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Tomo II Plan De Estudios • Maestría En Música • Doctorado En Música UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO PROGRAMA DE MAESTRÍA Y DOCTORADO EN MÚSICA Tomo II Plan de Estudios Maestría en Música Doctorado en Música Grados que se otorgan Maestro en Música (Cognición Musical, Creación Musical, Educación Musical, Etnomusicología, Interpretación Musical, Musicología o Tecnología Musical) Doctor en Música (Cognición Musical, Creación Musical, Educación Musical, Etnomusicología, Interpretación Musical, Musicología o Tecnología Musical) Campos de conocimiento del Programa Cognición Musical Creación Musical Educación Musical Etnomusicología Interpretación Musical Musicología o Tecnología Musical Entidades académicas participantes Facultad de Música Instituto de Investigaciones Antropológicas Centro de Ciencias Aplicadas y Desarrollo Tecnológico Fechas de aprobación u opiniones Adecuación y Modificación del Plan de estudios de la Maestría en Música. Fecha de aprobación del Consejo Académico del Área de las Humanidades y de las Artes: 5 de agosto de 2011. Índice ACTIVIDAD ACADÉMICA COMÚN INTRODUCCIÓN A LA INVESTIGACIÓN 2 ACTIVIDAD ACADÉMICA ENCAMINADA A LA GRADUACIÓN SEMINARIO DE INVESTIGACIÓN I 7 SEMINARIO DE INVESTIGACIÓN II 10 SEMINARIO DE INVESTIGACIÓN III 13 COGNICIÓN MUSICAL ACTIVIDADES ACADÉMICAS OBLIGATORIAS ASPECTOS PSICOLÓGICOS DE LA COGNICIÓN MUSICAL 18 BASES BIOLÓGICAS DE LA COGNCIÓN MUSICAL 21 NEUROANATOMÍA 24 ASPECTOS NEUROBIOLÓGICOS DE LA COGNICIÓN MUSICAL 27 PSICOACÚSTICA GENERAL Y APLICADA 30 ACTIVIDADES ACADÉMICAS OPTATIVAS TEMAS SELECTOS DE COGNICIÓN MUSICAL 35 DESARROLLO DEL SISTEMA AUDITIVO 37 FUNDAMENTOS DE PROBABILIDAD Y ESTADÍSTICA 40 NEUROBIOLOGÍA DE LA MÚSICA 43 COMPOSICIÓN MUSICAL ACTIVIDADES ACADÉMICAS OBLIGATORIAS COMPOSICIÓN MUSICAL I 48 TEORÍA Y ANÁLISIS DE LA MÚSICA I 50 COMPOSICIÓN MUSICAL II 56 TEORÍA Y ANÁLISIS DE LA MÚSICA II 58 COMPOSICIÓN MUSICAL III 64 COMPOSICIÓN MUSICAL IV 66 ACTIVIDADES ACADÉMICAS OPTATIVAS TEMAS SELECTOS DE COMPOSICIÓN MUSICAL 69 TÉCNICAS DE COMPOSICIÓN A PARTIR DE 1945 71 MÚSICA E INTERDISCIPLINA: CRITERIOS Y ANÁLISIS PARA SU CREACIÓN E INTERPRETACIÓN 75 NUEVOS CONCEPTOS INSTRUMENTALES Y VOCALES 78 EDUCACIÓN MUSICAL ACTIVIDADES ACADÉMICAS OBLIGATORIAS TEORÍAS EDUCATIVAS Y ENSEÑANZA MUSICAL 84 FILOSOFÍA DE LA EDUCACIÓN MUSICAL 87 DIDÁCTICA MUSICAL 90 EVALUACIÓN EN LA EDUCACIÓN MUSICAL 99 TEORÍA CURRICULAR APLICADA AL ANÁLISIS Y EL DISEÑO DE PLANES Y PROGRAMAS DE 102 ESTUDIO ACTIVIDADES ACADÉMICAS OPTATIVAS TEMAS SELECTOS DE EDUCACIÓN MUSICAL 107 APOYO TECNOLÓGICO PARA LA EDUCACIÓN MUSICAL 109 ESTADÍSITCA COMO HERRAMIENTA DE INVESTIGACIÓN 112 METODOLOGÍAS DE LA ENSEÑANZA Y SU REPERCUSIÓN EN LA EDUCACIÓN MUSICAL 115 PSICOLOGÍA DE LA MÚSICA 118 HISTORIA DE LA EDUCACIÓN MUSICAL EN MÉXICO 121 ETNOMUSICOLOGÍA ACTIVIDADES ACADÉMICAS OBLIGATORIAS ETNOMUSICOLOGÍA I 126 CRITERIOS MUSICALES EN MÉXICO 129 ANÁLISIS MUSICAL EN LA CULTURA 132 ETNOMUSICOLOGÍA II 137 ACTIVIDADES ACADÉMICAS OPTATIVAS TEMAS SELECTOS DE ETNOMUSICOLOGÍA 141 ANTROPOLOGÍA SIMBÓLICA 143 ETNOMUSICOLOGÍA DIALÓGICA-CRÍTICA 146 DANZAS DE CONQUISTA 149 MÚSICA, MITOLOGÍA Y RITUAL 151 INTERPRETACIÓN MUSICAL ACTIVIDADES ACADÉMICAS OBLIGATORIAS INTERPRETACIÓN MUSICAL I 156 INTERPRETACIÓN MUSICAL EN CONJUNTO 162 INTERPRETACIÓN MUSICAL II 164 TEORÍA Y METODOLOGÍA DE LA INTERPRETACIÓN MUSICAL 170 SEMINARIO INTERDISCIPLINARIO DE INTERPRETACIÓN I 174 INTERPRETACIÓN MUSICAL III 177 SEMINARIO INTERDISCIPLINARIO DE INTERPRETACIÓN II 183 INTERPRETACIÓN MUSICAL IV 186 ACTIVIDADES ACADÉMICAS OPTATIVAS TEMAS SELECTOS DE INTERPRETACIÓN MUSICAL 193 IMPROVISACIÓN MUSICAL 195 ORGANOLOGÍA 198 MUSICOLOGÍA ACTIVIDADES ACADÉMICAS OBLIGATORIAS PERSPECTIVA HISTÓRICA DE LA MUSICOLOGÍA 204 CORRIENTES ACTUALES DE LA MUSICOLOGÍA 210 HISTORIOGRAFÍA DE LA MÚSICA EN MÉXICO Y EN AMÉRICA LATINA 222 ACTIVIDADES ACADÉMICAS OPTATIVAS TEMAS SELECTOS DE MUSICOLOGÍA 229 EDICIÓN DE MÚSICA RENACENTISTA Y BARROCA 231 ICONOGRAFÍA MUSICAL 237 ICONOGRAFÍA MUSICAL NOVOHISPANA Y MEXICANA 241 NOTACIÓN MUSICAL RENACENTISTA Y BARROCA 244 SEMIOLOGÍA MUSICAL 250 TECNOLOGÍA MUSICAL ACTIVIDADES ACADÉMICAS OBLIGATORIAS MÚSICA, ARTE Y TECNOLOGÍA 257 FUNDAMENTOS DE ACÚSTICA DE LA MÚSICA 261 ELECTROACÚSTICA E INGENIERÍA DE SONIDO 263 FUNDAMENTOS DE CÓMPUTO MUSICAL 265 SÍNTESIS Y PROCESAMIENTO DE SONIDO 267 ACTIVIDADES ACADÉMICAS OPTATIVAS TEMAS SELECTOS DE TECNOLOGÍA MUSICAL 271 ACÚSTICA DE LOS INSTRUMENTOS MUSICALES 273 MATERIALES INTERACTIVOS MULTIMEDIA 275 SEMINARIO DE ARTES DIGITALES 277 Actividad académica común 1 UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO PROGRAMA DE POSGRADO MAESTRIA EN MÚSICA Programa de actividad académica Denominación: Introducción a la Investigación Clave: Semestre: Campo de conocimiento: No. Créditos: 1 Todos 8 Horas por Horas al Carácter: Obligatoria ( X ) Optativa ( ) de elección ( ) Horas semana semestre Teoría: Práctica: Tipo: Teórico – práctica 2 1 3 48 Modalidad: Seminario Duración del programa: Semestral Seriación: : No ( ) Si ( X) Obligatoria ( ) Indicativa ( ) Actividad académica subsecuente: Seminario de Investigación I Actividad académica antecedente: Ninguna Descripción de la actividad académica: La investigación es uno de los ejes del Programa de Posgrado en Música que tiene por objetivo la construcción de conocimiento en torno a las prácticas musicales. Por esta razón, se requiere de un seminario que homogenice los conocimientos, habilidades y actitudes mínimos necesarios para emprender un proyecto de investigación. De esta manera, el seminario pretende dotar a los participantes de un metalenguaje común que facilite la comunicación entre los diferentes campos de conocimiento que constituyen este programa. A partir de la problematización que los alumnos generen dentro del seminario, pertinente a cada campo de conocimiento, se pretende articular el eje teórico con la elaboración de los protocolos de investigación correspondientes. Objetivo general: Brindar al alumno los fundamentos epistemológicos y metodológicos de la investigación científica que le permitan elaborar un protocolo de investigación. Objetivos específicos: Identificar problemas de investigación en los diferentes campos de conocimiento del programa. Discutir la importancia del conocimiento científico en el campo de la música. Conocer las distintas propuestas epistemológicas y metodológicas implementadas a lo largo de la historia de la investigación científica. Identificar la estructura de un protocolo de investigación. Elaborar un primer protocolo de investigación de acuerdo a su campo de conocimiento. Consideraciones metodológicas: El seminario iniciará con la identificación de los problemas de investigación relevantes en cada campo de conocimiento, posteriormente reflexionará acerca de la importancia de su trabajo en la investigación de la música. Previa lectura de los textos, se discutirán los aportes que cada uno de los autores, propuestos en el presente programa, brindan a la conformación de la investigación científica. Asimismo, se discutirán sus limites y críticas. Con base en las discusiones generadas en el interior del seminario y en los conocimientos discutidos sobre las secciones que conforman un protocolo de investigación, los alumnos comenzará la redacción de sus protocolos, los cuales serán discutidos posteriormente con la finalidad de retroalimentar el trabajo de cada uno de los participantes. La secuencia de las unidades temáticas no lleva un sentido cronológico, se revisarán de acuerdo a las necesidades de los protocolos de investigación. Índice temático Horas Unidad Tema Teóricas Prácticas 1 Música, ciencia y sociedad 5 2 2 Fundamentos epistemológicos de la investigación científica 12 2 3 La estructura del diseño de investigación 5 6 4 El objeto de investigación 5 3 2 5 El texto científico 5 3 Total de horas: 32 16 Suma total de horas: 48 Contenido Temático Unidad Tema y subtemas 1 La música, el arte y su impronta social. Música y ciencia 2 Epistemología y gnoseología Aspectos históricos de la epistemología Obstáculos epistemológicos Filosofía y ciencia 3 Título y subtítulo Planteamiento del problema Pregunta de investigación Hipótesis Fundamentación teórica Objetivos y Metas Justificación Diseño de comprobación de hipótesis Esquema de trabajo y cronograma Bibliografía 4 Elección del tema Estado del arte Fuentes documentales Técnicas de investigación bibliográfica 5 Tipos de escritos académicos Elementos, características y estructura de los textos científicos Aparato crítico Bibliografía básica: Adorno, Theodor W., Epistemología y ciencias sociales, Madrid: Cátedra Universitat de Valencia, 2001. Álvarez-Gayou Jurgenson, Juan Luis, Cómo hacer investigación cualitativa. Fundamentos y metodología, Barcelona, Paidós Educador, 2003 (reimpresión en México, 2010). Bachelard, Gaston, Epistemología, Barcelona: Anagrama, 1973. Bachelard, Gaston La formación del espíritu científico. Contribución a un psicoanálisis del conocimiento objetivo, México: Siglo XXI, 2000. Bacon, Francis, Novum organum, Aforismos sobre la interpretación de la naturaleza y el reino del hombre, WWW.IESTUDIOSPENALES.COM.AR. Bellman, Jonathan D., A short Guide to Writing about Music, New York: Pearson Longman, 2007. Bohlman, Philip V., ―Ontologies of Music‖, en Rethinking Music (Nicholas Cook & Mark Everist, eds.), New York: Oxford University Press, 2001. Bourdieu, P.; Chamboredon, J.C; Passeron, J.C., El oficio de sociólogo, México: Siglo XXI, 2008. Brown, Harold, La nueva filosofía de la ciencia. Madrid: Tecnos, 1998. Bunge, Mario, La investigación científica, su estrategia y filosofía. Barcelona: Ariel. Col. Convivium, 1973. Carnap, Rudolf,
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