Class Musical Analysis and Review

  • Presentation


    The course favors the development of skills regarding the acquisition of qualified musical understanding, aesthetic, selective, dynamic, comprehensive, rigorous, balanced and constantly evolving listening. The aim is to broaden the student's cultural or (ethno)musicological horizon by exercising interdisciplinarity construction of a common lexicon for musical theory and musical production in a studio context, that is, understanding musical discourse from a cultural, theoretical and technical perspective, master the codes that allow music to communicate through symbolic or notational systems. In the context of urban popular music, the student will be exposed to a whole set of references in order to raise awareness and develop their critical thinking, understand and interpret musical discourse in real time, learn about repertoires through listening to phonographic records, understand the world performance and record marketing.

  • Code


  • Syllabus


    1. Introduction to the musicology of record music production

    2. General perspectives on the history of musical thought

    3. Music and culture

    4. Sociology of music: musical reception

    5. Semiotic perspectives of music in music production and audiovisual communication

    6. General notions of music theory applied in a studio context

    7. Applied musical analysis and critical listening of record projects in the context of urban popular music

    8. Analysis techniques in music production: structure/form, instrumentation, arrangement and performance

    9. Mixing and mastering: the art and science

  • Objectives


    Students should consolidate the objectives of the subject which includes the acquisition of knowledge in the fields of music as a cultural manifestation, recognize the sociological and semiotic phenomena that explain musical reception through critical reflections and written reviews, demonstrate generic knowledge in music theory, auditory recognition of musical expression parameters (instrumentation, structure / shape, measure), as well as parameters associated with musical production (dynamics, panning, spatialization effects), autonomy in auditory analysis and writing of excerpts of musical structures and being able to apply theoretical knowledge in the practice of music production.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    The course is organized according to theoretical oral presentation sessions to consolidate theoretical-practical knowledge around music history and aesthetics, music production theory, and vaious production and mixing techniques. These sessions are supported through audiovisual projection equipment and sound reproduction systems. Bibliographic materials to support the study and complementary information associated with the operation of classes are made available through the e-Learning platform Moodle. 

  • References


    ADORNO, T. W. (1941). On Popular Music. New York: Institute of Social Research.

    GROUT, Donald, História da Música Ocidental, Lisboa, Gradiva, 1999.

    IZHAKI. Roey (2008), Mixing Audio: concepts, practices and tools, Burlington, MA, Focal Press-Elsevier;

    MOYLAN, William (2007), Understanding and Crafting the Mix: the art of recording, Burlington, Focal Press;

    TAGG, P. (2013). Music’s Meanings: A Modern Musicology for Non-Musos. New York: Mass
    Media Music Scholars Press.

    THOMAS, Simon Zagorski (2014), The Musicology of Record Production, Cambridge, Cambridge University Press;

    ZAK, Albin (2011), The Poetics of Rock: Cutting Tracks, Making Records, Los Angeles, University of California Press;



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