ECTS credits ECTS credits: 3
ECTS Hours Rules/Memories Student's work ECTS: 51 Hours of tutorials: 3 Expository Class: 9 Interactive Classroom: 12 Total: 75
Use languages Spanish, Galician
Type: Ordinary subject Master’s Degree RD 1393/2007 - 822/2021
Departments: Applied Didactics
Areas: Didactics of Musical Expression
Center Faculty of Teacher Training
Call: First Semester
Teaching: With teaching
Enrolment: Enrollable | 1st year (Yes)
1.- To develop an active and conscious listening, including that of one’s own body.
2.- To become aware of the soundscapes in which we live and to know their evolution throughout history.
3.- To learn how to recognise the use of different sound materials throughout history in music pieces.
4.- To acquire pedagogical tools that make possible education in sound ecology.
1.- Soundscape. A new way to understand music. Origin and history.
2.- Silence and its presence in human experience.
3.- Sound walks.
4.- Necessary tools to go more deeply into listening.
5.- Acoustics ecology and its importance for health.
6.- Somatic Education.
Basic bibliography
Espinosa, S. (2006). Ecología acústica y educación. Bases para el diseño de un nuevo paisaje sonoro. Graó.
Johnson, D.H. (1995). Bone, Breath & Gesture. Practices of Embodiment. North Atlantic Books.
Schafer, R.M. (2013). El paisaje sonoro y la afinación del mundo. Intermedio.
Complementary bibliography
Buzzarté, M. y Bickley, T. (2012). Anthology of Essays on Deep Listening. Deep Listening Publications.
Cox, T. (2014). The Sound Book. The Science of the Sonic wonders of the World, W.W. Norton & Company.
Haskell, D.G. (2014). En un metro de bosque: un año observando la naturaleza. Turner
Hendy, D. (2013). Noise. A human history of sound and listening. Profile Books.
Krause, B. (2021). La gran orquesta animal: a la búsqueda de los orígenes de la música en los espacios salvajes del planeta. Kalandraka.
Maitland, S. (2010). Viaje al silencio. Alba.
Mathieu, W.A. (1991). The listening book. Discovering your own music. Shambhala Publications.:
Oliveros, P. (2019). Deep Listening. Una práctica para la composición sonora. Edictoràlia.
Schaeffer, P. (1996). Tratado de los objetos musicales. Alianza.
Schafer, R. M. (1998). Limpieza de oídos: Notas para un curso de música experimental. Ricordi Americana.
Schafer, R. M. (1998). El nuevo paisaje sonoro: Un manual para el maestro de música moderno. Ricordi Americana.
Students will find relevant information about music and nature in the Internet. Examples:
http://www.escoitar.org
http://www.eumus.edu.uy/ps/txt/werner.html
http://www.catpaisatge.net/dossiers/psonors/esp/bibliografia.php
http://www.artesonoro.net/artesonoroglobal/artesonorohistoria.html
http://www.uclm.es/cdce/sarmiento-clase/BiblioDisco/A2B2U3.html
Basic
1.- That students know how to apply the knowledge acquired and their problem solving capacity in new or less known surroundings in larger contexts (or multidiscipline) related to their field of study.
Specific
8.- That students develop the capacity to assess the educational richness of the natural environment and build resources to undertake activities.
9.- That students show positive attitudes and behaviour in relation to landscape and natural original elements.
Theoretical clases will develop the historical proposals about soundscape and other forms of music related to nature that exist nowdays as well as listening to sound proposals in this sense. Students will read previously, when necessary, the written materials part of the course. Sound walks will be undertaken with the aim of getting to know the educational possibilities and resources that are available to develop the sound aspects of the environment. Exercises from the Alexander Tecnique, Eutony and the Feldenkrais Method will be undertaken to improve the listening capacity and personal and environmental perception. Musical improvisation will be present through all the learning process.
Following the card of the subject in the Report of the Degree and the Guidelines for the development of safe face-to-face teaching in the USC, the assessment of the subject will take into account the following:
1.- Written papers and /or other productions (text comentary, experiences and listenings): 30%
2.- Tasks (presentation of a soundscape): 70%. This work will be shared with the other subjects of module 2.
Students with exemption from teaching will have to deliver the same tasks as the students who attend face-to-face teaching, take the theoretical-practical exam and a written exam on the contents worked on in the explanatory classes.
In cases of fraudulent perfomance of exercises or tests, the provisions of the Regulations for evaluating student academic performance and reviewing grades will apply.
The continuous formative assessment will be combined with the delivery of the final tasks electronically.
FACE-TO-FACE WORK (hours)
Face-to-face in big groups: 8
Interactive sessions: 8
Tutorship: 2
Face-to-face work (other tasks): 9
TOTAL hours of face-to-face: 27
PERSONAL WORK (hours)
Individual autonomous study: 11
Recomended readings and listenings: 11
Making of the soundscape: 16
Attendance to recomended activities: 10
TOTAL hours of personal work of the student: 48
This subject will allow students to become conscious of the soundscape, learning how to manage sound as an essential element in our relationship with other fields, understanding that sound is also heritage that must be preserved and lived with, being conscious of it. Soundscapes are not only found in nature, but we understand that privileged soundscapes are found in cities. A positive attitude towards the subject will be taken into account. Personal listening is basic for the whole process.
-Environmental responsibility:
o Avoid plastic lids or other external packaging unnecessary.
o Whenever possible, use staples instead of binding.
o Print on both sides in “ink saving” quality.
o Do not use blank pages as chapter dividers or parts.
o Avoid annexes that do not have direct reference to the developed themes.
-Gender perspective:
o It is recommended to use non-sexist language, both in the regular classroom work as well as academic work requested.
-Mandatory use of the RAI email account.
-Mandatory use of the institutional echnological tool: Virtual Campus, Microsoft Office 365, and others tools provided by the faculty and authorized as institutional tools by the university (Lifesize, etc).
-The mobile phone cannot be used, except when it is used as a work instrument following the instructions given by the teacher, with the students taking responsibility for the legal and academic consequences that may arise from improper use of the same.
-Keep in mind that the teaching-learning (classes /tutoring) is a private process, private being understood as process of communication and exchange between the teacher and the students enrolled in the subject.
-Mandatory compliance with the data protection regulations https://www.usc.gal/es/politica-privacidad-proteccion-datos.
Maria Isabel Romero Tabeayo
- Department
- Applied Didactics
- Area
- Didactics of Musical Expression
- Phone
- 982821057
- isabel.romero.tabeayo [at] usc.es
- Category
- Professor: LOSU (Organic Law Of University System) Associate University Professor
| Friday | |||
|---|---|---|---|
| 16:30-21:00 | Grupo /CLE_01 | Spanish | Classroom 30 |
| 01.15.2025 16:30-17:30 | Grupo /CLE_01 | Classroom 30 |
| 06.30.2025 10:00-11:00 | Grupo /CLE_01 | Classroom 30 |