bachelor in music education course handbook 2017–2018 ... · calendar and the provisions of the...

BachelorinMusicEducationHandbookPage1of193

BachelorinMusicEducationCourseHandbook2017–2018

SCHOOLOFEDUCATION

Inassociationwith

DITCONSERVATORYOFMUSICAND

DRAMA

ROYALIRISHACADEMYOF

MUSIC


ANoteonthisHandbook

ThishandbookappliestostudentstakingtheBachelorinMusicEducationprogramme2017-2018.Itprovidesaguidetowhatisexpectedonthisprogramme,andtheacademicand

personalsupportavailable.Pleaseretainforfuturereference.

Thishandbookisavailableinalternativeformatuponrequest.

Theinformationprovidedinthishandbookisaccurateatthetimeofpreparation.Anynecessaryrevisionswillbenotifiedtostudents.Thelecturerreservestherighttoalterthe

contentofindividualmodulesduringtheyear.

Pleasenotethat,intheeventofanyconflictorinconsistencybetweentheGeneralRegulationspublishedintheUniversityCalendarandinformationcontainedincoursehandbooks,thehandbookdoesnotsupersedetheUniversityregulationsintheCollege

CalendarandtheprovisionsoftheGeneralRegulationswillprevail.


Contents

Staff Contacts ............................................................................... 7TCD ............................................................................................ 7DIT ........................................................................................... 10RIAM ........................................................................................ 11

General Information for Students ............................................... 14Introduction ............................................................................. 14Co-ordinating Committee ......................................................... 14Personal Tutors/ Student Representation ................................ 14Examinations and Assessments ................................................ 15Feedback on Assignment/ Examinations .................................. 18Study Abroad/Erasmus ............................................................ 19School Placement ..................................................................... 20Plagiarism ................................................................................ 24Referencing .............................................................................. 25Course Credits (ECTS) .............................................................. 31External Examiner .................................................................... 31Student Support ....................................................................... 32Information on Academic Resources ........................................ 32

DIT Conservatory of Music and Drama ........................................ 34

The Royal Irish Academy of Music ............................................... 38

Bachelor in Music Education Programme Learning Outcomes ...... 40Junior Freshman ......................................................................... 41

Dublin Institute of Technology – Conservatory of Music and Drama42

Junior Freshman 2017/18 Timetable .......................................... 42MODULE 1: Instrumental Performance ..................................... 44MODULE 2: Musicianship .......................................................... 47MODULE 3: Compositional Techniques [Harmony and Counterpoint Stylistic] ................................................................................... 50MODULE 4: Music History ......................................................... 51MODULE 5: Music Education ..................................................... 55MODULE 6: Music Education / Curricular Development ............ 62Junior Freshman Summary Table ............................................. 64Junior Freshman Assignment Submission Dates ....................... 66


Senior Freshman ......................................................................... 69Senior Freshman 2017/18 Timetable ....................................... 70MODULE 1: Instrumental Performance ..................................... 71MODULE 2: Musicianship .......................................................... 74MODULE 3: Compositional Techniques [Harmony & Counterpoint Stylistic] ................................................................................... 76MODULE 4: Music History ......................................................... 77MODULE 5: Music Education ..................................................... 81MODULE 6: Irish Educational History and Policy ....................... 92MODULE 7: School Placement .................................................. 96Foundation Scholarship [This is optional for SF students] ........ 98Senior Freshman Summary Table ........................................... 100Senior Freshman Submission And Examination Dates ............ 101

Junior Sophister Conservatory of Music and Drama .................. 104Junior Sophister 2017/18 Timetable ...................................... 104MODULE 1: Instrumental Performance ................................... 106MODULE 2: Musicianship and Music History ............................ 109MODULE 3: Educational Philosophy & Theory ......................... 111MODULE 4: Sociology of Education ......................................... 115MODULE 5: Music Education 1 ................................................ 119MODULE 6: Music Education 2 ................................................ 123MODULE 7: School Placement ................................................. 126Junior Sophister Summary Table ............................................ 128Junior Sophister Submission and Examination Dates ............. 130

SENIOR SOPHISTER .................................................................. 133Senior Sophister 2017/18 TCD Timetable .............................. 133FourthYear[SENIORSOPHISTER] ......................................................... 137Senior Sophister Summary Table ........................................... 163Senior Sophister Submission and Examination Dates ............. 164Curricular Pedagogy (optional) .............................................. 165

Appendices ............................................................................... 166Appendix I: The grading of examinations and other written work167Appendix II: Criteria for Marking Main Instrument Exam ...... 175Appendix III: Criteria for Marking School Placement ............ 179Appendix IV: Criteria for marking composition portfolio ........ 181


APPENDIX V: European Credit Transfer System (ECTS) .......... 182APPENDIX VI: Cover Sheet ..................................................... 184APPENDIX VII: B Mus Ed / PME Course Calendar: .................. 186APPENDIX VIII: FOR DIT STUDENTS ONLY – Permission for engagement in events outside the Conservatory .................... 187APPENDIX IX TCD: Permission for engagement in outside events during teaching term .............................................................. 190Appendix X: Ethics Approval ................................................... 193


StaffContacts


Staff Contacts TCDOffice:Room3087

Telephone:+35318961488

Openinghours:MONDAY–THURSDAY10:00-1:00and2:00-4:30

Role Name Email

HeadofSchool Dr.AndrewLoxley [email protected]

B.Mus.Ed.CourseCo-ordinator MaritaKerin [email protected]

B.Mus.Ed.AdminTeam AnneHanley&LindaMcHugh

[email protected]@tcd.ie

DirectorofUndergraduateTeachingandLearning&CoordinatorforICTS

Dr.StephenMinton [email protected]

SF–IrishEducationalHistoryandPolicy Dr.JohnWalsh [email protected]

JSSociologyofEducation Dr.MelanieNíDhuinn [email protected]

JS-ResearchMethods Dr.AndrewLoxley&MaritaKerin

[email protected]

[email protected]

JS-EducationalPhilosophy&Theory MaryHatfield [email protected]

SS–AppliedPsychologyinEducation Dr.StephenMinton [email protected]

SS–IntroductiontoAssessment&ExaminationsinPost-PrimaryEducation

Dr.DamianMurchan [email protected]

SS–InclusiveEducation Ms.AlisonDoyle [email protected]

PMECourseCo-ordinator MelanieNíDhuinn [email protected]

B.Mus.Ed.CourseCo-ordinator-MaritaKerin

OfficeHours-Wednesday11.00-1.00and2.00-4.00-byappointmentonly


BachelorinMusicEducation-ImportantDates

Date Event

Monday28thAugust–Friday16thDecember2017

MichaelmasTerm

Monday28thAugust–Friday15thSeptember2017

SupplementalExaminations

25thSeptember2017 Semester1LecturesStart

Friday27thOctober2017 FirstdayforgivingnoticeforFoundationScholarship(TBC)

Friday10thNovember2017 LastdayforgivingnoticeforFoundationScholarship(TBC)

Monday6th–Friday10thNovember2017 StudyWeek

Monday8thJanuary2018(Itmaybenecessarytoholdsomeexamsintheprecedingweek)

FoundationScholarshipExaminations

15thJanuary2018 Semester2LecturesStart

Monday15thJanuary-Friday6thApril2018 HilaryTerm

Monday26thFebruary–Friday2ndMarch2018 StudyWeek

MondayApril9th–Friday29thJune2018 TrinityTerm

Monday30thApril–Friday25thMay2018 AnnualExaminations2018

TBC SupplementalExaminations2018(TBC)

SeniorSophister,JuniorSophisterandSeniorFreshmanstudents,pleaserefertoAppendixVIItoviewwhenlecturesarenotrunningforjointPMEFoundationstudiesandPedagogysubjects.ReadingweekanddirectedstudyarenotedinthePMESemesterCalendar(AppendixVII).ThesemodulesincludeIrishEducationalHistoryandPolicy,EducationalPhilosophyandTheory;SociologyofEducation;IntroductiontoAssessmentandExaminationsandthepedagogymodulesrespectively.


DIT

AdministrationOffice

Telephone:+35314023513,4023508,4023572

Fax:+35314023512

Email:[email protected]

Openinghours:9.00–12.30and2.00–5.00

Role Name E-mail

ProgrammeChair Dr.MarkFitzgerald [email protected]

AuralPerceptionMs.BernieSherlock

[email protected]

Analysis Dr.AdrianSmith

Harmony&Counterpoint Dr.KerryHouston

PracticeofMusicEd Dr.LorraineO’Connell [email protected]

KeyboardTechniquesMr.EoinTierney/

[email protected]/

Harmony&Counterpoint Dr.Anne-MarieO’Farrell [email protected] Dr.AdrianSmith

MusicEducationEducationalIssues Dr.LorraineO’Connell [email protected]

MusicEducationHarmony&CounterpointApplied Dr.DavidBremner

IrishMusic Dr.MarianDeasy [email protected]

PracticalMusicianship

EmmanuelLawlor

AntonioCafolla

NoelEccles

MarcoRamelli

AcademicWriting Dr.PaulMcNulty

MusicTechnology ShigetoWada


RIAMTelephone:+35316325300

FaxAdministrationOffice

:35316622798

Email:[email protected]

Openinghours:9.00-5.00Monday–FridayRIAM

Role Name Email

HeadofRIAMMs.

DeborahKelleher

[email protected]

Registry/GeneralOffice

Ms.FrancesHogan

[email protected]

MusicHistory

DeborahKelleherPedroLopez

AmyRyan

AmandaFeery

[email protected]

[email protected]

[email protected]

HeadofMusicianship

Ms.MarieMoran

JeanArchibald

[email protected]

H&CStylistic

Ms.MarieMoran

JeanArchibald

[email protected]

[email protected]

H&CandTutorial& Ms.Jean [email protected]


KeyboardHarmony Archibald

Chorale Ms.BlanaidMurphy [email protected]

Aural1,Aural2,KeyboardSkills

Ms.JeanArchibald

AmyRyan

[email protected]

[email protected]

H&CApplied GrainneDeery [email protected]

MusicHistory,AcademicWriting&AuralAwareness

Ms.AmandaFeery

IrishMusicMs.ImogenGunner

[email protected]

MusicEducation,H&CApplied

Ms.GrainneDeery

[email protected]

ResearchSkills

Librarian

PhilipShields [email protected]


GeneralInformationforBachelorinMusicEducationStudents


General Information for Students

IntroductionTheBachelorinMusicEducationisafour-yearhonorsdegreecourse,itisconductedbytheUniversityofDublin,TrinityCollege.(contacttheCourseCo-ordinator:MaritaKerin,[email protected])inassociationwiththeDITConservatoryofMusic&Drama.(contact:[email protected];KerryHouston,[email protected])andtheRoyalIrishAcademyofMusic(contact:Ms.MarieMoran,[email protected];DeborahKelleher,[email protected]).QueriesinrelationtotheB.Mus.Ed.DegreeprogrammeshouldbedirectedtotheCourseCo-ordinator,[email protected]/[email protected],[email protected]

Co-ordinatingCommitteeTheoveralladministrationofthecourseisprocessedthroughaCo-ordinatingCommittee,onwhichtherearerepresentativesfromtheparticipatinginstitutionsandfourstudentrepresentatives,oneforeachyearofthecourse.Inaddition,therearedegreecoursecommitteesintheDITConservatoryofMusic&DramaandtheRoyalIrishAcademyofMusicwhichconveneregularlyonanInter-Institutionalbasis.TheCo-ordinatingCommitteewillmeeton

Tuesday17thOctober2017at12.00

Tuesday6thMarch2018at12.00

PersonalTutors/StudentRepresentationEveryundergraduatestudentisassignedatutorwhens/heisadmittedtocollege.Thetutor,whoisamemberoftheteachingstaffinTrinityCollege,takesapersonalinterestinthestudent’sprogress,representsthestudentbeforetheCollege’sauthorities,andwillgiveconfidentialadviceonmattersrelatingtoacademicprogress,examinations,fees,etc.

Studentswhohaveproblemsarisingfromillness,academic,financialorotherpersonaldifficultiesareadvisedtoseektheirtutor’sadviceandassistance.Allmattersdiscussedbetweenastudentandhis/hertutorsaretreatedwiththeutmostconfidentiality.

Studentsseekingpermissionforanyofthefollowingmustconsulttheirtutor,sinceitisthetutorwhomakesapplicationtotheCollegeauthoritiesonbehalfofthestudent:

▪ permissiontodeferorwithdrawfromexaminations;

▪ permissionto‘gooff-books’(i.e.takeayearout);

▪ submittinganacademicappeal;

▪ transfertoadifferentcourseofstudy;

▪ applicationforfinancialassistance.

Queries


ForqueriesregardingthecontentofyourCourseHandbook2017/18,pleasecontacteithertheCourseCo-ordinator,MaritaKerinatkerinm@[email protected]

ExaminationsandAssessmentsExaminationtimetableswillbepublishedinadvanceofthedatesofexaminationsontheTCDwebsite.Theonusliesoneachstudenttoestablishthedatesofexaminationsbyconsultingthewebsite.Consultyourlecturerforsubmissiondatesforcontinuousassessments.

Notimetableorreminderwillbesenttoindividualstudents.

Ifastudentisunabletositanexaminationduetounforeseencircumstances,thestudent’stutormustbenotifiedinadvancesothat(s)hecanseekpermissionfromtheSeniorLectureroftheCollegeforthedesiredcourseofaction(withdrawal,deferral,etc.).Anunexcusedabsencefromanexaminationwillresultinafailgradebeingrecordedfortheexaminationpaper.

ExaminationresultswillbepublishedanddisplayedonthenoticeboardoutsideRoom3133intheArtsBuilding.Studentswhohavefailedtheannualexamination,orwhoarerequiredtorepeatanypartofanexamination,shouldconsulttheirtutorfollowingthepublicationofresults.

Markingsystem

Themarkingsystemforallsubjectsisasfollows:

I (70%andover)

II.1 (60%-69%)

II.2 (50%-59%)

III (40%-49%)

F1 (30%-39%)

F2 (lessthan30%)

Allmarkswillberoundedtothenearestnumber[e.g.59.5andoveris60,59.4andunderis59].


Compensationinexaminations(Harmonization)

Thecourseisstructuredinmodules,withinsomeofthemodulesthereareanumberofcomponentsandwithinthesecomponentsthereareanumberofelements.

Allelementsofassessmentsmustbeundertakenineachmodule.Failuretosubmitanelementforassessmentwillre-quirere-submissionofthatelementduringthesupplementalexaminationperiod.

CompensationatComponentLevel

Ifacandidatefailsonecomponent(butnotmorethanonecomponent),he/shemaynotberequiredtorepeatthatcomponentprovidedthathe/shehasobtainedamarkwithinthefailedcomponentwhichmaybeconsideredforcompensation.

Ifacandidatefailsmorethanonecomponent,he/shewillnotbeconsideredforcompensationandwillberequiredtorepeatthoseassessmentsinthesupplementalexaminationsintheautumn.

Tobeconsideredforcompensationatcomponentlevel,studentsmusthaveachievedaminimummarkof35%inthefailedcomponent.

Insituationswhereastudentfailsacomponentandisnoteligibleforcompensation,butpassesthemoduleoverall,thestudentmustpassthefailedcomponentatSupplementalsinordertoprogresstothenextyear.

ItisnotpossibletopassSchoolPlacementbycompensation.

ComponentswithinmoduleswhichareassessedonaPASS/FAILbasisiffailedwillnotbeconsideredforcompensation.

CompensationatModuleLevel

Thefollowingcompensationrulesareatmodulelevelonly.Inmodulesthatarenon-compensatable,astudentmustachievea40%passmarktoproceedtothenextyearofthecourse.

Ifastudenthasachievedanend-of-yearcreditweightedaverageofatleast40%,(s)hemaycompensateprovided(s)hehasnotfailedmorethan10ECTScredits(GradeIII).Astudentthereforemustachieve50ECTScreditsinordertobeconsideredforcompensation.

Shouldastudentfaila10creditmodule,(s)hemusthaveachievedaminimummarkof35%inordertobeconsideredforcompensation:or

Shouldastudentfailtwo5creditmodules,(s)hemusthaveachievedaminimummarkof35%ineachmoduleinordertobeconsideredforcompensation:or

Shouldastudentfailone5creditmodule,(s)hemusthaveachievedaminimummarkof30%inordertobeconsideredforcompensation.


Insummary,compensationisconsideredifastudenteither(i)failsone10ECTScreditmoduleinthisyearbutachievesaminimummarkof35%or(ii)failstwo5ECTScreditmodulesbutachievesaminimummarkof35%ineachor(iii)failsone5ECTScreditbutachievesaminimummarkof30%.

StudentsreturnedbytheannualCourtofExaminerswithanoverallFailgrademustpresentforasupplementalexaminationinthesubjectsrequiredbythecourtofexaminers.Studentswhosuccessfullyachievethe60ECTScreditsatSupplementalswillberecordedasPASSATSUPPLEMENTALfortheyear,regardlessoftheoverallresultattained.Thisruleistoprecludestudentsfromgaininganunfairadvantagethroughthesupplementalexaminationsoverthosestudentswhoweresuccessfulintheannualexaminations.

SeeAppendix1forinformationonthegradingofexaminations.

Year1JuniorFreshmanThisyearcomprises6modules;1x15ECTScreditmodule,4X10ECTScreditmodulesand1x5ECTScreditmodules.

Year2SeniorFreshman

Thisyearcomprises8modules;4X10ECTScreditmodules,4X5ECTScreditmodules

Year3JuniorSophisterThisyearcomprises7modules;1X25ECTScredits,1x10ECTScreditsand5x5ECTScredits.Schoolplacement(25ECTS)isnon-compensatable.

Year4SeniorSophister

Thisyearcomprises7modules;1x20ECTScreditmodule,2x10ECTScreditmodulesand4x5ECTScreditmodules.

[UnderharmonizationregulationsMajorOption(20ECTScredits)ismathematicallyimpossibletocompensate.]

Assessment

Inallsubjects,recordsarekeptofstudentprogressincludingattendanceandapplication.Inmostcasesapercentageofthefinalendofyearmarkincludesacontinuousassessmentmark.(Detailsofassessmentsandweightingsforthisyearareinthe4summarytablesofthishandbook).Exceptwherethereisdulycertifiedorotherapprovedreason,worksubmitteduptooneweeklatewillbeara10%deductionofthemarkallocated.Worksubmittedbetweenoneandtwoweekslatewillbearan


additional10%deduction.Worksubmittedmorethantwoweekslatewillnotbeaccepted.Everypieceofcourseworkmustbeaccompaniedbyacoversheet.[SeeAppendixVI]

Submissionofassignments/courseworktoTrinityshouldbesubmittedby3.00pmtoroom3087intheArtsBuildingontheduedate.Pleasenoteifyouarerequestedtosubmitbyemailthismustbedoneonthedayofsubmissionby3.00pmalso.Studentsmusthandintheirassignmentspersonally.

FeedbackonAssignment/ExaminationsIntheinterestofstudentfeedbackprovisionalresultsofcontinuousassessmentmaybesuppliedtostudentsthroughouttheyear.ProvisionalresultsaresubjecttoratificationattheCourtofExaminersinTrinityTermofeachyear.Pleasenotetheexaminationscriptsandassignmentsareretainedforamaximumperiodof13monthsfromthedateofthemeetingoftheCourtofExaminerswhichmoderatesthemarksinquestionandmaynotbeavailableforconsultationafterthistimeperiod(TrinityCollegeDublinCalendarPart1,GeneralRegulationsandInformation).

TranscriptsareavailableonwrittenrequestfromtheSchoolofEducation,Room3087,ArtsBuilding,TrinityCollege(e-mail:[email protected]).Thenormalwaitingperiodfortranscriptsistwotofourweeks.

Awards

AcommendationinfinalSchoolplacementmaybeawarded,atthediscretionoftheschoolplacementsupervisoryteam,asamarkofdistinctioninTeaching.AGoldMedalmaybeawardedasanoverallmarkofexcellenceinSeniorSophister.

Ethics

Researchprojectsmayrequireethicsapprovalbytherelevantinstitution.

Studentsareadvisedtoconsultwiththeirsupervisoratfirstinstance.InformationregardingethicsapprovalwillbepostedontheSchoolofEducationwebsite.SeeAppendixX.

Attendance

Forprofessionalreasons,attendanceatlectures,tutorials,ensemblesandpracticeplacementsiscompulsory.TheCo-ordinatingCommitteehassetaminimumrequirementof75%attendanceinallcomponentsofthedegreeseeCalendar2017-18


Ifastudentcannotattendalectureforreasonsotherthanmedical,writtenconsentmustbeobtainedfromtheCourseCo-ordinatoroftherelevantcolleges.ConsentisgivenattheCourseCo-ordinator'sdiscretion.AcopyofthisconsentandanymedicalcertificatesmustbesenttotheCourseCo-coordinator.Regardingensembleattendance,studentsareadvisedtoadheretotheregulationsintherelevantCollege.AppendicesVIII&IX.

StudyAbroad/ErasmusErasmusexchangesareorganisedbetweenTCDstudentsandstudentsfromtheRoyalConservatoryofScotland,GlasgowandwithTheKodalyInstitute,Hungary.EligiblestudentshavetheoptionofstudyingabroadduringHilaryTermintheSeniorFreshmanyearonly.StudentsmustindicatetheirintentionsbyapplyinginwritingtotheCourseCo-ordinatorinJuniorFreshmanYear(dateofapplicationtobeadvisedbyCourseCo-ordinatoreachyear).Pleasenote-placesontheErasmusprogrammearesubjecttoachievementofatleastaII.1inJuniorFreshmanannualexaminationsandapplicationsmustbeaccompaniedbylettersofrecommendationfromboththestudent’sinstrumentalperformanceteacherandthemusiceducationlecturer.

JuniorFreshmanstudentswishingtoapplyforanErasmusplacementduringSeniorFreshmanmustnotifytheCourseCo-ordinatorandtheInternationalOffice.

Garda/policevetting

PleaseseeUniversityCalendarentryH6§27.

FitnesstoPractice

PleaseseeUniversityCalendarentryH7,H8§28.

PerformanceOpportunities

RegularperformanceopportunitiesareprovidedinDITConservatoryofMusic&DramaandtheRoyalIrishAcademyofMusic..

MajorOption

InSeniorSophisteryear,studentsmaychoosetheirmajoroptionfromoneofthefollowing:Recital,DissertationorOriginalComposition.

EachofthemajoroptionshasanequalinputtothefinalDegreerating.MarksawardedinallthreeareaswillbemoderatedbytheExternalExaminer.

ThemajoroptionmustbedeclaredinwritingtotheCourseCo-ordinatorinMarchofJuniorSophisteryear.OncompletionoftheJuniorSophisteryearexaminationthestudentmaybeadvisedtoreconsiderhis/herchoiceofmajoroption.


FordetailsoneachoftheMajorOptionspleaseseetheentriesintheSeniorSophistersectionofthishandbook.

SchoolPlacementTheaimsofschoolplacementaretoenablestudents;

▪ toacquireconfidenceinhandlingthedataandideasofthesubjecttheyteachintheclassroomand

▪ toparticipate,collaborateandcontributewithinaprofessionalteam

§ todevelopconfidenceandskillinclassroommanagement.

PreparationforclassroompracticeiscloselyrelatedtotheMusicEducationmoduleanddirectlytothecoursesinTeachingMethodologyandMicroteaching.

DuringtheSchoolPlacementco-teachingblocks,thestudentwillbevisitedontwooccasionsinorderthatanevaluationofprogresscanbemade,andthestudentadvisedonthestrengthsandweaknessesofhis/herperformancesothataneffectiveteachingstylecanbedeveloped.Additionalsupervisionsmaybenecessaryforthosestudentswhoareindifficulty.

Inordertoassistthestudentteacheracquiretheseskills,thefirstperiodofJuniorFreshmanSchoolPlacementatSt.Vincent’sGirlsNationalSchoolisdevotedtotheobservationofclassesinaction.Sothateffectiveobservationcanbepractised,amoduleisprovidedinclassroomobservationduringtheMichaelmastermofthefirstyear.Eachstudentisrequiredtocompleteastructuredreportontheirobservation,andthiswillbesubmittedimmediatelyfollowingtheteacherobservationperiod.ThisstructuredobservationwillbediscussedduringMusicEducationseminars.

Thisisfollowedbyaperiodofco-teaching.JuniorFreshmanMusicEducationstudentspartnerwithin-serviceprimaryteachersatSt.Vincent’sPrimarySchool,co-teachingmusiceveryMondayduringMichaelmasandHilaryterms.

PriortothefirstperiodofactualteachingintheMarchofSFyearthestudentteacherswillparticipateinactivitiesdesignedtohelpthemacquireskillsinclassroommanagement,lessonplanningandimplementationandpresentation.Thesewillincludepracticalworkandmicroteaching,whichisavideotechniquedesignedtohelpteachersevaluatetheirownperformance.


ThefirstsemesterofJuniorSophisteryearinvolvesschoolplacementfor16weeks.MusicEducationstudentsobserve,co-teachandeventuallytakefullresponsibilityforteachingmusicinpartnerpost-primaryschools.

SeniorSophisterstudentscommencetheirfinalyearwitha3-weekschoolplacementduringSeptember.

ScheduleofSchoolPlacement

JF MichaelmasandHilaryTerm

JFstudentswillobserveandco-teachonMondaysatSt.Vincent’sGirlsNationalSchool.

Assessment:Weeklylessonplanningandreflectiononpractice,onlinereportandsignedattendancesheet.

SF

Michaelmas

andHilary

Term

Microteachingandtwoweeksschoolplacementinsecond-levelschool.

Twosupervisoryvisits.

Assessment:Pass/Fail.

LessonFolderandsignedattendancesheetmustbesubmitted.

JS

Michaelmas

Term

Threemonth’sschoolplacementinpost-primarylevelschool.

Placementincludesobservation,co-teachingandsoloteachingandwillincludefoursupervisoryvisits.

Assessment:(FormativeandSummative)Professionalportfolio,teachingperformanceandcontributiontotheschool.

Portfolioandsignedattendancesheetmustbesubmitted.

SSMichaelmas

Term

Threeweek’sschoolplacementinpost-primarylevelschool.

Twosupervisoryvisits.

Duringthisfinalvisittheexternalexaminermayvisitsomestudents.

Assessment:(Summative)Amarkwillbeawardedforthefinalschoolplacement.Inaddition,studentsmaybeawardedacommendationforoutstandinglevelsofteaching.

Professionalportfolioandsignedattendancesheetmustbesubmitted.


ThetimingoftheHilaryTermschoolplacementisafunctionoftheuniversityterm,schoolmid-termbreaksandotherholidays,andthepositionofEaster.

Studentsarerequiredtomakeapreliminaryvisittoschoolsinadvanceoftheschoolplacement,inordertoarrangedetailsoftimetable,lessoncontent,etc.

Carefuloverallschemesanddetaileddailylessonnotesmustbepreparedinaloose-leaflesson-planfolder,whichshouldbepresentedtotheplacementtutoratthebeginningofthesupervisoryvisit.Failuretoproducethisfolderisconsideredaseriousbreachoftherequirements.

Wearedependentonthecontinuinggoodwillofschoolsinprovidingschoolplacementfacilities.Studentsarerequestedtoco-operateineverywaypossible.If,foranyreason,astudentcannotteachanallocatedclassduringschoolplacement,itisessentialthattheschoolprincipalandtheplacementtutorsbenotifiedasfarinadvanceaspossible.

TutorVisits

Thenormalpatternforavisitisthattheplacementtutorwillarriveatyourschoolalittlewhilebeforeyourclassbegins.Itisatyourdiscretionhow(ifatall)youintroducethetutortothepupilsinyourclass.Itisusuallybestifthetutorsitsatthebackoftheroomanditisnormalfortutorstomakenotesasthesessionproceeds.

Itisessentialthatyoumakecontactwithyourplacementtutorifyouwillbeabsentfromschool,orifthereisachangetoyourusualpatternofteaching,orifanyotherreasonarisesthatmeanshe/shecannotvisityourclassasarranged.

DiscussionofSupervisionVisit

Youwillhavetheopportunitytodiscusstheclasswiththeplacementtutoratamutuallyconvenienttimeaftertheclass.Ifyourtimetablepermits,thismaybeimmediatelyafterwards.Itisbesttofindaquietroomforthis–astaffroomisnotusuallysuited.However,someplacementtutorsmayprefertotaketimeforreflectionbeforediscussingthesessionwithyou.InthatcasethetutorwillarrangetomeetyouinCollege.Itiscrucialthatstudentsarewillingtodiscusstheirteachinginasopenawayaspossible.Placementtutorcanofferadvice;butonlyyoucandecideifyouwillactonit.Sometimesyoumayfeelthattheadviceisinappropriateforagivenclassduetocircumstancesbeyondyourcontrol.Ifthisisthecase,youshouldexplainyourreasonstothetutor.Youwillalwaysbegivenageneralindicationofhowwellyouhavedone/aredoingbutwillnotbegivenamark.Itisimportanttoappreciatethattutorsallhaveconsiderableexperienceofclassroomteaching.Theyarethussensitivetothedifficultiesyoumaybehavingasyoustartteachingandtothedifferenttypesofschools–andtheproblemstheypose–inwhichsomestudentsfindthemselves.


GradingandAssessmentofSchoolPlacement

AschoolplacementfolderandattendancesheetmustbesubmittedtotheCourseCo-ordinatorandareanessentialpartoftheassessmentprocedure.Schoolplacementisapass/failcomponentinFreshmanyears.However,inbothSophisteryears,amarkisawarded.Acommendationforexcellencemayalsobeawardedatthediscretionoftheschoolplacementteam.

Intheeventofafailureinschoolplacementtherewillbenocompensation.

SpecialistLectures

StudentsareencouragedtoattendallSpecialistLecturesduringtheyear.DetailswillbeavailablefromtheB.Mus.Ed.CourseCo-ordinator.

GeneralRegulationsoftheCollege

IntheeventofanyconflictorinconsistencybetweentheGeneralRegulationspublishedintheUniversityCalendarandtheinformationcontainedinthishandbook,theprovisionsoftheGeneralRegulationswillprevail.


Plagiarism

Plagiarism,interpretedbytheCollegeastheactofpresentingtheworkofothersasone’sownworkwithoutacknowledgement,isregardedasaveryseriousoffenceandissubjecttoCollegedisciplinaryprocedures.

TheCollege’spolicyonplagiarismisoutlinedinthegeneralregulationsandinformation(PartIIoftheCalendar.Studentsshouldreadthenewonlinecentralrepositorywhichconsolidatesallinformationandresourcesonplagiarismwhichislocatedat:http://tcd.ie/libguides.com/plagiarism.Thisincludesthefollowing:

1) The2017/18Calendarentryonplagiarismforundergraduateandpostgraduatestudents;2) ThematrixexplainingthedifferentlevelsofplagiarismoutlinesintheCalendarentryandthe

sanctionsapplied;3) Informationonwhatplagiarismisandhowtoavoidit;4) ‘Ready, Steady, Write’, an online tutorial on plagiarism which must be completed by all

students;5) Detailsofsoftwarepackagesthatcandetectplagiarism,eg.Turnitin

All students are required to complete the online tutorial “Ready, Steady, Write” located at:http://tcd-ie.libguides.com/plagiarism/ready-steady-writeWhensubmittingcoursework,studentsmustcompletethedeclarationontheirCoverSheetswhichstates that theyhave readandunderstood theplagiarismprovisions in theGeneralRegulationsoftheUniversityCalendar,andalsothattheyhavecompletedtheonlinetutorialonavoidingplagiarism“Ready,Steady,Write”


Referencing

InlightoftheincreaseinuseofcitationandreferencingsoftwaresuchasEndNoteorRefWorks,theSchoolofEducationhasamendeditscitationandreferencingconventionstoaccommodatetheuseofsuchsoftware.Theconventionsadoptedfrom2013/14arethoseoftheAmericanPsychologicalAssociation(APA)andwhenusingEndNoteorothercitationsoftware,youshouldformatallentriesas“APA6th.Thefollowingindicateshowcitedworkshouldbeincludedinboththetextofyourassignmentsandthelistofreferencesattheendwhetherusingsoftwareornot.[TheSchoolofEducationacknowledgesthecontributionoftheStateUniversityofSacramentointhepreparationofthisdocument]InText

Throughoutthebodyofyourpaper,notetheauthoranddateofresearchthatyoumention.AuthorandDateCitedinText(noparentheticalcitationnecessary)Ina1989article,GouldexploressomeofDarwin'smosteffectivemetaphors.AuthorNotCitedinTextAsmetaphorsfortheworkingsofnature,Darwinusedthetangledbank,thetreeoflife,andthefaceofnature(Gould,1989).AuthorCitedinTextGould(1989)attributesDarwin'ssuccesstohisgiftformakingtheappropriatemetaphor.DirectQuotationwithNameofAuthorGould(1989)explainsthatDarwinusedthemetaphorofthetreeoflife"toexpresstheotherformofinterconnectedness–genealogicalratherthanecological–andtoillustratebothsuccessandfailureinthehistoryoflife"(p.14).DirectQuotationwithoutNameofAuthorDarwinusedthemetaphorofthetreeoflife"toexpresstheotherformofinterconnectedness–genealogicalratherthanecological"(Gould,1989,p.14).

Foreachofthesamplesabovethecorrect"References"APAstyleformatwouldbe:Gould,S.J.(1989).Thewheeloffortuneandthewedgeofprogress.NaturalHistory,89(3),14-21.

Quotingreferencesthatciteotherworks

Tocitesecondarysources,refertobothsourcesinthetext,butincludeintheReferenceslistonlythesourcethatyouactuallyused.Forinstance,supposeyoureadFeist(1998)andwouldliketoparaphraseasentencefromBandura(1989)withinthatbook:Inthiscase,yourin-textcitationwouldbe:Bandura(Bandura,1989,ascitedinFeist,1998)definedself-efficacyas"people'sbeliefsabouttheircapabilitiestoexercisecontrolovereventsthataffecttheirlives"(p.1175).


Feist(1998)wouldbefullyreferencedwithinthelistofReferences.Bandura(1989)wouldnotbelisted.ListofReferences

Beginyourlistofreferencesonanewpage,headedwiththeword“References”centredatthetop.Use“Reference”ifthereisonlyone.Alphabetizethelistbyauthor'slastname.Ifthereisnoauthorgiven,startwiththefirstsignificantwordinthetitle.Forarticletitles,capitalizeonlythefirstwordofthetitleandsubtitle,andpropernames.Periodicaltitlesshouldbewritteninfullwithbothcapitalandlowercaseletters.Referencesaretobeinahangingindentformat,meaningthatthefirstlineofeachreferenceissetflushleftandsubsequentlinesareindented(InMicrosoftOffice:Word2007,chooseLinespacing>Linespacingoptions>Indentation>Special>Hanging).Doublespacetheentirelist.PrintSources:JournalArticles

Format:Author,A.A.,Author,B.B.,&Author,C.C.(year).Titleofarticle.TitleofPeriodical,volume(issue),pages.

OneAuthorSharma,M.(2006).InstitutionalizationofEnglishinIndia:ahistoricalbackground.SouthAsiaReview,

2(2),175-189.

TwotoSevenAuthorsKlimoski,R.,&Palmer,S.(1993).TheADAandthehiringprocessinorganizations.Consulting

PsychologyJournal:PracticeandResearch,45(2),10-36.

EightorMoreAuthorsNote:Includeallauthorsuptoandincludingseven.Foreightormore,includethefirstsix,thenanellipsis,followedbythelastauthor'sname.Wolchik,S.A.,West,S.G.,Sandler,I.N.,Tein,J.,Coatsworth,D.,Lengua,L.,...Griffin.W.A.(2000).

Anexperimentalevaluationoftheory-basedmotherandmother-childprogramsforchildrenof

divorce.JournalofConsultingandClinicalPsychology,68,843-856.

MagazineArticleRodgers,J.(2006,July).Extremepsychology.PsychologyToday,39(4),86-93.ReviewofaBookSchatz,B.R.(2000,November17).Learningbytextorcontext?[ReviewofthebookThesociallifeof

informationbyJ.S.Brown&P.Duguid].Science,290,1304.


DailyNewspaperArticle,NoAuthorNote:Useporppbeforepagenumber.Ifthearticlehadmorethanonepagebutnotcontinuousthenthecitationwouldbe"pp.A12,A14."Newdrugappearstosharplycutriskofdeathfromheartfailure.(2001,August3).TheWashington

Post,p.A12.

LettertotheEditor,NewspaperArticleBerkowitz,A.D.(2000,November24).Howtotackletheproblemofstudentdrinking[Lettertothe

editor].TheChronicleofHigherEducation,pB20.

EntireIssueofaJournalBarlow,D.H.(Ed.).(1991)Diagnoses,dimensions,andDSM-IV:Thescienceofclassification[Special

issue].JournalofAbnormalPsychology,100(3).

PRINTSOURCE:BOOKSANDREPORTSFormat:Author,A.A.(year).Titleofwork.Location:Publisher.BookDeleuze,G.,&Guattari,F.(2003).Athousandplateaus:Capitalismandschizophrenia.London:

AthlonePress.

ABookbyMorethanOneAuthorLevison,M.,Ward,R.G.,&Webb,J.W.(1973).ThesettlementofPolynesia:Acomputersimulation.

Minneapolis:UniversityofMinnesotaPress.

EditedBookStrathern,M.(Ed.).(2000).Auditcultures:Anthropologicalstudiesinaccountability,ethicsandthe

academy.London:Routledge.

CorporateAuthorasPublisherAmericanPsychiatricAssociation.(1994).Diagnosticandstatisticalmanualofmentaldisorders(4th

ed.).Washington,DC:Author.

AnonymousAuthorGuidelinesandapplicationformfordirectors,1990summerseminarforschoolteachers.(1988).

Washington,DC:NationalEndowmentfortheHumanities.


ChapterinaBookMassaro,D.(1992).Broadeningthedomainofthefuzzylogicalmodelofperception.InH.L.PickJr.,

P.vandenBroek,&D.C.Knill(Eds.),Cognition:Conceptualandmethodologicalissues(pp.51-

84).Washington,DC:AmericanPsychologicalAssociation.

ERICDocumentMead,J.V.(1992).Lookingatoldphotographs:Investigatingtheteachertalesthatnoviceteachers

bringwiththem(ReportNo.NCRTL-RR-92-4).EastLansing,MI:NationalCenterforResearchon

TeachingLearning.(ED346082)

GovernmentReportDepartmentofHealthandChildren(DHC).(2000).Nationalchildren’sstrategy:Ourchildren,their

lives.Dublin:StationaryOffice.

Electronic(Broadcast,OnlineandWebsites)

Manyscholarlypublishershavebeenassigninguniqueidentifierstoeachpublishedarticle.TheDOI(DigitalObjectIdentifier)isanalpha-numericcoderegisteredtoeachscholarlyarticleinordertoassignapersistentlinktothearticle.TheDOIhasreplacedthedatabasenameandURLinthelistofreferences.Becausethelinkistothefinalversion,donotincludearetrievaldate.SinceDOInumbersarecomplex,copyandpasteDOIintothereference.APArecommendsthattheDOIbeincludedforprintandonlinecitations.Citingelectronicsourcesissimilartocitingprintsources;citationsdirectreaderstothesourceorascloseaspossible.Format:Author,A.A.,Author,B.B.,&Author,C.C.(year).Titleofarticle.TitleofPeriodical,volume(issue),pages.doi:uniqueidentifierFull-TextArticlewithDOIassignedJacobson,J.W.,Mulick,J.A.,&Schwartz,A.A.(1995).Ahistoryoffacilitatedcommunication:

Science,pseudoscience,andantiscience.AmericanPsychologist,50,750-765.doi:

10.1037/0003-066X.50.9.750

Stevenson,W.,Maton,K.I.,&Teti,D.M.(1999).Socialsupport,relationshipquality,andwell-being

amongpregnantadolescents.JournalofAdolescence,22,109-121.doi:

10.1006/jado.1998.0204


Full-TextArticleswithoutaDOIIfnoDOIhasbeenassigned,providethehomepageURLofthejournal,bookorreportpublisher.Ifyouareaccessingthroughadatabase,youmayneedtodoawebsearchtolocatetheURL.Itisnotnecessarytoincludethenameofthedatabase.ThereisnoperiodattheendofareferencecitationendingwithaURL.Francis-Smythe,J.,&Robertson,I.(1999).Time-relatedindividualdifferences.Time&Society,8,

273-292.Retrievedfromhttp://intl-tas.sagepub.com

Senior,B.(1997).Teamrolesandteamperformance:Istherereallyalink?JournalofOccupational

andOrganizationalPsychology,70,241-258.Retrievedfrom

http://bpsjournals.co.uk/journals/joop

OnlineNewspaperArticleMcHugh,P.(2005,March17).Feelingdown?Itmighthelpifyoujusttakeitoutside.SanFrancisco

Chronicle.Retrievedfromhttp://sfgate.com

ResearchorTechnicalReportfromaWebSiteNAACP.(n.d.).Juvenilejusticefactsheet.RetrievedDecember11,2007,from

http://www.naacp.org/advocacy/research/facts/Juvenile%20Justice.pdf

ArticlefromWebSiteorE-journalTakase,A.(2007).Japanesehighschoolstudents'motivationforextensiveL2reading.Readingina

ForeignLanguage,19(1),1-18.RetrievedSeptember24,2007,from

http://nflrc.hawaii.edu/rfl/April2007/takase/takase.pdf

WebpageMoses,R.(n.d).Misidentification:Thecapricesofeyewitnesstestimonyincriminalcases.RetrievedMay16,2010,fromhttp://criminaldefense.eyewitnessmisidentification.html

Note:Use(n.d.)ifnodateisgiven.

TelevisionBroadcastCrystal,L.(ExecutiveProducer).(1993,October11).TheMacNeil/Lehrernewshour.[Television

broadcast].NewYorkandWashington,DC:PublicBroadcastingService.

ElectronicBookfromWebSite


O'Keefe,E.(n.d).Egoism&thecrisisinWesternvalues.Retrievedfrom

http://onlineoriginals.com/showitem.asp?itemID=135

ElectronicBookfromDatabaseGates,J.M.(1999).ConsidertheEarth:Environmentalactivitiesforgrades4-8.Retrievedfrom

http://www.netlibrary.com

WikiPsychometricassessment[Wiki].(2009,September9).Retrievedfrom:

http://psychology.wikia.com/wiki/Psychometirc_assessment

DatasetPewHispanicCenter.(2004).Changingchannelsandcriss-crossingcultures:AsurveyofLatinosonthe

newsmedia[Datafileandcodebook].Retrievedfromhttp://pewhispanic.org/datasets/

Blogpostbfy.(2007,January22).Re:Theunfortunateprerequisitesandconsequencesofpartitioningyour

mind[Weblogmessage].Retrievedfrom

http://scienceblogs.com/pharyngula/2007/the_unfortunate_prerequisites.php

AudiopodcastVanNuys,D.(Producer).(2006,October13).Understandingautism.ShrinkRapRadio[Audio

Podcast].Retrievedfromhttp://www.shrinkrapradio.com/

IntroductoryReadingandReferences

Individualreadinglistswillbedistributedbylecturers/tutorsinyourcoredisciplineandsubject

classesbutthesebooksmaybegenerallyusefulasastart.

Books:

Fontana,DPsychologyforTeachers(Cassell,1995);

Cohen,L,Manion,LandMorrison,KAGuidetoTeachingPractice(Routledge,2004);

Coolahan,JIrishEducation:HistoryandStructure(InstituteofPublicAdministration,2002);

Griffin,SandShevlin,MRespondingtoSpecialEducationalNeeds(Gill&Mac-millan,2008).

O’Moore,MandMinton,SDealingWithBullyinginSchools:ATrainingManualforTeachers,Parents

andOtherProfessionals(Chapman,2004);


Tovey,HandShare,PASociologyofIreland(Gill&Macmillan,2000);

Walsh,BandDolan,RAGuidetoTeachingPracticeinIreland(Gill&Macmillan,2009);

Winch,CandGingell,JKeyConceptsinthePhilosophyofEducation(Routledge,1999).

Miscellaneousperiodicals:

IrishTimes(educationsection,Tuesdays);IrishIndependent(educationsection,Wednesdays);

Guardian(educationsection,Tuesdays);TimesEducationalSupplement(Fridays).

Officialdocumentsandreports:

DepartmentofEducationandScience,TaskforceReportonDiscipline;

DepartmentofEducationandScience,RulesandProgrammeforSecondarySchools;

TeachingCouncil,CodesofProfessionalConductforTeachers.

NCCA,http://www.curriculumonline.ie/forJuniorandSeniorCyclecurriculumdocument

ReferencingStyleforassignmentsforDIT

StudentssubmittingassignmentsforassessmenttoDITshouldconsultthefollowingreferencing

style-guide:

http://www.dit.ie/conservatory/media/conservatoryofmusicanddrama/documents/Music%20Dissertation%20Handbook%20September%202013.pdf

ReferencingstyleforassignmentsforRIAM

StudentssubmittingassignmentsforassessmenttoRIAMshouldconsultthefollowingreferencing

style-guide:

https://www.riam.ie/wp-content/uploads/2011/03/Guidelines-on-Style-2015-2016.pdf

CourseCredits(ECTS)Thecreditratingfortheprogrammeis60creditsperyear.ECTScreditsareawardedtoastudentonlyuponsuccessfulcompletionofthecourseyear.Studentswhofailtheyearwillnotobtaincreditforthatyeareveniftheyhavepassedcertaincomponentcourses(SeeAppendixV).

ExternalExaminerThefunctionoftheexternalexamineristoactasanindependentevaluatorforthecontent,organisationandassessmentoftheB.Mus.Ed.course.Themainresponsibilitiesoftheexternalexaminerareensuringthat;academicstandardsaremaintained,regulationsgoverningexaminingareobserved,andstudentsaretreatedfairly.


TheexternalexaminerisinvolvedinassessingstandardsinTP,courseworkandexaminations.Theroleoftheexternalexamineristoprovide‘qualityassurance’forthecourseandtoensuretheworkofthecourseiscarriedoutinanequitablemanner.DuringSeptemberofSeniorSophisteryearanumberofstudentswillbeselectedtobevisitedonschoolplacementbytheexternalexaminer.Thestudentsseenbytheexternalexaminerwillberepresentativeofthewholerangeofabilitiesandlevelsonthecourse.

StudentSupportStudentCounselling,website:http://www.tcd.ie/StudentCounselling/

StudentLearningDevelopmentServices,website:http://www.tcd.ie/Student-Counselling/student-learning/index.php

DisabilityService,website:http://www.tcd.ie/disability/

CareersAdvisoryService,website:http://www.tcd.ie/Careers/

CollegeHealthService,website:http://www.tcd.ie/College_Health/

CollegeChaplaincy,website:http://www.tcd.ie/Chaplaincy/

Students’Union,website:http://www.tcdsu.org/

InformationonAcademicResourcesLibrary&ITFacilities

TrinityCollegeLibraryisthelargestlibraryinIreland.Itscollectionsofmanuscriptsandprintedbookshavebeenbuiltupsincetheendofthesixteenthcentury.Tohelpfamiliariseyouwiththelibrary,weprovidetoursofthelibrary,includingtheservicesandfacilitiesoffered,duringFreshers’Week.SeeEssentialLibrarySkillsformoreinformation.Librarytrainingschedulesareavailableathttp://www.tcd.ie/Library/support/index.php

ThecentralpointofcontactforallservicesshouldbetheHelpdesk,website:http://isservices.tcd.ie/whereproblemscanbereportedoradvice.ForISServicestrainingseehttp://isservices.tcd.ie/training/index.php


DITConservatoryofMusicandDrama


DIT Conservatory of Music and Drama

Introduction

TheConservatoryofMusicandDramawasfoundedin1890andhasbeenattheforefrontofartseducationinIrelandforoveronehundredyears.TheConservatoryoffershighquality,performance-basedstudyprogrammesinmusicfromage3throughtodoctoralstudy,anundergraduateprogrammeindramaperformance,researchopportunities,andcoursesforadults.

TheConservatoryhasacommitmenttoexcellenceinartseducationandresearch,offeringdegreeprogrammesinclassicalandIrishtraditionalmusicperformance,composition,musicology,musiceducation,jazz,rockandpop,opera,dramaandresearch,aswellasinnovativecollaborativeprogrammeswithotherSchoolsintheCollegeofArts&TourismatDublinInstituteofTechnology.TheConservatoryhasofferedundergraduateprogrammesinmusicsince1986andthefullrangeofdegreelevelcoursesincludes:B.Mus.;B.Mus.Ed.(inpartnershipwithTrinityCollegeDublin),BADramaPerformance,BACommercialModernMusic(inassociationwithBIMMDublin),MMus(PerformanceandConducting),MPhilandPhD,withmoreprogrammesindevelopment.

TheConservatoryputsonalargeandvariedprogrammeofpublicperformanceseachyear–around100publiceventsin2012–inourownvenuesaswellastheNationalConcertHall,HughLaneGallery,SmockAlleyTheatre,PepperCanisterChurch,CorkSchoolofMusic,AughrimSt.ChurchandStAnn’sChurch(DawsonSt.).Theseeventsincludeoperaanddramaproductions,studentconcertsandbroadcasts,lunchtimeandeveningconcertsandmasterclassesgivenbyvisitingensemblesandensembles-in-residence,competitionsandconferences.TheConservatoryworkswithnationalandinternationalperformingcompanies,venuesandconservatoirestogiveyouthebestprofessionalexperiencepossible.

Locations

Accommodationforfull-timeprogrammesisat:

DITRathmines,Dublin6

DITChathamRow,Dublin2

Term-TimeOpeningHours:8.00am–10.00pm(Mon-Thurs),8.00am–9.00pm(Fri)and8.30am–4.30pm(Sat)

TheGleesonTheatreinDITKevinStreetisthemainvenueforconcerts,operaanddramaproductions.TheTheatreinDITRathminesRoadandTheJohnMcCannHallinDITChathamRow


provideextraperformancespacesforrecitalsandsmallerproductions.AMusicTechnologyCentre,aBlackBoxTheatreandstudentcanteenarehousedinDITRathmines.

Library[Rathmines]

OpeningHours:9.30am–9.30pm(Mon,Tues,Thurs)

9.30am–5.30pm(Wednesday)

9.30am–5pm(Friday)

9.30am–1.00pm(Sat)closedcertainSaturdays-pleasecheckthewebsite

Tel:014023462

Website:http://www.dit.ie.library

TherewillbelibraryinformationsessionsfornewstudentsinOctober.ComputerfacilitiesareprovidedintheLibraryinDITRathmines.Studentsmayalsoaccessthefullrangeoflibrarydatabasesandcataloguesfromhome(outsidetheDIT)withtheirusernameandpinnumber[pleasecontactlibrarystaffforfurtherinformationonthis].

PracticeFacilities/MusicTechnologyStudios

PracticeroomsareavailableinRathminesandChathamRow.Lecture/teachingroomsmayonlybeusedoutsideofteachinghours.Foodanddrink(exceptwater)areprohibited.Inadditiontoscheduledclasstimes,allmusictechnologystudentshavesupervisedaccesstothecomputerlab.TimeswillbedisplayedoutsidetheTechnologylab.

DITStudentServices

TheStudentServicesOfficeadministersavarietyofservicesandoverseesthedistributionofthestudents’servicesfund.ThisfundhelpstosupporttheStudentsUnion,thedevelopmentfund,studentwelfareandclubsandsocieties.StudentscanavailofDITcounselling,HealthandCareersservices.TheChaplaincyprovidesanInter-Faithecumenicalservice.Thewebsiteoffersawealthofinformationandincludeslinkstoimportantdownloadableforms.Allthiscanbeaccessedatwww.dit.ie/campuslife

StudentCounselling,websitehttp://www.dit.ie/campuslife/counselling/

DisabilityService,website:http://www.dit.ie/campuslife/disability/

CareersAdvisoryService,website:http://www.dit.ie/campuslife/careers/


StudentHealthService,website:http://www.dit.ie/campuslife/studenthealthservice/

DITChaplaincy,website:http://chaplaincy.dit.ie/

Students’Union,website:http://www.ditsu.ie/

DITEmail&StudentContactInformation

AllstudentsareissuedwithaDITemailaddress.StudentsMUSTinformtheregistrationsofficeandtheprogrammechairofanychangestotheircontactdetails:thisincludespermanent/term-timeaddressesandphonenumbers(includingmobilenumbers).Inadditiontoformalregistration,allstudentsmustcompleteaStudentContactDetailsformandsubmitittotheprogrammechairbyFriday6thOctober2017.Studentsmustalsoinformtheprogrammechairifanyofthedetailschangeduringtheyear(forexample,achangeofteacher/accompanist).


TheRoyalIrishAcademyofMusic


The Royal Irish Academy of Music

TheRoyalIrishAcademyofMusicisahomeofmusicalexcellenceanddynamism,aplaceofteachingandlearningwhichconsistentlyachievesitsobjectiveoftransmittingandmaintainingthehigheststandardsofperformanceandappreciationinallmusicaldisciplines.Foundedin1848theAcademyisIreland’soldestmusicalinstitution.

Asanationalthirty-twocountyinstitution,theAcademyembodiesandreflectsthetraditionsandheritageofIrishmusicianship.TheTeachingStaffincludesmanyinternationalandnationalprizewinners,membersoftheNationalSymphonyOrchestraofIrelandandtheRTÉConcertOrchestraandmanyindividualswhosenameshavebecomesynonymouswithmusiceducationinIreland.Withtheresourcesofsuchtalentsatitsdisposal,itisnowonderthattheAcademy’sstudentshavebeenacceptedforfurtherstudyatthemostprestigiousmusicinstitutionsaroundtheworldfromtheJuilliardSchoolinNewYorktotheRoyalAcademyofMusicinLondon.Today,withrecentlyestablishedhighereducationcourses,theAcademyisinturnabletoofferthefinestIrishmusicaltrainingtostudentsfromallcornersoftheworld.

InrecentyearsstudentsoftheAcademyhavegarneredprizesfromsomeoftheworld’smostprestigiousinternationalcompetitionsincludingtheClaraHaskilInternationalPianoCompetition,TheCardiffSingeroftheWorldCompetition,theChinaInternationalVocalCompetition,theCologneInternationalPianoCompetition,theAXADublinInternationalPianoCompetitionandtheBBCMusicianoftheYear.Ontheinternationalstage,formerstudentsarecurrentlymembersofsuchleadingorchestrasastheLondonSymphonyOrchestra,thePhilharmoniaOrchestra,HongKongPhilharmonicOrchestra,aswellasoperahousesfromtheRoyalOperaHouseatCoventGardentoLaScala,Milan.

TheAcademyalsooffersawide-rangingLocalCentreExaminationSystemwhichoffersexaminationsinclassicalmusicandspeechanddramatoover40,000studentsannually.

TounderpinthemusicaleducationgiventostudentstheAcademyoffersarangeofsupportingservicesincludingacomputerlaboratory;recordingstudio;library(http://www.riam.ie/uploadedFiles/About_Us/Library/libguide.pdf)andawidevarietyofpublicperformancesopportunities.Thereareanumberofpracticeroomsavailable.FreeWi-FiisavailableaswellasuseofAcademycomputerswithownloginandpasswordtostoreacademicwork.


RIAMLibraryopeninghours

Monday 10.00-1.00pm

2.00-6.00pm

Tuesday 10.00-6.00pm

Wednesday 10.00-6.00pm

Thursday 10.00-8.00pm

Friday 10.00-6.00pm

Saturday 10.00-1.00pm

2.00-5.00pm


Bachelor in Music Education Programme Learning Outcomes

Onsuccessfulcompletionofthisprogramme,thegraduateshouldbeableto:

▪ Articulateasoundpersonalphilosophyoftheaesthetic,culturalandpracticalvalueofmusicinrelationtohumandevelopmentandeducationalcurricula.

▪ Demonstrateathoroughunderstandingofthemusiccurriculumspecifiedforprimaryandpost-primaryschoolsandleading-edgemethodsformediatingthecurriculumtostudentsbasedontheinformingdisciplinesofeducationandontheprevailinginfluencesoneducationalpractice.

▪ Develophigh-qualityplansandsupportmaterial,predicatedonthoroughsubject-matterandpedagogicalunderstanding.

▪ Workeffectivelyasareflectiveteacherwithaproblem-solvingorientation,drawingonbest-practicemethodologiesinrelationtoplanning,instruction,learning,andclassroommanagementandstudentassessment.

▪ Confidentlyrelatetoandworkwithindifferingschoolandteachingcontexts,accommodatingtherangeofstudentinterests,abilitiesandhome-supportcontexts.

▪ Workeffectivelyaspartofaprofessionalteamwithintheorganisationalandmanagerialstructuresprevailinginpost-primaryeducation.

▪ Demonstrateadvancedknowledge,skills,competenciesandperformanceinrelationtomusicandmusicpedagogy,leadingtolifelongpersonalinterestandenjoymentinthefield.

▪ Demonstratehighstandardsofmusicalperformancecommensuratewithgraduates’futurestatusasrolemodelsforaspiringstudentsofmusicinpost-primaryschoolsandasleadersofmusiccurricularandextracurricularactivitiesinschools.

▪ Articulate,practiceanddefendappropriateprofessional,ethical,compassionate,socialandculturalpositionsinrelationtoteachingandlearning.

▪ Beawareofthelegalandprofessionalobligationsinrespectofhis/herrolewithyoungpeopleandactprofessionallyatalltimesinthebestinterestsofthestudentsandtheirparents.

▪ Valuethroughoutlifefurtherlearningopportunitiesandexperiencesinrelationtoeducationandmusic.


JuniorFreshman


Dublin Institute of Technology – Conservatory of Music and Drama BachelorofMusicEducation(DT528)

Junior Freshman 2017/18 Timetable

Day From To Subject Lecturer Venue ModuleCode

MONDAY 11.00 15.00 PracticeofMusicEducationandTutorial MaritaKerin TCD3098

MONDAY 17.45 19.45 ChamberChoir BernieSherlock

TUESDAY 10.00 11.00 MusicEducationPracticalMusicianship

EmmanuelLawlor&others

1.02

TUESDAY 11.00 12.30 Musicianship(AuralPerception) AnnKeary 1.02

TUESDAY 13.30 15.00 HistoryofMusic PaulMcNulty 1.19

TUESDAY 15.30 16.30 AcademicWriting PaulMcNulty 1.18

TUESDAY 17.00 18.00 TCDChapelChoiroptionA KerryHouston TCDChapel

TUESDAY 17.30 19.30 SymphonyOrchestra Various KevinSt

WEDNESDAY 10.00 13.00 KeyboardtechniquesBernieSherlock&EoinTierney

1.11&G22

WEDNESDAY 14.30 16.00 Harmony&Counterpoint(stylistic)

KerryHouston 1.03

WEDNESDAY 17.00 18.00 TCDChapelChoiroptionB KerryHouston TCDChapel

WEDNESDAY 17.30 19.30 DITWindEnsemble KevinHanafin GlessonTheatre

WEDNESDAY 17.30 19.30 ChoralSociety SimonHarden

RathminesTheatre

THURSDAY 11.00 12.00 IrishMusic MarianDeasy 1.19

THURSDAY 12.00 13.00 MusicTechnology(HilaryTerm) ShigetoWada MTC

THURSDAY 16.00 18.00 TCDChapelChoiroptionA KerryHouston TCDChapel


FRIDAY 09.30 11.00 Harmony&Counterpoint(applied)

DavidBremner 1.18

FRIDAY 11.00 12.00 MusicEducationPracticeofMusicEd(Michaelmas)

LorraineO’Connell

1.03

FRIDAY 11.00 12.00 MusicEducationEducationalIssues(HilaryTerm)

LorraineO’Connell 1.03

SUNDAY 9.30 12.00 TCDChapelChoiroptionB KerryHouston TCDChapel


MODULE1:InstrumentalPerformanceStudentsundertake2components,MainInstrumentandEnsemble.

MainInstrument

Aims

▪ Todevelopstudents’technicalskillsandmusicalawarenessforinstrumentalperformance.

▪ Toestablishthefoundationforproductivepracticeandindependentlearning.

▪ Tointroducestudentstoawidevarietyofrepertoire.

▪ Todevelopconfidenceinstylisticandinterpretiveissues.

LearningOutcomes

Onsuccessfulcompletionofthismodulethestudentwillbeableto:

▪ Displayahighlevelofartisticandtechnicalcompetence.

▪ Chooseandpreparepiecestoproduceavariedandbalancedprogramme.

▪ Performwithasenseofcommunicationandvalue.

▪ Displayanintellectualunderstandingofthemusicperformed.

▪ Demonstrateafirmfoundationininstrumental/vocaltechnique.

AllInstruments/VoiceotherthanTraditionalIrishInstruments

End-of-yearrequirements

Allstudentsareexpectedtomakesatisfactorydevelopmentintechniqueandmusicianship.Thisshouldbereflectedintheprogrammeforend-of-yearexaminations.Themusictobestudiedwillbechosenbytheteacherwitharelevancetothestudent’scurrentlevelofattainment.Theend-of-yearexaminationprogrammemustbesubmittedtotherelevantdegreecoursecommitteeforapproval.

Thestudentmustpresentabalancedprogrammeofworksincontrastingstylesof15minutesduration(shouldthe15minutedurationbeexceededthestudents’performancemaybeinterruptedatthediscretionoftheexaminers).ScalesandArpeggios/TechnicalExerciseswillbeexpectedtobeperformedtoastandardcommensuratewiththestandardoftheprogrammepresented.Alistshouldbedrawnupinconsultationwiththeteacherandpresentedtotheexaminers.

ThestudentwillbeexaminedintheTrinitytermbyapanelconsistingoftworepresentativesoftheRoyalIrishAcademyofMusic.

Note:Whilethepanelwillincludeexperiencedinstrumentalexaminers,thespecificinstrumentalexpertisemaynotincludeeveryinstrument.


Assessment

PracticalExamination(100%)

TraditionalIrishInstrument

End-of-yearrequirements:Thestudentmustpresentabalancedprogrammeof15minutesduration.Theprogrammemustbeprofessionallypresentedinwritingtothecoursecommitteeandshowevidenceofhavingbeenwell-researched.Titles(whereavailable)andsourcesofalltunes(recordings,printedsources,etc.)shouldbelisted.Theexamination,whichshouldbeasoloperformance,willalsobeinteractive,withthestudentexpectedtobeabletodiscusshis/herprogrammeandinstrument,influencesandotherperformers.Asasight-readingtestthestudentwillberequiredtoplayasimplepiece.ThestudentwillbeexaminedbyapanelconsistingoftworepresentativesoftheRoyalIrishAcademyofMusicandatraditionalmusicspecialist.

IrishHarp(Gut/Nylonand/orWireStrung)

Theprogrammeshouldbedrawnfromthefollowingcategories:jigs,slides,reels,hornpipes,marches,polkas,slowairsandthemusicoftheharpers.Inaddition,upto30%oftheprogrammemayincludeclassical/contemporarymusicofasuitablestandard.

AllInstrumentsexcepttheIrishHarp

Theprogrammeshouldreflectandillustrateboththetraditionandthebreadthoftherepertoire.Categoriesfromwhichtunesmaybechosenincludejigs,slides,reels,hornpipes,marches,polkas,slowairsandthemusicoftheharpers.Othercategories,e.g.themusicofotherCelticcountries,orthestudent’sowncompositions/arrangementsmayalsobeincludedinconsultationwiththefirststudyteacherandrelevantdegreecoursecommittee.


Assessment

PracticalExamination100%.

Ensemble

Allstudentsareexpectedtoparticipateinoneofficiallyrecognisedensembleperformanceactivitywheretheyexperiencefirst-handco-operativemusicmakingwhichwillfacilitateboththe


developmentoftheirownmusicianshipbutalsotheexploitationofopportunitiesforgroupco-operationthroughactiveengagementwithmusicmakinginthecontextofthesecondaryschool.AttendanceiscompulsoryinYears1to3.AttendanceisoptionalinYear4.StudentsarenotrequiredtoparticipateinensembleactivitiesduringthetwoweeksofSchoolPlacementintheHilaryTermofYears2.TheCo-ordinatingCommitteehassetaminimumrequirementof75%attendanceinthiscomponent.Failuretocomplywiththisregulationwillresultinareductionof10%inastudent’sperformancemark.Inthecaseofpublicperformance,100%attendanceisrequiredforbothrehearsalandactualperformance.Thismayincludeweekends.

Assessment

Pass/Fail.


MODULE2:Musicianship

Studentsundertaketwocomponents,AuralPerceptionandKeyboardSkills.

AuralPerception

Aims

Toprovideasoundandbroadly-basedauraltrainingprogrammeasabasisformusicalperception,understandingandperformance,tofosterthestudentscapacitytolistencriticallyandanalytically,andtodeveloptheabilitytocorrelatesoundandnotationandtostimulatecreativity.

LearningOutcomes

Onsuccessfulcompletionofthiscourse,thestudentwillbeableto;

▪ Demonstrateorallyandaurallyanunderstandingofdiatonicintervalsandtriads,

▪ Identifyharmonicstructuralprogressions,

▪ Demonstratethecontrolofmetreandrhythm,

▪ Demonstratebasicskillsinsingingatsight,

▪ Considerandexaminethepresentation,developmentandinterconnectionofideasbasedonrelationship,

▪ Identifymusicalperiodandstyle.

Overviewofthefouryearcourse

Yearsoneandtwoformapedagogicalunit.Yearsthreeandfourformanadvancedunittakingthecontentofthefirsttwoyearstoasynthesis.Auniquefeatureofthiscourseisthecontinuanceofauraltrainingthroughoutthefouryears.Thistrainingandtestingdisplayscohesioninyearsthreeandfour,throughtheintroductionofTheoryandAnalysis/MusicalCriticism.Bothofthesecoursesareusuallytakenasseparatemodulesinmanyundergraduatecourses,butheretheyfitnaturallyintoanoverarchingAuralPerceptioncourse.

CourseContent

SectionA:TechnicalWork:Dictations/Sightsinging-diatonicmajorandminorsystemwithsomechromaticvisitingtones.Aselectionfrombelowmaybetaken:

▪ Identificationofdiatonicintervalsandtriads.

▪ Intervalsequences(basictwopartdictation).

▪ Memorywork(selectedfolksongsorcanons).

▪ Melodic/rhythmicdictation(consecutiveorsimultaneous).

▪ Recognitionofchangestomusicalparametersusingscoreandlisteningskills.


▪ Introductiontoharmonicprogressions.

▪ Sightsinging(canons/unaccompaniedfolksongsorfrommusicalliterature).

SectionB:IntroductiontoMusicalStructure/StylePartOne.

Assessment

ContinuousAssessment:50%throughselectionorcombinationofanyofthefollowing:

Weeklyclassassignments/semesterassessments(formal)/sightsinging/classparticipation/basicresearchnotesasrequestedbythetutor.

Examination:50%WrittenPaperconsistingofthefollowing:

▪ SectionA–Dictation(3-4questions).

▪ SectionB-MusicalForm/Design/Style(2-3questions).

KeyboardSkills

CourseContent

Thismodulewillprovidethestudentwithsufficientskillstoassisttheminotherareasofthecourse,suchascompositionandauralworkandintheclassroomduringSchoolPlacement.Atwo-levelkeyboardskillsclassisinoperation.Studentsareassessedandallocatedtoanappropriateclassaccordingtotheirability.StudentswhosemaininstrumentispianoarenormallyexpectedtotakelevelA;tuitionforlevelAstudentsisconductedinpairsina30minuteclassperweek.TuitionforLevelBstudentstakestheformofa30-minuteindividuallessonperweek.ThesyllabuscontentandexaminationmaterialwillbeselectedinaccordancewithLevelA/Bstandard.

Aims

▪ Developtactileandco-ordinationskillsatthekeyboard.

▪ Developtheskillofsimplepianoaccompaniment.

▪ Developtranspositionandsight-readingskills.

▪ Developcreativitythroughimprovisation.

▪ Developharmonizationtechniquesatthekeyboard.

▪ Developanunderstandingoffiguredbassandchordsymbols.


LearningOutcomes


▪ Harmoniseamelody.

▪ Readaltoclef.

▪ Transposeatsight.

▪ Realiseafiguredbass.

▪ Realisechordsymbols.

▪ Displaycreativitythroughmelodicandharmonicimprovisation.

Content

Inthefirsttwoyears,thecourseconsistsofthreecomponents:

▪ Accompaniment,bothatsightandprepared,andimprovisation.

▪ Chords,cadences,figuredbassandchordsymbols.

▪ Vocalandorchestralscorereading.

Assessment

Twopracticalexaminations@50%each.

Mid-yearexaminationrequirements

▪ Playchordpatternsandcadencesinmajorkeysuptotwosharpsandflats(prepared).

▪ HarmoniseasimplefiguredbassinthekeysofC,G,DandFMajor.

▪ Sight-readasimplepianopiece.

▪ Sight-readasingle-linemelodyinthealtoclef.

▪ Provideapianoaccompanimenttoapopulartuneusingchordsymbols(prepared).

End-of-yearexaminationrequirements

▪ Playchordpatternsandcadencesinmajorandminorkeysuptothreesharpsandflats(prepared).

▪ Harmoniseafiguredbassinmajorkeysuptothreesharpsandflats.

▪ Playaneasypianoaccompaniment(prepared).

▪ Playpreparedtransposition(twostaves).

▪ Sight-readaBflatclarinetlineatconcertpitch.

▪ Providechordsandanaccompanimenttoapopulartune(prepared).


MODULE3:CompositionalTechniques[HarmonyandCounterpointStylistic]

Aims

Toequipthestudentwiththenecessaryskillsandtechniquesappropriatetoselectedstylisticcomposition.

Togivethestudentsathoroughfoundationinharmonicandcontrapuntalwriting.

LearningOutcomes

Onsuccessfulcompletionofthismodulethestudentwillbeableto;

▪ DemonstrateanunderstandingoftheChoraleidiominstyleandlanguage

▪ Demonstrate/createashort2and\or3partcontrapuntalpieceinvocalorinstrumentalidiom.

▪ Writeakeyboardaccompanimentfromafiguredbass.

CourseContent

Consolidationofbasicharmonicvocabularyandcontrapuntaltechniquestoincludesomeofthefollowing:

▪ Figuredbass(suspension/modulation&accentedpassingnotes).

▪ 2partcounterpoint(toincludemodulationsequences,cycleof5ths).

▪ Harmonisationofasimplemelody(hymntuneand/orfolkmelody).

▪ Writinginstyleofclassicalminuet.

▪ 3partcounterpoint.

▪ Triosonata.

Assessment

Examination(60%),3questionsincorporatingachoiceofquestionsonallareascovered.

ContinuousAssessmentPortfolio(40%).


MODULE4:MusicHistory

MusicHistoryhastwocomponents,ArtMusicandIrishTraditionalMusic.

ArtMusic

Aims

Themoduleaimstogivestudentsabroadviewofthemainmusicaldevelopmentsintheperiodconcerned;toequipthemaurallytoidentifygenres,stylesandtechniques;tobeabletowriteaboutthismusicinaninformedandcriticalway;anditaimstoequipstudentstoundertakeindependenthistoricalandmusicalinvestigation.

LearningOutcomes

Onsuccessfulcompletionofthismodulestudentswillbeableto:

▪ Demonstrateabroadunderstandingoftheevolutionofformsandstylesintheperiod1600-1800.

▪ Demonstrateknowledgeoftherelevantrepertoirethroughtheanalysisandcommentonscores,textsandothersources.

▪ Understandtheculturalandhistoricalcontextsofthismusic.

▪ Amplifytheirunderstandingofthismusicthroughtheexplorationofscoresandpublishedhistoricalstudies.

Objectives

Tointroducestudentstotheevolutionofformsandstylesintheperiod1600to1800.

Todevelopstudents’knowledgeoftherelevantrepertoirethroughtheanalysisandcommentonscores,textsandothersources,withemphasisontheculturalandhistoricalcontexts.

Assessment

[email protected]%[email protected]%each.


IrishTraditionalMusic

Aims

ExplorevariousaspectsofIrishMusicfromthemusical,historical,politicalandsocialperspectives.

ExamineandanalysethemusicassociatedparticularlywiththeInstrumentalandDanceTraditions.

FamiliarisethestudentwiththestylesandmodalqualityofthemusicthroughtheuseofCDs,CassettesandDVDs.

Providetheopportunitytoexplorethevariousstylesthatmakeuptheinstrumentalanddancerepertoires.

Examinethemethodsemployedbythemain19th-centurycollectorsinrelationtotheircollectingandediting,andtoevaluatetheircontributionintermsofaccuracyandauthenticity.

RelatetheabovepointstotherequirementsoftheIrishmusicelementoftheJuniorCertificateandLeavingCertificateSyllabi.

LearningOutcomes

Oncompletionofthismodule,thelearnerwillhave:

▪ AcquiredknowledgeofvariousaspectsoftheInstrumentalandDanceTraditions.

▪ Anawarenessofthewiderhistorical,politicalandsocialcontextsassociatedwiththemusic.

▪ Acquiredtheabilitytorecognisevarioustypesoftunes,stylesandinstrumentalsounds.

▪ Anawarenessoftheattitudesandmethodsemployedby19th-centurycollectors.

▪ AnunderstandingoftherelevanceofthisknowledgetotheIrishmusicelementoftheJuniorCertificateandLeavingCertificateSyllabi.

CourseContent

AStudyofthefollowingareas:

▪ TheBardicTradition.

▪ TheHarp–detailedsurvey.

▪ Fiddle,flute,tin-whistle,uilleannpipesandfree-reedinstruments

▪ Generalsurvey.

▪ DanceMusic–historyofdance;formandstructure.

▪ TheCollectors.

▪ TheModes.

▪ Song-generalsurvey.


ReferencewillbemadetotheIrishmusicelementoftheJuniorCertificateandLeavingCertificateSyllabi.

Assessment

Essay35%

ListeningTest15%

Readinglist

Vallely,F(1999)CompaniontoIrishTraditionalMusic(2ndEditiondueforpublicationNovember2011)

RecommendedReadingMaterials

Author Title

Bériou,Jean-Yves(2008) DordanDúchais,TheConnemaraSound,LeChantProfondDeL’Ouest.CoiscéimPress.Dublin.

Breathnach,Breandán(1971) FolkMusicandDancesofIreland.MercierPress,and/orOssianPublications,Cork.

Carson,Ciarán(1996) PocketGuidetoIrishTraditionalMusic,AppletreePress,Belfast.

Clune,Anne(Ed.)(2007) DearFarVoicedVeteran.EssaysinHonourofTomMunnelly.TheOldKilfarboySociety.

Hast,DorotheaandScott,Stanley(2004)

MusicinIreland.ExperiencingMusic,ExpressingCulture.OxfordUniversityPress.

McCarthy,Marie(1999) Passingiton.TheTransmissionofMusicinIrishCulture.CorkUniversityPress.

O’Canainn,Tomás(1978etc.) TraditionalMusicinIreland.RoutledgeandKeganPaul,London,and/orOssianPublications,Cork.

O'Boyle,Seán(1976) TheIrishSongTradition.Toronto:Macmillan.

O’Buachalla,Breandán(1998) AnCaoineagusanChaointeoireacht,Dublin,CoisLife.

O’Curry,Eugene(1873) OntheMannersandCustomsoftheAncientIrish.LondonandEdinburgh,.


Author Title

O’Madagain,Breandan(2005) CaointeagusSeancheoltaEile–KeeningandOtherOldIrishMusicsCloIar-ChonnachtaTeo.

O’Madagain,Breandan(1989) ‘GaelicLullaby:acharmtoprotectthebaby?’p29-38,Volume29JournalofScottishStudies.

O’Riada,Sean(1982) OurMusicalHeritage,DolmenPress.

O’Sullivan,Donal(1958) Carolan:TheLife,TimesandMusicofanIrishHarper,RoutledgeandKeeganPaul.

O'Sullivan,Donal(1974) IrishFolkMusic:SongandDance.Cork:TheMercierPress.

Shields,Hugh(1993) NarrativeSinginginIreland.Lays,Ballads,Come-All–YesandOtherSongs.Dublin,IrishAcademicPress.

Shields,Hugh,Carolan,NicholasandSmith,Therese(Eds.)(1972-2001)

IrishFolkMusicStudies-ÉigseCheolTírevols1-6

Smith,Thérèse,ÓSúilleabháin,Micheál(Eds)(1997)

Blás:theLocalAccentinTraditionalIrishMusic,(Limerick:IrishWorldMusicCentre,n.d.).

Vallely,Doherty,Hamilton,Vallely(Eds)(1996)

CrosbhealachanCheoil–TheCrossroadsConference,Dublin.

Williams,Sean(2004) ‘MelodicOrnamentationintheConnemaraSean-nósSingingofJoeHeaney’,inTheNewHiberniaReview8/1:122-145.

OnlineLecturesfromtheIrishTraditionalMusicAssociation

SeeITMAwebsitewww.itma.ie/English/chairmen_lectures.html

Munnelly,Tom(2002) ‘TraditionalSinginginIreland’.(67minutes)

ÓSúilleabháin,Mícheál(1998) ‘CreativityinIrishTraditionalMusic:Phrasing,Rhythm,PitchandStructure’.(50minutes)

Goan,Cathal(1991) ‘TheYearoftheFrench:Irish-LanguageSongsof1798’(36minutes)


MODULE5:MusicEducation

MusicEducationisdesignedtointroducethestudentstothetheoryandpracticeofmusicteaching,musicpedagogyandpracticalmusicianship.

Studentsundertakefourcomponents,

▪ PracticeofMusicEducation

▪ PracticalMusicSkills

▪ EducationalIssues

▪ AppliedComposition.

PracticeofMusicEducation

PracticeofMusicEducationisatwo-termcourseinJF,takingplaceforonehourperweekintheMichaelmasandHilaryterms.

Aims

Thiscourseaimstofacilitatethestudentsinpreparingforteachingandlearningintheprimaryschool.Specifically,thecourseaimstoenablestudentsto:

▪ Understandthemeaningofmusicalsoundsasameansofartisticandaestheticexpression.

▪ Understandhowmusicalconceptsandskillsareappliedinthecontextofthepre-schoolandprimaryschoolincludingopportunitiestheyposeforco-operativelearningopportunities.

▪ DevelopthebasicskillsinmusicandICTessentialforeffectiveteachingandlearning.

▪ Undertakelessonplanningandcommencethecompilationoftheprofessionalportfolio.

▪ Developthebasicskillsofprimaryschoolclassroommanagement.

▪ Exploretheclassroomasasitefordevelopingpupils'literacyandnumeracy.

▪ Developawarenessaboutthevariousavailabletechnologicalresources.

▪ Developaresearch-informedattitudetoteachingandlearningwhichcanbeexploredinsubsequentyears.


LearningOutcomes

Oncompletionofthiscoursethestudentwillbeableto;

▪ Identifyanddescribethetheoriesoflearningappropriatetopreschoolandprimaryschool.

▪ Explainhowmusicalknowledge(includingskillsandconcepts)developinchildhood.

▪ Discusshowperforming,composingandlisteningareformsandsourcesofmusicalknowledge.

▪ Considertheviewpointsofthemajorwritersinthefieldofmusiceducation.

▪ Designaseriesoflessonplansandengagewiththeideaofdevelopingaprofessionalportfolio.

▪ EvaluateavarietyofmethodologicalandpedagogicalapproachestomusicteachingandlearningatpreschoolandprimaryschoollevelsincludingICT.

CourseContent

▪ ExploringthekindergartenandprimaryschoolmusicsyllabusandtheCeolpre-schoolandprimaryschoolmodulesandidentifyingopportunitiesfordevelopingliteracyandnumeracy.

▪ Theplaceofmusicinpre-schoolandinprimaryschool-co-operativelearning.

▪ Planningeffectivemusiclessonsforpre-schoolandprimaryschoolstudentsincludingICT.

▪ Exploringavarietyofmusicmaterialsandapproachesforpre-schoolandprimaryschoolstudents.

▪ Co-teaching(Thethreesteps:Co-planning,co-teachingandco-evaluating).

▪ Groupmusicmaking-exploitingopportunitiesforco-operativelearning

▪ Integratingmusiclistening,performingandcomposing.

▪ InclusiveEducation–IntroductiontothepolicyofInclusionandtheconceptofSpecialNeedsEducation.

Assessment

1Assignment@100%.


PracticalMusicSkills

PracticalMusicskillsisatwotermcourseinJFtakingplacefor1houraweekinMichaelmastermandHilaryterm.

Aims

Studentswillexplorethesignificanceoftheirownmusicperformanceintheeducationofchildrenthroughthepracticalacquisitionofinstrumentalandvocalskillsindependentlyoftheirmaininstrumentalspecialization.

CourseContent

JFstudentswillstudythefollowingareas:

▪ Voice(5weeks),Guitar(6weeks),Recorder(6weeks)andPercussion(5weeks).

▪ Lesson:1hourduration.

▪ Studentswillgainskillsineachinstrumentappropriateforuseintheclassroomsituation.Fullparticipationandengagementisessential.

Assessment

Pass/Fail

EducationalIssues

EducationalIssuesisaone-termcourseinJF,takingplaceforonehourperweekinHilaryterm.

Aims

Tofacilitatethestudent’sengagementwithcurrentissuesineducation.

Todiscussimportantcurrenteducationalissues.

Toassistthestudenttodevelopskillincomprehensionandanalysisofimportanteducationalissues.

Toassistthestudenttodevelopskillandconfidenceinmakingindependentjudgementsbasedoncoherentargumentandevidence.

Toassistthestudentdevelopskillindebate.

LearningOutcomes

Oncompletionofthiscoursethestudentwillbeableto;


▪ Criticallyengagewithselectedrelevantcurrentissuesineducation.

▪ Developpersonalperspectivesontheissuesunderconsideration.

▪ Discusstheissuesorallyandinwritingessays.

▪ Demonstrateanabilitytointerpretresearchinmusiceducationinaninformalmanner.

CourseOutline

Awidevarietyofcurrenteducationalissuesinrelationtocurriculummethodologyandassessmentwillbediscussedinconjunctionwiththerelevantliterature.

Topicstobeexploredwillbeannouncedbythetutoratthestartofeachsemester.

Assessment

1Presentation@40%and1Assignment@60%.

ReadingListforMusicEducation

Author TitleCohen,L.,Manion,L.,&Morrison,K.(2006). AGuidetoTeachingPractice(5thed.).London:

RoutledgeFalmer.Costello,M.,Kerin,M.(2009). Bravo!,MusicforJuniorCert.Dublin:Folens.Costello,M.(2002). Prelude2.Dublin:Folens.Costello,M.(1997). Prelude.Dublin:Folens.Dewey,J.(1916). DemocracyinEducation;anIntroductiontothe

PhilosophyofEducation.NewYork:McMillan.Dewey,J.(1900/1990). TheSchoolandSociety.Chicago:Universityof

ChicagoPress.Durant,C.,&Welch,G.(1995). MakingSenseofMusic.London:Cassell.Elliott,D.(1995). MusicMatters:ANewPhilosophyofMusic

Education.NewYork:OxfordUniversityPress.Glover,G.,&Young,S.(2002). PrimaryMusic–LaterYears.London:TheFalmer

Press.Green,L.(2001). HowPopularMusiciansLearn.Cambridge,UK:

AshgatePublishingLimited.Green,L.(1997). Music,Gender,Education.Cambridge,UK:

CambridgeUniversityPress.Hiscock,C.,&Metcalfe,M.(2002). NewMusicMatters11-14.Oxford:Heinemann.Hunt,P.(2008). Voiceworks2,AfurtherhandbookforSinging.

Oxford:OUP.Kelly,A.(2008). Tempo,anintroductiontoMusicforFirst-Year

Students.Dublin:Folens.Lines,D.(Ed.).(2005) MusicEducationFortheNewMillennium:Theory

andPracticeFuturesforMusic,TeachingandLearning.Auckland:BlackwellPublishing.


Author TitleMarland,M.(1993). TheCraftoftheClassroom(3rded.).LOCATION:

Heinemann.McFaddenM.,&Kearns,K.(2007). SoundsGood.Dublin:TheEducationalCompany.Philpott,C.(Ed.).(2006). LearningtoTeachMusicintheSecondarySchool.

2ndEdition.London:RoutledgeFalmer.PostPrimaryMusicTeachers’Association, LeavingCertificateMusic,Teachers’Workbook.

Dublin,2002.Reimer,B.(1989). APhilosophyofMusicEducation(2nded.).

EnglewoodCliffs,NJ:PrenticeHall.Simpson,K.(Ed.).(1976). SomeGreatMusicEducators.BoroughGreen:

Novello.Small,C.(1977). Music,Society,Education.London:JohnCaulder.Swanwick,K.(2012). TeachingMusicMusically.ClassicEdition,Oxon:

Routledge.Swanwick,K.(1989). ABasisforMusicEducation.London:NFER-

NELSON.Tubbs,N.(1996). TheNewTeacher.London:FultonPublishers.Vajda,C.(1974&1992). TheKodalyWaytoMusic-PartsI+II.London:

Boosey&Hawkes.Walsh,B&Dolan,R.(2009). AGuidetoSchoolPlacementinIreland.Dublin:

GillandMcMillan.Wright,T.(2007). HowtobeaBrilliantTraineeTeacher.Oxon:

Routledge.


▪ IrishTimes(educationsection,Tuesdays)

▪ IrishIndependent(educationsection,Wednesdays)

▪ Guardian(educationsection,Tuesdays)

▪ TimesEducationalSupplement(Fridays)

▪ BritishJournalofMusicEducation

▪ MusicEducationResearch

▪ JournalofResearchinMusicEducation

▪ InternationalJournalofMusicEducation.

Officialpublications

EarlyYears’

NationalCouncilforCurriculumandAssessment(NCCA).(2009)Aistear:TheEarlyChildhoodCurriculumFramework.Retrievedfromhttp://www.ncca.ie/en/Publications/Syllabuses_and_Guidelines/Aistear_the_Early_Childhood_Curriculum_Framework.pdf


JuniorCycle

DepartmentofEducationandSkills(DES).(2012)AFrameworkforJuniorCycle.Retrievedfromhttp://www.juniorcycle.ie/NCCA_JuniorCycle/media/NCCA/Documents/JC-Framework_FINAL_02oct12.pdf

NationalCouncilforCurriculumandAssessment(NCCA).(2010).InnovationandIdentity:IdeasforaNewJuniorCycle.Retrievedfromhttp://www.ncca.ie/en/Publications/Reports/Innovation_and_Identity_Ideas_for_a_new_junior_cycle.pdf

NationalCouncilforCurriculumandAssessment(NCCA).(2011).InnovationandIdentity:TowardsaFrameworkforJuniorCycle.Retrievedfromhttp://ncca.ie/framework/doc/NCCA-Junior-Cycle.pdf

SeniorCycle

NationalCouncilforCurriculumandAssessment(NCCA).(2009).TowardsLearning:AnOverviewofSeniorCycleEducation.Availableat:http://www.artscouncil.ie/Publications/Choral_Report_08_English.pdf

General

ArtsCouncil.(2008).RaisingyourVoice:TowardsaPolicyfortheDevelopmentofChoralMusicinIreland.Retrievedfromhttp://www.artscouncil.ie/Publications/Choral_Report_08_English.pdf

DepartmentofEducationandSkills(DES).(2011).ChildProtectionProceduresforPrimaryandPost-PrimarySchools.Retrievedfromhttp://www.education.ie/en/Schools-Colleges/Information/Child-Protection/cp_procedures_primary_post_primary_2011.pdf

DepartmentofEducationandSkills(DES).(2011).LiteracyandNumeracyforLearningandLife:ThenationalStrategytoImproveLiteracyandNumeracyamongChildrenandYoungPeople2011-2020.Retrievedfromhttp://www.education.ie/en/Publications/Policy-Reports/lit_num_strategy_full.pdf

DepartmentofEducationandSkills(DES).(2013).Anti-BullyingProceduresforPrimaryandPost-PrimarySchools.Retrievedfromhttp://www.education.ie/en/Publications/Policy-Reports/Anti-Bullying-Procedures-for-Primary-and-Post-Primary-Schools.pdf


NationalCouncilforCurriculumandAssessment(NCCA).(2006).InterculturalEducationinthePost-PrimarySchool.Retrievedfromhttp://www.ncca.ie/uploadedfiles/publications/Interc%20Guide_Eng.pdf

MusicGeneration.(2010).MusicGeneration:PoliciesandPriorities2010-2015.Retrievedfromhttp://www.musicgeneration.ie/content/files/Policy%20%20Priorities%202010%20-%202015.pdf

MusicGeneration.(2010).BackgroundInformation.Retrievedfromhttp://www.musicgeneration.ie/content/files/Background%20Information.pdf

AppliedCompositionalTechniques

Aims

Theaimofthismoduleistointroducethestudenttotheuseofchordsinwritingapianoaccompanimentandthetechniquesoffreecomposition,elementaryarrangementandwordsettingtoassistinCurriculumdesignandimplementationinarangeofclassroomsituations.

LearningOutcomes

Onsuccessfulcompletionofthiscoursethestudentwillbeableto;

▪ Useappropriatechordsandchordfigurationsinanimaginativeway

▪ Whilecorrectlyrecognisingandharmonisingcadencesandmodulations.

▪ Writeshortcompositionsbasedonvariousconceptsappropriatetoarrangeofclassroomsituations.

▪ Setatextforvoiceandotherinstruments.

CourseContent

ThiscourseappliesthebasicharmonicvocabularyandcontrapuntaltechniquesacquiredintheH&C(stylistic)tothefollowingareas:

▪ Elementarywordsetting.

▪ Applicationoftheaccompanimenttechnique.

Assessment

Portfolio/ContinuousAssessment(100%).


MODULE6:MusicEducation/CurricularDevelopment

MusicEducation/CurricularDevelopmenthastwocomponentsEducationTutorialandMusicTechnology.

EducationTutorial

ThiscoursetakesplaceinJFyearonly.Itisatwo-termcourse,takingplaceforonehourperweekinMichaelmasandHilaryterms.

Aims

Toenablethestudentsto:

▪ Becomefamiliarwiththehistoryofmusiceducation.

▪ Discussthespecialistversusgeneralistdebateinprimarymusiceducation.

▪ Considertheresearchpartnershipsinprimaryschoolmusiceducation.

▪ Engagetheoreticallyandpracticallywithco-teaching

▪ ConsidernationalandinternationalresearchandtheoriesthatunderpinthePrimarySchoolartseducation/musicsyllabiandco-teachinginthecontextofthemusician–teachercollaboration.

▪ Developskillsforclassroomobservation.

▪ DevelopaproficiencyintheuseofICTinthecontextofthePrimaryschoolclassroom.

▪ Articulateapersonalphilosophyinrelationtomusiceducation

▪ Developanawarenessofthenatureofmusiceducation.

LearningOutcomes

Oncompletionofthiscoursethestudentwillbeableto:

▪ Undertakeateachingobservationplacementinaprimaryschoolsetting.

▪ Completeanobservationportfolioontheexperience.

▪ Undertakeaco-teachingmoduleinalocalprimaryschool

▪ Applythekeymusiceducationtheoristsandtheircontributiontotheearlychildhoodandprimaryschoolartseducationsyllabusandmusiceducationsyllabus.

▪ DemonstrateafacilitywithICTasappropriateforthepreschool/primaryschoolsetting.

▪ Reflectontheco-teachingexperience.

▪ Compileaportfolioofco-taughtlessons/resources/reflections.


CourseContent

▪ Anoverviewofthehistoryofmusiceducationnationallyandinternationally.

▪ Theinfluenceofgreatmusiceducatorsontheprimaryschoolsyllabusandpostprimaryschoolsyllabus.

▪ Co-teachingasreciprocalprofessionallearning

▪ UsingICTinthecontextofthepre-schoolandtheprimaryschool[music]syllabus.

▪ Developmentofobservationalskills.

▪ Currenttheoriesandpracticesinprimaryschoolmusiceducation.

▪ Developmentofteacheridentitythroughco-teaching

SchoolPlacement(co-teaching)takesplaceeveryMondayduringMichaelmasandHilaryTerms.

Studentsmustsubmitanonlinestructuredobservationalreport,immediatelyfollowingtheteachingobservationperiod.

ThiscoursewillbecompletedbyadebriefingsessionintheMichaelmastermofthefollowingyear,duringwhichthestudentswillpresentreportson,anddiscusstheirexperienceswiththeircourselecturer.

Assessment

ProfessionalPortfolio(100%).

MusicTechnology

Thisisaone-termcourse,takingplaceforonehourperweekintheHilaryTerm.

Aims

Thismoduleaimstodevelopstudents’practicalskillandknowledgeofthemusicsoftware.

LearningOutcomes

Onsuccessfulcompletionofthiscoursethestudentswillbeableto;

▪ Usemusicsoftwareinmusicteachingandpreparation.

▪ Manipulatemusicsoftware,basedonsystematicknowledge.

▪ Examinethenatureofmusicsoftwareinthecontextofmusiceducation.

CourseContent

StudentswillbegivenanintroductiontoMusicTechnology,includinganoverviewofavailablemusicnotationsoftwareandmusicsoftwarespecificallydesignedforuseineducation.


Assessment

2assignments(50%each).

JuniorFreshmanSummaryTableModule Components

Assessment Contacthours ECTS Mark

Weighting(infractionformat)

1.

InstrumentalPerformance

ET1009

Maininstrument

Ensemble

MainInstrumentExam100%

Ensemble

Pass/Fail

30[approx.] 10 2/12

2.

Musicianship

ET1010

AuralPerception

KeyboardSkills

Auralperception;

Continuousassessment

25%&Exam25%

KeyboardSkills;

TwoPracticalExaminations25%each

44[approx.] 10 2/12

3.

CompositionalTechniques

ET1011

Harmony&CounterpointStylistic

HarmonyStylistic

Continuousassessment40%&exam60%

33[approx.] 5 1/12

4.

Music

History

ET1012

ArtMusic

IrishMusic

ArtMusic;

Twoessays&Twolisteningtests12.5%each

IrishtraditionalMusic;

2Essay35%

2ListeningTest15%

55[approx.] 10 2/12

5.

MusicEducation

ET1013

PracticeofMusicEd

PracticalMusicSkills

EdIssues

PracticeofMusicEd;Oneassignment40%

PracticalMusicSkills;Pass/Fail

Oneassignment20%

Continuousassessment

66[approx.] 15 3/12


Module Components

Assessment Contacthours ECTS Mark

Weighting(infractionformat)

H&Capplied 40%

6.

CurricularDevelopment

ET1014

ClassroomObservation&Co-teaching

Musictechnology

EdTutorial

ProfessionalPortfolio50%

MusicTechnology;

Twoassignments25%each

55[approx.]

10 2/12


JuniorFreshmanAssignmentSubmissionDates(Alldatesinthisscheduleareprovisional)

Module Assessment Deadlines

1.InstrumentalPerformance

MainInstrument MainInstrumentExam100% TBC

Ensemble EnsemblePass/Fail Allyear

2.Musicianship

AuralPerception

Auralperception;Continuousassessment25%

&Exam25%

TBC

KeyboardSkillsKeyboardSkills;TwoPracticalExaminations25%each

13thDecember2017

11thApril2018

3.CompositionalTechniques

Harmony&Counterpoint

Stylistic

HarmonyStylistic

Continuousassessment40%&exam60%

TBC

4.MusicHistory

ARTMusic ListeningTest1 12thDecember2017

ARTMusic Essay1 15thJanuary2018

ARTMusic Essay2 28thMarch2018

ARTMusic ListeningTest2 10thApril2018



MusicHistory:

IrishMusic

Essay

30thNovember2017

IrishMusic ListeningTest 7thDecember2017

IrishMusic Essay 22ndMarch2018

IrishMusic ListeningTest 5thApril2018

HarmonyApplied HarmonyApplied8thDecember2017

2ndFebruary2018

9thMarch2018

6thApril2018

MusicTechnology WrittenAssessment1(50%) 15thMarch2018

WrittenAssessment2(50%) 5thApril2018


StudyAbroad/Erasmus

StudentswishingtoapplytostudyabroadduringHilaryTermofSeniorFreshmanYearshouldconsulttheStudyAbroad/ErasmussectionundertheGeneralRegulationssectionofthishandbook.


SeniorFreshman


SeniorFreshman2017/18TimetableAllRIAMclassescommenceMondaySeptember12th


MONDAY 10.00 11.30Harmony&CounterpointStylistic M.Moran

Room28,RIAM ET2015

MONDAY 11.30 11.45Harmony&CounterpointTutorial M.Moran

Room28,RIAM

TUESDAY 11.00 12.30 Aural1&2 A.Ryan Room21,

RIAM

TUESDAY 13.00 14.00 IrishMusic I.Gunner Boardroom

RIAM

TUESDAY 14.30 15.15 KeyboardHarmony J.ArchibaldRoom19,

RIAM

TUESDAY 16.30 17.45 KeyboardHarmony J.Archibald Room19,RIAM

WEDNESDAY 09.30 11.00 MusicHistory

Semester1

A.Feery

A.Ryan

Semester2

RecitalRoom

Recital

Room,RIAM

A.Ryan

P.Lopez

WEDNESDAY 12.15 12.45 KeyboardHarmony J.ArchibaldRoom19,

RIAM

WEDNESDAY 15.15 15.45 KeyboardHarmony J.ArchibaldRoom19,

RIAM

THURSDAY 10.00 12.00 Micro-Teaching G.DeeryRoom21,

RIAM

THURSDAY 12.30 13.30 Conducting G.Maloney KBH,RIAM

FRIDAY 10.00 11.00PianoPerformanceClass

TBCC.Brioscu KBH



FRIDAY 10.00 11.00InstrumentalPerformanceClass

(optional)D.Brosnan

OrganRoom,

RIAM

FRIDAY 11.00 12.30Harmony&Counterpoint

AppliedG.Deery

Room21,

RIAM

FRIDAY 12.30 12.45Harmony&Counterpoint

AppliedTutorialG.Deery

Room21,

RIAM

Toscheduleyourprivatelessons,contactyourindividualteacherASAPifyouhavenotalreadydoneso.

Allinstrumentalistswillreceiveacopyoftheirrelevantensembleschedulefromtheensemblemanager.

MODULE1:InstrumentalPerformance

Studentsundertaketwocomponents,MainInstrumentandEnsemble

MainInstrument

Aims

Buildingonstudents’existinglevelsofachievement,thiscoursefocusesonasystematicprogrammeofstudies,scalesandarpeggios,sight-readingandsolorepertoire.

Todevelopstudents’technicalskillsandmusicalawarenessforinstrumentalperformance.

Toestablishthefoundationforproductivepracticeandindependentlearning.

Tointroducestudentstoawidevarietyofrepertoire.

Todevelopconfidenceinstylisticandinterpretiveissues.

LearningOutcomes

▪ Onsuccessfulcompletionofthismodulethestudentwillbeableto:


▪ Choseandpreparepiecestoproduceavariedandbalancedprogramme.





End-of-yearrequirements:

Allstudentsshouldmakesignificantprogressintechniqueandrepertoire.Thisshouldbereflectedintheprogrammeforend-of-yearexaminations.Themusictobestudiedwillbechosenbytheteacherwitharelevancetothestudent’scurrentlevelofattainment.Theend-of-yearexaminationprogrammemustbesubmittedtotherelevantdegreecoursecommitteeforapproval.

Thestudentmustpresentabalancedprogrammeofworksincontrastingstylesof20minutesduration(shouldthe20minutedurationbeexceededthestudents’performancemaybeinterruptedatthediscretionoftheexaminers).Includedinthe20minutesaretheScales&Arpeggios/TechnicalExercises,whichwillbeexpectedtobeperformedtoastandardcommensuratewiththestandardofprogramme,expected.Alistshouldbedrawnupinconsultationwiththeteacherandpresentedtotheexaminers.

ThestudentwillbeexaminedintheTrinitytermbyapanelconsistingoftworepresentativesoftheRIAMConservatoryofMusic&Drama.


Assessment

PracticalExamination(100%)

TraditionalIrishMusicPerformance


Thestudentmustpresentabalancedprogrammeof20minutesduration.Theprogrammemustbeprofessionallypresentedinwritingandshowevidenceofhavingbeenwell-researched.Titles(whereavailable)andsourcesofalltunes(recordings,printedsources,etc.)shouldbelisted.Theexamination,whichshouldbeasoloperformance,willalsobeinteractivewiththestudentexpectedtobeabletodiscusshis/herprogramme,instrument,influencesandotherperformers.Asasight-readingtestthestudentwillberequiredtoplayasimplemelodywithappropriateornamentation.ThestudentwillbeexaminedbyapanelconsistingoftworepresentativesoftheDITConservatoryofMusic&Dramaandatraditionalmusicspecialist.


IrishHarp(Gut/NylonAnd/OrWireStrung)

Theperformanceshouldincludeappropriateuseofornamentationandvariationandshouldbedrawnfromthefollowingcategories:jigs,slides,reels,hornpipes,marches,polkas,slowairsandthemusicoftheharpers.Othercategories,e.g.themusicofotherCelticcountriesorthestudent’sowncompositions/arrangementsmaybeincludedinconsultationwiththefirststudyteacherandtherelevantdegreecoursecommittee.Inaddition,upto30%oftheprogrammemayincludeclassical/contemporarymusicofasuitablestandard.

AllInstrumentsexcepttheIrishHarp

Theperformanceshouldreflectandillustrateboththetraditionandthebreadthoftherepertoire.Categoriesfromwhichtunesmaybechosenincludejigs,slides,reels,hornpipes,marches,polkas,slowairsandthemusicoftheharpers.Othercategories,e.g.themusicofotherCelticcountriesorthestudent’sowncompositions/arrangementsmaybeincludedinconsultationwiththefirststudyteacherandrelevantdegreecoursecommittee.Thestudentisexpectedtohavearepertoireof70tunesbytheendofthesecondyear,acompletelistofwhichshouldbesubmittedtothecoursecommitteebytheendofMarchofthatyear.60%ofthetunestobeplayedattheexaminationmaybethestudent’sownchoice,whiletheremaining40%willbeselectedfromthelistbythecoursecommittee,whowillinformthestudentoftheirselectionsixweekspriortotheexamination.Thestudent’sabilitytouseappropriateimprovisationandcreativityintheplayingofdifferentrotationsoftunesshouldbeevident.

Assessment

InstrumentalPerformance(100%).

Ensemble

Allstudentsareexpectedtoparticipateinoneofficiallyrecognisedensembleperformanceactivitywheretheyareintroducedtogroupmusic-makingandco-operativelearning.AttendanceiscompulsoryinYears1to3.AttendanceisoptionalinYear4.StudentsarenotrequiredtoparticipateinensembleactivitiesduringthetwoweeksofSchoolPlacementintheHilaryTermofYears2.TheCo-ordinatingCommitteehassetaminimumrequirementof75%attendanceinthismodule.Failuretocomplywiththisregulationwillresultinareductionof10%inastudent’sperformancemark.Inthecaseofpublicperformance,100%attendanceisrequiredforbothrehearsalandactualperformance.Thismayincludeweekends.

Assessment

Pass/Fail.


MODULE2:Musicianship

AuralPerception

Aims

BuildingonthestudyofAuralPerceptioninJuniorFreshmanyear,thiscoursefurtherprovidesasoundandbroadly-basedauraltrainingprogrammeasabasisformusicalperception,understandingandperformancetofosterthestudent’scapacitytolistencriticallyandanalytically,andtodeveloptheabilitytocorrelatesoundandnotationandtostimulatecreativity.

LearningOutcomes

Onsuccessfulcompletionofthismodulethestudentwillbeable:

▪ Tofurtherdeveloporallyandaurallyanunderstandingofdiatonicintervalsandtriads.

▪ Toidentifyharmonicstructuralprogressions.

▪ Tofurtherdevelopthecontrolofmetreandrhythm.

▪ Todemonstratemoreadvancedskillsinsingingatsight–accompanied/unaccompaniedauralanalysis–formandstructure/musicalstyle.

CourseContent

SectionA:Technicalwork:Dictations/Sightsinging–Diatonic/chromatic(early19thcenturyonly).

Aselectionfrombelowmaybetaken:

▪ Memorywork(selectedcanons/extractsfrommusicalliterature)

▪ Melodic/rhythmicdictation(singleline)

▪ Twopartdictation(musicalliterature)

▪ Harmonicprogressions(toincludeseventhchords)

▪ Sightsinging(diatonicandchromaticaccompanied/unaccompaniedfromthe18thandearly19thcenturies)

SectionB:IntroductiontoMusicalStructure/StylePartTwo


Assessment

ContinuousAssessment50%-throughselectionorcombinationofanyofthefollowing:

Weeklyclassassignments/semesterassessments/sightsingingaccompaniedorunaccompanied/classparticipation/basicresearchnotesasrequestedbytutor.

Examination50%:

WrittenPapertoconsistof:

SectionA:Dictation(3or4questions).

SectionB:FormandStyle(2or3questions).


MODULE3:CompositionalTechniques[Harmony&CounterpointStylistic]

Aims

Toequipthestudentwiththenecessaryskillsandtechniquesappropriatetoselectedstylisticcomposition.

TobuildonthefoundationinharmonicandcontrapuntalwritingestablishedintheJ.F.Stylisticmodule.

LearningOutcomes.


▪ DemonstrateanadvancedunderstandingoftheChoraleidiominstyleandlanguage.

▪ Demonstrateanadvancedtechniqueinwritinginstrumentalcounterpoint.

CourseContent

ThestudyofshortpiecesintheRenaissance,BaroqueandClassicalstyles:

Chorale.

Thestudyofanumberofthefollowing:two-partinvention,

VariationprinciplesandRenaissancepolyphony.

Assessment

(a) WrittenExamination(60%).Twoquestionstobeanswered.

TheChoralequestionisobligatory.Thesecondquestionisachoicedrawnfromtheotherareas.

(b) Portfolio/ContinuousAssessment(40%).


MODULE4:MusicHistory

MusicHistoryhastwocomponents,ArtMusicandIrishTraditionalMusic.

ArtMusic

Aims

Amoduleintroducingstudentstotheprincipalgenres,techniquesandstylesofEuropeanmusicwritteninthe19thcenturyandtotheculturalcontextsofthatmusic.Itisdesignedaroundablendofformallecture,guidedlisteninginclass,readingsfromthesettexts,andlisteningassignments.Assessmentisviaacombinationofessaysandlisteningtests.

LearningOutcomes

Studentswhosuccessfullycompletethismoduleshould:

▪ Havegainedanawarenessofthemainmusicalgenresofthe19thCentury.

▪ Haveabroadknowledgeofchangingmusicalstyleswithintheperiod.

▪ Beabletodistinguishthemusicofthemajorcomposersoftheperiod.

▪ HaveasenseoftheaestheticandphilosophicaldistinctionbetweenClassicismandRomanticism.

▪ Haveapreliminaryknowledgeofmusic’srelationshiptootherartsintheperiod.

▪ Haveadetailedknowledgeofasmallnumberofworksoftheperiod.

Assessment

2Essays@25%,2ListeningTests@25%.

IrishTraditionalMusic

Aims

ExplorevariousaspectsoftheIrishSongtradition,bothintheIrishandEnglishlanguages,fromthemusical,historical,politicalandsocialperspectives.

Studyindetailtheuilleannpipes,pipersandpipingstyles.

ExamineandanalysethemusicassociatedwiththeSongandPipingTraditions.


FamiliarisethestudentwiththevariousaspectsoftheSongandPipingrepertoiresthroughtheuseofCDs,Video,CassettesandDVDs.

Promoteanawarenessofpersonalandregionalstyles.

RelatetheabovepointstotherequirementsoftheIrishmusicelementoftheJuniorCertificateandLeavingCertificateSyllabi.

LearningOutcomes

Oncompletionofthismodule,thelearnerwillhave:

▪ AcquiredknowledgeofvariousaspectsofIrishSongandPipingTraditions.

▪ Anawarenessofthewiderhistorical,politicalandsocialcontextsassociatedwiththesetraditions.

▪ Acquiredtheabilitytorecognisevarioustypesofsongs,tunesandperformancestyles.

▪ AnunderstandingoftherelevanceofthisknowledgetotheIrishmusicelementoftheJuniorCertificateandLeavingCertificateSyllabi.

CourseContent

ThiscoursefocusesontheIrishandEnglishlanguagesongtraditions,uilleannpipes,andtheIrishTraditionalMusiccurriculumatbothJuniorandLeavingCertificatelevels.ThemesdiscussedincludeIrishTraditionalMusicandnationalism,identitycreation,andcurrentissuesinthefieldofIrishTraditionalMusicstudies.Thecoursedrawsonsociological,politicalandhistoricalfactorsinthemusic’sdevelopmentaswellasexaminingfeaturesandaestheticsofsound,andperformancepractice.

Thecourseincludesastudyofthefollowingareas:

Sean-nóssinging–ornamentation,regionalstyles,prominentexponents.

SongTypes-LoveSongsinIrish,theCaoineadh–includingsocial,historicalandliterarysurvey,theLullaby,fairylore.

TheEnglishLanguagesongtraditioninIreland,includingthemes,Irishandinternationalballadsandpoliticalsong.

TheUilleannPipes-history,style,ornamentation,repertoire,prominentexponents.

IrishTraditionalMusicintheClassroom-theIrishTraditionalMusicelementintheJuniorCertificateandLeavingCertificateSyllabi,andteachingmethodology.


Assessment

2Essays35%each,2listeningtests15%each

Recommendedreadinglist

Vallely,F(1999)CompaniontoIrishTraditionalMusic(2ndEditiondueforpublicationNovember2011)

RecommendedReadingMaterials

Author Title

Bériou,Jean-Yves(2008) DordanDúchais,TheConnemaraSound,LeChantProfondDeL’Ouest.CoiscéimPress.Dublin.

Breathnach,Breandán(1971) FolkMusicandDancesofIreland.MercierPress,and/orOssianPublications,Cork.

Carson,Ciarán(1996) PocketGuidetoIrishTraditionalMusic,AppletreePress,Belfast.

Clune,Anne(Ed.)(2007) DearFarVoicedVeteran.EssaysinHonourofTomMunnelly.TheOldKilfarboySociety.

Hast,DorotheaandScott,Stanley(2004)

MusicinIreland.ExperiencingMusic,ExpressingCulture.OxfordUniversityPress.

McCarthy,Marie(1999) Passingiton.TheTransmissionofMusicinIrishCulture.CorkUniversityPress.

O’Canainn,Tomás(1978etc.) TraditionalMusicinIreland.RoutledgeandKeganPaul,London,and/orOssianPublications,Cork.

O'Boyle,Seán(1976) TheIrishSongTradition.Toronto:Macmillan.

O’Buachalla,Breandán(1998) AnCaoineagusanChaointeoireacht,Dublin,CoisLife.

O’Curry,Eugene(1873) OntheMannersandCustomsoftheAncientIrish.LondonandEdinburgh,.

O’Madagain,Breandan(2005) CaointeAgusSeancheoltaEile–KeeningandOtherOldIrishMusicsCloIar-ChonnachtaTeo.

O’Madagain,Breandan(1989) ‘GaelicLullaby:acharmtoprotectthebaby?’,p29-38,Volume29JournalofScottishStudies.

O’Riada,Sean(1982) OurMusicalHeritage,DolmenPress.

O'Sullivan,Donal(1974) IrishFolkMusic:SongandDance.Cork:TheMercierPress.


Author Title

Shields,Hugh(1993) NarrativeSinginginIreland.Lays,Ballads,Come-All–YesandOtherSongs.Dublin,IrishAcademicPress.

Shields,Hugh,Carolan,NicholasandSmith,Therese(Eds.)(1972-2001)

IrishFolkMusicStudies-ÉigseCheolTírevols1-6

Smith,Thérèse,ÓSúilleabháin,Micheál(Eds)(1997)

Blás:theLocalAccentinTraditionalIrishMusic,(Limerick:IrishWorldMusicCentre,n.d.).

Vallely,Doherty,Hamilton,Vallely(Eds)(1996)

CrosbhealachanCheoil–TheCrossroadsConference,Dublin.

Williams,Sean(2004) ‘MelodicOrnamentationintheConnemaraSean-nósSingingofJoeHeaney’,inTheNewHiberniaReview8/1:122-145.

OnlineLecturesfromtheIrishTraditionalMusicAssociation

SeeITMAwebsitewww.itma.ie/English/chairmen_lectures.html

Munnelly,Tom(2002) ‘TraditionalSinginginIreland’.(67minutes)

ÓSúilleabháin,Mícheál(1998) ‘CreativityinIrishTraditionalMusic:Phrasing,Rhythm,PitchandStructure’.(50minutes)

Goan,Cathal(1991) ‘TheYearoftheFrench:Irish-LanguageSongsof1798’(36minutes)


MODULE5:MusicEducation

MusicEducation1and2aredesignedtofurtherdevelopknowledgeandexperienceofthetheoryandpracticeofteachingandspecificallymusicpedagogy.

Studentsundertakefivecomponents,PracticeofMusicEducation,Conducting,SociologyofMusicandMusicEducation,andAppliedCompositionandPracticalKeyboardSkills.


PracticeofMusicEducationisatwo-termcourseinSF,takingplaceforonehourperweekintheMichaelmasandHilaryterms.

Aims

ThecourseaimstofacilitatethestudentsinpreparingformusicteachingandlearninginthejuniorcycleofthePost-primarycurriculum.Specifically,thecourseaimstoenablestudentsto;

▪ ReflectontheJuniorFreshmanPrimaryschoolplacementandportfolio.

▪ UnderstandhowmusicconceptsandskillsareappliedinthePost-Primaryclassroom.

▪ ExplorethetheoriesandassumptionsthatunderpintheJuniorCertificatemusiccurriculum.

▪ Developskillsinmusicpedagogy,essentialforeffectiveteachingandlearningincludingICT

▪ Constructprogressiveschemesofworkandlessonplans-theteachingportfolio.

▪ Exploretheskillsofclassroommanagement.

▪ ExploretheJuniorCyclemusicsyllabusasanopportunityfordevelopingpupils'literacyandnumeracy.

▪ CoteachingasappliedtoSchoolPlacement(MarchofSF)

▪ Developanawarenessaboutthevarioustechnologicalresourceswhichcanbeusedinteachingjuniorcyclemusic..

▪ Developaresearch-informedattitudetoteachingandlearningwhichcanbeexploredinsubsequentyears.

LearningOutcomes

Oncompletionofthiscoursethestudentswillbeableto;

▪ ReflectontheJuniorFreshmanPrimaryschoolplacement.


▪ Identifyopportunitiesfordevelopingpupils'numeracyandliteracywithintheJCmusiccourse.

▪ Demonstratetheirunderstandingofhowmusicalconceptsandskillsareapplied.

▪ ArticulatethetheoriesandassumptionsthatunderpintheJuniorCertificatemusiccurriculum.

▪ DemonstratethebasicskillsinmusicessentialforeffectiveteachingandlearningincludingICT

▪ Designprogressiveschemesofworkandlessonplans.

▪ Applythebasicskillsofclassroommanagement.

▪ Appreciatethenatureofmusiceducation.

▪ Appreciatethesignificanceofhis/herownmusicianshipinmusicteaching.

CourseContent

▪ Anintroductiontoreflectivepractice.

▪ TheJuniorCertmusicsyllabus[includingassessment].

▪ Planningeffectivemusiclessons.

▪ DesigningawiderangeofmusicmaterialsandresourcesforJuniorCertmusic.

▪ Groupmusicmaking.

▪ Theintegrationofmusiclistening,performingandcomposing.

▪ Co-teaching

▪ ICTasappliedtoJCMusic

▪ InclusiveEducation-Diversity

▪ Assessmentforlearningandassessmentoflearning

Assessment

2Assignments@50%each.



Author TitleCohen,L.,Manion,L.,&Morrison,K.(2006).

AGuidetoTeachingPractice(5thed.).London:RoutledgeFalmer.

Costello,M.,&Kerin,M.(2009). Bravo!,MusicforJuniorCert.Dublin:Folens.Costello,M.(2002). Prelude2.Dublin:Folens.Costello,M.(1997). Prelude.Dublin:Folens.Dewey,J.(1916). DemocracyinEducation;anIntroductiontothePhilosophy

ofEducation.NewYork:McMillan.Dewey,J.(1900/1990). TheSchoolandSociety.Chicago:UniversityofChicago

Press..Durant,C.,&Welch,G.(1995). MakingSenseofMusic.London:Cassell.Elliott,D.(1995). MusicMatters:ANewPhilosophyofMusicEducation.New

York:OxfordUniversityPress.Glover,G.,&Young,S.(2002). PrimaryMusic–LaterYears.London:TheFalmerPress.Green,L.(2001). HowPopularMusiciansLearn.Cambridge,UK:Ashgate

PublishingLimited.Green,L.(1997). Music,Gender,Education.Cambridge,UK:Cambridge

UniversityPress..Hiscock,C.,&Metcalfe,M.(2002). NewMusicMatters11-14.Oxford:Heinemann.Hunt,P.(2008). Voiceworks2,AfurtherhandbookforSinging.Oxford:OUP.Kelly,A.(2008). Tempo,anintroductiontoMusicforFirst-Year

Students.Dublin:Folens.Lines,D.(Ed.).(2005) MusicEducationFortheNewMillennium:Theoryand

PracticeFuturesforMusic,TeachingandLearning.Auckland:BlackwellPublishing.

Marland,M.(1993). TheCraftoftheClassroom(3rded.).Heinemann.McFaddenM.,&Kearns,K.(2007). SoundsGood.Dublin:TheEducationalCompany.Philpott,C.(Ed.).(2006). LearningtoTeachMusicintheSecondarySchool.2nd

Edition.London:RoutledgeFalmer.PostPrimaryMusicTeachers’Association, LeavingCertificateMusic,Teachers’Workbook.Dublin,

2002.Reimer,B.(1989). APhilosophyofMusicEducation(2nded.).EnglewoodCliffs,

NJ:PrenticeHall.Simpson,K.(Ed.).(1976). SomeGreatMusicEducators.BoroughGreen:Novello.Small,C.(1977). Music,Society,Education.London:JohnCaulder.Swanwick,K.(2012). TeachingMusicMusically.ClassicEdition,Oxon:Routledge.Swanwick,K.(1989). ABasisforMusicEducation.London:NFER-NELSON.Tubbs,N.(1996). TheNewTeacher.London:FultonPublishers.Vajda,C.(1974&1992). TheKodalyWaytoMusic-PartsI+II.London:Boosey&

Hawkes.Walsh,B&Dolan,R.(2009). AGuidetoSchoolPlacementinIreland.Dublin:Gilland

McMillan.Wright,T.(2007). HowtobeaBrilliantTraineeTeacher.Oxon:Routledge.



▪ IrishTimes(educationsection,Tuesdays);

▪ IrishIndependent(educationsection,Wednesdays);

▪ Guardian(educationsection,Tuesdays);

▪ TimesEducationalSupplement(Fridays),

▪ BritishJournalofMusicEducation,#

▪ MusicEducationResearch,

▪ JournalofResearchinMusicEducation,

▪ InternationalJournalofMusicEducation.

Officialpublications

EarlyYears’

NationalCouncilforCurriculumandAssessment(NCCA).(2009)Aistear:TheEarlyChildhoodCurriculumFramework.Retrievedfromhttp://www.ncca.ie/en/Publications/Syllabuses_and_Guidelines/Aistear_the_Early_Childhood_Curriculum_Framework.pdf

JuniorCycle

DepartmentofEducationandSkills(DES).(2012)AFrameworkforJuniorCycle.Retrievedfromhttp://www.juniorcycle.ie/NCCA_JuniorCycle/media/NCCA/Documents/JC-Framework_FINAL_02oct12.pdf

NationalCouncilforCurriculumandAssessment(NCCA).(2010).InnovationandIdentity:IdeasforaNewJuniorCycle.Retrievedfromhttp://www.ncca.ie/en/Publications/Reports/Innovation_and_Identity_Ideas_for_a_new_junior_cycle.pdf

NationalCouncilforCurriculumandAssessment(NCCA).(2011).InnovationandIdentity:TowardsaFrameworkforJuniorCycle.Retrievedfromhttp://ncca.ie/framework/doc/NCCA-Junior-Cycle.pdf

SeniorCycle

NationalCouncilforCurriculumandAssessment(NCCA).(2009).TowardsLearning:AnOverviewofSeniorCycleEducation.Availableat:http://www.artscouncil.ie/Publications/Choral_Report_08_English.pdf


General

ArtsCouncil.(2008).RaisingyourVoice:TowardsaPolicyfortheDevelopmentofChoralMusicinIreland.Retrievedfromhttp://www.artscouncil.ie/Publications/Choral_Report_08_English.pdf

DepartmentofEducationandSkills(DES).(2011).ChildProtectionProceduresforPrimaryandPost-PrimarySchools.Retrievedfromhttp://www.education.ie/en/Schools-Colleges/Information/Child-Protection/cp_procedures_primary_post_primary_2011.pdf

DepartmentofEducationandSkills(DES).(2011).LiteracyandNumeracyforLearningandLife:ThenationalStrategytoImproveLiteracyandNumeracyamongChildrenandYoungPeople2011-2020.Retrievedfromhttp://www.education.ie/en/Publications/Policy-Reports/lit_num_strategy_full.pdf

DepartmentofEducationandSkills(DES).(2013).Anti-BullyingProceduresforPrimaryandPost-PrimarySchools.Retrievedfromhttp://www.education.ie/en/Publications/Policy-Reports/Anti-Bullying-Procedures-for-Primary-and-Post-Primary-Schools.pdf

NationalCouncilforCurriculumandAssessment(NCCA).(2006).InterculturalEducationinthePost-PrimarySchool.Retrievedfromhttp://www.ncca.ie/uploadedfiles/publications/Interc%20Guide_Eng.pdf

MusicGeneration.(2010).MusicGeneration:PoliciesandPriorities2010-2015.Retrievedfromhttp://www.musicgeneration.ie/content/files/Policy%20%20Priorities%202010%20-%202015.pdf

MusicGeneration.(2010).BackgroundInformation.Retrievedfromhttp://www.musicgeneration.ie/content/files/Background%20Information.pdf


Conducting

ConductingisatwotermcoursetakingplaceforonehourperweekinMichaelmasandHilaryterms.

Aims

Thiscourseaimstofacilitatestudentsinpreparingfortheconductingofvariousensemblesinthepost-primaryschool.

LearningOutcomes

Onsuccessfulcompletionofthismodulethestudentwillbeabletoconductvariousvocalandinstrumentalensembles.

CourseContent

Anintroductiontothefollowingbasicskills:

▪ Technique:toincludestance,batontechnique,directionofbeats,sub-division,thepreparatorybeat,thelefthandandthefermata;

▪ Score-reading:analysis,interpretation,preparation,transposition,style;

▪ Rehearsaltechnique:choralandorchestralgroups,balance,intonation,diction,phrasing,ensemble.

StudentswillbegiventheopportunityduringtheyearofworkingwiththeensemblesoftheDITConservatoryofMusic&DramaandtheRoyalIrishAcademyofMusic.

Assessment

Pass/Fail.

SociologyofMusicandMusicEducation

SociologyofMusicandMusicEducationisaonetermcourseofonehourperweekinHilaryterm.

Aims

Toexaminethenatureandpurposeofmusicinvariouscultures.

Toconsidermusicineducationfromasociologicalviewpoint.

Toexaminetherelationshipbetweenmusicandsocialchange.


LearningOutcomes


▪ Discusstheworldofmusicinrelationtovarioustraditionsandtransmissionsofmusic.

▪ Articulatetheirunderstandingoftheplaceofpopularmusicinsociety.

▪ DemonstratetheirunderstandingoftherelationshipofmusicandsocietyinIreland.

CourseContent

Sociologyofmusic:anintroduction.

WesternArtMusic.

PopularMusic.

WorldMusic.

GenderStudiesinMusic.

MusicandSocietyinIreland.

TheimplicationandapplicationofSociologicalissuesintheteachingandlearningofmusic.

Additionaltopicsmaybechosenwithdueregardtocurrentdevelopmentsinthefield.

Assessment

Onepresentation@50%andonewrittenassignment@50%.


ReadingList

Author TitleColwell,R.andRichardsonC., TheNewHandbookofResearchofMusicTeachingand

Learning,(PartV)NewYork,Oxford,2002DeNora,T., AfterAdorno:Re-thinkingMusicandSociology,Cambridge,

NewYork:CambridgeUniversityPress,2003DeNora,T., MusicinEverydayLife,Cambridge,NewYork:Cambridge

UniversityPress2000Frith,S., PopularMusic:CriticalConceptsinMediaandCulturalStudies,

London:Routledge,2004Green,L., MusiconDeafEars:Musicalmeaning,Ideology,Education,

ManchesterUniversityPress1988GreenL., HowPopularMusiciansLearn:AWayAheadforMusic

Education,Aldershot:Ashgate,2001.Jones,P.M., 'MusicEducationandtheKnowledgeEconomy:Developing

Creativity,StrengtheningCommunities'ArtsEducationPolicy,106,4,5-12.

Leppert,RandMcClary,S., MusicandSociety:thepoliticsofcomposition,performanceandreception,Cambridge:CUP1987

Longhurst,B., PopularMusicandSociety,PolityPress,1997Martin,P.J., Musicandthesociologicalgaze:Artworldsandcultural

production,Manchester,NewYork:ManchesterUniversityPress,2006.

McCarthy,M., PassingItOn:ThetransmissionofmusicinIrishculture,Cork:CorkUniversityPress1999

McClary,S., FeminineEndings:Music,GenderandSexuality(2ndedition),Minneapolis,London:UniversityofMinnesotaPress,2002

Small,C., Music,Society,Education,London:JohnCalder,1977Small,C., Musicking:TheMeaningsofPerformingandListening,

Hanover,London:WesleyanUniversityPress,1998.Selectedreadingsfromarangeofsourceswillalsobepresented


AppliedCompositionalTechniques

Aims

Theaimofthismoduleistodeveloptechniquesassociatedwithfreecompositionandarrangement.

LearningOutcomes


▪ Demonstratecreativitythroughfreecompositionandarrangementforvariouschoralandmixedinstrumentalresourcestypicallyfoundinthesecondaryschool.

▪ Composeinamannerthatdemonstratesanunderstandingofharmoniclanguage,melodicmanipulationandensemblewriting.

▪ Demonstrateanunderstandingofnon-conventionalnotationforschoolpercussiongroups.

CourseContent

Theschoolchoir,vocalmusic(accompaniedbypianoorunaccompanied).Freechoiceofrepertoire–originalorbasedongivenmaterial.

Instrumentalensemblewriting.Toincludepiano,guitar,cello,flute,recorders,tunedandunturnedpercussionforsecondaryschoolresources(years1-4).Standardrepertoire–folkmaterialorarrangementsoforiginalmaterial.

Thepopularsong.A‘handson’approachtoprofessionalsongwritingwithCDpresentationandcopyrighthandling.

Assessment

Portfolio:Thepresentationof6–8piecesofequalweighting(100%).


PracticalKeyboardSkills

Aims

Thiscourseaimstofurtherdevelopthestudents’musicianshipskillsthroughtheuseofthekeyboardandprovidesthemwithanessentialclassroomtoolto;

▪ Developtactileandco-ordinationskillsatthekeyboard.

▪ Developtheskillofsimplepianoaccompaniment.

▪ Developtranspositionandsight-readingskills.

▪ Developcreativitythroughimprovisation.

▪ Developharmonisationtechniquesatthekeyboard.

▪ Developanunderstandingoffiguredbassandchordsymbols.

LearningOutcomes


▪ Harmoniseamelody.

▪ Readaltoclef.

▪ Transposeatsight.

▪ Realiseafiguredbass.

▪ Realisechordsymbols.

▪ Displaycreativitythroughmelodicandharmonicimprovisation.

CourseContent

Thisconsistsofthreecomponents:

▪ Accompaniment,(bothatsightandprepared),andimprovisation.




Assessment

Twopracticalexaminations–(50%each).

Mid-yearexaminationrequirements:

Playchordpatternsinmajorkeysuptofoursharpsandfourflatswiththepossibilityofusingfiguredbass/romannumerals(prepared).

Harmoniseasimplefiguredbassusingrootposition,1stinversionandcadential6/4chordsinthekeysofC,G,DandFMajor,andA,EandDminor.

Sight-readasimplepieceorpianoaccompanimentaccordingtoindividualstandard.

Preparedtranspositionofatwo-partpieceupordownatoneinthekeysofC,GandFmajor(oneweek’spreparation).

Addanansweringphrase(singleline)toafour-barmelodytoincludeamodulationtothedominantand/orsubdominantinthekeysofC,G,DandFmajor,andA,EandDminor.

Sight-readasingleBflatinstrumentalpartfromfullscore,atthecorrectpitch.

End-of-yearexaminationrequirements:

Cadencesinmajorandminorkeysuptofoursharpsandflats(prepared)

HarmoniseasimplemelodyinthekeysofC,G,DandFmajorandA,EandDminor.

Sight-readasingle-linemelodyinthetenorclef.

Playapreparedaccompanimenttoaninstrumental/vocalsolo(onemonth’spreparation).

Transposeatsightasimpletwo-partpieceinthekeysofC,GandFmajorupordownatone.


MODULE6:IrishEducationalHistoryandPolicy

IrishEducationalHistoryandPolicyisaonetermcourseinSF,takingplaceforonehoureachweekduringMichaelmasTerm.

Aims

ExploretheeducationalpolicyoftheIrishstateanditsimplicationsforeducationalpractice;

IntroducestudentstocontemporarypolicyissuesandcontroversiesinIrisheducation;

ConsidertheoreticalframeworkswhichseektoexplaintherelationshipbetweensocietyandeducationinthecontextofpolicyandpracticeinIreland;

Analysecriticallythedebatesurroundingdenominational/religiousandsecular/state-centredsystemsofeducationinanIrishcontext;

ExamineIrisheducationalpolicywithinaEuropeanandinternationalcontext;

Encouragecriticalreflectionontheimmediateandlong-termchallengesfacingpolicy-makers,stakeholdersandeducators.

LearningOutcomes

Onsuccessfulcompletionofthismodule,studentsshouldbeableto:

▪ Examineeducationalpoliciesatprimary,post-primaryandhigherlevelswithinanappropriatehistoricalcontext;

▪ EvaluatethesignificantissuesandcontroversiesincontemporaryIrisheducation;

▪ IdentifytheimpactofEuropeanandinternationalinstitutionsoneducationalpolicyandpracticeinIreland;

▪ Analysecriticallytheinfluenceofwidersocietal,politicalandculturalforcesinIrisheducation;

▪ Developacriticalappreciationoftheimportanceofideologyineducation,includingpoliticalideologiesofthepastandthedominantfreemarketparadigmofthelastgeneration;

▪ Acquirethecompetencetoanalyseeducationalissuesandcontroversiesinaninformedandcriticalfashion.

CourseContent

Setouttheprincipalcontentelementsofthemodule.

Thefollowingareprojectedweeklycontentareasinthemodule:


▪ PostwarIrisheducationalpolicyinanationalandinternationalcontext:1945-59.

▪ ThePoliticsofExpansion:theimpactof‘InvestmentinEducation’andreformofprimaryeducation,1959-80.

▪ Thetransformationofeducationalpolicyatpost-primarylevel:1959-80.

▪ HigherEducation:Diversification,expansionandthebinarysystem.

▪ TheIrishLanguageineducation.

▪ EducationandtheConstitution:theparentas‘primaryeducator’.

▪ SecularisationinIrisheducation.

▪ Globalisationandthe‘Knowledgebasedeconomy’:internationalinfluencesonIrisheducation.

▪ Contemporarypolicyatprimaryandpost-primarylevels:curriculumreformandanewlegislativeframework.

▪ Contemporarypolicyinhighereducation:theHuntReport.

▪ Reviewandevaluation.

Assessment

Onewrittenassignment(2,000words)whichisdesignedtoassessthestudents’abilitiesto:

▪ Demonstratearangeofknowledgeandunderstandingofthespecificfield,indicativeofextensivereadingandindividualresearch;

▪ Provideacriticalinterpretationoftheoreticalperspectivesandissuescoveredinthemodule;

▪ Criticallyapplyselectedcontentofthemodulewithinthecontextoftheirownprofessionalpractice;

▪ Identifyandarticulatetherelationship(s)betweencontemporarypoliciesandhistoricalissues.

Studentsarerequestedtosubmitthetitleandabriefoutlineoftheirassignmentwellinadvanceofthesubmissiondate;feedbackisgivenonthisoutline.


RecommendedReadingMaterials/IndicativeResourcesSecondarySources

Author TitleApple,M.(1995). Educationandpower.London:Routledge.Coolahan,J.(1981). IrishEducation:itshistoryandstructure.Dublin:IPA.Coolahan,J&O’Donovan,P.(2010). AHistoryofIreland’sSchoolInspectorate,1831-2008.Dublin:

FourCourtsPress.Drudy,S.(Editor). EducationinIreland:ChallengeandChange.Dublin:Gill&

Macmillan.Drudy,S.&Lynch,K.(1993). SchoolingandsocietyinIreland.Dublin:Gill&Macmillan.Edwards,R.andUsher,R.(1994). Postmodernismandeducation.London:Routledge.Foucault,M.(1977). DisciplineandPunish:Thebirthoftheprison.Harmondsworth:

Penguin.Gewirtz,S.,Ball,S.andBowe,R.(1995). Markets,ChoiceandEquityinEducation.Buckingham:Open

UniversityPress.Giddens,A.(1995). Politics,SociologyandSocialTheory.London:PolityPress.Giddens,A.(2001). Sociology.London:PolityPress.Giroux,H.(1984). Ideology,CultureandtheProcessofSchooling.Lewes:Falmer.Green,A.(1990). EducationandStateFormation:theriseofeducationsystems

inEngland,FranceandtheUSA.London:Macmillan.Harvey,D.(1990). TheConditionofPostmodernity.Oxford:BlackwellHarvey,D.(2011). ABriefHistoryofNeoliberalism.Oxford:OxfordUniversity

Press.Hyland,A.andMilne,K.(1987). IrishEducationalDocuments,vol.1.Dublin:CICEJones,V.(2006). AGaelicExperiment:ThePreparatorySystem1926-1961and

ColáisteMoibhí.WoodfieldPress.Kelly,A.(2002). CompulsoryIrish:TheLanguageandEducationinIreland

1870sto1970s.Dublin:IrishAcademicPress.Keogh,D.(2008). EdmundRiceAndTheFirstChristianBrothers.Dublin:Four

CourtsPress.Lynch,K.(1999). Equalityineducation.Dublin:Gill&Macmillan.Morrow,R.A.&Torres,C.A.(1995). Socialtheoryandeducation:Acritiqueoftheoriesofsocialand

culturalreproduction.Albany,NY:SUNYPress.Mulcahy,D.G.&O’Sullivan,D.(1989)(eds).

IrishEducationPolicy:ProcessandSubstance.IPA:Dublin.

ÓBuachalla,S.(1988). EducationalPolicyinTwentiethCenturyIreland.WolfhoundPress:Dublin.

Parkes,S.M.(2010). AGuidetoSourcesfortheHistoryofIrishEducation1780-1922.FourCourtsPress:Dublin.

Rabinow,P.(1991). TheFoucaultReader:AnintroductiontoFoucault’sthought.Penguin:Harmondsworth.

Thomas,G.andLoxley,A.(2007). DeconstructingSpecialEducationReconstructingInclusion.Maidenhead:OUP.

Walsh,J.(2008). PatrickHillery:TheOfficialBiography.Dublin:NewIsland.Walsh,J.(2009). ThePoliticsofExpansion:thetransformationofeducational

policyintheRepublicofIreland.Manchester:MUP.Walshe,J.(1999). ANewPartnershipinEducationinIreland:fromconsultation

tolegislationinthe1990s.Dublin:IPA.


OfficialDocuments

DepartmentofEducationandSkills(2011).TheNationalStrategyforHigherEducationto2030(HuntReport).Dublin:DES

DepartmentofEnterprise,TradeandEmployment(2006).StrategyforScience,TechnologyandInnovation.Dublin:DepartmentofEnterprise,TradeandEmployment.

GovernmentofIreland(1965).InvestmentinEducation:ReportoftheSurveyTeamappointedbytheMinisterforEducationinOctober,1962.Dublin:StationeryOffice.

GovernmentofIreland(1980).WhitePaperonEducationalDevelopment.Dublin:StationeryOffice.

GovernmentofIreland(1995).WhitePaper:ChartingourEducationFuture.Dublin:StationeryOffice.

OireachtasÉireann(1998).TheEducationAct1998.

OireachtasÉireann(2000).TheEducationWelfareAct2000.

GovernmentofIreland(1999).ReadytoLearn:WhitePaperonEarlyChildhoodEducation.Dublin:StationeryOffice.

DepartmentofEducationandScience(2005).DeliveringEqualityofOpportunityinSchools(DEIS):Anactionplanforeducationalinclusion.Dublin:DES.

OECD(2004).ReviewofHigherEducationinIreland:Examiners’Report.Paris:OECD.

Websites

http://www.education.ie

http://www.enterprise.gov.ie/

http://www.hea.ie

http://www.oecd.org/

http://www.esri.ie/

http://www.oireachtas.ie


MODULE7:SchoolPlacement

Studentsundertake2components:SchoolPlacementinaSecondLevelschoolfortwoweeksduringHilaryTermandacourseinMicroTeachinginMichaelmasTerm.

SchoolPlacement

ForInformationonSchoolPlacement,ScheduleandAssessmentpleaserefertotheSchoolPlacementhandbooksectionundertheGeneralInformationsectionofyourcoursehandbook.

Aims

Toacquireconfidenceinteachingmusicintheclassroom.

Todevelopskillsinclassroommanagement.

Todeveloptheskillsofeffectivecommunication.

LearningOutcomes


▪ Demonstratehis/herknowledgeoftheJuniorCertmusicsyllabus.

▪ DemonstrateavarietyofclassroommanagementstrategiesappropriatetoallstudentsatJuniorCertificatelevel.

▪ Identifyopportunitiesfordevelopingpupils’literacyandnumeracy.

▪ DevelopanawarenessofICTopportunitiesasappropriatetotheJCmusiccourse.

▪ Teacheffectivelyusingavarietyofapproaches.

▪ Managestudentbehaviourfairly,accordingtoschoolpolicy.

▪ Evaluateandreflectonhis/herteachingexperience.

▪ Assembleateachingportfolio.

StudentswillreceivetwotutorSchoolPlacementvisitsduringtheblockplacement.

Assessment

Pass/Fail.


Micro-teaching

Microteachingisaone-termcourseinSF,takingplaceinMichaelmasterm.

Availabilityofschoolchildrenofappropriateageandstandard,andavailabilityoftechnologicalequipmentmaybefactorsinthetimetablingofthiscourse.

Assessment

Pass/Fail.


FoundationScholarship[ThisisoptionalforSFstudents]

ObjectivesoftheScholarshipExamination

TheBachelorinMusicEducationTrinityCollegeFoundationScholarshipisaimedtoidentifystudentsofexceptionalacademicandmusicperformanceability.ThestandardrequiredissimilartothatofexceptionalstudentsinotherdisciplinesandformerscholarsofTrinityCollege.TheFoundationScholarshipExaminationattemptstorecogniseandaffirmstudentswhodemonstrateanawarenessandunderstandingoftheacademicliterature,coupledwithevidenceofself-reflection,influencedbyteacherobservationanddiligentstudy.

Theexaminationprovidesopportunitiesforstudentstoengageincriticalthinkingandacademicstudyofthetheoreticalaspectsofthedegree,e.g.MusicEducation,HistoryofMusic,HarmonyandCounterpoint.InadditiontheMusicEducationscholarmustexhibitanoutstandinglevelofMusicPerformanceandAural/Keyboardskills.S/hemustdemonstrateanengagementwiththeaesthetic,culturalandpracticalvaluesofMusicinrelationtohumandevelopmentandinparticular,inrelationtoMusicEducationatPrimaryandPost-Primarylevels.ThisexaminationisheldintheweekbeforeHilaryTerm.Candidatesmustgivenoticeoftheirintentiontotaketheexaminationontheprescribedform,obtainablefromtheExaminationsOffice,WestTheatre,andTrinityCollegeOfficeordownloadableat:

http://www.tcd.ie/vp-cao/teo/teopdf/fsapp2011.pdf

PleaserefertoUniversityCalendarentry.


Scopeofthematerial

Thematerialcoversthecoursecontentandindicativereadingsinthefollowingcourses:

▪ ThePracticeofMusicEducation

▪ HistoryofMusic

▪ HarmonyandCounterpoint

▪ FirstStudy

▪ Aural/keyboardskills

Numberofpapers

Therewillbethreepartstotheassessmentasfollows:

Education[300marks]3hourexamination(3questions).

TheoreticalMusic[300marks]3hourexamination(3question).

PracticalExamination[300]Keyboard50marks,(consistingofchordpatterns/figuredbass/instrumentaltransposition/melodycontinuation/transpositionoftwo-partpiece);Sight-reading/Aural50marks(2contrastingpiecesofaccompaniedsight-singing)and

Performance/Recitalof15minutesduration200marks(withatleasttwocontrastingstyles).

StudyAbroad/Erasmus

StudentswishingtoapplytostudyabroadduringHilaryTermofSeniorFreshmanYearshouldconsulttheStudyAbroad/ErasmussectionundertheGeneralRegulationssectionofthishandbook.


SeniorFreshmanSummaryTable

Module Component AssessmentContacthours ECTS Weighting


ET2013

Maininstrument

Ensemble

MaininstrumentExam100%

EnsemblePass/Fail

Onelessonweekly

10 2/11

2.Musicianship

ET2014

AuralPerception AuralPerceptionContinuousAssessment50%Exam50%

21[approx] 5 1/11

3.CompositionaltechniquesET2015

Harmony&Counterpoint

Harmony&CounterpointStylistic:ContinuousAssessment40%&Exam60%

30[approx] 5 1/11

4.MusicHistory

ET2016

Artmusic

Irishmusic

Artmusic:TwoEssays25%&TwoListeningTests25%

Irishmusic:TwoAssignments35%&15%

50[approx] 10 2/11

5.MusicEducI

ET2017

PracticeofMusicEd

SociologyofMusic

PracticeofMusicEd:TwoAssignments50%

SociologyofMusic:OnePresentation&OneAssignment50%

40[approx] 10 2/11

6.MusicEducation2

ET2019

Conducting

Harmony&CounterpointApplied

PracticalKeyboardSkills

Conducting:Pass/Fail

Harmony&CounterpointApplied;ContinuousAssessment(Portfolio)50%

PracticalKeyboardSkills;

2Examinations50%

40[approx.] 10 2/11

7.FoundationStudiesET2030

IrishEducationalHistoryandPolicy

OneWrittenAssessment

100%

11 5 1/11

8.SchoolPlacement

ET2018

SchoolPlacement

MicroTeaching

SchoolPlacementPass/Fail

MicroTeachingPass/Fail

12hour+2-weekschoolplacement

5 Pass/Fail


SeniorFreshmanSubmissionAndExaminationDatesModule Component Assessment Deadlines


Maininstrument

Ensemble


EnsemblePass/Fail

TBC

Weeklyandasadvised

2.Musicianship AuralPerception

AuralPerceptionContinuousAssessment50%Exam50%

Weekcommencing11thDecember2017

And

7thMay2018

3.Compositionaltechniques

Harmony&Counterpoint Harmony&CounterpointStylistic:ContinuousAssessment40%&Exam60%

WeeklyAssignments/Portfolios

ExaminTrinityTerm

4.MusicHistory Artmusic

Irishmusic

Artmusic:TwoEssays25%&TwoListeningTests25%

Irishmusic:TwoEssaysandtwolisteningtests

Essay1:TBC

Essay2:TBC

LT1:WeekCommencing

11thDecember2017

LT2:7thMay2018

Essay1:TBC

Essay2:TBC

5.MusicEducationI PracticeofMusicEd

SociologyofMusic

PracticeofMusicEd:TwoAssignments50%

SociologyofMusic:OnePresentation&OneAssignment50%

Assignment1–Dec2017

Assignment2–April2018

TBC

6.MusicEducation2 Harmony&CounterpointApplied

Conducting

KeyboardSkills

Harmony&CounterpointApplied;ContinuousAssessment(Portfolio)50%

Conducting:Pass/Fail

KeyboardSkills;

2Examinations50%

TBC

WeekCommencing

11thDecember2017

WeekCommencing

7thMay2018


Module Component Assessment Deadlines

7.FoundationStudies IrishEducationalHistoryandPolicy OneAssignment100% TBC

8.SchoolPlacement

SchoolPlacement

MicroTeaching

SchoolPlacementPass/Fail

MicroTeachingPass/Fail

February/March2017

(ErasmusJanuary2018)


JUNIORSOPHISTER


Junior Sophister Conservatory of Music and Drama BachelorofMusicEducation(DT528)

JuniorSophister2017/18Timetable


Monday 13.30 15.00 H&CStylistic(Hilaryterm) Ann-MarieO’Farrell

1.18

Monday 15.00 16.00 AuralAwareness(Hilaryterm)

BernieSherlock

1.02

Monday 17.45 19.45 ChamberChoir BernieSherlock

Rathmines

Theatre

Tuesday 10.00 13.00 IntroductiontoResearchMethods(13thFeb,20Feb,6thMarch)

AndrewLoxley

TCDRoom3098

ET3025

Tuesday 14.00 15.00 SociologyofEducation(HilaryTerm)

AndrewLoxley

TCDGoldsmithHall

ET3023

Tuesday 17.00 18.00 EducationalPhilosophy(Hillary)

TBC TCDSyngeTheatre

ET3009

Tuesday 17.00 19.00 MusicEducation1(MichaelmasTerm)

MaritaKerin

TCD3098, ET3024

Wednesday 16.00 15.00 Analysis AdrianSmith

1.19

Wednesday 17.00 18.00 TCDChapelChoir KerryHouston

TCDChapel

Wednesday 17.30 19.30 ChoralSociety SimonHarden

RathminesTheatre

Wednesday 17.30 19.30 SymphonyOrchestra Various KevinSt



Thursday 10.00 13.00 KeyboardTechniques(HilaryTerm)

PaulMcNulty

1.16

Thursday 13.30 15.30 HistoryofMusic(HilaryTerm)

AdrianSmith

1.19

Thursday 17.30 19.30 DITWindEnsemble KevinHanafin

GleesonTheatre

Friday 12.00 13.00 PracticeofMusicEducation(HilaryTerm)

LorraineO’Connell

1.03

Friday 14.30 16.00 Harmony/Counterpoint

Applied(HilaryTerm)

DavidBremner

1.18

Sunday 9.30 12.00 TCDChapelChoir KerryHouston

TCDChapel


MODULE1: InstrumentalPerformanceStudentsundertake2components,MainInstrumentandEnsemble.

Aims

Todevelopstudents’technicalskillsandmusicalawarenessforinstrumentalperformance.

Toestablishthefoundationforproductivepracticeandindependentlearning.

Tointroducestudentstoawidevarietyofrepertoire.

Todevelopconfidenceinstylisticandinterpretiveissues.

LearningOutcomes

Oncompletionofthismodule,thestudentshouldbeableto;


▪ Chooseandpreparepiecestoproduceavariedandbalancedprogramme.




MainInstrument[AllInstruments/VoiceotherthanTraditionalIrishInstruments]


AllstudentsshouldmakesignificantprogresstowardsTeacher’sDiplomalevel. Thisshouldbereflectedintheprogrammeforend-of-yearexaminations.Themusictobestudiedwillbechosen bytheteacherwitharelevancetothestudent’scurrentlevelofattainment.Theend-of-yearexaminationprogrammemustbesubmittedtotherelevantdegreecoursecommitteefor approval.

Thestudentmustpresentabalancedprogrammeofworksincontrastingstylesof25minutesduration(shouldthe25minutedurationbeexceeded,thestudent’sperformancemaybe interruptedatthediscretionoftheexaminers). ScalesandArpeggios/TechnicalExerciseswillbe expectedtobeperformedtoastandardcommensuratewiththestandardoftheprogramme presented. Alistshouldbedrawnupinconsultationwiththeteacherandpresentedtothe examiners.

ThestudentwillbeexaminedintheTrinitytermbyapanelconsistingoftworepresentativesof theRoyalIrishAcademyofMusic.


Note: Whilethepanelwillincludeexperiencedinstrumentalexaminers,theirspecific instrumentalexpertisemaynotincludeeveryinstrument.

Assessment

PracticalExamination(100%).

OR

TraditionalIrishInstrument

End-of-yearrequirements:

Thestudentmustpresentabalancedprogrammeof25minutesduration.Theprogrammemust beprofessionallypresentedinwritingandshowevidenceofhavingbeenwell-researched.Titles (whereavailable)andsourcesofalltunes(recordings,printedsources,etc.)mustbelisted.Theexamination, which should be a solo performance, will also be interactive, with the studentexpectedtobeabletodiscusshis/herprogramme,instrument,influencesandotherperformers, aswellasbeingable todemonstratecertainstylistic features, ifrequiredtodoso. Asasight-readingtest,thestudentwillberequiredtoplayamelodywithappropriateornamentation.ThestudentwillbeexaminedbyapanelconsistingoftworepresentativesoftheRoyalIrishAcademy ofMusicandatraditionalmusicspecialist.

IrishHarp(Gut/Nylonand/orWireStrung):

The programme should demonstrate appropriate use of ornamentation and variation and bedrawnfromthefollowingcategories:jigs,slides,reels,hornpipes,marches,polkas,slowairsandthemusicoftheharpers.Othercategories, e.g.themusicofotherCelticcountries, orthe student’sown compositions/arrangementsmay also be included in consultationwith the first studyteacherandrelevantdegreecoursecommittee. Inaddition,upto30%oftheprogramme mayinclude classical/contemporary music of a suitable standard. At least 50% of the tunes chosenfromtheabovecategoriesshouldbethestudent’sownarrangements.

AllInstrumentsexcepttheIrishHarp:

Theprogrammeshouldreflectandillustrateboththetraditionandthebreadthoftherepertoire.Categoriesfromwhichtunesmaybechosenincludejigs,slides,reels,hornpipes,marches,polkas,slowairsandthemusicoftheharpers.Othercategories,e.g.themusicofotherCelticcountries, orthestudent’sowncompositions/arrangements,mayalsobeincludedinconsultationwiththe firststudyteacherandrelevantdegreecoursecommittee. Thestudentisexpectedtohavea repertoireof100tunesbytheendofthethirdyear,acompletelistofwhichshouldbesubmitted totheCourse


CommitteebytheendofMarchofthatyear. 60%ofthetunestobeplayedatthe examinationmaybethestudent’sownchoice. Theremaining40%willbeselectedbytheCourse Committee,whowillinformthestudentoftheirselectionsixweekspriortotheexamination.

Thestudent’sabilitytouseappropriateimprovisationandcreativityintheplayingofdifferentrotationsoftunesshouldbeevident.

Note: Whilethepanelwillincludeexperiencedinstrumentalexaminers,theirspecific instrumentalexpertisemaynotincludeeveryinstrument.

Assessment

PracticalExamination100%.

Ensemble

Allstudentsareexpectedtoparticipateinoneofficiallyrecognisedensembleperformance activitywhichprovidesopportunitiesfor groupmusic-makingandco-operativelearning. AttendanceiscompulsoryinYears1to3. AttendanceisoptionalinYear4.Studentsare notrequiredtoparticipateinensembleactivitiesduringthetwoweeksofSchoolPlacement intheHilaryTermofYear2.TheCo-ordinatingCommitteehassetaminimum requirementof75%attendanceinthiscomponent.Failuretocomplywiththisregulation willresultinareductionof10%inastudent’sperformancemark.Inthecaseofpublicperformance,100%attendanceisrequiredforbothrehearsalandactualperformance.Thismayincludeweekends.

Assessment

Pass/Fail.


MODULE2:MusicianshipandMusicHistoryStudentsundertakethreecomponents,AuralPerception,KeyboardSkillsandMusicHistory.

AuralPerceptionandAnalysis

Aims/LearningOutcomes

Year3willintroduceanalysisandmusicalcriticism,whilstcontinuingtechnicalworkthroughoutthesemester.

Aural:Technicalwork(dictations)willprovideasynthesisofareascoveredinFreshmanyears.Oncompletionofthiscoursethestudentwillbeabletodemonstrateadvancedauralskills.IntroductiontoTheoryandAnalysis,andMusicalCriticism:Theaimofthiscourseistointroducestudentstothemethodsofmusicalanalysis[scorebasedwiththeanalyticalmethodlefttothespecifictutor]andtointroducetheprinciplesandmethodsofmusicalcriticism,withparticularreferencetothecriticismofinterpretation.Oncompletionofthiscoursethestudentwillbeabletoundertakemusicalanalysis,anddemonstrateskillsinmusicalcriticism.

CourseContent

SectionATechnicalWork:Dictations/Sightsinging(early/late19thcentury—unaccompanied/accompanied).Aselectionfrombelowmaybetaken:Singlelinedictation.Twopartdictation.Structuralhearing(synthesisofmelodic/harmonic/rhythmicparametersinavarietyofgenresandstyles).Continuousassessment/classtest(technicalworkandsightsinging)45%.

SectionBIntroductiontoTheoryandAnalysisIntroductiontothePrinciplesandMethodsofMusicalcriticism.

Regularweeklyorfortnightlyassignmentstobuildupanalyticaltechnique(classicalera)–40%

OneLargeressay-styleanalyticalassignmentonanunpreparedworkincorporatingaspectsofmusicalcriticismtodemonstrateanalyticalabilityandcriticalthinking–15%

Theclassassignmentsaretobecompletedindependentlyandshoulddisplayadevelopingcriticalperspectiveinlinewiththenatureofanalyticalthinking.

Assessment:

100%ContinuousAssessment


KeyboardSkills

Aims

Keyboard:Thissubjectdevelopsthestudents’musicianshipskillsthroughtheuseofthekeyboardandprovidesthemwithanessentialclassroomtool.

LearningOutcomes

Oncompletionofthiscourse,thestudentwillbeableto;

▪ Demonstrateco-ordinationskillsatthekeyboard.

▪ Demonstratetheskillofsimplepianoaccompaniment.

▪ Demonstratetranspositionandsight-readingskills.

▪ Demonstratecreativitythroughimprovisation.

▪ Demonstrateharmonisationtechniquesatthekeyboard.

CourseContent

Thisconsistsofthefollowingcomponents:

▪ Accompaniment,bothatsightandprepared,andimprovisation.



Assessmentrequirementswillbebasedonthefollowingoptions:

▪ StudentswillstudymoreadvancedsongsfromthecurrentJuniorCertsyllabusandprepareappropriateaccompaniments.Theymayalsolookatavarietyofsongsindifferentstyles(jazz/musical/Irishtraditional).

▪ Vocalandorchestralscorereading(3-partopenvocalscoreandstringquartet).

▪ Sight-readfromafullscoreatconcertpitchanysinglelinetransposinginstrument.

▪ Improviseapianoaccompanimenttoapopularsong.

▪ Realiseafiguredbasse.g.Bach'sBistdubeimir.

▪ Sight-readashortpianopiece.


Assessment

Pass/Fail.

MusicHistory

Aims

Themoduleaimstogivestudentsabroadviewofthemainmusicaldevelopmentsinthe20th/21st

centuries;toequipthemaurallytoidentifygenres,stylesandtechniques;tobeabletowrite aboutthismusicinaninformedandcriticalway;anditaimstoequipstudentstoundertake independenthistoricalandmusicalinvestigation.

LearningOutcomes

Onsuccessfulcompletionofthiscourse,studentsshould:

▪ Haveadetailedknowledgeofanumberofworksoftheperiod.

▪ Haveabasicknowledgeofthemusicalandhistoricalforcesthatledtotheevolutionofthemajorcompositionaltechniquesof20th/21stcentury.

▪ Beabletodistinguishthemusicofthemajorcomposersoftheperiod.

▪ CriticallyreflectontherelationshipbetweenthesemajordevelopmentsandtheirimpactontheworkofIrishcontemporarycomposers.

Assessment

1essay@50%

1listeningtest@50%

MODULE3:EducationalPhilosophy&Theory

EducationalPhilosophy&Theoryisaonetermcoursewhichtakesplacefortwohoursperweekfor6weeksinHilaryterm.

Anintroductiontothephilosophyofeducationformspartofthepreparationformusicteachers tobecomereflectivepractitionersbyanalysingtheconcepts,language,politicsandethicsof education.


Aims

An introduction to the philosophy of education forms part of the preparation for teachers tobecomereflectivepractitionersbyanalysingtheconcepts, language,politicsandethicsofeducation

Tointroducestudentstotheconcepts,languageandmodelsofcontemporaryeducationaltheory;

Todevelopathoughtful,informedandreflectiveapproachtoeducationandteaching;

Todevelopacriticalengagementwithmodelsandaimsofeducation.

LearningOutcomes

Onsuccessfulcompletionofthismodule,thestudentwillbeable:

▪ Toexamineandevaluatemodernconceptsofknowledge,particularlysubjectknowledge;

▪ Toidentify,compareandcontrastmodelsofthehumanlearner;

▪ Tosummariseandarguecoherentlyfordifferentmodelsofeducation;

▪ ToconstructapersonalprofessionalethicalpositionbasedonaninformedethicsandtheCodeof ProfessionalConductforTeachers;

▪ Toconstructapersonalphilosophyofeducationthatmightinformpractice.

CourseContent

Thelecturesaredividedinto6sections:

▪ Theconceptofknowledgeinhistoricalandcontemporaryunderstandings(2lectures).

▪ Modelsofthehumanlearner:Platonic,Aristotelian,Enlightenment,Postmodernist(2lectures).

▪ Theaimsofeducation:humanflourishing,modernistautonomy,feministcare(3lectures).

▪ Thephilosophicalprinciplesoffeministandcriticalpedagogies(2lectures).

▪ Theethicsofeducation,teachingandlearning(1lecture).

▪ ThePhilosophicalFoundationofMonoandMultiCultureEducation(1lecture).

Teachingisbylectures.Arepositoryofmaterialswillbeheldonthe‘Blackboard’/WebCTfacility.

Assessment

Onewrittenassignment@100%.


ReadingList

AnthologiesandCollections

Author TitleCurrenR.(2003)(ed.) ACompaniontothePhilosophyofEducation,

Oxford:BlackwellBlake,N.andSmeyers,Pet.al(2003)(eds.) TheBlackwellGuidetothePhilosophyof

Education, Oxford:BlackwellCurren,R.(2007)(ed.) PhilosophyofEducation:AnAnthology.Oxford:Blackwell. Hogan,P(1995) TheCustodyandCourtshipofExperience.Dublin:

ColumbaPress. “Ateacher’sknowledgeofknowledge”:KnowledgeandtheCurriculum

Noddings,N(1998) ThePhilosophyofEducation,BoulderCO:Westview,Chapter6.

Hogan,P(2005) TheIntegrityofLearningandtheSearchforTruth,EducationalTheory,Vol.55 no.2,pp.185-200.

SiegelH.(2003) CultivatingReasoninCurrenR.(ed.)ACompaniontothePhilosophyofEducation,Oxford:Blackwell,pp.305-319.

Woolman,M.(2006)[2nded.] WaysofKnowing.Sydney,Aus:IbidPress.

Adler,J.E.(2003) Knowledge,TruthandLearning,inCurran,R.(ed.)ACompaniontothe PhilosophyofEducation.Oxford:Blackwell.

Learningtobecomehuman:AttributesandLanguagesoftheHumanLearner

Lyons,W.(1995)(ed.) ModernPhilosophyofMind,London:Dent,Introduction.

Hodgkiss,P.(2001) TheMakingoftheModernMind,London,TheAthlonePress.Chapter6.

Wenger,E.(1998) Learning,MeaningandIdentity,Cambridge:CambridgeUniversityPress. Seery,A.(2008)

Zizek’sdialecticsofideologyandthediscoursesofIrisheducation.Irish EducationalStudies,Vol.27,No.2,pp.133-146.

TheAimsofEducation Reeve,C.D.C(1998) “AristotelianEducation”inRorty,A.O.

PhilosophersonEducation,London: Routledge,pp.51-65.

Standish,P.(2003) “TheNatureandPurposesofEducation”inCurrenR.(ed.)ACompaniontothe PhilosophyofEducation,Oxford:Blackwell,221-231.

Dewey,J.(1900) TheSchoolandSociety,Chicago:UniversityofChicagoPress.

Carr.W.(1995) ForEducation:TowardsCriticalEducationalInquiry,Buckingham:OpenUniversity Press,Chapter3.

White,J.(1990) EducationalAimsandtheGoodLife,London,


Author TitleKoganPaul., (2007) Well-beingandEducation:IssuesofCultureand

Authority,JournalofPhilosophy ofEducation,41,(1)pp.17-28.

EducationandSelf-formation:Bildung,CultureandMulticulturalEducation

Biesta,G.(2002) HowGeneralCanBildungBe?ReflectionsontheFutureofaModernEducational Ideal,JournalofthePhilosophyofEducation.Vol.36,no.3,pp.377-390

Dhillon,P.A.andHalsteadJ.M.(2003) “MulticulturalEducation”inBlake,N.andSmeyers,Pet.al (eds.)TheBlackwellGuidetothePhilosophyofEducation,Oxford:Blackwell,146-162.

Wang,Hongyu,(2005) Aporias,Responsibility,andtheIm/possibilityofTeachingMulticultural Education,EducationalTheory55(1)45-60.

Parekh,B.(2000) RethinkingMulticulturalismLondon:Palgrave.Tamir,K(1995) DemocraticEducationinaMulticulturalState,

London:Blackwell.May,S.(1999) “CriticalMulticulturalismandculturaldifference:

Avoidingessentialism”,inS.May (ed.)CriticalMulticulturalism:RethinkingMulticulturalandAntiracistEducation,London,Falmer Press.

Seery,A(2010) Education,Self-formationandtheWorldofWeb2.0,LondonReviewof Education,Vol8,no.1,pp.63-73.

FeminismandEducation Martin,J.R.(2003) “Feminism”inCurrenR.(ed.)ACompanionto

thePhilosophyofEducation, Oxford:Blackwell,192-205.

Martin,J.R.(1994) ChangingtheEducationalLandscape:Philosophy,WomenandtheCurriculum, London:Routledge.

Noddings,N(1998) ThePhilosophyofEducation,BoulderCO:Westview,Chapter10. Nicholson,Carol(1989)

Postmodernism,Feminism,andEducation:TheNeedforSolidarity. EducationalTheory39(3),pp.197-205.

Politics,EthicsandEducation Callan,EandWhite,J.(2003) “LiberalismandCommunitarianism”ininBlake,

N.andSmeyers,P et.al(eds.)TheBlackwellGuidetothePhilosophyofEducation,Oxford:Blackwell,95-109.

Mulhall,S.(1998) PoliticalLiberalismandCivicEducation:TheLiberalStateanditsFutureCitizens.

JournalofPhilosophyofEducation32(2),pp.161-176.

Winch,Christopher(2002) TheEconomicAimsofEducation.JournalofPhilosophyofEducation36

(1),pp.101-117.


Author TitleMason,Mark(2001) TheEthicsofIntegrity:EducationalValues

BeyondPostmodernEthics.JournalofPhilosophyofEducation35,(1),pp.47-69.

Strike,K.A.(2003) TheEthicsofTeachinginCurranR.(ed.)ACompaniontothePhilosophyof Education,Oxford:Blackwell,pp.509-524.

Seery,A.(2008) EthicsandProfessionalisminTeaching.Studies,Vol.97,No.386,pp.183-192.

CriticalPedagogy Freire,P.(1995) PedagogyofHope.RelivingPedagogyofthe

Oppressed,NewYork:Continuum. Fischman,G.A.McLaren,Petal.(eds)(2005) CriticalTheories,RadicalPedagogiesandGlobal

Conflicts.Oxford:RowmanandLittlefield.Giroux,HenryA.(1997). PedagogyandthePoliticsofHope:Theory,

Culture,andSchooling. Boulder,CO:WestviewPress.

MODULE4:SociologyofEducation

SociologyofEducationisaonetermcourseinJS,takingplacefortwohoursperweekfor6weeksinHilary term.

Thepurposeofthismoduleistointroducestudentstothesomekeysociologicalframeworksandconceptswhichhavebeendevelopedtoexplaintherelationshipbetweenschooling,educationandsociety.

Aims

Toprovideacriticalintroductiontokeysociologicalperspectivesandconceptsastheyrelatetoeducationandschooling

TocriticallyexplorehowtheseperspectivesandconceptsapplytotheIrishandsimilareducationsystems;

Toenablestudentstoexploretheintersectionbetweensociologicaltheoryinthecontextoftheiremergingprofessionalpractice

LearningOutcomes

Onsuccessfulcompletionofthismodulestudentsshouldbeableto:


▪ Criticallydiscussarangeofsociologicalperspectivesandconceptsinrelationtothefieldofschoolingandeducation;

▪ ProposeandarticulateasociologicallyinformedstanceinrelationtoissuesinIrishschoolingandeducation;

▪ Appraisethesignificanceandimpactoftheseperspectivesandconceptspresentedtotheirownprofessionalcontexts;

▪ Identifyandexplaintheimportanceofkeysociologicalperspectivesandconceptsrelativetotheirownprofessionaldevelopment.

CourseContent

Thefollowingarethefourmaincontentareasdealtwithduringthemodule.

• Introducingthegrandnarrativesofthesociologyofeducationpart1:theinfluenceofstructural-functionalismontheearlyperiodofthesociologyofeducation.

• Introducingthegrandnarrativesofthesociologyofeducationpart2:theapplicationofMarxism,CriticalTheoryandPierreBourdieutotheworldofschooling.

• Introducingthegrandnarrativesofthesociologyofeducationpart3:theemergenceofpost-structuralismandpostmodernismasawindowonschoolingandeducation.

• ContemporaryIssuesinSociologyofEducation:Genderandidentity,languageandsocialclassformation,andquestionsofdifferencearoundinclusionandexclusion.

Assessment

Onewrittenassignment@100%.

ReadingList

AnthologiesandCollections

Author TitleApple,M.(1995). Educationandpower.London:RoutledgeBourdieu,P.andPasseron,J.(1977)

ReproductioninEducation,CultureandSociety.London:Sage

Ball,S.(2004) TheRoutledgeFalmerreaderinsociologyofeducation.London:RoutledgeFalmer.

Bowles,H.andGintis,S.(1975).

SchoolinginCapitalistAmerica.London:RKP.

Coolahan,J.(1981) IrishEducationhistoryandstructure.Dublin:IPA.

Drudy,S.&Lynch,K. SchoolingandsocietyinIreland.Dublin:Gill&MacMillan.


(1993)

Edwards,R.andUsher,R.(1994)

Postmodernismandeducation.London:Routledge.

Foucault,M.(1977)

DisciplineandPunish:Thebirthoftheprison.Harmondsworth:Penguin.

Gewirtz,S.,Ball,S.andBowe,R.(1995)

Markets,ChoiceandEquityinEducation.Buckingham:OpenUniversityPress

Giddens,A.(1995) Politics,SociologyandSocialTheory.London:PolityPress.

Giddens,A.(2001) Sociology.London:PolityPress.

Giroux,H.(1984) Ideology,CultureandtheProcessofSchooling.Lewes:Falmer.

Giroux,H.andMcClaren,P.(1994)

BorderCrossingsandCulturalWorkersandthePoliticsofEducation.NewYork:Routledge.

Green,A.(1990) EducationandStateFormation:theriseofeducationsystemsinEngland,FranceandtheUSA.London:Macmillan.

Grenfell,M.(2008) PierreBourdieu:keyconcepts.Stocksfield,UK:Acumen.

Halsey,A.,Lauder,H.,Brown,P.andWells,A.(2001)

Education,Culture,EconomyandSociety.Oxford:OxfordUniversityPress.

Harvey,D.(1990) TheConditionofPostmodernity.Oxford:Blackwell.

Harvey,D.(2011) ABriefHistoryofNeoliberalism.Oxford:OxfordUniversityPress.

Lynch,K.(1999) Equalityineducation.Dublin:Gill&MacMillan.

Lynch,K.(1989) Thehiddencurriculum:Reproductionineducation,reappraisal.London:FalmerPress.

McLaren,P.(1993) Schoolingasaritualperformance:Towardsapoliticaleconomyofeducationalsymbolsandgestures.London:Routledge.

Morais,A.,Neves,I.,Davies,B.&Daniels,H.(eds.)

Towardsasociologyofpedagogy:ThecontributionofBasilBernsteintoResearch.Bern:PeterLangPublishing.

Morrow,R.A.&Torres,C.A.(1995)

Socialtheoryandeducation:Acritiqueoftheoriesofsocialandculturalreproduction.Albany,NY:SUNYPress.

Mulcahy,D.G.&O’Sullivan,D.(1989)(eds)

IrishEducationPolicyProcessandSubstance.Dublin:IPA.

ÓBuachalla,S(1988) EducationalPolicyinTwentiethCenturyIreland.WolfhoundPress.

Pollard,A.(1985) TheSocialWorldofthePrimarySchool.Eastbourne:HoltRinehard.

Rabinow,P.(1991) TheFoucaultReader:AnintroductiontoFoucault’sthought.Penguin:Harmondsworth.


Ritzer,G.(2000) SociologicalTheory.NewYork:McGraw-Hill.

Torres,C.A.&Antikainen,A.(eds)

Theinternationalhandbookonthesociologyofeducation:aninternationalassessmentofnewresearchandtheory.Oxford:RowmanandLittlefield.

Sadovnik,A.(2011) Sociologyofeducation:acriticalreader.London:Routledge.Savage,M.(2000) Classanalysisandsocialtransformation.Buckingham:OUP.

Share,P,Tovey,H.&Cochoran,M.(2007)

AsociologyofIreland.Dublin:Gill&MacMillan.

Skeggs,B.(2004) Class,self,culture.London:Routledge.

Thomas,G.andLoxley,A.(2007)

DeconstructingSpecialEducationReconstructingInclusion.Maidenhead:OUP.


MODULE5:MusicEducation1

MusicEducationisdesignedtoprogressthestudent’sknowledgeandexperienceofthetheory andpracticeofteaching,andmusicpedagogy.ItexpandsontheMusicEducationmodulesin years1and2enablingthestudentstoextendtheirdevelopmentofananalyticalattitudetowards theteachingandlearningofmusicandtoengagewiththeresearchunderpinningdevelopmentsinmusicteachingandlearningandtoanalysetheimplicationsoftheinsightsgainedfromtheirown practice.Thiswillservetopreparethemforthecompletionofaresearchproposalaspartofthe requirementforacomponentinthismodule.

Studentsundertakethreecomponents,PracticeofMusicEducation,EducationalIssuesandCompositionalTechniques.


PracticeofMusicEducationisatwo-termcourseinJS,takingplaceasfivetwo-hourblocks, duringthesixteen-weekplacementduringMichaelmastermandonehourperweekforthe12 weeksofHilaryterm.

Aims

Thiscourseaimstoconsolidatethestudent’steachingandassessmentskillsinrelationtothe JuniorCertificateMusicsyllabusandtofacilitatehis/herpreparationformusicteachingand learningintheseniorcycleofthepost-primarycurriculum. Specifically,thecourseaimstoenable studentsto:

▪ Developtheskillsofclassroomobservationandco-teaching

▪ BecomeawareofthetheoriesandassumptionsthatunderpintheLeavingCertificatemusicsyllabus

▪ Constructandbegintoarticulateapersonalphilosophyofmusiceducation

▪ Explorearangeofteachingstylesandcriticallyassesstheirstrengthsandweaknesses

▪ Designprogressiveschemesofworkandlessonplans,bearinginminddiverselearning stylesandabilities-theteachingportfolio

▪ Choseappropriateformsofassessmenttoprovidefeedbacktostudentsandtoinformthefuturedirectionoftheirlearning

▪ Developtheskillsofclassroommanagement

▪ Appreciatethesignificanceofhis/herownmusicianshipinmusicteaching

▪ Becomeawareofthemselvesasmusiceducators[i.e.reflectonandevaluatetheirown musicSchoolPlacements]

▪ Facilitateandsupportallmusicactivitiesintheschool


▪ Exploretheseniorcyclemusicsyllabusasasitefordevelopingpupils'literacyandnumeracy

▪ Developawarenessaboutthevarioustechnologicalresourceswithintheseniorcyclesyllabus

▪ Developaresearch-informedattitudetoteachingandlearningwhichcanbeexploredinsubsequent years

▪ Furtherdevelopthestudents'capacityasreflectivepractitionersengagingcriticallywithteaching music.

▪ Exploreopportunitiesforcooperativelearning,throughactivemusicmaking.

LearningOutcomes


▪ Criticallyobserveclassroompractice

▪ Engageeffectivelywithco-teaching

▪ PlanandprepareforSchoolPlacementatjuniorandseniorlevel,postprimary.

▪ Articulateanunderstandingofcurricularcontinuityinpostprimaryeducation.

▪ Demonstrateknowledgeandunderstandingofavarietyofpedagogicalstrategies.

▪ Demonstrateanabilitytoprovideforthedifferentiatedlearningofallstudents.

▪ Demonstrateanabilitytoprovidefortheinclusionofallstudents.

▪ Demonstrateawarenessofassessmentinrelationtothepostprimarymusicsyllabus.

▪ Identifyopportunitiesfordevelopingpupils’literacyandnumeracyskills.

▪ EmployICTtoenhancetheteachingandlearningopportunitiesinmusiceducation.

CourseOutline

▪ ReflectivePractice,concurrentwithteachingplacement.

▪ ExploringtheJuniorandLeavingCertmusicsyllabus[inincludingcoursecontent,methodologies, assessment,literacy,numeracyandICT].

▪ Designing,planningandimplementing effectivemusiclessonswhichdisplayarangeofteaching stylesandmethods

▪ Becomingfamiliarwithawiderangeofmusicmaterialsandresources,includingSeniorCyclemusic.

▪ Groupmusicmaking.

▪ Integratingmusiclistening,performingandcomposing.

▪ Formalandinformalassessmenttechniques.

▪ Inclusiveeducation:DifferentiationandDiversity

▪ Assessmentforlearningandassessmentoflearning


Assessment

OneAssignment100%

EducationalIssues

EducationalissuesisaonetermcourseinJS,takingplacePracticeofMusicEducation.

Aims

▪ Developthestudent’sengagementwithcurrentissuesineducation.

▪ Debateimportanteducationalissuesastheyarise.

▪ Assistthestudentsdevelopskillsinthecomprehensionandanalysisofimportanteducationalissues.

▪ Assistthestudentstodevelopskillandconfidenceinmakingindependentjudgements,basedon coherentargumentandevidence.

▪ Developpresentationskills.

LearningOutcomes

Oncompletionofthiscoursethestudentwill;

▪ Engageintellectuallywithselectedrelevantcurrentissuesineducation.

▪ Developpersonalperspectivesontheissuesunderconsideration.

▪ Discusstheissuesorallyandinwritingessays.

▪ Demonstratepresentationskills.

▪ Researchcurrenteducationissues.

CourseContent

Awidevarietyofpertinenteducationalissuesinrelationtocurriculummethodologyand assessmentwillbediscussedinconjunctionwiththerelevantliterature.

Topicstobeexploredwillbeannouncedbythetutorasthestartofeachsemester.



Author TitleBennett,R: APhilosophyofMusicEducation,ApprenticeHall,1989,Bennett,R: Fortissimo,Students’Book.OUP,1996,Chivers,Betal, AStudent’sGuidetoPresentations,London:Sage,2007Cohen,LManion,LandMorrison,K.

AGuidetoSchoolPlacement,RoutledgeFalmer,London, fifthedition,2004.

Costello&Kerin, Bravo!,MusicforJuniorCert.,Dublin;Folens,2009Costello,M: Prelude2,Dublin:Folens,2002Costello,M: Prelude,Dublin:Folens,1997Dewey, DemocracyinEducation;anIntroductiontothePhilosophyofEducation.

NewYork: McMillan,1916Dewey, TheSchoolandSociety,Chicago:UniversityofChicagoPress1900/1990

DrudySandUiChathainM;,

GenderEqualityinClassroomInteraction,NUIM,1999

Durant,C.andWelch,G:

MakingSenseofMusic.London:Cassell,1995.

Elliott,MusicMatters:

ANewPhilosophyofMusicEducation,NewYork:OxfordUniversityPress,1995.

Fletcher,P. EducationandMusic,OUP,1989.Frazee,J-Schott. DiscoveringOrff-AcurriculumforMusicTeachers1987.Glover,G.&Young,S. PrimaryMusic–LaterYears.TheFalmerPress,1999.Green,L; HowPopularMusiciansLearn,Cambridge,UK:AshgatePublishingLimited,2001.Green,L; Music,Gender,Education,Cambridge,UK:CambridgeUniversityPress,1997.HiscockandMetcalfe:

NewMusicMatters3,Heinemann,Oxford,2000.

Hiscock,C.andMetcalfe,M.

NewMusicMatters11-14,Heinemann,2002.

Hunt,P: Voiceworks2,AfurtherhandbookforSinging,OUP,2003.Kelly,A Tempo,anintroductiontoMusicforFirst-YearStudents,Folens,2008.Lines,D.(ed.) MusicEducationFortheNewMillennium:TheoryandPractiveFuturesfor

Music TeachingandLearning,BlackwellPublishing,2006.Marland,M. TheCraftoftheClassroom,Heinemann,3rdedition,1993.McFadden,Kearns, SoundsGood,TheeducationalCompany,2007.Philpott,C.(ed)

LearningtoTeachMusicintheSecondarySchool,RoutledgeFalmer,London, 2001.

Porter,L: BehaviorinSchools,theoryandpracticeforteachers.OpenUniversity,2000.PostPrimaryMusicTeachers’Association,

LeavingCertificateMusic,Teachers’Workbook.Dublin, 2002.

ReimerB, APhilosophyofMusicEducation[2ndEd.],EnglewoodCliffs,NJ:PrenticeHall,1989.

Simpson,K.(ed) SomeGreatMusicEducators,Novello,1976.Small,C, Music,Society,Education(London:JohnCaulder,Clader,1977).Swanwick,K, TeachingMusicMusically,Routledge,2001.Swanwick,K: ABasisforMusicEducation.London:NFER-NELSON,1989.


Author TitleTubbs,N: TheNewTeacher.FultonPublishers,London,1996.Vajda,C. TheKodalyWaytoMusic-PartsI+II,Boosey&Hawkes,1974&1992.WalshandDolan, AGuidetoSchoolPlacementinIreland,GillandMcMillan,2009.Wright,T: HowtobeaBrilliantTraineeTeacher.Routledge,2007.


▪ IrishTimes(educationsection,Tuesdays);

▪ IrishIndependent (educationsection,Wednesdays);

▪ Guardian(educationsection,Tuesdays);

▪ TimesEducational Supplement(Fridays),

▪ BritishJournalofMusicEducation,

▪ MusicEducationResearch,

▪ Journalof ResearchinMusicEducation,

▪ InternationalJournalofMusicEducation.Referencewillbemadethroughoutthefouryearsofthecoursetoawiderangeofclassroommaterialsandtexts.

MODULE6:MusicEducation2

Studentsundertake2components,ResearchMethodsandAppliedCompositionalSkills

AShortIntroductiontoDoingClassroomandSchool-BasedResearch

Aims&Rationale

ThepurposeofthisshortmoduleistoprovideB.Mus.Edstudentswithanintroductionintothe roleandpurposeofclassroomandschool-basedresearch.Morespecifically,itisdesignedto supportstudentsintheirfourthyeardissertationwork,hencethefocusisonhelpingdevelop understanding,skillsandknowledgeoftheresearchprocessinthiscontext.

LearningOutcomes

Attheendofthemoduleitisexpectedthatstudentswillableto:

▪ Identifyasetofresearchquestionsand/orissueswhicharerelatedtosomeaspectoftheschool orclassroomenvironment;

▪ Identifythedimensionsinvolvedintheresearchdesignprocess

▪ Constructaresearchproposalwhichiscommensuratewiththeiridentifiedresearchquestionsand/orissues;

▪ Selectanddesignaresearchapproachandresearchmethod(s)whichareappropriatetotheirresearchquestions;


▪ Articulateanawarenessoftheethicalimplicationsoftheirchosenresearchapproachandmethods;

▪ Identifyandarticulatewhereneeded,theirownpositionalinrelationtotheirresearch;

▪ Identifyandapplyappropriateanalyticaltechniquescommensuratewiththeirchosenmethods andresearchapproach;

▪ Identifyandapplyanappropriatenarrativemodecommensuratewiththeirchosenresearchapproach.

Content

Inrelationtomodulecontent,studentswillexplorethefollowingareas:

▪ Themainresearchapproachesusedineducationandthesocialsciences;

▪ Thekeyethicalissuesinvolvedinundertakingeducational&socialscienceresearch;

▪ Theoreticalandpracticalissuesinthedesignofresearchmethodse.g.observation,interviewing, focusgroupsetc.

TeachingandLearningMethods

Lectures,practicalworkshopsandseminarsessions,incorporatinggroupwork,collaborative learningandwholeclassteacherinputanddiscussion,areusedtoofferaflexibleapproachto teachingandlearningforalllearners.

Allsessionmaterialsarehousedon‘myblackboard’.Studentsareexpectedtoreadthispriorto eachsession.

Assessment

Thistakestheformofashortresearchproposalthestudenthastoprepareasarequirementof partoneoftheprogramme.Inthisthestudentisrequiredtopresentanappropriateresearch proposalwhichdemonstratessomeofthecompetencessetoutabove.

Assessment

Pass/Fail.


Applied CompositionalSkills

Aims

TheaimofthismoduleistofurtherdeveloptechniquesassociatedwithfreecompositionandarrangementanddemonstrateanunderstandingofClassicalandRomanticforms.

LearningOutcomes


▪ Demonstratecreativitythroughfreecompositionandarrangementinthegenresofartsong,folk songandpopularsongappropriatetothesecondaryschoolcurriculum.

▪ Developtechniquesforwritingforavarietyoflargerinstrumentalensemblesappropriatetothe schoolsetting.

▪ Developanabilitytowriteincontemporarystylesandfosterstudent’sowncreativityinoriginal composition.

CourseContent

Consolidationorpracticalcompositionalskillstoincludesomeofthefollowing:

▪ Thesong(artorpopular)–eithertoagiventextororiginaltextprovidedbythestudent.

▪ Thecompositionoftwopiecesforvariousinstrumentalensembleswiththepossibleinclusionof voices.Theseshouldbesuitableforperformancebyseniorcyclemusicdepartmentstudentsin secondaryschool.Standardrepertoire–Irish/folk/popular/original.

▪ 20thCentury–twopieces.Morecreativearrangementsrequiredhere.20thCenturytechniques toincludegraphicnotation,visualstimuli,introductiontoserialismandimprovisation(aleatoric techniques).Irishmusic–contemporary.

▪ Introductiontoorchestration/arrangement.

▪ ExaminationofClassicalandRomanticformsandharmony.

Assessment:

▪ PortfoliobyContinuousAssessment,(c4compositionsofequalweighting).(50%).

▪ PortfolioofOrchestrationandCompositionalaspectsofthecourse(c4examples)(50%).


MODULE7:SchoolPlacement

ForinformationonSchoolPlacement,ScheduleandAssessment,refertotheSchoolPlacementhandbookortothesectionintheGeneralInformationsectionofthecoursehandbook.

JSSchoolPlacement takesplacefor16weeksinMichaelmasTerm.

Theoverallaimofthismoduleistoprovidestudentswithanincrementallybasedexperienceofworkinginschools,andtopreparethemtooperatetothehighestprofessionalstandardsacrossallaspectsofschoollife.Itisdesignedtogivestudentsanopportunitytolearnaboutteachingandlearning,togainpracticeinteaching,andtoapplytheoryinavarietyofteachingsituationsandschoolcontexts.

Studentsareguidedandsupportedthrougharangeofappropriateteachingandlearningapproachesincludingco-teaching,tobecomearticulate,inquisitivepractitionerscapableofproblemsolving,analysis,reflectionandself-directionatalevelappropriatetotheirdevelopmentasJuniorSophisterstudentteachers.Intheirpursuitofpersonal,professionalandacademicdevelopmentasreflectivepractitioners,theyareguided,supportedandfacilitatedbyco-teachers,teachercolleaguesandCollegetutorsthroughtheimplementationofsecondlevelmusiccurriculum.

Attheendofthismodule,undertheguidanceoftheirco-teacher,andCollegeschoolplacementtutor,studentswillbeabletoassess,plan,implementandevaluatestructuredteachingandlearningepisodesinMusicEducationforpupilsinsecondlevelschoolscommensuratewiththeirstageofdevelopmentandinaccordancewithSchoolofEducationrequirementsandthepoliciesoftheirplacementschool;todemonstrateappropriateskill,knowledge,competencesandprofessionaldispositionsintheirinteractionsbothintheclassroomcontextandinextra-curricularactivities;tocriticallyreflectontheirexperiencesinarangeofeducationalsettings;toworkinaprofessionalmannerwithstaffandstudentsintheschoolenvironment;todemonstrategrowthinhis/herprofessionalidentityasastudentteacher;toengageconstructivelywithfeedbackfromtheirCollegeplacementsupervisor,co-teacherandprincipalteacher;tohavedueregardtotheethicalvaluesandprofessionalstandardssetoutintheTeachingCouncil’sCodeofProfessionalConductforTeachersandtheSchoolofEducation’sSchoolPlacementHandbook.

Additionally:

Aims

▪ Furtherdevelopconfidenceinmusicteachingintheclass-room,particularlyinrelationtosyllabus requirementsatjuniorandseniorcycleidentifyingopportunitiesforexploitingnumeracyand literacyskillsinthecontextofmusiceducation;

▪ Furtherdevelopconfidenceandskillinclass-roommanagement,specificallyinrelationtodifferentiationandinclusion;

▪ Developavarietyofclass-roomskillsandcompetencesappropriatetoJuniorCert,TransitionYear andLeavingCertmusicprogrammes;

▪ Managepupilbehaviourfairly,accordingtoschoolpolicy;


▪ Communicatefluentlyinprofessionaldiscoursewithallmembersoftheschoolcommunityincludingparentsaspartnersin theeducationprocessesoftheirchildren;

▪ Progressfromparticipation,throughcooperationtocontributiontopracticewhileonplacement.

▪ Coreflectandreflectcriticallyonco-taughtandsolo-taughtclasses.

▪ Constructanumberofapproachestofacilitatemusicteachingandlearning

▪ Compileaprofessionalportfolio.

LearningOutcomes

Onsuccessfulcompletionofthismodule,thestudentwillbeableto:

▪ DemonstratespecificknowledgeoftheJuniorCert,TransitionYearandLeavingCertmusicprogrammes andtheeducationalpolicies,principlesandpracticesthatunderliethese.

▪ Demonstrateavarietyofclassroomteaching,learningandmanagementstrategiesappropriateto juniorandseniorpost-primarylevel.

▪ Teachmusiccompetently,encouragingactiveengagementwithperforming,composingandlistening.

▪ Chooseappropriateformsofassessmentandusethesetoprovidefeedbacktolearners.

▪ Teacheffectivelyusingavarietyofapproaches.

▪ Demonstrateaworkingknowledgeoftheprincipalapplicationsoftechnology.

▪ Managestudentbehaviourfairly,accordingtoschoolpolicy.

▪ Evaluateandreflectontheirteachingexperience.

▪ Compileanextendedprofessionalportfolio,whichincludesarangeofresourcesforteachingand learning.

▪ Communicateclearlyandfluently.


JuniorSophisterSummaryTable

Module Component AssessmentContacthours ECTS Weighting


ET3016

Maininstrument

Ensemble


EnsemblePass/Fail*

30(approx.) 10 2/12

2.Musicianship

ET3017

AuralPerception

KeyboardSkills

MusicHistory

ContinuousAssessment50%

Pass/Fail

Essay&ListeningTest25%each

30[approx] 5 1/12

3.FoundationStudies1

ET3009

EducationalPhilosophy&Theory

1Assignment100% 12[approx] 5 1/12


ET3023

SociologyofEducation

1Assignment100% 12[approx] 5 1/12

5.MusicEducation1

ET3024

PracticeofMusicEd

1Assignment100%

20[approx] 5 1/12

6.MusicEducation2

ET3025

ResearchMethods

HarmonyandCounterpoint

ResearchProposalPass/Fail

1Assignment100%

20[approx.] 5 1/12

7.SchoolPlacement

ET3026

SchoolPlacement

Foursupervisions(2constructiveand2summative)

ProfessionalPortfoliocompletionandsubmissionincludingLessonPlans,Resources,ReflectionsandContributionassignment

16weekplacement

25 5/12


JuniorSophisterSubmissionandExaminationDatesModule Component Assessment Deadlines


Maininstrument

Ensemble


EnsemblePass/Fail*

TBC

Weeklyandasadvised

2.Musicianship

AuralPerception

KeyboardSkills

MusicHistory

ContinuousAssessment50%

Pass/Fail

Essay&ListeningTest25%each

16thApril2018

12thApril2018

(EXAM)9thApril2018


EducationalPhilosophy&Theory 1Assignment100% 9thMarch2018


SociologyofEducation 1Assignment100% 29thMarch2018

5.MusicEducation1

PracticeofMusicEd

1Assignment100%

TBC

6.MusicEducation2

ResearchMethods

HarmonyandCounterpointStylistic

ResearchProposalPass/Fail

1Assignment100%

TBC

30thMarch2018

HarmonyandCounterpointApplied

9thFebruary2018,9thMarch2018,23March2018,6thApril2018

7.SchoolPlacement

SchoolPlacement

Foursupervisions(2constructiveand2summative)

ProfessionalPortfolio(3sectionsincl:PlanningandResources,ReflectionsonPracticeandContributiontoSchool

August-December2017


SENIORSOPHISTER


SENIOR SOPHISTER SeniorSophister2017/18TCDTimetable


MONDAY 14.00 15.00 AppliedPsychologyinEducation(MichaelmasTerm) StephenMinton Emmett

Theatre ET4202

MONDAY 15.00 16.00 IrishEducationHistory&Policy JohnWalsh SyngeHall Tutorial

TUESDAY 13.00 14.00 IntroductiontoAssessment&ExaminationsinPost-PrimaryEducation(MichaelmasTerm)

DamianMurchan DavisTheatre

ET4017

TUESDAY 15.00- 18.00ICTforTeaching&Learning

(14th,21st,28thNov,5thDec)KeithJohnston OrielHouse ET4103

WEDNESDAY 09.00 10.00InclusiveEducation

(MichaelmasTerm)AlisonDoyle Room3074 ET4102


B.Mus.Ed YEAR 4 Timetable 2017 AllRIAMclassescommenceMondaySeptember12thDay From To Subject Lecturer Venue Lecturer

MONDAY 16.45 17.45 AuralTraining AllYear(24W) Room28 M.Moran

WEDNESDAY 14.00 15.30 Analysis AllYear(24W) Room21 J.McCay

WEDNESDAY 16.30 17.30 EngagingwithResearchTheseclassesreobligatoryforStudentstakingthethesisoption

Semester1

(Weeks1-4)

ROOM A. Feery

FRIDAY 09.30 11.00 H&CStylistic AllYear(24W) RoomJ.McCay

FRIDAY 11.00 11.15TutorialInstrumental

PerformanceClass(optional)StartsOct27th Organ

Room D.Brosnan

FRIDAY 11.15 12.00 PianoClassTBC? Starts3rdNovember KBH C.Brioscu

FRIDAY 12.00 13.00

AdvancedResearchSkills*

Theseclassesareobligatoryforstudentstakingthethesisoption&minorresearchproject

Semester1(Weeks5-8)

MusicTechLab P.Shields

ACADEMICOPTIONS2017

StudentstakingComposition/Thesis/MinorProjectshouldcontacttheirassignedsupervisor

ASAPtosetupsupervisiontimes


Year4studentsarenotobligedtoattendDITEnsemble

ForDITAcademicResearchProjects/ThesisandFreeCompositionmajoroptionscheduling,pleasecontactyourassignedsupervisorASAP.

ForTCDclassesinCurriculumPedagogyandthePDEElective,pleaserefertoyourTCDschedule.

Toscheduleyourprivatelessons,contactyourindividualteacherASAPifyouhavenotalreadydoneso.

PleaseconsultthePMEtimetableforpedagogies.PMETimetable:Semester1

Monday 09.00-10.00FoundationTutorials

Room(4035&3105)

Monday10.00-11.00

EnglishPedagogy

GaeilgeMarMheanTeagaisc

Room3105

Room4073

Monday 11.00-12.00 FoundationTutorials SalmonLecture

Monday

12.00-13.00

12.00-14.00

FoundationTutorials

ModernLanguage

4035

Room3105

Monday 14.00-15.00 AppliedPsychology EmmetTheatre

Monday 15.00-16.00 IrishEdHistory&Policy SyngeTheatre

Monday 16.00-18.00 BusinessStudies Room3105

Monday 16.00-17.00 CSPE Room3071


TUESDAY 09.00-10.00 GaeilgeMarMheanTeagaisc Room4073

TUESDAY 10.00-12.00 ModernLanguages Room(3105)

TUESDAY 10.00-11.00 LiteracyAcrosstheCurriculum Room(4035)

TUESDAY 11.00-13.00 ReligiousEducation Room(4035)

TUESDAY 13.00-14.00

IntroductiontoAssessment&ExaminationsinPost-PrimaryEducation(MichaelmasTerm)

DavisTheatre

TUESDAY 14.00-16.00 MusicPedagogy Room(3098)

TUESDAY15.00-18.00

ICTforTeaching&Learning

OrielHouse

TUESDAY 16.00-18.00 SciencePedagogy Room(3105)

WEDNESDAY09.00-10.00

InclusiveEducation JonathonSwift

Theatre

WEDNESDAY 10.00-12.00 MathsPedagogy Room(3105)

WEDNESDAY 12.00-14.00 IrishPedagogy Room(4035)

WEDNESDAY 12.00-13.00 ArtsEducation Room(4.02/3)

WEDNESDAY 13.00-14.00 DevelopmentinEducation Room(3105)

WEDNESDAY 14.00-16.00 HistoryPedagogy Room(4035)

WEDNESDAY 14.00-15.00 AuthenticClassroom Room(3105)

WEDNESDAY 15.00-18.00 ICTforTeaching OrielHse

WEDNESDAY 16.00-18.00 GeographyPedagogy Room(3105)


FourthYear[SENIORSOPHISTER]

MODULE1:MAJOROPTION

StudentschoosetheirMajorOptionfromoneofthefollowing:Recital;Dissertation;FreeComposition. EachoftheMajorOptionshasanequalweightinginthedegreeexamination. Marksawardedinallthreeareaswillbemoderatedbytheexternalexaminer.

MajorOption1–Recitalandshortresearchproject

Thisconsistsoftwoseparatecomponents,arecitalof45–50minutesdurationandapieceoforiginalresearchpresentedasashortacademicprojectofc.3000words. Thestudentmustwrite ashort3000worddissertationdemonstratingoriginalresearch.Thestudentwillbeallocateda tutorwhowillmeethim/her4timesintheyear.Topicsmaybeofeitherapedagogicalor musicologicalnature.

Recital(AllInstruments/VoiceOtherThanTraditionalIrishInstruments)

AimToencouragestudentswithaparticularflairforperformancetoundertakeafull-lengthpublic recitalatprofessionalstandard.

LearningOutcomesOnsuccessfulcompletionofthismodulethestudentshouldbeabletodemonstratetheabilityto identifythetechnicalandinterpretationaldemandsofmusicalworks.

End-of-yearrequirementsThestudentmustpresentabalancedrecitalprogrammeof45–50minutesduration,chosenin consultationwiththeirmaininstrumentteacherandsubmittedfortheapprovalofthecourse committee.Thestudentwillpresenthis/herpublicrecitalattheendoftheyearandwillbeexaminedbya panelconsistingofarepresentativeoftwoinstrumentalspecialistsandamoderatorprovidedby theDITConservatoryofMusic&DramaandtheRoyalIrishAcademyofMusic.


Assessment1. Recital@75%.2. ShortResearchProject&InstrumentalMethodology(25%)

OR

Recital(TraditionalInstruments)

AimToencouragestudentswithaparticularflairforperformancetoundertakeafull-lengthpublic recitalatprofessionalstandard.Thisshouldbeprimarilyasoloperformance.Upto15minutesmaybeaccompaniedorpresentedaspartofanensembleofmelodyinstruments.Thestudent mustpresentarecitalprogrammeof40-45minutesduration,choseninconsultationwiththeirmaininstrumentteacherandsubmittedfortheapprovaloftherelevantdegreecourse committee.Theprogrammemustbeprofessionallypresentedinwritingandshowevidenceof havingbeenwellresearched,Titles(whereavailable)arrangers,composersandsourcesofall tunesshouldbelisted.Programmenotesofaprofessionalstandardshouldlikewisebeprovided fortheactualrecital.

IrishHarpTheprogrammeshouldbebalancedandillustratethefullrepertoire(e.g.jigs,slides,reels,hornpipes,marches,polkas,slowairsandthemusicoftheharpers.Othercategories,e.g.the musicofotherCelticcountriesmaybeincluded.Upto30%oftheprogrammemayinclude classical/contemporarymusicofasuitablestandard.Atleast50%ofthetuneschosenfromthe abovecategoriesshouldbethestudent’sownarrangements.

AllotherinstrumentsTheprogrammeshouldbebalancedandillustratethefullrepertoire(e.g.jigs,slides,reels, hornpipes,marches,polkas,slowairsandthemusicoftheharpers).Othercategories,e.g.the musicofotherCelticcountriesorthestudent’sowncompositions/arrangementsmaybe included.

Thestudentwillpresenthis/herpublicrecitalattheendoftheyearandwillbeexaminedbya panelconsistingoftwotraditionalmusicspecialistsandamoderatorprovidedtheDIT ConservatoryofMusic&DramaandtheRoyalIrishAcademyofMusic.

Assessment1. Recital(75%).2. ShortResearchProject&InstrumentalMethodology(25%)


MajorOption2–DissertationandShortRecital

Thisconsistsoftwoseparatecomponents,adissertationofapproximately8,000-10,000words andashortrecital.LearningOutcomesOnsuccessfulcompletionofthismodule,thestudentshouldbeableto:Demonstratetheabilitytochooseandproblematiseamusicrelatedresearchquestion.Collectempiricalmaterialinasystematicandmethodologicallytrustworthymanner.Presenttheempiricalmaterialinaclearandcomprehensiveway.

DissertationThesubjectmattermustbetreatedindepthtoalengthofapproximately8,000-10,000words andmustevinceamatureanalyticaljudgement;researchintothesubjectmattermustbe supportedbyasubstantialadditionoforiginalcriticalcomment.

ShortRecital AimsBuildingonstudents’existinglevelsofachievement,thisunitintroducesinstrumental/vocal studiesatthirdlevel,focusingonasystematicprogrammeofstudies,scalesandarpeggios,sight- readingandsolorepertoire.Thestudyofaspectsrelatingtotheviva-vocecomponent:teaching oftheinstrument,developingknowledgeofappropriaterepertoire,styleandinterpretationetc.

§ Todevelopstudents’technicalskillsandmusicalawarenessforinstrumentalperformance.§ Toestablishthefoundationforproductivepracticeandindependentlearning.§ Tointroducestudentstoawidevarietyofrepertoire.§ Todevelopconfidenceinstylisticandinterpretiveissues.

LearningOutcomesOnsuccessfulcompletionofthismodulethestudentwillbeableto:

§ Displayahighlevelofartisticandtechnicalcompetence.§ Choseandpreparepiecestoproduceavariedandbalancedprogramme.§ Performwithasenseofcommunicationandvalue.§ Displayanintellectualunderstandingofthemusicperformed.


§ Demonstrateafirmfoundationininstrumental/vocaltechnique.§ Demonstrateabroadknowledgeandunderstandingofteachingtechnique,repertoire,

styleand interpretationwithregardtotheindividual’sparticularinstrument/voice.

End-of-yearrequirementsAllstudentsshouldhavereachedTeacher’sDiplomastandard.Theywillbeexpectedtogiveashortrecitalof20minutesdurationatastandardcommensuratewiththestudent’sability,but notlowerthanTeacher’sDiplomalevel(shouldthe20minutedurationbeexceededthestudents recitalmaybeinterruptedatthediscretionoftheexaminers). Abalancedprogrammeofworks incontrastingstylesmustbesubmittedtotherelevantdegreecoursecommitteeforapproval.

Thestudentwillbeexaminedinthesecondsemesterbyapanelconsistingofarepresentativeof theDITConservatoryofMusic&DramaandtheRoyalIrishacademyofMusic.

Note: Whilethepanelwillincludeexperiencedinstrumentalexaminers,thespecificinstrumental expertisemaynotincludeeveryinstrument.

Assessment1. Dissertation(75%).2. ShortRecitalandInstrumentalMethodology(25%)

ShortRecitalTraditional End-of-yearrequirements

The studentmust present a balanced programme of 30minutes duration. The chosenprogramme should also illustrate a variety of styles. The programme must beprofessionally presented in writing and showevidenceof having beenwell-researched.Titles (where available) and sources (recordings, printed sources, etc.)must be listed.The examination will also be interactive and the student will be expected both todiscuss his/her programme, instrument, influences and other performers, and todemonstratecertainregionalstylisticfeatures,ifrequiredtodoso.The studentwill beexamined by a panel consisting of a representative of the DIT Conservatory of Music&Dramaand theRoyal IrishAcademyofMusicanda traditional instrumental specialistprovidedbytheaforementionedinstitutions.

IrishHarp(Gut/Nylonand/orWireStrung)The programme should demonstrate appropriate use of ornamentation and variationand be drawn from the following categories: jigs, slides, reels, hornpipes, marches,polkas,slowairsand themusicoftheharpers.Othercategories,e.g. themusicofother


Celtic countries may also be included in consultation with their main instrumentteacher and relevant degree course committee. In addition, up to 30% of theprogramme may include classical/contemporary music of a suitable standard. At least75% of the tunes chosen from the above categories should be the student’s ownarrangements. The examination should be primarily a solo performance. Up to tenminutesoftheprogrammemaybeperformedaspartofanensemble.

AllInstrumentsexcepttheIrishHarpThe programme should reflect and illustrate both the tradition and the breadth of therepertoire. Categories from which tunes may be chosen include jigs, slides, reels,hornpipes,marches,polkas, slowairsandthemusicoftheharpers.Othercategoriese.g.themusicofotherCelticcountriesor thestudent’sowncompositions/arrangementsmayalsobeincludedinconsultationwiththefirst study teacher and relevant degree coursecommittee.Thestudentisexpectedtohavea repertoire of150tunes bytheendofthefourthyear,acomplete listofwhichshouldbe submitted to the course committee bythe end ofMarch of that year. 60% of the tunes to be playedattheexaminationmaybe the student’s own choice. The remaining 40%will be selected from the list by theCourseCommitteewhowill inform the studentof their selectionsixweeks prior to theexamination. The examination should be primarily a solo performance. Up to tenminutesmaybeaccompaniedorpresentedaspartofanensembleofmelodyinstruments.

Assessment

Dissertation(75%).ShortResearchProject&InstrumentalMethodology(25%)


MajorOption3-FreeComposition andShortRecital

Thisconsistsoftwoseparatecomponents;acompositionportfolioandashortrecital.

Thisoptionisforstudentsevincingcompositionalflair,andaimstodevelopappropriateskills underprofessionalguidanceandtoprovideopportunitiesfortherehearsalandperformanceof suitableoriginalcompositions. Workshopsareencouragedtoensurethatstudentshaveaccess tostaffandstudentskillsinrealisingfullvocalandinstrumentalpotentialincomposition.

LearningOutcomesOnsuccessfulcompletionofthismodulethestudentshouldbeableto;

§ Demonstratetheabilitytoidentifythetechnicalandinterpretationaldemandsofamusicalwork.

§ Demonstrateabroadunderstandingofteachingtechnique,repertoire,styleandinterpretation withregardtotheindividual’sparticularinstrument/voice.

SyllabusandAssessmentThreeworksmustbesubmittedduringthe4thyear–onebythebeginningofthesecondsemesterandtherestbytheendoftheyear-chosenrepresentativelyfromthefollowing:

a) acappellachoirincontrapuntalstyle,b) stringorsmallorchestra,c) schoolensembleorwindband,d) stageproduction(musical)suitableforschools,e) vocalsolowithpianoaccompanimenttoselectedtexts,f) instrumentalsoloorchamberwork,g) ownchoiceasapproved.

Originalcompositionwillbeexaminedentirelybyportfolio.Thesecompositionsmayincludethe useofelectro-acousticmedia.Exceptwherethereisdulycertifiedorotherapprovedreason, portfoliossubmitteduptooneweeklatewillbeara10%deductionofthemarkallocated.Portfoliossubmittedbetweenoneandtwoweekslatewillbearanadditional10%deduction. Portfoliossubmittedmorethantwoweekslatewillnotbeaccepted.

ShortRecital


AimsBuildingonstudents’existinglevelsofachievement,thisunitintroducesinstrumental/vocal studiesatthirdlevel,focusingonasystematicprogrammeofstudies,scalesandarpeggios,sight- readingandsolorepertoire.Thestudyofaspectsrelatingtotheviva-vocecomponent:teaching oftheinstrument,developingknowledgeofappropriaterepertoire,styleandinterpretation.etc

§ Todevelopstudents’technicalskillsandmusicalawarenessforinstrumentalperformance.§ Toestablishthefoundationforproductivepracticeandindependentlearning.§ Tointroducestudentstoawidevarietyofrepertoire.§ Todevelopconfidenceinstylisticandinterpretiveissues.

LearningOutcomesOnsuccessfulcompletionofthismodulethestudentwillbeableto:

§ Displayahighlevelofartisticandtechnicalcompetence.§ Choseandpreparepiecestoproduceavariedandbalancedprogramme.§ Performwithasenseofcommunicationandvalue.§ Displayanintellectualunderstandingofthemusicperformed.§ Demonstrateafirmfoundationininstrumental/vocaltechnique.§ Demonstrateabroadknowledgeandunderstandingofteachingtechnique,repertoire,

styleand interpretationwithregardtotheindividual’sparticularinstrument/voice.

End-of-yearrequirementsAllstudentsshouldhavereachedTeacher’sDiplomastandard.Theywillbeexpectedtogivea shortrecitalof20minutesdurationatastandardcommensuratewiththestudent’sability,but notlowerthanTeacher’sDiplomalevel(shouldthe20minutedurationbeexceededthestudents recitalmaybeinterruptedatthediscretionoftheexaminers). Abalancedprogrammeofworks incontrastingstylesmustbesubmittedtotherelevantdegreecoursecommitteeforapproval.

Thestudentwillbeexaminedinthesecondsemesterbyapanelconsistingofarepresentativeof theDITConservatoryofMusic&DramaandtheRoyalIrishacademyofMusic.Note: While the panel will include experienced instrumental examiners, the specificinstrumental expertisemaynotincludeeveryinstrument.

AssessmentCompositionPortfolio(75%).ShortRecital&InstrumentalMethodology(25%)

ShortRecitalTraditionalEnd-of-yearrequirements


The studentmust present a balanced programme of 30minutes duration. The chosenprogramme should also illustrate a variety of styles. The programme must beprofessionally presented in writing and showevidenceof having beenwell-researched.Titles (where available) and sources (recordings, printed sources, line, etc.) must belisted.Theexaminationwill alsobe interactive andthestudentwillbeexpectedbothtodiscuss his/her programme, instrument, influences and other performers, and todemonstratecertainregionalstylistic features, ifrequiredtodoso.The student will beexamined by a panel consisting of a representative of the DIT Conservatory of Music&Dramaand theRoyal IrishAcademyofMusicanda traditional instrumental specialistprovidedbytheaforementionedinstitutions.

IrishHarp(Gut/Nylonand/orWireStrung)The programme should demonstrate appropriate use of ornamentation and variationand be drawn from the following categories: jigs, slides, reels, hornpipes, marches,polkas,slowairsand themusicoftheharpers.Othercategories,e.g.themusicofotherCeltic countries may also be included in consultation with their main instrumentteacher and relevant degree course committee. In addition, up to 30% of theprogramme may include classical/contemporary music of a suitable standard. At least75% of the tunes chosen from the above categories should be the student’s ownarrangements. The examination should be primarily a solo performance .Up to tenminutesoftheprogrammemaybeperformedaspartofanensemble.

AllInstrumentsexcepttheIrishHarpThe programme should reflect and illustrate both the tradition and the breadth of therepertoire. Categories from which tunes may be chosen include jigs, slides, reels,hornpipes,marches,polkas, slowairsandthemusicoftheharpers.Othercategoriese.g.the music of other Celtic countries or the student’s own compositions/arrangementsmay also be included in consultation with their main instrumentteacherandrelevantdegreecoursecommittee.Thestudentisexpectedtohave a repertoire of 150 tunes bythe end of the fourth year, a complete list of which should be submitted to thecourse committee by the endofMarch of that year. 60%of the tunes to be playedatthe examinationmay be the student’s ownchoice. The remaining 40%will be selectedfromthelistbytheCourseCommitteewhowill informthestudentoftheirselectionsixweeks prior to the examination. The examination should be primarily a soloperformance. Up to ten minutes may be accompanied or presented as part of anensembleofmelodyinstruments.

Assessment

CompositionPortfolio(75%).ShortResearchProject&InstrumentalMethodology(25%)


InstrumentalMethodology,DisciplineOrientatedMethodologyandRepertoireVivaVoce Studentspresentalistoftopicswhichtheyhaveprepareddrawnfromthethreeareasexamined andtheexaminerswillselectareasfromthetopicsonthislist.Thescopeofquestionscansometimesbeverybroadandcanoftenstemfromtheperformancesthatthestudenthasgiven intheirrecitals(forexampledrawingontherepertoireperformed).

LearningOutcomesOn successful completion of this module, the student will demonstrate a broadunderstanding of teaching technique, repertoire, style and interpretationwith regard totheindividual’sparticular instrument/voice.

Undertherubricofinstrumentalmethodologyanddisciplineorientedmethodologystudentsshoulddemonstrateanunderstandingofthephysical/skill/technicalaspectsofinstrumentalteachingunderthefollowingheadings:

1. Pitch,melody,rhythm.2. Thechildpupil–howtheapproachwoulddifferfromteachinganolderstudent.3. Howoneshouldapproachteachingalatestarteroradultpupil.4. Howtofacilitateaslowlearnerorahighlytalented/musical/intelligentpupil.5. Whatbooks/tutorswouldyourecommendforanyoftheabove.6. Whatwouldyoudointhefirstlessonwithapupil.7. Whatbooks/pieceswouldyourecommendforvariousgradesofstudents(e.g.

What studies/repertoirewouldyourecommendforaGradeVIstudent?).8. Specificobstaclestoprogress–physical/mental–principlesofrelaxation.9. Howtoapproachsight-reading.10. Musicalmemory.11. Methodsofpractice.12. Discipline.

Specificvocal/instrumentalskillsaretreatedseparatelyunderheadingssuchas:

1. Therangeofthe“instrument”anditspotential.2. Theprinciplesoffingering/noteplacement.3. Whatexerciseswouldyouusetoestablishbowingtechniques,breathing,

phrasing, pedalling.4. Toneproductionandcontrol.5. Posture.6. Schooloftechnique.


7. Thevalueoftechnique.8. Atwhatstagewouldyouintroducevariouselementsintotheteaching(e.g.,

when wouldyouintroducepedallingtopianostudentsandhowwouldyougoaboutit).

9. Describetechniquessuchastypesofarticulation,(forexamplethepositionsforsingle, doubleandtripletonguing)orvibrato.

10. Whatexerciseswouldyouusetoestablishthingssuchascleartone,legatoline, correctposture,cleararticulationandaccurateintonation.

RepertoireInordertofamiliarisestudentswiththemasterpiecesoftheirprincipalinstrument/voiceanappropriateselectionofmusicwillbediscussedunderthefollowingheadings:

§ Texture,§ Form,§ Style,§ Tonality,§ Technicalcontent.

AssessmentVivaVoce.

Ensemble

Allstudentsareexpectedtoparticipateinoneofficiallyrecognisedensembleperformance activity. AttendanceiscompulsoryinYears1to3.Studentsareengagedwiththeexperienceof co-operativelearningingroupmusicmaking. AttendanceisoptionalinYear4.

MODULE2: AuralPerceptionandAnalysis

AimTheaimofyearfouristodisplaythestudent’sabilitytothinkcriticallythroughproblemsolvingin analyticalworkandthedevelopmentofindependentmusicaljudgementandadvancedauralskills.

LearningOutcomes


Onsuccessfulcompletionofthiscourse,thestudentwill:

§ Demonstratetheabilitytothinkcritically.§ Developindependentmusicaljudgement.§ Demonstrateadvancedauralskills.

CourseContent

1. Theoryandanalysis(commonpracticeeraandcontemporary).2. Musical Criticism(largerscalecompletework–late19th/20thcentury).3. Advancedtechnicalwork(modal,atonal,rhythmic).

PortfolioContentsATheoryandAnalysis40%consistingof:

Regularfortnightlyhomeassignments(smallscale)[75%andfullanalysis–twounpreparedlargerpiecestodisplayindependentthinking[25%].

BMusicalCriticism20%consistingof:AtwentyminutePowerPointpresentationrelatingtoasetworkfromthelate19th,20thor21stcentury.Presentationscanusehistorical,analyticaland/orperformancepracticeperspectives.Thetextofthepresentationistobesubmittedinwritingforassessment.

CAdvancedTechnicalWork40%consistingof: Weeklycontinuousassessmentoftechnicalwork,includingelementsfromthefollowing: dictations/sightsinging(20thcentury,modal,atonal-accompaniedandunaccompanied),

advancedrhythmictraining,structuralhearing(synthesisofmelodic/harmonic/rhythmicparametersin20thcenturyandcontemporarymusic).AssessmentContinuousAssessment:100%(Assessmentbyportfoliopresentationonly).

MODULE3:CompositionalTechniquesFugueandOrchestrationAims

§ Toconsolidateunderstandingofbaroque,harmonicandcontrapuntalstylethroughthe

studyof fugue.§ TobuildontheprinciplesoforchestrationstudiedintheJSmodule.


LearningOutcomes

Oncompletionofthiscoursethestudentwillbeableto;§ Demonstrateanunderstandingoffugalwriting.§ Displayanunderstandingoforchestration.

SyllabusOrchestration (themodern orchestra): This builds on the work of the JS year in thiscomponent. Fugue:Anexplorationofadvancedharmonicandcontrapuntaltechniquesandtheirapplication totheformoffugue.

AssessmentContinuousAssessment(Portfolio)100%.Portfoliotoconsistofexamplesoforchestration(60%)andfugalwriting(40%).

ReadingList

Author TitleJSBach, 48PreludesandFuguesSamuelAdler, Thestudyoforchestration.

MODULE4:InclusiveEducation

RationaleThismodulewillprovideessentialbackgroundknowledgeofpastandcurrentspecialeducation policyandprovision;enableparticipantstounderstandthechallengesinvolvedinincluding studentswithdisabilitiesand/orSENinmainstreamschools;Aims•Supportstudentsinengagingwithspecialeducationalneedswithintheclassroom.•Enablestudentstoengagewithpolicyand provisionissues.•Developstudentunderstandingofinclusionprocesses.•Becomeinformedaboutthecomplexprocessesinvolvedinincludingchildrenandyoungpeople withdisabilitiesand/orSENinmainstreamschools.•Togeneratecriticalthinkingaroundcurricularaccess.•ToevaluatethenatureofcollaborativerelationshipsinvolvedinsupportingthelearningofchildrenandyoungpeoplewhohaveSEN.


LearningOutcomesOnsuccessfulcompletionofthiscourse,thestudentwillbeableto:

§ demonstrateanunderstandingofspecialeducationpolicyandprovisionwithinanIrishcontext;

§ engagewiththeinternationalliteratureoninclusion;§ outlinetheassessmentprocessinidentifyingapupilwithSEN;§ engagewithinternationalperspectivesonappropriatepedagogiesforchildrenandyoung

people withspecialeducationalneeds;§ demonstrateanunderstandingofthedistinctandcomplementaryrolesofprofessionals

involved insupportprovisionfromwithinandoutsidetheschool.

CourseContentandSyllabusa) HistoricalemergenceofspecialeducationinIrelandandIrishpolicyandlegislationb) Educationalaccessopportunitiesforchildrenandyoungpeoplewithdisabilitiesc) Establishinginclusivelearningenvironments-theoryandpractice.d) Assessmentprocess:ContinuumofSupporte) Differentiatingthecurriculumf) PedagogiesforchildrenandyoungpeoplewithSENg) Therolesofsupportpersonnelwithinschools

TeachingandLearningMethods

Interactivelectureformatandguidedreadingofkeytexts.

Tofurthertheaimsoftheinclusivecurriculum,thecourseaimstoidentifypotentialbarriersto learningandensurecontentmaterialpresentedinaccessibleformat.

RequiredEquipmentandResources(ifapplicable)

§ DVDplayer§ Textsandspecialeducationmaterials


MethodsofAssessment(forexample,essay,seminarpaper,examination,presentation)

EssayAssignment(2,500words)

Theassignmentwillfocusononeofthefollowingareas:inclusion;curriculumdifferentiation;the roleofsupportteachers.

Studentswillbeexpectedto:

1. examinetherelevantliterature;2. developacasestudybasedontheirownteachingexperience(school/classroom).

Formativeassessmentwillbeprovidedthroughinformalfeedbackondraftassignments.

PassRequirement

40%inassignment

MethodofSupplementalAssessment

Re-submissionofassignment(subjecttoCourtofExaminers)

RecommendedReadingMaterials/IndicativeResources

§ Ainscow,M.,Howes,A.,Farrell,P.andFrankham,J.(2003).‘Makingsenseofthe

developmentof inclusivepractices.’EuropeanJournalofSpecialNeedsEducation,18,(2),227-242.

§ Booth,T.,Ainscow,M.,Black-Hawkins,K.,Vaughan,M.andShaw,L.(2000).TheIndexfor Inclusion.Bristol:CentreforStudiesonInclusiveEducation.

§ Crowther,D.,Dyson,A.,Millward,A.(2001)Supportingpupilswithspecialeducationalneeds: issuesanddilemmasforspecialneedscoordinatorsinEnglishprimaryschools,EuropeanJournalof SpecialNeedsEducation,16(2),85-97.

§ DepartmentofEducationandScience(2000).Learning-SupportGuidelines.Dublin:TheStationery Office.

§ Emanuelson,I.(2001).Reactiveversusproactivesupportcoordinatorroles:an


international comparison.EuropeanJournalofSpecialNeedsEducation,16,(2),133-142.

§ Frederickson,N.andCline,T.(2002).SpecialEducationalNeeds,InclusionandDiversity:a textbook.Buckingham:OpenUniversityPress.

MODULE5:ICTsforTeaching&Learning

1. ModuleCode

ET4103

2. EntryRequirements(ifapplicable)

None

3. Level(JF,SF,JS,SS,Postgraduate)

Postgraduate

4. ModuleSize(hoursandnumberofweeks)

1hourperweekoveronesemester(2x11weeks)

100hoursoftotalstudenteffort

5. ECTSValue

5ECTS

6. RationaleandAims

Rationale


ThismoduleaimstoprovidestudentswiththeknowledgeandskillstouseICTsforteaching

and learningwithin the contextof their curriculumareas. It is grounded in the theoretical

perspective that ICTs can best enhance learning when they enable a learner centred

constructivist approach based on peer and group learning and as such the module will

exploreboththetheoreticalandpractical/technicalconsiderationsforthistooccur.Therole

of the teacher inplanning and facilitating suchanapproachand the roleof the learner in

enabling its realisation will also be considered. The potential for ICTs to enable the

achievementofJuniorCycleKeySkillswillformakeypointofreferencewithinthismodule.

Aims

Todevelopanunderstandingof thepotentialof ICTs for teachingand learningbasedona

awarenessofappropriatetheoreticalandpedagogicalunderpinnings

To equip students with the knowledge and skills to use both open learning tools, digital

mediaandsubject-specificsoftwareintheircurriculumareas

To enable students to plan (and eventually) implement ICT based learning interventions

withintheircurriculumareas

Toencouragestudents to reflectcriticallyon theirpotentialuseof ICTs toenable teaching

andlearning

7. LearningOutcomes

Onsuccessfulcompletionofthismodule,thestudentwillbeableto:

Propose a research-informed approach to using ICTs for teaching and learning with

particularreferencetoJuniorCycle;

Planfortheuseof ICTs inthecontextoftheJuniorCyclecurriculumwithreferenceto

KeySkillsandcurriculumlearningoutcomes;

Demonstrateeffectiveuseofarangeofwebandotherapplicationswhichcanbeused

tosupportastudent-centredapproachtolearningatJuniorCycle;


Criticallyevaluate theappropriatenessofa rangeof ICTapplicationswith reference to

relevantresearchandliteratureincludingtheJuniorCyclecurriculum;

Reflect on their own practice identifying an appropriate role for ICTs in light of the

knowledgeandinsightsgained.

8. CourseContentandSyllabus

Thecoursecontentwillincludethefollowingmainareas:

TheroleofICTsintheJuniorCycle

HowstudentslearnusingICTs

Astudent-centredapproachtolearningusingICTs–theoreticalunderpinnings,therole

oftheteacherandtheroleofthelearner,thelearningenvironment

PlanningforICTsatJuniorCycle–KeySkillsandcurriculumoutcomes–thenatureofthe

task,theroleofgroupworkandpeerlearning

Applications to support a student-centred approach. Examples: prezi, edmodo,

schoology,webquests/googleapplications,gotomeeting/adobeconnect,digitalmedia

Evaluatingtheappropriatenessofsuchapplications–developingappropriateframesof

reference

9. TeachingandLearningMethods

Experiential lab and workshop based sessions will be offered whereby students

themselves will get to experience and evaluate the learner-centred approach which

formsthefocusofmuchofthismodule

SupplementarycontentwillbemadeavailableonlineviaBlackboard

10. RequiredEquipmentandResources(ifapplicable)

Computerlabandworkshopenvironment


11. MethodsofAssessment

Thismodulewill be assessed by a single assignment consisting of two components as

follows(3,000wordequivalents):

1.Design a learningunit for a student-centredprojectwithinwhich learnerswill use a

selectedapplicationtocreateanartefactwhich facilitatesand illustrates their learning.

Theartefactwillreflecttheir learningwithinacurriculumarea(e.g.theCelts inHistory,

thedigestivesysteminScience)aswellasrelatedKeySkills.

2. Create an excellent "student example" of the artefact youwould expect learners to

produceifyouweretoimplementyourplannedlearningunit.

Outlineoflearningunit(approximately1,500words)

Thedescriptionofthelearningunitshouldaddressthefollowingareas:

OutlineofthelearningunitincludingcurriculumlearningoutcomesandKeySkills;

Descriptionofthelearnertask;

Materials,resourcesandequipmentrequired;

Students'previousknowledge(ofthecontentandICTs);

Majorlearningactivities,classbyclass/sessionbysession,projecttimeline;

Managementofthelearningunit–roleoftheteacher,roleofthestudent,assignmentof

groupsandroles,resourcemanagement;

Description of how the learners’ completed task/artefact will be assessed including

specificcriteriaandaddressingthepotentialforpeerassessment.

SampleArtefact

Thefollowingguidelinesarebasedonthewebapplicationprezi.Similarguidelineswill

applyforotherselectedapplications.


Createapreziofatleast12frames(includingframesembeddedwithinframes)including

thefollowing:

Yourname/idnumberasatitle

Appropriate amount of text& graphics per frame–using different shaped frames and

hiddenframesasappropriate

Use of the following as appropriate (as least one use of each): images, Youtube clips,

shapes,URL’s

Useofcolours,fontsandfontsizesasappropriate

Incorporationofapathwhichreflectsthestructureofthework

Nospellingorgrammaticalerrors

CriteriaforAssessment

Teachingunit:

Appropriatenessofunits'contentandlearningoutcomes

Logicandfitofthetaskwiththeplannedlearningoutcomes

Qualityoflearningexperienceplanned

Creativityandimagination

Appropriateassessmentrubric

Sampleartefact:

Skillfulinclusionofeachoftherequiredcomponents

Congruencebetweenlearningunitandtheartefact

Extenttowhichtheartefactdemonstratestheintendedlearningoutcomes

Creativityandimagination

12. PassRequirement

40%


13. MethodofSupplementalAssessment

Re-submissionoftheassignment

14. RecommendedReadingMaterials/IndicativeResources

Somerecommendedreadingisasfollows:

Blatchford,P.,Kutnick,P.,Baines,E.,&Galton,M. (2003).Towardasocialpedagogyof

classroomgroupwork.InternationalJournalofEducationalResearch,39,153-172.

Conneely, C., Murchan, D., Tangney, B. & Johnston, K. (2013). 21 Century Learning –

Teachers’ and Students’ Experiences and Views of the Bridge21 Approach within

MainstreamEducation. InProceedingsofSocietyfor InformationTechnology&Teacher

EducationInternationalConference2013(pp.5125-5132).Chesapeake,VA:AACE.

Dede,C.(2010).ComparingFrameworksfor21stCenturySkills.InJ.Bellanca&R.Brandt

(Eds.),21stCenturySkills(pp.50-75).Bloomington:SolutionTreePress.

NCCA.(2010).InnovationandIdentity:IdeasforanewJuniorCycle.

NCCA.(2012).AFrameworkforJuniorCycle.Dublin.

Partnership for21Cskills. (2006).AStateLeadersActionGuide to21stcenturyskills:A

newvisionforeducation.Tucson,AZ.

Papert,S.(1993).TheChildren'sMachine:RethinkingSchoolintheAgeoftheComputer

Papert,S.(1993).TheConnectedFamily:BridgingtheDigitalGenerationGap

Partnership for 21C skills. (2011). P21 Common Core Toolkit: A Guide to Aligning the

CommonCoreStateStandardswiththeFrameworkfor21stCenturySkills.

Rychen, D., & Salganik, L. (2005). The definition and selection of key competencies:

Executivesummary:OECD.


Scheuermann,F.,&Pedró,F.(2009).AssessingtheeffectsofICTineducation:Indicators,

criteria and benchmarks for international comparisons: Publications Office of the

EuropeanUnion.

15. Evaluation

Onlinesurveyoncompletionofthemodule

16. ModuleCoordinator

KeithJohnston

17. ModuleTeachingTeam

KeithJohnstonandotherstobeconfirmed.

MODULE6:AppliedPsychologyInEducation

AppliedPsychologyinEducationaone-termcoursewhichtakesplaceforonehourperweekin Michaelmasterm.

Aims

§ Tofamiliarisestudentswiththefieldofappliedpsychologyineducation;§ To provide a working knowledge of areas such as self-esteem enhancement,

preventing and countering bullying behaviour, intelligence, positive teaching and co-operativelearning,and addressingcertainspecialeducationalneeds;

§ Toenhancecriticalthinkingaboutboththisfieldandotherswithineducationalpractice.

LearningOutcomesOnsuccessfulcompletionofthismodule,thestudentwillbeableto:

§ demonstrateaclearunderstandingofwhatthedisciplineofappliedpsychologyineducationis, includingitsroleinschoolsandsociety,anditsresearchmethods;


§ assist in the facilitation of the development of positive self-esteem through their ownSchool Placement;

§ taketheirownpartasateacherincounteringandpreventingbullyingbehaviourinschools;§ demonstrate a working knowledge of areas of applied educational psychology, such

as intelligenceandlearningstyles,positiveteaching,assertivedisciplineandco-operativelearning in the classroom, conflict resolution, general and specific learning disabilities,and stress management, within their classroom practice and ongoing professionaldevelopment.

CourseContent

§ Introductions/WhatisAppliedPsychologyinEducation?§ SelfEsteemDevelopmentandEducation.§ Anti-SocialandDisruptiveBehaviour:PreventingandCounteringBullyingandViolent

Behaviour inSchools.§ IntelligenceandLearningStyles.§ PositiveTeachingandAssertiveDisciplineintheClassroom.§ LearningDifficulties:DyslexiaandADHD.§ TeachingMethodsandPractices:Co-OperativeLearning.§ StressManagement.

Assessment1Assignment@100%.

ReadingMaterials/IndicativeResources

CompulsorySnowmanJ.;McCown,R.&Biehler(2009).PsychologyAppliedtoTeaching.Boston:Houghton- Mifflin.

Recommended:§ Alexander,P.A.&Winne,P.H.(2006).HandbookofEducationalPsychology.London:

Lawrence EarlbaumAssociates.§ Cooper,P.&Ideus,K.(1996).AttentionDeficitHyperactivityDisorder:APractical

Guidefor Teachers.London:DavidFulton.§ Gardner,H.(1993).MultipleIntelligences:TheTheoryinPractice.NewYork:BasicBooks.§ Griffin,S.&Shevlin,M.(2007).RespondingtoSpecialEducationalNeeds.

London:Gill& Macmillan.§ Lawrence,D.(2006).EnhancingSelf-EsteemintheClassroom.3rdEdn.London:Sage.§ O’Moore,A.M.&Minton,S.J.(2004).DealingwithBullyinginSchools:ATraining

Manualfor Teachers,ParentsandOtherProfessionals.London:Sage.§ Reber,A.S.(1995).ThePenguinDictionaryofPsychology.2ndEdn.Harmondsworth,UK:

Penguin.


§ Rigby,K.(2002).NewPerspectivesonBullying.London:JessicaKingsley.§ Santrock,J.W.(2006).EducationalPsychology.3rdEdn.London:McGraw-Hill.§ Woolfolk,A.(2007).EducationalPsychology.10thEdn.Boston:PearsonEducation.§ Woolfolk,A.;Hughes,M.&Walkup,V.(2008).PsychologyinEducation.Harlow,UK:

Pearson Education.MODULE7:IntroductiontoAssessmentandExaminationsinPost-PrimaryEducation

ThisisaonetermcoursewhichtakesplaceforonehourperweekinMichaelmasterm.

Aims

§ Providestudentswithanintroductiontothetheory,policyandpracticeofstudentassessment andexaminations.

§ Helpstudentsexploreimplicationsforteachingandlearningfromtherequirementsandpractice ofstudentassessment.

§ Supportstudentsinreflectingon,selecting,developingandappraisingrelevantassessmentand examinationtechniquesforpossibleuseintheirprofessionallives.

§ Provideopportunitiesforstudentstoengageincollaborativeprofessionalreflectionanddialogue onarangeofconceptsandissuesrelevanttothemodule.

LearningOutcomesOnsuccessfulcompletionofthismodule,thestudentwillbeableto:

§ Identifyanddescribe theoreticalandpolicyissuesrelatingtoassessmentandexamining.§ Illustrateandapplyrelevantassessment-relatedconceptswithreferencetopost-primary

educationinIrelandingeneralandtheirownexperienceasstudentteachersinparticular.§ Confidentlyandcompetentlychooseandemployappropriateknowledge,skillsand

techniquesto monitorstudents’learningusingestablishedprotocols.§ Assembleandinterpret informationandresourcesfromprintandelectronicsourcesto

support theirawareness,understandingandcompetencesinrelationtorelevantconcepts.

CourseContentThismoduleexploresarangeofthemesreflectingcurrentpolicyandpracticeinrelationto assessmentinadditiontolikelyneedsanddevelopments.Areasofinquiryinclude:

§ Introductiontoassessment.§ ContextforassessmentinIrishpost-primaryeducation.§ Whattoassess?Understandingdomainsofachievement,content&skills-basedcurricula.§ Incorporatingassessmentintolearning:AssessmentforLearning.§ Planningeffectiveassessments:functions,score-referencing,stagesinplanning,ensuring

quality.


§ Designanduseofclassroomassessmentstomonitorstudentachievement:traditionaland alternativeapproachestoassessment.

§ AssessmentofLearningandtheroleofexaminations.§ Grading,recording&interpretingassessmentinformation.§ Reportingassessmentinformationtorelevantstakeholders.§ ImplicationsofcurriculumreviewanddevelopmentatJuniorandSeniorCycle.

AssessmentWrittenExamination(100%).

RecommendedReadingMaterials/IndicativeResourcesPrimarysourcesassociatedwiththemodulelecturesincludethefollowing. Additionalreadings maybeprovidedtostudentsduringthemodule.Primarysourcesassociatedwiththemodulelecturesincludethefollowing.Additionalreadingsmaybeprovidedtostudentsduringthemodule.

Author TitleBrooks,V.(2002). Assessmentinsecondaryschools.TheNew

teacher’sguidetomonitoring,assessment,recording,reportingandaccountability.Buckingham,UK:OpenUniversityPress.

Clarke,S.(2005). Formativeassessmentinaction.Weavingtheelementstogether.London:HodderMurray.

Cunningham,G.K.(1997). Assessmentintheclassroom.Constructingandinterpretingtests.London:TheFalmerPress.

DepartmentofEducationandScience(2004). Rulesandprogrammeforsecondaryschools2004/05.

Ebel,R.L.&Frisbie,D.A.(1979). Essentialsofeducationalmeasurement,3rdEd.London:PrenticeHall.

Freeman,R.&Lewis,R.(1997). Planningandimplementingassessment.London:KoganPage.

GovernmentofIreland.(1998). EducationAct.Dublin:Stationeryoffice.GovernmentofIreland.(2000). Education(Welfare)Act.Dublin:Stationeryoffice.GovernmentofIreland.(2001). TeachingCouncilAct.Dublin:Stationeryoffice.Linn,R.L&Miller,M.D.(2005). MeasurementandAssessmentinTeaching.9thEd

(InternationalEdition).UpperSaddleRiver,NJ:PearsonMerrillPrenticeHall

Mehrens,W.A.&Lehmann,I.J.(1991). Measurementandevaluationineducationandpsychology,4thEd.Belmont,CA:Wadsworth/ThomsonLearning

NationalCouncilforCurriculumandAssessment(1999).

TheJuniorCyclereview.Progressreport:Issuesandoptionsfordevelopment.Dublin:Author

NationalCouncilforCurriculumandAssessment(April2004).

UpdateontheJuniorCycleReview.Availableonlineatwww.ncca.ie.

NationalCouncilforCurriculumandAssessment ProposalsfortheFutureDevelopmentofSenior


Author Title(April2005). CycleEducationinIreland.Availableonlineat

www.ncca.ie.NationalCouncilforCurriculumandAssessment(Feb2010).

Innovationandidentity:IdeasforanewJuniorCycle.Availableonlineathttp://www.ncca.ie.

NitkoA.J.&Brookhart,S.M.(2007). EducationalAssessmentofStudents.5thEd.UpperSaddleRiver,NJ:PearsonMerrillPrenticeHall.

Popham,W.J.(2007). Classroomassessment.Whatteachersneedtoknow.5thEdition.Boston:Pearson.

Williams,K.(1992). Assessment:Adiscussionpaper.Dublin:ASTI

Selectedwebsites§ www.ncca.ie§ www.action.ncca.ie§ www.education.ie§ www.ty.slss.ie§ www.lca.slss.ie§ www.lcvp.slss.ie§ www.erc.ie§ www.ltscotland.org.uk§ www.examinations.ie§ www.scoilnet.ie§ www.sdpi.ie§ www.sess.ie

MODULE8: SchoolPlacementForInformationonSchoolPlacement,ScheduleandAssessmentrefertotheSchoolPlacement Booklet.

Aims• FurtherdevelopconfidenceinmusicteachinginthePostprimaryclassroomalongside

highlevels ofreflection,• Usetheoreticalunderstandingtoinformpracticeandtousepracticetoinformtheory,• Displaycompetenceintermsinallaspectsofmusicteachingand ofprofessional

knowledge, skillsandvaluesastheyapplytosecondaryschoolmusicteaching,• Refineskillsinclassroommanagement.• Communicateeffectivelywithallmembersoftheschoolcommunity• Demonstrateflairandimaginationinlessonplanning


LearningOutcomesOnsuccessfulcompletionofthisplacement,thestudentswillbeableto:• Incorporateintheirteachingandlessonplans,asoundpersonalphilosophyinrelationto

therole ofmusicineducation.• Identify in their teaching and lesson plans opportunities for the development of

literacy and numeracy,promotingthroughactivemusic-makingaspiritofco-operativeengagement.

• Applyintheirteachingappropriatetechnologicalresources.• Developa research-informedattitude to teachingand learningwhichcanbe

explored in subsequentyears.• Demonstrateathoroughunderstandingofthesecondaryschoolmusiccurriculum.• Devise and implement creative class plans and schemes of work for music which are

appropriate toallpupils’attainment levelsandinterests,arecoherentwiththesyllabus,andmakeuseofa rangeofappropriateteachingmethods.

• Demonstrate a range of teaching methods and styles that help to establish andmaintain an inclusive,stimulating,purposefulandcollaborativelearningenvironment.

• Useappropriateformsofassessmenttoinformthefuturedirectionofthelearning.• Demonstrateahighlevelofmusicianshipinthecontextofteachingandlearninginthe

secondary schoolclassroom.• Demonstrateaworkingknowledgeoftheprincipalapplicationsoftechnologiesinmusic.• Reflectcriticallyontheirownpracticeasteachers,intheirpostlessonappraisals.• Displaymusicskillsneededtosupportadiversecurricularandextra-curricularmusic

programme.• Compileanextensiveprofessionalportfolio.• Workeffectivelyandrespectfullyaspartofaprofessionalteam.

SeniorSophisterSchoolPlacement takesplaceinMichaelmastermforthreeweeksinSeptember.

Theexternalexaminerwillvisitsomestudents.

AssessmentTwoPracticalSummativeAssessments. Submissionof schoolplacementportfolio.Amarkwill beawarded. ACommendationmayalsobeawarded


SeniorSophisterSummaryTable

Module AssessmentRecommendedContacthours

ECTS MarkWeighting(infractionformat)

1.MajorOption

ET4055

MajorOption75%

MinorOption&Vivavoce25%

TBC

20

4/12

2.AuralPerception

ET4056

ContinuousAssessment100% 33(Approx) 5 1/12

3.CompositionalTechniques

ET4057

ContinuousAssessmentPortfolio100% 44(Approx) 5 1/12

3. InclusiveEducation

ET4102

InclusiveEducationAssignment

10

5

1/12

5.InformationCommunicationTechnology

ET4103

ICTAssignment 10 5 1/2

6.AppliedPsychology

ET4202OneAssignment100% 11 5 1/12

7.IntroductiontoAssessment&ExaminationsinPostPrimaryEducation

ET4017

WrittenExamination

40%

OneAssignment60%

11 5 1/12

8.Schoolplacement

ET4058

TwoPracticalAssessments50%each

3weeks

(SchoolPlacement–20to30hours)

10 2/12


SeniorSophisterSubmissionandExaminationDates(Alldeadlinedatesinthisscheduleareprovisional)


1.

MajorOption

MajorOption75%

MinorOption&Vivavoce25%

2.

AuralPerceptionContinuousAssessment100%

AuralAwareness

100%Portfoliosubmission–FinalClassSemester2

3.

CompositionalTechniques

ContinuousAssessmentPortfolio100%

FuguePortfolio–

Orchestration–

4.

InclusiveEducation

OneAssignment100%

5.

ICTsforTeaching&Learning

OneAssignment100%

6.AppliedPsychology

ET4202OneAssignment100%

7.

IntroductiontoAssessment&ExaminationsinPostPrimaryEducation

WrittenExamination40%

OneAssignment60%

January2017(Exam)

12thDecember2017

8.SchoolPlacement

TwoPracticalAssessments(includingTPFolder)

50%each


CurricularPedagogy(optional)

SeniorSophisterstudentsmaychoosetostudyduringMichaelmasterm,onePedagogymodulefromthelistbelow.Therearenocreditsforthissubject.However,studentswillbegivenaletterconfirmingtheirattendance.

Aims,LearningOutcomes,CourseContentandAssessmentofeachcourse,willbepresentedbythemodulelectureratthebeginningofMichaelmasterm.

ListofPedagogies

▪ BusinessStudies

▪ English

▪ Geography

▪ History

▪ Irish

▪ Mathematics

▪ ModernLanguage

▪ ReligiousEducation

▪ Science

PleaseconsulttheProfessionalMastersinEducation(PME)handbookwhichwillbedisplayedontheSchoolofEducation(underthecoursessection,PMEwebpage)websiteannuallyforadetaileddescriptionofeachPedagogy.

PleaseconsultthePMECurricularPedagogytimetableinthishandbook.

StudentsmustadviseCourseCo-ordinatoroftheirchoicesbyMonday9thOctober.

of193BachelorinMusicEducationHandbook September2017

Appendices


AppendixI:Thegradingofexaminationsandotherwrittenwork

ThepurposeofthisdocumentistomakeexplicitasfaraspossiblethecurrentpracticeconcerningthegradingofwrittenworkintheFaculty.Itisnotintendedtochangecurrentpracticebuttoprovideaframeworkthatcanbeusedbystafftoexplainthemarksawardedtoexaminationanswersandotherformsofwrittenassignment,andtoassiststudentstointerpretthemarksthattheyreceive.

Gradingwrittenworkusuallyinvolvesanoverallassessmentbasedonamultitudeofdimensions.Thisdocumentattemptstoidentifythedimensionsthatarenormallythemostimportantinthisrespect.Ofcourse,thedimensionsidentifieddonotcovaryinaone-to-onemanner.Itmaybethataparticularpieceofwrittenworkwouldrateveryhighlyonsomedimensionsbutlesshighlyonothers.Thusexaminersmustmakeabalancedevaluationthattakesintoaccountthequalityoftheworkinaholisticway.Inevitably,therefore,thejudgementoftheexamineristosomeextentsubjectiveandbaseduponexperienceandtraditionalpractice.Itisforthisreasonthatthegradingofnoviceexaminersisusuallysubjecttothescrutinyofmoreexperiencedones,andconsensualstandardsareachievedbyanumberofpracticessuchascross-markingandtheemploymentofexternalexaminers.

ThebasesfortheassessmentofanypieceofworkareultimatelyderivedfromtheeducationalobjectivesoftheModeratorship,asdescribedintheCalendar(H1).WorkthatdemonstratesthattheobjectivesoftheModeratorshiphavebeenachievedwillhaveanumberofcharacteristics.Itwillbecomprehensiveandaccurate,andwillexhibitadetailedknowledgeoftherelevantmaterialaswellasabroadbaseofknowledge.Itwilldemonstrateahighlevelofabilitytoevaluateandintegrateinformationandideas,todealwithknowledgeinacriticalway,andtoreasonandargueinalogicalway.Whererelevantitwillalsodemonstrateahighlevelofabilitytoanalyseinformation,tomakesenseofmaterial,tosolveproblems,togeneratenewideasandconceptsandtoapplyknowledgetonewsituations.Thepresentationofinformation,argumentsandconclusionswillbeclearandarticulateandthewritingstylewillbefluentandaccurate.(ThesecharacteristicsareessentiallythesameasthoselistedbelowasbeingthefeaturesofFirstclasswork).

Nosetofguidelinescancovereveryeventuality.Examinersarelikelytorewardcreativity,originalityandinsight,orworkofparticularmerithoweverpresented.Evidenceofstudyofmaterialoutsidethatsetbylecturersandworkwhichgoesbeyondthestandardinterpretationofthesubjectisalsolikelytoberecognisedwhenmarksareawarded.Inaddition,itistobeexpectedthatexaminerswillrewardwrittenworkmorehighlyifitexemplifiesgoodEnglish(orthelanguageinwhichitiswritten,ifsomeotherlanguageisappropriate).Poorgrammarandincorrectspellinginevitablydetractfromtheevaluationofwrittenwork.Inaddition,studentsareremindedthatpoorhandwritingmaymakeitimpossiblefortheexaminertofullyunderstandwhathasbeenwritten;examinerscanonlymarkwhattheycanread.


Briefdescriptionsareprovidedbelowofthequalitiesthatarelikelytobeassociatedwithworkthatwouldberegardedastypicalofeachofthevariousclassesofhonoursthatcanbeawarded.Thesedescriptionsarenotspecifictoanyparticularlevelofexamination:theycanbeappliedequallytostudentsintheirfirstandfinalyear,andtostudentswhoaretakingacourseasaminorcomponentoftheirdegree,outsidetheirmainareaofstudy.Examinerstakethesefactorsintoaccountwhenevaluatingwork,andwillnormallyhavedifferentexpectationsoftheabsolutelevelofperformanceofdifferentgroupsofstudents.Nevertheless,thesedescriptionsprovideabasisformakingrelativejudgementsbetweenstudentswithinanyparticulargroup.

TheFacultycomprisesagroupofdiversesubjects,anditislikelythatasomewhatdifferentsetofcriteriawillbeapplicableineachofthesubjectareas.IndividualSchools,DepartmentsandCentreswithintheFacultymayfinditappropriate,therefore,toissueafurthersetofguidelinesthataddstothesegeneralguidelinesoradaptsthemtoitsownspecificcircumstances.

Thethresholdstandardfortheawardofanhonoursclassificationisthatrequiredforthirdclasshonours.Workbelowthisstandardisawardedafailgrade.

Fail(0-39)

The‘fail’gradeissometimesbrokendownintotwobands:F1andF2.AnanswerattheF1level(30-39)representsafailuretoanswerthequestionadequately,butthepossessionofatleastsomerelevantinformation.Thefailuretoprovideanappropriateanswermaybeduetoamisunderstandingofthequestion,ortooneormoreofthefollowingdeficiencies:itmaycontainonlyasmallamountofrelevantinformation,thematerialitselfmayhavebeenmisunderstood,theanswermaybepoorlyorincoherentlypresented,ortheanswermaynotrelatetothequestionasked.AnanswerattheF2level(0-29)normallycontainsnooronlythemostminimalamountofinformationrelatingtothequestion,ormaydemonstrateacompletemisunderstandingofthequestion,oramisunderstandingofthematerialrelevanttoitsanswersuchastorendertheanswermeaningless.WorkatFailleveltendstohavefewpositivecharacteristics,exceptpossiblywhenthegradehasbeenawardedbecauseoftheinclusionofamajorerror,thepresenceofwhichissufficientlyimportanttooutweighanypositivefeaturesoftheanswer.ItisalsopossibleforanotherwisegoodpieceofworktobeawardedaFailgradebecauseitfailstoanswerthequestionposed.Theabsenceofpositivecharacteristicscouldalsoresultfromthefactthattheanswerisveryshort(e.g.,whenastudentrunsoutoftimeinanexaminationandwritesverylittle).

WorkawardedaFailgradetendstopossesssomeorallofthefollowingnegativecharacteristics:

Representsafailuretoanswerthequestion(thoughmaybeananswertoadifferentquestion).

Showsnooronlyalittleevidenceofunderstandingofthetopic.


Showsnooronlyverylittleevidenceofrelevantreadingorresearch.

Includesnoorveryfewrelevantideas.

Doesnotcontainastructuredargument.

Doesnotofferevidencetojustifyassertions.

Doesnotincluderelevantexamples.

Containsmultipleormajorerrors.

Thirdclass(40-49)

Workatthislevelcontainsevidenceofstudyoftheappropriatematerialanddisplaysalevelofpresentationatleastminimallycommensuratewiththeawardofanhonoursdegree,butitoftenreflectsonlyalimitedfamiliaritywiththestandardliteratureand/ormethodsofthesubject.Athirdclassanswerconstitutesatleastaminimalattempttoanswerthequestionposed,buttheanswermayomitkeypointsand/orcontainassertionsnotsupportedbyappropriateevidence.Itmaydisplaysuperficialityinunderstandingand/ortheuseofmaterial,anoverrelianceonknowledgeattheexpenseofdevelopmentorargument,analysisordiscussion,anditmaylackcontinuity,orbeinadequatelyorganised.Nonetheless,workatthisleveldoesshowanabilitytorefertosomestandardsources,ideas,methodsortechniquesnormallyappliedinthesubjectandtoachievesomesuccessinsolvingproblemsormarshallinganargumenttoreachaconclusion.

Whatdifferentiatesathirdclasspieceofworkfromonethatfailsisthatathirdcomprisesanattempttoanswerthequestioninformedbysomerelevantinformationandwithoutanymajorerror,whileafaileitherdoesnotcontainanadequateattempttoanswerthequestion,ordoesnotcontainsufficientrelevantinformation,orcontainsatleastonesignificanterror.


WorkatThirdclasslevelmaypossesssomeorallofthefollowingpositivecharacteristics:

Attemptstoanswerthequestion.

Showsmodestevidenceofunderstandingofthetopic.

Showsmodestevidenceofrelevantreadingorresearch.

Includesafewrelevantideas.

Mayincludesomerelevantexamples.

WorkatThirdclasslevelmaypossesssomeorallofthefollowingnegativecharacteristics:

Theattempttoanswerthequestionmaynotbeverysuccessful.

Doesnotcontainasufficientlywell-structuredargument.

Doesnotoffersufficientevidencetojustifyassertions.

Doesnotincludesufficientrelevantexamples.

Lackslucidity.

Containsoneormoreimportanterrors.

LowerSecondclass(50-59)

Workatlowersecondclassleveldisplaysaknowledgeofthestandardmaterialandapproachesofthesubjectandafamiliaritywithmuchofthestandardliteratureand/ormethods.Alowersecondclassanswermayconstitutearelativelysimplisticanswertothequestion,andislikelytobebasedonanarrowrangeofsources,suchaslecturenotesandthebasicrequiredreading,ratherthanbeingindicativeofwiderreading.Itusuallydisplaysabasicabilitytouserelevantsources,methodsortechniquesnormallyappliedinthesubjecttoachievesomesuccessinsolvingproblemsormarshallingargumentstoreachaconclusion.Theworkmayshowsomeinconsistencyinstandard,maycontainoccasionaltechnicalorfactualflaws,andmayexhibitsomedifficultieswiththeorganisationofmaterialorwiththefullunderstandingofaproblemorissue,butitisadequatelypresentedandmayincludesomecriticaljudgementappliedtoanalysisortheapplicationofstandardideasormethods.

Whatdifferentiatesalowersecondclasspieceofworkfromoneawardedathirdclassgradeisthegreatersuccessofthelowersecondinansweringthequestion,togetherwiththepossessionofmore


relevantinformation,amorecoherentargumentandanimprovedstructure,althoughneithertheanswertothequestionnorthestructuremaybeincapableofimprovement.

WorkatLowerSecondclasslevelwilltendtopossesssomeorallofthefollowingpositivecharacteristics:

Attemptstoanswerthequestion.

Showsevidenceofabasictogoodunderstandingofthetopic.

Showsevidenceofsomerelevantreadingorresearch.

Includessomerelevantideas.

Includessomerelevantexamples.

WorkatLowerSecondclasslevelmaypossesssomeorallofthefollowingnegativecharacteristics:

Theattempttoanswerthequestionmaynotbecompletelysuccessful.

Doesnotcontainasufficientlywell-structuredargument.

Doesnotoffersufficientevidencetojustifyassertions.

Doesnotincludesufficientrelevantexamples.

Thestyleofwritingcouldbeimproved.

Lackslucidity.

Maycontainsomeminorerrors.

Uppersecondclass(60-69)

Workatuppersecondclassleveldisplaysasoundandclearunderstandingofthesubjectanddemonstratesagoodgraspofawiderangeofthestandardliteratureand/ormethodsandtechniquesofthesubject.Anuppersecondclassanswerconstitutesawell-organisedandstructuredanswertothequestion,whichisreasonablycomprehensive,generallyaccurateandwellinformed.Itwillnormallydemonstrateagreaterbreadthofknowledgethanwouldbegainedmerelyfromthelecturenotesandbasicrequiredreading.Itwilldemonstratesomeabilitytoevaluateandintegrateinformationandideas,todealwithknowledgeinacriticalway,andtoreasonandargueinalogicalway.Whererelevantitwillalsodemonstrateanabilitytoanalyseinformation,tomakesenseof


material,tosolveproblems,togeneratenewideasandconceptsandtoapplyknowledgetonewsituations.Thepresentationofinformation,argumentsandconclusionswillbeclearandwellwritten.

Whatdifferentiatesanuppersecondclasspieceofworkfromoneawardedalowersecondisthegreatersuccessinansweringthequestion,theadditionalunderstandingdisplayed,thegreaterevidenceofadditionalreading,theimprovedstructureandorganisation,thesuperiorqualityoftheargument,andthelevelofcriticalthinkingdisplayed.

ThusanUpperSecondclasspieceofworkshowspositivecharacteristicssuchas:

Answersthequestionclearlyandfully.

Hasagoodstructureandorganisation.

Showsevidenceofaverygoodunderstandingofthetopic.

Showsclearevidenceofrelevantreadingandresearch.

Clearlyexplainsrelevanttheoryandcitesrelevantevidence.

Containsreasonedargumentandcomestoalogicalconclusion.

Includeshighlyrelevantideas.

Usesrelevantexamples.

Demonstratestheabilitytoapplylearningtonewsituationsandtosolveproblems.

Iswellwritten.

Lackserrorsofanysignificantkind.

UpperSecondclassworkusuallyhasfewnegativecharacteristics,butmaybelimitedinthesensethatit:

Coulddemonstratemoreinthewayofinsight,imagination,originalityorcreativity.

Doesnotanswerthequestioninasfullyandcomprehensiveamanneraswouldbepossible.

Coulddemonstratemoreabilitytointegrateinformation.

Couldexhibitmorecriticalthinking.

Couldexhibitmoreindependenceofthought.


Firstclass(70-100)

Firstclassworkrepresentsanexcellenttooutstandingperformancedemonstratingathoroughunderstandingofthesubject.Inadditiontoamasteryofawidetofullrangeofthestandardliteratureand/ormethodsandtechniquesofthesubject,workatthislevelshowsindependenceofjudgementandevidenceofattainmentbeyondthestandardmaterial.Itwillfrequentlydemonstratecharacteristicssuchasinsight,imagination,originalityandcreativity.Afirstclassanswerwillrepresentacomprehensiveandaccurateanswertothequestion,whichwillexhibitadetailedknowledgeoftherelevantmaterialaswellasabroadbaseofknowledge.Theoryandevidencewillbewellintegratedandtheselectionofsources,ideas,methodsortechniqueswillbewelljudgedandappropriatelyorganisedtoaddresstherelevantissueorproblem.Itwilldemonstrateahighlevelofabilitytoevaluateandintegrateinformationandideas,todealwithknowledgeinacriticalway,andtoreasonandargueinalogicalway.Whererelevantitwillalsodemonstrateahighlevelofabilitytoanalyseinformation,tomakesenseofmaterial,tosolveproblems,togeneratenewideasandconceptsandtoapplyknowledgetonewsituations.Thepresentationofinformation,argumentsandconclusionswillbefluentandclearlywrittenandmayalsoshowparticularlucidityinexpressionappropriatetothesubject.

Whatdifferentiatesafirstclasspieceofworkfromoneawardedanuppersecondisagreaterlucidity,agreaterindependenceofjudgement,agreaterdepthofinsightanddegreeoforiginality,moreevidenceofanabilitytointegratematerial,andevidenceofagreaterbreadthofreadingandresearchinthefirstthatisnotpresentintheuppersecond.

ThusaFirstclasspieceofworkshowspositivecharacteristicssuchas:

Answersthequestionclearlyandcomprehensively,inafocusedway.

Hasanexcellentstructureandorganisation.

Demonstratescharacteristicssuchasinsight,imagination,originalityandcreativity.

Demonstratestheabilitytointegrateinformation.

Exhibitssoundcriticalthinking.

Exhibitsindependenceofjudgement.

Clearlyexplainsrelevanttheoryandcitesrelevantevidence.

Containsreasonedargumentandcomestoalogicalconclusion.

Givesevidenceofwiderelevantreading.

Includesasufficientnumberofappropriateexamples.

Demonstratesaclearcomprehensionofthesubject.


Demonstratestheabilitytoapplylearningtonewsituationsandtosolveproblems.

Islucidandwellwritten.

Lackserrorsofanysignificantkind.

AllpiecesofFirstclassworkmaynothaveallofthecharacteristicsabove,butallsuchworkwillhavefew,ifany,negativecharacteristics

Acknowledgement.SomepartsofthisdocumentarebaseduponideasinsimilardocumentsproducedbytheUniversityofStAndrewsandtheUniversityofReading.


AppendixII:CriteriaforMarkingMainInstrumentExam

Marks

(%)

DetailedComments

Interpretation

Technique

PresentationandProgramme

OverallImpression

90-100 Individualandoriginalinterpretation.Displaysdeepinsightandresearch.

Flawlesstechnique.Programmeexceptionallyexecuted.

Senseofflairandconfidence/securityneverindoubt.Acommunicativeperformancewhichdisplaysahighlevelofindividualityandsenseofinvolvement.

Exceptional/ProfessionalStandard

80-89 Imaginativeandexpressiveinterpretation,displayinginsightandresearch.

Excellenttechnicalperformancewithnoreservations.

Senseofflairandconfidence/securityneverindoubt.Anengagingandindividualperformance.

Outstanding/

ProfessionalStandard

70-79 Matureinterpretation,withinsight,perhapslacksflairneededformarkover80%.Musicallymatureanddisplayingexcellentsensitivity.

Excellenttechnicalperformancewithvirtuallynoreservations.Aversatileandfluenttechnique.Excellentcontrol.

Anaccomplishedandconfidentperformance,displayingexcellencebothtechnicallyandmusically,withasenseofinvolvement.

Musicallymature.Excellenttechnicalabilityandcontrol.

66-69 Convincinginterpretationwithinsight,butrequiresahigherlevelofindividualityandsubtletyforahighermark.Showsverygoodpotentialandagoodlevelofmusicalityandsensitivity.

Mostlytechnicallyassured,withsmalltechnicalmisjudgements/lapses/errors,whichonlymarperformanceintheshortterm.Wellcontrolledoverall

Aconfidentandcommunicativeperformance.Well-presentedprogramme.

VeryGood

60-65 Convincinginterpretationformostpart,butrequiresawidervarietyofexpressionandawarenessofmusicalformetc.forahighermark.Showsgoodpotential,butrequiresmorepreparation,insightand/or

Good


research.

Sometechnicallimitations,whichslightlymarredoverallperformance.Ingeneral,wellcontrolled.

Agenerallyconfidentlypresentedperformancewithsomesenseofinvolvement.

56-59 Reliableperformance,displayingsomelarge-scalemusicalunderstanding.Standardapproachlacksindividuality.

Overalltechnicallyreliable,butlacksversatilityandease.Flawsintechnicalcontrolmanagementoftoneandintonationmaroverallimpression.

Reasonablyconfidentpresentation,butlacksinvolvement.

Reliable

50-55 Displayssomemusicalunderstanding,butlacksvarietyandstyle.

Satisfactorytechnique,butlackingincontrolandversatility,whichrestrictsmusicalinterpretation.Flawsintechnicalcontrolmanagementoftoneandintonation,whichmaroverallimpression.

Presentationissatisfactoryandfairlyconfident,butlackingininvolvement.

Satisfactory

Average

46-49

Displayssomemusicalunderstanding,butlacksoverallvarietyandstyle.Evidenceofsomeoverallcoherence.

Technicallylimitedordisplayinglackofpreparation,howeverstillkeepsasenseofcontinuity.

Lackofinterest.Notengaged.Somewhathesitant,butkeepsasenseofcontinuity.

Fair

Adequate

40-45 Basiclevelofmusicalunderstanding.Perhapssomesmall-scaleevidenceofmusicalunderstanding/interpretation,butdisplaysnooverallsenseofdirectionorplan.

Technicallylimitedordisplayingsomelackofpreparation.Keepssomesenseofcontinuity.

Lacksassurance/displayingnerves.Hesitant,butstillkeepsasenseofcontinuity.

Fair

30-39 Littleevidenceofmusicalunderstandingorinterpretation.Performancemaybeseriouslytechnicallyweakthatitbecomesdifficulttojudgeinterpretation.

Serioustechnicallimitations,whichseriouslymartheoverall

Poor

Inadequate


Interpretation/musicalunderstanding/expressiveness

Expressiveness:varietyofarticulation,timbre,tone,dynamics,colour

Phrasing

Rhythmicsubtleties/senseoftiming

Appreciationofstyle

Awarenessofvoicings/senseofline

Awarenessofform

Awarenessofaccompaniment(ifappropriate)/ensemble

Technique

Technicalfacility

Tonequality

Clarityofarticulation

Intonation

Rhythmicsecurity

Accuracy

Fluency

Versatility

PresentationandProgramme:

performanceand/orseriouslyunderprepared.Lackofcontinuity.

Disjointedandfalteringperformance.Notincontrol.

29andbelow

Noevidenceofmusicalunderstandingorinterpretation

Technicallyincoherent.Noevidenceofadequatepreparation.

Extremelydisjointed.

VeryPoor


Presentation:

Stagepresenceandconduct

Communication

Confidenceandassurance

Programme:

Choiceofprogramme

Balanceofprogramme

Levelofdifficultyv.levelofstudent

Levelofdifficultyv.yearofstudy

Instrumentconsiderationswithregardtorepertoire


AppendixIII: CriteriaforMarkingSchoolPlacement

SeniorSophister

Marks

(%)

DetailedComments

Subjectexpertise

Teachingexpertise

Professionalism

OverallImpression

70-100 Excellenttooutstandingcomprehensionofthesubject,exhibitsindependenceofjudgment,deepinsight,imagination,creativity,integrationofactivitiesandmaterial.

Excellenttooutstandingteaching,exceptionallyexecutedwithhighlevelofstudentengagement,soundtheoreticalbasis.

Excellenttooutstandingprofessionalbehaviour.

Excellenttooutstanding

60-69 Verygoodtoexcellentcomprehensionofthesubject,exhibitsindependenceofjudgment,insight,imagination,creativity,integrationofactivitiesandmaterial.

Verygoodtoexcellentteaching,verywellexecutedwithhighlevelofstudentengagement,soundtheoreticalbasis.

Verygoodtoexcellentprofessionalbehaviour.

Verygoodtoexcellent

50-59 Goodtoverygoodcomprehensionofthesubject,imagination,creativity,integrationofactivitiesandmaterial.

Goodtoverygoodteaching,wellexecutedwithgoodstudentengagement,sometheoreticalbasis.

Goodtoverygood


GoodtoVeryGood,professionalbehaviour.

40-49 Satisfactorytogoodcomprehensionofthesubject,imagination,

Creativity,integrationofactivitiesandmaterial.

Satisfactorytogoodteaching,adequatelyexecutedwithgoodstudentengagement.

Satisfactorytogood,professionalbehaviour.

Satisfactorytogood

Below40

Inadequatecomprehensionofthesubject,imagination,creativity,integrationofactivitiesandmaterial.

InadequateTeaching,poorlyexecutedwithpoorstudentengagement.

Inadequateprofessionalbehaviour.

Notsatisfactory


AppendixIV:Criteriaformarkingcompositionportfolio

80+

Thismarkshouldrarelybeawarded–onlyiftheworkisofthehighestqualityofcompositionaloutput.Aportfolioofcompositionsinthiscategorywilldisplaycompletefluencyinallaspectsoftechnicalskills.Itwillbestylisticallyassured,displayingcompletecommandofallmusicalmaterialandwilldisplayahighleveloforiginality.Thepresentationshouldbevirtuallyflawless.

70-79

Theworkwillbeofexcellentquality,displayingcompositionalflairthatembodiestechnicalandstylisticcompetencewithoriginalthought.Thepresentationshouldbeimpeccable.

60–69

Theworkshouldbesolid,wellcrafted,original,displayingstylisticcompetenceandanoverallcommandoftechnicalskills.Thepresentationshouldbeverygoodcontainingonlyminortechnicalandstylisticerrors.

50–59

Well-craftedworkgenerally;structurallysound,withacertainamountoftechnicalproficiencyalbeitnotveryassuredinthehigherleveloforchestration.Stylisticallyitcontainsminorerrorsandisgoodoverall,butnotwelldevelopedinoriginalthoughtprocesses.

40–49

Reasonablework;sufficient,butlacksoriginalthoughtprocesses.Displayscertainknowledgeofstyleandstructure,butlacksthetechnicalfacilitytodeveloptheworkfurther.

35–39

Workcontainssomemeritandevidenceofefforttogetherwithfrequentweaknessesofstyle.Itlackstechnicalproficiency,originalityandisofpoorqualityandpresentation.

30–34

Theportfoliocontainsseriousweaknessesthroughout:devoidoftechnicalfacilityandstylisticassurance.Itisnotoforiginalquality.


APPENDIXV:EuropeanCreditTransferSystem(ECTS)

TheEuropeanCreditTransferandAccumulationSystem(ECTS)hasbeenintroducedinTrinityCollegeDublin,andappliestoallundergraduateandtaughtpostgraduateprogrammes.

ECTScreditsrepresentthestudentworkloadrequiredtoachievethedesiredoutcomesofmodulesandprogrammeswhere60creditsisthenormforfull-timestudyoveroneacademicyear(40weeks).ECTScreditsareassignedtocoursecomponents/modulesincorporatingtheirassociatedassessmentexercisesandexaminations,andalsotootherformsofstructuredstudentinput,suchasmajorprojects,dissertations,practiceplacements,etc.wherethesedonotformpartoftheassessmentforataughtcomponentwhichisitselfassignedECTScredits.

Creditsareobtainedbyindividualstudentsuponsuccessfulcompletionoftheacademicyearorprogramme.However,one-yearandpart-yearvisitingstudentsareawardedcreditforallindividualmodulessuccessfullycompleted.

Background

TheEuropeanCreditTransferSystem(ECTS)wasfirstintroducedin1989bytheEUCommissionasameansoffacilitatingstudentmobilityintheEU(mainlyinthecontextoftheErasmusprogramme)byprovidingacommonsystemfortherecognitionofacademiccreditbetweenhighereducationinstitutionsoperatinginwidelydifferingnationaleducationalsystems.

TheECTSwasidentifiedintheBolognaDeclarationasbeingkeyto"promotingthemostwidespreadstudentmobility".In2004,theECTSwasre-definedinordertopromotegreaterconsistencyinitsapplication,sothatitmightserveasthebasis,notonlyforshort-termtransferbetweeninstitutions,butalsoforcreditaccumulationandfortransferbetweeninstitutions,cyclesandHEsectorsinbothnationalandtransnationalcontexts,includinginsupportofjointdegrees.Itwasalsobeenformallyre-namedtheEuropeanCreditTransferandAccumulationSystem.UndertheBolognaProcess,thesystemofcreditsmustapplytobothfirst(bachelor)andsecond(master)cycles.

KeyFeatures

"ECTSisalearner-centredsystemforcreditaccumulationandtransferbasedonthetransparencyoflearningoutcomesandlearningprocesses.Itaimstofacilitateplanning,delivery,evaluation,recognitionandvalidationofqualificationsandunitsoflearningaswellasstudentmobility.ECTSiswidelyusedinformalhighereducationandcanbeappliedtootherlifelonglearningactivities...ECTScreditsarebasedontheworkloadstudentsneedinordertoachieveexpectedlearningoutcomes."(ECTSUsers'Guide,2009(PDF))

TheECTSisbasedontheprinciplethat60creditsmeasuretheworkloadofafull-timestudentduringoneacademicyear.

CreditsinECTScanonlybeobtainedaftersuccessfulcompletionoftheworkrequiredandappropriateassessmentofthelearningoutcomesachieved.


Theassignmentofcreditsisbasedonthetimerequiredtocompleteinaparticularcourse,intermsofclasscontact,prescribedwrittenorverballypresentedassessmentexercises,privatestudy,examinations,clinicalattendanceandprofessionaltrainingplacements,asappropriatetothestudyprogrammeinquestion.Creditsareallocatedtoallcomponentsofthestudyprogrammeincludingmajorprojects,theses,placements,etc.UndertheBolognaProcess,thesystemofcreditsmustapplytobothfirst(bachelor)andsecond(master)cycles.

SeealsoEUCommissionwebsite


APPENDIXVI:CoverSheet

TRINITYCOLLEGEDUBLIN

InassociationwithDITandRIAM

ASSIGNMENTCOVERSHEETBMUSEDCOURSE

PleasecompleteacoversheetinfulleverytimeyousubmitworkforthecoursestaughtontheBMusEd.Noworkwillbeacceptedwithoutacompletedcoversheet.

AllworkforTCDmustbesubmitteddirectlytotheSchoolofEducationoffice,Room3087,ArtsBuilding,TrinityCollege,Dublin2.


SchoolofEducation

BachelorinMusicEducation

COVERSHEET

Beforesubmittingworktobeassessed,studentsshouldfamiliarisethemselvesfullywithadviceonavoidingplagiarismavailableat:http://tcd-ie.libguides.com/plagiarism

Iconfirmthat:IhavereadandIunderstandtheplagiarismprovisionsintheGeneralRegulationsoftheUniversityCalendarforthecurrentyear,foundat:http://www.tcd.ie/calendar

IhavealsocompletedtheOnlineTutorialonavoidingplagiarism‘Ready,Steady,Write’,locatedathttp://tcd-ie.libguides.com/plagiarism/ready-steady-write

Signed:________________________

Incaseofdeadlineextension,pleasecompletethefollowinginformation:

Extendedduedate:_____________________________

Reasonforextension:___________________________

Medicalcertprovided?:_________________________

Moduleco-ordinatorsignature:___________________

NAME

STUDENTNUMBER

MODULETITLE

NAMEOFLECTURER

DATESUBMITTED


APPENDIXVII:BMusEd/PMECourseCalendar:

Date Event

August-September2017 InvitationtoRegisteronapplicationportal

4September–22September SchoolPlacementBlockSS

August28th-15thDecember SchoolPlacementBlockJS

18September–22Sept2017 InductionWeek

26September2018 Semester1lecturesstart

30October4November2017 Schoolmid-term:nojointPMElectures

6–10November2017 ReadingWeek:nolectures

6-10November2017 QuaverstoQuadraticsNCH

17December2017 Semester1lecturesend

18December2017–15January2018 Collegevacation:nolectures

8-13January2018 Examweek

8-19January2018 SchoolPlacementforthosegoingonErasmusYear2

19January–May29 ErasmusYearSF

15January2018 Semester2lecturesstart

19-23February2018 Schoolmid-term:nojointPMElectures

26February-2March2018 Readingweek:nolectures

26February–2March2018 QuaverstoQuadraticsNCH

5–19March2018 SchoolplacementblockSF(UnlessonErasmus)

20March2018 Fullcollegescheduleresumes

6April2018 Semester2lecturesend


APPENDIXVIII:FORDITSTUDENTSONLY–PermissionforengagementineventsoutsidetheConservatory

DublinInstituteofTechnology

CollegeofArtsandTourism

ConservatoryofMusicandDrama

PermissionforengagementineventsoutsidetheConservatory

AllstudentsmustobtainwrittenpermissiontobeabsentfromtheConservatoryofMusicandDramaifundertakingoutsideengagements(absenceisnotpermittedduringschoolplacement).Ifapproved,astudent’snon-attendanceatensemblewillberecordedasanexcusedabsence.Studentsareresponsibleforcatchinguponacademicworkmissed.IfastudentchoosestobeabsentfromtheConservatoryandmissesanassessment,classtest,oranypracticalexamination,themarkswillbeforfeited.Bysigningthisform,studentsaccepttheseconditions.

AllapplicationsforabsencesshouldbesenttotherelevantHODatleasttwoweeksbeforetheproposedabsence.Youmusthavethesupportofyourprincipalstudylecturer.

Pleasecompletethefollowing,givingasmuchdetailaspossible:

Name:____________________________ Instrument:__________________

Course:_____________________ Year:_______________


Pleasestatethereasonforyourabsenceandgivethedatesyouwillbeabsentfromcollege:

Pleaselistallacademicandpracticalclassesthatwillbemissed:

Arethereanyclass/practicaltestsscheduledduringyourproposedabsence?

Yes:Pleaselist:

No

Pleaselistany/allensemblerehearsals/performancesthatwillbemissed:

STUDENTDECLARATION

Ifmyapplicationisaccepted,Iamawarethatisitmyresponsibilitytocatchuponworkmissed.IfImissanassessment/classtest/practicalexamination,Iunderstandthatthemarkswillbeforfeited.

Signed:_______________ Date:_____________

Forofficeuseonly

PrincipalStudyTeacher

Isupportthisapplicationfortheabovestudenttobeexcusedfromtheabove


classes/ensembles

Idonotsupportthisapplicationfortheabovestudenttobeexcusedfromtheabove

classes/ensembles

Signed:____________________________ Date:________

HeadofDepartment/HeadofAcademicStudies

PermissionGranted

PermissionDenied

Signed(HOD):____________________________ Date:______

HeadsofDepartment:

PleaseconsultwiththeHeadofAcademicStudies.Informthestudentofthedecisionassoonaspossibleandinformthedirectorofthestudent’sdesignatedensembleandthestudent’sprincipalstudyteacher.Pleasesendacopyofthisdocumenttotherelevantprogrammechair,sothatacademicstaffcanbeinformed.


APPENDIXIXTCD:Permissionforengagementinoutsideeventsduringteachingterm

BachelorinMusicEducation

SchoolofEducation

TrinityCollegeDublin

Permissionforengagementinoutsideeventsduringteachingterm

Allstudentsmustobtainwrittenpermissiontobeabsentfromclass(absenceisnotpermittedduringschoolplacement)ifundertakingoutsideengagements.Ifapproved,astudent’snon-attendancewillberecordedasanexcusedabsence.Studentsareresponsibleforcatchinguponacademicworkorclassroom-teachingmissed.Ifastudentchoosestobeabsentandmissesanassessment,classtest,oranypracticalexamination,themarkswillbeforfeited.Bysigningthisform,studentsaccepttheseconditions.

Allapplicationsforabsencesshouldbesenttothecourseco-ordinatoratleasttwoweeksbeforetheproposedabsence.Shouldtheabsencecoincidewithschoolplacement,bothheadsofdepartmentandco-operatingteachersmustbeinformedbeforetheschoolplacementtakesplace.

Pleasecompletethefollowing,givingasmuchdetailaspossible:

Name:__________________________

Course:_____________________ Year:_______________

Pleasestatethereasonforyourabsenceandgivethedatesyouwillbeabsentfromcollegeand/orschool.


Pleaselistallacademicclassesand/orTPclassesthatwillbemissed:

Arethereanyclass/practicaltestsscheduledduringyourproposedabsence?

Yes:Pleaselist:

No

Pleaselistallclassesthatwillbemissed:

STUDENTDECLARATION

Ifmyapplicationisaccepted,Iamawarethatisitmyresponsibilitytocatchuponworkmissedand/ortomakeuptheteachinghoursthatImissed.IfImissanassessment/classtest/practicalexamination,Iunderstandthatthemarkswillbeforfeited.

Signed:_____________________________ Date:_____________

Forofficeuseonly

CourseCo-ordinator/Co-operatingteacher

Isupportthisapplicationfortheabovestudenttobeexcused.


Idonotsupportthisapplicationfortheabovestudenttobeexcused.

Signed:____________________________ Date:________

CourseCo-ordinator/Co-operatingteacher

PermissionGranted

PermissionDenied

Signed:_______________________Date:____________

[email protected]


AppendixX:EthicsApproval

TrinityCollegeDublin

SchoolofEducation

ResearchEthicsApprovalforallStudentsandSupervisors

(2017/2018)

TheSchoolofEducationisthesiteofalargenumberofresearchprojectscarriedoutbystaffandstudentsandisawareoftheresponsibilitiesanddutiesthatsuchworkinvolves.TheSchooliscommittedtotheconductofhigh-qualityresearchthatisguidedbythelatestunderstandingsofresearchethicsandtheirplaceinallresearchdesign.

TrinityCollegeDublinrequiresthatallresearchcarriedoutbystudentsandstaffoftheSchoolofEducationrequiresethicalapproval.

Pleasenotethatitistheresponsibilityofstudentstodownloadtheethicsapprovalformfromthewebsiteandtoworkwithandobtainsign-offfromsupervisors.

StudentsandstaffsubmittheirapplicationsforethicalapprovaltotheResearchAdministrator,usingtheprocedureandformswhichareavailableontheresearchethicspageoftheSchoolwebsite:http://www.tcd.ie/Education/ethics/