1000
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.
Credits
3
Instructor
Huertas Nieto Alvaro
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.
Credits
3
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.
Credits
3
Instructor
Carrero Sanchez Sandro
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.
Credits
3
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.
Credits
3
Instructor
Garcia Marcela
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.
Credits
3
Instructor
Rodriguez Melo Martha
Credits
3
Instructor
Rodriguez Melo Martha
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.
Credits
3
Instructor
Pulido Hurtado Luis
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.
Credits
3
Instructor
Garcia Moncada Jorge
Credits
3
Instructor
Gamboa Hoyos Carolina
Credits
3
Instructor
Lozano Mancera Santiago
Credits
3
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.
Credits
3
Credits
3
Distribution
-
Instructor
Camargo Forero Camilo
Credits
3
Distribution
-
Credits
3
Distribution
-
Credits
3
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.
Credits
3
Distribution
-
Instructor
Giraldo Angel Camilo
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.
Credits
3
Distribution
-
Instructor
Baracaldo Ramirez Omar
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.
Credits
3
Distribution
-
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
Credits
3
Distribution
-
Instructor
Garcia Marcela
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.
Credits
2
Distribution
-
Instructor
Sanchez Bernal Catalina
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.
Credits
2
Distribution
-
Instructor
Lozano Mancera Santiago
Synchronization. Intonation of melodies: one and two voices, with piano accompaniment, in three keys, transposed into all the major and minor tones.
Credits
2
Distribution
-
Instructor
Baracaldo Ramirez Omar
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.
Credits
3
Distribution
-
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.
Credits
3
Distribution
-
Instructor
Sampeña De La Tejera Maria Barbara
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.
Credits
3
Distribution
-
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.
Credits
2
Distribution
-
Instructor
Cubides Greiffestein Manuel
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.
Credits
2
Distribution
-
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.
Credits
2
Distribution
-
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.
Credits
0
Distribution
-
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.
Credits
3
Distribution
-
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.
Credits
3
Distribution
-
Credits
3
Distribution
-
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.
Credits
3
Distribution
-
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.
Credits
5
Distribution
-
Instructor
Pulido Hurtado Luis
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.
Credits
5
Distribution
-
Instructor
Carbonell Reyes Antonio
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.
Credits
5
Distribution
-
Instructor
Rocca Lynn Carlos
Credits
4
Distribution
-
Credits
4
Distribution
-
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.
Credits
2
Distribution
-
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.
Credits
2
Distribution
-
Instructor
Acevedo Oscar
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.
Credits
2
Distribution
-
Instructor
Caro Gomez Aurelio
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.
Credits
2
Distribution
-
Instructor
Acevedo Oscar
Credits
2
Distribution
-
Credits
2
Distribution
-
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.
Credits
3
Distribution
-
Practical activities with repertory specialized in Medieval and Renaissance music, selected for specialized musical groupings, to provide better knowledge of early musical genres.
Credits
3
Distribution
-
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.
Credits
3
Distribution
-
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.
Credits
3
Distribution
-
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.
Credits
3
Distribution
-
Credits
3
Distribution
-
Credits
3
Distribution
-
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.
Credits
1
Distribution
-
Instructor
Rosemberg Robert
The course includes elements of improvisation, use of scales, rhythmic and harmonic resources. Styles. Improvisation of scales, by chords and pentatonic scales.
Credits
3
Distribution
-
Credits
1
Distribution
-
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.
Credits
3
Distribution
-
Credits
3
Distribution
-
Instructor
Gamboa Hoyos Carolina
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.
Credits
2
Distribution
-
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.
Credits
2
Distribution
-
Instructor
Gamboa Hoyos Carolina
Credits
3
Credits
3
Distribution
-
Credits
0.5
Distribution
-
Credits
0
Distribution
-
Credits
0
Distribution
-
Credits
1
Distribution
-
Credits
1
Distribution
-
Credits
4
Distribution
-
Credits
4
Distribution
-
Credits
4
Distribution
-