This Postgraduate certificate will allow you to delve into all the history related to the Roman School of Palestine and the parody masses"

Researching on the historical principles of musical aesthetics, it can be found that the longest study on this subject is found in the essay "On the beautifully musical", written in 1854 by Eduard Hanslick. Therefore, it can be said that the analysis of music and its aesthetics has been present among the activities of human beings for centuries and that, throughout history, its methodology and uses have been changing.

When analyzing a composition and its aesthetics, for example, there are several issues to address, such as the elements that the piece to be studied has: rhythm, melody or texture among others, the form-generating procedure: repetition, contrast and development, and even the structural elements of the musical form. All these concepts must be known and mastered by the musicology professional. Nowadays, for cinema, as well as advertising and the media, the history of music, as well as its aesthetics and its compositions are fundamental. That is why professionals in this branch of musicology are in such high demand by private and public companies, as they are experts who require a high level of skills and abilities.

For this reason, TECH has created this 300-hour program in which it has unified the most relevant and useful contents of the subject in a 100% online syllabus. Throughout the program there will be an extensive review of all the relevant musical periods, with an analysis through practical and simulated cases of special utility. The multidisciplinary nature of both theory and practice, together with the ease of access to these, taking into account that only a device with an Internet connection is needed, makes the degree extremely convenient and flexible for those enrolled. Also, thanks to the Relearning method, learning is done in a gradual and progressive way, so it ends up being a comfortable and natural process.

Dominate elements of the musical language like the rhythm, melody, texture, harmony and pitch so your analysis can be as complete as possible”

This Postgraduate certificate in Musical Analysis and Aesthetics contains the most complete and up-to-date program on the market. The most important features include:

• The development of practical cases studies presented by experts in Musicology
• The graphic, schematic, and practical contents with which they are created, provide practical information on the disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Its special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

300 hours of specialization to become a reference in musical analysis and aesthetics”

The program’s teaching staff includes professionals from the sector who contribute their work experience to this educational program, as well as renowned specialists from leading societies and prestigious universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to learn in real situations.

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the academic year For this purpose, the students will be assisted by an innovative interactive video system created by renowned and experienced experts.

Do you love Music, its history and how it has changed over the centuries? Enroll now in this Postgraduate certificate and broaden your skills in this subject!"

Analyze the greatest exponents of the Franco-Flemish school: Dufay, Joaquín Des Prés, Orlando de Lasso and Ockghem and Ockeghem. Check out all its peculiarities!"

For this Postgraduate certificate, TECH has compiled the most important keys, as well as the most useful tools and skills for professional practice in the world of Music. Thanks to this, students will be able to develop their knowledge in relation to musical aesthetics, the evolution of this through the different eras and the way in which it is known and practiced today. All this within a 100% online syllabus of multidisciplinary content that students can access from any device with an Internet connection.

Examine one of the major historical transitions in Music and Art: the shift from Baroque Rationalism to the aesthetics of feeling"

Module 1. Musical Aesthetics

1.1. Musical Aesthetics

1.1.1. What is Musical Aesthetics?
1.1.2. The Hedonistic Aesthetics
1.1.3. The Spiritualist Aesthetics
1.1.4. Intellectualist Aesthetics

1.2. Musical Thought in the Ancient World

1.2.1. The Mathematical Concept of Music
1.2.2. From Homer to the Pythagoreans
1.2.3. The "Nomoi"
1.2.4. Plato, Aristotle. Aristoxenus and the Peripatetic School

1.3. Transition between the Ancient and Medieval World

1.3.1. First Centuries of the Medieval Period
1.3.2. Creation of the Liturgical Tropes, Sequences and Dramas
1.3.3. The Troubadours and the Minstrels
1.3.4. The Cantigas

1.4. The Middle Ages

1.4.1. From the Abstract to the Concrete;Musica Enchiriadis
1.4.2. Guido D'Arezzo and the Musical Pedagogy
1.4.3. The Birth of Polyphony and the New Problems of Musical Theory
1.4.4. Marchetto di Padua and Franco of Cologne
1.4.5. Ars Antiqua and Ars Nova: Critical Awareness

1.5. The Renaissance and the New Rationality

1.5.1. Johannes Tinctoris and the "Effects " of the Music
1.5.2. Early Humanist Theorists: Glareanus. Zarlino and the New Concept of Harmony
1.5.3. The Birth of Melodrama
1.5.4. The Camerata of the Bardi

1.6. Reformation and Counter-Reformation: Word and Music

1.6.1. The Protestant Reformation. Martin Luther
1.6.2. The Counter-Reformation
1.6.3.  Understanding of Texts and  Harmony
1.6.4. The New Pythagoreanism. Leibniz: Reconciliation between the Senses and Reason

1.7. From Baroque Rationalism to the Aesthetics of Feeling

1.7.1. The Theory of the Affections, Harmony and Melodrama
1.7.2. Nature Imitation
1.7.3. Descartes and Innate Ideas
1.7.4. British Empiricism as Opposed to Descartes

1.8. The Enlightenment and the Encyclopedists

1.8.1. Rameau: The Union of the Art with the Reason
1.8.2. E. Kant and the Music
1.8.3. Vocal and Instrumental Music. Bach and the Enlightenment
1.8.4. Illuminism and the Sonata-Form

1.9. Romanticism

1.9.1. Wackenroder: Music as a Privileged Language
1.9.2. Schelling, Hegel, Schopenhauer
1.9.3. The Romantic Musician in Front of the Music
1.9.4. The Programmatic Music
1.9.5. Wagner
1.9.6. Nietzsche and the Crisis of the Romantic Reason

1.10. The Positivism and the Crisis of the Aesthetics of the 20th Century

1.10.1. Hanslick and Formalism
1.10.2. Positivism and the Birth of Musicology
1.10.3. Italian Neoidealism and Musical Aesthetics
1.10.4. The Sociology of Music

Module 2. Musical Analysis

2.1. Basic Concepts of Analysis

2.1.1. What is Musical Analysis?
2.1.2. The elements of the musical language; rhythm, melody, texture, harmony, pitch
2.1.3. Form generating procedures: repetition, contrast, development
2.1.4. Structural element of the musical form
2.1.5. Binary
2.1.6. Ternary
2.1.7. Rondo
2.1.8. Theme and Variations
2.1.9. Forms based on imitation: canon
2.1.10. Complex forms: sonata

2.2. Melodic and motivic analysis

2.2.1. 8 Bar melodies
2.2.2. Continuous and discontinuous melodies
2.2.3. Repetition and non-repetition of melodies
2.2.4. Notes of adornment

2.3.  Medieval music

2.3.1. Analysis of sound and stylistic characteristics
2.3.2. Forms and genre of Gregorian Chant
2.3.3. Ars Antiqua and Ars Nova
2.3.4. The modal system

2.4. The Renaissance

2.4.1. The imitative style
2.4.2. The motet
2.4.3. The Mass
2.4.4. The Lutheran choir
2.4.5. The English anthem

2.5. Renaissance schools and composers

2.5.1. The Franco-Flemish School. Dufay, Joaquín Des Prés, Ockeghem and Obrecht, Orlando de Lasso
2.5.2. The Counter-Reformation and the Mass after the Council of Trent (1542-1563)
2.5.3. The Roman School of Palestine and parody masses
2.5.4. The Venetian school and music for two or more choirs

2.6. Profane polyphony

2.6.1. Characteristics of the profane polyphony
2.6.2. The Canzoneta
2.6.3. The Frottola
2.6.4. Figuralism

2.7. The madrigal

2.7.1. What is the madrigal?
2.7.2. Characteristics of the madrigal
2.7.3. The evolution of the madrigal to a dramatic and virtuosic character
2.7.4. Substitution of the vocal ensemble by a voice: accompanied monody

2.8. The carol

2.8.1. Characteristics of the carol
2.8.2. Origins of the carol
2.8.3. Historical Evolution of the carol
2.8.4. Metrics of the carol

2.9. The Baroque suite

2.9.1. What is a suite?
2.9.2. Baroque dances
2.9.3. Study of the principle dances of the suite: Allemande, Courante, Sarabande and Gigue
2.9.4. Most outstanding suites

2.10. Music in Baroque

2.10.1. The prelude
2.10.2. Study of invention and fugue in the late Baroque period
2.10.3. School breakout: structure, typology and elements
2.10.4. Analysis of various baroque fugues

Allemande, Courante, Sarabande, etc. Master each and every one of the principal dances of The Suite thanks to this specialization in musical analysis"