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2020/2021

Teaching Music I

Code: 102039 ECTS Credits: 6
Degree Type Year Semester
2500797 Early Childhood Education OT 4 0
2500798 Primary Education OT 4 0
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.

Contact

Name:
Albert Casals Ibáñez
Email:
Albert.Casals@uab.cat

Use of Languages

Principal working language:
catalan (cat)
Some groups entirely in English:
No
Some groups entirely in Catalan:
Yes
Some groups entirely in Spanish:
No

Prerequisites

Students must demonstrate to have a Elementary Degree on Music in order to sign up for this course. If he/she didn’t study in a music school (formal education), he/she must pass an examination. 

Objectives and Contextualisation

  1. To know and understand the key principles that support music education in Early Childhood and Primary
  2. To know and practise the music teaching-learning processes in the different educational stages and levels.

Competences

    Early Childhood Education
  • Analyse audiovisual languages and their educational implications.
  • Be familiar with the music, plastics and body language curriculum at this stage as well as theories on the acquisition and development of the corresponding learning.
  • Consider classroom practical work to innovate and improve teaching.
  • Demonstrate knowledge and understanding of the aims, curricular contents and criteria of evaluation of Infant Education
  • Develop educational proposals that promote perception and musical expression, motor skills, drawing and creativity.
  • Develop strategies for autonomous learning.
  • Incorporate information and communications technology to learn, communicate and share in educational contexts.
  • Know and use songs to promote hearing, rhythmic and vocal education.
  • Properly express oneself orally and in writing and master the use of different expression techniques.
  • Work in teams and with teams (in the same field or interdisciplinary).
    Primary Education
  • Acquiring resources to encourage lifelong participation in musical and plastic arts activities inside and outside of the school.
  • Design, plan and evaluate education and learning processes, both individually and in collaboration with other teachers and professionals at the centre.
  • Develop and evaluate contents of the curriculum by means of appropriate didactic resources and promote the corresponding skills in pupils.
  • Develop autonomous learning strategies.
  • Foster reading and critical analysis of the texts in different scientific fields and cultural contents in the school curriculum.
  • Know the school’s arts curriculum, in its plastic, audiovisual and musical aspects.
  • Reflect on classroom experiences in order to innovate and improve teaching work. Acquire skills and habits for autonomous and cooperative learning and promote it among pupils.
  • Understand the principles that contribute to cultural, personal and social education in terms of the arts.
  • Work in teams and with teams (in the same field or interdisciplinary).

Learning Outcomes

  1. Acquire knowledge and skills and abilities in the expressive and perceptive dimension of voice, song, choral singing and conducting.
  2. Apply the practice of writing, composition analysis and recognition through information and communications technology.
  3. Be able to reflect on and adapt didactic interventions in different educational contexts and situations.
  4. Be able to sing and get groups to sing, listening to others and respecting each other.
  5. Be able to work in a team.
  6. Being able to design activities from the different content blocks of the material, in accordance with basic methodological principles.
  7. Being able to sing and sing in groups, listening to others and respecting each other.
  8. Being able to work together.
  9. Gaining a deeper understanding of the different types of musical content required for teaching in the primary stage.
  10. Know and master the elements of musical language on an expression, understanding and creation level.
  11. Knowing how to explain the main consequences of the effect of teaching the arts on people’s cultural, personal and social education.
  12. Knowing how to understand, analyse and compare texts belonging to different spheres of thought, culture and the arts with their possible linkages with music.
  13. Learn to establish relationships between different artistic languages taking theory and praxis of musical activity as a central focus.
  14. Learn to understand, analyze and compare texts from different domains of thought, culture and the arts with their possible links with the musical event.
  15. Recognising the value of musical activities related to singing, song and conducting in educating the individual, and the fundamental role that it plays in school activities.
  16. They have acquired knowledge and skills and abilities in expressive and perceptive dimension of voice, song, choral singing and musical direction.
  17. Understand the learning processes and methodological bases underlying the teaching and learning of music.

Content

  1. Characteristics of music teaching and learning:
    • From individual experience to collective practise
    • Socioconstructivist approach to the teaching-learning process
    • Meaningful learning (“learning music by doing music”)
    • Talking about music as a way to learn
  1. Music competences through three dimensions: listening to, performing and creating.
  2. Music contexts (singing, listening to music, creating, playing instruments, dancing and moving) and musical language and theory. Teaching strategies and resources.
  3. Methodological processes of teaching and learning music in an inclusive school and taking into account a gender perspective

 

 

Methodology

SUPERVISED ACTIVITIES

Tutorship and other supervised activities.

AUTONOMOUS ACTIVITIES

Searching for materials and developing teaching proposals.

Writing thoughtful essays from reads about music didactics.

 

CONDUCTED ACTIVITIES

Teacher presentations about the four main contents (see the programme). From examples of music sessions, the teacher will conduct the reflective process in order to discover and understand the core elements of the music education.

Presenting and organizing autonomous exercises and activities.

Conducting music activities for the whole group or working in small groups. It includes document analysis, problem solving and case studies, among other learning strategies.  

Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Conducted 45 1.8 2, 13, 9, 17, 10, 4, 5, 3, 7, 8, 1, 16, 6
Type: Supervised      
Supervised 30 1.2 9, 17, 10, 3, 1, 6
Type: Autonomous      
Autonomous 75 3 2, 9, 17, 10, 5, 3, 8, 15, 14, 11, 12, 6

Assessment

Attendance is compulsory. Students must attend a minimum of 80% of seminars; otherwise, they will be deemed as "absent". Other aspects related to responsibility and involvement (punctuality, degree of formality, participation) will also be taken into account.

To obtain a pass in the final mark for this module it is mandatory to pass (minimum mark of 5 out of 10) each of the assessment blocks.

 

The participation and the level of deepening of the contributions will be considered in the block of discussing.

Attitude and active participation during the teaching and learning process are fundamental.

The student must show, in the activities proposed, good general communicative competences, both orally and in writing.

 

The assessment will be according to these documents: https://www.uab.cat/web/estudiar/guia-del-pdi-1345732500524.html

 

Deadlines for the main tasks:

1. Individual analysis of musical situations. Two deliveries: last week of October and first of December. Re-evaluation: last week of January.
2. Works about reads. Delivery: 3rd week of November. Re-evaluation: last week of January.
3. Design of a didactic proposal. Delivery: 2nd week of December. Re-evaluation: lastweek of January.
4. Oral presentation of the didactic proposal. Date: the last Thursday of December. Revaluation: It is not possible.

Only those tasks that have been suspended can be reassessed and they can only aspire to be approved with a 5 (if the teacher does not specify the opposite)

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Analysis of a musical situations (individual task) 20% 0 0 2, 13, 9, 17, 10, 4, 5, 3, 7, 8, 1, 16, 15, 6
Didactic proposal (individual task) 40% 0 0 17, 10, 3, 1, 16, 6
Short activities (discussions, reflections, proposals for activities, etc.) 30% 0 0 13, 9, 17, 15, 14, 11, 6
Works about reads 10% 0 0 13, 9, 17, 5, 8, 15, 14, 11, 12

Bibliography

 GENERAL

  • Alcázar, A. (ed.) (2008). La Competencia artística : creatividad y apreciación crítica. Madrid : Secretaría General Técnica, Subdirección General de Información y Publicaciones.
  • Aróstegui, J.L. (ed.) (2014). La música en Educación Primaria. Manual de formación del profesorado. Madrid: Dairea.
  • Blacking, J. (1994). Fins a quin punt l'home és music?. Vic: Eumo. (Versió original en anglès, 1976).
  • Bonal, E.; Hernández, M. & Querol, E. (2006). Cómo enseñamos el lenguaje musical en la escuela de música municipal de Can Ponsic de Barcelona. Quodlibet: Revista de especialización musical, 35, 82-99.
  • Bordons, G.; Casals, A. (2012). Poesia, música i escola: un triangle sonor. Temps d'Educació, 42, 11-30.
  • Calderón, D. (ed.) (2014). Expressió Musical a Primària. Barcelona: Publicacions de la UB.
  • Carrillo, C.; Vilar, M. (2014). El perfil profesional del profesorado de música: una propuesta de las competencias deseables en Ed. Primaria y Ed. Secundaria. Revista Electrónica de LEEME, 33, 1-26. Disponible a: http://musica.rediris.es/leeme/revista/carrillo&vilar14.pdf
  • Céleste, B.; Delalande, F.; Dumerier, E. (1995). L'enfant, du sonore au musical. París: Buchet/Chastel & INA.
  • Deliège, I.; Sloboda, J. (1995). Naissance et développement du sens musical. París:PUF. (Versió en anglès: Musical Beginnings. Origins and Development of MusicalCompetence. Oxford: Oxford University Press, 1996).
  • Delalande, F. (1991). Introducción a la creación musical infantil. Música y Educación, 8, 315-328.
  • Díaz, M.; Frega, A. L. (1998). La creatividad como transversalidad al proceso de educación musical. Vitoria-Gasteiz: Amarú.
  • Fubini, E. (2004). Música y lenguaje en la estética contemporánea. Madrid: Alianza.
  • Giráldez, A. (coord.) (2014). Didáctica de la música en primaria. Madrid: Síntesis.
  • Gluschankof, C.; Pérez-Moreno, J. (eds.) (2017). La música en la educación infantil: investigación y práctica.Madrid: Dairea.
  • González-Martín, C. (2014). Metodologia d’ensenyament-aprenentatge de les cançons i repertori. A Calderón, D. (Ed.) Expressió Musical a Primària. Barcelona: Publicacions de la UB.
  • Hargreaves, D.J.; North, A.C. (Eds) (1997). The social psychology of music. New York: Oxford University Press.
  • Hemsy de Gainza, V. (1995). Didáctica de la música contemporánea en el aula. Música y Educación, 24, 17-24.
  • Hennessy, S. (1995). Music 7-11. Developing primary teaching skills. Londres: Routledge.
  • Lluveras, N.; Valls, A.; Vilar, M. (1994). La cançó a l’etapa primària. Bellaterra: ICE de la Universitat Autònoma de Barcelona.
  • McDonald, R.; Hargreaves, D.J. i Miell, D. (2002). Musical Identities. Oxford: Oxford University Press.
  • Maideu, J. (1997). Música, societat i educació. Berga: Amalgama.
  • Malagarriga, T.; Valls, A. (2003). La audición musical en la Educación Infantil: propuestas didácticas. Barcelona: CEAC.
  • Malagarriga, T.; Martínez, M. (2010).Tot ho podem expressar amb música. Barcelona: Dinsic.
  • Martí, J. (2000). Más allá del arte: la música como generadora de realidades sociales. Sant Cugat del Vallès: Deriva.OCAÑA, A. 2001.Recursos didáctico-musicales para trabajar en Primaria. Granada: Grupo Editorial Universitario.
  • Martí, J.M. (2016). Aprendizaje musical para niños. Metodologías y sistemas pedagógicos de la didáctica musical. Barcelona: Redbook Ediciones.
  • McPherson, G.E.; Welch, G.F. (2012). The Oxford Handbook of Music Education (2 vols.). Oxford: Oxford University Press.
  • Miralpeix, A. (2012). iMúsica: educación musical con el iPad y el iPhone. Eufonía, 56, 27-35.
  • Pascual, P. (2002). Didáctica de la música. Madrid: Prentice Hall.
  • Pujol, M.A.; Serra, J. (1998). La dansa catalana en l'ensenyament primari. Barcelona: Generalitat de Catalunya. Dept. de Cultura.
  • Small, C. (1989). Música. Sociedad. Educación. Madrid: Alianza Editorial. (Versióoriginal en anglès, 1980)
  • Swanwick, K. (2000). Música, pensamiento y educación (2a ed.). Madrid: Morata. (Versió original en anglès, 1988).
  • Tafuri, J. (2006). ¿Se nace musical? Como promover las aptitudes musicales de los niños. Barcelona: Graó.TORNS, X.; MALAGARRIGA, T.; GÓMEZ, I. (2009). Dos enfoques en enseñanza del lenguaje musical. Música y Educación, 77, 50-63.
  • Valls. A.; Calmell, C. (2010). La música contemporània catalana a l'escola. Barcelona: DINSIC.
  • Vilar, M. (2004). Acerca de la educación musical. Revista Electrónica de LEEME, 13. Disponible a: http://musica.rediris.es/leeme/revista/vilarm.pdf
  • Wagner, C. (1966). Aprenguem a fer cantar. Barcelona: Hogar del libro.
  • Young, S. (2009). Music 3-5. Oxon: Routledge.
 
METHODOLOGIES
  • Bachmann, M. L. (1984). La rythmique Jaques-Dalcroze. Neuchâtel: La Baconnière. (Ed. en castellà: La Rítmica Jaques-Dalcroze una educación por la música y para la música. Madrid: Pirámide, 1998).
  • Barniol, E. (1998). Pensamiento pedagógico y acción educativa de Zoltán Kodály. Música y Educación, 35 (11,3), pp.85-102.
  • Casals, J. (1993). El método Ireneu Segarra. Música y Educación, 16, 51-74.
  • Chapuis, J.; Westphal, B. (1980). Sur les pas d’Edgar Willems. Fribourg: Pro Musica.
  • Díaz, M.; Giráldez, A. (2007). Aportaciones teóricas y metodológicas a la educación musical. Una selección de autores relevantes. Barcelona: Graó.
  • Hegyi, E. (1999). Método Kodály de Solfeo I y II. Madrid: Pirámide.
  • Orff, C.; Keetman, G. (1950-1954). Musik für Kinder. 5 vols.Mainz: Schott.
  • Paynter, J. (1999). Sonido y estructura. Madrid: Akal.
  • Sanuy, M., González Sarmiento, L. (1969). Orff-Schulwerk-Música para niños. Introducción.. Madrid: Unión musical española.
  • Schafer, R.M. (1994). Hacia una educación sonora. Buenos Aires: Pedagogías Musicales Abiertas.
  • Steen, A. (1992). Exploring Orff. A teacher's guide. Mainz: Schott.
  • Suzuki, S. (2007). Vivre c’est aimer. Marsella: Corroy.
  • Szönyi, E. (1976). La educación musical en Hungría a través del método Kodály. Budapest: Corvina. (Ed. en anglès, actualitzada: Kodály's principles in practice: an approach to music education through the Kodály method. (5ª ed. rev.) Budapest: Corvina. 1990).
  • Tomatis, A. (1987). L'oreille et la voix. Paris: Robert Laffont.
  • Vanderspar, E. (1990). Manual Jaques-Dalcroze. Principis i recomanacions per a l'ensenyament de la rítmica. Barcelona: P. Llongueres.
  • Ward, J. (1953). Musique(diversos volums). Tournai: Desclée et Cie.
  • Willems, E. (1975). La valeur humaine de l’éducation musicale. Bienne: Pro Musica. (Trad. al castellà: El valor humano de la educación musical. Barcelona: Paidós, 1981).WILLEMS, E. (1976/77). L'oreille musicale. Tome I et II. 4a ed. Fribourg: Pro Musica. (1a ed. 1946). (Trad .al castellà: El oído musical. Madrid: Paidós, 2001).

SONGBOOKS

  • Alcázar, AJ (1999). 88 temas para voz e instrumental Orff. Madrid: Mundimúsica.
  • Amoaku, W. K. (1971). African Songs and Rhythms for Children: a selection from Ghana. Mainz: Schott.
  • Apel·les Mestres (2004). Les 29 cançons infantil d'Apel·les Mestres (veu i piano). Barcelona: Boileau.
  • Bonal, M. D. (2004-2008). Arietta. Volums 1-5. Barcelona: DINSIC.
  • Bonal, E; Casas, M.; Casas, N. (2005). Diversita't. Cançons, danses,...activitats i recursos per a la convivència en la diversitat. Barcelona: Fundació Jaume Bofill / Generalitat de Catalunya. Disponible a: http://www.entrecultures.org/04_calidos/diversitat.htm
  • Bonal, M.D.; Martorell, M. (1967-1999, amb múltiples reedicions). ESQUITX (de l'1 al 5). Barcelona: mf.
  • Busqué, M; Badia, M. (2002). Tunc Que Tan Teta. Tarragona: Arola Edicions.
  • Casellas, M., Manent, R., Roma, R. i Vilar, R. (2001). Cançoner de butxaca. sempre hi ha una cançó. Tarragona: El Mèdol / Centre de la Cultura Popular i Tradicional Catalana.
  • Costa, J. (2002). 111 cànons de tot arreu. Barcelona: Clivis.
  • Costal, A. (coord). Cançons que cal saber. Barcelona: Raval Edicions, Pòrtic.
  • Crivillé, J. (1981) Música Tradicional Catalana (I) – Infants. Barcelona: Clivis.
  • Departament d'Ensenyament (2001). Cançons populars i tradicionals a l'escola. Disponible a: http://www20.gencat.cat/docs/Educacio/Documents/ARXIUS/doc_20517154_1.pdf
  • Hunt, Peter (ed.) (2017). Junior Voiceworks at Christmas: 40 Seasonal Songs. Oxford: Oxford University Press.
  • Maideu, J. (1991). Assaig. Cançons i exercicis (2a ed.). Vic: EUMO.
  • Maideu, J. (1992). Llibre de cançons - Crestomatia de cançons tradicionals catalanes. Vic: EUMO.
  • Orts, M. (ed). PRODIEMUS (Propostes, Reflexions, Orientacions i Didàctica Interdisciplinària per a Educar a través de la Música). http://www.prodiemus.com/canconer/
  • Puig ,A., Padilla, R. (2013). El cançoner de tothom. Barcelona: Bonalletra Alcompàs.
  • Rosell, A. (2007). Cançoner 1 / 2. Llanars: Amadeu i Cia.
  • SCIC (1973-2017). Cançoners del Secretariat de Corals Infantil de Catalunya. Volums 1-9. Barcelona: SCIC.
  • Stannard. K. (2003). Junior Voiceworks 1: 33 songs for children. Oxford University Press.
  • Stannard. K. (2007). Junior Voiceworks 1: 33 more songs for children. Oxford University Press.
  • Taltabull, C. [2006(1958)]. Dotze cançons populars de Nadal. Berga: Amalgama Edicions.