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1 Course Description 1. Information on the academic program 1.1.Higher education institution 1.2.Faculty 1.3.Department 1.4.Field 1.5.Study cycle 1.6.Program / Qualification Spiru Haret University Fine Arts Fine Arts Musical Education Licence Musical teaching 2. Information concerning the course subject 2.1. Name of subject Musical education systems 2.2. Code of subject muz 3610/sem.5; muz 3611/sem Course organizer Ph.D. Lecturer Luminita Pogaceanu 2.3.Seminar organizer Ph.D candidate Catalina Moisescu 2.4. Year of study III 3.5.Semester 3. Estimated time (hours per semester) of teaching / learning activities 3.1 No. hours per week of which course 1 seminary / lab hours: 1 hours: 3.4 No. hours in the curriculum of which course hours: 1 oră seminary / lab hours: 1 oră Distribution of teaching / learning time ore Study of textbook, syllabus, bibliography and course notes Further study in library, on electronic platforms, fieldwork Preparation of seminars / labs, home assignments, papers, portfolio, essays Tutoring 1 Examinations 1 Other 3.7 Total hours of individual study 3.9 Total hours per semester 3.10 No. of credits 4. Prerequisites (where relevant) 4.1 curriculum-related the student must research new orientations in music teaching and music theory (concepts, methodes of vocalisation from the currculae of many universities, romanian or foreign) 4.2 competence-related the student must acquire knowledge of the two subjects described above, from experience, reading and practice 5.1. for the course lectures must be held in halls with audiovisual support: computer, CD, projector and classical materials (boards, books, games collections, solfege collections) 5.2. for seminary/lab seminaries will be held using the same teaching materials: computer, CD, projector and classical materials (boards, books, games collections, solfege collections) 6. Competences acquired during / after the course

2 Professional competences Transversal competences Knowledge (cognitive dimension) 1. Specialised knowledge in the study field (theoretical knowledge, understanding explaining interpreting theoretical data related to musical education systems) Abilities (functional- actional dimension) 2. capacity to characterise each system and establish a diachronic hierarchy; - argumenting the priority of new resources by modern teaching theories; - displaying the algorythm of relative solmisation and solmisation with absolute heights; - cause and effect in synchronising the musical instrument with anatomopathological posibilities and musical skills of the student. 3. solmisation of scores by differnte semiographies; - writing down some scores using various notations systems from european countries. Transversal competencies as issues related to role competencies Transversal competencies - indicate skills (theoretical, practical, behavioural) which transcend universitary specializing and have an interdisciplinary nature (surpass the borders of matter X, comprise matters of socialising, communication, character psichology, interest building up etc) For example: a) Communication related skills on short/medium term: forming and developing skills of oral and written communication in musical education domain, team work, social interaction, tasks distribution inside the team, accepting qualified assistance, self-teaching. b) Self development and personal skills for the student: developing entreprenuership feeling in musical teaching domain, problem solving and decision making, continous selfimproveing, respecting professional ethics, self awareness in musical teaching domain (arogance, modesty, recognitionf of professional and ethical qualities and faults) ; c) transdisciplinary skills: acknowledging the need for IT., ability to use multicultural elements (respect, acknowledgement needed to practice european and transeuropean musical teaching) 7. Course objectives (as resulting from the matrix of specific competences) 7.1 Course goals 1. Skilled knowledge in the study field (theoretical understanding, explaining interpreting theoretical data). 2.Specialised skills (creative, applied to instrument) 3.Attitudes according to the ethics of teacher singer composer. 7.2 Course objectives 1.- capacity to characterise each system and create a diachronic; - argumenting the priority of new resources by modern teaching theories; - displaying the algorythm of relative solmisation and solmisation with absolute heights; - cause and effect in synchronising the musical instrument with anatomopathological posibilities and musical skills of the student. 2. scores solmisating by different semiographies; - writing down some scores using various notations systems from european countries quality to appreciate the multicultural diversity of musical education; - ability to work with people from other domains in order to find new interpretations for musical education. 8. Contents 8.1 Course Teaching methods Observations Course 1. Classification of musical education systems. Musical education definition, Classification of theaching systems based on the final purpose (goals duties, framework objectives - general competencies) - conversation and exposure - demonstrations; - explanatory presentations; - students interaction, - encouraging of dialogue and controversy, Homework presentation will be done using multimedia means (PC) if necessary.

3 Course 2. Classification of musical education based on age (periods / stages) Course.3 Classification based on type of educations : vocal or instrumental. Course.4 Student repertory following the changes brought on by active musical school Course.5 Classification of stundet repertory on quantitative and qualitative cirterium of rhythmic and sound systems used in correlation with the age and level of musical Course.6 The problems regarding correspondence betwen the plays ambitus and voice ranges. Course.7 New resources in musical education. Musical game as playful ideal. Course.8 Musical active listening. Musical active audition. Audiţia muzicală activă.visions on the way the sound environement and the music itself are metamorphing into resources for musical education: Montessori and Martenot methods. Course.9 Visions on the way the sound environement and the music itself are metamorphing into resources for musical education: Kabalevski and Suzuki methods Course.10 Solemising between XI-XVII centuries.relative solmisation. Solemising in conception of Guido d Arezzo. Course.11 Music: vera-musica ficta.tablatures. Course.12 Solimisation expansion: bocedization and naming sounds according to Gibelius. Course.13 New ways (methods) to make musical reading-writing more accessible) in XVIII-XIX centuries. Course.14 Writing and reading by numbers of musical tablatures. Methdos from France, XVIII-XIX centuries:jean Jacques Rousseau,Pier Galin,Emile Joseph Cheve. Course.15 An innovation in tablatures solmisation: English method of Sarah Glover and John Curwen from XIXth century. Course.16 Other means used in musical education unitl XIX century: poetic music, intuitive teaching ways: musica poetica,:dactiloritmia, guidon hand and the neumes as phonomimic techniques. Course.17 Other means used until XIXth century: musica poetica,intuitive means: silent stave,ortofone. - questioning, - creative problem solving, - using imagination - excersising. Course.18 Means of musical reading and writing in XXth century active school. General overview.

4 Course.19 Methods of active school in France and Switzerland. Course.20 Chevais method for training a child for choir. Martenot method for psycho-phisical initiation of pianist child. Course.21 Gedalge solimisation method. Dalcroze method musical initiation through body movement and dance, Course.22 Willems of key reading. Course.23 Rhythm as starting point in musical education of Orff-Schulwerc. Course.24 Universal sonic ethnic means: Kodaly method. Course.25 Edlund method for atonal solimising. Course.26 Few usages of PC in musical teaching. Introductory notes. Preiferal units. Software use. Personal computer in musical education. 8.2 Seminary / lab Teaching methods Seminar.1 -questioning, Problems rasied by the education system concept -dialogue and controversy, -creative problem solving, -discussion and reading group, -case study, -synectics, -imagination, Seminar.2 Analysing psychological and psychodynamical marks of psychic development cycles and stages. Seminar.3 Vocal and instrumental development cycle and stages as a mark for calssification -exercise. Observations Using books, questioning, creative controversy, interdisciplinary modeling, algorythms Seminar.4 Analysing a collection of student songs. Active schools and adjusting the school repertoire to its necessities. Seminar.5 Rythm and sound systems in music theory in parallel with classical teaching systems. Seminar.6 Analysis of few student songs in order to show correlation between play ambitus and vocal range of children. Seminar.7 New teaching resources in musical education. types of musical games.

5 Seminar.8 For and against some issues related to musical audition at Montessori and Martenot Seminar.9 For and against some issues related to musical audition at Kabalevski and Suzuki. Seminar.10 Issues related to absolute an relative solmisation. Actuality of solmisation of Guido d Arezzo. Limitations of Guido d Arezzo method. Seminar.11 Concept actuality and limitations Seminar.12 Concept actuality and limitations of Gibelius. Seminar.13 Analysis of modern, neoclassical scores. Seminar.14 Actuality and limitations of Jean Jeaques Rousseau,Piere Galin and Emile Joseph Cheve methods. Seminar.15 Analysis of Sarah Glover and John Curwen scores. Actuality and limitations. Seminar 16. Intuitive teaching means: dactiloritmia, guidon hand and the neumes as phonomimic techniques. Actuality and limitations. Seminar.17 intuitive means: silent stave,ortofone. Actuality and limitations. Seminar.18 Issues related to the actuality and limits of active musical scools. Seminar.19 Maurice Chevais phonomimics as a mean to develop the expresivity of conductoral gestures. Musical notation in scores solfaing in France. Musical education in schools must be vocal. Musical education in schools must be playful. Musical education in schools must be of sound and voice, of pleasure, not of sight. Teaching materials:rhythmic domino and loto Reading majos and minor in Maurice Martenot scores. Different height of sounds, rhythm formulae, sound material. Actauality and limits. Seminar.20 Practical applications of Andre Gedalge solfaing method. Practical applications of Dalcroze assertions. Score solfaing according to Dalcroze method. Actuality and limits. Aplicaţie practică de enunţuri Seminar.21 Solfaing with Willems method. Actuality and limitations. Practical applications with xilophon and blokflote. Seminar.22 Relative solfaing and repertoir according to Kodaly method. Actuality and limitations. Seminar.23 Atonal solfaing with Edlund method. MODUS NOVUS analysis. Testing musical skills according to Edlund. Seminar.24 Personal computer introduction

6 Bibliography Gabriela Munteanu: Sisteme de educaţie muzicală- Editura Fundaţiei România de Mâine, 2008 Supplemental bibliography 1.Csire Iosif: Educaţia muzicală din perspectiva creativităţii. Universitatea de Muzică Bucureşti Munteanu Gabriela : Teoria Muzicii-Solfegiu-Dicteu muzical. Editura Fundaţiei România de Mâine Munteanu Gabriela : Jocul didactic muzical, Editura Academiei de Muzică -Bucureşti Vasile Vasile : Metodica educaţiei muzicale.editura muzicală, Bucureşti 2006 Bibliography 1. Coman Lavinia: Vrei să fii profesor de pian? Editura U.N.M.B Dewey John: Fundamente pentru o ştiinţă a educaţiei. EDP. Bucureşti Edlund Larst: Modus novus- Traducere şi adaptare de Ovidiu Giulvezan şi Arthur Funk. Universitatea din Timişoara- Facultatea de arte Gastoue Amedee: Arta gregoriană, Editura muzicală Huizinga Johan: Homo ludens. Editura Humanitas Kabalevski, Dmitri Borisivici: Cele trei balene şi multe altele. Editura Lumina.Chişinău Luban-Plizza,Boris şi Iamandescu, Ioan Barbu: Dimensiunile psihologice ale Muzicii. Introducere în muzicoterapie Editura Romcartexim Landsheere de, Gilbert: Istoria universală a pedagogiei experimentale. EDP.Bucureşti Plancard Emile:Pedagogia şcolară contemporană. EDP. Bucureşti Sîrbu, Maria-Cristina:Carl Orff-viaţa şi opera.editura Anima Skinner,Burrhus Frederic: Revoluţia ştiinţifică a învăţământului EDP. Bucureşti Szentpal Maria: Jatekos Ritmika. Bucureşti1981 Editura Kriterion 9. Course s relevance to the epistemic community, professional associations, and representative employers in fields significant for the program Presenting the content of theaching-learning-evaluation methods of EDUCATIONAL SYSTEMS discipline, new matter in universitarian curricula after 5 years of implementation in Romaina, during a reginal conference oragniser: Fina Arts Faculty of USH. Attendants : course leaders from Bucharest faculties. 10. Assessment Activity 10.1 Assessment criteria 10.2 Assessment method 10.3 Weight in the final grade 10.4 Course Envolement in discussion with euqstions, examples Interaction occurence is registered at seminary 20% 10.5 Seminary/lab Envolvement in issues preparation and debate Interaction occurence is registered at seminary 30% 10.6 Minimal performance standard Creation and presentation of a case study in a 3-5 student grousp, concering debated matters. Date:1.oct.2013 Course organizer s signature, Ph.D. Lecturer Luminita Pogaceanu Seminar organizer s signature, Ph.D candidate Catalina Moisescu Date of Dept. approval Oct.2013 Head of Dept. signature Assoc Prof PhD. Georgeta Pinghiriac

COURSE DESCRIPTION. 1 seminar / laboratory seminar / hours. time Distribution of teaching / learning time. laboratory

COURSE DESCRIPTION. 1 seminar / laboratory seminar / hours. time Distribution of teaching / learning time. laboratory COURSE DESCRIPTION 1. Information on the academic program 1.1. Higher education institution Spiru Haret University 1.2. Faculty Arts 1.3. Department Arts 1.4. Field Music 1.5. Study cycle Undergraduate