ECTS credits ECTS credits: 5
ECTS Hours Rules/Memories Hours of tutorials: 3 Expository Class: 15 Interactive Classroom: 22 Total: 40
Use languages Spanish, Galician
Type: Ordinary subject Master’s Degree RD 1393/2007 - 822/2021
Departments: History of Art
Areas: History of Art, Music
Center Faculty of Geography and History
Call: Second Semester
Teaching: With teaching
Enrolment: Enrollable | 1st year (Yes)
- Learning the processes of recovery and digital management of photographic, audiovisual and musical collections.
- Becoming familiar with digital cataloging systems for audiovisual and musical archives.
- Carrying out an audiovisual digital essay from archival materials.
- Exploring the potential of musical heritage within the scope of cultural tourism.
PART 1. PHOTOGRAPHIC AND AUDIOVISUAL HERITAGE
1. Dynamics of production and consumption: brief history of digital (film) technology.
2. Recommendations and rules for the digitization process: the digital dilemma.
3. Differences between analog and digital processes of conservation, preservation and restoration.
4. Circulation of digital film heritage.
5. Creative dimension of digitization: appropriation films, film maps and video essays.
PART 2. MUSICAL HERITAGE
6. International regulations for the cataloging of sheet music: RISM entries.
7. The musical edition: difference between "transcription" and "edition". Use of specific computer programs (Finale, Sibelius, MuseScore).
8. Creation of sound maps: typologies and specific computer programs (Timemapper and Story Maps; Google by Maps). Carrying out musical routes and cultural tourism.
9. Traditional music collection processes.
10. From the manuscript to the music stand: the recovery of musical heritage for being taken to the concert hall.
HANDBOOKS
. González, José; Ezquerro, Antonio, Iglesias, Nieves; Gosálvez, José; Crespí, Joana. 1996. Normas internacionales para la catalogación de fuentes musicales históricas (Serie A/II, Manuscritos musicales, 1600-1850). Madrid, Arco/Libros, 1996.
· Fontaine, Gilles and Simone, Patrizia. 2016. The Exploitation of Film Heritage Works in the Digital Era. European Audiovisual Observatory.
· Shefter, M. & Maltz, A. 2007. The Digital Dilemma: Strategic Issues in Archiving and Accessing Digital Motion Picture Materials. Academy of Motion Picture Arts and Sciences. Science and Technology Council.
SELECTED BIBLIOGRAPHY
· Aoki, K., Boyle, J., & Jenkins, J. 2017. Theft! A History of Music. Center for the Study of the Public Domain. University of Duke. https://web.law.duke.edu/musiccomic/
· Baptista, Tiago. 2017. O potencial crítico do ensaio audiovisual dixital. A Cuarta Parede 35. http://www.acuartaparede.com/o-potencial-critico-do-ensaio-audiovisual-…
· Baptista, Tiago. 2020. The Archive, The Creation and The Permanent Rewriting of History: Notes on a few Recent Portuguese Appropriation Films. In Ribas, D. & Cunha, P. (eds.), Reframing Portuguese Cinema in the 21st Century, Volume 1. (43-60). Curtas Metragens CRL.
· Fairbairn, Natasha; Pimpinelli, Maria Assunta and Ross, Thelma. 2016. The FIAF Moving Image Cataloguing Manual. Féderation internationale des archives du film.
· Grant, Catherine. 2014. The Shudder of a Cinephiliac Idea? Videographic Film Studies Practice as Material Thinking, Aniki: Portuguese Journal of the Moving Image 1 (1): 49–62. Doi: 10.14591/aniki.v1n1.59.
· González-Marín, L. A. 2014. Recuperación de patrimonio musical histórico: El largo camino desde el archivo al concierto, en La gestión del patrimonio musical. Situación actual y perspectivas de futuro, Actas del Simposio celebrado en Madrid del 19 al 21 de noviembre de 2014, dir. Antonio Álvarez Cañibano : 201-211. http://hdl.handle.net/10261/116100
· Jarczyk, Agathe; Kromer, Reto and Pfluger, David. 2017. Memoriav recommendations. Digital archiving of film and video: principles and guidance. Memoriav - Association for the Preservation of the Audiovisual Heritage of Switzerland.
· López-Calo, J., 1978. Rism-España: un proyecto ambicioso. Revista de Musicología, 1(1/2), pp.254-260.
· Marcos Recio, Juan Carlos. 2013. Gestión del patrimonio audiovisual en medios de comunicación. Síntesis.
· Neyrat, C. 2008. Historia portátil del cine digital. Cahiers du Cinema. España, 8, 74-84.
· Parés, L. E. 2014. ¿Cómo conservar el cine digital? La posible nueva amnesia. Caimán. Cuadernos de Cine, 24 (75), 86-87.
· Riambau, E. 2023. El patrimonio cinematográfico frente al dilema digital. Caimán. Cuadernos de Cine, 181, 86-88.
· Shefter, M. & Maltz, A. 2012. The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofit Audiovisual Archives. Academy of Motion Picture Arts and Sciences. Science and Technology Council.
· Silva-Gago, J., Raposo, D., Díaz-Gómez, M. and Berbel-Gómez, N., 2022. Cartografía visual: creación de narrativas visuales colaborativas a partir de conexiones acerca del barrio Nou Llevant-Soledat Sud de Palma. Arte, Individuo y Sociedad, 34(1), pp.275-293.
· Wallmuller, Julia. 2007. Criteria for the Use of Digital Technology in Moving Image Restoration. The Moving Image 7 (1): 78-91. https://doi.org/10.1353/mov.2007.0032
Basic skills:
-CB2. Students know how to apply the knowledge acquired and their ability to solve problems in new or little-known environments within broader (or multidisciplinary) contexts related to their area of study.
-CB3. Students are able to integrate knowledge and face the complexity of formulating judgments based on information that, being incomplete or limited, includes reflections on the social and ethical responsibilities linked to the application of their knowledge and judgments.
-CB4. Students know how to communicate their conclusions -and the ultimate knowledge and reasons that support them- to specialized and non-specialized audiences in a clear and unambiguous way.
-CB5. Students possess the learning skills that allow them to continue studying in a way that will be largely self-directed or autonomous.
General skills:
- CG1. Build, manage and disseminate digital heritage and the digital treatment of heritage in all its meanings.
- GC2. Apply photographic, audiovisual and musical knowledge in the implementation of heritage projects in the digital environment.
- GC3. Properly use the technological tools necessary for the acquisition, processing, management and dissemination of digital cultural heritage.
- GC4. Integrate communication skills oriented to cultural marketing in entrepreneurial environments.
- GC5. Work in interdisciplinary teams in business, market and institutional fields of cultural management.
- CG6. Create original content in the field of cultural heritage combining humanistic and technological knowledge.
Transversal competences:
-CT1. Adapt the use and transfer of knowledge to new situations derived from technological change.
-CT3. Acquire an ethical commitment to the various forms of communication in digital environments.
-CT4. Understand the values of equality, environmental sustainability and the right to equal access to technological resources in the care of digital cultural heritage.
Specific skills
- Know the historical background in the conservation of photographic, audiovisual and musical heritage.
- Understand the different stages necessary for the conservation and dissemination of photographic, audiovisual and musical heritage.
- Provide training to properly handle musical heritage (documentary and purely sound), as well as accessible digital image editing programs (Adobe Premier, DaVinci Resolve, Ciberlink Power Director 365).
- Ability to make proposals for conservation, dissemination and transfer of photographic, musical and audiovisual heritage.
The teaching of this subject will combine:
- Lectures: in them the necessary theoretical elements will be considered and developed to be able to understand the subject and later develop practical cases.
- Seminar-type interactive teaching: practical cases will be presented to be solved by the students with the help of the teacher.
- Laboratory-type interactive teaching: practical cases will be carried out for which computer programs and other work to be carried out in the laboratory will be necessary. The different problems raised will be solved individually or in groups by each student.
Assessable activities:
· Class work during the module dedicated to photographic and audiovisual heritage. Final grade percentage: 30% (3 points)
· Work in class during the module dedicated to musical heritage. Final grade percentage: 30% (3 points)
· Final work, to be carried out under the guidance of one teacher of the subject. Final grade percentage: 40% (4 points)
Second opportunity: The mark in this option will be obtained from the delivery of a final work similar to the one of the first opportunity.
Waiver: students who are granted a Waiver from class attendance (following Instruction No. 1/2017 of the Secretaría Xeral on exemption from class attendance in certain circumstances), will be evaluated for a specific final test that will represent the 100% of the marks.
For cases of fraudulent performance of exercises or tests, the provisions of the Regulation will be applied for the evaluation of the academic performance of the students and the revision of the grades.
Study of the subject taught and personal practice of the student of elements raised in the classes: 85 hours
Carrying out assigments: 40 hours
TOTAL: 125 hours
- The students must maintain a constant work rhythm that allows progressive learning and also detect in time the difficulties that may arise in the study and practice of the subject.
- You must attend the sessions and be as participatory as possible. It is especially valued both the ability to answer the questions that are usually asked in classes, and the exposition of everything that was not clear in the explanation or the introduction of new formulations.
- Reading and study of the recommended bibliography.
- It is recommended, as a personal study model, to practice the computer programs presented, explained and applied in the classroom.
- Regular use and consultation of the virtual campus.
- Use of personalised tutorials.
Xose Ivan Villarmea Alvarez
Coordinador/a- Department
- History of Art
- Area
- History of Art
- ivan.villarmea [at] usc.es
- Category
- Professor: LOU (Organic Law for Universities) PhD Assistant Professor
Montserrat Capelan Fernandez
- Department
- History of Art
- Area
- Music
- Phone
- 881812595
- montserrat.capelan [at] usc.es
- Category
- Professor: Temporary PhD professor
| Monday | |||
|---|---|---|---|
| 11:00-13:00 | Grupo /CLE_01 | Spanish | Classroom 16 |
| Tuesday | |||
| 11:00-13:00 | Grupo /CLE_01 | Spanish | Classroom 16 |
| Wednesday | |||
| 11:00-12:00 | Grupo /CLIL_01 | Spanish | Classroom 16 |
| 05.29.2025 10:00-12:00 | Grupo /CLE_01 | Classroom 16 |
| 07.04.2025 10:00-12:00 | Grupo /CLE_01 | Classroom 16 |