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TRINITY LABAN CONSERVATOIRE OF MUSIC AND DANCE

Postgraduate Academic Studies MMus

Elective Module: Music Pedagogy for the 21st Century

(PGD704f 10 Credits)
Academic Year 2016-17

Module Leader

Tutors

Dr Patricia Holmes
Janet Munro & Patricia Holmes
Email: p.holmes@trinitylaban.ac.uk
j.munro@trinitylaban.ac.uk

Summary Description:
This module offers an informed approach to the constantly changing
landscape of music teaching and learning.
Music has the power to transform and change lives, placing a unique
responsibility on the role of the music educator in the 21st century. In a
fast changing world, music teachers face enormous challenges to
traditional views of how music should be taught. By reflecting on and
questioning existing practices, this module seeks to build upon and
consolidate students existing knowledge and experience of instrumental
and vocal pedagogy as teachers and/or learners while engaging with
wider aspects of music education. It offers opportunities to critically
evaluate teaching and learning models, drawing on literature from
educational psychology, philosophy and sociology.
The overarching aims of this module are to:
Provide a forum for the discussion of different models of teaching
and learning
To encourage students to develop a global perspective, connecting
their own teaching to wider aspects of music education
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Develop reflective practice, based on underpinning thinking and

research in relation to instrumental and vocal pedagogy
Introduce a range of philosophical perspectives on music education
which influence teaching and learning
Examine diversity and different cultural contexts within instrumental
and vocal pedagogy
Discuss key aspects of music education psychology in relation to
instrumental and vocal pedagogy

Module Delivery
The module is delivered in Classes (6 x 2hrs) that are scheduled in
your timetables.
Via Moodle, you will also be set a series of subject-specific reading or
research tasks for consideration before and between scheduled class
times. These will form the basis for enhanced in-class presentation,
discussion of issues arising, evaluation and problem-solving individually
and collectively to maximise effectiveness of contact time with the
module teacher.
Through in-class tasks you will develop an appropriate range of
techniques for personal learning, and you are encouraged to supplement
this learning with private study using materials distributed in class, your
own researched musical resources and the Module reading List (see end of
this document).
You will also have the opportunity of a short tutorial that will help you in
preparing assignments.

Assessment
Overview
There will be two parts to the assessment, the first will be formative and
will consist of an online log that reflects your reading and class
participation (typically 5 x 200w) and will help you to develop your ideas
for a research project that is based on one or more topics studied during
the course. You will complete a practical project, which can take the form
of, for example, of a series of instrumental or vocal lessons, a composition
for a group of learners or a curriculum project or the development of an
original teaching resource.
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The second part is summative and will consist of a research project, which
will typically take the form of a review article on a topic or topics related
to the course. Alternatively, you may wish to submit your learning and
experience of the course in a practical format; for example, a series of
instrumental or vocal lessons which could demonstrate action research; a
composition for a group of learners; a curriculum project; or the
development of an original teaching resource. A spoken
rationale/commentary for all practical options is to be included at the end
of the video.

Assessment Component

Weight
ing

Pass
Mar
k

Pass/Fail

Planning and Log (1,000 words)

n/a

n/a/

Pass/Fail

Review a reflection and

evaluation of the project in the
form of a report (1,200-1,500
words

100%

50%

N/A

or
Evidence of project in the form
of video recording or
equivalent (6-10 mins)
The Planning and Log will reflect students ongoing experiences of
learning, both from class participation and from related reading. Through
informed comment on material from the first five weeks of reading and
classes, it will show a developing sense of engagement with theory and
practice of a range of pedagogical concepts relevant to music education in
the 21st century. Comment on the reading and/or the class for all five topic
areas will be necessary in order to achieve a Pass. The log, which will also
inform the planning of the project, should be completed on a week-byweek basis on the Moodle Journal (only visible to the individual student
and staff).
The Review or Recording will encourage and test students abilities to
synthesise knowledge gained during the course and to present their own
ideas in either written (essay/report) or practical formats. If submitting a
recording (audio or visual), a reflective critical evaluation of the project
should be included either as a written document, or spoken as part of the
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recording. Appropriate formats and content will be discussed during class

time.

What do I have to do to pass?

You must achieve a pass mark of 50% overall in order to pass the
Electives module. However you may also pass the Electives module if you
have achieved an aggregate 50% for the module even if one individual
credit bearing module (i.e. one of your two Elective choices) achieves the
minimum qualifying mark of 40%.
Where a student fails to achieve the minimum qualifying mark of 40% in
their other individual credit bearing module (i.e. one of your two Elective
choices), they must resit that module element of the Electives module
assessment regardless of the aggregate module mark. The final decision
on resit arrangements is made by the Assessment Board.
Your work will be assessed using the following module-specific assessment
criteria:
knowledge and understanding of relevant teaching techniques;
technical and musical awareness;
planning and contextual awareness;
communication;
responsiveness;
critical awareness;
imaginative employment of musical resources;
presentation, organisation and communication;
ability to reflect and plan future personal development.
In addition to the specific module assessment criteria listed above, please
refer to the Graduate School M-level Grade Descriptors document in your
programme handbook.

Assessment dates:
1. Log and Planning (1,000 words) (formative Pass/Fail)
To be completed by the start of week 10 (21.11.16)
2. Review a reflection and evaluation of the project in the form of a report (1,2001,500 words)
Or
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Evidence of project in the form of video recording or equivalent (6-10 mins) plus
critical evaluation
Submission deadline: 3.30 pm on 10.1.17
Submissions will normally be made online via Moodle. Remember to leave
adequate time for the process of submission as either form of submission
can take more time than you might anticipate. If it is more appropriate for
your submission to be submitted in hard copy, it should be taken
(together will all supporting documents/materials) to Registry reception in
advance of the deadline. Registry staff will then supply a receipt that is
proof of the date and time that the submission was handed in.
There are penalties for late submission of work, please see Regulation
Handbook for further details.

Feedback
Feedback to students will be given in the following ways:

Written feedback on assessments is returned to students within 21

working days in accordance with the Trinity Laban Policy on
Feedback on Assessed Work. Reports will include a provisional
grade, which will be subject to confirmation by the Assessment
Board.
You main submission will be discussed in class time as it develops,
giving an excellent opportunity for peer and tutor feedback
You will be supported by individual tutorials as formative feedback
on course work in support of your assignment submission
Formative feedback (i.e. feedback on where you are now and what
you might do to enhance or further your practice leading up to
assessment) will be integrated within the teaching and learning
process throughout the module.

Feedback from students will be sought through questionnaires

distributed during the latter part of the course, giving students the
opportunity to report their own evaluation of the course.

Academic Integrity

Text based work must be appropriately referenced and must include a

complete bibliography. Non text based submissions will also need to show
evidence of appropriate research. Presentation should be in line with
Trinity Laban MMus guidelines (see MMus handbook), or, if another
referencing system is used, this should be consistent. There are
opportunities within the MMus course for students to acquaint themselves
with TL house style for presentation of work (e.g. research skills training
and library training sessions). This is most important, since it is difficult for
a marker to assess the status of work that is poorly presented.
Presentation of non-text based work should be discussed with tutors in
order to ensure compatibility with expected standards.
Plagiarism:
Students should acquaint themselves with Trinity Labans policy on
plagiarism, as penalties can be severe. (Plagiarism refers to a situation
where one person uses the words, phrases, sentences, ideas, or any other
work of another person, without proper acknowledgement.)

Reading List
Essential
Abeles, H. (2014). Critical Issues in Music Education: Contemporary
Theory and Practice. Oxford: Oxford University Press.
Benedict C., Schmidt P., Spruce, G. & Woodford P. (2015). The Oxford
Handbook of Social Justice in Music Education. New York: Oxford University
Press.
Bowman, W. (2012). The Oxford Handbook of Philosophy in Music
Education. Oxford: Oxford University Press.
Ecclestone, K., & Hayes, D. (2009). The dangerous rise of therapeutic
education. London: Routledge.
Elliott, D. (2015) Music Matters: A New Philosophy of Music Education (2nd
edition). New York: Oxford University Press.
Green, L. (2001). How Popular Musicians Learn: A Way Ahead for Music
Education. Ashgate Publishing.
Hallam, S., (2006). Music psychology in education. Institute of Education,
University of London.
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Hallam S. & Creech A. (2010). Music Education in the 21st Century in the
United Kingdom: Acheivements, analysis and aspirations. Institute of
education, University of London.
Lebler, D., Carey, G., & Harrison, S. D. (Eds.). (2015). Assessment in Music
Education: from Policy to Practice. Springer International Publishing.
McPherson, G. & Welch, G. (2012) The Oxford Handbook of Music
Education, Vols 1 & 2. Oxford: OUP.
Odam, G. & Bannan, N. (2005). The reflective conservatoire: Studies in
music education (Vol. 4). Gower Publishing, Ltd.
Papageorgi, I. & Welch, G. (Eds.) (2014). Advanced Musical Performance:
Investigations in Higher Education Learning. Ashgate Publishing.
Pitts, S., (2012). Chances and choices: Exploring the impact of music
education. OUP USA.
Philpott, C. (2012). Debates in Music Education. London: Routledge.
Pitts, S., 2012. Chances and choices: Exploring the impact of music
education. OUP USA.
Woodford, P. (2005). Democracy and Music Education. Bloomington:
Indiana University Press
Wright, R. (Ed.). (2010). Sociology and music education. Ashgate
Publishing.

Useful
Armstrong, Victoria (2011). Technology and the gendering of Music
Education Ashgate
Burnard, P. & Haddon, e. (Eds.), (2015). Activating diverse musical
creativities: teaching and learning in higher music education. London:
Bloombury Press.
Coll, H. & Lamont, A. (Eds.) (2009). Sound Progress: Exploring Musical
Development. National Association of Music Educators.
Elliott, D. (2005). Praxial Music Education: Reflections and Dialogues. New
York: OUP.
Hallam, S (1998) Instrumental Teaching: A Practical Guide to Better
Teaching and Learning. London: Heinemann
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Hallam, S. & Gaunt, H. (2012). Preparing for Success: A Practical Guide for
Young Musicians. London: IOE
Macpherson, G. E. (2006). The Child as Musician: A handbook of musical
development. Oxford: Oxford University Press.
Purcell, S (2000). Musical Patchwork: The Threads of Teaching and
Learning in a Conservatoire. GSMD.
Reimer, B. A. (2003). Philosophy of Music Education: Advancing the Vision.
New Jersey: Prentice Hall.
Swanwick, K (1999). Teaching Music Musicall.y London Routledge.

Background
Beckman, G.D., (2010). Disciplining the arts: Teaching entrepreneurship in
context. R&L Education.
Blakemore, S-J. & Frith, U. (2007).The learning brain: lessons for
education. Oxford: Blackwell.
Clague, M.,( 2010). Real-World Musicology: Integrating Entrepreneurship
throughout the Music Curriculum and Beyond. Disciplining the Arts:
Teaching Entrepreneurship in Context, p.167.
Finney, J. (2013). Masterclass in Music Education: transformation through
teaching & learning. London: Bloomsbury Press.
Gardner, H. (1983). Frames of Mind. Oxford: Heinemann.
Green, L. (2014). Hear, Listen, Play: How to free your students aural,
improvisation and performance skills. Oxford: Oxford University Press.

Journal Articles
Andrews, K. (2013). Standing on our own two feet: A comparison of
teacher-directed and group learning in an extra-curricular instrumental
group. British Journal of Music Education (2013) 30:1 125-148.
Abrahams, F. (2005). The application of critical pedagogy to music
teaching and learning. Visions of Research in Music Education, 6.
Retrieved from http://www.rider.edu/~vrme

Creech, A., & Hallam, S. (2003). Parentteacherpupil interactions in

instrumental music tuition: a literature review. British Journal of Music
Education, 20(01), 29-44.
Elliott, D. J. (2005). Musical understanding, musical works, and emotional
expression: Implications for education. Educational Philosophy and
Theory, 37(1), 93-103.
Elliott, D. J. (2001). Modernity, postmodernity and music education
philosophy. Research studies in music education, 17(1), 32-41.
Elliott, D., & Silverman, M. (2014). Music, personhood, and eudaimonia:
Implications for educative and ethical music education.
Garnett, J. (2013). Beyond a constructivist curriculum: a critique of
competing paradigms in music education. British Journal of Music
Education, 30(02), 161-175.
Folkestad, G. (2006). Formal or Informal learning situations or practices vs
formal and informal ways of learning British Journal of Music Education.,
23:2 135-145.
Haddon, Elizabeth (2009) Instrumental and Vocal Teaching: How do
students learn to teach British Journal of Music Education 26 pp 57-70
Hallam, S. (2001). The development of metacognition in musicians:
Implications for education. British Journal of Music Education, 18(01), 2739.
Hargreaves, D.J., Marshall, N.A. and North, A.C. 2003). Music education in
the twenty-first century: a psychological perspective. British Journal of
Music Education, 20(02), pp.147-163.
Jorgensen, E. R. (2003). What philosophy can bring to music education:
musicianship as a case in point. British Journal of Music Education, 20(02),
197-214.
Papageorgi I et al (2010). Institutional culture and learning 1: perceptions
of the learning environment and musicians attitudes to learning, Music
Education Research 12(2) 151-78
Regelski, T (2009) The ethics of music teaching as profession and praxis.
Vision of Research in Music Education, Vol 13
Renwick, J. M., & McPherson, G. E. (2002). Interest and choice: Studentselected repertoire and its effect on practising behaviour. British Journal of
Music Education, 19(02), 173-188.
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Silverman, M (2007). Musical Interpretation: Philosophical and Practical

Issues. International Journal of Music Education, Vol 25(2) 101-117.

Patricia Holmes
June 2016

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