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Unit of study_

MUED1010: Key Ideas in Music Education

Semester 1, 2021 [Normal day] - Sydney

In this Unit of Study students will investigate a range of significant foundational ideas relevant to the learning and teaching of music as a human activity: a performed expressive system that is defined by specific historical, social and cultural situations and circumstances. Key Ideas in Music Education explores the place of music in human experience, what it means to be musical, and some of the ways musicality can be cultivated. Through the lens of the Orff Schulwerk pedagogical approach, the unit explores ways we learn music, learn about music, and learn through music.

Unit details and rules

Unit code MUED1010
Academic unit Music Education
Credit points 3
Prohibitions
? 
None
Prerequisites
? 
None
Corequisites
? 
None
Assumed knowledge
? 

None

Available to study abroad and exchange students

Yes

Teaching staff

Coordinator James Humberstone, james.humberstone@sydney.edu.au
Lecturer(s) Belinda Smith, belinda.e.smith@sydney.edu.au
James Humberstone, james.humberstone@sydney.edu.au
Jim Coyle, jim.coyle@sydney.edu.au
Jennifer Rowley, jennifer.rowley@sydney.edu.au
Type Description Weight Due Length
Assignment Establishment of your ePortfolio
Portfolio. See description and rubric on Canvas.
50% Formal exam period
Due date: 14 Jun 2020 at 23:59

Closing date: 14 Jun 2020
1,200 to 2,400 words
Outcomes assessed: LO1 LO2 LO4
Skills-based evaluation group assignment Key ideas in music education
Peer teaching & submitted score. See description and rubric on Canvas.
50% Week 13 1000 words
Outcomes assessed: LO1 LO5 LO3
group assignment = group assignment ?

Assessment summary

  • Key ideas in music education: In week 11, students will have 5 minutes to teach a short song and accompaniment to the class in the manner of Orff pedagogy. Students will then teach at least two original body percussion parts that fit well with the song. Students will submit a score that shows the body percussion parts created, as well as what non-melodic instruments they should be transferred to.
  • Establishment of your ePortfolio: In week 2, Associate Professor Jennifer Rowley will demonstrate one way to set up an ePortfolio. After each seminar, students will write a short reflection on what they have learned.

Detailed information for each assessment can be found on Canvas.

Assessment criteria

The following assessment criteria are used for written work in this unit of study:

Result name

Mark range

Description

High distinction

85 - 100

Demonstrates high level of initiative in research and reading; sophisticated critical analysis of evidence; high level engagement with theoretical issues, innovative use of reading/research material and impressive command of underlying debates and assumptions; properly documented and written with style, originality and precision.

Distinction

75 - 84

Demonstrates initiative in research and wide, appropriate reading; complex understanding of question and ability to critically review material in relation to underlying assumptions and values; analyses material in relation to empirical and theoretical contexts; properly documented; clear, well-developed structure and argument with some signs of literary style.

Credit

65 - 74

Evidence of broader understanding than pass level; offers synthesis with some critical evaluation of material; coherent argument using a range of relevant evidence; some evidence of independent thought, good referencing. A high credit (70-74) shows some evidence of ability to problematise and think conceptually.

Pass

50 - 64

Written work meets basic requirements in terms of reading/research; relevant material; tendency to descriptive summary rather than critical argument; makes a reasonable attempt to avoid paraphrasing; reasonably coherent structure; often has weaknesses in particular areas, especially in terms of narrow or underdeveloped treatment of question; acceptable documentation.

Fail

0 - 49

Work may fail for any or all of the following reasons: Unacceptable paraphrasing; irrelevance of content; poor spelling; poor presentation; grammar or structure so sloppy it cannot be understood; failure to demonstrate understanding of content; insufficient or overlong word length.

For more information see sydney.edu.au/students/guide-to-grades.

For more information see guide to grades.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

  • Deduction of 5% of the maximum mark for each calendar day after the due date.
  • After ten calendar days late, a mark of zero will be awarded.

Academic integrity

The Current Student website  provides information on academic integrity and the resources available to all students. The University expects students and staff to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.  

We use similarity detection software to detect potential instances of plagiarism or other forms of academic integrity breach. If such matches indicate evidence of plagiarism or other forms of academic integrity breaches, your teacher is required to report your work for further investigation.

You may only use artificial intelligence and writing assistance tools in assessment tasks if you are permitted to by your unit coordinator, and if you do use them, you must also acknowledge this in your work, either in a footnote or an acknowledgement section.

Studiosity is permitted for postgraduate units unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission.

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a simple extension.  The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can’t complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students, AI in Education includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

WK Topic Learning activity Learning outcomes
Week 01 1: Introduction with James Humberstone. The dry stuff first: Academic Honesty at the University of Sydney; AITSL Graduate Standards, & LANTITE; University assignments & marking. Introduction to this UoS Outline. What might Orff Schulwerk look like in the 21st Century? Pluralism and Social Justice in Music Education. Discussion based on set reading. Workshop (2 hr) LO1 LO4
Week 02 2. ePortfolios with Jennifer Rowley. Your 4 year ePortfolio Journey. Best practice, and the research base that establishes why this is a valuable endeavour. Establishing a robust approach to critical thinking, and using APA style referencing to ground your thoughts in the literature. Discussion based on set reading. Workshop (2 hr) LO2 LO4
Week 03 3. Improvisation & composition with Jim Coyle. “I come from the standpoint that says the best way to understand music is to do it yourself – to make it – and then to make it up yourself” – Richard Gill, 2003. Improvisation, composition, and the Orff approach. Discussion based on set reading (video). Workshop (2 hr) LO1 LO2 LO3
Week 04 4. Orff-Keetman Schulwerk 1 with Belinda Smith. Music for Movement’s sake, Movement for Music’s sake: beginning with movement. Rhymes/spoken poems; singing; imitation; chunking. How does movement aid learning melody? Orff & Keetman’s original repertoire; Modern repertoire. Workshop (2 hr) LO3 LO5
Week 05 5. Orff-Keetman Schulwerk 2 with Belinda Smith. Adding body percussion to song; the link between body percussion and movement; using words to aid rhythmic learning; imitation; transfer to non-melodic instruments. Interlocking non-melodic percussion parts. Repertoire for body percussion and/or non-melodic instruments without song. Online class (2 hr) LO1 LO3 LO5
Week 06 6. Orff-Keetman Schulwerk 3 with Belinda Smith. New layers: Song to playing melody on melodic percussion instruments. The Bordun; imitation; movement and transfer from song to Bordun. Inner ostinati; transfer from rhyme/song. Rinse and repeat. As the texture of the music becomes more complex, does movement take a back seat? Online class (2 hr) LO1 LO3 LO5
Week 07 7. Orff-Keetman Schulwerk 4 with Belinda Smith. It’s an approach, not a method, but what are the systems? Revising and cementing the key elements of the Orff Schulwerk – Imitation, movement, melodic chunking, body percussion, transfer, interlocking non-melodic patterns, Bordun, and ostinati. Learning all parts. Always involved. Examples of repertoire with these elements for older children. Music for Movement’s sake, Movement for Music’s sake. Online class (2 hr) LO1 LO3 LO5
Week 08 8. Orff-Keetman Schulwerk 5 with Belinda Smith. Designing your own. Teaching your own. In preparation for the week 11 assessment, strategies for developing your own body percussion/non-melodic percussion parts to accompany a song. Peer teaching opportunities. Revising the process of chunking a song. Online class (2 hr) LO1 LO2 LO3 LO5
Week 09 9. Orff-Keetman Schulwerk with Belinda Smith. Beyond elemental Orff - extending to barred percussion, older age groups, and more. Workshop (2 hr) LO3 LO5
Week 10 10. Special projects week. DO NOT ASSUME THAT YOU DO NOT HAVE CLASS IN SPECIAL PROJECTS WEEK. The Music Education Division will let you know if a Project is planned, and whether it is mandatory or optional. Online class (2 hr)  
Week 11 11. Orff-Keetman Schulwerk with Belinda Smith. Including practice runs of your peer-teaching before assessment in Week 13. Workshop (2 hr) LO3 LO5
Week 12 12. Cultural Diversity in Music Education. Thinking outside the Orff-Keetman Schulwerk, a workshop with a culture bearer to consider musicking and learning in outside what we think of as "traditional" music education. Online class (2 hr) LO1 LO2 LO3
Week 13 13. Orff-Keetman Schulwerk peer teaching assessment marked in class by Belinda Smith. Online class (2 hr) LO1 LO3 LO5

Attendance and class requirements

  • Lecture recordings: Lectures for this unit of study will be recorded and made available to students via Canvas.
  • Attendance: Students are expected to attend a minimum of 90% of timetabled activities for a unit of study, unless granted exemption by the Dean, Head of School or professor most concerned. The Dean, Head of School or professor most concerned may determine that a student fails a unit of study because of inadequate attendance. Alternatively, at their discretion, they may set additional assessment items where attendance is lower than 90%.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 3 credit point unit, this equates to roughly 60-75 hours of student effort in total.

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

At the completion of this unit, you should be able to:

  • LO1. describe and demonstrate ways music is experienced kinaesthetically, vocally, and intellectually-affectively
  • LO2. coherently describe and discuss each key music education idea studied, including how these are related to a broad range of music teaching and learning contexts
  • LO3. devise and demonstrate in a workshop setting practical applications of a range of these key ideas, drawing on singing, movement, instruments and new technologies
  • LO4. demonstrate familiarity with research-based literature relating to these ideas.
  • LO5. teach a song and accompanying body percussion consistent with the Orff-Schulwerk approach

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1 Depth of disciplinary expertise

Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.

GQ2 Critical thinking and problem solving

Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.

GQ3 Oral and written communication

Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.

GQ4 Information and digital literacy

Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.

GQ5 Inventiveness

Generating novel ideas and solutions.

GQ6 Cultural competence

Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.

GQ7 Interdisciplinary effectiveness

Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.

GQ8 Integrated professional, ethical, and personal identity

An integrated professional, ethical and personal identity is understanding the interaction between one’s personal and professional selves in an ethical context.

GQ9 Influence

Engaging others in a process, idea or vision.

Outcome map

Learning outcomes Graduate qualities
GQ1 GQ2 GQ3 GQ4 GQ5 GQ6 GQ7 GQ8 GQ9

This section outlines changes made to this unit following staff and student reviews.

NO INFORMATION ENTERED HERE YET

Disclaimer

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