Intro

Course Overview

Methodology

Global learning outcomes

· Understanding and exchanging information in relation to the evolution of music editing and performance traditions
· Building upon and commenting factual knowledge related to genres and composers from the 1850s up to today
· Carrying out an applied project and justifying artistic decisions around the basic techniques of orchestration

Scope and Sequence

Time Thematic Unit Communicative Learning Outcomes Language repertoire
Frame

10 History and evolution of editing · Understanding and composing texts related to historical Grammar:
hours and technical features of music editing
· Review: First, second and third conditionals
· Exchanging general and specific information related to
relevant issues from the history of editing and performance · Mixed conditionals
traditions that have been established and are maintained.
Vocabulary:

· Essential discourse markers used in academic texts (e.g. Firstly,

furthermore, as well as, notwithstanding, although, etc.)

10 Elements and techniques for editing (transcription, · Assimilating and discussing current and past elements Grammar:
hours note variants, error correction, editorial and techniques for editing and their impact on musical
methodology, critical commentary) practices · Review: Modal verbs of probability
· Following and participating in exchanges related to
editorial methodology · Modal verbs of probability in the past
· Understanding and proposing courses of actions and
predictions of errors in editing and their corrections Vocabulary:

· Language for expository texts (e.g. Let me begin with, I would like to
show…, What I’m trying to say…, Let me end by saying..)

10 Genre and Composers I (Romanticism to · Expanding and elaborating statements related to Grammar:
hours Neoclassicism) academic or professional contexts connected to genres and
composers of the romantic and neoclassical periods · Relative clauses (e.g., who, which, what, when, where, whose)

Vocabulary:

· Discourse markers for addition (e.g., in fact, indeed, additionally, in

other words, etc.)
· Discourse markers to express opinion, agree and disagree (e.g., To
 my mind, I beg to differ, Unlike,...)

10 Genres and Composers II (Atonal music to · Integrating and reporting information asserted or Grammar:
hours electronic music) published by others within the context of new and
innovative ways of making music · Third Conditional
· Exchanging and discussing viewpoints related to the · Reported speech, thoughts and questions in different tenses (e.g. She
consumption and production of atonal and electronic music claimed she had run her business for 5 years; he believes he is not
aware of that)

Vocabulary:

· Reporting verbs (e.g., believe, say, claim, etc.)

10 Basic techniques and principles of orchestration I Classroom Project (Essay/Presentation) I Structures covered in course
hours (strings and woodwinds)

10 Basic techniques and principles of orchestration II Classroom Project (Essay/Presentation) II Structures covered in course
hours (brass and percussion)

Assessment

Coursework - 40% Lecture - 20% Final Project - 40%

Inside and outside tasks A 10-minute lecture on a chosen topic related to the history of music An integrated classroom project connected to one or several
course units