Analysis, Hearing and Creation
Code: 106076 ECTS Credits: 3| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500797 Early Childhood Education | OT | 4 | 1 |
| 2500798 Primary Education | OT | 4 | 1 |
Contact
- Name:
- Cristina Gonzalez Martin
- Email:
- Cristina.Gonzalez.Martin@uab.cat
Teaching groups languages
You can check it through this link. To consult the language you will need to enter the CODE of the subject. Please note that this information is provisional until 30 November 2023.
Prerequisites
Students must demonstrate to have an 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 (students who have already taken it during the 2020-2021 academic year are exempt from this test).
Objectives and Contextualisation
- To promote active listening.
- To encourage interest, respect and aesthetic sensitivity for musical and cultural diversity.
- To encourage critical sense in the face of musical listening to works from different periods, styles, genres and composers.
- To identify the musical elements of a musical work and make didactical approaches.
- To analyze the organization of music discourse, observing the different techniques and compositional procedures.
- To understand the compositional process of a musical work, from the initial idea to the elaboration of the final piece.
- To perform musical productions and make didactical approaches.
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.
- Develop educational proposals that promote perception and musical expression, motor skills, drawing and creativity.
- Incorporate information and communications technology to learn, communicate and share in educational contexts.
- Properly express oneself orally and in writing and master the use of different expression techniques.
- Take account of social, economic and environmental impacts when operating within one's own area of knowledge.
- Work in teams and with teams (in the same field or interdisciplinary).
- Primary Education
- Foster reading and critical analysis of the texts in different scientific fields and cultural contents in the school curriculum.
- Incorporate information and communications technology to learn, communicate and share in educational contexts.
- Know the school's arts curriculum, in its plastic, audiovisual and musical aspects.
- Take account of social, economic and environmental impacts when operating within one's own area of knowledge.
- 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
- Apply the practice of writing, composition analysis and recognition through information and communications technology.
- Be able to work in a team.
- Being able to work together.
- Identify the social, economic and environmental implications of academic and professional activities within one?s own area of knowledge.
- Know and master the elements of musical language on an expression, understanding and creation level.
- Knowing how to explain the main consequences of the effect of teaching the arts on people's cultural, personal and social education.
- Knowing how to listen to and analyse a musical work on a rhythmic, melodic, harmonic and formal level.
- Knowing how to understand, analyse and compare texts belonging to different spheres of thought, culture and the arts with their possible linkages with music.
- Learn to establish relationships between different artistic languages taking theory and praxis of musical activity as a central focus.
- Learn to understand, analyze and compare texts from different domains of thought, culture and the arts with their possible links with the musical event.
- Propose viable projects and actions to boost social, economic and environmental benefits.
Content
- The selection criteria of the musical repertoire.
- Listening and analysis of musical works within their historical, cultural and musical context.
- Analysis and knowledge of the musical elements that make up the musical works.
- Analysis and knowledge of the processes of musical creation and introduction to some compositional techniques.
- Study and knowledge of composers and composers of different periods and styles.
- The processes of musical creation from audition and music analysis.
- Detection of the most perceptible elements to be worked in a didactic way.
- The abortion of musical repertoire to work in primary school.
Methodology
During the theoretical sessions, the active and reflexive participation of the students will be encouraged. Students will also be encouraged to work cooperatively and autonomously through theoretical and practical work, presentations, academic tutorials, etc. Students must be able to obtain information and broaden their knowledge through various sources in order to deepen the contents of the subject. This work will be guided and tutored by the teacher.
SUPERVISED
- Tutoring and other tutoring activities.
AUTONOMOUS
- Search for auditions.
- Performing tasks of musical analysis and creation.
- Theoretical and practical presentations by students.
DIRECTED
- Exhibitions by the teaching staff on the contents of the program.
- Practical activities of listening, analysis and musical creation.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Activities
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Face-to-face with the whole group | 22.5 | 0.9 | 5, 7 |
| Type: Supervised | |||
| Tutored activities | 15 | 0.6 | 9, 5, 7 |
| Type: Autonomous | |||
| Autonomous activities and tasks | 37.5 | 1.5 | 1, 5, 2, 3, 7 |
Assessment
- Attendance at class is necessary because this subject has a practical nature and focuses on the teaching skills of the musical field. Attending class makes possible to observe and analyse the teaching model and the didactical process, which we consider fundamental to being able to successfully complete the subject.
- It is necessary to show an attitude compatible with the educational profession, developing basic skills such as participation, cooperation, empathy, argumentation and respect for others. The student has to prove to be responsible and rigorous in self-employed work, show critical thinking and behaviors that promote a friendly and positive, democratic environment where differences are respected.
- The active, positive and creative participation of the students will be valued in the classes. The degree of participation and the level of reflection of the contributions will be valued in the debates.
- In accordance with UAB regulations, plagiarism or copying of any work will be penalized with a 0 as a mark for this work, losing the possibility of recovering it, whether it is individual or group work (in this case, all group members will have a 0).
- If, while doing individual work in class, the teacher considers that a student is trying to copy or discovers some type of document or device not authorized by the teacher, the work will be graded with a 0, with no option for recovery.
- The course can only be passed if the different parts of the course are approved.
Specification of continuous evaluation
|
Evaluation activity |
Typology of activities |
Evaluation date |
Recovery date |
|
Elaboration of the repertoire related to classroom topics (25%) |
Individual |
September, October and November 2023 |
|
|
Listening and composing task (20%) |
Collective |
17/01/2024 |
|
|
Listening and composition exam (35%) |
Individual |
20/12/2023 |
07/02/2024 |
|
|
|
|
The failed evaluation task could be recovered during january 2024. |
Specification of single evaluation
|
Evaluation activity |
Typology of activities |
Evaluation date |
Recovery date |
|
Elaboration of the repertoire related to classroom topics (25%) |
Individual |
20/12/2023 |
|
|
Listening and composing task (20%) |
Individual |
20/12/2023 |
|
|
Listening and composition exam (35%) |
Individual |
20/12/2023 |
|
|
|
|
|
The failed evaluation task could be recovered on 07/02/2024 |
To pass this course, the student must show a good general communicative competence, both orally and in writing, and a good command of the language or languages spoken in the teaching guide. In all the activities (individual and in group) will take into account, therefore, the linguistic correction, the writing and the formal appearances of presentation. Students must be able to express themselves fluently and correctly and must show a high degree of comprehension of academic texts. An activity can be returned (not evaluated) or suspended if the teacher considers that he / she does not meet these requirements
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Listening and composing task | 40 | 0 | 0 | 1, 9, 5, 2, 3, 10, 7, 6, 8 |
| Listening and composition exam | 35 | 0 | 0 | 9, 5, 10, 7, 6 |
| Repertoire list | 25 | 0 | 0 | 1, 9, 4, 11, 10, 6, 8 |
Bibliography
Barniol, E. (2000). La formació de l'oient: Una tasca educativa en la perspectiva del segle XXI. Comunicació Educativa: revista d’ensenyament de les comarques meridionals de Catalunya, 13, 39-46. Disponible a: https://revistes.urv.cat/index.php/comeduc
Bennett, R. (1998). Investigando los estilos musicales. Akal.
Botella, A. M., i Marín, P. (2016). La utilización del musicomovigrama como recurso didáctico para el trabajo de la audición atenta, comprensiva y activa en educación primaria. Cuadernos de música, artes visuales y artes escénicas, 11(2), 213-235. Disponible a: https://roderic.uv.es/handle/10550/58594
Burnard, P. (2016). Rethinking ‘musical creativity’and the notion of multiple creativities in music. A O. Òdena (ed), Musical creativity: Insights from music education research (pp. 27-50). Taylor & Francis Group. Disponible a ProQuest Ebook Central: https://ebookcentral.proquest.com/lib/uab/detail.action?docID=823580.
Copland, A. (1994). Como escuchar la música. Fondo de Cultura Económica.
Droe, K. (2006). Music preference and music education: A review of literature. Update: Applications of Research in Music Education, 24(2), 23-32. Disponible a: https://journals.sagepub.com/home/upd
Giráldez, A. (coord.) (2015). De los ordenadores a los dipositivos móviles: Propuestas de creación musical y audiovisual. Barcelona: Graó. Disponible a través de: https://csuc-uab.primo.exlibrisgroup.com/permalink/34CSUC_UAB/1eqfv2p/alma991005782259706709
Gluschankof, C. (2017). Crear con la voz / crear con objetos e instrumentos: aspectos teóricos. A C.Gluschankof i J. Pérez-Moreno (eds), La música en Educación Infantil. Investigación y práctica (pp. 123-139). Madrid: Dairea.
Malagarriga, T. (2017). La creación musical en la etapa de educación infantil: propuestas prácticas. A C.Gluschankof i J. Pérez-Moreno (eds), La música en Educación Infantil. Investigación y práctica (pp. 141-150). Dairea.
Malagarriga, T., i Valls, A. (2003). La audición musical en la Educación Infantil. CEAC.
Paynter, J. (2000). Making progress with composing. British Journal of Music Education, 17(1), 5-31.
Rius, R. (2020). L'escolta musical: Jeanne Hersch i la miniatura d'eternitat. Compàs d'amalgama, 2, 64-67.
Schafer, R. M. (1965, 1969, 1975). El compositor en el aula / El nuevo paisaje sonoro / El rinoceronte en el aula. Un manual para el maestro de música moderno. Ricordi Americana.
Tranchefort, F. (2002). Guia de la música sinfónica. Alianza Editorial.
Vella, R. (2003). Sounds in space, sounds in time. Boosey & Hawkes Music Publishers Limited.
Wiggins, J. (1990). Composition in the Classroom: A Tool for Teaching. Reston. MENC.
Wuytack, J., & Boal-Palheiros, G. (2009). Audición musical activa con el musicograma. Eufonía: Didáctica de la música, 47, 43-55.
Software
This subject mainly uses software related to listening to music, specifically the Spotify platform.