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Didactics of Music

Code: 100650 ECTS Credits: 6
2025/2026
Degree Type Year
Musicology OT 3
Musicology OT 4

Contact

Name:
Mauricio Rey Garegnani
Email:
mauricio.rey@uab.cat

Teachers

Mauricio Rey Garegnani

Teaching groups languages

You can view this information at the end of this document.


Prerequisites

- Interest in music teaching and learning
- Willingness to learn through instrumental and vocal practice
- Reflective capacity regarding music education

 

 


Objectives and Contextualisation

This subject will show the prominent role that music should play in the secondary education stage, as well as the contribution of models and resources in that context. To do this, an approach will be made to didactic processes adjusted to the particularity of musical practice in the classroom. 
The following objectives are proposed:
  • Approach the skills and knowledge that allow you to discover, know and enjoy music, and use it in the teaching task.
  • Recognize the value of musical practice and education as a carrier of social and cultural meanings
  • Approach the resources and methodological strategies related to classroom musical practice
  • Know the legal and training framework of formal learning in our context
  • Be part of and carry out a collective project in which musical expression has a central role

Competences

    Musicology
  • Act with ethical responsibility and respect for fundamental rights and duties, diversity and democratic values.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  • Students must develop the necessary learning skills to undertake further training with a high degree of autonomy.
  • Students must have and understand knowledge of an area of study built on the basis of general secondary education, and while it relies on some advanced textbooks it also includes some aspects coming from the forefront of its field of study.
  • Value the role of music in integrated training of the individual and its presence in society as a whole .

Learning Outcomes

  1. Acquire skills for the organisation of working groups with adequate planning, division of tasks and methodological flexibility.
  2. Adcquire criteria for the production, selection and use of materials for music teaching.
  3. Analyse musical curricula in compulsory education and in further education and turn them into sequences of teaching activities work programmes.
  4. Applying the knowledge of cultural variability and its genesis to avoid ethnocentric projections.
  5. Assess the impact of the difficulties, prejudices and discriminations that actions or projects may involve, in the short or long term, in relation to certain persons or groups.
  6. Confirm the educational, cultural and emotional value of music and of the content of this discipline taught in compulsory education and in further education, and fir this content into the framework of science, culture and art.
  7. Critically analyse the principles, values and procedures the govern professional practice.
  8. Design and carry out formal and non-formal musical activities which contribute to making the school a place for participation and a meeting point for the promotion of culture in situ.
  9. Design and plan learning spaces where musical practice, reception and listening constitute the instrumental means for critical and aesthetic training of the musical ear.
  10. Develop and promote the crossover between the content of the musical area proper and others from other areas of knowledge.
  11. Establishing relationships between science, philosophy, art, religion, politics, etc.
  12. Evaluate the theoretical-practical developments of the teaching and learning of music.
  13. Explain the code of practice, whether explicit or implicit, in one's own area of knowledge.
  14. Identify adequate teaching tools for the educational transfer of musicological knowledge acquired.
  15. Identify specific contexts and situations in which it is possible to apply the different content which makes up the music curriculum in compulsory education and in further education.
  16. Make a detailed assessment of the capacity for working in homogeneous or interdisciplinary research teams.
  17. Produce correct, precise and clear argumental and terminological writing of knowledge acquired, both in the area of musical specialisation and dissemination.
  18. Solve problems of a methodological nature in the area of musicology.
  19. Solving problems autonomously.
  20. Summarising acquired knowledge about the origin and transformations experienced in its several fields of study.
  21. Understand evaluation as an instrument of regualtion and a stimulus of effort, and know and develop strategies and techniques for the evalution of music learning.
  22. Use ICT and integrate the technology in the music teaching and learning process.

Content

1.1 Music Education and Thinking

  • Music, Education, and Thinking

  • Teacher Profile

1.2 Organization of Teaching, Curriculum Design, and Planning

1.3 Classroom Strategies and Resources

  • Vocal and Instrumental Practice

  • Methodologies

  • Inclusion and Student Management

  • Technology in the Classroom


Activities and Methodology

Title Hours ECTS Learning Outcomes
Type: Directed      
Development of activities guided by the teacher 45 1.8 2, 7, 3, 15, 6, 10, 14, 8, 21, 11, 13, 20, 22, 5
Exposition of the group project 20 0.8 2, 1, 7, 3, 4, 16, 12, 17, 15, 6, 10, 14, 8, 9, 21, 11, 19, 22, 5
Type: Supervised      
Personal and group supervision 10 0.4 2, 14, 19, 18
Type: Autonomous      
Design, development and preparation of the presentation of the project (work group) 40 1.6 2, 3, 12, 17, 10, 14, 8, 9, 21, 19, 18, 5
Making the reflection video 10 0.4 2, 7, 4, 15, 6, 14, 21, 11, 13, 19, 22, 5
Preparation for the written Test 18.7 0.75 2, 3, 17, 19, 18, 20, 22 

The classroom methodology is essentially procedural, so it requires active participation of the student, both for instrumental and vocal practice, as well as in the joint reflections and cases presented in class.
A field trip is planned to take place at a secondary school near the UAB.

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.


Assessment

Continous Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Case study on ICT 10% 0.15 0.01 2, 15, 8, 19, 22
Classroom activities 10% 0.15 0.01 1, 6, 14, 11, 20
Evaluation written test (individual) 20% 1.9 0.08 3, 12, 17, 15, 6, 10, 14, 9, 21, 19, 18
Project (group work) 50% 3.3 0.13 2, 1, 16, 12, 15, 6, 14, 8, 9, 19
Video reflexion (individual) 10% 0.8 0.03 2, 7, 4, 6, 11, 13, 20, 5

Attitude, participation and attendance

Students' attitude and active participation throughout the teaching and learning process are essential and required in order to pass the course.

Lack of participation or low engagement in the proposed activities will be interpreted as a lack of interest in learning and, consequently, as an inability to develop the required competences. Attendance is also essential, as all sessions are practical and applied in nature.

Students who unjustifiably miss three or more sessions will have two points deducted from their final grade.

Assessment evidence

Assessment is based on different components, all of which must be passed independently with a minimum grade of 3 in order to calculate the final mark. These components include:

  • Individual tasks

  • Group project

  • Written test

Only the written test can be resat, and only if the grade obtained is below 3. If the grade is 3 or higher, the weighted average will be calculated directly. Students will receive a “Not assessable” mark if they do not complete both the group project and the written test, in either the continuous or single assessment mode.

Single assessment

Single assessment does not exempt students from attending sessions. Those choosing this option must submit the same assessment evidence as in continuous assessment, with the understanding that the group project must be completed individually.

  • Submission date for tasks: on the day when group oral presentations begin (the student must also present their project to the class group).

  • Written test (case study and questionnaire): in the immediately following session, always within the regular course schedule.

The same resit system as in continuous assessment applies: only the written test can be resat, and only if the mark is below 3/10. Final grade review follows the same procedure as in continuous assessment.

Other considerations

To pass the course, students must demonstrate good general communication skills, both oral and written, and an adequate command of the Catalan language. All activities will be assessed based on linguistic accuracy, clarity of writing, and formal presentation. An activity may be returned (not assessed) or failed if the lecturer considers it does not meet these requirements.

Copying or plagiarism in written assignments will result in a mark of 0 for that task, with no option for resubmission.

In this course, the use of Artificial Intelligence (AI) technologies is permitted as an integral part of the development of the work, provided that the final result reflects a significant contribution from the student in terms of analysis and personal reflection.The student must clearly identify which parts were generated using such technology, specify the tools used, and include a critical reflection on how these tools influenced the process and the final outcome of the activity. Lack of transparency in the use of AI will be considered a breach of academic integrity and may result in a grade penalty or more severe sanctions in serious cases.

Any irregularity that significantly affects the grading of an assessment activity will result in a mark of 0 for that activity, regardless of any disciplinary measures that may apply. If multiple irregularities are detected within the same course, the final grade will be 0.


Bibliography

The references used in this course are mostly by female authors:

ARNAUS, MARIA ÀNGELS, CALMELL, CÈSAR, CAPDEVILA, REINA, & RIERA, SANTI (Eds.). (2022). Història de la pedagogia musical a Catalunya (1a ed.). Biblioteca de Catalunya.

CARRILLO, CARMEN i FLORES, MARIA A. (2018). Veteran teachers’ identity: what does the research literature tell us?. Cambridge Journal of Education, 48(5), 639-656.

CARRILLO, CARMEN; VILADOT, LAIA i PÉREZ-MORENO, JÈSSICA (2017). Impacto de la Educación Musical: una revisión de la literatura científica. Revista Complutense de Investigación en Educación Musical, 14, 61-74. https://revistas.ucm.es/index.php/RECI/article/view/54828/52004

CASALS, ALBERT; FERNÁNDEZ-BARROS, ANDREA i VILADOT, LAIA (2024). Claus de l’educació musical a l’educació bàsica. A A. Casals, A. Fernández-Barros, M. BujiM. Casals (Coords). Claus de l’educació musical a Catalunya: mirades des de la recerca. Graó Editorial.  

CASALS, ALBERT i VILADOT, LAIA (2021). La educación musical sube al escenario. A J.L. Aróstegui, G. Rusinek y A. Fernández-Jiménez (coord.). Buenas prácticas docentes en centros de Primaria y Secundaria que educan a través de la música (pp. 71-95). Octaedro. 

CASAS, AMALIA i POZO, J. IGNACIO (2008). ¿Cómo se utilizan las partituras en la enseñanza y el aprendizaje de la música? Cultura y Educación, 20 (1), 49-62.

DELALANDE, FRANÇOIS; VIDAL, JACK; REIBEL, GUY (1995). La música es un juego de niños. Ricordi Americana. [obra original de 1984].

ESCODA, JOAN i GONZÁLEZ-MARTÍN, CRISTINA (2020). Conèixer l’altre: una mirada intercultural des de l’aula de música. Temps d’Educació, 58, pp. 159-178. https://www.raco.cat/index.php/TempsEducacio/article/view/376893

FLORES, SUSANA (2007). Principales acercamientos al uso de la música popular actual en la Ed. Secundaria. Revista Electrónica de LEEME (Lista Europea Electrónica de Música en la Educación), (19). http://musica.rediris.es

FREIXA, MONTSE (2017). Professorat novell: Competències docents a l’inici de l’exercici professional. Barcelona: Agència per a la Qualitat del Sistema Universitari de Catalunya (AQU).

GARCIA-PEINAZO, DIEGO (2017). ¿Nuevos “clásicos básicos” en educación musical? De la canonización a la audición activa de las músicas populares urbanas en (con)textos didácticos específicos. Revista Electrónica de LEEME, (40), 1–18. https://doi.org/10.7203/LEEME.40.109 

GLUSCHANKOF, CLAUDIA i PÉREZ-MORENO, JÈSSICA. (ed) (2017). La música en educación infantil: investigación y práctica. Dairea Ediciones

GONZÁLEZ-MARTÍN, CRISTINA i VALLS, ASSUMPTA (2010). Músiques del món i treball per projectes. Dins: Actes del CiDd: II Congrés Internacional de Didàctiques. http://hdl.handle.net/10256/2856

GONZÁLEZ-MARTÍN, CRISTINA i VALLS, ASSUMPTA (2018). Los proyectos de trabajo en el área de música: una metodología de enseñanza-aprendizaje para afrontar los retos de la sociedad del siglo XXI. Revista ElectrónicaComplutense de Investigación en Educación Musical, 15, 39-60. https://revistas.ucm.es/index.php/RECI/article/view/56849/4564456548350

GREEN, LUCY (1997). Music, gender, education. Cambridge University Press. 

LAMONT, A. (2011). The beat goes on: music education, identity and lifelong learning. Music EducationResearch, 13(4), 369–388.

MALAGARRIGA, TERESA i MARTÍNEZ, MARIONA [eds.] (2010). Tot ho podem expresar amb música. Els nens i nenes de 4 a 7 anys pensen la música, parlen de música, fan música. Dinsic Publicacions Musicals.

MARTÍ, JOSEP (2000). ¿Qué música es necesario enseñar en las escuelas? En: Más allá del Arte: La música como generador de realidades sociales. Deriva.

MARTÍ, JOSEP (2002). Ensenyament musical i sensibilitat pluricultural. Institut de Ciències de l’Educació, Universitat de Barcelona. Comunicació presentada a les IV Jornades de Música. 

MARTÍN, XUS (2006). Investigar y aprender cómo organizar un proyecto. Horsori.

NADAL, NATÀLIA (2007). Músicas del mundo. Una propuesta intercultural de educación musical. Barcelona: ICE

PEÑALBA, ALICIA (2016)  Defensa de la educación musical desde las neurociencias, en Revista Electrónica Complutense de Investigación en Educación Musical, 14, 109-127

QUIÑONES-RAMÍREZ, FÉLIX. A.; DURAN, DAVID i VILADOT, LAIA (2022). Aprendizaje musical a través de la docencia compartida con estudiantes de secundaria. Revista DEBATES - Cadernos do Programa de Pós-Graduação em Música, 26(2), 102-125. http://seer.unirio.br/revistadebates/article/view/12167

SCHAFER, MURRAY (1996). El nuevo paisaje sonoro. Buenos Aires: Ricordi Americana. [obra original de 1969].

SMALL, CRISTOPHER (1989). Música, Sociedad y Educación. Alianza.

SWANWICK, KEITH (1998). Música, Pensamiento y Educación. Morata. 

VILADOT, LAIA; JÁUREGUI, ÀLEX I REY-GAREGNANI, MAURICIO (2024). ¿Qué necesita el profesorado de música en sus incios de ejercicio profesional? publicado en Libro de actas  CIMIE24 de AMIE licenciado     bajo Creative Commons 4.0 International License. Disponible en https://amieedu.org/libros-de-actas-de-cimie/

VIÑAS, MARIA FERNANDA.; CASALS, ALBERT i VILADOT, LAIA. (2022). Emerging critical events in creative processes involving music, dance and mathematics in the school. International Journal of Music Education,  40(2), 228-243. https://doi.org/10.1177/02557614211050996   

ZARAGOZÁ, JOSEP LLUIS. (2024). Las competencias musicales en primaria y secundaria: transcendiendo los límites del aula de música. Barcelona: Graó.

 

 

Software

The software will be adapted to the needs of the students.

RECOMMENDED WEB PAGES WITH DIDACTIC RESOURCES:

https://webs.uab.cat/musicaieducacio/

https://sites.google.com/view/dacatra/inici 

https://www.telermusica.com/ca 

 


Groups and Languages

Please note that this information is provisional until 30 November 2025. You can check it through this link. To consult the language you will need to enter the CODE of the subject.

Name Group Language Semester Turn
(PAUL) Classroom practices 1 Catalan second semester morning-mixed
(TE) Theory 1 Catalan second semester morning-mixed