LO1 Understand the different disciplinary approaches to European Studies, including the way in which the different disciplines interact and enrich each other, so that they can grasp the richness of disciplinary perspectives on Europe and reflect on the added-value of multidisciplinary knowledge to understand Europe.

LO5 Express themselves in at least one European language besides their mother tongue and English so that they can engage in European multilingual realities; distinguish the basic elements of the European musical language.

LO1 Understand the different disciplinary approaches to History of European Music. Understand the way in which the music interacts with the rest of the artistic manifestations.

LO7 Have analytical skills to conduct research under supervision, as well as present and report, clearly and comprehensively, both orally and in written form knowledge concerning questions of the History of European Music so that overall, students are able to formulate research questions, understand academic literature, collect and analyses data, critically reflect on research findings and weave this

Teaching will consist of a combination of formats i.e., lectures, musical auditions, analysis of musical, workshops, and responsive teaching.
Lectures will address the main theoretical contents for each of the topics and will include musical auditions as a significant part of the teaching materials. Superficial analyses of musical compositions, mainly based on auditions, will be provided.

Some sessions will be devoted to hands-on, topic-focused workshops in which the students will be able to navigate online resources related to contents of the course. Critical debates on selected texts – to be read beforehand – will also take place.

The last session (or two, depending on the number of students) of the course will be shaped according to the "flipped classroom" format. In it, students will present during 30 minutes on a topic of their choice, in groups of 3 or 4.

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The student must have a solid background in the history of Europe, as acquired during the first year of the Bachelor of Arts in European Studies, but no musical knowledge is required.

The evaluation will be distributed as follows:
a) Tests and exams (50%). The final exam will have three parts:
- A multiple-option questionnaire (20%)
- Auditions: the students will have to recognise and briefly comment on two musical auditions (40%)
- An essay on one topic, to be chosen between two (40%).
b) Activities and exercises (35%). This will include the evaluation of
- A critical essay on the programme and performance of a concert, which the students will have to attend. The students will be able to attend any 'art music' concert of their choice, to be agreed with the teacher in due course. Ideally, no pair of students will attend the same concert.
- The final presentation of the course, to be evaluated both individually (50%) and as a group (50%).
c) Class attendance and participation (15%)

Minimum requirements: To pass the course, the student will have to obtain a minimum grade of 50% in part a (test and exams).
Exam calls: As in the rest of the University, there are two calls per academic year: ordinary (January) and extraordinary (June–July). In case part a is not passed in the first call, the grades for part b and c will be kept in the second, if desired. If the student also wants to repeat part b in the second call, they will need to attend a different concert. Similarly, if desired, they will need to prepare another oral presentation (date to be agreed between students and lecturer in due course).

Burkholder, Peter; Grout, Daniel; Palisca, Claude V.: A History of Western Music. New York, W. W. Norton, 2014.
Frisch, Walter: Music in the Nineteenth Century. Western Music in Context. New York and London, W. W. Norton, 2013.
Frith, Simon; Straw, Will; Street, John (eds.): The Cambridge Companion to Pop and Rock. Cambridge and New York, Cambridge University Press, 2011.
Grout, Donald: A Short History of opera. Third Edition. New York, Columbia University Press, 1998.
Heartz, Daniel: Music in European Capitals: The Galant Style, 1720–1780. New York, W. W. Norton, 2003.
Hill, John Walter: Baroque Music. Music in Western Europe 1580–1750. New York, W. W. Norton, 2005.
Hilley, David: Western Plainchant. A Handbook. Oxford, Oxford University Press, 1995.
Lampl, Kenneth: Fil Music. The Basic. London, Routledge, 2023.
Perkins, Leeman L.: Music in the Age of Renaissance. New York, W. W. Norton, 1999.
Strunk, Oliver (ed.): Source Readings in Music History. New York and London, W. W. Norton, 1988.
Taruskin, Richard: The Oxford History of Western Music. New York, Oxford University Press, 2009.
Zaslaw, Neal (ed.): The Classical Era: From the 1740s to the End of the 18th Century. London, MacMillan, 1989.

Lecturer: Ana Llorens
email: allorens@ucm.es
Supervision hours: Mon–Tue, 11:30-13:30; Thu–Fri, 10:00–12:30
Office: 7th floor, office 16