Universitat Internacional de Catalunya
Applied Music
Teaching staff
Objectives
The main general objectives pursued are as follows:
- To raise awareness of the importance of musical treatment as an expressive resource par excellence. To reflect on the idea that music, whatever its form and duration, when used properly, is a communicative tool with unlimited power to influence the spectator in a very unconscious way, appealing to his or her most natural codes as a human being. To promote musical language as a narrative and expressive resource to transmit ideas and emotions to the spectator.
- To sensitise the pupil to an awareness of sound and to introduce him to musical cultural codes so that he can master and implement them.
- To provoke in the student an attitude of criticism, respect and professionalism in the use of music in the audiovisual product. To become aware of the social responsibility involved in addressing the message to a collective and, therefore, to aspire to complete, coherent and meaningful creations or, failing that, to be able to identify a creative deficiency and seek expert advice if there is a lack of professional criteria.
- Appreciate the value of knowing how to devise, design and carry out the musical setting of the soundtrack of an audiovisual project in accordance with the expressive and aesthetic purpose of the message and the script.
At the same time, the general objectives of the subject are specified in a series of more specific objectives, related not only to the theoretical reflection of the musical fact in the audiovisual discourse, but, above all and mainly, with the praxis of the discipline as a language of communication and artistic expression:
- Knowing and identifying the sound and musical needs of cinematographic and television fiction in each of the phases of audiovisual creation.
- Apply the most creative post-production criteria and narrative techniques to achieve a sound-music mix (Creative Sound Mixing) that enhances the artistic potential of the story and the script from the initial idea (score) to its final finish on the screen.
- Fluently write scales, scripts and texts that creatively integrate the elements of the soundtrack of an audiovisual fiction, resulting from the editing of the different sound tracks, be they dialogues, sounds and music, from the correct oral and written use of one's own language.
Competences/Learning outcomes of the degree programme
- 01 - The ability to adapt to varying circumstances
- 02 - The ability to understand, accept criticism and correct errors
- 03 - The ability to administer and manage human and technical resources
- 04 - The ability to work in a team and autonomously
- 05 - The ability to organise time and workspace
- 06 - The ability to develop academic rigour, responsibility, ethics and professionalism
- 07 - The ability to apply the deontology and respect for the audiovisual sector
- 08 - The ability of critical analysis, synthesis, concretion and abstraction
- 09 - The ability to objectify, quantify and interpret (data, statistics, empirical evidence )
- 10 - The ability to confront difficulties and resolve problems
- 11 - The ability to generate debate and reflection
- 12 - The ability to meet deadlines, develop the ability to be punctual and respect for human, technical and material resources
- 13 - The ability to create spoken and written communication
- 14 - Knowledge and mastery of rhetoric and oratory to communicate own ideas
- 16 - The ability to manage, analysis and reflect on content
- 18 - The capacity and development of general culture and interest in social events
- 19 - The ability of informative documentation
- 24 - The ability to plan and organize both short term and long term projects
- 25 - The ability to maximize creative development
- 26 - The ability to develop a sense of taste and perfection in the aesthetics and finalization of projects
- 32 - The ability to confront audiovisual and film projects in all phases (pre-production, shooting, post-production, distribution)
- 33 - The ability to create and direct.
- 34 - The ability to know and respect the different roles of the artistic and technical teams
- 40 - The ability to defend and respect authorship and intellectual property
- 41 - The ability to know how the distinct elemental agencies of the audio visual sector function
- 42 - The ability to distinguish, analyze and dominate the distinct genres and formats of television, film and radio
- 44 - The ability to adapt to new audiovisual formats
- 45 - The ability to know and dominate the techniques of audiovisual narrative.
- 48 - Knowledge and mastery of the techniques of filming, directing, producing and editing
- 50 - The ability to adapt, understand and apply the expressive possibilities of new technologies and future changes
- 53 - Lingustic ability in Catalan, Spanish and English
- 54 - The ability to skillfully manage the literature, terminology and linguistic structures of the English language related to the field of communication.
Learning outcomes of the subject
Students, after completing the course, will be able to demonstrate the following learning outcomes:
They will be able to work naturally in a professional radio studio. They will know and master the main cultural codes associated with different musical styles.
They will be fluent in video and audio editing software. Acquire the basic technical skills necessary to work independently in the recording and sound editing processes involved in the audiovisual creation of fiction and non-fiction projects.
They will be able to handle audiovisual language. They will be able to use the resources of sound expression within the same.
Use with logic and judgement the creative possibilities of sound as a narrative element. They will have developed greater creativity in audiovisual expression thanks to the understanding and mastery of sound and musical language.
Understand the importance of sound quality in audiovisual discourse. They will acquire awareness of the world of sound in the current cultural context and will be able to respond to the expressive needs demanded by the adaptation of messages to different audiences.
Teaching and learning activities
In person
| TRAINING ACTIVITY | ECTS CREDITS |
| Focused Praxis. Handing in occasional exercises to learn theory through practice. | 0.2 |
| Seminar. This activity will consist of taking an in-depth look at specific up-to-date topics in a monographic manner-in some cases these topics will have been debated socially-, via active work in small groups. | 0.4 |
| Lab. Working groups that combine theory and practice. The aim of these is not to undertake already known techniques, but instead to make progress that is both theoretical and technical. These Lab sessions will culminate in the creation of a professional or semi-professional product. | 0.4 |
| Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students. | 1.8 |
Bibliography and resources
The following titles are some of the main reference works that the student should consult in order to assimilate all the contents of the subject properly.
The first three are compulsory:
JULLIER, L. (2007). El Sonido en el Cine. Barcelona: Paidós;
ADORNO, T. W. (2003). El Cine y la Música. Madrid: Fundamentos;
STRAVINSKY, I. (2006). Poética musical. Barcelona: El Acantilado;
ADORNO, T. W. (1969). Il Fido Maestro Sustituto. Studi sulla comunicazione della musica. Torino: Einaudi;
BAREMBOIM, D. & SAID, E. (2002). Paralelismos y Paradojas. Reflexiones sobre música y sociedad. Barcelona: Debate;
BOULEZ, P. (2003) La escritura del gesto. Barcelona: Gedisa; CHION, M. (1999). La Audiovision. Barcelona: Paidós;
DELILLO, D. (2005). Contrapunto; tres películas, un libro, y una vieja fotografía. Barcelona: Seix Barral;
STORR, A. (2008). La música y la mente. Barcelona: Paidós; Thiebaut, I. (2012).
Teresa Fraile Prieto: Música de cine en España. Señas de identidad en la banda sonora contemporánea. Badajoz: Diputación de Badajoz, 2010. 367 pp. ISBN: 978-84-7796-189-5. Trans. Revista Transcultural de Música, (16), pp. 1-6;
Prieto, T. F. (2010). La música en el cine español hoy. Nuevos protagonistas y sistemas de producción. Trípodos. Facultat de Comunicació Blanquerna., (26), pp. 67-80;
Radigales, J., Pujadas, M. P., & Polo, M. (2008). La música en el cine y La estética de la música. Barcelona, Editorial UOC; Barrio, M. G. (2003). Música, narración y medios audiovisuales (p. 221). Ediciones del Laberinto. Disponible en: http://www.researchgate.net/profile/Manuel_Gertrudix/publication/259742141_Msica_narracion_y_medios_audiovisuales/links/0f31752d87be687628000000.pdf.