Degree | Type | Year | Semester |
---|---|---|---|
4310486 Teaching in Secondary Schools, Vocational Training and Language Centres | OT | 0 | A |
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.
No prerequisites
• Recognize the value of musical practice and education as a bearer of social and cultural meanings.
• Learn about different historiographical perspectives to obtain a critical view of the history of music and its application in the classroom.
• Identify the processes underlying the relationships between sociocultural gender categories and musical dynamics in the contemporary Western context.
• Reflect on cultural diversity relating musical systems with their respective contexts of production and reception.
• Reflect on the didactic and methodological implications of the inclusion of technology in classroomsGain a global view of audio and video technology resources and applications aimed at middle and high school music education.
• Acquire basic conducting gestures.
• Learn song repertoire (canons, pieces for 2 and 3 voices) and know how to conduct it.
• Know the characteristics of the voice and the speech apparatus for preventive purposes and for its proper use.
• Improve the emission of the spoken voice as a work tool for teachers.
Part 1: Genre and urban music
T1. Music as a communicative process and value system. Implications in thought and musical activity in the classroom.
T2. Basic concepts of ethnomusicology: enculturation, acculturation; appropriation; gender; social relevance; ethnicity; waste patterns.
T3. Music as a social and cultural fact. The conceptualization of the musical fact from the perspective of cultural diversity and context.
T4. Key concepts around music and genre.
Part 2: Digital competence applied to music education
T1. New learning environments: Teachers, students and digital skills.
T2. TAC: Technology at the service of music education in secondary and high school.
T3. Technology at the service of interpretation and creation in the music classroom.
Part 3: Arrangements and composition
T1. Elements of musical language, musical analysis and its application in arrangements and small compositions.
T2. Compositional techniques and criteria
Part 4: Conducting choirs and ensembles
T1. Conducting gesture for vocal groups with a cappella repertoire, 2 and 3 voices and canons
T2. Conducting gesture for instrumental ensembles
Part 5: Vocal health training for teachers and knowledge of the adolescents' voice.
T1. Adolescents and adults' voice characteristics and speech apparatus.
T2. Practice for improving the emission of the spoken voice as a work tool for teachers.
The module is divided into 5 parts or mini-subjects. It has a seminar format and requires the active participation of the student both in the conceptual sessions and in the practical sessions, which are the majority.
Through practical proposals, the acquisition of different skills for future teaching work will be promoted, as well as reflection on the concepts associated to them.
The assessement and feedback about this 5 parts of the Training Complements - Music module and their teachers will be done during a lesson from the Didactics module.
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.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Directed activities (Face-to-face) | 62 | 2.48 | 1, 3, 5, 4, 6, 7, 8 |
Type: Supervised | |||
Specialized and evaluation tasks | 28 | 1.12 | 9, 1, 2, 3, 5, 4, 6, 8 |
Type: Autonomous | |||
autonomous learning activities | 60 | 2.4 | 9, 1, 2, 3, 5, 4, 6, 7, 8 |
ASSESSMENT ACTIVITIES AND EVALUATION DATES AND EVALUATION OF THE SUBJECT
Tasks and activities for the assessment:
1) Part 1 (15% individual): Written test through moodle during the month of December
2) Part 2 and 3 (35% group): Design and presentation of a classroom activity involving the use of technology.
3) Part 4 (25% individual): sing and direct a song or canon
4) Part 5 (25% individual): reflection on own practice
The teaching staff will return the grades between 15 and 20 working days after the delivery of the assignments.
In order to calculate the weighted average and pass the module, you must obtain a grade of 3.5 or higher in each part. In case of not obtaining the minimum final grade to pass the module, a specific work of the failed part with a lower grade will be required as a recovery mechanism.
To pass this module, the student must demonstrate good general communication skills, both orally, in writing, and with audiovisual language. A good command of the language or vehicular languages listed in the teaching guide is also required. In all activities, linguistic correction, writing and formal aspects of presentation will therefore be taken into account. Students must be able to express themselves fluently and correctly and must show a high degree of understanding of academic texts. An activity can be returned (not evaluated) or suspended if the teacher considers that it does not meet these requirements.
In the event that the student commits any irregularity that could lead to a significant variation in the grade of an assessment act, he will be graded with 0 regardless of the disciplinary process that may be instituted. In the event that several irregularities occur in the evaluation acts of the same module, the final grade for this subject will be 0.
Re-evaluation: may 10.
UNIQUE ASSESSMENT
The single assessment will consist of the following tests on the march 8.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Part 1: Genre and urban music | 15% | 15 | 0.6 | 1, 2, 3, 5, 4 |
Part 2 and 3: Digital competence applied to music education and musical arrangements | 35% | 35 | 1.4 | 9, 1, 2, 3, 5, 6, 7, 8 |
Part 5: Voice education and Vocal health training for teachers | 25% | 25 | 1 | 1, 2, 5, 8 |
Parts 4: Conducting choir and ensembles | 25% | 25 | 1 | 9, 1, 2, 3, 5, 6, 7 |
Ayats, Jaume (2010) Las canciones olvidadas en los cancioneros de Catalunya: cómo se construyen las canciones de la nación imaginada. Jentilbaratz, Cuadernos de folklore. Donostia: Eusko Ikaskuntza.
Beard, David; Gloag, Kenneth (2005) Musicology, the key concepts. New York: Routledge.
Blacking, John (1994) Fins a quin punt l’home és músic?. Vic, Eumo Editorial.
Calmell, Cèsar (2014) “Bases para una filosofía de l'educació musical”, en Tecnología y creación musical. Barcelona: Edmilenio
Cámara de Landa, Enrique (2003) Etnomusicología, Madrid: ICCM.
Clúa, Isabel (2008) "¿Tiene género la cultura? Los estudios culturales y la teoría feminista" en Género y cultura popular, ed. por Isabel Clua. Bellaterra: Edicions UAB, 11-32
Cook, Nicholas (2001) De Madonna al canto gregoriano. Una muy breve introducción a la música. Madrid: Alianza Editorial.
Cruces, Francisco (Ed.) (2001) Las culturas musicales. Madrid: Trotta.
Díaz-Aguado, María José (2018). El aprendizaje cooperativo. De la teoría a la práctica. Madrid: Santillana.
Elliot, David J. (1995) Music matters. A new philosophy of music education. New York: Oxford University Press
Encabo, Enrique (Ed.) (2018) Más allá de la pantalla: Música, sonido e imagen. Sabadell: El Poblet Edicions.
Encabo, Enrique (Ed.) (2016) Música i cultura audiovisual: de la pantalla a l’aula. Murcia: Editum.
Gassull, Cecília; Godall, Pere i Martorell, Montserrat (2004). La veu. Orientacions pràctiques. Barcelona: Abadia edicions
Geertz, Clifford (1973) The Interpretation of Cultures. New York: Basic Books.
Giráldez, Andrea (1998) Del sonido, al símbolo, a la teoría. Eufonía. Didáctica de la Música, 11, 7-14.
Giráldez, Andrea (2010) (Coord.), Música. Complementos de formación disciplinar. Barcelona: Graó.
Green, Lucy (2001) Música, género y educación. Madrid: Ediciones Morata
Hawkins, Stan (ed.) (2017) The Routledge Research Companion to Popular Music and Gender. New York: Routledge
Iglesias, Jesús, González Laura y Fernández-Río, Javier (Coords.) (2017) Aprendizaje cooperativo. Teoría y práctica en las diferentes áreas y materias del currículum. Madrid: Pirámide-Anaya.
Johnson, David W. y Johnson, Roger T. (2014). La evaluación en el aprendizaje cooperativo. Cómo mejorar la evaluación individual a través del grupo. Madrid: Ediciones SM.
MacPherson, Gary (Ed.) (2006) The child as a musician, Oxford: Oxford University press.
Martí i Pérez, Josep (1996). El folklorismo. Uso y abuso de la tradición, Barcelona: Ronsel.
Martí i Pérez, Josep (2000) Más allá del arte. La música como generadora de realidades sociales, Sant Cugat del Vallès, Deriva editorial.
North, Adrian, Hargreaves, David i O'neill, susan. (2010). The importance of music to adolescents. British Journal of Educational Psychology, 70 (2), 255-272.
Ovejero, Anastasio (2018). Aprendizaje cooperativo crítico. Mucho más que una eficaz técnica pedagógica. Madrid: Pirámide.
Pujolàs, Pere. (2009). 9 ideas clave. El aprendizaje cooperativo. Barcelona: Graó.
Ramos, Pilar (2003) Feminismo y música. Introducción crítica. Madrid: Nareca
Rudolph, Thomas E. (1996) Teaching Music With Technology. Chicago: GIA Publications.
Rudolph,Tom; Richmond, Floyd; Mash, David and Williams, David (2002) The Technology Strategies for Music Education. Londres: Hal Leonard Publishing.
Schafer, Murray (1998). El compositor en el aula. Buenos Aires: Ricordi.
Small, Christopher (1980) Música. Sociedad. Educación. Madrid, Alianza editorial. Capítols 1 i 2.
Swanwick, Keith (1998) Música, pensamiento y educación. Morata. Madrid
Vilar, Josep Maria (1994) Recursos per aprendre a escoltar música. Associació de Mestres Rosa Sensat. Barcelona.
Viñuela, Laura y Viñuela, Eduardo (2008). "Música popular y género" en Género y cultura popular, ed. por Isabel Clua. Bellaterra: Edicions UAB, 293-326
BandLab, Finale, Audacity, Musescore.