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 – 2007.

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 MUSPFPED 2010

The Elder Music Library Music Resources Guide at http://libguides.adelaide.edu.au/music contains quick links to key music databases for scholarly research and online listening. It also contains links to websites of publicly available online scores, collected editions, and professional associations. Here too you can find a regularly updated list of new books, scores, CDs and DVDs available in the Elder Music Library.

Lectures cover the twin topics of general musicianship and relevant established music methodologies relating to their integration into individual and group instrumental lessons. They also allow for in-depth student-led small-group discussion concerning teaching incorporating these approaches. An outcome will be the composition of an assignment outlining the student’s investigations..

While reinforcing lecture topics, tutorials also develop and broaden knowledge and skills related to technical, repertoire and general musicianship teaching materials as well as allowing for discussion in relation to the creation of Portfolios comprising information on all these matters.

The information below is provided as a guide to assist students in engaging appropriately with the course requirements

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

12 x 1hr lectures/student-led small-group discussions on the development of musicianship skills. Lecturers will provide insight into the philosophy and application of selected music methodologies. Students will lead a discussion session following their in-depth investigation into a selected methodology or approach. Students will be assessed through a 2500 word written assignment..

12 x 1hr tutorials focusing on suitable materials and teaching techniques which relate to the integration and application of the methodologies. Students will prepare a folio of teaching techniques and materials for assessment.

LECTURE SEQUENCE:

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 examination questions will be provided and discussed during tutorials.

The portfolio will be submitted to the Music Office by 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.