Course Unit Form
Course unit title:
Interdisciplinary Studies in Music (Optional Course Unit)
Code of the scientific area:
Mus
Duration (annual, semester or term):
Annual
Total student workload (total hours):
260.0
Contact hours:
In-person (P) - TP-5.0; PL-15.0; S-10.0
% of distance-learning contact hours:
0.00%
ECTS credits:
10.0
Responsible lecturer and corresponding teaching load in the course unit:
António Salgado - 13.0h
Other lecturers and their teaching load in the course unit:
Learning outcomes and their compatibility with the teaching method (knowledge, skills and competences to be developed by students):
O1. Develop an in-depth understanding of interdisciplinarity, multidisciplinarity and transdisciplinarity, understanding their application in musical research and creation.
O2. Critically analyse the interactions between music and other arts, such as dance, theatre and film, exploring collaborative methodologies and practices.
O3. Acquire the competences to structure and evaluate interdisciplinary projects, understanding the processes of conceiving, funding and communicating artistic initiatives.
O4. Apply interdisciplinary methodologies through the analysis of published projects, seminars and critical discussions, practical workshops and collaborative work.
O5. Develop reflective and methodological competences enabling the integration of music into diverse artistic contexts.
Syllabus:
P1. Theoretical foundations – Definition and distinction between interdisciplinarity, multidisciplinarity and transdisciplinarity.
P2. Music and the performing arts – Relationships between music, dance, theatre and performance; case studies of interdisciplinary projects.
P3. Music and audiovisual media – Collaborative creation processes in film scores, videodance, filmed opera and music documentary.
P4. Interdisciplinary methodologies – Strategies for the conception, development and analysis of collaborative projects.
P5. Planning interdisciplinary projects and funding models – Support structures, resource-raising strategies and economic feasibility.
P6. Analysis of published projects – Critical study of interdisciplinary initiatives, assessing impact, innovation and challenges in execution.
Demonstration of the coherence between the syllabus and the course unit's learning outcomes:
O1 relates to P1 by providing the theoretical basis for distinguishing between interdisciplinarity, multidisciplinarity and transdisciplinarity, allowing students to understand and apply these approaches in musical research and creation.
O2 is developed in P2 and P3, exploring the interactions between music and other arts. Students analyse cases of interdisciplinary collaboration, investigating creative processes, challenges and solutions in integrating different artistic languages.
O3 and O5 correspond to P4 and P5, providing methodologies for conceiving, structuring and funding interdisciplinary projects. Students plan and organise artistic projects, developing strategies to ensure their feasibility.
O4 links to P6, encouraging the critical analysis of published projects, allowing an assessment of impact, innovation and challenges, and an understanding of collaboration models and effective strategies for integrating different artistic practices.
Teaching and learning methodologies specific to the course unit, articulated with the pedagogical model:
The teaching and learning methodologies of this course unit favour the articulation between theory and practice, applied experimentation and the critical development of artistic research. The course unit is based on methodologies that foster an understanding of the principles of interdisciplinarity and its impact on musical creation and research, operationalised through specific strategies and pedagogical tools.
1 - Methodology: scenario-based learning • Strategy - construction of hypothetical interdisciplinary project scenarios • Tools - guided discussion, simulation of real cases, analysis of creative solutions • Students develop and analyse interdisciplinary project scenarios, exploring intersections between music and other arts. Simulating real cases allows methodological challenges, collaboration strategies and creative solutions to be discussed.
2 - Methodology: case-based learning • Strategy - study of interdisciplinary cases • Tools - documentary analysis, guided discussion, critical presentation • Through the analysis of published interdisciplinary projects, students understand collaborative processes, assess the methodologies applied and reflect on strategies for conceiving, funding and executing projects.
3 - Methodology: immersive teaching and direct contact with specialists • Strategy - thematic seminars and round tables • Tools - in-person or online sessions, discussion panels, testimonials from creators • Guest specialists share interdisciplinary methodological approaches, promoting contact with the collaborative practices of musicians, composers, directors, choreographers and filmmakers.
4 - Methodology: experimental and collaborative learning • Strategy - experimentation and laboratory practice • Tools - practical exercises, rehearsals, simulations of artistic interaction • Students test interdisciplinary concepts in practical exercises, allowing the experimentation of collaboration processes and the assessment of the methodological dynamics involved.
5 - Methodology: development of critical and reflective thinking • Strategy - discussion and critical reflection • Tools - guided readings, group debates, comparative analysis of models • Reading and discussing key texts on interdisciplinarity encourages the problematisation of collaboration models, methodological analysis and reflection on the impact of interdisciplinarity on musical creation and research.
6 - Methodology: academic writing and process documentation • Strategy - production of critical and documentary texts • Tools - reflective reports, funding applications, scientific articles • Students develop competences in documenting and communicating their creative and research processes, ensuring the capacity to structure interdisciplinary projects for different academic and professional contexts.
Assessment:
Critical analysis of an existing interdisciplinary project, exploring: • Objectives and methodologies - identification of the project's objectives and analysis of the interdisciplinary approaches adopted. • Impact and relevance - reflection on the results obtained and their contribution to musical knowledge and practice. • Critique and proposals for improvement - assessment of the challenges faced and presentation of well-grounded suggestions for optimising and expanding the project.
First stage - qualitative assessment (peer review) By 31 March, students submit a preliminary version of their work, which will be qualitatively assessed by peers in the course unit. This review fosters critical reflection and the refinement of the work before final submission.
Qualitative review criteria: • Clarity and coherence - structure, interdisciplinary articulation and theoretical grounding. • Methodological adequacy - academic rigour and relevance of the interdisciplinary approaches adopted. • Originality and impact - degree of innovation and applicability of the project analysed. Peer review promotes debate and gives students a space to discuss approaches, reformulate arguments and adjust their work based on the feedback received.
Second stage - quantitative assessment (lecturers) By 31 May, students publicly present their work, accompanied by a written report (approx. 2000 words). Quantitative assessment will be conducted by a team of three lecturers, based on the following criteria: • Quality of critical analysis - depth of reflection on the project's objectives, methodologies and impact. • Consistency and theoretical grounding - relevance of references and capacity for academic contextualisation. • Methodological rigour - application of interdisciplinary methodologies and clarity of argumentation. • Presentation and communication - capacity to present ideas clearly, both in the report and in the oral presentation.
The final assessment values analytical capacity, the critical application of interdisciplinary concepts and competence in communicating results.
Students who do not pass this assessment may submit a revised version of the assignment by 30 June.
Demonstration of the coherence between the teaching and assessment methodologies and the course unit's learning outcomes:
The teaching and assessment methodologies of the course unit "Interdisciplinary Studies in Music" are structured to ensure the acquisition of the competences set out in the learning outcomes, promoting a balance between theoretical research, critical analysis and practical experimentation. The articulation between the different methods ensures that students develop an in-depth understanding of interdisciplinarity in music and the capacity to apply and communicate it in diverse contexts.
O1, which aims at understanding the foundations of interdisciplinarity, multidisciplinarity and transdisciplinarity, is directly related to thematic seminars, guided readings and critical debates. These approaches provide a solid theoretical framework, allowing students to analyse and contextualise fundamental concepts.
O2, focused on the critical analysis of interactions between music and other arts, is developed through case-based learning. The study of published interdisciplinary projects allows an assessment of collaborative processes, methodologies applied and the challenges inherent in interdisciplinary creation.
O3 and O5, which address the structuring and planning of interdisciplinary projects, are worked on through the construction of hypothetical scenarios and practical experimentation. Formulating strategies for integrating music into interdisciplinary contexts stimulates critical and creative thinking, promoting a structured view of collaboration between different artistic fields.
O4, related to the capacity to gather, organise and structure information for artistic research projects, is reinforced by the development of academic writing and process-documentation competences. Producing critical texts and reflective reports allows students to systematise methodologies and justify their choices within interdisciplinarity, preparing them to communicate their projects effectively.
The assessment methodology is aligned with these objectives, providing a progressive path for the acquisition and application of knowledge. Qualitative peer review allows ideas to be tested and feedback received before final submission, promoting critical analysis and continuous refinement. The public presentation of the final work, accompanied by a written report, reinforces communication and argumentation skills, ensuring that students develop a structured and well-grounded view of the projects analysed.
Bibliography (recommended/compulsory reading):
Albright, D. (2009). Music speaks: On the language of opera, dance, and song. University of Rochester Press. Cook, N. (2013). Beyond the score: Music as performance. Oxford University Press. Frodeman, R., Klein, J. T., & Pacheco, R. C. S. (Eds.). (2017). The Oxford handbook of interdisciplinarity (2nd ed.). Oxford University Press. Green, J. (2010). Understanding the score: Film music communicating to and influencing the audience. The Journal of Aesthetic Education, 44(4), 81–94. Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. MIT Press. Karlin, F., & Wright, R. (2004). On the track: A guide to contemporary film scoring (2nd ed.). Routledge. McClary, S. (2002). Feminine endings: Music, gender, and sexuality. University of Minnesota Press.
Remarks:
This course unit is intended to support doctoral students wishing to carry out projects of an interdisciplinary nature. Content and methods will be adjusted according to students' profiles.
The course unit requires a minimum of 3 enrolments to run.
The selection of lecturers to teach this course unit will be made based on the students' profile.
