ECTS – European Credit Transfer System / OB – Obligatorio / FB – Formación básica / FBC – Formación Básica Común / FBR – Formación básica de rama / PE – Prácticas Externas / RAC – Reconocimiento de Créditos / TFG – Trabajo Fin de Grado

Music Composition I

 

BASIC MUSICAL STRUCTURES. Repetition, variation, diversity, contrast, and no-relationship. Formal devices.

MUSIC SYNTAX.

COMPOSITION AND STYLE.Formal techniques and devices (I). Style imitation.

HARMONY. Tonal harmony (I). Chords, scales and tonal relationships. Broadened functions. Consonance and dissonance.

CREATIVITY AND PERSONALITY. Autonomy of creative thought. Initial developments of a personal aesthetics and compositional language.

Type
FBR

ECTS
12

Projects I

 

PROJECT. Project draft. Collaborative strategies. Project viability and defense.

COMPOSITION. Concept of the work. Form and structure. Basic formal and harmonic elements. Compositional techniques (I). Search for sounds. Originality vs. novelty. Styles and broadening of aesthetic horizons.

PERSONALITY and CREATIVITY. Originality vs. Novelty. Styles and broadening of aesthetic horizons. Stimulating one’s own sound.

DEFENSE. Reflection and analysis on a musical discourse from the perspective of the composer (I).

Type
FBR

ECTS
9

Survey of Classical Music

 

OVERVIEW. Melodic, harmonic and formal analysis of the main musicals styles and periods, training the ear to identify its elements and processes.

MEDIEVAL MUSIC. Gregorian music. Early polyphony. Ars Antiqua. Ars nova. Notation.

RENAISSANCE. Polyphony. First signs of accompanied melody. Polychoralism. Spain and the Cancionero de Palacio.

BAROQUE. Ornament. The birth of opera. Doctrine of the affections. Johann Sebastian Bach.

CLASSICISM. Sobriety and structure. Melodic development. The string quartet. The birth of the modern symphonic orchestra. Haydn and Mozart.

ROMANTICISM. The lied. New harmonic concepts. Opera and large formats. Absolute music vs. the symphonic poem. Impressionism.

20th AND 21st CENTURIES. Break with tonality. Confluence of the arts. Expressionism and dodecaphony. Neoclassicism. Stravinsky vs. Schoenberg. Experimental avant-gardes. New Complexity vs. New Simplicity. “Neo” movements. Minimalism and influences. Postmodernism and composition. Hypermodernity and new tendencies.

Type
FBC

ECTS
6

Piano Harmony I

 

TONAL HARMONY. Chord construction. Single-tone progressions. Basic cadences. Dissonant chords and resolution. Jazz and Classical music

PIANO TECHNIQUES. History and characteristics.

REPERTOIRE AND SIGHT READING. Basic sight reading techniques.

Type
OB

ECTS
9

Instrumental and Vocal Practice

 

CHOIR. Tuning, unison. Breathing and projection. The choir as collective instrument. Internal and external hearing.

STYLES. Religious music: from Renaissance polyphony to Gospel. The choir in popular music. Choral arrangements for the choir.

PERCUSSION. Percussion groups. Idiophones and corporal percussion.

IMPROVISATION. Corporal and vocal expression. Sound painting. Randomness and its vocal and percussive application. Collective composition through texture.

Type
OB

ECTS
6

Ear Training

 

MELODY. Listening process, and connection of internal-external hearing through voice. Notes in natural, harmonic and melodic major and minor keys. Chromaticism in major and minor keys.

HARMONY. Major and minor scale degrees. Basic modal interchange. Secondary dominants.

RHYTHM. Different types of beats and their names. Regular rhythmic figures, duplets and triplets.

INTERVALS. Perception and intonation of intervals.

Type
OB

ECTS
4,5

Orchestration & Mockups I

 

STRING INSTRUMENTS. Family of instruments, instruments within this family, possibilities and extended techniques.

WOODWINDS. Family of instruments. History and sonority of the instruments within this family.  Transposition. Extended techniques.

BRASS INSTRUMENTS. Family of instruments. History and sonority of the instruments within this family.  Transposition. Extended techniques.

PERCUSSION, PLUCKED STRING AND KEYBOARD INSTRUMENTS. Mallet percussion. Membranophones and idiophones. Different interpretation lines in percussion. The harp: tuning, sonority and use of pedals. the piano: sonority, register and inclusion in an orchestra.

INTRODUCTION TO SOUND LIBRARIES AND WORKING WITH DIGITAL SOUND.

Type
OB

ECTS
4,5

Digital Editing of Notation and Scores

 

WORK ENVIRONMENT. Tools, tools search, document navigation, basic shortcuts, program preferences adjustment.

CREATION OF DOCUMENTS. Start wizard, templates, document types, document properties adjustments.

INTRODUCING AND EDITING NOTES AND OTHER OBJECTS. Introducing notes, introducing and editing basic staff elements, pre-configured and configured keyboard shortcuts.

LAYOUT AND SPACING. Setting automatic spacing adjustments, use of manual adjustments, creating templates to save personalized adjustments, fonts.

FILE EXCHANGE FORMATS. Working with xml, midi, pdf, aiff/wav, video in projects.

EDITING PROJECT: WRITING FOR A SOLO INSTRUMENT. Defining, editing and change of instrument. Use of technical texts, expression, articulations and other indications. Transposition instruments.

AUTOMATION AND WORKFLOW IMPROVEMENT. Extensive use of templates, library of ideas, plug-ins, shortcuts, etc.

LEAD SHEET WRITING. Use of chord symbols, definition and adjustment. Writing for solo voice, lyrics. Writing for transposing instruments. Chord and harmonic plugins. Hidden staffs and objects, focus on staves for accompanying arrangement.

THE GENERAL SCORE. Working with the general score and instrument parts in the same document. Layout and spacing adjustment, navigating between document views.

ARRANGEMENTS FOR JAZZ/ROCK/POP COMBOS. Writing the rhythm section, barred rhythm notation, notation in hidden voices, drums and sets of instruments.

WRITING FOR CHAMBER GROUPS of diverse instrumentation, extensive use of articulations, expressions of dynamics, editing and multiple copy of objects, and advanced filters.  Work on parts and score.

CREATION OF DIVERSE CONTENT. Graphics and audios in teaching materials, worksheets, analysing texts, contemporary music and use of graphisms.

CONTEMPORARY WRITING. Writing of didactic texts. Use of graphics, colors, layers, special text, creation of symbols and objects.

INTRODUCTION TO WORKING WITH LIBRARIES AND VSTs. Use of Sound Sets for the automation of the use of libraries.

Type
OB

ECTS
3

Music Production I

 

SOUND. Course introduction. Properties of sound applicable to sound engineering for outdoor and indoor events. Propagation, reflection, absorption. Impact of environmental conditions such as humidity and temperature. Basic venue acoustics: echo, reverberation. Delay.

EVENTS PLANNING AND PRODUCTION. Technical requirements: Raider, stage plan.

MICROPHONE. Choice and place of microphones. Microphones according to instrument. Concert planning. Sound checks. Designing a setup for a small concert.

LIVE SOUND AUDIO CHAIN. Setup diagram. Types of audio signal. Cables and connections. DI Box. Speaker and amplifier systems. Active and passive crossovers. Cabling and power connections.

MIXING TABLE. Comparison of analogical vs. digital tables. Signal flow. Channel strip, Gain, volume, pan. Routing: tracks, subgroups. Basic concepts of live mixing. Auxiliary sends: pre and post fader: most common uses. PA tables and monitor tables. Design of a show with memories. MIDI systems integration. Automation of mixes and synchronizing of sound and lighting system.

EFFECTS AND PROCESSORS: SENDS AND INSERTIONS. FX used in mixes: reverberation and delay. Dynamics processors: noise doors, compressors, limiters and expanders.

EQUALIZATION AND PRACTICAL APPLICATIONS. Spectral analysis. Equalization in PA systems (Room tuning). Equalization in monitoring systems: anti-feedback.

PRACTICAL EXERCISE IN SOUND DESIGN. Sound for a small event. Stage plan with full cabling to be shown at the end of the sesión.

Type
FBC

ECTS
6

ECTS – European Credit Transfer System / OB – Obligatorio / FB – Formación básica / PE – Prácticas Externas / RAC – Reconocimiento de Créditos / TFG – Trabajo Fin de Grado

Intellectual Property Law

 

INTRODUCTION TO INTELLECTUAL PROPERTY LAW. Intellectual and industrial property. Integrating brands into intellectual creations. Moral rights. Violation of moral rights. Property rights. Practical implications. Term and limits of rights. Sui generis rights.

IMAGE RIGHTS. Representation of objects.  Representation of persons. Image rights and related rights.

INTELLECTUAL PROPERTY AND INTERNET. Protection of works posted to the internet. Copyright and copyleft.  CreativeCommons Licences. Use of works on social media. Collective management organizations. (AIE, SGAE, DAMA, AGEDI). Transfer of rights. Licenses.

Type
OB

ECTS
3

Music Composition II

 

APPLIED HARMONY. Scales and chords. Tonal harmony (II). Modal harmony (I).

COMPOSITION AND STYLE. Formal and harmonic devices in Romantic and 20th-century music. Formal devices (II). Polyphony: writing for two and three voices. Introduction to jazz arrangements. Style imitation and early avant-gardes.

CREATIVITY. Introduction to free writing. Development of the creative personality.

Type
FBR

ECTS
12

Projects II

 

PROJECT. Concept. Managing a team and budget. Distribution and management.

COMPOSITION. Individual proposal. Compositional techniques (II). Structure and content: discursive logic and broadening of sounds.

PERSONALITY AND CREATIVITY. Influences: management and absorption. Intertextual techniques. Group originality.

DEFENSE. Reflection and analysis on a musical discourse from the perspective of the composer (II). Diction and argumentation. Advanced music editing.

Type
OB

ECTS
9

Culture and Creative Thought

 

CREATIVE SYSTEMS. Concept of tension throughout history. Motif development. Melodic development in various musical genres.

STRUCTURE. Talea and Color. Isorhythm and Ars Nova. Past and present form.

RHYTHM AND NON-WESTERN CREATIVE PROCESSES. Rhythm in different cultures and styles of music. Indian music, Igor Stravinsky, Alban Berg, Olivier Messiaen, John Cage and George Crumb. Cyclical techniques in Jazz.

EVOLUTION OF TEXTURE. Gyorgy Ligeti and his influence. Pitch and texture.

HARMONIC EVOLUTION. From incipient polyphony to non-functional tonality. Return trip. Harmony in different world musics.

JAZZ. Evolution of the jazz orchestra throughout history, and its connection to contemporary music. Evolution of jazz arrangements. Voice leading in the 20th century.

Type
FBR

ECTS
6

Piano Harmony II

 

TONAL HARMONY. Basic modulating progressions. Modulations. Augmented chords. Modulations.

MODAL HARMONY. First steps. Harmonic functionality. Chord freedom. Tension and resolution.

REPERTOIRE AND SIGHT-READING. Intermediate-level sight-reading techniques. Voice accompaniment (I). Improvisation (I).

Type
OB

ECTS
9

Ear Training II

 

MELODY. Natural, melodic and harmonic major and minor key chromaticism. Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian modes. Two-voice dictation.

HARMONY. Major scale degrees (II). Modal interchange (II).

RHYTHM. Precise sensation of the division of pulse into 1, 2, 3, 4, 6 and 8 parts. Equivalencies in changes in beat.

Type
OB

ECTS
4,5

Orchestration and Mockups II

 

ORCHESTRATION FOR STRING INSTRUMENTS. Individuality within the whole. Foreground / middleground / background. Counterpoint for string instruments. Piano transcription of string orchestra music. Use of libraries.

ORCHESTRATION FOR WOODWINDS AND COMBINATIONS OF WOODWINDS BRASS INSTRUMENTS. The role of woodwinds in the symphonic orchestra. Variety in orchestral treatment. Homophonic writing for wood instruments. Counterpoint writing for wood instruments. Piano transcription for wood and string instruments. Libraries and studio techniques for digital instruments.

ORCHESTRATION FOR WOODWINDS AND COMBINATION OF STRING, WOOD AND BRASS INSTRUMENTS. Duplication of brass instruments in an orchestra. Presentation of the melody in a brass section.

PIANO TRANSCRIPTION TO THE SYMPHONIC ORCHESTRA.

Type
OB

ECTS
4,5

Modern Language

 

SECTION I | LISTENING. Students will hear short recorded conversations in Spanish, with a total of 100 questions to be answered in a maximum of 45 minutes, divided into:

– Part 1: Photographs.
– Part 2: Question-Response.
– Part 3: Conversations.
– Part 4: Short talks.

SECTION II | READING. Reading of a variety of materials, with 100 questions to be answered in a maximum if 75 minutes, divided into:

– Part 5: Incomplete phrases.
– Part 6: Text completion.
– Part 7: Reading comprehension.

Type
FBC

ECTS
6

Professional Ethics and Equality

 

DEONTOLOGY AND RULES-BASED ETHICS.

ART SOCIAL GROUP AND ITS PRINCIPAL CHARACTERISTICS.

DIACHRONY.

SYNCHRONY.

COMMUNICATION IN ART.

MY APTITUDES AND ATTITUDES.

CREATE, GROW AND BELIEVE.

TEAMWORK.

FROM GROUP TO TEAM.

THE MASLOW PYRAMID.

Type
FBC

ECTS
6

ECTS – European Credit Transfer System / OB – Obligatorio / FB – Formación básica / PE – Prácticas Externas / RAC – Reconocimiento de Créditos / TFG – Trabajo Fin de Grado

Music Composition III

 

HARMONY. Modal harmony (II). Non-tonal harmony. Atonal systems. New understandings of the tonal system. Chord as non-functional sonority. Mixed interval chords.

RHYTHM. Written vs. perceived rhythm. Advanced systems of rhythmic notation.

MELODY. Broadening of the concept of melody. Non-vocal melodies. Melody as texture.

FORM AND STRUCTURE. New types of formal discourse. Texture and pitch as form.

COMPOSITION AND STYLE. Compositional techniques and notation systems of 20th and 21st century music (I).  Use of new technologies.

CREATIVITY. Advanced fee writing. Personality and technique.

Type
OB

ECTS
12

Projects III

 

PROJECT. Presentation, defense, viability and team. Collaborative strategies. Execution of personal project.

COMPOSITION. Use of new technologies. Use of the chamber orchestra as a means of expression. Defense and rehearsal of a work. Trends in post-war and 21st century music. Intertextuality and eclecticism. New discipline. Interaction of music levels and planes. New instrumental techniques. Inclusion of multi-referential compositional mechanisms.

PERSONALITY AND CREATIVITY. Search for originality.

DEFENSE. Reflection and analysis on a musical discourse from the perspective of the composer (III).

Type
OB

ECTS
9

Music Composition for Audiovisual Media I

 

KORNGOLD AND AUDIOVISUAL POST-ROMANTICISM. Expressivity. Non-dependant music. Orchestration and drama.

SILENT FILM. Dramatic devices. Accompaniment and scene accentuation.

PERCUSSION AND EXTENDED TECHNIQUES FOR EFFECT.

TEXTURE AND IMAGE. Ligeti and Kubrick. Texture and void as tension. Techniques to create space through music.

THEATER AND EXPERIMENTAL FILM. Randomness. Music for experimental film. Beckett and non-dramatic music.

NEO-SYMPHONIC MUSIC. Historical recreations. Symphonic poetry and its relationship to audiovisual media. Wagner. John Williams.

Type
OB

ECTS
6

Piano Harmony III

 

TONAL HARMONY. Modulating progressions. Chromatic harmony. Diminished chords. Enharmonic modulations.

MODAL HARMONY. Debussy and Satie. Jazz fusion. Dominants by extension. Flamenco and bimodalism.

CHORD AND CHORD EXTENSION. Fourth and fifth chords. Parallel chords. polychords. Sound blocks. Fingering.

REPERTOIRE AND SIGHT READING. Advanced sight-reading techniques. Voice accompaniment (II). Improvisation (II).

Type
OB

ECTS
9

Ear Training III

 

READING. Syllable solfège with and w/o intonation. Regular and irregular beats, beats with added values. Tuplets. Polyrhythm and ostinato. Metric modulation. Transposition.

SCALES. Scale materials. Tonal, Modal, synthetic and exotic scales. Rhythmic and melodic materials from the non-European tradition (Asia, Africa, Middle East and America). Micro intervals.

CHORDS. Triads, four-note chords and their inversions. Chords with added notes. Atonal  three-sound notes. Single-tone and harmonic progressions, modulation. Cadence.

ARTICULATIONS. “Secondary” parameters of music: articulation, ornamentation, dynamics, pitch, texture and tempo, and their relationship to the formal structure.

STRUCTURE. Auditory analysis. Macro-structure and micro-structure. Generators of micro-strucutre (cell, motif, half-phrase, phrase, theme, period etc.).

NEW FORMS OF LISTENING. Music procedures predating and post-dating.

Type
OB

ECTS
4,5

Contemporary Techniques in Music Composition

 

TRADITION AND MODERNITY. New tonal uses. Melody beyond melody. New concepts of texture. Neo-Romanticism, Post-Minimalism. Fusion. Mystic minimalism. Revitalization of orchestral music. Post-Spectral harmonic concepts.

EXTENDED TECHNIQUES. Noise as function. Decontextualized instruments. Gesture as motif. Silence and music.

POPULAR MUSIC AND VANGUARDS. Techniques of inclusion and dialogue. Fausto Romitelli. Rock and  experimental avant-gardes. Electronic music and the orchestral. Osvaldo Golijov, Gabriela Ortiz and Arturo Márquez.

NEW DISCIPLINE. The body as instrument. Theater and music.

Type
OB

ECTS
6

Trends in Urban Music I

 

ORIGINS OF URBAN MUSIC.

JAZZ AND ITS DEVELOPMENT(I). History. Blues. Facets. Bebop. Cool jazz. John Coltrane. Jazz musical structures.

ROCK AND ITS DEVELOPMENT (I). Origins. Rock & Roll. Hard rock. Punk. Heavy metal. Harmonic and formal structures of Rock.

FLAMENCO (I). History and origins. Development. Basic harmonic structures.

ELECTRONIC MUSIC. History. Facets. Structures. Textural processes.

Type
OB

ECTS
6

Orchestration and Mockups III

 

TECHNIQUES. Tutti. Unison octave tutti. Distribution in the orchestra of primary, secondary and tertiary elements.

TEXTURES. Orchestration of a melody or primary gesture. Types of Instrumental Mix and importance of instrumental families. Importance of Orchestral Balance and blend in the instrumental mix. Importance of the Texture Variation and Orchestral Density. Use of orchestral techniques such as  split, dovetailing, and coupling.

FORM. Importance of the structure of a piece in relation to orchestral chances.  Mass and pitch as form.

REDUCTION AND TRANSCRIPTION. Reduction of the general score.  Transcription for various conventional instrumental combinations. Transcription from piano to symphonic orchestra 2 and 3.

NEW MEDIA. High density chord orchestration techniques. Extended techniques and noise as orchestration. Use of contemporary orchestral techniques. Use of sound libraries. Studio and mockup mastering techniques.

Type
OB

ECTS
4,5

Music Production II

 

HISTORY OF RECORDING. Analog vs. Digital. Most common recording techniques: ambient stereo, premixing stereo, multitrack recording. Multitrack record production phases: planning, recording, mixing, mastering, authoring. Pro studio vs Home studio. Specific equipment: in-line tables, split tables. Pre-hardware: sound cards for direct monitoring.

RECORDING STUDIO: MULTITRACK.

RECORDING STUDIO: MIXING.

RECORDING STUDIO: BOUNCE AND MASTERING.

Type
OB

ECTS
3

ECTS – European Credit Transfer System / OB – Obligatorio / FB – Formación básica / PE – Prácticas Externas / RAC – Reconocimiento de Créditos / TFG – Trabajo Fin de Grado

Music Composition IV

 

STYLE AND COMPOSITION. Textural music. The orchestra as instrument. 20th and 21st-century compositional techniques and notation systems (II). New Simplicity. New Complexity. Spectralism. New forms of tonal conception. New discipline.

NEW TECHNOLOGIES. Use and expansion of sound. Mixed music.

CREATIVITY AND PERSONALITY. Free form and original development.

Type
OB

ECTS
6

Projects IV

 

COMPOSITION. Development of personal aesthetic. New avenues of melodic expression. Textures, melody as axis. New instrumental techniques. The body as instrument. Handling the orchestra.

PROJECT. Project concept and development. Search for financing. Project direction and follow-up.

REHEARSAL AND DEFENSE. Rehearsal techniques (IV). Public speaking.

PERSONALITY AND CREATIVITY. Search for originality, towards personal expression.

Type
OB

ECTS
4,5

Music Composition for Audiovisual Media II

 

ZARZUELA AND AUDIOVISUAL OPERA. Audiovisual as complement. Music and image as indivisible.

MUSIC FOR POST-DRAMATIC THEATER. The image that accompanies. The non-dramatic musical moment.

LEITMOTIV AND MUSICAL CHARACTERIZATION. Orchestration. Motifs. Texture as dramatic element. Harmony as character.

ORCHESTRAL SYMPHONIC AND ELECTRONIC MUSIC. Sound fusion. Broadening of orchestration.

Type
OB

ECTS
3

Trends in Urban Music II

 

RELATIONSHIP BETWEEN STYLES LEADING TO FUSION.

INTERTEXT AND HYPERTEXT IN POPULAR URBAN MUSIC.

CONSTRUCTION AND STRUCTURES. Melodic conception. Rhythm and meter. False tonal functionality of urban music.

JAZZ AND ITS DEVELOPMENT (II). Free jazz. Fusion Jazz. Hard Bop. Acid jazz. Complex harmonic and formal structures.

ROCK AND ITS DEVELOPMENT (II). Progressive Rock. Symphonic Rock. Power Metal. Trash and evolution. Virtuosity as a goal. Power chords.

FLAMENCO (II). Fusion with other styles. Paco de Lucía y Camarón. Enrique Morente. Mauricio Sotelo. Complex harmonic structures.

HIP HOP. Rap culture and its development. Expansion and fusion. Trap. Trap. Reggaeton and latin mainstream presence.

Type
OB

ECTS
4,5

Industry, Business and Career Development

 

THE BUSINESS AND WORKINGS OF THE MUSIC INDUSTRY. The workings of the music industry. Uses of music content. The musician as entrepreneur. Marketing in music. Current state of the music industry.

ENTREPRENEURSHIP. Business initiative. Strategic planning and definition of business opportunities. How to put together a business plan.

Type
OB

ECTS
6

External Internship

Type
PE

ECTS
21

Academic Recognition of Credits

Type
RAC

ECTS
6

Undergraduate Thesis Project

Type
TFG

ECTS
9

ECTS – European Credit Transfer System / OB – Obligatorio / FB – Formación básica / FBC – Formación Básica Común / FBR – Formación básica de rama / PE – Prácticas Externas / RAC – Reconocimiento de Créditos / TFG – Trabajo Fin de Grado