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Overview

This module is in two halves: the first offers an introduction to music education research and philosophies, largely through a series of case studies of relevant literature; the second part of the module looks at implementing theories in everyday practice, with a focus on one-to-one and group teaching and assessment. This module will also prepare students to undertake either the Placement module or the Teaching Music Today module in semester 2.

Students will participate in a range of activities which will explore aspects of instrumental/vocal teaching, coaching and direction. They will develop skills of communication and leadership, as well as developing their knowledge of musical styles, genres and repertoires. In addition, students not also taking WMP-4111 Performance I will receive lessons on their own instrument, or, in the case of players of non-Western instruments, on a cognate instrument.

Indicative topics: behaviourism (Ivan Pavlov, John Watson); cognitive / reception method (David Ausubel, Robert Gagne); constructivism / discovery method (Vygotsky, Dewey etc.); humanism (Maslow, Rogers etc.). Methodology would include: critical analysis of theories; exploring how the theories can be applied to music education; using relevant theories to underpin their own teaching practices; using the theories to strengthen their understanding of observed music lessons.

Students will participate in a range of activities which will explore aspects of instrumental/vocal teaching, coaching and direction. They will develop skills of communication and leadership, as well as developing their knowledge of musical styles, genres and repertoires. In addition, students not also taking WMP-4111 Performance I will receive lessons on their own instrument, or, in the case of players of non-Western instruments, on a cognate instrument.

Assessment Strategy

Pass: C– to C+ (50–59%) The crucial achievement is demonstration of a sound grasp of issues relating to music education in theory and practice. However, the mark will be limited to this level by such things as: unoriginal application of a pre-defined methodology, which results in a failure to address its limitations with regard to the subject matter concerned; heavy reliance on and unquestioned use of secondary literature; inability to distinguish the relevant from the irrelevant; poor expression; incompetent bibliographical and footnoting skills. In relevant assignments the lack of a bibliography will merit an automatic fail.

Merit: B– to B+ (60–69%) The distinguishing quality is the demonstration of a robust understanding of issues relating to music education in theory and practice. The work will therefore demonstrate the ability to develop an original and sophisticated argument without intrinsic contradictions and inconsistencies; the application of a robust methodology, ability to diagnose and remedy problems and contradictions within established approaches to teaching music; effective communication of ideas and argument.

Distinction: A– and A (70–83%) The distinguishing quality is the demonstration of novel and original insights into music education in theory and practice. Work of this category will typically result from: the aggregation of a sizeable body of previously unresearched information; the application of a range of methodologies; the development of new pedagogical approaches or their application to new situations; the solution of challenging problems or identification of hidden flaws in established approaches in music education; excellent skills of communication.

Distinction: A+ to A** (84–100%) Work at this level is of a standard that attains or closely approaches professional standards and has the potential to re-define the area or methodological debate in music pedagogy, in theory or practice. The work will demonstrate in a consistent manner all of the features listed in the 70–84% category, and will be of such a quality that it either stands up to publication in a scholarly journal in its submitted state, or demonstrates skills of model professional quality.

Learning Outcomes

• Convey, through demonstration, pedagogical instruction and guidance underpinned by relevant concepts.

• Create an academically informed approach to the teaching of music and musical performance and express it verbally / in writing, as appropriate.

• Demonstrate critical appreciation of different approaches to the teaching of music.