Mr Rodney Smith 
Available to students: By appointment
Location: Schulz 1112
Phone number:  8313 5785
Contact email:  rodney.smith@adelaide.edu.au
 

Ms Ruth Saffir 
Available to students: By appointment
Location: Schulz 919
Phone number: 8313 3762
Contact email: ruth.saffir@adelaide.edu.au
 
Music office location: Schulz level 2

1. The course seeks to give students knowledge and understanding of the relatedness of broad theoretical principles and processes of music education and their application in the field of beginning level instrumental/vocal music instruction for pupils of various age groups.

2. The course seeks to give students a knowledge and understanding of appropriate specialist beginning to elementary-level instrumental/vocal teaching materials for various age groups in the individual teaching mode.

Booklists and other required sources of information will be distributed throughout the course.

Tait,M. and Haack,P. 1984. Principles and Processes of Music Education. New York and London. Teachers College Press. Columbia University.

Beetlestone, F. 1998. Creative Children, Imaginative Teaching. Buckingham and Philadelphia. Open University Press.

Craft, A., Jeffrey, R., Leibling, M. 2001. Creativity in Education. London and New York. Continuum

Gumm, A. 2003. Music Teaching Style: Moving beyond tradition. Galesville. Meredith Music Publications.

Crozier, R., Scaife, N., and Marks, A. 2004. All Together! Teaching music in groups. London. Associated Board.

Baker-Jordan, M. 2003. Practical Piano Pedagogy. Miami. Warner Bros. Publications

Proceedings of the Australasian Piano Pedagogy Conferences, 1993 – 2009.

Lazear, David G. 1999. Eight ways of knowing : teaching for multiple intelligences : a handbook of techniques for expanding intelligence. Hawker Brownlow Education,

Brice, Mary 2004 The Unfolding Human Potential: Dalcroze Eurhythmics. Editions Papillon, Geneva

Landis, Beth and Carder, Polly The eclectic curriculum in American music education: contributions of Dalcroze, Kodaly, and Orff Washington : Music Educators National Conference, 1972

Brophy, Jere E. c1998. Motivating students to learn / Boston: McGraw-Hill

Resources and announcements may be posted on MyUni under MUSST 2003

Lectures with handouts and limited discussion cover the relatedness of broad theoretical principles and processes of music education to their application in the field of beginning level instrumental/vocal music instruction for pupils of various age groups.

Tutorials develop and broaden, through discussion, knowledge and understanding of appropriate materials for beginning level instrumental/vocal music instruction for pupils of various age groups in the individual teaching mode.

During the semester attendance at lectures and tutorials, plus approximately 7 hours preparation/teaching observation per week, will result in approximately 9 hours workload per week.

12 x 1hr lectures on the principles and processes of music education, the structure of the profession, the sources of materials, concepts and strategies of instrumental/vocal teaching, creativity in pupils and the place of instrumental/vocal teaching in a portfolio musical career.

12 x 1hr tutorials focusing on the evaluation of methods, repertoire, lesson planning, teaching aids and music reading with pupils of various ages in individual tuition at a beginning and elementary level.

6 lessons given by experienced teachers on or off campus to be observed and logged.

Week	Date	Lecturer	Topic
Week 1		Ruth Saffir	Why methodologies matter.
Week 2		Rodney Smith	A studio teaching profession? A portfolio career?
Week 3		Ruth Saffir	Tapping the intelligences
Week 4		Rodney Smith	The music experience – describing thinking, feeling, sharing.
Week 5		Ruth Saffir	Am I on my student’s wavelength? Aural, visual and kinaesthetic learning.
Week 6		Rodney Smith	Studio teaching – diagnosis, congruency and teaching styles.
Week 7		Ruth Saffir	Why are we here – motivation and goals.
Week 8		Rodney Smith	Studio teaching – learning, planning and evaluation.
Week 9		Ruth Saffir	Oh, so that’s why! Theory and practice enmeshed.
Week 10		Rodney Smith	Creativity and imagination in music pupils
Week 11		Ruth Saffir	Psychologist, parent or teacher? The teacher as significant person.
Week 12		Rodney Smith	The place of examination systems in studio teaching.

Active and positive participation in 100% of required lectures, tutorials, workshops or other practically based courses is expected.

Tutorials develop and broaden, through discussion, knowledge and understanding of appropriate materials for beginning level instrumental/vocal music instruction for pupils of various age groups in the individual teaching mode. At least 25% of these are conducted in small group discovery mode.

Assessment	Weighting	Due Date	Outcomes being assessed
Portfolio of annotated teaching techniques and materials and teaching observations.	70%		This assessment addresses Learning Objective 2.
1000-word Essay on lecture topics	30%		This assessment addresses Learning Objective 1.

LECTURE, TUTORIAL, WORKSHOP OR PRACTICALLY BASED COURSE PARTICIPATION AND ATTENDANCE EXPECTATIONS

Active and positive participation in 100% of required lectures, tutorials, workshops or other practically based courses is expected.

LEAVE

Sick Leave, Compassionate Leave or Professional Development Leave may, upon application using the relevant Leave of Absence form, be approved by the course coordinator or relevant staff member. (See Leave descriptors in the Conservatorium’s Participation and Attendance Policy for details.)

PENALTY

Although active and positive participation in 100% of required lectures, tutorials, workshops and practically based classes is expected, any student who attends less than 100% of required classes without approved Leave will receive a 2% penalty for each unapproved absence. The penalties will be applied to the final total percentage mark for the year for the relevant component - ie after all other assessments have been completed and calculated.

Arrival after the scheduled starting time or departure before the scheduled finishing time may, at the lecturer or Co-ordinator’s discretion, be regarded as an unapproved absence.

Guides to the layout, content and categorisation of the portfolio will be distributed in tutorials.

Sample essay topics will be provided and discussed during tutorials.

The portfolio and essay should be submitted to the Music Office on the due date, with the appropriate cover sheet and declaration. Late submission will incur a penalty deduction of 2% per weekday from the assessed mark of the complete submitted work.

It is expected all assessments including presentations, listening tests, practical examinations, written examinations and assignments will be undertaken and submitted as required (see Teaching and Learning Activities). However, Assessment Task Extension, Replacement Examination, Additional Assessment and Deferred Modified Arrangements are available on medical, compassionate or extenuating grounds. Full information concerning these matters can be found on the University website under University Policies and Procedures, Modified Arrangements for University Coursework Assessment Policy, at http://www.adelaide.edu.au/policies/3303/

Where possible it is advisable to discuss the matter with the lecturer concerned in the first instance.