Course guide of Music Education (2561138)

Music as a language in Primary Education: perception and expression of the elements of musical language. Music in the Primary School curriculum. Interdisciplinary relationships with other subject areas. Methodology and assessment in Music Education. Musical activities in the school context. Research in Music Education. The relationship between teaching theory and practice. Music Education: school, culture, and society.

• To understand the psycho-pedagogical foundations and methodological principles of Music Education in the Primary Education stage.

• To develop an awareness of the importance of Music Education as both a means and a mediator for the holistic development of children.

• To examine and analyse the Music Education curriculum for Primary Education and establish interdisciplinary connections with other subject areas.

• To become familiar with the different content blocks within the Music Education area and explore various methodological strategies for their implementation in the Primary classroom.

• To design and develop musical teaching proposals for the Primary Education classroom.

• To engage with research in the field of Music Education as a tool for teacher reflection and assessment.

• To explore the interconnections between music, culture, and schooling in contemporary society.

• Unit 1: Music as a Language. Musical perception and expression. Characteristics of sound. Elements of musical language.
• Unit 2: Psychopedagogical Foundations of Music Education. Different paradigms and perspectives in Music Education. The educational value of Music Education. Developmental stages of musical abilities in Primary Education.
• Unit 3: Music in the Primary Education Curriculum. Legislative framework. Structure of the curriculum: competencies, objectives, contents, methodological guidelines, assessment, and attention to diversity. Interdisciplinary approaches to planning in Music Education.
• Unit 4: Research in Music Education. The relationship between teaching theory and classroom practice. Assessment as a process of classroom-based research. The teacher as a researcher. Evaluation and research strategies in the Music Education classroom.
• Unit 5: Music Education: School, Culture, and Society. The social conception of Music Education. Music and mass media throughout history. Music and Information and Communication Technologies.
• Unit 6: Improvisation and Creativity. Basic concepts of improvisation and creativity in Music Education, and their use as pedagogical tools in the Primary classroom.

• Unit 1: Auditory Perception. Discrimination of sound parameters and musical elements. Listening and analysis of musical works. Graphic representation of music: musicograms and analog scores. Introduction to music reading and writing. Selection of activities and resources for active musical listening.

• Unit 2: Rhythmic Education and Movement. Exercises for developing rhythmic awareness through spatial movement, body expression, and rhythm. Dance in the school context: basic choreographies. Selection of activities and resources for rhythmic education and movement.

• Unit 3: Vocal Education and Singing. Development of the voice as an instrument of musical expression. The song as an expressive element. Selection of activities and resources for vocal education.

• Unit 4: Instrumental Expression. Musical instruments in Primary Education: the body, sound objects and self-made instruments, school instruments. Methodology for instrumental expression. Selection of activities and resources for instrumental practice.

• Unit 5: Didactic Intervention in the Classroom. Design of musical activities for the Primary classroom. Development of interdisciplinary resources and strategies for attention to diversity through Music Education.

• Unit 6: Musical Creation and Improvisation. Design of songs, instrumental arrangements, and choreographies as educational resources for Primary Education.

• Alsina, P. (1997). El área de Educación Musical. Propuestas para aplicar en el aula. Graó.
• Aróstegui, J.L. (Ed.) (2014). La música en Educación Primaria. Manual para el profesorado. Dairea.
• Aróstegui, J.L., Rusinek, G. y Fernández-Jiménez, A. (Eds.). (2021). Escuelas Musicales: Buenas Prácticas Docentes en Centros de Primaria y Secundaria que Educan a Través de la Música. Octaedro.
• Aróstegui, J. L., Christophersen, C., Nichols, J., y Matsunobu, K. (Ed.) (2024). The Sage Handbook of School Music Education. Sage.
• Campbell, P.S. Scott-Kassner, C. (2018). Music in Childhood Enhanced: From Preschool through the Elementary Grades. Cengage Learning.
• Cremades, R. (Coord.) (2017). Didáctica de la Educación Musical en Primaria. Paraninfo Universidad.
• Díaz, M. y Giráldez, A. (Coords.) (2007). Aportaciones teóricas y metodológicas a la educación Musical. Graó.
• Díaz, M.T. y Vicente, A. (2015). Fundamentos de la Expresión Musical. Ediciones Artsyntax.
• Hemsy de Gainza, V. (1997). La transformación de la educación musical a las puertas del siglo XXI. Ricordi.
• Frega, A.L. (1996). Música para maestros. Graó.
• Ocaña, A. (2020). La experiencia musical como mediación educativa. Octaedro.
• Pascual, P. (2002). Didáctica de la Música para Primaria. Pearson Educación.
• Small, C. (1987). Música, sociedad, educación. Alianza Música.

• Barenboim D. y Said, E. W. (2002). Paralelismos y paradojas: reflexiones sobre música y sociedad. Debate.
• Benett, R. (2007). Investigando los estilos musicales.Akal. (Libro + 2 CDs)
• Bozzini, F. (2000). El juego y la música: juegos musicales en la escuela. Novedades Educativas.
• Campbell, P.S. (2018). Music, Education and Diversity: Bridging Cultures and Communities. Teacher College Press.
• Díaz Mohedo, M. T., Vicente Bújez, A. y Vicente Bújez, M. R. (2012). Actividades musicales para Primaria.Universidad de Granada.
• Díaz Mohedo, M. T. y Vicente Bújez, A. (2015). Fundamentos de la expresión musical.Ediciones Artsyntax.
• Lines, D. K. (Ed.) (2009). La educación musical para el nuevo milenio.Morata.
• Maneveau, G. (1993). Música y educación. Rialp.
• Olvera-Fernández, J., Ocaña-Fernández, A. y Montes-Rodríguez, R. (2023). Escuchando al estudiantado a través de sus preferencias musicales: Tertulias dialógicas, una oportunidad para una educación musical crítica. Revista Electrónica de Léeme, 52, 178-195. https://ojs.uv.es/index.php/LEEME/article/view/27382
• Orff, C. (1969). Orff-Schulwerk: música para niños. Introducción.Unión Musical Española.
• Palacios, F y Riveiro, L. (1990). Artilugios e instrumentos para hacer música. Ópera Tres.
• San José Huguet, V. (1997). Didáctica de la educación musical para maestros. Piles.
• Storms, G. (2003). 101 juegos musicales: divertirse y aprender con ritmos y canciones. Graó.
• Swanwick, K. (1991). Música, pensamiento y educación.Morata.
• Vicente Bújez, A. y Peláez Molina, L. (2015). Los Alux viajan a la Edad Media. Proyecto educativo musical Alua. Ediciones Artsyntax.
• Vicente Bújez, M. R. (2014). Lenguaje Musical. En Aróstegui J.L. (Ed) La Música en educación primaria. Dairea.
• Willems, E. (1994). El valor humano de la educación musical. Labor.
• Vicente Bújez, A.; Díaz Mohedo, M.T. & Vicente Bújez, M.R. (2015). Actividades musicales paraPrimaria.Secretariado de Innovación Docente. Universidad de Granada.

Revista Eufonía. Didáctica de la Música (https://www.grao.com/revistas/revista-eufonia/)

Revista Música y Educación (http://www.musicalis.es/)

• Midnight Music (midnightmusic.com.au): Digital tools and ideas for music educators.

• Chrome Music Lab (musiclab.chromeexperiments.com): Interactive experiments exploring sound and music.

• Soundtrap for Education (soundtrap.com/edu): Online DAW for collaborative music learning.

• Smithsonian Folkways (folkways.si.edu/tools-for-teaching): World music teaching tools and resources.

• Music Tech Teacher (musictechteacher.com): Games, quizzes, and music theory activities.

• NAfME (nafme.org): U.S. national hub for music education advocacy.

• Music Education Research (tandfonline.com/cmue20): Peer-reviewed journal on music education research.

• Flat for Education (flat.io/edu): Online music notation for classrooms.

• MusicFirst Classroom (musicfirst.com): Cloud-based music learning software suite.

• BandLab for Education (edu.bandlab.com): Free collaborative music creation platform.

• Open Music Theory (openmusictheory.com): Open-source textbook on music theory.

• MERLOT Music Portal (merlot.org): Curated music education resources and materials.

• MD01. Aprendizaje cooperativo. Desarrollar aprendizajes activos y significativos de forma cooperativa. 
• MD02. Aprendizaje por proyectos. Realización de proyectos para la resolución de un problema, aplicando habilidades y conocimientos adquiridos. 
• MD03. Estudio de casos. Adquisición de aprendizajes mediante el análisis de casos reales o simulados. 
• MD04. Aprendizaje basado en problemas. Desarrollar aprendizajes activos a través de la resolución de problemas. 

• Assessment Instruments

  • Written tests: Essays, short-answer questions, objective tests, case studies, problem-solving tasks.

  • Oral assessments: Presentations (individual or group), interviews, debates.

  • Other tools: Portfolios, reports, learning journals, and additional assessment instruments.

• Assessment Criteria

  • Evaluation of students’ mastery of both theoretical and practical content, including their critical engagement with the material.

  • Assessment of individual and group work, considering presentation quality, clarity of expression, structure, scientific rigor, creativity, justification of arguments, depth and quality of critical analysis, and the relevance and currency of consulted bibliography.

  • Students’ involvement and attitude during consultations, presentations, debates, and collaborative or individual work sessions.

  • Attendance (to classes, seminars, conferences, concerts, group activities, etc.), quality of classroom participation, and overall engagement with the course.

• Grading Breakdown

  • Theoretical knowledge: 40%

  • Practical knowledge: 50%

  • Other criteria (attendance, participation, attitude): 10%

Note: To pass the course, students must pass each component independently.

Students who have followed the continuous assessment process will be evaluated using the same methods and criteria as in the regular assessment session.

Students who have not followed the continuous assessment will be evaluated through a final exam. The final grade will be based on:

• Theoretical knowledge: 50%

• Practical knowledge: 50%

Passing the course requires passing both components independently.

Regulations for the Assessment and Grading of Students at the University of Granada (BOUGR No. 112, 9 November 2016)

Article 8. Single Final Assessment
Students who wish to opt for the single final assessment must submit a request through the official electronic procedure to the Head of Department or the Master's Programme Coordinator. This request must be made within the first two weeks of the course, or within two weeks following enrolment if the student registers after the course has begun. The request must include a justification and supporting documentation explaining the student’s inability to follow the continuous assessment model.

Article 9. Assessment Due to Exceptional Circumstances
Students unable to attend the scheduled assessment (either regular or extraordinary) may request an alternative assessment due to exceptional circumstances, as outlined in Article 9 of the University of Granada’s Regulations on Assessment and Grading. The request must be submitted to the Department Management along with appropriate supporting documentation.

Assessment Instruments:
Written and practical exams.

Assessment Criteria:
Evaluation of the student's mastery of theoretical and practical content, including their critical understanding and application of knowledge.

Grading Breakdown:

• Theoretical knowledge: 50%

• Practical knowledge: 50%

Note: Students must pass both components independently in order to pass the course.

In the event that AI tools are used in the development of the course, students are expected to make ethical and responsible use of them. The recommendations outlined in the document “Recommendations for the Use of Artificial Intelligence at the University of Granada” must be followed. This document is available at the following link: https://ceprud.ugr.es/formacion-tic/inteligencia-artificial/recomendaciones-ia#contenido0

Information for Students with Disabilities and/or Specific Educational Support Needs (SESN): For information on available services and support, please refer to the following link provided by the University of Granada: https://ve.ugr.es/servicios/atencion-social/estudiantes-con-discapacidad

Información de interés para estudiantado con discapacidad y/o Necesidades Específicas de Apoyo Educativo (NEAE): Gestión de servicios y apoyos (https://ve.ugr.es/servicios/atencion-social/estudiantes-con-discapacidad).

• MuseScore: For music score editing.

• Audacity: Multitrack audio recording and editing.

• Sonic Pi / SuperCollider: Live coding environments for music education.

• IMSLP: Open-access library of public domain music scores.