Would you like to stand out in the musical field for the originality and quality of your arrangements? Enroll in this Postgraduate diploma and you will be able to implement in your practice the most innovative strategies to achieve it”

In the digital audiovisual field, Covers, namely, original songs covered by another musician, are in vogue. Thirty Seconds To Mars, Miley Cyrus, Ed Sheeran, Maroon 5, Bob Dylan, Adele, Leona Lewis or David Bowie are just some of the singers and groups that have adapted songs from other genres to their own, bringing the characteristics of each one to each song. Music and its flexible and versatile nature allows specialists in this field to make a multitude of arrangements in the structure and sound composition of projects, resulting in innovative and novel musical repertoires, but based on the classics or songs that have previously achieved success. 

There have even been cases in which the original song has not been successful, but the cover version has managed to reach the top of the charts. An example of this is the mythical I Will Always Love You, soundtrack of the award-winning film The Bodyguard, performed by Whitney Houston, but whose authorship belongs to the country star Dolly Parton. For this reason, and in view of the specialized knowledge that the specialist who wants to dedicate themselves to this field must have, TECH and its team of experts have developed a complete and exhaustive program with which they will be able to investigate the keys to achieve it. This is the Postgraduate diploma in Fundamentals of Musical Arrangement, a new and dynamic program that covers the intricacies of aesthetics, analysis and musical notation over 6 months of multidisciplinary education. 

All this, 100% online through 450 hours of theoretical, practical and additional content, this last one presented in different formats: detailed videos, research articles, additional readings, case studies, news, frequently asked questions, dynamic summaries of each unit and much more! This material will be available in a comfortable and accessible Virtual Campus designed according to the latest academic technology, which is also compatible with any device with Internet connection. Therefore, the student will be able to attend an academic experience that, not only adapts to the highest level of quality, but with which they will be able to organize the academic schedule based on their own absolute availability. 

You will have 450 hours of multidisciplinary content to delve into aspects such as analysis or musical notation, among others”

This Postgraduate diploma in Fundamentals of Musical Arrangement contains the most complete and up-to-date program on the market. The most important features include:

• Practical cases presented by experts in Psychology
• The graphic, schematic and practical contents of the book provide technical and practical information on those 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 work
• Content that is accessible from any fixed or portable device with an Internet connection

You will work with the latest information related to musical notation and current aesthetics, contributing to the creation of adapted pieces based on the main sound techniques”

The program’s teaching team 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 student will be assisted by an innovative interactive video system created by renowned and experienced experts.

The exhaustive design of this program will help you understand and manage the main concepts developed throughout time by musical thought"

You will have unlimited access to the virtual campus 24 hours a day, so you can organize your schedule according to your own availability"

The syllabus of this program is a compendium of up-to-date information that aims to provide the student with all the Fundamentals of Musical Arrangement. In this way, during the development of the program, students will acquire the basic elements of aesthetics, analysis and musical notation. All this through high-impact audiovisual resources, additional readings and practical exercises.  

You will also be able to master your skills related to musical language, rhythm, melody, texture, harmony and timbre, in order to adapt the versions specifically to the singer's requirements” 

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. The Understanding of the Texts and the 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 Musical Language; Rhythm, Melody, Texture, Harmony, Timbre
2.1.3. Form Generating Procedures: Repetition, Contrast, Development
2.1.4. Structural Elements of 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 Melody
2.2.2. Continuous or Discontinuous Melodies
2.2.3. Repetition or Non-Repetition of Melodies
2.2.4. Ornamental Notes

2.3. Medieval Music

2.3.1. Analysis of the Sonorous and Stylistic Characteristics
2.3.2. Forms and Genders 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 Chorale
2.4.5. The English Hymn

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 the Parody Masses
2.5.4. The Venetian School and the Music for Two or More Choirs

2.6. The Profane Polyphony

2.6.1. Characteristics of Profane Polyphony
2.6.2. The Canzoneta
2.6.3. The Frottola
2.6.4. The 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. The Substitution of the Vocal Ensemble by One 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. Metric of the Carol

2.9. The Baroque Suite

2.9.1. What is a Suite?
2.9.2. Baroque Dances
2.9.2. Study of the Main Suite Dances: Allemande, Courante, Sarabande and Gigue
2.9.4. Most Outstanding Suites

2.10. Music in the Baroque

2.10.1. The Prelude
2.10.2. Study of the Invention and the Fugue in the Late Baroque Period
2.10.3. School Fugue: Structure, Typology and Elements
2.10.4. Analysis of Various Baroque Fugues

Module 3. Musical Notation

3.1. Gregorian Chant Notations

3.1.1. The Neumes, Breathing, Custos
3.1.2. Adiasmatic Notations
3.1.3. Diasthematic Notations
3.1.4. Modern Editions of Gregorian Chant

3.2. First Polyphonies

3.2.1. The Parallel Organum. Musica Enchiriadis
3.2.2. The Dasian Notation (First Polyphonies)
3.2.3. Alphabetic Notation
3.2.4. The Notation of St. Martial of Limoges

3.3. The Codex Calixtinus

3.3.1. The Diasthematic Notation of the Codex
3.3.2. The Authorship of the Codex Calixtinus
3.3.3. Type of Music Found in the Codex
3.3.4. The Polyphonic Music of the CodexBook V

3.4. The Notation at the School of Notre Dame

3.4.1. The Repertoire and its Sources
3.4.2. Modal Notation and Rhythmic Modes
3.4.3. The Notation in the Different Genres: Organa, Conducti and Motets
3.4.4. Main Manuscripts

3.5. The Notation of the Ars Antiqua

3.5.1. Ars Antiqua and Ars Nova Terminology
3.5.2. The Pre-Franconian Notation
3.5.3. The Franconian Notation
3.5.4. The Petronian Notation

3.6. Notation in the 14th Century

3.6.1. The Notation of the French Ars Nova
3.6.2. The Notation of the Italian Trecento
3.6.3. The Division of Longa, Breve and Semibreve
3.6.4. The Ars Subtilior

3.7. The Copyists

3.7.1. Introduction
3.7.2. The Origins of the Calligraphy
3.7.3. History of Copyists
3.7.4. Music Copyists

3.8. The Printing Press

3.8.1. Bi Sheng and the First Chinese Printing Press
3.8.2. Introduction to Printing Press
3.8.3. The Gutenberg Printing Press
3.8.4. The First Printings
3.8.5. The Printing Press Today

3.9. Music Printing Press

3.9.1. Babylon. First Forms of Musical Notation
3.9.2. Ottaviano Petrucci.  Printing with Movable Type
3.9.3. John Rastell's Printing Model
3.9.4. Intaglio Printing

3.10. The Current Musical Notation

3.10.1. The Representation of Durations
3.10.2. The Representation of Pitches
3.10.3. Musical Expression
3.10.4. Tablature

If you want your name to go down in history with the arrangers such as Alan Parson, George Martin or Quincy Jones, then choose a program that will allow you to elevate your musical talent to the highest level”