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: Seek excellence and quality in professional activity.

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

CT17: Contribute through professional activity to social awareness of the importance of cultural heritage, its impact in different areas and its capacity to generate significant 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 personal 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 allow understanding one’s own field of activity within a broader cultural context and enriching it.

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

CG21: Create and shape one’s own artistic concepts, having developed the ability to express oneself through them using acquired techniques and resources.

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

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

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

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

Specific competences:

PE2: Develop, select, apply and evaluate musical teaching/learning activities, materials and resources according to the demands of each educational context, being versatile in the use of instruments and other musical resources and applying new technologies functionally.

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

PE4: Acquire technical mastery and expressive capacity in performance and in the direction of vocal and instrumental ensembles, as a basis for improvisation, creation and experimentation with one’s own instrument, voice and body in specific musical teaching/learning situations.

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

PE8: Actively participate in educational-musical projects through cooperative work and assume responsibility for developing the profession of music education as a collective task.

PE9: Design and carry out systematic educational evaluation processes concerning students, teachers, programmes and institutions, and use their results to plan educational improvement.

Learning outcomes (general objectives)

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

2. Adapt and apply, to different pedagogical situations, the didactic proposals made by different methodologies and lines of thought in music education regarding teaching and learning in this educational field.

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

4. Expand and complement knowledge of the speciality through awareness of current pedagogical trends and practices, especially those that apply cooperative models and creative and interdisciplinary exchange of ideas.

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

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

7. Assess the interest and appropriateness of creating musical pieces with specific educational objectives and use 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 teamwork.

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

11. Practise concentration as a resource and working tool when facing a public performance or a class.

12. Produce motor responses as a consequence of a sound stimulus and sound responses as a consequence of a motor stimulus.

13. Value shared responsibility when making collective decisions.

14. Participate as a member of a group in the creation of 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, value and use different visual artworks as tools for rhythmic composition, execution and interpretation; as well as the concept of form that they reflect, understood in a broad sense.

19. Apply a wide range of concepts and outside the classroom. Contextualisation of the teaching provided. Design of strategies for teaching and learning specific contents. Creativity and its teaching approaches. Diversity of teaching materials and resources. Group music teaching. Design of strategies and selection and creation of materials for teaching and learning specific contents and at specific educational stages. Use of different composition techniques with pedagogical applications. Relationship between composed materials, teaching approaches and, techniques and resources that enable the development of auditory awareness, rhythmic sense and emotional sensitivity through games and exercises based on rhythm and body movement.

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

Contents

Methodological guidelines for the development of classroom activities. Materials and resources for teaching music inside and outside the classroom. Contextualisation of the teaching provided. Design of strategies for teaching and learning specific contents. Creativity and its teaching approaches. Diversity of teaching materials and resources. Group music teaching. Design of strategies and selection and creation of materials for teaching and learning specific contents and at specific educational stages. Use of different composition techniques with pedagogical applications. Relationship between composed materials, teaching approaches and intended objectives.

Rhythmics. Stimulus 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. Most of space, time, dynamics, force and form in music and movement. Basic static and dynamic forms of body movement. Improvisation through movement. Sensory perception, body expression and sound elements. Concentration, inner hearing, acquisition of automatisms and movement 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 the context of 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. Improvisation through movement. Sensory perception, body expression and sound elements. Concentration, inner hearing, acquisition of automatisms and movement dissociation. Exploration and development of one’s own expressive motor and musical possibilities.

Stage play and movement theatre. Provocation, design and creation of body movement through different compositional guidelines and structures, as well as through improvisation. Expressive creation of diverse and suitable teaching materials and resources for each context. Use of different composition techniques with pedagogical applications. Relationship between composed materials, teaching use and intended objectives. Interest, respect, participation, involvement, decision-making. Sensitivity stimuli of an iconic, sound and body movement nature for musical awareness and creative stage representation within a framework of global art (vocal-instrumental-body) and interdisciplinary work. Creation, conception, planning, construction, composition and collective stage presentation. Dissemination, management, documentation, costumes, set design, props, lighting…

Interaction and communication. Development of activities according to individual development and the overall context. Selection and creation of diverse and suitable teaching materials and resources for each context. Use of different composition techniques with pedagogical applications. Relationship between composed materials, teaching use and intended objectives. Interest, respect, participation, involvement, 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 in classes includes lectures (presentation of topics), discussion and colloquium sessions, group work sessions and student presentations of topics.

Assessment systems

The assessment system is based on continuous assessment, founded on diagnostic assessment and specified through summative assessment leading to the final grade. Continuous assessment is carried out through different assessment records derived from specific assessment activities, such as participation and classwork, presentation of assignments in class, completion of assignments and/or readings outside class, submission of written work, or completion of written or oral tests.