Head, Postgraduate Programs Associate Professor Kimi Coaldrake
Schulz 9.12
8313 5823
kimi.coaldrake@adelaide.edu.au

Course Coordinator Mr Rodney Smith (Head, Pedagogy Studies)
Schulz 11.12
83135785
rodney.smith@adelaide.edu.au

1. To develop students’ understanding of child development and related principles of educational psychology as they inform approaches to instrumental or vocal music teaching.


2. To acquaint students with the broad principles of established generic music methodologies such as those developed by Dalcroze and Orff and their application in instrumental or vocal teaching situations.


3 To introduce students to established principles of Music Education and the processes whereby they are harnessed for effective instrumental or vocal music teaching.


4. To develop an awareness of the cultural and social contexts, business and professional issues, and career paths which bear upon the work of instrumental and vocal music teachers.


5. To develop students’ skills in applying normal scholarly conventions and standards associated with constructing and writing a small research project.

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

Keyboard

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.

Parncutt, R., and McPherson, G. 2002. The Science and Psychology of Music Performance. Oxford and New York. Oxford University Press.

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

Jacobson, J. 2006. Professional Piano Teaching. Los Angelis. Alfred Publishing Inc.

Magrath, J. 1995. The Pianist’s Guide to Standard Teaching and Performance Literature. Van Nuys, CA. Alfred Publishing Inc.

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

 

Voice

Appelman,D.Ralph, The Science of Vocal Pedagogy,Bloomington,Indiana University Press,1967

Brown, Oren, Discover your Voice, San Diego, London, Singular Publishing Group 1996

Bunch, Meribeth, Dynamics of the Singing Voice,4 Ed., Wien ,New York, Springer Verlag 1997

Chapman, Janice, Singing and Teaching Singing, San Diego, London, Brisbane, Plural Publishing 2006

Doscher, Barbara, The Functional Unity of the Singing Voice, Lanham, London, The Scarecrow Press 1994

Garcia, Manuel, Hints on Singing [1894], Kessinger Publishing Rare Reprints, www.kessinger.net

Heirich, Jane Ruby Voice and the Alexander Technique, Berkeley, Mornum Time Press 2005

[Husson, Raoul, Physiologie de la Phonation, Paris, Masson et Cie 1962]

Husler, F and Rodd-Marling,Yvonne, Singing. The Physical Nature of the Vocal Organ, Melbourne, London, Hutchinson Publishing 1976

Kimball, Carol, A Guide to Art Song Style and Literature, Milwaukee, Hal Leonard, 2005

McKinney, James, Diagnosis and Correction of Vocal Faults, Nashville, Broadman Press 1982

Miller, Richard, Training Tenor Voices, New York, Schirmer Books,1993

Miller,Richard, Training Soprano Voices, Oxford University Press, USA 2000 ISBN-10: 0195130189 ISBN-13: 978-0195130188

Miller, Richard, Solutions for Singers, Oxford,OUP 2004

Power, Patrick, How the Voice Works, Handout ,University of Adelaide 2010

Phillips, Kenneth, Teaching Kids to Sing



Riggs, Seth Singing for the Stars, Van Nuys CA,Alfred Publishing 1998

Stone, R and J, Atlas of Skeletal Muscles, Boston, Sydney, McGraw Hill 2001

Vennard, William, Singing the Mechanism and the Technique, New York, Carl Fischer 1967

Wall, Joan et al, International Phonetic Alphabet for Singers, Dallas, Psst Inc.1989

Ward,Christine,Teaching to Learn, Accelerated Learning Institute [NZ]Ltd 2001 ISBN0-473-06314-X

[Warren, Ivor, The Grammar of Singing, London A. Hammond and Co]

Wilson FRCS, Thomas Wind and Voice, Dublin Minim Press 1984

Bracketed titles are possibly unavailable.

Resources and announcements may be posted on MyUni under MUSPFPED 7003

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.

Regular supervision is provided in small group mode to manage the language challenges faced by international students, especially in written work encompassing educational concepts. These supervisions allow for learning and discussion, problem solving and conceptualising and the development of skills in applying the normal protocols of research and writing research projects.

During the semester attendance at supervisions, plus approximately 1 hour pw working in the field, plus 21 hours preparation per week (including 6 hours mandated reading, 7 hours writing work, 8 hours research), will result in approximately 24 hours workload per week. 24 hours workload is expected in Week 13, making a total workload of 312 hours.

Supervisions cover educational principles, educational psychology, generic methodologies, career, business and professional issues and social outreach. Work in the field will be spent in the field observing methodologies in practice and networking to help create a social outreach project. A considerable investment in time, both during supervisions and individually, will be given to preparation for a research project investigating a variety of materials and approaches concerning child development and educational psychology as they relate to their instrumental or vocal teaching discipline. This will also take account of the historical and social contexts within which teachers operate as instrumental/vocal teachers.


COURSE STRUCTURE:

1 x 2-hour Seminar per week for 12 weeks.

Week 1: Bibliographic study. Development of the specialism

Week 2: Educational principles

Week 3: Educational principles

Week 4: Child development and educational psychology

Week 5: Child development and educational psychology

Week 6: Child development and educational psychology

Week 7: Child development and educational psychology

Week 8: Approaches to Music Education – Dalcroze, Orff

Week 9: Approaches to Music Education – Suzuki, Yamaha

Week 10: Music Education and Social Outreach.

Week 11: Professional and business issues. A portfolio career.

Seminar Papers.

Week 12: Professional and business issues.

Seminar Papers

All students are expected to actively and positively participate in 100% of required rehearsals, workshops, classes, lectures, tutorials and performances

Regular supervision is provided in small group discovery mode. While this delivers educational benefits it also facilitates the management of language challenges faced by international students, especially in written work encompassing educational concepts. These supervisions allow for learning and discussion, problem solving and conceptualising and the development of skills in applying the normal protocols of research and writing research projects

Learning outcomes 1, 2, 3, 4.

6000 word Research Project

100%
 


Rationale for assessment: It is expected the entire focus of the Research Project will be on the skills and understanding with which the student harnesses salient factors concerning child development, established teaching methodologies, principles of music education, cultural and social contexts in answer to relevant research questions.

In this course, penalties apply for any absences which are not formally approved, as outlined in the Conservatorium’s Student Participation and Attendance Leave Guidelines (see following). Leave Application forms are available from the Music Office and can be downloaded from the Music website – see http://music.adelaide.edu.au/study/current/leave.pdf.



Student Participation and Attendance Leave Guidelines

EXPECTATION

All students enrolled in courses taught by the Elder Conservatorium of Music are expected to actively and positively participate in 100% of required rehearsals, workshops, classes, lectures, tutorials and performances. In courses where Participation & Attendance penalties apply (as defined in the Course Outline), any student who misses more than 40% of required classes will be ineligible for assessment in that course, irrespective of the amount of leave that has been formally approved.

LEAVE

The Conservatorium recognises that extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance. In such cases Leave may, upon application using this Leave form, be approved by the relevant staff member (this could be the Head of Studies, teacher, conductor, lecturer or course coordinator as appropriate).

The following types of Leave are applicable:

1 Sick Leave

§ In cases of sickness, the Leave form must be submitted within 7 days of your return to classes.

§ Students must make every effort to notify the relevant staff member of an impending absence for reasons of sickness. Where a rehearsal or performance is involved, Leave will only be approved if the relevant staff member is notified before the event.

§ Normally, an original medical certificate must be supplied with the Leave form to verify the circumstances. The relevant staff member or Head of Studies in cases of absences involving multiple activities or days may waive the requirement to produce a medical certificate if they have clear evidence of illness and believe that a medical certificate is unnecessary or impossible to obtain.. The Leave form will need to be initialled as part of the notification or approval process in this case.

2 Compassionate Leave

§ Compassionate Leave may be granted at the discretion of the relevant staff member where extenuating circumstances have prevented a student participating in a rehearsal, workshop, class, lecture, tutorial or performance. Usually this means circumstances which were unforeseen and legitimately beyond anyone’s control however this will not always be the case.

§ Where the circumstance is known in advance, approval for the Leave must also be obtained prior to the event.

§ In cases such as bereavement or where care of a close family member is required, notification as soon as possible is expected and the form must be submitted within 7 days of your return to classes.

§ Verification of the circumstances will usually be required.

3 Professional Development Leave

§ Professional Development (PD) Leave may be granted in cases where the student has made a case to the relevant Head of Studies for an activity which they believe will be of considerable professional and educational benefit. This activity should:

o be directly related to Coursework within your Conservatorium program or

o involve Coursework or study at a major tertiary national or international music institution or

o involve Performance, Workshops or other relationships and activities with a high profile, national or international artist(s)

§ When determining PD leave, the duration of the project also affects approval, particularly for absences greater than one week.

§ PD leave will not be granted if the proposed activity conflicts with any commitments a student has to a Conservatorium performance where their attendance at rehearsals and the performance itself are a required part of their studies.

§ PD Leave is only granted in advance of the activity (normally at least 7 days prior). It will NOT be granted retrospectively.

§ Final arrangements for any professional development commitments must wait until formal approval has been granted by the Head of Studies and then all signatures of relevant staff members are obtained. Approval is not necessarily guaranteed.

§ Verification will be required as part of the approval process and must be supplied with this form.

LEAVE APPLICATIONS

Leave applications must be completed, documentation attached (if required), signatures obtained, then submitted following the steps below.



Step 1: NOTIFYING STAFF

Notify the relevant staff member(s) and where appropriate, Head of Studies, of your absence as soon as possible..



Step 2: VERIFYING ABSENCE

Check with the relevant staff member or Head of Studies to see whether verification or proof will be required. (Please note that this is usually essential however it will not always be necessary.)



Step 3: COMPLETING FORM

Complete the form then sign and date it.



Step 4: OBTAINING APPROVAL

Obtain the necessary signatures for formal notification and if necessary, approval from the relevant staff member(s) concerned. Please note individual instructions listed in various leave types above, particularly for Professional Development Leave where prior approval is needed.



Step 5: COPYING FORM

Copy the form for your records.



Step 6: ATTACHING & SUBMITTING FORM

Attach any certification you have been asked to provide then submit the form to the relevant staff member or Head of Studies.





PENALTIES

Penalties apply for any unapproved absences as follows:

Any unapproved absences from a lecture, Tutorial or Observation will result in a 2% penalty for each unapproved absence. Any penalties will be applied to the mark for the year – i.e. after all other assessments have been completed and calculated. Unapproved arrival after the scheduled starting time or departure before the scheduled finishing time may, at the Co-ordinator’s discretion, be regarded as an unapproved absence.

LIBRARY AND MUSIC

The Music Library located in the Hartley building is an excellent source for music, literature and recordings.



OTHER EXPECTATIONS

Mobile phones must be turned off before lessons or classes begin.



MYUNI

Course documents and periodic announcements are posted on MyUni. Please ensure that you log in regularly.

Guides to the layout, content and categorisation of the Research Project will be distributed in seminars.

Criteria for the Research Project assessment will be discussed during seminar.

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. The Seminar Paper will be on the due date, as determined by the lecturer.

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.