They are part of the prerequisites for accessing, considering the new curricular proposals. It is recommended, not compulsory, that the student has basic notions of musical literacy and vocal experience. It is advisable to participate in musical activities promoted by the university campus, like: concerts, cultural and artistic activities, etc.
Why sing, dance, play, create and listen to music in the stage from 0 to 6 ages? Simply because boys and girls enjoy and learn with the musical task. They also enhance and develop their capacities for expression and communication needs that all human being show from the moment of their birth (ALSINA et al., 2008). Musical Perception and Expression will allow the student to establish the psychopedagogical bases of Musical Education and will enable them to understand and intervene in the neurological and physiological comprehension processes that affect musical expression, the biological bases of musical perception; acoustic and psychophysical studies of auditory perception; of cognitive psychology in relation to auditory education, coding, melodic perception and musical performance. In this subject the student will become familiar with the classical methods of Music Didactics (Kodaly, Orff, Willems, Dalcroze, etc.), and with other aspects that will bring them closer to didactic research in the classroom: psychometric analysis of musical aptitude and development; evolutionary studies on the acquisition of skills; analysis of behavior in learning music and movement; applications in the field of therapy, education and industry; socio-psychological research on the aesthetic and affective aspects of musical hearing. All these manifestations are a wake-up call that motivates an immediate reaction in the activity of the future teacher.
In this sense, it is important that the future teacher begins to familiarize himself with some of the basic works of the psychology of music and its common bases to other disciplines. Works such as The psychology of music (Davies 1978, first text to reflect the growing influence of cognitive psychology), Radocy and Boyle (1979) Psychological foundations of musical behavior, Hodges (1980) Manual of psychology musical (Handbook of music psychology) were the first compilations of experts, bases for the most recent investigations of Hargreaves, Sloboda, Colwell, Delalande or Elliot. These sources will allow students to review the psycho-pedagogical bases of music education and, consequently, focus on the study of cognitive processes. In this way, the examination of the central cognitive processes would allow the integration of music education between the theories of art and perception.
On the other hand, this subject is essential for the correct realization of the Practicum of the students, by helping them to structure their teaching activity by offering them the psycho-pedagogical bases of Music Education.
Course competences | |
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Code | Description |
1.2.3.II.01 | Know the basics in music, art and body language of the curriculum at this stage, as well as the corresponding learning theories on acquisition and development. |
1.2.3.II.02 | Know and use songs to promote auditory, rhythmic and vocal education. |
Course learning outcomes | |
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Description | |
Design educational responses tailored to the specific needs of educational support based on the principles of normalisation and inclusion. | |
Study and research on creativity. | |
Study and research on the main methodologies in musical, artistic and physical education. | |
Carry out individual activities with diverse materials to enhance creativity. | |
Know how to create interdisciplinary resources for music, artistic and body expression. | |
Know how to use different technological resources in musical, artistic and body expression education. | |
Additional outcomes | |
Description | |
The subject of Musical Perception and Expression has the following general objectives: 1. To provide the students, in their daily work, with the knowledge and know-how of musical practice. This will allow them to effectively meet the needs of Early Childhood Education, as well as the social demands that they will face, professionally and as a citizens, at the end of their studies. 2. Propose the necessary theoretical knowledge on the subject that allows, beyond the simple reading competence, to develop in the students capacities that allow them to originate and elaborate musical creations. 3. To train professionals who have the vocation to occupy positions of teachers in Early Childhood Education. 4. Achieve the understanding of musical Perception and Expression as a systematic whole, whose parts are related, so that they relate and organize each other intimately. These parts or thematic blocks are: theoretical training, practical training and didactic training. Each of them contains the specific objectives (didactic and methodological) that define and differentiate them. These objectives are related to each of the knowledge or learning outcomes that students must achieve: what to know and why (knowing how to learn, aims to define the scientific object of the subject and the field of knowledge relating it to other subjects and nearby areas of knowledge, to prepare their study. Perceptual knowledge (know-know), aims to delimit the theoretical scope in two fundamental aspects of listening: the use of the ear, to understand the world that surrounds the child, and the use of the ear to access musical life. Expressive knowledge (know-how, fulfills the purpose of offering a realistic and updated overview of the expressive interpretation of sound material and already elaborated musical ideas. We focus specifically on the evaluations of the three most valuable procedures and skills in Early Childhood Education: singing, playing and dancing. It is essential to highlight the importance that it acquires in the Training of the Early Childhood Education teacher in vocal expression and singing for the acquisition of expressive-musical and didactic skills. The didactic knowledge (knowing how to teach-transferable knowledge, knowing how to be and how to be), aims to know and properly design learning sequences applied to Early Childhood Education in which music acts as a globalizing axis in the teaching-learning process. |
Training Activity | Methodology | Related Competences (only degrees before RD 822/2021) | ECTS | Hours | As | Com | Description | |
Class Attendance (practical) [ON-SITE] | Problem solving and exercises | 1.12 | 28 | Y | Y | |||
Class Attendance (theory) [ON-SITE] | Debates | 1.2.3.II.02 | 0.6 | 15 | Y | N | ||
Analysis of articles and reviews [OFF-SITE] | Reading and Analysis of Reviews and Articles | 1.2.3.II.01 | 1.04 | 26 | Y | N | ||
In-class Debates and forums [ON-SITE] | Debates | 0.16 | 4 | Y | N | |||
Final test [ON-SITE] | Problem solving and exercises | 1.2.3.II.01 1.2.3.II.02 | 0.04 | 1 | Y | Y | ||
Computer room practice [ON-SITE] | Practical or hands-on activities | 1.2.3.II.02 | 0.08 | 2 | Y | N | ||
Workshops or seminars [ON-SITE] | Workshops and Seminars | 1.2.3.II.02 | 0.4 | 10 | Y | N | ||
Study and Exam Preparation [OFF-SITE] | Self-study | 1.2.3.II.01 1.2.3.II.02 | 2.56 | 64 | Y | N | ||
Total: | 6 | 150 | ||||||
Total credits of in-class work: 2.4 | Total class time hours: 60 | |||||||
Total credits of out of class work: 3.6 | Total hours of out of class work: 90 |
As: Assessable training activity Com: Training activity of compulsory overcoming (It will be essential to overcome both continuous and non-continuous assessment).
Evaluation System | Continuous assessment | Non-continuous evaluation * | Description |
Portfolio assessment | 30.00% | 30.00% | |
Assessment of problem solving and/or case studies | 30.00% | 30.00% | |
Final test | 40.00% | 40.00% | |
Total: | 100.00% | 100.00% |
Not related to the syllabus/contents | |
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Hours | hours |
Study and Exam Preparation [AUTÓNOMA][Self-study] | 6 |
Unit 1 (de 4): MUSIC PERCEPTION | |
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Activities | Hours |
Class Attendance (practical) [PRESENCIAL][Problem solving and exercises] | 6 |
Class Attendance (theory) [PRESENCIAL][Debates] | 4 |
Analysis of articles and reviews [AUTÓNOMA][Reading and Analysis of Reviews and Articles] | 7 |
In-class Debates and forums [PRESENCIAL][Debates] | 1 |
Study and Exam Preparation [AUTÓNOMA][Self-study] | 13 |
Group 12: | |
Initial date: 20-09-2021 | End date: 04-10-2021 |
Unit 2 (de 4): EXPRESSIONS | |
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Activities | Hours |
Class Attendance (practical) [PRESENCIAL][Problem solving and exercises] | 6 |
Class Attendance (theory) [PRESENCIAL][Debates] | 4 |
Analysis of articles and reviews [AUTÓNOMA][Reading and Analysis of Reviews and Articles] | 4 |
In-class Debates and forums [PRESENCIAL][Debates] | 1 |
Workshops or seminars [PRESENCIAL][Workshops and Seminars] | 3 |
Study and Exam Preparation [AUTÓNOMA][Self-study] | 15 |
Group 12: | |
Initial date: 18-10-2021 | End date: 08-11-2021 |
Unit 3 (de 4): MUSICAL CREATIVITY | |
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Activities | Hours |
Class Attendance (practical) [PRESENCIAL][Problem solving and exercises] | 6 |
Class Attendance (theory) [PRESENCIAL][Debates] | 4 |
Analysis of articles and reviews [AUTÓNOMA][Reading and Analysis of Reviews and Articles] | 7 |
In-class Debates and forums [PRESENCIAL][Debates] | 1 |
Workshops or seminars [PRESENCIAL][Workshops and Seminars] | 2 |
Study and Exam Preparation [AUTÓNOMA][Self-study] | 15 |
Group 12: | |
Initial date: 15-11-2021 | End date: 06-12-2021 |
Unit 4 (de 4): MUSICAL PERCEPCTION AND EXPRESION | |
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Activities | Hours |
Class Attendance (practical) [PRESENCIAL][Problem solving and exercises] | 10 |
Class Attendance (theory) [PRESENCIAL][Debates] | 3 |
Analysis of articles and reviews [AUTÓNOMA][Reading and Analysis of Reviews and Articles] | 8 |
In-class Debates and forums [PRESENCIAL][Debates] | 1 |
Final test [PRESENCIAL][Problem solving and exercises] | 1 |
Computer room practice [PRESENCIAL][Practical or hands-on activities] | 2 |
Workshops or seminars [PRESENCIAL][Workshops and Seminars] | 5 |
Study and Exam Preparation [AUTÓNOMA][Self-study] | 15 |
Group 12: | |
Initial date: 13-12-2021 | End date: 10-01-2022 |
Global activity | |
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Activities | hours |