28516 - Music Pedagogy (LM)

Course Unit Page

  • Teacher Carla Cuomo

  • Credits 12

  • SSD L-ART/07

  • Teaching Mode Traditional lectures

  • Language Italian

  • Campus of Bologna

  • Degree Programme Second cycle degree programme (LM) in Music and Theatre Studies (cod. 8837)

  • Teaching resources on Virtuale


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

Quality education Gender equality Reduced inequalities Sustainable cities

Academic Year 2021/2022

Learning outcomes

At the end of the course the student: - knows and possesses the fundamentals of Pedagogy and Music Didactics, with particular reference to the Didactics of listening and musical understanding.

Course contents

PART I (first 30 hours)

The first part of the course will deal with the history of the practice of transmitting musical knowledge, with particular attention to:

• the relationship between the History of music (history of art music) and the history of Pedagogy and Didactics of music (history of music teaching);

• the relationship of Musical Pedagogy and Music Didactics with Musicology, on the one hand, and Education Sciences, on the other;

• the interdisciplinary contributions from the various disciplines both musicological and humanistic (philosophical, psycho-pedagogical, anthropological, sociological) to the modern conception of Pedagogy and Didactics of music;

• the most advanced theories and methodologies of teaching in the field of music education.


PART II (second 30 hours)

The second part of the course will have an eminently laboratory character in which some practices of transposition of musical knowledge will be deepened: the teaching of listening, the teaching of production (performance, composition, improvisation), the teaching of the History of music. This will be done through specific tutorials led by tutors. The exercises will aim at the conception, design and implementation of a learning unit ideally aimed at students of various types and levels of schools. The exercises will be useful to develop competences in the didactic planning of musical education courses aimed at understanding music in history and culture.


1. C. Cuomo – G. La Face, Music Pedagogy in relation to Musicology and Educational Sciences: three areas of intervention, con G. La Face, «Arti Musices», vol. 51, 2020, p. 95-104 (la docente renderà disponibile questo titolo sulla piattaforma IOL).

2. G. La Face Bianconi – L. Bianconi, [http://musicadocta.unibo.it/article/view/4046], «Musica Docta. Rivista digitale di Pedagogia e Didattica della Musica», III, 2013, pp. 1-5. On line:


Traduzione inglese: [http://musicadocta.unibo.it/article/view/4301], «Musica Docta. Rivista digitale di Pedagogia e Didattica della Musica», Transmission of Musical Knowledge: Constructing a European Citizenship, Special Issue, 2014, pp. 1-5. On line:


3. G. La Face Bianconi, Il cammino dell’educazione musicale, in Educazione musicale e Formazione, Milano, FrancoAngeli, 2008, pp. 13-25.

4. Paolo Gozza, Modelli storico-culturali dell’Educazione musicale, in Educazione musicale e Formazione, Milano, 2008, pp. 39-46.

5. Fabrizio Della Seta, Musica nella storia e musica come storia, in Educazione musicale e Formazione, Milano, FrancoAngeli, 2008, pp. 379-386.

6. C. Cuomo, Dall’ascolto all’esecuzione. Orientamenti per la Pedagogia e la Didattica della musica, Milano, FrancoAngeli, 2018.

7. C. Cuomo, Educazione musicale artistica nella prima infanzia, Introduzione al numero monografico sulla musica di «RELAdEI – Revista Latinoamericana de Educatión Infantil», X/1, 2021, in corso di pubblicazione.

8. M. Baldacci, La didattica generale come scienza dell’insegnamento, in «Musica e Storia», vol. XIV, n. 3, dicembre 2006, pp. 495-501.

9. M. Baldacci, L’impianto di un curricolo di educazione etico-sociale, in «Pedagogia più Didattica», vol. 7, n. 1, aprile 2021, pp. 4-16. On line:


10. B. Martini, Centralità della dimensione curriculare, in Il curricolo integrato, a cura di B. Martini e M. C. Michelini, Milano, FrancoAngeli, 2020, pp. 57-66.

11. G. La Face Bianconi, La didattica dell’ascolto, in «Musica e Storia», vol. XIV, n. 3, dicembre 2006, pp. 511-541.

12. C. Cuomo - M. R. De Luca, [http://musicadocta.unibo.it/article/view/4023], «Musica Docta. Rivista digitale di Pedagogia e Didattica della Musica», III, 2013, pp. 17-38. On line:


13. Un articolo a scelta tra i due seguenti:

  • P. Fabbri, [https://musicadocta.unibo.it/article/view/5866], «Musica Docta», V, 2015, pp. 5-17. On line:

    https://musicadocta.unibo.it/article/view/5866 ;

  • F. Della Seta, [https://musicadocta.unibo.it/article/view/5865], «Musica Docta», V, 2015, pp. 103-106. On line:


Teaching methods

The course takes place through lectures, which for some in-depth areas will also see the collaboration of some experts, as well as exercises, prepared by specific meetings, under the guidance of tutors.

Assessment methods

During the exam, students must:

1. hold a conference lasting 20 minutes (equal to 12,000 characters, including spaces, if written in writing), on a theme (i.e. a title) chosen by the candidate and introduced, before the presentation, by at least four concepts - key to be declared to the teacher and on which the student has based the preparation of the conference. Even within the framework of the chosen theme, in the preparation of the conference the student will take into account all the examination Bibliography;

2. present a short piece of Western art music and explain how they would introduce students of Early Childhood, Primary or Secondary School to it, level I or II (structural as well as functional and contextual understanding).

PLEASE NOTE - For this test, students who have difficulty preparing it are invited to get in touch with the teacher (in time!), who can also entrust them to specific tutors;

3) report on a concert or show of art music they have recently attended: they are required to sit the examination bringing the concert program (a point on the exam score will be removed for those who do not present themselves with the concert program).To pass this test, students shall:

- historically contextualize the piece;

- describe the overall structure of the piece or focus only one part (e.g. Sonata, Symphony, or individual movements);

- critically evaluate the execution: in this regard, they are invited to carefully prepare the listening from a structural, formal and historical-critical point of view before the concert.

The final examination for the four-year DAMS students will be based on the entire syllabus.

DAMS/Music students attending Musical Pedagogy, who have completed the practical exercises and obtained the relevant certificate, will be exempted from point 2.

It will be assessed as excellent/good the performance of those students achieving an organic vision of the course contents, the use of a proper specific language, the originality of the reflection as well as the familiarity with the tolls for analysing the Musical Pedagogy.

It will be assessed as discrete the performance of those students showing mostly mechanical or mnemonic knowledge of the subject, not articulated synthesis and analysis capabilities, a correct but not always appropriate language, as well as a scholastic study of the Musical Pedagogy. It will be assessed as barely sufficient the performance of those students showing learning gaps, inappropriate language, lack of knowledge of the Musical Pedagogy. It will be assessed as insufficient the performance of those students showing learning gaps, inappropriate language, no orientation within the recommended bibliography and inability to analyse the Musical Pedagogy.

Teaching tools

Any teaching materials will be gradually added to the IOL platform during the course.

Office hours

See the website of Carla Cuomo