Head, Postgraduate Programs 
Associate Professor Kimi Coaldrake
Schulz 9.12 
8313 5823
kimi.coaldrake@adelaide.edu.au

Course Coordinator
Mr Rodney Smith (Head, Pedagogy Studies)
Schulz 11.12
83135785
rodney.smith@adelaide.edu.au

1. To develop students’ understanding of age-related learning issues in connection with appropriate choices of suitable materials for beginning to advancing level pupils.



2. To acquaint students with the principles and processes of instrumental/vocal teaching in both the one-to-one mode and the small group mode.



3 To introduce students to the essential elements of general musicianship for beginning to advancing level pupils and the ways in which pupils can experience general musicianship through their particular instrumental/vocal specialty.

Booklists and other sources of information will be distributed throughout the Course.

Keyboard
Tait,M. and Haack,P. 1984. Principles and Processes of Music Education. New York and London. Teachers College Press. Columbia University.

Beetlestone, F. 1998. Creative Children, Imaginative Teaching. Buckingham and Philadelphia. Open University Press.

Craft, A., Jeffrey, R., Leibling, M. 2001. Creativity in Education. London and New York. Continuum

Gumm, A. 2003. Music Teaching Style: Moving beyond tradition. Galesville. Meredith Music Publications.

Parncutt, R., and McPherson, G. 2002. The Science and Psychology of Music Performance. Oxford and New York. Oxford University Press.

Crozier, R., Scaife, N., and Marks, A. 2004. All Together! Teaching music in groups. London. Associated Board.

Baker-Jordan, M. 2003. Practical Piano Pedagogy. Miami. Warner Bros. Publications

Jacobson, J. 2006. Professional Piano Teaching. Los Angelis. Alfred Publishing Inc.

Magrath, J. 1995. The Pianist’s Guide to Standard Teaching and Performance Literature. Van Nuys, CA. Alfred Publishing Inc.

Proceedings of the Australasian Piano Pedagogy Conferences, 1993 – 2009.

Additional booklists and other sources of information will be distributed throughout the

Course.

Voice
Appelman,D.Ralph, The Science of Vocal Pedagogy,Bloomington,Indiana University Press,1967

Brown, Oren, Discover your Voice, San Diego, London, Singular Publishing Group 1996

Bunch, Meribeth, Dynamics of the Singing Voice,4 Ed., Wien ,New York, Springer Verlag 1997

Chapman, Janice, Singing and Teaching Singing, San Diego, London, Brisbane, Plural Publishing 2006

Doscher, Barbara, The Functional Unity of the Singing Voice, Lanham, London, The Scarecrow Press 1994

Garcia, Manuel, Hints on Singing [1894], Kessinger Publishing Rare Reprints, www.kessinger.net

Heirich, Jane Ruby Voice and the Alexander Technique, Berkeley, Mornum Time Press 2005

[Husson, Raoul, Physiologie de la Phonation, Paris, Masson et Cie 1962]

Husler, F and Rodd-Marling,Yvonne, Singing. The Physical Nature of the Vocal Organ, Melbourne, London, Hutchinson Publishing 1976

Kimball, Carol, A Guide to Art Song Style and Literature, Milwaukee, Hal Leonard, 2005

McKinney, James, Diagnosis and Correction of Vocal Faults, Nashville, Broadman Press 1982

Miller, Richard, Training Tenor Voices, New York, Schirmer Books,1993

Miller,Richard, Training Soprano Voices, Oxford University Press, USA 2000• ISBN-10: 0195130189 ISBN-13: 978-0195130188

Miller, Richard, Solutions for Singers, Oxford,OUP 2004

Power, Patrick, How the Voice Works, Handout ,University of Adelaide 2010

Phillips, Kenneth, Teaching Kids to Sing

Riggs, Seth Singing for the Stars, Van Nuys CA,Alfred Publishing 1998

Stone, R and J, Atlas of Skeletal Muscles, Boston, Sydney, McGraw Hill 2001

Vennard, William, Singing the Mechanism and the Technique, New York, Carl Fischer 1967

Wall, Joan et al, International Phonetic Alphabet for Singers, Dallas, Psst Inc.1989

Ward,Christine,Teaching to Learn, Accelerated Learning Institute [NZ]Ltd 2001 ISBN0-473-06314-X

[Warren, Ivor, The Grammar of Singing, London A. Hammond and Co]

Wilson FRCS, Thomas Wind and Voice, Dublin Minim Press 1984

Bracketed titles are possibly unavailable.

Resources and announcements may be posted on MyUni under MUSPED 6001

The Elder Music Library Music Resources Guide at http://libguides.adelaide.edu.au/music contains quick links to key music databases for scholarly research and online listening. It also contains links to websites of publicly available online scores, collected editions, and professional associations. Here too you can find a regularly updated list of new books, scores, CDs and DVDs available in the Elder Music Library.

Students will be required to participate in seminars, undertake observation in the field, network appropriately and conduct research in preparation for the compilation of three written assignments.

During the semester attendance at seminars, plus approximately 1 hour in the field, plus 21 hours preparation per week, will result in approximately 24 hours workload per week.

24 hours of seminars cover age-related materials choices, teaching strategies in one-to-one and small group learning and general musicianship skills,.

Approximately 12 hours will be spent in the field observing methodologies in practice.

A considerable investment in time will be given to individual research for the compilation of three written assignments.

COURSE STRUCTURE:

1 x 2-hour Seminar per week for 12 weeks.
Week 1: Bibliographic Study
Week 2: Teaching in individual mode
Week 3: Teaching in Group and Class modes
Week 4: Transferable skills in teaching
Week 5: Teaching multiple styles and genres
Week 6: Teaching multiple specialties
Week 7: Teaching Techniques and Materials for primary age beginners
Week 8: Teaching Techniques and Materials for secondary and adult beginners
Week 9: Teaching Techniques and Materials for primary age elementary level pupils
Week 10: Teaching Techniques and Materials for secondary and adult elementary level pupils
Week 11: Teaching Techniques and Materials for secondary and adult intermediate level pupils
Week 12: Teaching Techniques and Materials for secondary and adult advancing-level pupils

All students are expected to actively and positively participate in 100% of required rehearsals, workshops, classes, lectures, tutorials and performances

24 hours of seminars cover age-related materials choices, teaching strategies in one-to-one and small group learning and general musicianship skills. At least 25% of these are conducted in small group discovery mode.

Assessment	Weighting	Completion/Due Date	Outcomes being assessed
1500-word written assignment on age-relatedness in beginning materials.	20%	TBA	1
1000-word written assignment on the contrasted dynamics of individual and small-group lessons	15%	TBA	2
1000-word written assignment on general musicianship materials for elementary level pupils	15%	TBA	3
Folio of teaching materials for beginning to advancing level pupils of various ages learning in individual and group modes.	50%	TBA	1, 2, 3

In this course, penalties apply for any absences which are not formally approved, as outlined in the Conservatorium’s Student Participation and Attendance Leave Guidelines (see following). Leave Application forms are available from the Music Office and can be downloaded from the Music website – see http://music.adelaide.edu.au/study/current/leave.pdf. 

Student Participation and Attendance Leave Guidelines
EXPECTATION
All students enrolled in courses taught by the Elder Conservatorium of Music are expected to actively and positively participate in 100% of required rehearsals, workshops, classes, lectures, tutorials and performances. In courses where Participation & Attendance penalties apply (as defined in the Course Outline), any student who misses more than 40% of required classes will be ineligible for assessment in that course, irrespective of the amount of leave that has been formally approved.

LEAVE
The Conservatorium recognises that extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance. In such cases Leave may, upon application using this Leave form, be approved by the relevant staff member (this could be the Head of Studies, teacher, conductor, lecturer or course coordinator as appropriate).

The following types of Leave are applicable:

Sick Leave

• In cases of sickness, the Leave form must be submitted within 7 days of your return to classes.
• Students must make every effort to notify the relevant staff member of an impending absence for reasons of sickness. Where a rehearsal or performance is involved, Leave will only be approved if the relevant staff member is notified before the event.
• Normally, an original medical certificate must be supplied with the Leave form to verify the circumstances. The relevant staff member or Head of Studies in cases of absences involving multiple activities or days may waive the requirement to produce a medical certificate if they have clear evidence of illness and believe that a medical certificate is unnecessary or impossible to obtain.. The Leave form will need to be initialled as part of the notification or approval process in this case.

Compassionate Leave

• Compassionate Leave may be granted at the discretion of the relevant staff member where extenuating circumstances have prevented a student participating in a rehearsal, workshop, class, lecture, tutorial or performance. Usually this means circumstances which were unforeseen and legitimately beyond anyone’s control however this will not always be the case.
• Where the circumstance is known in advance, approval for the Leave must also be obtained prior to the event.
• In cases such as bereavement or where care of a close family member is required, notification as soon as possible is expected and the form must be submitted within 7 days of your return to classes.
• Verification of the circumstances will usually be required.

Professional Development Leave

• Professional Development (PD) Leave may be granted in cases where the student has made a case to the relevant Head of Studies for an activity which they believe will be of considerable professional and educational benefit. This activity should:
  • be directly related to Coursework within your Conservatorium program or
  • involve Coursework or study at a major tertiary national or international music institution or
  • involve Performance, Workshops or other relationships and activities with a high profile, national or international artist(s)
• When determining PD leave, the duration of the project also affects approval, particularly for absences greater than one week.
• PD leave will not be granted if the proposed activity conflicts with any commitments a student has to a Conservatorium performance where their attendance at rehearsals and the performance itself are a required part of their studies.
• PD Leave is only granted in advance of the activity (normally at least 7 days prior). It will NOT be granted retrospectively.
• Final arrangements for any professional development commitments must wait until formal approval has been granted by the Head of Studies and then all signatures of relevant staff members are obtained. Approval is not necessarily guaranteed.
• Verification will be required as part of the approval process and must be supplied with this form.

LEAVE APPLICATIONS
Leave applications must be completed, documentation attached (if required), signatures obtained, then submitted following the steps below.

Step 1: NOTIFYING STAFF	Notify the relevant staff member(s) and where appropriate, Head of Studies, of your absence as soon as possible..
Step 2: VERIFYING ABSENCE	Check with the relevant staff member or Head of Studies to see whether verification or proof will be required. (Please note that this is usually essential however it will not always be necessary.)
Step 3: COMPLETING FORM	Complete the form then sign and date it.
Step 4: OBTAINING APPROVAL	Obtain the necessary signatures for formal notification and if necessary, approval from the relevant staff member(s) concerned. Please note individual instructions listed in various leave types above, particularly for Professional Development Leave where prior approval is needed.
Step 5: COPYING FORM	Copy the form for your records.
Step 6: ATTACHING & SUBMITTING FORM	Attach any certification you have been asked to provide then submit the form to the relevant staff member or Head of Studies.

PENALTIES
Penalties apply for any unapproved absences as follows:
Any unapproved absences from a lecture, Tutorial or Observation will result in a 2% penalty for each unapproved absence. Any penalties will be applied to the mark for the year – i.e. after all other assessments have been completed and calculated. Unapproved arrival after the scheduled starting time or departure before the scheduled finishing time may, at the Co-ordinator’s discretion, be regarded as an unapproved absence.

LIBRARY AND MUSIC
The Music Library located in the Hartley building is an excellent source for music, literature and recordings.

OTHER EXPECTATIONS
Mobile phones must be turned off before lessons or classes begin.

MYUNI
Course documents and periodic announcements are posted on MyUni. Please ensure that you log in regularly.

Advice on the layout, content and categorisation of the three written assignments will be delivered in the seminars.

The three assignments will be submitted to the Music Office by the due date with the appropriate cover sheet and declaration. Late submission will incur a penalty deduction of 2% per weekday from the assessed mark of the complete submitted work.

It is expected all assessments including presentations, listening tests, practical examinations, written examinations and assignments will be undertaken and submitted as required (see Teaching and Learning Activities). However, Assessment Task Extension, Replacement Examination, Additional Assessment and Deferred Modified Arrangements are available on medical, compassionate or extenuating grounds. Full information concerning these matters can be found on the University website under University Policies and Procedures, Modified Arrangements for University Coursework Assessment Policy, at http://www.adelaide.edu.au/policies/3303/ 

Where possible it is advisable to discuss the matter with the lecturer concerned in the first instance.