Universidad de los Andes - MUSI

A chance to learn about music from different historical periods, diverse origins and genres based on commented listening and readings on repertory of classical, popular, traditional, and ethnic music. To develop an "ear" that will help the student understand the interrelation between composer, interpreter, and listener, and to have better tools to perceive musical works and their relationship with the historical and cultural context.

The study of the history of rock, from the first expressions of this genre to current times. The aspects related to the different political, social, and economic frameworks that are part of the development of this musical phenomenon. How Rock developed. The United States of America: slavery, the industrial revolution, the youth revolution, communism. The decade of the sixties.

The evolution of black music and its influence during the decades of the seventies, eighties, and nineties. From the conceptualization of the symphonic and progressive genres of the seventies to the commercialization of intellectual music in the eighties and nineties. Development of electronic music and its influence on Rock.

This course teaches about the religious, profane, scholarly and popular musical repertory of Europe, from the organization of official religious music in the Middle Ages to the development of profane forms of singing and instrumental music at the end of the Renaissance, and their relationship with historical events and other forms of artistic expression of the times.

This course teaches about European musical repertory in the periods known as Baroque and Classical, emphasizing the relationship between authors and works in the context that determined the uses of musical production and consumption.

European music of the XIX century is marked by very strong and contrasting esthetic currents. Its representatives struggled to validate the current they joined and their confrontations where not without belligerency. The advent of criticism, subjectivity, the contrast between demand and the public’s taste with regard to works and creators marked a contradiction which affected musical production and the lives of artists. This course will study the musical repertoires of the nineteenth century from the viewpoint of their creators, esthetic thought and its relations with other expressions, especially with literature.

The systematic study of historical and traditional American music, is being studied by a large amount of specialists all around the continent. Many collections of music have been found and many traditional theories about influences, merges and mixes have been evaluated again. Colonial, republican and patriotic musical pieces are now contemporary. This perspective set our musical history as an ongoing musical present.

The history of orchestra music in the West raises a series of questions that can only be resolved via a broad approach that takes into account musical aspects such as the musical notation system, formal structures, procedures for composing, musical functionality, and the aesthetic and philosophical currents of each era, and many other aspects. This diversity of issues makes this course a rich and varied research project that presents the student community with an enriched vision of the evolution of a specific aspect of music throughout western history.

The main objective of this course is to examine various musical traditions in folk and "classical" music produced by different cultures of the world. The students will acquire basic knowledge of the material media used for musical production, and will understand the cultural context that frames that production in each case studied. It will also teach them to recognize instruments, interpreters, and musical genres belonging to the societies studied.

During the twentieth century, music evolved at a dizzying pace, and was marked by various aspects that caused definitive changes in the way we approach this form of artistic expression. Recording records and playing them on radio and television permitted the growth and massification of music as art. Jazz was one of the styles that benefited from this phenomenon and at the same time affected the development of other styles of music, both highbrow and popular. In this course we will analyze the evolution of this genre from its beginnings until the end of the century, listening to recordings by its best artists and reading about its growth and impact on civilization.

This course offers a survey of the most relevant proposals and languages in regard to the development of experimental and electrophonic music from the start of the XXth century to the first years of the XXIst. New forms of sound expression are produced as a response to the questions posed by creators against all the traditional components which constitute a musical act. From this perspective, all music should be subject to constant experimentation, proposing new codes and elements of appreciation and visualization of musical / extra-musical space-time and structure starting from what is known. Course contents present the principles developed from electrophonic and experimental music. These are applied both to specifically sound-based works as well as to a variety of forms of expression mainly in performing and visual arts which are included in the repertoire to be studied.

This course supplies basic information on the development of music. It gives the student the abilities required to identify fundamental elements of the musical language, with an emphasis on structural aspects of form and style examining the repertory of different eras and cultures.

Study and practical application in written and keyboard exercises, analysis of the harmonic-melodic dimension and its meaning within tonal language. Practicing choral-style four-voice harmonies, reaching distant modulations. The content will be studied through expositions and basic examples, complementary lectures, written work developing selected bass lines and melodies, harmonic dictations, progressions on the keyboard, and harmonic analysis of musical scores.

Main consonant triads. Second degree triads. Sixth degree triads. Broken cadence. Harmonic major mode. Subdominant minor. Second degree diminished. Most frequent seventh chords. Seventh chord on the second degree. Seventh chord over subtonic. Special consonant triads. Triads on the third degree. Triad on the natural seventh degree. The less-used dominant chords. Seventh degree in first inversion. Third degree (major mode), dominant with sixth. Dominant with ninth. Dominant with seventh and sixth added. Dominant with ninth and sixth. Seventh degree with seventh and fourth. Supplement: S9 Chord. SII9 Chord.

Logic of the functional system. Functioning of the Phrygian mode. Phrygian mode in the upper voice. Typical harmonization. Phrygian mode in bass. Typical harmonization. Other examples. Phrygian mode in cadence. Diatonic sequences. Melodic sequences. Harmonic sequences. Functional relationship in the motif. Sequences with triads. Key changes or transpositions. Chords with parallel sixths. Motifs with seventh and triad chords. Motifs with two seventh chords. Parallel chords. One-chord motifs, with a complete phrase. Other chords with the seventh without dominant function. Seventh chord over first degree. Seventh chord over third degree. Seventh chord over sub dominant. Seventh chord over fifth degree in minor mode. Seventh chord over sixth degree. Dominant of the dominant in cadence. Introduction. DD chord group. Role of the DD. Preparation. Resolution in D or through K6/4

Simple rhythms, first and second divisions of units of time and their variables. Offbeat, syncopation, and anacrusis. Synchronization. Intonation of melodies: one and two voices, with piano accompaniment, in three clefs, in all the keys, by steps and intervals over the triads from the main functions. Recognizing and writing once voice melodies. Simple intervals up to the 8th, tritone in harmonic and melodic modes. Major and minor keys: Intonation in ascending and descending scales naming the alterations and the stable and unstable degrees with resolution, construction and intonation of intervals, with tonal reference, melodic modes, tonic, sub dominant, and dominant triads with their inversions. Harmonic scales. Recognition and writing major, augmented, minor, and diminished triads in the root position, inversions, tonic, subdominant, and dominant triads in major and minor keys, in root position and inversions. Harmonic scales.

Simple rhythms, first and second divisions of units of time and their variables. Offbeat, syncopations, and anacrusis in these rhythmic variables. Compound triplet beats, first and second division of units of time.

Synchronization. Intonation of melodies: one and two voices, with piano accompaniment, in three keys, transposed into all the major and minor tones.

Knowledge and handling of the keyboard are basic requirements for training in music theory. The program, designed especially for theorists, chorus directors, and composers, includes technical development of the instrument, a study of repertory, and training in sight reading.

Since direct practice with a choir is what will most contribute to a student’s experience and his or her comprehensive training as a director, the entire training plan, regardless of the student’s level, revolves around this activity. Thus, Choir Practice 1 is the first level of this exercise in the Choir Direction curriculum.

Since direct practice with a choir is what will most contribute to a student’s experience and his or her comprehensive training as a director, the entire training plan, regardless of the student’s level, revolves around this activity. Thus, Choir Practice 2 is the second level of this exercise in the curriculum for Choir Direction.

Considering that direct practice with the Choir is what most contributes to students’ experience and their comprehensive training as directors, all the planning around their education, even independent of levels, revolves around this group. Thus, Choir Practice 3 corresponds to the third level for this exercise in the Syllabus of Choir Direction.

A line of complementary courses for students concentrating on Choir Direction, required as part of the training process. Practical activities with repertory specialized in wind instruments, strings, chamber music, Colombian music, and popular musical genres.

This is the main line for the option in instruments. The instrument training program is based on a systematic evaluation of both the technical and artistic quality of repertory. The professor assigns a repertory in line with the student’s level of skill and technical and musical knowledge. The repertory is then evaluated according to objective results obtained in a recital before a panel of judges.

A line of complementary courses for students with an instrument concentration. Practical activities with repertory specialized in wind instruments, strings, chamber music, Colombian music, and popular musical genres.

Through a gradual, technical, and interpretive development, the student will discover different musical styles in a flexible way, so that he or she can interpret the works of every period from the renaissance to current times, with a special emphasis on Latin American repertory.

This is the main line of the concentration to obtain a degree as an instrumental musician. The professional training program in an instrument is based on a systematic evaluation of both the technical and artistic quality of repertory. The program’s coherence is determined by a clear educational orientation and musical development. The professor assigns repertory in line with the student’s level of skill and technical and musical knowledge. The repertory is then evaluated according to objective results obtained in recitals before a panel of judges. It is a fundamental part of the academic training process for instrumentalists.

Managing a keyboard is a basic tool for a producer, since it breaks down any musical format at times for decision-making in order to visualize and work out esthetic criteria. The objective of this level of keyboard is to give the student technical and musical tools that familiarize him with a keyboard to be able to harmonize and know how to manage textures, rhythms, and musical styles.

Managing a keyboard is a basic tool for a producer, since it breaks down any musical format at times for decision-making in order to visualize and work out his or her aesthetic criteria. The objective of Keyboard 2 is to give the student technical and musical tools that familiarize him with a keyboard in order to harmonize and know how to manage textures, rhythms, and musical styles.

This course trains a producer to play melodies with accompaniment in seventh chords and create a bass line for his interpretations. The objectives of the Keyboard 3 are to give students technical and musical tools to be familiar enough with a keyboard to harmonize, transpose, and accompany melodies in different keys.

This course will perfect the student’s training so that he can interpret complete pieces in jazz repertory, including properly voiced seventh chords for accompaniment, and the creation of a bass line to give the student solvency.

Application of theory, Blues repertory, and jazz songs and standards. Different rhythms: swing, bossanova. Incorporation of harmony and more advanced rhythms: rhythm changes, bebop, Latin Jazz, and 6/8 rhythms.

Practical activities with repertory specialized in Medieval and Renaissance music, selected for specialized musical groupings, to provide better knowledge of early musical genres.

Through practical studies, this course examines the functioning of a MIDI station and audio digital, setting up a computer, a synthesizer, and the software necessary for specific musical applications.

Recording media. Magnetic tape, tape transportation mechanisms, analog recorders, magnetic heads, calibration for machines. Analog editing techniques. Noise reduction systems. Dolby A, B, C, S, SR, and dbx. Identification of the different elements involved in an audio recording. Microphones, the mixing console, and multitrack recorders. Main components of an audio console and a detailed description of the signal flow from inside it. Attenuators, filters, preamplifiers, and speakers. Cabling, the right connections, accessories. Measurement techniques.

This course will improve the use and function of the body in terms of posture and activities. We talk about use and function, sensory appreciation, primary control, inhibition, orders, and global and partial movement. The student will develop conscious self-control that will improve the quality of body use applied to movement, voice, and breathing. It will restore the reliability of sensory appreciation to be able to evaluate the results of a conscious control process. The Alexander Technique teaches that in the human being there is a "primary control" that control the body’s energy and actions through the head and spinal column. Thus it is effectively a control mechanism for posture and movement. Considering that contemporary sedentary life leads to a deterioration in postural energy, the Alexander Technique procures, through a conscious procedure of self-observation, inhibition, and orders, to recover primary control as the basis for body use.

The course includes elements of improvisation, use of scales, rhythmic and harmonic resources. Styles. Improvisation of scales, by chords and pentatonic scales.

Start the application of elements for coming closer to XX Century composition languages and techniques, combining theory and practice, considering basic structural forms: forms of Two Part Lied, Three Part Lied, Rondo and Theme with Variations, student must carry out and develop through individual musical creations, essential compositions during the semester, with the proper instrumentation. The final duration of each of the pieces is checked by the professor according to the formal creative process, development and dialog of materials within the specific musical proposal.

The University Choir was founded in 1961, and any student can have access to it through an entrance audition. As a university choir its goal is to strengthen the musical training of students who like singing. It is run according to a specific set of regulations.

The piano program provides piano training that complements the process. The work in scales, arpeggios, and progressions is indispensable for studying tonality. The progressions cover cadences and simple modulations and the use of all the degrees and modulations of distant intervals. The sonata form must be present during the entire process, given its importance in the development of tonal music. This program avoids the dilemmas of repertory believing that instructor criteria must be honest relative to the individual development of students and their program levels. The inclusion of free choice in the program permits Latin American contemporary and other types of repertory as long as they are originals for piano. The works must be presented at tempo and in the correct style.

This course teaches correct and fluid reading and intonation of melodies with the names of notes, studied and/or sight read, in different keys, in duet, in simple and compound rhythms, while another voice is singing or accompanied with an instrument (piano or guitar), while marking the rhythm. Name, explain, and interpret the notations used to write music. Explain clearly and concisely the theory related to the tonal system. Write dictations of melodies correctly and easily with one, two, and three voices with different rhythms, intervals, and chords. Synchronize tempo both alone and in a group. Use the La and the tonal systems as references for hearing the degrees in a scale, intervals, and chords, tonal functions, melodic structures.

Rhythmic development: non-traditional rhythmic structures, synchronization, stabilization, and control of the tempo. melodic reading and dictation: Intonation of melodies with one voice, two voices, with piano accompaniment in the keys of G, F on the fourth and third line, and C on the third, first, fourth, and second line, with intervals without tonal reference. Recognition and writing of melodies with one and two voices with the noted characteristics, intervals using an octave, series of intervals, non-tonal chords.

Modulation in the first degree with tonal proximity. Levels of tonal modulation. Modulation signs to first degrees tones with tonal proximity. Major and minor system in modulation. Chromatic and modulating sequences. The Neapolitan Cadence. Modulation to second degree tones with tonal proximity. Modulation to distant tones.

This course gives a more in-depth treatment to the elements of functional tonal theory, through written exercises, analysis of works, and study of specific procedures in their context, starting with the nineteenth century. Study of relevant harmonization techniques in the composition of the twentieth century.

The central purpose of this course is for the student to explore musical construction based on horizontality, in other words, the melody and the things related to melody for managing several voices, considering, of course, formal construction from a harmonic concept (Bach). The student will gather the knowledge and develop sufficient skills for melodic construction with two voices. The course will deal comprehensively with several aspects that come together in composition, although apparently they do not agree on the topic of the offbeat, such as ways to build meter, simple binary and ternary forms, logical bases for the consideration of harmonic ties and incidence of the same in the melodic management.

The central purpose of this course is for students to examine linear and melodic musical concepts, under the parameters for creation and for relationships between elements, so basic to music, and under the lens of tonality and form, in order to help the student properly structure and order his own musical thinking.

Development of thinking for musical construction based on melodies for the constructive management of three voices, through the composition of fugues, an imitative genre par excellence. The course will give comprehensive treatment to composition, applied to the goal of creating fugues with 3 voices. General characteristics of a fugue. The incidence of the harmony and the tonal projection in the structure. The themes, the subject, and the countersubject. Voices and entries. Dux and Comes, real answer, tonal answer. Guidelines for managing the three voices. Composition of themes with countersubjects in invertible counterpoint. The stretto, possibilities and alternatives. Composition of themes apt for stretto.

The course will give comprehensive treatment to composition, applied to the goal of creating fugues in 4 voices. Voices and entries. Dux and Comes, real answer, tonal answer. Guidelines for managing the four voices. Managing three voice sequences, cadence, and possible connections between sections. Analysis of simple fugues for 4 voices.

Form and genre. Tension and release in the elements that form a piece. The musical form as design and tonal structure of a composition. Phrase: harmonic structure, cadences. Melodic structure: subdivisions (semi-phrase or sub phrase). The motif, constructive element. Development and augmentation of the phrase. Chain, group, period. Motif-theme relations. Harmonic structure. Resources for joining phrases. Analysis method for brief groupings. Micro and macro analysis. Parts of a form: criteria for division. Compositions of 1, 2, 3 and more parts. Ternary forms. Compound forms. Binary forms. Continuous, local, simple, baroque, circular. Criteria for differentiation between binary and ternary forms. Variation (form and principle of compositions). Continuous variations (over a cantus firmus) and sectional variations (theme with variations).

Compound binary and ternary forms. "Operatic" and binary Arias. Overture and slow movements. Da capo aria. Variants on the internal structure in section As. The Rondo. Precedents, structure, tonal schemes. Simple classic rondo. Sonata form I. Precedents, baroque sonatas. Tonal schemes. The Exposition. Themes or groups? Types of bridges. Sonata form II. Development section. Materials, procedures, resources. The Recapitulation. Sonata form in works for piano, quartets, and symphonic works. Rondo-Sonata. Classical and romantic works. Baroque concerts: Concert for instrumental soloists and Concerto Grosso. Sectional and tonal treatment. Counterpoint resources. Classic concert: forms of the first and third movement. Movement. Other counterpoint instrumental forms. typical forms and others in the music of the twentieth century. Arch and wedge forms. Golden section.

Considering that direct practice with the Choir is what most contributes to students’ experience and their comprehensive training as directors, all the planning around their education, even independent of levels, revolves around this group. Thus, Choir Practice 4 corresponds to the third level for this exercise in the Syllabus of Choir Direction.

This course teaches the student general conducting techniques and in particular, their application to choir directing. The student will acquire basic knowledge of conducting, and practicing, planning, and organizing choral activity. The student will also develop the gestural skills that will help him or her perform as a conductor.

Main track of the major for obtaining a degree of Musician Choir Director. Analysis of repertoires and works, development of programs, application of rehearsal techniques, vocal technique, sight reading, direction of programs selected by levels, complexity of repertoires. Conceptual framework of choral and choral-instrumental musical creation. Taking advantage of resources and their limitations. Structuring of works.

A line of complementary courses for students with an instrument concentration. Practical activities with repertory specialized in wind instruments, strings, chamber music, Colombian music, and popular musical genres.

This is the main line of the concentration to obtain a degree as an instrumental musician. The professional training program in an instrument is based on a systematic evaluation of both the technical and artistic quality of repertory. The program’s coherence is determined by a clear educational orientation and musical development. The professor assigns repertory in line with the student’s level of skill and technical and musical knowledge. The repertory is then evaluated according to objective results obtained in recitals before a panel of judges. It is a fundamental part of the academic training process for instrumentalists.

This course studies composition languages and techniques of the twentieth century, in terms of both theory and practice, taking into account the basic structural forms corresponding to this workshop. Each concept will be put into practice and developed through individual musical creations, with 4 required works during the semester, as follows: Piece in a "Lied Bipartito" form (binary form) for voice and piano (keyboard instrument), Piece in a "Lied Tripartito" form for woodwinds and piano (keyboard instrument), One piece in a Rondo form for 3 woodwinds, One piece in the form of a Theme with Variations for 5 instruments, chosen freely (woodwind quintet, 4 instruments and a voice or piano, etc.)

This course continues the application of composition language and techniques to twentieth century compositions begun in Workshop I, in terms of both theory and practice, taking into account the basic structural forms corresponding to this workshop. Each concept will be put into practice and developed through individual musical creations, with 4 required works during the semester, as follows: One prelude for a keyboard instrument. One piece in movements in sonata form for violin and piano. One piece in the form of a minuet and a trio (scherzo and trio) for a string quartet. One Suite with 3 or 4 movements for dance (inspired by baroque forms) for a woodwind quintet.

These courses give the student knowledge and practice needed for the technical management of timbric combinations and balance necessary for composition and musical notations.

This is the main line of the concentration to obtain a degree as an composer-musician. It teaches the application of techniques for acoustic and/or electroacoustic media (depending on the student’s preference) to work with different forms. The conceptual framework for musical creation. The study and use of musical elements in musical compositions. Taking advantage of resources and their limitations. Structuring works. Choice of the musical system for the language.

The Musical Software course will help students develop certain basic abilities based on knowledge and handling of a MIDI station made up of a computer, a synthesizer, and the software necessary for using certain specific musical applications. One of the course’s objectives, then, is to introduce the student to the logic and functioning of a MIDI and Audio system that will allow him to face and solve problems that could come up in any type of workstation regardless of the configuration or the software used to make MIDI sequences or digital audio editing.

This course examines the different roles inside a live sound company. It gives knowledge about and practice handling the basic equipment used in sound systems for shows. Electrical feed sources. Signal lines. Elements for packaging racks, Pigtail Bags. Microphone bases. Dynamic processors. Mixing consoles and monitors. Temporal processors. Analysis equipment. Frequency dividers (Crossovers), Amplifiers. Speaker systems. Introduction to live mixing.

Introduction to the basic concepts of sound waves. Study of the basics of circuit theory and electric devices. Electronic components. Installation and interconnection of audio equipment to studio applications, live sound, and fixed installations. Units of measure, notation, and decibels. Sound waves. Circuits and electric devices. Electronic devices. Line power and ground systems. Interconnection. Cables, connectors, and wiring.

Tuning of comparison skills in frequencies used in acoustic instruments, in random voices and noises. Different frequencies discrimination. Level changes in tones, in speech and music by estimating the limits in frequency bands in both music and voice. Irregularities in the frequency answer and its effect in music and speech by judging the sound quality in simple and complex sounds, detecting the distortion (what it is and how it sounds) The effects of the reverberation in speech and music. Noise-signal relation. Voice coloration (how it sounds and what causes it).

Sound tests on live shows. Mixes during the show. Acoustic considerations. Delay systems. Multiple systems, Arena Fills, Center Fills, Balcony Fills.

Utilization of different elements taking part on audio recordings. Microphones, console, multi-track. Effects processors. Equalizers. Detailed description of the positioning of the microphones. Stereo-recording techniques, recording practices in concerts.

Different types of equipment used in the sound industry. Develop the capability to operation and design systems and solutions for live sound and recording. Research on practical applications of equipment based on its design. Introduction to Audio Systems. Microphones. Speakers. Amplifiers. Signal processors. Consoles. Application design.

The course on Music Software introduces the student within the handling of a MIDI station made by a computer a synthesizer and software necessary to conduct certain music functions. Furthermore, it introduces the student to the functioning and the logic of a MIDI and Audio system that will enable him/her to solve any problem that may arise in any work station, no matter what configuration or software is used to conduct MIDI sequences or digital audio editions.

The subject Music analysis is a course where the students are taught the main techniques of analysis applicable to different genres of western tonal, modal and atonal music. These techniques include analysis on audio and written materials (by consulting the scores) and they go over several music styles from medieval to 20th century music.

This subject corresponds to the second level of Musical Analysis in the Musical Theory syllabus. The course encompasses aspects such as: Study and practice of research techniques. Study of musical analytic techniques. Application of techniques to different repertoires. Preparation of documents and essays. Study and analysis of specialized bibliography.

Main track of the major for obtaining a degree of Musician Choir Director. Analysis of repertoires and works, development of programs, application of rehearsal techniques, vocal technique, sight reading, direction of programs selected by levels, complexity of repertoires. Conceptual framework of choral and choral-instrumental musical creation. Taking advantage of resources and their limitations. Structuring of works.

This is a line of complementary courses for the students that emphasizes on instruments. Practical activity on the repertoires specialized on wind and cord instruments, chamber music formats, Colombian music, as well as different genres of popular music.

This is the main line to obtain the instrument musician degree. The professional training program in the selected instrument is based on a systematic assessment of artistic and repertoire-related quality. The coherence of the program will be determined by a clear pedagogical character towards the musical development. The professor appoints progressive repertoires depending on the level of difficulty, technical and musical knowledge of the students, who are assessed by the results given by the jury on half-yearly auditions. This is a key element on the process of academic training of the instrument players.

This is the final requisite to obtain the instrument musician degree. The program approved by the Department, must include representative samples of the main written repertoires for the instrument.

This course provides the student with the knowledge and the practice in the technical handling of the timbric combinations and balance necessary in the composing and writing of music

This course provides the student with the knowledge and the practice in the technical handling of the timbric combinations and balance necessary in the composing and writing of music.

This is the main line to obtain the composer degree. Application of techniques of acoustic and/or electro acoustic means (as per the selection of the student) to different-format pieces. Conceptual framework on music creation. Studying and handling of the music elements in the composing of music. Utilization of the resources and their limitations. Work structuring. Selection of the music system depending on the language.

In this course, the student will conduct at least 2 projects on compositions in genres complementary to each sub-area, in this case students of composition (Acoustic-instrumental) 1-4, the complementary genre is electro acoustic and therefore, the projects, exercises and topics to be dealt with must me focused from and towards the problem of electro acoustic composition. Likewise, we will apply elements of approach to languages and composing techniques of the XX century in a practical manner, aiming to conducting the concepts on a creative and personalized fashion, open to proposals given by the student but, with strict technical and composition related patterns bearing in mind the electro acoustic mean. In this course we also enter into a dialectic process through the analysis, discussion and confrontation with the student and his/her thought, thus widening the perspectives of aesthetic understanding. For such reason, we must raise the awareness on the aesthetic techniques and thoughts related to the creative processes on electro acoustic composing. We include an electro acoustic repertoire from XX and XXI centuries.

Final requisite to obtain the corresponding title, the student prepares the final work that must be approved by the Department and evaluated by a jury.

Multitrack recording. Recordings of rhythmic bases (bass, piano, guitar and drums) Overdub recordings. Effect dynamic and temporary processors, practical uses of the equalizers. Recordings in complex sessions including rhythmic bases, solo instruments, choirs, voice, leader final mixes and mastering.

Binary system. Binary coding. Fourier Theorem. Nyquist theorem. Aliasing, quantization, dither. PCM, digital recording systems. Reproduction systems, modulation circuits, A/D and D/A conversion. Mistake finding and amending. Magnetic recording. DAT, CD, optical systems, DSP. Rotative-head systems: U-Matic, VHS, DAT. Fixed-head systems: DASH and PD. Autonomous recording systems in hard drives: Darwin, Yamaha, Roland, Vestax, Akai, Fostex. Computer recording-systems: Pro Tools.

Multitrack recording techniques. Complex recordings on different types of music genres. Recording and audio edition in hard drives using Pro Tools. Mastering with the use of specialized software.

Skills in the production of efficient master tapes. General aspects on the technology of the recording studios and its procedures. Business-related aspects from the budget to advertising. Creative aspects from the development of the concept to the final mix. The roles and responsibilities of the music producer and the engineer from the conception of the idea to the final product. The creative aspects, including the analysis of type songs in different music genres as well as the planning of master pieces.

This course focuses on the process of production of different genres of music, as well as in the student´s capacity to take on, in a successful manner its different processes (preproduction, recording, mixing, and introduction to mastering). The advances on the technologies related to the production of music, and its access by the musicians forces the producer to have a better preparation in terms of technical digital software systems as fully use them, and further improve his/her daily work.

The subject Graduation Project corresponds to the course where the students pursuing studies on the Audio Production Pensum will make their thesis.

The study of the popular harmony and its contextualization within the music processes is a useful tool that must be studied outside the classical realm. In the course Popular Harmony 1, we will analyze the general parameters of the popular production by analyzing its harmony, instruments and melodies, and by attempting to make the student get acquainted with them and use them on his/her works of music production.

The study of the popular harmony and its contextualization within the music processes is a useful tool that must be studied outside the classical realm. In the course we will analyze the general elements of popular music by analyzing its harmony, rhythm instrumentation and melody so that the student gets acquainted with them and uses them on his/her works of music production. In the first course we will work with basic styles as blues, country and son, among other. In the course Harmony 2, we will revise the styles that require a better harmonic and melodic comprehension as R&B, jazz, and Bolero among other, and this is done with the first concepts of improvisation.

In this course of acoustic we will present the fundamental knowledge in acoustic music, acoustic in outdoors and indoors. The class provides a vision on the emission, propagation and perception of sound. During the course we will develop topics as psycho-acoustic, acoustic of the musical instruments, outdoor sound, conditioning and indoor soundproofing.

The subject of Analysis has been chosen as the focal point of the program. This subject will cover aspects such as: Study and practice of research techniques. Study of analytical musical techniques. Application of techniques on different repertoires. Writing documents and essays. Study and analysis of specialized bibliographies.

MUSI - Music

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