Form professional who, by using the theories, techniques and tools acquired during the formation process; carry out activities that allow the knowledge, analysis and interpretation of different music genres, and at the same time, generate products that are related to their competency areas, with a high humanist sense developed in the own principles and values of the profession; as well as to propitiate the capabilities to research and teach to communicate other knowledge, skills and dexterities, be that in work products or in the classroom.
The graduate is Music, in its different genres, will be able to perform in different cultural fields, proving the domain of their profile, through reading skills, rhythm, improvisation, composition, interpretation and direction, based on historical, theoretical, philosophical, technical and humanist knowledge, considering music teaching and integrating in orchestras and symphony bands, chamber ensembles, versatile ensembles, as well as composing incidental music for theater, movies and television, radio, multimedia shows, in addition of participating in musical recordings. Integrates to music labels, institutions who dedicate to divulge culture, documentations and music research.
For more information, please visit www.ugto.mx/admision
There is the need to form in three specific areas, from which there’s a system of values, to know: knowledge on analysis and interpretation of different music genres; skills oriented towards the creativity with the purpose to generate related music genres to her/his area of competence; capacity to communicate knowledge, skills and dexterities by influencing in the educational environment as a professor or researcher; values: social commitment and environment awareness, probity, honesty and relevance.
The school periods are semiannual.
- First enrollment
- English I
- History of Arts I
- New harmony systems I
- Vocal and instrumental ensembles I
- Musical analysis I (Impressionism)
- Mexican music I
- Musical profile I
- College identity
- Optional I
- Second enrollment
- English II
- History of Arts II
- New harmony systems II
- Vocal and instrumental ensembles II
- Musical analysis II (Nationalism, XX century)
- Mexican music II
- Musical profile II
- Formative activities I
- Optional II
- Third enrollment
- English III
- Acoustics
- Medieval and renaissance music
- Vocal and instrumental ensembles III
- Counterpoint I
- Mandatory LU by terminal exit I
- Musical profile III
- Formative activities II
- Optional III
- Fourth enrollment
- English IV
- Behavior on stage
- Baroque music
- Vocal and instrumental ensembles IV
- Counterpoint II
- Mandatory LU by terminal exit II
- Musical profile IV
- Formative activities III
- Optional IV
- Fifth enrollment
- English V
- Musical direction techniques I
- Classical and romantic music
- Vocal and instrumental ensembles V
- Mandatory LU by terminal exit III
- Mandatory LU by terminal exit IV
- Musical profile V
- Formative activities IV
- Optional V
- Sixth enrollment
- English VI
- Musical informatics I
- Contemporary music
- Vocal and instrumental ensembles VI
- Mandatory LU by terminal exit V
- Mandatory LU by terminal exit VI
- Musical profile VI
- Formative activities V
- Optional VI
- Seventh enrollment
- Introduction to research I
- Musical informatics II
- Induction of the artistic-professional practice
- Vocal and instrumental ensembles VII
- Musical pedagogy I
- Mandatory LU by terminal exit VII
- Musical profile VII
- Formative activities VI
- Optional VII
- Eighth enrollment
- Introduction to research II
- Aesthetics of music I
- Artistic-professional practices I
- Professional social service I
- Musical pedagogy II
- Mandatory LU by terminal exit VIII
- Thesis work I
- Ninth enrollment
- Aesthetics of music II
- Artistic-professional practices II
- Professional social service II
- Mandatory LU by terminal exit IX
- Mandatory LU by terminal exit X
- Thesis work II
- Deepening area :: LU to course by musical profile plus thesis (mandatory selective)
- Singing I
- Singing II
- Singing III
- Singing IV
- Singing V
- Singing VI
- Singing VII
- Thesis work I
- Thesis work II
- Deepening area :: mandatory LU by terminal exit (mandatory selective)
- Piano I
- Piano II
- Accompaniment practices I
- Acting for singers I
- Accompaniment practices II
- Acting for singers II
- Make up I
- Phonetics and diction I
- Make up II
- Phonetics and diction II
- Optional
- Criticism of vocal music
- Classical dance
- Fencing
- Physiology of the voice
- History and practice of the vocal technique
- Language VII (English I)
- Language VIII (English II)
- Complementary instrument (string)
- Complementary instrument (wind-wood)
- Complementary instrument (wind-metal)
- Philosophy of Music (general concepts)
- Philosophy of Music (particular concepts)
- Optional
- Management and negotiation of music
- Electroacoustic music
- Audiovisual production
- Complementary instrument (Percussions)
- Interrelation of the arts
- Piano (harmony in the keys)
- Piano (baroque repertoire)
- Piano (classical repertoire)
- Piano (contemporary repertoire)
- Piano (Mexican repertoire)
- Piano (romantic repertoire)
- Piano (First sight reading technique)
- Musical direction techniques II
- Deepening area :: LU to course by musical profile plus thesis (mandatory serlective)
- Composing I
- Composing II
- Composing III
- Composing IV
- Composing V
- Composing VI
- Composing VII
- Thesis I
- Thesis II
- Deepening area :: mandatory LU by terminal exit (mandatory selective)
- Musical analysis III
- Musical analysis IV
- Counterpoint III
- Piano I
- Counterpoint IV
- Piano II
- Complementary instrument (string)
- Instrumentation/ orchestration I
- Complementary instrument (wind wood or metal)
- Instrumentation/ orchestration II
- Optional
- Musical analysis V
- Musical analysis VI
- Counterpoint V
- Counterpoint VI
- Copyright
- Acoustic ecology
- Philosophy of music (general concepts)
- Philosophy of music (particular concepts)
- Management and negotiation of the music
- Free improvisation
- Complementary instrument (string)
- Complementary instrument (wind-wood)
- Complementary instrument (wind-metal)
- Complementary instrument (Percussions)
- Optional
- Interrelation of the arts
- Jazz I
- Jazz II
- Methodologies of analysis
- Electroacoustic music
- Music, scenic arts and cinema
- Piano (harmony in the keys)
- Piano (baroque repertoire)
- Piano (classical repertoire)
- Piano (contemporary repertoire)
- Piano (Mexican repertoire)
- Piano (romantic repertoire)
- Piano (first sight technique and reading)
- Audiovisual production
- Psychology of the composition
- Reduction of the piano’s sheet
- Musical direction techniques II
- Select topics
- Deepening area :: LU to course by musical profile plus thesis (mandatory selective)
- Contents of the basic musical education I
- Contents of the basic musical education II
- Methods for musical education I
- Methods for musical education II
- Psychology of learning I
- Psychology of learning II
- Students with different capacities
- Thesis I
- Thesis II
- Deepening area :: mandatory LU by terminal exit (mandatory selective)
- Guitar I
- Guitar II
- Percussion instruments
- Pan flute
- Study plans and programs of the musical education in Mexico
- Piano I
- Piano II
- Musicotherapy I
- Musical arrangement for school repertoire
- Musicotherapy II
- Optional
- Acting I
- Acting II
- Folkloric ballet
- Drawing
- Design of didactic materials
- Philosophy of music (conceptos generales)
- Philosophy of music (conceptos particulares)
- Musical folklor
- Management and negotiation of the music
- History of the musical education in Mexico
- Complementary instrument (string)
- Complementary instrument (wind-wood)
- Optional
- Complementary instrument (wind-metal)
- Complementary instrument (Percussions)
- Interrelation of the arts
- Electroacoustic music
- Piano (harmony in the keys)
- Piano (baroque repertoire)
- Piano (classical repertoire)
- Piano (contemporary repertoire)
- Piano (Mexican repertoire)
- Piano (romantic repertoire)
- Piano (first sight reading technique)
- Audiovisual production
- Musical direction techniques II
- Deepening area :: LU to course by musical profile plus thesis (mandatory selective)
- Main instrument I
- Main instrument II
- Main instrument III
- Main instrument IV
- Main instrument V
- Main instrument VI
- Main instrument VII
- Thesis I
- Thesis II
- Deepening area :: mandatory LU by terminal exit (mandatory selective)
- Piano I
- Piano II
- Accompaniment practices I
- Instrument restoration
- Accompaniment practices II
- Literature of the instrument
- Improvisation I
- Improvisation II
- Popular music I
- Contemporary graphics
- Optional
- Acting I
- Acting II
- Biomechanics of the instrumentalist
- Clavecin I
- Clavecin II
- Philosophy of music (general concepts)
- Philosophy of music (particular concepts)
- Musical folklor
- Management and negotiation of music
- History of sound recording
- Free improvisation
- Complementary instrument (string)
- Complementary instrument (wind-wood)
- Complementary instrument (wind-metal)
- Complementary instrument (percussions)
- Interrelation of the arts
- Optional
- Jazz I
- Jazz II
- Electroacoustic music
- Popular music II
- Organ I
- Organ II
- Collaborative piano I
- Collaborative piano II
- Piano (harmony in the keys)
- Piano (baroque repertoire)
- Piano (classical repertoire)
- Piano (contemporary repertoire)
- Piano (Mexican repertoire)
- Piano (romantic repertoire)
- Piano (first sight reading and technique)
- Audiovisual production
- Sheet’s reduction to piano
- Musical direction techniques II
- Historical temperaments
- Field work
- Deepening area :: LU to course by musical profile plus thesis (mandatory selective)
- Musical lexicography and terminology
- Musicology I
- Documentation I
- Documentation II
- Musical organology and iconography
- Musicology II
- Musicology III
- Thesis I
- Thesis II
- Deepening area :: mandatory LU by terminal exit (mandatory selective)
- Musical paleography
- Piano I
- Piano II
- Vice regal music
- Mexican music: XIX century
- Ethnomusicology
- Mexican music: XX century
- Musical semiotics
- Sound landscape
- Musical hermeneutics
- Optional
- Musical criticism
- Copyright
- Lyric-vocal dramaturgy: the libretto
- Acoustic ecology
- Musicological essay
- Popular expressions of the music
- Philosophy of the music (general concepts)
- Philosophy of the music (particular concepts)
- Musical folklore
- Management and negotiation of music
- History of sound recording
- Complementary instrument (string)
- Complementary instrument (wind-wood)
- Complementary instrument (wind-metal)
- Complementary instrument (percussions)
- Optional
- Interrelation of the arts
- Jazz I
- Jazz II
- Electroacoustic music
- Music and literature in the song
- Sound heritage
- Piano (harmony in the keys)
- Piano (baroque repertoire)
- Piano (classical repertoire)
- Piano (contemporary repertoire)
- Piano (Mexican repertoire)
- Piano (romantic repertoire)
- Piano (first sight reading and technique)
- Audiovisual production
- Writing academic texts
- Sheet’s reduction to paino
- Musical direction techniques II
- Historical temperaments
- Field work
Campus Guanajuato, Division of Architecture, Art & Design (DAAD)
Venue Marfil
Arts building
Address: Fraccionamiento 1; El Establo S/N; 36250; Guanajuato, Gto.
Phone:+52 01 (473) 732 00 06 extensions 5566
Campus website: www.ugto.mx/campusgto
Division website: www.daad.ugto.mx