Competences developed in the course

Transversal Competences

CT6: Carry out self-criticism regarding one’s own professional and interpersonal practice.

CT7: Use communication skills and constructive criticism in teamwork.

CT8: Develop ideas and arguments in a reasoned and critical manner.

CT9: Integrate appropriately into multidisciplinary teams and diverse cultural contexts.

CT10: Lead and manage working groups.

CT11: Develop, in professional practice, an ethical approach based on aesthetic and environmental appreciation and sensitivity towards diversity.

CT13: Pursue excellence and quality in professional activity.

CT16: Use available means and resources responsibly towards cultural and environmental heritage.

CT17: Contribute, through professional activity, to raising social awareness of the importance of cultural heritage, its impact in different areas and its capacity to generate meaningful values.

General Competences

CG2: Demonstrate appropriate skills for musical reading, improvisation, creation and recreation.

CG7: Demonstrate the ability to interact musically in different types of participatory musical projects.

CG10: Argue and verbally express viewpoints on diverse musical concepts.

CG12: Demonstrate sufficient knowledge of musical phenomena and their relationship with the evolution of aesthetic, artistic and cultural values.

CG13: Know the foundations and structure of musical language and apply them in interpretative, creative, research or educational practice.

CG14: Know the historical development of music in its different traditions from a critical perspective that places the development of musical art within a social and cultural context.

CG17: Be familiar with different musical styles and practices that enable understanding of one’s own field of activity within a broader cultural context and enrich it.

CG19: Know the pedagogical and educational implications of music at different levels.

CG21: Create and shape personal artistic concepts, having developed the ability to express them through assimilated techniques and resources.

CG22: Possess broad and diverse musical resources in order to create or adapt musical pieces, as well as improvise in different contexts based on knowledge of various styles, formats, techniques, trends and languages.

CG23: Value musical creation as the act of giving sonic form to a rich and complex structural thought.

CG24: Develop capacities for self-directed learning throughout professional life.

CG26: Be able to connect one’s own musical activity with other disciplines of scientific and humanistic thought, with the arts in general and with other musical disciplines in particular, enriching professional practice through a multidisciplinary dimension.

Specific Competences

PE2: Develop, select, apply and assess musical teaching/learning activities, materials and resources according to the demands of each educational context, demonstrating versatility in the use of instruments and other musical resources and applying new technologies effectively.

PE3: Know the constituent elements of music, demonstrating a high level of competence in auditory perception, reading, analysis, writing, improvisation and musical creation, and be able to interrelate all these elements in order to apply and use them appropriately in professional practice.

PE4: Acquire technical mastery and expressive ability in performance and in conducting vocal and instrumental ensembles, as a basis for improvisation, creation and experimentation with one’s own instrument, voice and body in specific music teaching and learning situations.

PE5: Be able to develop community-oriented educational music practice as an artist and music educator.

PE8: Actively participate in educational music projects through cooperative work and assume responsibility for developing music education as a collective professional task.

PE9: Design and implement systematic educational assessment processes for students, teachers, programmes and institutions, and use their results as a basis for planning educational improvement.

Learning outcomes (general objectives)

1. Analyse the respective curricula and basic curricular documents applicable to each area of music education and develop the corresponding materials for their implementation in the classroom.

2. Adapt and apply the teaching proposals of different methodologies and approaches in music education to diverse pedagogical situations related to teaching and learning in this educational field.

3. Systematically integrate and interrelate the contents of the subject with those of other music subjects and, where applicable, with non-musical subjects.

4. Expand and complement knowledge of the specialisation through awareness of current pedagogical trends and practices, particularly those applying cooperative models and creative interdisciplinary exchange of ideas.

5. Reflect on and discuss pedagogical practice in order to identify the conditions, interactions and different mechanisms that influence the development of teaching practice.

6. Create musical pieces, fragments or exercises of various kinds that respond to diverse predetermined educational purposes.

7. Assess the interest and suitability of creating musical pieces with specific educational objectives and using them as tools for pedagogical intervention.

8. Understand the environment (people and spaces) through sensory perception, both separately and globally. Enjoy participation in group activities.

9. Cooperate in group work.

10. Collaborate in the development of shared and committed conclusions.

11. Exercise concentration as a resource and working tool for public performances or teaching situations.

12. Produce movement responses as a consequence of a sound impulse and sound responses as a consequence of a movement impulse.

13. Value shared responsibility in collective decision-making processes.

14. Participate as a group member in proposing basic choreographic responses.

15. Recognise the importance of communication through appropriate body expression in the process of music education.

16. Produce and plan creative responses through presentation and/or performance.

17. Perform different body percussion exercises.

18. Appreciate, evaluate and use different visual works as tools for rhythmic composition, performance and interpretation, as well as the concept of form they represent, understood in a broad sense.

19. Apply a wide range of concepts, techniques and resources that enable work on aural awareness, rhythmic sense and emotional perception through games and exercises based on rhythm and body movement.

20. Represent basic rhythmic elements through the body and space: pulse, accents, elementary rhythmic patterns and musical form.

Contents

Methodological guidelines for developing classroom activities. Materials and resources for teaching music inside and outside the classroom. Contextualisation of teaching practice. Design of strategies for teaching and learning specific contents. Teaching methods for school instrumental ensembles. Creativity and its teaching approaches. Diversity of teaching materials and resources. Group music teaching. Design and application of diversified strategies, and development and adaptation of teaching materials for collective and individual instrumental classes. Design of strategies and selection and creation of materials for teaching and learning specific contents at specific educational stages. Use of different compositional techniques with pedagogical applications. Relationship between composed materials, teaching approaches and intended objectives.

Rhythmics. Impulse and response: from movement to sound and from sound to movement. Induction and encouragement of movement and movement accompaniment. Body percussion: sound and gesture. Auditory, visual and holistic-synaesthetic perception. Pulse and accent. Regular, irregular and free rhythm. Polyrhythm, polymetre, rhythmic displacement and ostinato. Organic, natural, mechanical and artificial pulses and rhythms. Common rhythmic models in music from different styles and genres. Rhythm in language: word games, tongue twisters, rhymes and jitanjáforas. Rhythmic cadence in the visual arts (film, theatre and dance). Dynamics and agogics. Rhythmic education within musical training and body movement. Orff instruments.

Body expression. Exploration and body self-awareness of space, time, dynamics, force and form in music and movement. Basic static and dynamic forms of body movement. Movement improvisation. Sensory perception, body expression and sound elements. Concentration, inner hearing, acquisition of automatisms and movement dissociation. Investigation and development of personal expressive, motor and musical possibilities.

Stage play and movement theatre. Stimulation, design and creation of body movement through different compositional guidelines and structures, as well as improvisation. Expressive stimuli of an iconic, sonic and bodily nature for musical awareness and creative stage representation within a framework of integrated art (vocal-instrumental-bodily) and interdisciplinary work. Creation, conception, planning, construction, composition and collective stage presentation. Dissemination, management, documentation, costumes, scenography, props, lighting…

Interaction and communication. Development of activities according to overall development and context. Selection and creation of diverse and appropriate teaching materials and resources for each context. Use of different compositional techniques with pedagogical applications. Relationship between composed materials, teaching methods and intended objectives. Interest, respect, participation, involvement and decision-making. Sensitivity and communication.

Cooperation. Positive social interdependence. Individual and collective responsibility. Face-to-face interaction. Social skills. Evaluation of the process.

Teaching methodology

The teaching-learning methodology consists of lectures (presentation of topics), discussion and seminar sessions, group work sessions and student presentations.

Assessment systems