06504 - Musical Education Methodology

Course Unit Page

SDGs

This teaching activity contributes to the achievement of the Sustainable Development Goals of the UN 2030 Agenda.

Good health and well-being Quality education Life on land

Academic Year 2018/2019

Learning outcomes

The course and the laboratory aim to provide theoretical and practical tools for music education in kindergarten and primary school. At the end of the course, the student knows some aspects of the professional profile of the generalist teacher in basic music education and has some tools to critically reflect on her/his musical knowledge; Possesses some basic musical skills (understand and analyze some aspects of musical language, produce some musical sequences and sound objects); Knows some elements of children musical development, some theories about musical creativity and some examples of creative musical technologies; some methodological proposals for music education in kindergarten and primary school and knows how to use it to design a music education path.

The course of 2018-2019 will be devote to Monique Frapat.

Course contents

COURSE CONTENTS

1. The professional profile in music education of the generalist teacher in primary and kindergarten school.
2. The teacher's basic musical skills: to understand, to produce, and to perceive
3. Social representations of music of teachers
4. Child musical development.
5. The MIROR platform for children's musical and motor creativity
6. Methodological proposals for musical education in kindergarten and primary school.
7. Analysis of the "Indicazioni nazionali per il curricolo della scuola dell'infanzia e del primo ciclo di istruzione".

INVITED LECTURES:

- 27 FEBRUARY: Prof. Tiina Selke, University of Tallinn, Estonia "Music education in Estonia: from kindergarten to gymnasium"

- 10 APRIL: Prof. Adriana Gallicchio, University de los Andes, Venezuela "La metodologia dalcroziana"

 

THE MUSIC LABORATORY
The MUSIC laboratory lasts 8 hours and aims to offering students practical musical activities, involving the body, voice, objects and musical instruments. The activities that will be proposed are designed in the light of the concrete teaching and learning contexts in the kindergarten and primary school. Laboratory activities are an integral part of the course, particularly with regard to points 2 and 6 of the Program / Content.

Each student must attend 1 laboratory of 8 hours and carry out several homework.

The attendance to the music laboratory entitles you to 1 point that will be added to the final exam. 

To see the dates of the labs and subscribe to the laboratory, use Almaesami.
IMPORTANT: for the students who fail to attend the workshop in February / April 2019 will be organize a laboratory in June / July 2019.
IMPORTANT: The professors of the course and of the laboratories do not care of the organization and registration. Then they will not be able to respond to emails with requests for dates, schedule changes, enrollment, etc.
FURTHER INFORMATION ON ORGANIZATION AND REGISTRATION: For information on organization and lab registration, if not available on the University portal, students must contact the Secretariat.

Readings/Bibliography

Students attending course:

- Addessi A.R. (2004). "Le competenze musicali e professionali degli insegnanti della scuola di base". In A. Coppi (cur.). REMUS: studi e ricerche sulla formazione musicale. Atti e Documenti. Morlacchi, Perugia, pp. 9-23.

- Addessi A.R. (2010). Una indagine empirica sui saperi musicali impliciti degli studenti di Scienze della Formazione di Bologna. In Addessi et Al. (a cura di), Con-scientia musica. Contrappunti per Rossana Dalmonte e Mario Baroni. LIM: Lucca, pp. 427-450.

Addessi, A.R. (a cura di)(2015). La piattaforma MIROR. Proposte didattiche per la creatività musicale e motoria in ambienti riflessivi. Bologna: Bononia University Press.

- Frapat M. (1994). L'invenzione musicale nella scuola dell'infanzia, Junior, Bergamo.

- Imberty M. (2000). ”Il ruolo della voce materna nello sviluppo musicale del bambino”, Musica Domani, XXX/114, pp. 4-10.

- Tafuri J. (1995). Educazione musicale. Teorie, metodi, pratiche, EDT, Torino, pp. 60-fine.

- "Indicazioni nazionali per il curricolo della scuola dell'infanzia e del primo ciclo distruzione", pp. 20 e 58-59 (MIUR, 2012: http://www.indicazioninazionali.it/documenti_Indicazioni_nazionali/indicazioni_nazionali_infanzia_primo_ciclo.pdf).

Further references will be given during the course.

In order to qualify for the exam, students attending the course must attend at least 40 hours out of 48 (with supplementary reading/activities agreed with lecturer).

 

Students not attending the course:

- Addessi A.R. (2004). "Le competenze musicali e professionali degli insegnanti della scuola di base". In A. Coppi (cur.). REMUS: studi e ricerche sulla formazione musicale. Atti e Documenti. Morlacchi, Perugia, pp. 9-23.

- Addessi A.R. (2010). Una indagine empirica sui saperi musicali impliciti degli studenti di Scienze della Formazione di Bologna. In Addessi et Al. (a cura di), Con-scientia musica. Contrappunti per Rossana Dalmonte e Mario Baroni. LIM: Lucca, pp. 427-450.

Addessi, A.R. (a cura di)(2015). La piattaforma MIROR. Proposte didattiche per la creatività musicale e motoria in ambienti riflessivi. Bologna: Bononia University Press.

- Baroni, M. (2004). L'orecchio intelligente.Guida all'ascolto di musiche non familiari. LIM, Lucca (il II capitolo e 5 schede di ascolto).

- Frapat M. (1994). L'invenzione musicale nella scuola dell'infanzia, Junior, Bergamo.

- Imberty M. (2000). ”Il ruolo della voce materna nello sviluppo musicale del bambino”, Musica Domani, XXX/114, pp. 4-10.

- Tafuri J. (1995). Educazione musicale. Teorie, metodi, pratiche, EDT, Torino, pp. 60-fine.

- "Indicazioni nazionali per il curricolo della scuola dell'infanzia e del primo ciclo distruzione", pp. 20 e 58-59 (MIUR, 2012: http://www.indicazioninazionali.it/documenti_Indicazioni_nazionali/indicazioni_nazionali_infanzia_primo_ciclo.pdf).


Un testo a scelta fra i seguenti:

- Addessi A.R. (1999). “Prospettive psicologiche sulle scritture musicali spontanee”, in F. Ferrari (cur.), Scrivere la musica. Per una didattica delle notazioni, EDT, Torino, pp. 91-118.

- Addessi, A.R. & Young , Susan (a cura di )(2009). MERYC2009. Proceedings of the 4th Conference of the European Network of Music Educators and Researchers of Young Children. Bologna: Bononia University Press (1 articolo a scelta dello studente)

- Anceschi Alessandra (2007). Ludus in musica. Carocci Faber, Roma.

- Baroni M. (1997 ). Suoni e significati. Musica e attività espressive nella scuola, EDT, Torino.

- Delalande F. (1993), Le condotte musicali, Clueb, Bologna, pp. 37-84; 151-178.

- Mazzoli F. (2001). C'era una volta un re, un mi, un fa Nuovi ambienti per l'apprendimento musicale, EDT, Torino.

- Due articoli a scelta da : Addessi A.R. (cur.)(2008). Educazione al sonoro nella prima infanzia. Numero monografico di Infanzia, n. 2.

The bibliography is available at the Libraries of the Dipartimento di Scienze dell'Educazione, Via Filippo Re, 6 and of the Dipartimento di Arti Performative e Multimediali (DAVIPEM), via Barberia 4, Bologna.

Teaching methods

For attending students: frontal lessons with slides and video support, analysis and discussion in large and little groups, video analysis, listening and musical activities, e-learning with self-assessment and critical analysis of music education practices.
Participation in the Laboratory will enable students to experience listening and musical practices, according to the pedagogical perspective based on active teaching.

Assessment methods

The exam consists of a questionnaire with true / false, multiple and semi-structured questions. Students have 60 minutes to complete the test.
Students must also prepare and deliver on the day of the exam, a proposal of music education activities (3/4 pages), elaborated in the light of the activities carried out in the Laboratory and the methodological proposals contained in the bibliography of the course. The didactic proposal can be developed individually, both in pairs and small groups (3-max 5 students per group). In the case of working in pairs or in a small group, each student must deliver a copy of the essay which must include the name of all the members of the group on the cover.

Both the course and the music laboratory contribute to the preparation and the assessment. For this raison, the exam must be completed after attending the music laboratory.

The final vote is expressed on base 30 and will be given by the sum of the following scores:
QUESTIONNAIRE: up to 24/30 points (questions from 0.5, 1 and 2 points)
DIDACTIC PROPOSAL: Up to 5/30 points
MUSIC LABORATORY: 1/30 point

Teaching tools

video projector, PC, recorder and cd player, e-Learning platform of the University, musical instruments.

Office hours

See the website of Anna Rita Addessi