The subject "Listening Education" is one of the five subjects that make up the music major and is optional. However, listening and aural education are the foundations of music education: on the one hand, when we carry out any musical practice we have to use listening; on the other hand, to work on and develop active listening, we use different resources such as the body, the voice, instruments, etc. that are used in musical practice. Therefore, this subject is directly related to the other subjects of the mention.

After taking the subject "Music in Primary Education" in the 2nd year of the Primary Education degree, the subject "Auditory Education" aims to develop active listening in order to better perceive and understand sound and what happens in the musical process, as well as to develop sensitivity and a taste for music. The aim is to move from "hearing" to "listening" and from there to "understanding", with the aim of evaluating and enjoying the musical work.

Through the analysis of musical auditions from different periods, styles and cultures, the understanding of different characteristics of music is promoted, as well as the importance of sound and silence. In addition, didactic proposals are made which can be carried out in the Primary Education classroom using different resources, in order to learn and practice how to significantly develop the listening skills of future students at this educational stage.

It is not compulsory to have specific knowledge in order to take this subject. However, interest and previous experience in musical language and practice, both formal and informal, are elements that will help students to connect with the subject and obtain satisfactory results.

Competence 1:

Perform active and conscious listening, adopting the appropriate attitude and developing attention and memory.

Learning outcomes (RA):

LO1- Maintains an appropriate listening attitude, listens actively and in silence.

LO2- Listens attentively and identifies the main characteristics of the piece of music.

LO3- In order to develop auditory memory, listens to increasingly longer pieces of music and is able to name their main characteristics.





Competence 2:

Listen, discriminate and understand different parameters of sound and elements of musical discourse.

Learning outcomes (RA):

LO4- Recalls and repeats sounds and fragments of musical pieces.

LO5- Can define and describe sounds and pieces of music

LO6- Recognises and identifies the different characteristics of sounds and musical pieces and is able to make comparisons and evaluations.

LO7- Is able to select and use appropriate musical works to create different activities and didactic proposals.



Competence 3

Knowing and analysing musical works of different styles, cultures and periods using specific words of the musical field.

Learning outcomes (RA):

LO 8- Identify and analyse musical works of different styles, cultures and periods differentiating and taking into account their characteristics and using specific words from the musical field.



Competence 4

Reflect on and value what is listened to and enjoy listening.

Learning outcomes (RA):

LO9- Have criteria to value what they have listened to and express personal opinions, also showing their tastes and interests.



Competence 5

Create different didactic proposals, activities or games to work on listening in the classroom, using different resources.

Learning outcomes (RA):

LO 10- Creates, designs and develops didactic proposals suitable for the school classroom, using different resources.

-Musical hearing and aural skills.

-Perception of musical parameters: duration, pitch, timbre and intensity.

-The perception of musical discourse: form and texture.

-Listening to works of different styles: folklore and the history of western music.

-Listening to music at school. Resources and didactic proposals.

Project Based Learning (PBL) and cooperative methodology will be used.

In the lectures, the teacher will act as a guide, giving clear references and brief explanations while developing activities with the whole group, using a practical methodology centred on the students. Students will be participants and protagonists of their learning; during the activities, they will internalise the contents, develop the competences and achieve the learning outcomes (RA 1,2,3,4 and 5). After the experience, students will reflect from a constructivist point of view that will allow them to acquire new knowledge and make their learning meaningful. Occasionally, work will be carried out in pairs (peer instruction) or individually. The inverted classroom will be used to encourage autonomous student work. At the end of each topic, the teacher or the students will summarise what they have worked on. In addition, at the beginning of each class, the teacher will present what is going to be developed in that session.

Likewise, in the practical classes and in order to increase students' motivation, as well as to internalise what has been worked on, students will develop different classroom practices divided into small groups (about 4 students): they will create short activities using different resources and approaching their future professional situation (RA 6, 7, 8, 9 and 10). Before the end of the class and in order to guarantee the students' responsibility, each group will present their work to the other students and the teacher and receive feedback, so that they become aware of their learning process, their needs for improvement and also develop their critical judgement. Seminars will be used to present, carry out and guide the group work.

Students will create three group works: a theoretical one called "A podcast on listening". In this case, they will select and develop a topic by searching a bibliography and using the APA norms (RA 10). The second one will be a creative work, called "Sound walk and soundscape", in which they will have to reflect on what they have learnt to create a short piece of music (RA 3, 4, 5, 6 and 9); the third one will be a didactic work called "Auditory education at school". They will have to create and develop a series of activities oriented to the school classroom, which they can use in their future work as teachers (RA10). The work will be collaborative and cooperative.

On the other hand, students will have to review what they have worked on in class and complete the group work.

The egela platform will have available the material used in the subject and the work done by the groups of students.

Likewise, communication between students and the teacher will be facilitated through egela and e-mail. Students will be able to use the tutorial hours to solve doubts and improve their learning process. The teacher will be able to call individual tutorials if necessary (these may be face-to-face or online).

Finally, inclusion, respect for diversity and gender equality are guaranteed in this subject. In order to provide an adequate response to students with special needs, coordination is maintained with the Service for People with Disabilities of the UPV/EHU.

• Continuous Assessment System
• Final Assessment System
• Tools and qualification percentages:
  • Written test to be taken (%): 40
  • Realization of Practical Work (exercises, cases or problems) (%): 10
  • Team projects (problem solving, project design)) (%): 50

Continuous assessment: during the course students must take several tests and pass all of them (written tests, oral presentations, group work).

Assessment is continuous. The student's process, the development of competences and the acquisition of learning outcomes are assessed.

However, according to the regulations, students have the right to be assessed through the final assessment, regardless of whether or not they participate in the continuous assessment. In order to exercise this right, students must submit a written waiver of continuous assessment to the lecturer, for which they will have a period of nine weeks from the beginning of the four-month period, taking into account what is established in the Faculty's calendar.

Continuous assessment, if the situation so requires, may be carried out through egela, i.e. by uploading the materials necessary for the assessment (deliverables, practicals, etc.) as well as the grade. Students taking the final assessment may also do so via egela if it cannot be carried out in person.

Extraordinary call:

It will be carried out exclusively through the final assessment system: students will take a test composed of several activities (written test and presentation of work) and must pass all of them on the official date established for this purpose.

Basic bibliography

Bernstein, L. (2002). El maestro invita a un concierto. Siruela.

Copland, A. (1994). Cómo escuchar la música. Fondo de cultura económica.

Espinosa, S. (2006). Ecología acústica y educación. Bases para el diseño de un nuevo paisaje sonoro. Graó.

Macho, E. & Elejalde, M. J. (2014). Física y prevención del daño acústico. Alambique. Didácticade las ciencias experimentales, 78, 70-77.

Martí, J. M. (2017). Cómo desarrollar el oído musical. Redbook ediciones.

Schafer, R. M. (2013). El nuevo paisaje sonoro y la afinación del mundo. Intermedio.

Willems, E. (2001). El oído musical. La preparación auditiva del niño. Paidós.

Wuytack, J. & Boal Palheiros, G. (2009). Audición musical activa con el musicograma. Eufonía. Didáctica de la música, 47, 43-55.

In-depth bibliography

Aguilar, M. C. (2006). Aprender a escuchar música. Machado libros.
Alsina, P. & Sesé, F. (1994). La música y su evolución. Historia de la música con propuestas didácticas y 49 audiciones. Graó.
Baca Martín, J. A. (2005). La comunicación sonora. Biblioteca nueva.
Berard, G. (2003). Reeducación auditiva para el éxito escolar y el bienestar emocional. Biblioteca nueva.
Delalande, F. (1995). La música es un juego de niños. Paidós.
Hernández Freixinós, J. (1996). La “otra partitura”. Eufonía. Didáctica de la música, 3, 121-130.
Malagarriga, T. & Valls, A. (2003). La audición musical en la Educación Infantil. Propuestas didácticas. Ediciones Ceac.
Martí, J. (2009). Como el aire que respiramos: músicas ambientales en espacios de la cotidianeidad. Música oral del Sur, 8, 163-175.
Meyer, L. B. (2001). La emoción y el significado en la música. Alianza Música.
Montoya Rubio, J. C., Montoya Rubio, V. M., & Francés Ariño, J. M. (2009). Musicogramas con movimiento. Un paso más en la audición activa. ENSAYOS. Revista de la Facultad de Educación de Albacete, 24, 97-113.
Montoró, M. P. (2004). Audiciones musicales activas para el aula. Madrid: Editorial CCS.
Paynter, J. (1990). Oír aquí y ahora. Buenos Aires: Ricordi.
Riera, T. (2000). Evolución del arte musical. Historia, estilos y formas. Barcelona: Ediciones del Bronce.
Schafer, R. M. (1992). Hacia una educación sonora. Pedagogías musicales abiertas.
Schafer, R. M. (1985). Limpieza de oídos. Ricordi.
Romero, J. P. (2011). M de Música. Barcelona: Liberduplex.
Storr, A. (2007). La música y la mente. Barcelona: Paidós.

Journals

MÚSICA Y EDUCACIÓN
EUFONÍA. DIDÁCTICA DE LA MÚSICA
DOCE NOTAS
LEEME, Revista electrónica de Educación Musical
RIEM, Revista Internacional de Educación Musical
RECIEM, Revista Electrónica Complutense de Investigación en Educación Musical