The Course is aimed to develop

• a knowledge of the fundamental elements/concepts of musical language
• listening and playing skills
• an education of the voice, singing and rhythm
• a knowledge of the methodological principles of music education
• an understanding of the educational, communicative and inclusive values of music
• a knowledge of the interdisciplinary aspect of music as described in Indicazioni nazionali per il curricolo (2012) and in Nuovi Scenari (2018)
• a competence in planning  and implementing of musical activities (disciplinary and interdisciplinary) that take into account the musical development of the child (0-10) with particular attention to the different age groups
• the capacity to develop a meta reflection on musical practices.

The course provides theoretical and methodological tools finalized to the teaching of music in nursery and primary school in order to be able to understand and enhance children’s musical experience.

Starting from a critical reflection on their musical knowledge, the students will develop skills on music education.

The course is focused on the essential cores of the discipline (listening and production) and its fundamental components (sound, rhythm, timbre, melody, harmony, musical form). Those will be investigated and explored by listening, production and notation experiences, observation and shared reflections, aimed to understand the highly communicative/expressive value of musical language. A particular focus will be dedicated to the teaching of vocality.

At the same time, the course aims to support students in the correct use and management of their skills relating to vocality, rhythm, creativity and movement, in order to be able to concretely organize the teaching proposals.

The course consists of 19 meetings, 10 of 3 hours and 9 of 2 hours for a total of 48 hours. The structure of the lessons will be as follows:

• course presentation: topics, teaching methods, reference texts and articles, examination methods, the language of music and its meanings, the dimensions of music and learning contexts (2 lessons)

• the musical experience of children, the role of the mother's voice in the musical development of the child; Study on Infant Vocal Conduct (3 lessons)

• Abreu's El sistema (group work, 1 lesson)

• the childhood Musical Experience: lines of development of childhood notations (1 lesson)

• communicating with sound: in-depth study of the concepts of soundscape and score; intensity and height; sound fabrics; agogic and articulation of sound; Timbre of instruments and their classifications (2 lessons)

• communicating with rhythm and "Playing with Disco" (2 lessons)

• communicating with the melody: prosodic strokes, intervals, scales and modes through the use of the voice and the body (2 lessons)

• communicating with harmony: figure and background, chord and triads, static, cyclical and dynamic harmonies to accompany singing (2 lessons)

• communicating with form: contrast, repetition and variation; practices of appropriation of form; the devices that shape the sound action (2 lessons)

• methodology of music education and choral teaching (2 lessons).

During the course, evaluation activities may be carried out that allow female students to evaluate the degree of their preparation and the effectiveness of the method of study of the subject, in relation to the program carried out up to that moment. They are therefore configured as self-assessment tests (semi-structured or structured tests, with answer key) capable of providing feedback to students

Knowledge and understanding:

In relation to teaching, the student must demonstrate basic knowledge of:

• the fundamental components of musical language and its characteristics
• the main methodological-didactic approaches
• the relation between music and other disciplines
• the main goals of competence and the specific learning targets envisaged by the Indicazioni nazionali per il curricolo

Applying knowledge and understanding:

At the end of the course the student must demonstrate the ability to:

• apply the concepts, methodologies and theories faced in the course
• develop projects derived from the analysis of the musical needs of the different age groups
• develop basic skills in reference to the musical ear, listening skills and the development of vocality
• use instruments at his disposal (voice, body, instruments, soundscape) integrating them coherently with the components of the musical language (rhythm, melody ...)

Making judgments:

At the end of the course, the student must demonstrate an aptitude for:

• discriminate and interpret sound events and music using specific categories of musical language
• contextualize (in time, in space) sounds and music, making explicit the relationship between form and function
• critically evaluate the adequacy of methodological-didactic choices
• reflect on any issues related to teaching music

Communication skills:

At the end of the course the student must acquire the ability to

• communicate the contents clearly and effectively using specific disciplinary language
• discuss methodological and didactic choices in a coherent way
• share evidence or problematic aspects related to the teaching of Music

Learning skills:

At the end of the course, the student will be autonomous in reading and analyzing the study materials and didactic materials offered by the course. He will be also able to develop his skills in listening, use of voice and instruments, use of notation (conventional and otherwise).

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

In itinere formative assessment tests are foreseen (activities to support teaching) to allow students to evaluate the degree of their preparation and the effectiveness of the method of study of the subject, in relation to the contents addressed. These self-assessment activities take the form of tests (semi-structured or structured, with an answer key) capable of providing feedback to the students.

Teaching

Lectures, moments of reflection and dialogue, practical experiences, video analysis with concrete examples of interaction between teacher and children

Innovative teaching methods

Alternative teaching methodologies to the frontal lesson will be adopted, able to meet the epistemological specificity of the discipline and the learning needs of male and female students to favor their critical and organizational autonomy in the approach to Music and study. Starting from problem solving, among the innovative practices we propose debate, flipped learning as well as the use of the Moodle platform intended as a repository of experiences and materials and as a shared workspace where training tests can also be posted in progress, to support teaching .

Attendance

Attendance is recommended.

Course books

Lucchetti S., Ferrari F., Freschi A.M. (2012), Insegnare la musica. Guida all'arte di comunicare con i suoni, Carocci, Roma.

Adessi A.R. (a cura di ) (2022). Manuale di metodologia dell’educazione musicale, UTET, Torino, pp. 5-42 e pp. 129-164.

Miur (2012), Indicazioni nazionali per il curricolo della scuola dell’infanzia e del primo ciclo di istruzione, Le Monnier, Firenze, pp. 7-12; pp. 21-30; e 71-72.

Themes:

·  Vocality

Giunta C. (2024), Un’orchestra di voci bambine. Pratiche e riflessioni sulla coralità a scuola, in rivista online "Musicheria". (pdf1)

Imberty M. (2000), Il ruolo della voce materna nello sviluppo musicale del bambino, in Musica Domani, XXX/114, pp. 4-10. (pdf2)

Bellia M. G. (2019), IL COROSCENICO. Modelli e proposte operative per un’attività corale in movimento nella scuola primaria su musiche di Tullio Visioli, Lilium editions, Brescia, pp. 10-12.(pdf3)

Coppi A., (2018),  El Sistema e il coro de Manos Blancas. modelli educativo-musicali tra realtà consolidate e scenari futuri, in  Musica Docta. Rivista digitale di Pedagogia e Didattica della musica, pp. 81-100. (pdf4)

• Active listening

Piazza G. (1992), Suonare col disco. Ascolto attivo e analisi nella scuola di base: un esempio pratico, in Atti del II Convegno europeo di Analisi Musicale, Università degli studi di Trento. (pdf5)

________________________________________________

For any further information

Delalande F. (2001), La musica è un gioco da bambini, FrancoAngeli, Milano.

Jaques-Dalcroze E. (1925), Il ritmo, la musica e l’educazione, EDT, Torino.

Piazza G. (a cura di) (2010), L’Orff-Schulwerk in Italia. Storia, esperienze, e riflessioni, EDT, Torino.

Strobino E., Piatti M. (2011), Grammatica della fantasia musicale. Introduzione all'arte di inventare musiche, Franco Angeli, Milano.

Suggested teaching aids

Spaccazocchi M. (2003), Crescere con il canto 1, Progetti Sonori, Mercatello sul Metauro (PU).

Spaccazocchi M. (2006), In movimento, Progetti Sonori, Mercatello sul Metauro (PU).

Tafuri J. (2015), Cantando si impara, suggerimenti e repertori, Carocci, Roma.

Assessment

The expected objectives are verified through a written test at the end of the course.

The paper is made up of 12 open and closed questions worth two and a half points each. The written test is considered passed with an overall score of at least 18/30.

The evaluation criteria are as follows: relevance of the responses; ability to argue; adequacy of the disciplinary language used; ability to apply knowledge; effectiveness in the elaboration of ideas and didactic actions.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Teaching

To give non-attending students the opportunity to compensate what is done during the lessons with independent study, we recommend using all the materials included in Moodle (blended platform): slides, exercises, supplementary material. They are particularly useful for fully understanding the contents of the program that is  developed through frontal lessons, moments of reflection and dialogue, group work, preparation of materials, practical experiences, analysis of videos with concrete examples of musical interaction between teacher and children.

Attendance

No

Course books

The same as the attending students

____________________________________

Pedagogical  and didactic references

Lucchetti S., Ferrari F., Freschi A.M. (2012), Insegnare la musica. Guida all'arte di comunicare con i suoni, Carocci, Roma.

Adessi A.R. (a cura di ) (2022). Manuale di metodologia dell’educazione musicale, UTET, Torino, pp. 5-42 e pp. 129-164.

Miur (2012), Indicazioni nazionali per il curricolo della scuola dell’infanzia e del primo ciclo di istruzione, Le Monnier, Firenze, pp. 7-12; pp. 21-30; e 71-72.

Themes:

·  Vocality

Giunta C. (2024), Un’orchestra di voci bambine. Pratiche e riflessioni sulla coralità a scuola, in rivista online "Musicheria". (pdf1)

Imberty M. (2000), Il ruolo della voce materna nello sviluppo musicale del bambino, in Musica Domani, XXX/114, pp. 4-10. (pdf2)

Bellia M. G. (2019), IL COROSCENICO. Modelli e proposte operative per un’attività corale in movimento nella scuola primaria su musiche di Tullio Visioli, Lilium editions, Brescia, pp. 10-12.(pdf3)

Coppi A., (2018),  El Sistema e il coro de Manos Blancas. modelli educativo-musicali tra realtà consolidate e scenari futuri, in  Musica Docta. Rivista digitale di Pedagogia e Didattica della musica, pp. 81-100. (pdf4)

• Active listening

Piazza G. (1992), Suonare col disco. Ascolto attivo e analisi nella scuola di base: un esempio pratico, in Atti del II Convegno europeo di Analisi Musicale, Università degli studi di Trento. (pdf5)

________________________________________________

For any further information

Delalande F. (2001), La musica è un gioco da bambini, FrancoAngeli, Milano.

Jaques-Dalcroze E. (1925), Il ritmo, la musica e l’educazione, EDT, Torino.

Piazza G. (a cura di) (2010), L’Orff-Schulwerk in Italia. Storia, esperienze, e riflessioni, EDT, Torino.

Strobino E., Piatti M. (2011), Grammatica della fantasia musicale. Introduzione all'arte di inventare musiche, Franco Angeli, Milano.

Suggested teaching aids

Spaccazocchi M. (2003), Crescere con il canto 1, Progetti Sonori, Mercatello sul Metauro (PU).

Spaccazocchi M. (2006), In movimento, Progetti Sonori, Mercatello sul Metauro (PU).

Tafuri J. (2015), Cantando si impara, suggerimenti e repertori, Carocci, Roma.

Assessment

The expected objectives are verified through a written test at the end of the course.

The paper is made up of 12 open and closed questions worth two and a half points each. The written test is considered passed with an overall score of at least 18/30.

The evaluation criteria are as follows: relevance of the responses; ability to argue; adequacy of the disciplinary language used; ability to apply knowledge; effectiveness in the elaboration of ideas and didactic actions.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

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