Música, Media e Culturas Digitais
Objectives
a) To acquire methodological, theoretical and conceptual competences and research tools in the field of cultural study of music in digitalmedia;
b) To develop historical and social knowledge of the internal relationship between music, sound, image, and of these with the media, ingeneral, and the digital media in particular
c) To acquire and use, in synthesis and research work, up-to-date bibliography and documentation related to the fields being studied
d) To develop a conscious and critical position in the daily relationship with digital media
e) To develop methodologies of communication and discussion of results of academic studies.
General characterization
Code
01107823
Credits
6.0
Responsible teacher
Paula Cristina Roberto Gomes Ribeiro Brandão
Hours
Weekly - 4
Total - 168
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
Cook, Nicholas. 2019. “Digital Technology and Cultural Practice”. In The Cambridge Companion to Music in Digital Culture, editado por Nicholas Cook, Monique M. Ingalls, David Trippett, 5 – 28. Cambridge: Cambridge University Press.
Fraile, Teresa. 2016. “Música en primer plano: un análisis de la representación social de la música en los spots publicitarios”. Methaodos revista de ciencias sociales 4(1): 36 – 47.
Gomes Ribeiro, Paula. 2018. “Da transformação de paradigmas de comunicação musical na era da Internet: interatividade, participação e convergência”. In Log In, Live On: Música e Cibercultura na era da Internet das Coisas, editado por Paula Gomes Ribeiro, Joana Freitas, Júlia Durand e André Malhado, 36 – 65. Lisboa: Humus.
Gorbman, Claudia. 1987. Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press.
Hartley, John. 2008. Television Truths: Forms of Knowledge in Popular Culture. London: Blackwell.
Hesmondhalgh, David. 2019. The Cultural Industries. London: Sage Publications.
Jenkins, Henry, Sam Ford e Joshua Green. 2013. Spreadable Media: Creating Value And Meaning in a Networked Culture. New York/London: New York University Press.
Kassabian, Anahid. 2013. Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. Berkeley: University of California Press.
Klein, Bethany, Leslie M. Meier e Devon Powers. 2017. “Selling Out: Musicians, Autonomy, and Compromise in the Digital Age”. Popular Music And Society 40(2): 222 – 238.
Morris, Jeremy Wade. 2015. Selling Digital Music, Formatting Culture. Oakland: University of California Press.
Negus, Keith. 2019. “From creator to data: the post-recorded music industry and the digital conglomerates”. Media, Culture & Society 41(3): 367 - 384.
Patch, Justin. 2021. “As Heard On… The Changing Musical Language of Presidential Campaign Ads”. In The Oxford Handbook Of Music And Advertising, editado por James Deaville, Ron Rodman e Siu-Lan Tan, 604 - 624. New York: Oxford University Press.
Rogers, Holly. 2015. “Introduction: Music, Sound and the Nonfiction Aesthetic”. In Music and Sound in Documentary Film, editado por Holly Rogers, 1 - 19. New York/London: Routledge.
Small, Christopher. 1998. Musicking. Middletown: Wesleyan University Press.
Tan, Siu-Lan, Ron Rodman e James Deaville. 2021. “Introduction: Music and Advertising: Production, Text, and Reception”. In The Oxford Handbook Of Music And Advertising, editado por James Deaville, Ron Rodman e Siu-Lan Tan, 1 – 21. New York: Oxford University Press.
Teaching method
Classes are initially structured around the theoretical presentation of key theories and concepts, with an introductory outlining of the state of the art and the gradual inclusion of theoretical and methodological tools. Classes will then also include practical exercises, with the analysis and discussion of specific case studies and audiovisual examples, thus providing students the possibility of active participation in classes, particularly with their involvement in the development of original research papers throughout the course. The teaching methodologies deployed during the classes include, among others, the exposition and demonstration of theoretical material, the analysis and discussion of specific case studies of music and media, collaborative learning processes, reading and discussion of bibliography, oral presentations by students, and the planning and writing of original research papers.
Evaluation method
50% – Written paper based on original research, individually or in pairs (written paper and oral presentation)
20% – Individual written exercise
20% – Review of an article/chapter, individually or in pairs (written paper and oral presentation)
10% – Active participation in the discussion of topics and exercises proposed during classes
Subject matter
This curricular unit provides students a set of theoretical, historical and methodological tools for the study and in-depth understanding of music and media in digital formats and online platforms (including a brief overview of music in cinema and television). Classes seek to promote a broad understanding and an active debate focused on current-day transformations in music and media. The following aspects are broached during classes, in order to grant the necessary skills and competences to achieve the curricular unit's goals:
1) theoretical and methodological introduction to the study of music and media in the present day, with an outlining of the state of the art of this research area, drawing from communication sciences, media studies, musicology, among other fields;
2) the study of transformations of musical and audiovisual practices with the emergence of new means of communication and digital technologies, in the current context of cultural consumption online;
3) identification and exposition of research questions and case studies focused on the use of music in online media, with practical exercises of analysis and discussion carried out during classes.