1000

MUSI-1108B Música. Tradición y Cultura

Credits

3

Distribution

-

MUSI-1000 Habilidades Musicales 1

Credits

3

Distribution

-

MUSI-1001 Habilidades Musicales 2

Credits

3

Distribution

-

MUSI-1002 Práctica Vocal Grupal 1

Credits

1

Distribution

-

MUSI-1004 Big Band Uniandes

Credits

3

Distribution

-

MUSI-1005 Instrumento Nivelatorio 1

Credits

3

Distribution

-

MUSI-1006 Instrumento Nivelatorio Intensivo

Credits

6

Distribution

-

MUSI-1007 Canto Nivelatorio 1

Credits

3

Distribution

-

MUSI-1011 Ensamble de Rock

Credits

3

Distribution

-

- MUSI-1012

MUSI-1013 Ensamble de Computadores

Credits

2

Distribution

-

MUSI-1015 El Maravilloso Mundo de las Máquinas: la Creación Electrónica Desde la Intersección entre Género

Credits

2

Distribution

-

MUSI-1016 Inmersión al Ritmo: Estructuras, Secuencias y Polirritmias

Credits

2

Distribution

-

MUSI-1017 Nuevas Músicas Colombianas

Credits

3

Distribution

-

MUSI-1020 Introducción a la Pedagogía Musical

Credits

2

Distribution

-

MUSI-1021 Audición,Teoría y AnáLisis Musical Nivelatorio

Credits

3

Distribution

-

MUSI-1022 Introducción a la Grabación y Producción

Credits

2

Distribution

-

MUSI-1022 Introducción a la Grabación y Producción

Credits

2

Distribution

-

MUSI-1022 Introducción a la Grabación y Producción

Credits

2

Distribution

-

MUSI-1025 Introducción a la Lutería o Corporalidad

Credits

2

Distribution

-

MUSI-1025 Introducción a la Lutería o Corporalidad

Credits

2

Distribution

-

MUSI-1027 Ensamble Vocal Uniandes

Credits

3

Distribution

-

MUSI-1028 Ensamble de Música Contemporánea

Credits

3

Distribution

-

MUSI-1029 Ensamble de Taller Lírico

Credits

3

Distribution

-

MUSI-1030 Ensamble de Música de Cámara (Instrumental/Vocal)

Credits

3

Distribution

-

MUSI-1031 Panorama, Creación y Pensamiento Musical

Credits

3

Distribution

-

MUSI-1100A Music Appreciation

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

Distribution

-

Instructor

Huertas Nieto Alvaro

MUSI-1101B Appreciation of Blues and Rock I

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

Distribution

-

MUSI-1102B Appreciation of Blues and Rock II

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

Distribution

-

Instructor

Carrero Sanchez Sandro

MUSI-1104B Music from the Middle Ages and the Renaissance

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

Distribution

-

MUSI-1105B Music from the Seventeenth and Eighteenth Centuries

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

Distribution

-

Instructor

Garcia Marcela

MUSI-1106B XIX Century Music

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

Distribution

-

Instructor

Rodriguez Melo Martha

MUSI-1107B Unpopular Music of the Twentieth Century

Credits

3

Distribution

-

Instructor

Rodriguez Melo Martha

MUSI-1114A Orchestra Music in the West

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

Distribution

-

Instructor

Pulido Hurtado Luis

MUSI-1115A Musical Cultures of the World

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

Distribution

-

Instructor

Garcia Moncada Jorge

MUSI-1116B Musica y Cinematografia

Credits

3

Distribution

-

MUSI-1120A MUSI-1120A

Distribution

-

MUSI-1121A Música y Guerra en Occidente

Credits

3

Distribution

-

Instructor

Gamboa Hoyos Carolina

MUSI-1122B Banda Sonora

Credits

3

Distribution

-

Instructor

Lozano Mancera Santiago

MUSI-1125A

Credits

3

Distribution

-

MUSI-1125B Experimental Music

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

Distribution

-

MUSI-1126 Negocios de la Música

Credits

3

Distribution

-

MUSI-1129 Analisis de Producciones Discograficas

Credits

3

Distribution

-

MUSI-1130 Taller de Canciones Comerciales

Credits

3

Distribution

-

MUSI-1130B MUSI 1130B

Credits

3

Distribution

-

- MUSI-1135

- MUSI-1135B

- MUSI-1136

- MUSI-1138B

- MUSI-1139

- MUSI-1140

- MUSI-1141

- MUSI-1142

- MUSI-1143

MUSI-1144 Creación y Gestión de Proyectos Musicales

Credits

2

Distribution

-

- MUSI-1147

- MUSI-1148

- MUSI-1149

MUSI-1202 Armonia 1

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

-

MUSI-1203 Armonia 2

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

-

MUSI-1204 Armonia 3

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

-

MUSI-1205 Entrenamiento Auditivo 1

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

-

MUSI-1206 Entrenamiento Auditivo 2

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

-

MUSI-1207 Entrenamiento Auditivo 3

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

-

MUSI-1208 Piano Complementario 1

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

-

MUSI-1209 Piano Complementario 2

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

-

MUSI-1210 Piano Complementario 3

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

-

MUSI-1300 Practica Coral I

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

MUSI-1301 Practica Coral II

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

-

MUSI-1302 Practica Coral III

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

-

MUSI-1303 Coro de Cámara

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

-

MUSI-1304 Audición,Teoría y AnáLisis Musical 1

Credits

3

Distribution

-

MUSI-1305 Audición,Teoría y AnáLisis Musical 2

Credits

3

Distribution

-

MUSI-1306 PráCticas Auditivas y Lectura Musical 1

Credits

3

Distribution

-

MUSI-1307 PráCticas Auditivas y Lectura Musical 2

Credits

3

Distribution

-

MUSI-1310 Canto 1

Credits

4

Distribution

-

MUSI-1311 Canto 2

Credits

4

Distribution

-

MUSI-1312 Canto 3

Credits

4

Distribution

-

MUSI-1319 Taller de Idioma 2

Credits

2

Distribution

-

MUSI-1319 Taller de Idioma 2

Credits

2

Distribution

-

MUSI-1320 Técnicas Escénicas 1

Credits

2

Distribution

-

MUSI-1321 Técnicas Escénicas 2

Credits

2

Distribution

-

MUSI-1322 Instrumento Principal 1

Credits

4

Distribution

-

MUSI-1323 Instrumento Principal 2

Credits

4

Distribution

-

MUSI-1324 Instrumento Principal 3

Credits

4

Distribution

-

MUSI-1350 Herramientas de la Composición

Credits

4

Distribution

-

MUSI-1351 Herramientas de la Composición Acústica (Instrumental/Vocal)

Credits

4

Distribution

-

MUSI-1352 Herramientas de la Composición Electrónica

Credits

4

Distribution

-

MUSI-1371 Bases de Teclado. del ÁRea de Interpretación y Ensamble

Credits

3

Distribution

-

MUSI-1372 Midi Aplicado

Credits

2

Distribution

-

MUSI-1373 Audición Crítica

Credits

3

Distribution

-

MUSI-1374 Fundam de Audio y Grabación

Credits

3

Distribution

-

MUSI-1400 Instrumento Complementario I

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

-

MUSI-1401 Instrumento Complementario II

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

-

MUSI-1402 Instrumento Complementario III

Credits

3

Distribution

-

MUSI-1404 Conjunto 1

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

-

MUSI-1405 Instrumento I

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

MUSI-1406 Instrumento II

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

MUSI-1407 Instrumento III

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

MUSI-1415 Instrumento 1 - 15

Credits

4

Distribution

-

MUSI-1416 Instrumento 2 - 15

Credits

4

Distribution

-

MUSI-1417 Instrumento 3 - 15

Credits

4

Distribution

-

MUSI-1600 Teclado 1

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

-

MUSI-1601 Teclado 2

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

-

MUSI-1602 Teclado 3

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

-

MUSI-1603 Teclado 4

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

-

MUSI-1610 Software Musical 1

Credits

2

Distribution

-

MUSI-1611 Software Musical 2

Credits

2

Distribution

-

MUSI-1800 Ensamble de Jazz

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

-

MUSI-1802 Conjunto de Música Antigua

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

-

MUSI-1807 Taller Midi (Electiva-Opcion)

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

-

MUSI-1808 Tecnicas Grabacion 1 (Opcion)

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

-

MUSI-1809 Tecnicas de Grabacion 2 (Opcion)

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

-

MUSI-1811 Practica Profesional

Credits

3

Distribution

-

MUSI-1812 Conjunto de Musica Colombiana

Credits

3

Distribution

-

MUSI-1813 Tecnica Alexander 1

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

-

MUSI-1815 Taller de Improvisación (Jazz)

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

-

MUSI-1816 Tecnica Alexander 2

Credits

1

Distribution

-

MUSI-1817 Armonía del Jazz

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

-

MUSI-1818 Ensamble Vocal

Credits

3

Distribution

-

Instructor

Gamboa Hoyos Carolina

MUSI-1819 Coro Preparatorio

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

-

MUSI-1820 Coro Uniandes

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

-

MUSI-1821

Credits

3

Distribution

-

MUSI-1824 Ensamble de Música Caribe Colombiana

Credits

3

Distribution

-

MUSI-1826 Coro Sinfonico de los Andes

Credits

2

Distribution

-

MUSI-1827 Ensamble de Música del Pacífico

Credits

3

Distribution

-

MUSI-1830 Coro 1

Credits

0

Distribution

-

MUSI-1831 Coro 2

Credits

0

Distribution

-

MUSI-1901 Taller de Idioma 1

Credits

1

Distribution

-

MUSI-1902 MUSI-1902

Distribution

-

MUSI-1903 Literatura Vocal

Credits

1

Distribution

-

MUSI-1904 MUSI-1904

Distribution

-

MUSI-1910 Canto 1

Credits

4

Distribution

-

MUSI-1911 Canto 2

Credits

4

Distribution

-

MUSI-1912 Canto 3

Credits

4

Distribution

-

MUSI-1991 Electiva 1

Credits

3

Distribution

-

MUSI-1992 Electiva 2

Credits

3

Distribution

-

- MUSI-1993

- MUSI-1994

- MUSI-1995