Undergraduate Course: Practical Music Workshops (MUSI08062)
|School||Edinburgh College of Art
||College||College of Humanities and Social Science
|Credit level (Normal year taken)||SCQF Level 8 (Year 1 Undergraduate)
||Availability||Not available to visiting students
|Summary||The primary mode of study in this course is practical participation in a music ensemble. Supported by a tutor, you will take part in an existing ensemble in order to learn skills within a specific musical community. (Options will vary from year to year dependent on availability and student numbers, and may include: North Indian music; Gamelan; traditional music; community choir; or improvising ensemble.) You are also required to undertake a minimum 4-hours practice per week outside of scheduled workshops.
Alongside workshop participation and private rehearsal, six whole-class seminars will explore topics such as repertoire, performance convention, pedagogy, theory and appraisal. Over the duration of the course, you will identify particular skills and knowledge required to participate in an appropriate ensemble for a given musical tradition, and you will develop some of the practical and intellectual expertise behind the act of 'musicking' (Small, 1998) within that tradition.
To play or to sing is a normal human activity. To perform well in any given tradition requires a specific array of skills and knowledge, based on rehearsed, practical expertise; an understanding of the conventions and context of a given practice; and acquired sensitivity to the actions of other musicians. This course provides students with practical performance opportunities to support the experiential learning through which all students may acquire a common disciplinary understanding of technical accomplishment in music performance. This learning is contextualised through theoretical understanding, via seminars and guided reading/study addressing such questions as: How is musical knowledge acquired and shared among musicians participating in a given tradition? What constitutes essential knowledge and theoretical framework for that music? On what grounds (aesthetic, technical, functional) is a given music appraised? This is a core course for the MA Music degree programme.
Musical Workshops: These will vary from year to year dependent on staff availability and student numbers, and may include: North Indian music; Gamelan; traditional music; community choir; improvising ensemble.
- Musical encounters (formal, informal and non-formal learning)
- The importance of repertoire
- Performance context and conventions
- Pedagogy and apprenticeship
- Appraising performance: what matters, and what doesn't?
Entry Requirements (not applicable to Visiting Students)
||Other requirements|| Students not enrolled on the MA Music programme should seek permission for entry via the Course Organiser
Course Delivery Information
|Academic year 2014/15, Available to all students (SV1)
|Learning and Teaching activities (Further Info)
Lecture Hours 12,
Seminar/Tutorial Hours 16,
Supervised Practical/Workshop/Studio Hours 16,
Programme Level Learning and Teaching Hours 4,
Directed Learning and Independent Learning Hours
|Assessment (Further Info)
|Additional Information (Assessment)
||1. TUTOR REPORT: End-of-year report on level of engagement and attainment of practical competence (10%).
2. PRESENTATION: Identify three concepts raised during the seminars and relate these to your practical learning. (30%, Week 11, Semester 1).
3. ESSAY (3000 words): Write a reflective account of your individual learning, specifying new knowledge (practical and theoretical) that you have acquired in your chosen musical workshops tradition. (60%, Week 11, Semester 2).
|No Exam Information
On completion of this course, the student will be able to:
- Demonstrate practical performance competence at a level appropriate to the opportunities presented through the course.
- Identify some of the skills and knowledge required to participate in an appropriate ensemble.
- Describe distinguishing features of repertoire, performance convention and pedagogy for the given musical tradition.
|Bell, Cindy L. "Toward a definition of a community choir." International Journal of Community Music 1, no. 2 (2008): 229-241.|
Blacking, John. How musical is man?. University of Washington Press, 1973.
Folkestad, G. (2006). Formal and informal learning situations or practices vs formal and informal ways of learning. British Journal of Music Education, 23:2 (2006):135-145.
Green, L. How popular musicians learn: a way ahead for music education. Aldershot: Ashgate, 2002.
Moon, Jennifer A. A handbook of reflective and experiential learning: Theory and practice. Routledge, 2013.
Neuman, Daniel M. The life of music in north India: The organization of an artistic tradition. University of Chicago Press, 1990.
Oliveros, Pauline. Deep listening: a composer's sound practice. iUniverse, 2005.
Small, Christopher. Musicking: The meanings of performing and listening. Wesleyan, 2011.
Stevens, John, Julia Doyle, and Ollie Crooke. Search and reflect: A music workshop handbook. Rockschool, 2007.
|Graduate Attributes and Skills
||Knowledge of technical specialism. Individually-motivated practice/rehearsal.
|Keywords||Music, Performance, Ensemble, Practical skills
|Course organiser||Dr Thomas Wagner
Tel: (0131 6)50 2423
|Course secretary||Mrs Noureen Ehsan
Tel: (0131 6)50 9179
© Copyright 2014 The University of Edinburgh - 12 January 2015 4:25 am