• Course title: BEM-101 Internship and Portfolio
• Number of ECTS: 6
• Course code: BEM-1
• Module(s): Internship and Portfolio
• Language:
• Mandatory: Yes

Portfolio:Students are familiar with different forms and approaches to a portfolio and have explored several criteria for the pedagogical use of portfolios to enhance professional and personal development.Internship:Students can independently plan, implement and reflect on musical activities in the non-formal education sector that are appropriate for the target group. 

Portfolio:There are two distinct parts to the first seminar: one is an introduction to the concept of the portfolio (What is it? What are its purposes? Where and how can it be used? What might it look like?) and the second looks at the why of the portfolio (The portfolio as a professional development tool).The second seminar is structured in two distinct parts. The first focuses on identifying the characteristics perceived as important for becoming a teacher/musician, and the second looks at training as a ritual of passage likely to foster the development of professional skills.Emergence of students’ representations of the teaching/music profession.Relating the profile of the ‘ideal’ teacher/musician to the professional skills selected for the course. Observation work to be carried out based on the elements put forward in the seminar.Internship:Students observe in different contexts and institutions, assist musicians, teachers and workshop leaders in the organisation and implementation of musical activities and performances. They develop their own interactive musical activities for amateur musicians of different ages and put them into practice.In the first semester, the student plans at least 4 different activities in 4 different contexts, or for 4 different age groups. As a rule, an intervention consists of an observation and an implementation of an activity.The student deals with the context or institution and the previous musical knowledge or prerequisites of the participants. He/she draws up a precise plan of the activity. Afterwards, experiences and feedback are recorded in a written report.The precise planning of each intervention is worked out together with the tutor and, if necessary, with the music teacher in individual tutorials. In so-called PREPA or INTRA seminars, the experiences are processed and reflected on together.

Portfolio:Tutoring,Creation of an individual portfolio.Internship:Practical execution of the musical activities, written reports (preparations and reflections).

Bibliographie:Campbell, D. M., Melenyzer, B. J., Nettles, D. H. & Wyman, R. M. (2014). How to develop a professional portfolio. A manual for teachers (6th ed.). Boston: Allyn and Bacon.Desjardins, R. (2002). Le portfolio de développement professionnel continu. Montréal, Québec : Les éditions de La Chenelière.Doyon, A. & Desjardins, R. (2004). Le portfolio de développement professionnel comme outil d’intégration en formation initiale en enseignement. Vie Pédagogique, décembre 2004, 4 pages.Foster, B. R. Walker, M. L. & Hyunsook Song, K. (2007). A beginning teaching portfolio handbook. Columbus, Ohio: Pearson – Merril Prentice Hall.Tucker, P. D., Stronge, J. H. & Gareis, C. R. (2002). Handbook on teacher portfolios. N-Y, USA: Eye on Education.

• Course title: BEM-111 Musicology 1
• Number of ECTS: 3
• Course code: BEM-2
• Module(s): Musicology
• Language:
• Mandatory: Yes

Basic knowledge of musicologyKnowledge of Luxembourgish music historyKnowledge of Luxembourgish musicians

In the first sessions, there will be offered an introduction to musicology. What does it deal with? What aspects of intellectual history does it cover?Luxembourgish music history is broader than expected. The small country has a large, rich, and varied musical history. It is essential to distinguish between music in the territory of today’s Grand Duchy and music since the independence of the state in the 19th century.A crucial role is played by the musicians who worked here, with their biographies, their impact, and their works.Topics are encouraged for the presentations according to the interests of the seminar participants.

Presentations:For the presentations, topics are encouraged according to the interests of the seminar participantsPresence in and active collaboration to the course

Bibliography:Damien Sagrillo, Musikgeschichte Luxemburgs. Traditionen und Schnittstellen, Brüche und Wegmarken. Eine Studie in acht Stationen (= Bd. 34, Reihe Musikwissenschaft), Berlin: LIT 2023.
https://www.lit-verlag.de/isbn/978-3-643-15144-5 
https://orbilu.uni.lu/handle/10993/54989Armand Machabey, La musicologie, Kindle editionDavid Beard / Kenneth Gloag, Musicology: The Key Concepts, London / New York: Routledge 22016
Alain Nitschké / Caroline Reuter / Damien Sagrillo / Jean Thill / Tina Zeiss-Zippel, (2020 ongoing), Luxemburger Musiklexikon. Komponisten und Interpreten, Band 1: 1815-1950. Esch-Alzette,
Melusinapress, https://www.melusinapress.lu/projects/luxemburger-musiklexikon-band-1
http://hdl.handle.net/10993/43031Ursula Anders-Malvetti / Alain Nitschké / Caroline Reuter / Damien Sagrillo, Luxemburger Musikerlexikon.
Komponisten und Interpreten, Band 1: 1815-1950. Weikersheim, Deutschland: Margraf 2016. Online version:
https://musique.uni.lu/luxemburger-musikerlexikon-digital/Damien Sagrillo, “… Dat mir nun och de Wé hu font…” – Symbole luxemburgischer Musik. Galerie. Revue culturelle et pédagogique, 29(3) 2011, 411-421. http://hdl.handle.net/10993/7454Damien Sagrillo, Lieder, Musiker und Institutionen als Symbole luxemburgischer Musik. Galerie. Revue culturelle et pédagogique, 29(2) 2011, 269-281. http://hdl.handle.net/10993/7457Damien Sagrillo, “Symbole luxemburgischer Musik. Volkslieder. Galerie. Revue culturelle et pédagogique, 29(1) 2011, 104-122. http://hdl.handle.net/10993/7468

• Course title: BEM-141 Developmental Psychology
• Number of ECTS: 3
• Course code: BEM-4
• Module(s): Developmental and Learning Psychology
• Language: FR
• Mandatory: Yes

At the end of this course, students will be able to:Explain the major factors that influence development and recall the data for each stage of life, in terms of psychomotor, cognitive, affective and social development.Explain specific concepts such as myelination, Oedipus, the latency period, adolescence, roles in adulthood, the mourning process, etc. the mourning process, etc.Be familiar with the normative aspects of developmental theories (e.g., Piaget’s stages of intellectual development) as well as some common pathologies: early deficiencies, anorexia, depression, delinquency, etc., delinquency, etc.Analyzing situations using the frameworks provided by knowledge of human development. development.

Objective(s):• Familiarize students with the psychological development of human beings;• Describe the major stages of development from birth to adulthood, the psychomotor, affective, cognitive, social and linguistic aspects, cognitive, social and linguistic aspects;• To enable students to use this knowledge to analyze a problematic situation and propose possible solutions;Contents:• Factors and characteristics of development;• Important theorists, bio-psycho-social approach;• Child desire, intrauterine life, birth and competence of the newborn, attachment process, parental roles. parental roles;• Development from 0 to 3 years, childhood, adolescence, early adulthood, middle adulthood, late adulthood, bereavement and death.

Written examination, ongoing assessment.

Bibliography:•Berger, K. (2012). Psychologie du développement. Bruxelles : De Boeck.•Boyd., D. et Bee., H. (2017). Les âges de la vie : psychologie du développement humain. Paris : Pearson.•Feldman, R. et al. (2010). Psychologie du développement humain. Bruxelles : De boeck.•Miljkovitch, R. et al. (2017). Psychologie du développement. Paris : Masson.•Papalia, D.E. et al. (2018). Psychologie du développement humain. Montréal : Chenelière éducation.

• Course title: BEM-131 Introduction to General Didactics and Methodology
• Number of ECTS: 3
• Course code: BEM-3
• Module(s): Introduction to General Didactics and Methodology
• Language:
• Mandatory: Yes

The students know the basics of teaching and learning as well as different models of general didactics.

The students know diverse, activating methods to plan diversified music lessons.

• Students learn about different didactic theories and models.• Building on these models, students explore a variety of practical methods for individual, small group and class courses in non-formal contexts in all age categories.

Active participation in the course, preparation and implementation of a practical activity;Homework.

Bibliography:

To be announced on Moodle platform in September.

• Course title: BEM-1101 Music Education in Luxembourg
• Number of ECTS: 4
• Course code: BEM-5
• Module(s): Music Education in Luxembourg
• Language: DE, LB
• Mandatory: Yes

•Basic insights into the history of music education•History of music education in Luxembourg•Amateur music as “community music” in Luxembourg•Overview of formal and non-formal music education in Luxembourg

In the first sessions there is a basic introduction to the history of music education. What are its origins? What is it concerned with?What is formal, non-formal and informal education?What is the difference between general, compulsory and specialised music education?The history of music education in Luxembourg goes back to the beginning of the 19th century.The first evidence are songbooks that were intended for general education schools and were designed to be interdisciplinary.The foundation of the first private music school by H.J. Cornély was the birth of the music school system inLuxembourg. Starting from this, its history is traced.What are the contents of music education in Luxembourg? What traditions does it follow?How is amateur music organised in Luxembourg? What is its music educational orientation?What musical education offers exist in Luxembourg? How is formal musical education organised (music schools, conservatoires, but also music lessons in public schools)? What content is taught?What musical activities are offered in the non-formal sector (crèche, maison relais, homes for the elderly or refugees)?Overview of important institutions (e.g., Philharmonie, Centre de Resources Rockhaal, Regional Cultural Centres…) or associations (e.g., Fondation EME, INECC, SNJ, MUSEP, ….) and their objectives in the field of education.

Active participation in the course, oral presentations (For the presentations, topics are encouraged according to the interests of the seminar participants.).

Bibliography:•Anders-Malvetti, U., Nitschké, A., Reuter, C., Sagrillo, D., Thill, J., Zeiss-Zippel, T., (2020 ongoing), Luxemburger Musiklexikon. Komponisten und Interpreten, Band 1: 1815-1950. Esch-Alzette, Melusinapress, https://www.melusinapress.lu/projects/luxemburger-musiklexikon-band-1 http://hdl.handle.net/10993/43031 •Anders-Malvetti, U., Nitschké, A., Reuter, C., Sagrillo, D., Luxemburger Musikerlexikon. Komponisten und Interpreten, Band 1: 1815-1950. Weikersheim, Deutschland: Margraf 2016. Online version: https://musique.uni.lu/luxemburger-musikerlexikon-digital/ •Higgens, L., Community Music: In Theory and In Practice, Oxford: Oxford University Press 2012.•Hill, B., De Bánffy-Hall, A., Community Music: Beiträge zur Theorie und Praxis aus internationaler und deutscher Perspektive, Münster: Waxmann 2017. •Nitschké, A., Sagrillo, D., Die Musik in der Bildung: Aspekte europäischer Musikerziehung und ihre Anwendung in Luxemburg, Weikershein: Margraf 2014.•Sagrillo, D., “Solfège and Musical Sight-Reading Skills in a European Context”. In: Damien Sagrillo, Alain Nitschké, Friedhelm Brusniak, (Eds.), Leo Kestenberg und musikalische Bildung in Europa, Weikersheim: Margraf 2016, p. 115-127. http://hdl.handle.net/10993/27033 •Sagrillo, D., Solfège as a Reason for the Drop Out of Music School. In ebd. http://hdl.handle.net/10993/27034 •Small, C., Music, Society (Music / Culture), Middletown: Wesleyan UP 1996.

• Course title: BEM-201 Internship and Portfolio
• Number of ECTS: 7
• Course code: BEM-89
• Module(s): Internship and portfolio
• Language: EN, LB, FR
• Mandatory: Yes

Portfolio:•Support students in preparing their portfolio by analyzing and reflecting on professional and personal development and professional skills and competencies.Internship:•Students can independently plan, implement, and reflect on musical activities in the formal education sector (Conservatoires, music schools).

Portfolio:• Theoretical background on the aims of the professional development portfolioInternship:• Together with the music teacher of the methodology course (Conservatoire) and the tutor of the university, the student plans musical activities in music schools and/or conservatoires, carries them out practically and subsequently reflects on their own experiences and learning progress. • In three seminars at the university Prepa/Intra/Debriefing, the students present their planned activities to each other, discuss different methodological approaches, reflect together on their learning progress and learning obstacles, and define future development goals.

Portfolio:Tutoring, creation of an individual portfolio.Internship:Practical execution of musical activities, oral presentation of activities based on written reports (preparations and reflections).

Bibliography:•Campbell, D. M., Melenyzer, B. J., Nettles, D. H. & Wyman, R. M. (2014). How to develop a professional portfolio. A manual for teachers (6th ed.). Boston: Allyn and Bacon. •Desjardins, R. (2002). Le portfolio de développement professionnel continu. Montréal, Québec : Les éditions de La Chenelière. •Doyon, A. & Desjardins, R. (2004). Le portfolio de développement professionnel comme outil d’intégration en formation initiale en enseignement. Vie Pédagogique, décembre 2004, 4 pages. •Foster, B. R. Walker, M. L. & Hyunsook Song, K. (2007). A beginning teaching portfolio handbook. Columbus, Ohio: Pearson – Merril Prentice Hall. •Tucker, P. D., Stronge, J. H. & Gareis, C. R. (2002). Handbook on teacher portfolios. N-Y, USA: Eye on Education.

• Course title: BEM-211 Musicology 2 – Concepts of Music Research in Interaction with Music Education
• Number of ECTS: 3
• Course code: BEM-90
• Module(s): Musicology
• Language: EN, LB
• Mandatory: Yes

•Basic insights into the history of music education•History of music education in Luxembourg•Amateur music as “Community Music” in Luxembourg

• The first sessions will be a basic introduction into the history of music education. Which are its origins? What is it concerned with?o What is formal, non-formal and informal education? o What is the difference between general, compulsory, and specialised music education? • The history of music education in Luxembourg goes back to the beginning of the 19th century. The first evidence is songbooks that were intended for general education schools and were designed in an interdisciplinary way.• The foundation of the first private music school by H.J. Cornély was the birth of the music school system in Luxembourg. • What are the contents of music education in Luxembourg? What traditions does it follow?• How is amateur music organised in Luxembourg? What is its music pedagogical orientation?• For the presentations, topics are encouraged according to the interests of the seminar participants

Presentations oFor the presentations, topics are encouraged according to the interests of the seminar participants.•Presence in and active collaboration to the course.

Bibliography:•Anders-Malvetti, U., Nitschké, A., Reuter, C., Sagrillo, D., Luxemburger Musikerlexikon, Komponisten und Interpreten, Band 1: 1815-1950. Weikersheim, Deutschland: Margraf 2016. Online version: https://musique.uni.lu/luxemburger-musikerlexikon-digital/•Anders-Malvetti, U., Nitschké, A., Reuter, C., Sagrillo, D., Thill, J., Zeiss-Zippel, T., (2020 ongoing), Luxemburger Musiklexikon. Komponisten und Interpreten, Band 1: 1815-1950. Esch-Alzette, Melusinapress, https://www.melusinapress.lu/projects/luxemburger-musiklexikon-band-1 http://hdl.handle.net/10993/43031•Higgens, L., Community Music: In Theory and In Practice, Oxford: Oxford University Press 2012.•Hill, B., De Bánffy-Hall, A., Community Music: Beiträge zur Theorie und Praxis aus internationaler und deutscher Perspektive, Münster: Waxmann 2017.•Nitschké, A., Sagrillo, D., Die Musik in der Bildung: Aspekte europäischer Musikerziehung und ihre Anwendung in Luxemburg, Weikershein: Margraf 2014.•Sagrillo, D., Musikgeschichte Luxemburgs. Traditionen und Schnittstellen, Brüche und Wegmarken. Eine Studie in acht Stationen (= Bd. 34, Reihe Musikwissenschaft), Berlin: LIT 2023.https://www.lit-verlag.de/isbn/978-3-643-15144-5 https://orbilu.uni.lu/handle/10993/54989•Sagrillo, D., “Solfège and Musical Sight-Reading Skills in a European Context”. In: Damien Sagrillo, Alain Nitschké, Friedhelm Brusniak, (Eds.), Leo Kestenberg und musikalische Bildung in Europa, Weikersheim: Margraf 2016, p. 115-127. http://hdl.handle.net/10993/27033•Sagrillo, D., Solfège as a Reason for the Drop Out of Music School. In ebd. http://hdl.handle.net/10993/27034•Small, C., Music, Society (Music / Culture), Middletown: Wesleyan UP 1996.

• Course title: BEM-221 Music Education in History and Practice
• Number of ECTS: 3
• Course code: BEM-91
• Module(s): Music education
• Language:
• Mandatory: Yes

•Basic knowledge of music education•Practical music didactics•Knowledge of music education in Luxembourg•Knowledge about the specialised music education of Luxembourg

The course is intended as a continuation of the course on musical education in Luxembourg. To learning objectives envisaged above, the following topics will be offered:• Luxembourg in the interplay of two traditions with their advantages and disadvantages.• Concepts of influential music educators• Alternative music pedagogical concepts, e.g. “El Sistema”.• Music education in film, “Songcatcher”, “Les choristes”, “Young @ Heart”.

•Presentations oFor the presentations, topics are encouraged according to the interests of the seminar participants.•Presence in and active collaboration to the course.

Bibliography:

•Anders-Malvetti, U., Nitschké, A., Reuter, C., Sagrillo, D., Luxemburger Musikerlexikon, Komponisten und Interpreten, Band 1: 1815-1950. Weikersheim, Deutschland: Margraf 2016. Online version: https://musique.uni.lu/luxemburger-musikerlexikon-digital/•Anders-Malvetti, U., Nitschké, A., Reuter, C., Sagrillo, D., Thill, J., Zeiss-Zippel, T., (2020 ongoing), Luxemburger Musiklexikon. Komponisten und Interpreten, Band 1: 1815-1950. Esch-Alzette, Melusinapress, https://www.melusinapress.lu/projects/luxemburger-musiklexikon-band-1 http://hdl.handle.net/10993/43031•Higgens, L., Community Music: In Theory and In Practice, Oxford: Oxford University Press 2012.•Hill, B., De Bánffy-Hall, A., Community Music: Beiträge zur Theorie und Praxis aus internationaler und deutscher Perspektive, Münster: Waxmann 2017.•Nitschké, A., Sagrillo, D., Die Musik in der Bildung: Aspekte europäischer Musikerziehung und ihre Anwendung in Luxemburg, Weikershein: Margraf 2014.•Sagrillo, D., Musikgeschichte Luxemburgs. Traditionen und Schnittstellen, Brüche und Wegmarken. Eine Studie in acht Stationen (= Bd. 34, Reihe Musikwissenschaft), Berlin: LIT 2023.https://www.lit-verlag.de/isbn/978-3-643-15144-5 https://orbilu.uni.lu/handle/10993/54989•Sagrillo, D., “Solfège and Musical Sight-Reading Skills in a European Context”. In: Damien Sagrillo, Alain Nitschké, Friedhelm Brusniak, (Eds.), Leo Kestenberg und musikalische Bildung in Europa, Weikersheim: Margraf 2016, p. 115-127. http://hdl.handle.net/10993/27033•Sagrillo, D., Solfège as a Reason for the Drop Out of Music School. In ebd. http://hdl.handle.net/10993/27034•Small, C., Music, Society (Music / Culture), Middletown: Wesleyan UP 1996.

• Course title: BEM-251 Early Childhood Music Education
• Number of ECTS: 3
• Course code: BEM-92
• Module(s): Early childhood music education
• Language: EN
• Mandatory: Yes

Upon successful completion of the course, students are expected to have acquired to following knowledge and experience:•Comprehension of basic principles/theories of teaching and learning music in EC;•Knowledge about developmental aspects of music learning in the early years;•Distinguish the different methods and approaches of ECME (a.o., Dalcroze, Orff, Kodaly, Suzuki, Weikart, Gordon) and select and adapt material and activities for early childhood contexts;•Describe and critically elaborate upon the importance of music to the social, emotional;•kinesthetic, and intellectual development of young children;•Describe a diversity of musical activities used in ECME;•Critically analyze and compare music curricula for ECME at national and international level;•Identify ways to integrate music with other subjects of the early childhood curriculum;•Identify the criteria and the basic principles for effective music teaching in early;•childhood and evaluate music teaching in real early childhood contexts;•Devise educational material and design daily lesson plans for music teaching in early;•childhood contexts.

During the course, issues, and trends in early childhood music education, are critically considered and students will become familiar with important theories, research and practices (incl. repertoire, materials, types of activities) that are of interest and suitable for teaching music in early childhood (EC). Active and meaningful participation in course activities (e.g., microteaching, discussions) and group projects is necessary for succeeding in the course. Class meetings will address, a.o., the following topics: • Subjective educational theory: why do I want to teach in EC? What kind of EC teacher do I want to be?• Theoretical frameworks (e.g., Constructivism, Non-Linear pedagogy, Embodied Music Pedagogy) and related research (fundamental & practice-oriented);• Core elements of early childhood Music Education (ECME);• Critical analysis and comparison of national and international Music curricula for early childhood music education concentrating on various curriculum elements such as curriculum objectives, musical activities for early childhood, concepts/ skills and attitudes, evaluation etc;• (musical) development of children;• basic elements of established methods, such as Orff, Kodaly, Dalcroze, Weikart, Gordon;• multimodality in ECME teaching and learning;• Criteria and basic principles for effective music teaching in early childhood and evaluation of music teaching in real early childhood classrooms;• Repertoire in early childhood music education;• Development of lesson plans and supportive educational material for early childhood music.

Active participation in the course, Assignments (e.g., essay writing, lesson preparation)Digital portfolio

Bibliography:Books:a.o., •Burton, S. L. (2011). Learning from young children: Research in early childhood music. Rowman & Littlefield;•Dartsch, M. (2010). Mensch, Musick un Bildung. Grundlagen einer Didaktik der Musikalischen Früherziehung. Breitkopf & Härtel;•Dartsch, M., Economidou Stavrou, N. & Piispanen, U. (2022). Music right from the start: Theory and Practice of Early Childhood Music Education. Creative Europe Programme of the European Union;•Feierabend, J.M. (2011). Music in Early Childhood. GIA Publication;•Glover, J. & Young, S. (2018). Music in the Early Years. Routledge;•Gordon, E. (2013). Music Learning Theory for Newborn and Young Children. GIA Publication;•McPherson, G. (2006). The Child as Musician: a handbook of musical development. Oxford University Press;•Smithrim, K. & Upitis, R. (2007). Listen to their voices: Research and practice in early childhood music, Canadian Music Educators’ Association;•Young, S. & Ilari, B. (2019). Music in Early Childhood: Multi-disciplinary Perspectives and Inter-disciplinary Exchanges. Springer.Articles:a.o., •Barret, J.S., Schachter, L.E., Gilbert, D., & Fuerst, M. (2022). Best practices for preschool music education: Supporting music‐making throughout the day. Early Childhood Education Journal, 50, 385–397. https://doi.org/10.1007/s10643-021-01155-8 •Bremmer, M. & Nijs, L. (2022). Embodied Music Pedagogy. A theoretical and practical account of the dynamic role of the body in music education. In T. Buchborn, S. Schmid, G. Brunner, and Th. De Baets (Eds.), European perspectives on music education: Music Is What People Do. Helbling. •Bremmer, M. & Nijs, L. (2020). The Role of the Body in Instrumental and Vocal Music Pedagogy: A Dynamical Systems Theory Perspective on the Music Teacher’s Bodily Engagement in Teaching and Learning. Frontiers in Education, 5:79. https://doi.org/10.3389/feduc.2020.00079.•Flohr, J. W., & Trevarthen, C. (2008). Music learning in childhood–Early developments of a musical brain and body. In W. Gruhn, & F. Rauscher (Eds.), Neurosciences in music pedagogy (pp. 53-99). Hauppage, NY: Nova Science Publishers.•Fortuna, S., & Nijs, L. (2022). The influence of discrete versus continuous movements on children’s musical sense-making. British Journal of Music Education, 1-20. https://doi.org/10.1017/S026505172200002X.•Fortuna, S. & Nijs, L. (2019). Children’s Representational Strategies based on verbal versus bodily interactions with music. Music Education Research, 22(1), 107-127. https://doi.org/10.1080/14613808.2019.1699521. •Nijs, L. & Bremmer, M. (2019). Embodiment and Early Childhood Music Education. In B. Ilari & S. Young. Music in Early Childhood: Multi-disciplinary Perspectives and Inter-disciplinary Exchanges. Springer.

• Course title: BEM-281 Digital Music and Creation – Basic Training
• Number of ECTS: 3
• Course code: BEM-93
• Module(s): Digital music and creation
• Language: EN, LB
• Mandatory: Yes

•Understanding of the computer tool (DAW);•Sequencer knowledge;•Digital audio;•Musical notation.

• Students learn how to configure a music computer station (PC or Mac) according to the different computer, audio and MIDI connections;• Learning the principle of multitrack, midi input, midi programming, virtual synths and sound banks. Recording, sound recording and mixing;• Notation work, basics of score editing;• Regarding the creation component, students will learn production and songwriting. Preparing for a recording session, positioning the microphones;• Configure and manage a DAW recorder like Logic Pro;• Perform a sound recording session. Choose the dynamic, frequency, time parameters. Mix a work respecting the style. Mixer. Master. Manage a project;• Listening and analysis of existing songs. Understanding of the principle of structures. Know how to develop a melody on a chord chart;• Master the development of a musical idea.

Evaluation of an individual project.

Bibliography:•Dennis De Santis (2015) Making Music: 74 Creative Strategies for Electronic Music Producers -Ableton AG.•Mike Senior (2011) Mixing Secrets in the small studio – mitp.•Pat Pattison (1991) Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing.•Better Lyrics – Berklee Press (December 1, 1991).•David Nahmani – Logic Pro X: Professionell Musik komponieren, arrangieren und produzieren – SmartBooks (2014).

• Course title: BEM-301 Portfolio 3
• Number of ECTS: 7
• Course code: BEM-35
• Module(s): Internship and Portfolio
• Language:
• Mandatory: Yes

Portfolio:

Students manage their portfolio independently.

Internship:

Students can independently plan, implement and reflect on musical activities in the formal education sector (Conservatoires, music schools).

Internship:Together with the music teacher of the methodology course (Conservatoire) and the tutor of the university, the student plans musical activities in music schools and/or conservatoires, carries them out practically and subsequently reflects on their own experiences and learning progress.In three seminars at the university Prepa/Intra/Debriefing, the students present their planned activities to each other, discuss different methodological approaches, reflect together on their learning progress and learning obstacles, and define future development goals.

Portfolio:

Tutoring

Creation of an individual portfolio.

Internship:

Practical execution of musical activities

Oral presentation of activities based on written reports (preparations and reflections).

Bibliography:

Campbell, D. M., Melenyzer, B. J., Nettles, D. H. & Wyman, R. M. (2014). How to develop a professional portfolio. A manual for teachers (6th ed.). Boston: Allyn and Bacon.

Desjardins, R. (2002). Le portfolio de développement professionnel continu. Montréal, Québec : Les éditions de La Chenelière.

Doyon, A. & Desjardins, R. (2004). Le portfolio de développement professionnel comme outil d’intégration en formation initiale en enseignement. Vie Pédagogique, décembre 2004, 4 pages.

Foster, B. R. Walker, M. L. & Hyunsook Song, K. (2007). A beginning teaching portfolio handbook. Columbus, Ohio: Pearson – Merril Prentice Hall.

Tucker, P. D., Stronge, J. H. & Gareis, C. R. (2002). Handbook on teacher portfolios. N-Y, USA: Eye on Education.

• Course title: BEM-341 Psychology of Learning
• Number of ECTS: 3
• Course code: BEM-36
• Module(s): Developmental and Learning Psychology
• Language: FR, EN
• Mandatory: Yes

At the end of this course, students will be able to:

Identify the main contemporary theoretical and research currents dealing with learning processes in an educational context.

To be able to grasp the differences and links between them, from the point of view of their epistemological, theoretical and methodological assumptions.

Analyse empirical situations – rigorously and critically – in the light of the theoretical tools covered in the course.

Objective(s):The aim of the course is to enable students to acquire a basic knowledge of the psychology of learning through the study of the various theories that have marked the development of this field.Contents:No two students are the same and the way each person learns will vary. Psychologists have spent countless hours conducting tests to better understand how students learn. Learning theories are an effective tool for explaining what happens during the learning process. They are useful for two main reasons: they provide a conceptual framework for interpreting what we observe, and they offer guidelines for finding solutions to the problems we encounter.This course therefore covers learning theories, in particular (socio)constructivism and historical-cultural approaches, and the main theories of motivation (expectancy-value, goals, self-determination, sense of self-efficacy). The way in which these aspects interact is explained and explored using case studies of learners in learning situations.

Written examination, ongoing assessment.

Bibliography:

Bourgeois, E., et Chapelle, G. (2011). Apprendre et faire apprendre. Paris : PUF.

Bower, G. et Hilgard, E. (1981). Theories of learning. Englewood Cliffs, NJ: Prentice- Hall.

Clément, C. (2013). Conditionnement, apprentissage et comportement humain. Paris : Dunod.

Donahoe, J.W. et Palmer, D.C. (1994). Learning and complex behavior. Boston, MA: Allyn and Bacon.

Dumont, H., D. Istance et F. Benavides (dir. pub.) (2010), Comment apprend-on ? : La recherche au service de la pratique, La recherche et l’innovation dans l’enseignement, Éditions OCDE, Paris, https://doi.org/10.1787/9789264086944-fr.

Lindsay, S.R. (2000). Handbook of applied dog behavior training. Ames, IO: Blackwell, Iowa State University Press.

Malcuit, G. & al. (1995). Psychologie de l’apprentissage – termes et concepts. Paris : Edisem/Maloine.

Reboul, O. (1980). Qu’est-ce qu’apprendre ? Pour une philosophie de l’enseignement. Paris : PUF.

Russell, A.P. & al. (2016). Psychologie de l’apprentissage. Québec : Chenelière.

• Course title: BEM-351 Early Childhood Music Education 2
• Number of ECTS: 3
• Course code: BEM-37
• Module(s): Elementary Music Pedagogy
• Language: EN
• Mandatory: Yes

Upon successful completion of the course, students are expected to have acquired to following knowledge and experience:

•Comprehension of basic principles/theories of teaching and learning music in EC;•Knowledge about developmental aspects of music learning in the early years;•Distinguish the different methods and approaches of ECME (a.o., Dalcroze, Orff, Kodaly, Suzuki, Weikart, Gordon) and select and adapt material and activities for early childhood contexts;•Describe and critically elaborate upon the importance of music to the social, emotional, kinaesthetic, and intellectual development of young children;•Describe a diversity of musical activities used in ECME;•Critically analyse and compare music curricula for ECME at national and international level;•Identify ways to integrate music with other subjects of the early childhood curriculum;•Identify the criteria and the basic principles for effective music teaching in early;•childhood and evaluate music teaching in real early childhood contexts;•Devise educational material and design daily lesson plans for music teaching in early;•childhood contexts.

During the course, issues and trends in early childhood music education, are critically considered and students will become familiar with important theories, research and practices (incl. repertoire, materials, types of activities) that are of interest and suitable for teaching music in early childhood (EC). Active and meaningful participation in course activities (e.g., microteaching, discussions) and group projects is necessary for succeeding in the course. Class meetings will address, a.o., the following topics: Subjective educational theory: why do I want to teach in EC? What kind of EC teacher do I want to be?Theoretical frameworks (e.g., Constructivism, Non-Linear pedagogy, Embodied Music Pedagogy) and related research (fundamental & practice-oriented)Core elements of early childhood Music Education (ECME)Critical analysis and comparison of national and international Music curricula for early childhood music education concentrating on various curriculum elements such as curriculum objectives, musical activities for early childhood, concepts/ skills and attitudes, evaluation etc. (Musical) development of childrenBasic elements of established methods, such as Orff, Kodaly, Dalcroze, Weikart, Gordon, …Multimodality in ECME teaching and learningCriteria and basic principles for effective music teaching in early childhood and evaluation of music teaching in real early childhood classrooms.Repertoire in early childhood music educationDevelopment of lesson plans and supportive educational material for early childhood music. 

Active participation in the course

Assignments (e.g., essay writing, lesson preparation)

Digital portfolio

Bibliography:

Books

Burton, S. L. (2011). Learning from young children: Research in early childhood music. Rowman & Littlefield. 

Dartsch, M. (2010). Mensch, Musik und Bildung. Grundlagen einer Didaktik der Musikalischen Früherziehung. Breitkopf & Härtel.

Dartsch, M., Economidou Stavrou, N. & Piispanen, U. (2022). Music right from the start: Theory and Practice of Early Childhood Music Education. Creative Europe Programme of the European Union.

Feierabend, J.M. (2011). Music in Early Childhood. GIA Publication. 

Glover, J. & Young, S. (2018). Music in the Early Years. Routledge. 

Gordon, E. (2013). Music Learning Theory for Newborn and Young Children. GIA Publication.

McPherson, G. (2006). The Child as Musician: a handbook of musical development. Oxford University Press. 

Smithrim, K. & Upitis, R. (2007). Listen to their voices: Research and practice in early childhood music. Canadian Music Educators’ Association. 

Young, S. & Ilari, B. (2019). Music in Early Childhood: Multi-disciplinary Perspectives and Inter-disciplinary Exchanges. Springer

Articles

Barret, J.S., Schachter, L.E., Gilbert, D., & Fuerst, M. (2022). Best practices for preschool music education: Supporting music‐making throughout the day. Early Childhood Education Journal, 50, 385–397. https://doi.org/10.1007/s10643-021-01155-8 

Bremmer, M. & Nijs, L. (2022). Embodied Music Pedagogy. A theoretical and practical account of the dynamic role of the body in music education. In T. Buchborn, S. Schmid, G. Brunner, and Th. De Baets (Eds.), European perspectives on music education: Music Is What People Do. Helbling. 

Bremmer, M. & Nijs, L. (2020). The Role of the Body in Instrumental and Vocal Music Pedagogy: A Dynamical Systems Theory Perspective on the Music Teacher’s Bodily Engagement in Teaching and Learning. Frontiers in Education, 5:79. https://doi.org/10.3389/feduc.2020.00079.

Flohr, J. W., & Trevarthen, C. (2008). Music learning in childhood–Early developments of a musical brain and body. In W. Gruhn, & F. Rauscher (Eds.), Neurosciences in music pedagogy (pp. 53-99). Hauppage, NY: Nova Science Publishers.

Fortuna, S., & Nijs, L. (2022). The influence of discrete versus continuous movements on children’s musical sense-making. British Journal of Music Education, 1-20. https://doi.org/10.1017/S026505172200002X.

Fortuna, S. & Nijs, L. (2019). Children’s Representational Strategies based on verbal versus bodily interactions with music. Music Education Research, 22(1), 107-127. https://doi.org/10.1080/14613808.2019.1699521. 

Nijs, L. & Bremmer, M. (2019). Embodiment and Early Childhood Music Education. In B. Ilari & S. Young. Music in Early Childhood: Multi-disciplinary Perspectives and Inter-disciplinary Exchanges. Springer. 

• Course title: 523 Les relations école-famille et médiations culturelles
• Number of ECTS: 3
• Course code: BSCE-589
• Module(s): Communication
• Language: DE, FR, EN
• Mandatory: Yes

 Débora Poncelet et Sylvie Kerger – Partie 1 : Les relations école-famille et l’engagement parental •Connaissance du contexte luxembourgeois en matière de relation école-famille.•Sensibilisation à l’enjeu de la relation école-famille.•Connaissance des différentes formes de la communication école-famille.•Entraînement à l’utilisation de ces diverses approches dans différentes situations de communication.•Connaissance de moyens concrets à mettre en place dans une classe ou dans une école afin d’améliorer la communication entre l’école et la famille.Angélique Quintus / Le Service de l’intégration et de l’accueil scolaires (SIA) – Partie 2 : Les médiations interculturelles•Sensibiliser les futurs enseignants à l’enjeu des REF dans le contexte particulier des familles d’origines étrangères et de la médiation interculturelle.Céline Dujardin – Partie 3 : Aides socio-éducatives et interventions sociales au service de l’éducation familiale•Faire connaissance des différentes situations familiales au Luxembourg, surtout celles en difficulté.•Sensibiliser les futurs enseignants aux différentes aides socio-éducatives et interventions sociales en direction des familles.•Découvrir les acteurs et services sociaux proposant des aides aux familles en difficulté.

 Débora Poncelet et Sylvie Kerger – Partie 1 : Relation école famille et engagement parental• Séminaire 1 (Débora Poncelet):         – Introduction à l’importance des relations école-famille à l’école fondamentale. • Séminaire 2 (Sylvie Kerger):         – Connaître le modèle de communication de Schulz von Thun et savoir appliquer ce modèle dans la communication école-famille.         – Connaître les cinq principes de base pour une bonne communication.  • Séminaire 3 (Débora Poncelet):         – Comment mettre en place de façon efficace une rencontre individuelle avec les parents.         – La place des devoirs dans la relation école-famille. • Séminaire 4 (Sylvie Kerger):         -Savoir analyser une discussion selon le modèle transactionnel et mise en pratique.Angélique Quintus / Le Service de l’intégration et de l’accueil scolaires (SIA) – Partie 2 : Les médiations interculturelles• Cadre théorique et informations générales concernant le volet interculturel dans le contexte des relations école-famille.• Présentation du Service de l’intégration et de l’accueil scolaires et de ses offres ainsi que des médiateurs interculturels.• Jeux de rôles dans le contexte d’une médiation interculturelle.Céline Dujardin – Partie 3 : Aides socio-éducatives et interventions sociales au service de l’éducation familiale• Présentation des données sociodémographiques sur les familles au Luxembourg et des principaux cadres légaux définissant les interventions sociales en direction des familles.• Découverte des différentes formes d’aide et des services de l’aide à l’enfance et à la famille.• Approfondissement du cas des familles encadrées par le service de la protection de la jeunesse. 

Evaluation de fin de coursExamen écrit

Bibliographie: •Aich, G. & Behr, M. (2015). Gesprächsführung mit Eltern. Beltz Verlag.•Berthoud-Aghili, N. (2002). Le dialogue interculturel à l’école : rôles de la médiation. In : P. Dasen & C. Perregaux (eds.). Pourquoi des approches interculturelles en sciences de l’éducation ? (147-162). France : deboecksuperieur.•Chemouny B. (2013). Communiquer avec les parents pour la réussite des élèves. Retz.•Deslandes, R. & Bertrand, R. (2004).  Motivation des parents à participer au suivi scolaire de leur enfant au primaire. Revue des sciences de l’éducation, 30(2), 411-433.•Dujardin, C. & Ferring, D. (2014). Le décrochage scolaire à travers l’enquête sociale. Apprentissage du contexte luxembourgeois de la protection de la jeunesse. In : D. Poncelet & J. Vlassis (eds.). Décrocher n’est pas une fatalité! Le rôle de l’école dans l’accrochage scolaire (287-297). Luxembourg: Université du Luxembourg.  •Dujardin, C. & Ferring, D. (2015). Jugendschutz im Wandel. Eine Analyse der Falldokumentation im Großherzogtum Luxemburg. Sozial Extra, 39(6), 6-8. DOI: 10.1007/s12054-015-0097-2•Gührs, M & Nowak, C. (2013). Trainingshandbuch zur konstruktiven Gesprächsführung. Limmer Verlag.•Henning, C. & Ehinger, W. (2014). Das Elterngespräch in der Schule. Auer Verlag.•Larivée, S. (2012). L’implication des parents dans le cheminement scolaire de leur enfant. Comment la favoriser ? Education & Formation, e-297, 33-48.•Le Moing, A. (2023). Paola Puccini, Michèle Vatz Laaroussi, Claude Gélinas. La médiation interculturelle : aspects théoriques, méthodologiques et pratiques. Il Tolomeo (Online), 25(25). https://doi.org/10.30687/Tol/2499-5975/2023/01/024 •Poncelet, D., Dierendonck, C., Kerger, S., & Mancuso, G. (2015). Rôle parental, sentiment de compétence et engagement des parents dans le cursus scolaire de leur enfant. La revue internationale de l’éducation familiale, 36, 61-98.•Poncelet, D., Dierendonck, Mancuso, G. & Vlassis, J. (2015). La confiance, un présupposé aux relations école-famille au préscolaire. Description et analyse de son influence sur les croyances des futurs enseignants luxembourgeois à l’égard de l’engagement parental et des relations école-famille. Education & Formation, e304, 39-58.•Poncelet, D., Dierendonck, C, Mancuso, G. & Kerger. S. (2014). « J’éduque, tu éduques, nous CO-éduquons ». Famille-école : des relations à construire pour les enfants. Forum, 343, 23-26.•Schnebel, S. (2007). Professionell beraten. Beratungskompetenz in der Schule. Beltz Verlag.•Vanderheiden, E. (2024). Handbuch interkultureller Öffnung: Grundlagen, Best Practice, Tools. Vanderhoeck & Ruprecht.

• Course title: BEM-381 Digital Music and Creation – Advanced Training
• Number of ECTS: 3
• Course code: BEM-38
• Module(s): Digital Music and Creation
• Language: FR, DE, LB
• Mandatory: Yes

Understanding of the computer tool (DAW);

Sequencer knowledge;

Digital audio;

Musical notation.

Students learn how to configure a music computer station (PC or Mac) according to the different computer, audio and MIDI connections.Learning the principle of multitrack, midi input, midi programming, virtual synths and sound banks. Recording, sound recording and mixing.Notation work, basics of score editing.Regarding the creation component, students will learn production and songwriting. Preparing for a recording session, positioning the microphones. Configure and manage a DAW recorder like Logic Pro. Perform a sound recording session. Choose the dynamic, frequency, time parameters. Mix a work respecting the style. Mixer. Master. Manage a project. Listening and analysis of existing songs. Understanding of the principle of structures. Know how to develop a melody on a chord chart. Master the development of a musical idea.

Evaluation of an individual project.

Bibliographie:

Dennis De Santis (2015) Making Music: 74 Creative Strategies for Electronic Music Producers -Ableton AG.Mike

Senior (2011) Mixing Secrets in the small studio – mitp.Pat Pattison (1991) Songwriting: Essential Guide to

Lyric Form and Structure: Tools and Techniques for Writing.Better Lyrics – Berklee Press (December 1, 1991).

David Nahmani – Logic Pro X: Professionell Musik komponieren, arrangieren und produzieren – SmartBooks (2014).

• Course title: BEM-401 Internship
• Number of ECTS: 7
• Course code: BEM-94
• Module(s): Internship
• Language:
• Mandatory: Yes

Portfolio:•Students manage their portfolio independently.Internship:•Students can independently plan, implement, and reflect on musical activities in the formal education sector (Conservatoires, music schools).

Internship:• Together with the music teacher of the methodology course (Conservatoire) and the tutor of the university, the student plans musical activities in music schools and/or conservatoires, carries them out practically and subsequently reflects on their own experiences and learning progress.• In three seminars at the university Prepa/Intra/Debriefing, the students present their planned activities to each other, discuss different methodological approaches, reflect together on their learning progress and learning obstacles, and define future development goals.

Portfolio:Tutoring, creation of an individual portfolio.Internship:Practical execution of musical activitiesOral presentation of activities based on written reports (preparations and reflections).

Bibliography:•Campbell, D. M., Melenyzer, B. J., Nettles, D. H. & Wyman, R. M. (2014). How to develop a professional portfolio. A manual for teachers (6th ed.). Boston: Allyn and Bacon. •Desjardins, R. (2002). Le portfolio de développement professionnel continu. Montréal, Québec : Les éditions de La Chenelière. •Doyon, A. & Desjardins, R. (2004). Le portfolio de développement professionnel comme outil d’intégration en formation initiale en enseignement. Vie Pédagogique, décembre 2004, 4 pages. •Foster, B. R. Walker, M. L. & Hyunsook Song, K. (2007). A beginning teaching portfolio handbook. Columbus, Ohio: Pearson – Merril Prentice Hall. •Tucker, P. D., Stronge, J. H. & Gareis, C. R. (2002). Handbook on teacher portfolios. N-Y, USA: Eye on Education 

• Course title: BEM-411 Musicology 3
• Number of ECTS: 3
• Course code: BEM-95
• Module(s): Musicology
• Language: EN, LB
• Mandatory: Yes

•Knowledge of musicological facts and concepts are considered important learning objectives. In doing so, it is important to keep the reference to the overarching reference of the degree program in view.

The course is intended as a continuation of the course of the first year of study. Various contents are deepened; others are added.Traditional German musicology is based on three approaches to music research: (1) historical musicology, which deals with European music history and philological aspects; (2) comparative musicology, which deals with social, sociological, and “societal” aspects; and (3) systematic musicology, which deals with empirical aspects. It goes without saying that research approaches influence each other. Understanding instrumentology (organology), for example, requires thinking in terms of all three approaches. The latter have been joined in recent years by newer concepts that musicology borrows from the comprehensive canon of the humanities. 

Due to the “inputs” provided, the students’ own impulses are not only desirable but also a prerequisite for a successful course. Accordingly, the assessment is based on the participation in the course and personal presentations during the course.

Bibliography (partly provided):

•Beard, D., Glog, K., Musicology. The Key Concepts, New York, Routledge2 2016.•Daniélou, A., Traité de musicologie comparée, Paris: Hermann 1978.•Denut, E., Musique actuelle, musique savante, Paris: L’Harmattan 2002.•Sagrillo, D., Music History of Luxembourg. Traditions and interfaces, ruptures, and landmarks. Eine Studie in acht Stationen (= Series: Music: Research and Science, Vol. 8), Münster: Lit 2023; to be distributed when it appears.

• Course title: BEM-421 Music Education 2
• Number of ECTS: 3
• Course code: BEM-96
• Module(s): Music education
• Language:
• Mandatory: Yes

•Knowledge of musical learning and musical learning theories and their transfer to the students’ future teaching practice are considered important learning objectives;•The critical examination and questioning of musical learning practices as well as the ability to possibly adapt the latter to the given situation should be in the foreground.

• The course is intended as a continuation of the first year’s course of study;• Various contents are deepened; others are added. The focus continues to be about music education in Luxembourg;• It is supplemented with traditional and newer (musical) learning theories;• The starting point is classical (music) pedagogues, their pedagogical theories, and their further development in recent years. This is illustrated by recent research results from research and practice. 

Due to the “inputs” provided, the students’ own impulses are not only desirable but also a prerequisite for a successful course. Accordingly, the assessment is based on the participation in the course and personal presentations during the course.

Bibliography:The following is a selection of literature that will be added to during the course books:•Abrahams, F., A Music Pedagogy for Our Time. Conversation and Critique, Chicago: GIA 2023•Brusniak, F., Buzás, Z., Marshall, N., Sagrillo, D., Music Education in the Focus of Historical Concepts and New Horizons. Kecskemét, Hungary: John Von Neumann University 2019•Nitschké, A., Sagrillo, D., (eds.), Music in Education: Aspects of European Music Education and their Application in Luxembourg (= Würzburger Hefte zur Musikpädagogik, volume 6, ed. v. Friedhelm Brusniak). Weikersheim: Margraf 2014•Stadler Elmer, S., Kind und Musik: Das Entwicklungspotenzial erkennen und verstehen, Berlin, Heidelberg: Springer; 2015Articles (will be provided):•Cvetko, A., “Theories in Music Education: Example of Narrative Theory”, in: Theories: Horizons for Teacher Education, Tübingen: Tübingen University Press 2020, pp. 323-334.•Gembris, H., “Musikalische Fähigkeiten und ihre Entwicklung”, in: Psychologische Grundlagen des Musiklernens (= Handbuch der Musikpädagogik, vol. 4, Kassel: Bärenreiter 1987), pp. 116-185.•Stadler Elmer, S., A Piagetian perspective on singing development, conference presentation 1994.•Taetle, L., Cutietta, R., “Learning Theories as the Roots of Music Instruction and Research: A Summary of the 2002 Ohio Music Education Association Research Forum Presented by Dr. Robert A. Cutietta”, in: R. Colwell & C. Richardson (Eds.), The New Handbook of Research on Music Teaching and Learning, New York: Oxford University Press 2002, pp. 279-298.

• Course title: BEM-491 Interdisciplinarity (Circus, Theater, Movies..)
• Number of ECTS: 3
• Course code: BEM-97
• Module(s): Interdisciplinarity
• Language: EN, LB
• Mandatory: Yes

•The students know the basics of theatre-pedagogical, circus-pedagogical, and film-pedagogical activities, reflect, and explore their possible applications in music lessons.•The students describe the function of music in other artistic subject areas (film, theatre, circus).•The students know the basics of project management.

• Students actively explore different activities, methods, and approaches from the fields of theatre, circus and film pedagogy and reflect on their possible uses and transfers to music lessons.• To do this, students leave their usual study environment (university, conservatoire) and experience other learning spaces: circus tent, theatre stage (Rotondes), or similar.• The students get a basic insight into the subject area of project management (creation, description, financing of an artistic or pedagogical project, …).

•Ongoing evaluation: Active participation in the course•Reflective term paper

Bibliography:Will be published on Moodle

• Course title: BEM-4111 Academic Writing
• Number of ECTS: 3
• Course code: BEM-98
• Module(s): Academic writing
• Language: EN
• Mandatory: Yes

•Upon successful completion of the course, students are expected to have acquired to following knowledge and skills:•Know the importance and value of academic writing;•Knowledge base on types, stages, structure, style, referencing;•Identify and apply research procedures that inform academic writing, including the use of library resources, keyword searches, compilation of bibliographies, and note-taking;•Ability to evaluate, analyze and synthesize scientific resources in relation to a specific topic, research question or methodology;•Ability to compose, edit and revise a text;•Use appropriate grammar, spelling, punctuation, methods of paragraph construction, referencing and presentation in written tasks;•Ability to reflect critically through writing;•Ability to integrate their own ideas with those of others in a scientific way (e.g., referencing);•Ability to build convincing evidence-based arguments in a coherent text;•Ability to relate scientific literature to the practice if teaching.

• This course will provide key techniques, guidelines and suggestions to improve reflective skills and academic written communication. Next to providing a theoretical knowledge base, it will give hands-on experience in:• bibliographic search in relation to their educational topics of interest and to specific research questions;• reading and writing together;• presenting;• drafting, organizing and revising academic texts.

Active participation in the course, assignments (e.g., reading, presenting, essay writing).

Bibliography:

Books

a.o.•American Psychological Association. (2020). Publication manual of the American Psychological Association: the official guide to APA style: American Psychological Association (APA).

Articles

a.o.•Stiell, I. G. (2022). Guide to writing and publishing a scientific manuscript: Part 1—The structure. Canadian Journal of Emergency Medicine, 24(2), 117-119.•Stiell, I. G., Atkinson, P., Cameron, P., Carter, A., Cheung, W., Chuang, R., … & Zed, P. (2022). Guide to writing and publishing a scientific manuscript: part 2—the process. Canadian Journal of Emergency Medicine, 24(2), 120.•Subramanyam, R. V. (2013). Art of reading a journal article: Methodically and effectively. Journal of oral and maxillofacial pathology: JOMFP, 17(1), 65.

Online resources

a.o.https://wwwfr.uni.lu/luxembourg_learning_centre/ressources_documentaires/academic_information_skills/academic_writinghttps://extras.apa.org/apastyle/basics-7e/#/

• Course title: BEM-601 Internship
• Number of ECTS: 8
• Course code: BEM-99
• Module(s): Internship
• Language: FR
• Mandatory: No

• Course title: BEM-621 Music education 3
• Number of ECTS: 3
• Course code: BEM-101
• Module(s): Music education
• Language: EN, LB
• Mandatory: No

•Knowledge of the different ways in which music can be used in education•Ability to develop and implement music education concepts•Ability to teach music (instrument, solfège, early music education)•Understanding the didactics of music education•Knowledge of different music education concepts and methods

The music pedagogy course in the third year of the Bachelor of Music Education (BME) program focuses on the in-depth exploration of contemporary pedagogical concepts and methods, the development of lesson plans and teaching materials, and reflection on personal pedagogical experiences. This approach provides music education students with a comprehensive, practice-based education. Teachers recognised for their expertise in their field offer up-to-date and relevant content, attractive and varied teaching methods, ensuring high-quality training. A wide range of musical styles and periods, emphasising high-quality musical works, allows students to discover the richness and diversity of music. Combining theoretical concepts with practical experience, emphasising the application of knowledge, enables students to develop robust professional skills and prepare for a successful career in music education. The course is also designed to assist in preparing the bachelor’s thesis, where the specific aim is to encourage the integration of theoretical debates in the field of music pedagogy with practical applications.

•Specific tasks for and during the course•Ongoing assessment 

Bibliography:

•Abravanel, G., & Porret, M. (2013). Musique et pédagogie: De l’antiquité à nos jours. Georg.•Abril, C. R., & Gault, B. M. (Eds.). (2014). Teaching General Music: Approaches, Issues, and Viewpoints. Oxford University Press.•Dufeutrelle, M., & Mâche, F. B. (2009). Enseigner la musique: Repères historiques et outils pratiques. L’Harmattan.•Green, L. (2008). Music, Informal Learning and the School: A New Classroom Pedagogy. Ashgate Publishing.•Gruhn, W. (42014), Geschichte der Musikerziehung. Eine Kultur- und Sozialgeschichte schulischer Musikerziehung vom Gesangunterricht der Aufklärungspädagogik zu ästhetisch kultureller Bildung. Wolke, •Krampen, M., & Wirtz, M. A. (2016). Musikpädagogik in Theorie und Praxis. Springer.

• Course title: BEM-671 Inclusive and Intercultural Music Education
• Number of ECTS: 3
• Course code: BEM-100
• Module(s): Inclusive and intercultural music education
• Language: EN
• Mandatory: No

Upon successful completion of the course, students are expected to have acquired the following knowledge:•working definitions of inclusion, diversity, equity, inter vs. multiculturality•different approaches to working in inclusive and intercultural contexts•skills and techniques for teaching music to diverse student populations•goals and purposes for the improvement of engaged music experiences for all•role of technology in working with different (student) populations

• Students learn about the multitude of contexts in which music may be used for a diversity of reasons (well-being, connection, develop social skills, …)• Students explore inclusive contexts in Luxembourg.• Students actively explore ways of designing lessons and devising teaching methods

Active participation in the courseAssignments (e.g., reading, presenting, design activities)

Bibliography:To be announced on Moodle platformSome internet sources:https://soundsofintent.app/https://sms.aec-music.eu/diversity-identity-inclusiveness/

• Course title: Bachelorthesis
• Number of ECTS: 10
• Course code: BEM-102
• Module(s): Bachelorthesis
• Language: EN, FR, DE
• Mandatory: No