected by the teacher from the repertoire studied or new material relating to sight-reading.

3. Final examination in the form of a musical performance (50 per cent): a final end-of-year performance will take place, showcasing the repertoire studied throughout the academic year.

EXTRAORDINARY EXAMINATION SESSION

Students will sit a final examination for the module on the date set by the University for the July examination session, covering the entire syllabus of the module; this examination will account for 100 per cent of the module mark. This examination will follow a similar structure to the final examination in May–June.

Timetable

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