Degree | Type | Year |
---|---|---|
Early Childhood Education | OB | 4 |
You can view this information at the end of this document.
The subject “Didàctica de la Música en l'Etapa d'Educació Infantil I” (3rd course) has to be passed.
Presentation:
The aim of this subject is to show the importance of music education in early childhood while giving adequate resources and models.
Although emphasising the didactic training, the musical and cultural training of the students will be taken into account as a foundation of a good teacher’s training.
Goals:
- To develop abilities and knowledge to discover, understand and enjoy music and to use it in the classrooms
- To develop resources that ensure different music education learning situations
- To acquire criteria on early childhood music education as a foundation of communication and as a basic learning tool
- To observe and analyse musical experiences of 0 to 6 year-old-children in order to understand the role of music in their development
- To design, implement and evaluate musical activities
1.Foundations and musical practice
1.1. Musical practice and analysis of music making, listening and performing activities to develop the own ones autonomously
1.2. Repertoire of musical pieces, songs and nursery rhymes and analysis of their musical elements
1.3. Use of multimodality for music understanding and expression
1.4. Develop criteria for early childhood music education
2. Early Childhood Music Education
2.1. Knowledge of the music area in the early childhood Curriculum
2.2. Design, application and evaluation of music activities.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Masterclass | 12 | 0.48 | 1, 13, 6, 12 |
Seminars | 18 | 0.72 | 1, 13, 6, 4, 5, 3, 12, 8, 15, 10, 16 |
Type: Supervised | |||
Supervised activities and meetings | 20 | 0.8 | |
Type: Autonomous | |||
Assignments | 35 | 1.4 | 1, 2, 13, 7, 6, 9, 4, 5, 11, 3, 12, 8, 15, 10, 14, 16 |
Musical practice and study time | 15 | 0.6 | 1, 13, 8 |
Based on practical proposals and classroom activities, didactic criteria will be constructed and conceptual reflection will be promoted. For these reasons, the involvement and active participation of all students on an ongoing basis is essential.
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 | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Didactic concert (individual) | 10% | 0 | 0 | 2, 13, 11, 12 |
Didactic resources through music: practice and reflexion (individual) | 15% | 0 | 0 | 13, 11, 3, 12, 14 |
Interdisciplinary project Music, movement and other areas (grupal) | 20% | 0 | 0 | 1, 2, 13, 7, 6, 9, 4, 5, 11, 3, 12, 8, 15, 10, 14, 16 |
Interdisciplinary project: Music, movement and other areas (individual) | 20% | 0 | 0 | 1, 2, 13, 3, 12, 16 |
Music didactic resources: planning and praxis (in group) | 15% | 0 | 0 | 2, 13, 5, 12, 10, 16 |
Oral test: songs and nursery rhymes (individual) | 20% | 0 | 0 | 8, 14 |
The assessment consists of different sections, each of which must be passed independently with a score of 3 or higher to calculate the final grade.
Attendance at the sessions is highly recommended, as they are entirely practical and applied, and they develop the necessary skills.
Attitude and active participation during the teaching and learning process are also essential and are part of the evaluation criteria for the activities.
Finally, the student must demonstrate, in the activities proposed to him, good general communicative competence, both orally and in writing, and a good command of the Catalan language. In all activities, linguistic correctness, 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 this requirement. As detailed in the instructions for the tasks (in Moodle), spelling mistakes are penalized.
The planned schedule of deliveries and evaluation actions is as follows:
Group 61:
Group 62:
The resultsof each of the evaluation evidence will be returned to the students within a maximum period of 20 days after their delivery, and a review date will be offered the following days.
There are 2 activities that can be recovered in case of being failed. These are the following: Teaching resources (both individual and group tasks) and the Oral Test, which will be held on February 2 and 3 respectively
The student will receive the grade of "Not evaluable" as long as they have not submitted more than 30% of the evaluation activities.
In the event that the student makesany irregularity that may lead to a significant variation in the grade of an evaluationact (such as plagiarism), this evaluation act will be rated 0, regardless of the disciplinary process that may be instructed.In the event that several irregularities occur in the acts of evaluation of the same subject, the final grade for this subject will be 0. In other words, the use of artificial intelligence (as well as plagium) in the writting exercices will have severous consequences for the subject. It will mean a direct fail of the whole.
SINGLE EVALUATION:
For the single assessment, all the assessment evidence provided for in the continuous assessment must be submitted individually on December 15 (group 61) and December 16 (group 62). For the oral defense of the work, on the day of the interdisciplinary project presentations, they must be presented in the classroom, like the rest of the classmates. The oral song test will also be held on the same day scheduled for the entire group, in December (15 or 16).
The same recovery system will be applied as for the continuous assessment (submitting all the tasks and taking the oral test on February 2 and 3, 2026), and the review of the final grade follows the same procedure as for the continuous assessment.
Most of the following authors are women:
Alsina, P.; Díaz, M. & Giráldez, A. (2008). La música en la escuela infantil (0-6). Barcelona: Graó.
Campbell, P. S. (1998). Songs in their heads. Music and its meaning in children’s lives. New York: Oxford University Press.
Casals, A., Fernández-Barros, A., Casals-Balaguer, M. i Buj, M. [coord.] (2024). Claus de l'educació musical a Catalunya: mirades des de la recerca.Col·lecció Anàlisis i Estudis, núm. 7.Graó.
Casals-Balaguer, M., Capdevila, R., Pérez.Moreno, J. i Arús, E. (2024). Introducció. Claus de l'educació primerenca a Catalunya. A A. Casals et al. (ed), Claus de l'educació musical a Catalunya: mirades des de la recerca (pp. 21-26). Col·lecció Anàlisis i Estudis, núm. 7. Graó.
DeNora, T. (2000). Music in everyday life. Cambridge: Cambridge University Press.
Edo, M., Blanch, S. & Anton, M. (Coord.) (2016). El juego en la primera infancia. Barcelona: Ediciones Octaedro.
Gluschankof, C. & Pérez-Moreno, J. (ed) (2017). La música en educación infantil: investigación y práctica Madrid: Dairea Ediciones
Huntinen-Hildén, L. & Pitt, J. (2018). Taking a Lerner-Centred Approach to Music Education. Pedagogical Pathways. London: Routledge.
Malagarriga, T. (2008). Dites i cançons instrumentades per als més petits. Barcelona: Amalgama.
Malagarriga, T. & Martínez, M. (2006). Els músics més petits (4 anys i 5 anys; 2 vol.). Barcelona: Dinsic Publicacions Musicals.
Malagarriga, T. & Martínez, M. [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. Barcelona: Dinsic Publicacions musicals.
Malagarriga, T.; Pérez, J.; Ballber, L. & Roca, C. (2011). Tireu confits! Propostes per a fer música amb infants de 0 a 3 anys. Volum I, Els més petits. Barcelona: Amalgama.
Malagarriga, T. & Valls, A. (2003). La audición musical en la Educación Infantil. Propuestas didácticas. Barcelona:Ediciones CEAC.
Pérez-Moreno, J. (2024). Música compartida y desarrollo harmónico en las primeras edades. Eufonía. Didáctica de la música, 100, 19.
Viladot, L. 2017. El rol del adulto en el proceso de enseñanza-aprendizaje de la música: consideraciones teóricas desde la perspectiva socio-constructivista. A C. Gluschankofi J. Pérez-Moreno(eds), La música en Educación Infantil. Investigación y pràctica (p. 157-166). Madrid: Dairea.
Viladot, L. i Pérez-Moreno, J. 2017. Sandra y Sónia: el rol de las maestras en el aula de música: consideraciones prácticas. A C. Gluschankof i J. Pérez-Moreno (eds), La música en Educación Infantil. Investigación y pràctica (p. 167-173). Madrid: Dairea.
Viladot, L. i Pérez-Moreno, J. 2016. ...pon-hi un cucu per l'Anton!: una passejada pel joc musical a l'etapa infantil. A M. Edo, S. Blanch i M. Anton (coord), El Joc a la primera infància(p. 153-162). Barcelona: Octaedro.
Valls,A. & Calmell, C. (2010). La música contemporània catalana a l’escola. Barcelona: Dinsic.
Young, S. (2009). Music 3 – 5. Oxon: Routledge.
Young, S. (2003). Music with the under-fours. London: Routledge.
Song books
https://sites.google.com/a/blanquerna.url.edu/calaix-de-music/
http://www.telermusica.com/ca
Spotify
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 |
---|---|---|---|---|
(SEM) Seminars | 611 | Catalan | first semester | morning-mixed |
(SEM) Seminars | 612 | Catalan | first semester | morning-mixed |
(SEM) Seminars | 613 | Catalan | first semester | morning-mixed |
(SEM) Seminars | 621 | Catalan | first semester | afternoon |
(SEM) Seminars | 622 | Catalan | first semester | afternoon |
(SEM) Seminars | 623 | Catalan | first semester | afternoon |
(TE) Theory | 61 | Catalan | first semester | morning-mixed |
(TE) Theory | 62 | Catalan | first semester | afternoon |