• Number of ECTS: 6
• Course code: BEM-1
• Module(s): Internship and Portfolio
• Language: LB, DE, FR
• Mandatory: No

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.

• Number of ECTS: 3
• Course code: BEM-2
• Module(s): Musicology
• Language: DE, LB
• Mandatory: No

Basic knowledge of musicology Knowledge of Luxembourgish music history Knowledge 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 participants Presence 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/10993/54989 Armand Machabey, La musicologie, Kindle edition David 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/10993/43031 Ursula 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/10993/7454 Damien Sagrillo, Lieder, Musiker und Institutionen als Symbole luxemburgischer Musik. Galerie. Revue culturelle et pédagogique, 29(2) 2011, 269-281. http://hdl.handle.net/10993/7457 Damien Sagrillo, "Symbole luxemburgischer Musik. Volkslieder. Galerie. Revue culturelle et pédagogique, 29(1) 2011, 104-122. http://hdl.handle.net/10993/7468

• Number of ECTS: 3
• Course code: BEM-4
• Module(s): Developmental and Learning Psychology
• Language: FR
• Mandatory: No

Objective(s): Familiarise 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 analyse a problematic situation and propose possible solutions.

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.

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.

 •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.

• Number of ECTS: 3
• Course code: BEM-3
• Module(s): Introduction to General Didactics and Methodology
• Language: DE, LB, FR
• Mandatory: No

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.

• Number of ECTS: 4
• Course code: BEM-5
• Module(s): Music Education in Luxembourg
• Language: DE, LB
• Mandatory: No

•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: Ursula Anders-Malvetti / 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/10993/43031 Damien Sagrillo, "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 Damien Sagrillo, Solfège as a Reason for the Drop Out of Music School. In ebd. http://hdl.handle.net/10993/27034 Ursula 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/ Alain Nitschké / Damien Sagrillo, Die Musik in der Bildung: Aspekte europäischer Musikerziehung und ihre Anwendung in Luxemburg, Weikershein: Margraf 201 Burkhard Hill / Alicia de Bánffy-Hall, Community Music: Beiträge zur Theorie und Praxis aus internationaler und deutscher Perspektive, Münster: Waxmann 2017. Lee Higgens, Community Music: In Theory and In Practice, Oxford: Oxford University Press 2012 Christopher Small, Music, Society (Music / Culture), Middletown: Wesleyan UP 1996

• Number of ECTS: 3
• Course code: BEM-17
• Module(s): Early Childhood Music Education
• Language: EN
• Mandatory: No

• Number of ECTS: 7
• Course code: BEM-35
• Module(s): Internship and Portfolio
• Language: FR, DE, LB
• Mandatory: No

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.

• Number of ECTS: 3
• Course code: BEM-36
• Module(s): Developmental and Learning Psychology
• Language: FR, EN
• Mandatory: No

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.

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.

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.

• Number of ECTS: 3
• Course code: BEM-37
• Module(s): Elementary Music Pedagogy
• Language: EN
• Mandatory: No

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.  D escribe 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. 

• Number of ECTS: 3
• Course code: BSCE-589
• Module(s): Communication
• Language: DE, FR, LB
• Mandatory: No

Débora Poncelet et Sylvie Kerger – Les relations école-famille Mieux connaître le contexte luxembourgeois en matière de REF. Sensibiliser les futurs enseignants à l’enjeu éducatif de la collaboration école-famille. Les rendre attentifs aux différentes formes que peut prendre la communication école-famille. Comprendre en quoi certaines approches sont plus susceptibles que d’autres de favoriser le rapprochement entre l’école et la famille. Entraîner à l’utilisation de ces diverses approches dans différentes situations de communication. Réfléchir à différents moyens concrets que l’on pourrait mettre en place dans une classe ou dans une école et qui rencontreraient l’objectif d’améliorer la communication et de rapprocher l’école de la famille. Angélique Quintus – Les médiations interculturelles – Partim 1: La scolarisation des enfants étrangers 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 – Les interventions sociales – Partim 2: 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 – REFPoint 1 : Les représentations des futurs enseignants par rapport à la REFDébat de départ susceptible de faire émerger les représentations -> l’expérience personnelle des participants en termes de REF et d’engagement parentalPoint 2 : L’enjeu éducatif de la collaboration école-familleEn quoi les rapports entre l’école et la famille s’inscrivent-ils dans les missions de l’école ? Faut-il vraiment qu’enseignants et parents se rencontrent ?Présentation et analyse des textes de lois.Présentation et discussion de résultats de recherche.Point 3 : Débat de prolongement : Pour ou contre l’implication parentale à l’école ? (en classe, comme bénévole, au sein de comités, etc.)Point 4 : Les principes de base d’une bonne communication entre parents et enseignantsComment mettre en place une communication fluide et efficace entre l’école et la famille ?Point 5 : Les rencontres entre les parents et les enseignantsComment aider les étudiants à préparer et à structurer une rencontre avec les parents d’élèves ?Point 6 : Les communications écrites, les rapports périodiques, et les contacts   téléphoniquesLes devoirs et les leçonsPoint 7 : Des expériences concrètes de projets visant le rapprochement et l’amélioration de la communication école-famillesAngélique Quintus – Les médiations interculturelles – Partim 1 : La scolarisation des enfants étrangersCadre théorique et informations générales concernant le volet interculturel dans le contexte des relations école-famille.Présentation du service de la scolarisation des enfants étrangers, de la diversification de l'offre scolaire et des relations école-famille.Présentation du service de la scolarisation des enfants étrangers, de la diversification de l'offre scolaire et des médiateurs.Jeux de rôles dans le contexte d'une médiation interculturelle.Céline Dujardin – Les interventions sociales – Partim 2 : Aides socio-éducatives et interventions sociales au service de l’éducation familialePrésentation des données socio-démographiques 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 fin de cours Travail écrit

Bibliographie: 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 Larivée, S. (2012). L’implication des parents dans le cheminement scolaire de leur enfant. Comment la favoriser ? Education & Formation, e-297, 33-48. 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. 

• Number of ECTS: 3
• Course code: BEM-38
• Module(s): Digital Music and Creation
• Language: FR, DE, LB
• Mandatory: No

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).

• Number of ECTS: 3
• Course code: BEM-56
• Module(s): Musikwissenschaft
• Language: EN
• Mandatory: No

Als wichtige Lernziele werden das Wissen um musikwissenschaftliche Fakten und Konzepte erachtet. Dabei gilt es, den Bezug zum übergeordneten Bezug des Studiengangs im Blickfeld zu behalten.

Der Kurs versteht sich als Fortführung der Lehrveranstaltung des ersten Studienjahres. Verschiedene Inhalte werden vertieft; andere kommen hinzu.Die traditionelle deutsche Musikwissenschaft geht von drei Betrachtungsweisen der Musikforschung aus, als da sind (1) die historische Musikwissenschaft, welche sich mit europäischer Musikgeschichte und philologischen Aspekten befasst; (2) die vergleichende Musikwissenschaft, welche sich mit sozialen, soziologischen und "sozietalen" Aspekten befasst und (3) die systematische Musikwissenschaft, welche sich mit empirischen Aspekten befasst. Es versteht sich von selbst, dass Forschungsansätze einander beeinflussen. Das Verständnis z. B. der Instrumentenkunde (Organologie) erfordert jeweils das Mitdenken aller drei Betrachtungsweisen. Zu letzteren gesellen sich in den vergangenen Jahren neuere Konzepte, welche die Musikwissenschaft dem umfassenden Kanon der Geisteswissenschaften entlehnt.

Aufgrund der vermittelten "Inputs", sind eigene Impulse seitens der Studierenden nicht nur wünschenswert, sondern auch Voraussetzung für einen erfolgreichen Verlauf des Kurses.Demnach erfolgt die Bewertung über die Mitarbeit im Kurs und persönlichen Referate während der Lehrveranstaltung

Bibliographie (wird z.T. zur Verfügung gestellt) • Damien Sagrillo, Musikgeschichte Luxemburgs. Traditionen und Schnittstellen, Brüche und Wegmarken. Eine Studie in acht Stationen (= Reihe: Musik: Forschung und Wissenschaft, Bd. 8), Münster: Lit 2023; wird verteilt, wenn es erscheint• David Beard / Kenneth Glog, Musicology. The Key Concepts, New York, Routledge 22016• Eric Denut, Musique actuelle, musique savante, Paris: L'Harmattan 2002• Alain Daniélou, Traité de musicologie comparée, Paris: Hermann 1978

• Number of ECTS: 3
• Course code: BEM-57
• Module(s): Musikpädagogik
• Language: EN
• Mandatory: No

Als wichtige Lernziele werden das Wissen um musikalisches Lernen und musikalische Lerntheorien und ihre Übertragung auf die zukünftige Lehrpraxis der Studierenden erachtet. Die kritische Auseinandersetzung mit und das kritische Hinterfragen von musikalischen Lernpraxen sowie die Fähigkeit, letztere möglicherweise der gegebenen Situation anzupassen, soll dabei im Vordergrund stehen.

 Der Kurs versteht sich als Fortführung der Lehrveranstaltung des ersten Studienjahres. Verschiedene Inhalte werden vertieft; andere kommen hinzu. So steht weiterhin die Beschäftigung mit der Situation der musikalischen Bildung in Luxemburg im Fokus. Sie wird ergänzt mit traditionellen und neueren (musikalischen) Lerntheorien. Ausgegangen wird dabei von klassischen (Musik)-Pädagogen, ihren pädagogischen Theorien und deren Weiterentwicklung in den vergangenen Jahren. Veranschaulicht wird dies anhand neuerer Forschungsergebnisse aus Forschung und Praxis. Nachfolgend eine Auswahl an Literatur, die im Rahmen des Kurses ergänzt werden wird. 

 Aufgrund der vermittelten "Inputs", sind eigene Impulse seitens der Studierenden nicht nur wünschenswert, sondern auch Voraussetzung für einen erfolgreichen Verlauf des Kurses.Demnach erfolgt die Bewertung über die Mitarbeit im Kurs und persönlichen Referate während der Lehrveranstaltung 

  Bibliografie: Bücher: • Frank Abrahams, A Music Pedagogy for Our Time. Conversation and Critique, Chicago: GIA 2023• Stefanie Stadler Elmer, Kind und Musik: Das Entwicklungspotenzial erkennen und verstehen, Berlin, Heidelberg: Springer; 2015• Alain Nitschké / Damien Sagrillo (Hrsg.), Die Musik in der Bildung: Aspekte europäischer Musikerziehung und ihre Anwendung in Luxemburg (= Würzburger Hefte zur Musikpädagogik, volume 6, hrsg. v. Friedhelm Brusniak). Weikersheim: Margraf 2014• 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 2019Artikel (werden zur Verfügung gestellt): • Alexander J. Cvetko, “Theorien in der Musikpädagogik: Beispiel Erzähltheorie”, in: Theorien!: Horizonte für die Lehrerinnen- und Lehrerbildung, Tübingen: Tübingen University Press 2020, S. 323–334• 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• Stefanie Stadler Elmer, A Piagetian perspective on singing development, Konferenzvortrag 1994• Heiner Gembris, “Musikalische Fähigkeiten und ihre Entwicklung”, in: Psychologische Grundlagen des Musiklernens (= Handbuch der Musikpädagogik, Bd 4, Kassel: Bärenreiter 1987), S. 116–185

• Number of ECTS: 3
• Course code: BEM-58
• Module(s): Interdisciplinarity
• Language: EN
• Mandatory: No

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 announced on Moodle

• Number of ECTS: 3
• Course code: BEM-59
• Module(s): Academic writing
• Language: EN
• Mandatory: No

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 courseAssignments (e.g., reading, presenting, essay writing)

Recommended Reading : Books a.o.• American Psychological Association. (2020). Publication manual of the American Psychological Association: the official guide to APA style: American Psychological Association (APA).Articlesa.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 resourcesa.o.https://wwwfr.uni.lu/luxembourg_learning_centre/ressources_documentaires/academic_information_skills/academic_writinghttps://extras.apa.org/apastyle/basics-7e/#/