Study Guide

Assessment criteria, approved/failed

Active participation in teaching and performances.

Content scheduling

Private piano instruction
autumn semester 12x90 min
spring semester 14x90min
Detailed schedule is to be planned with the piano teacher.

Group lessons in Sigyn Hall on Thursday afternoon (dates below and in TUUDO) Firtst hour is booked for rehearsing, discuss the rehearsing time with the other students. Be prepared to give feedback to each other during the group lesson.

In the end of each term there is a evaluated performance. The student prepares and performs a solo piano program suitable for his/her current abilities of the art of piano playing. Afterwards feedback is given by the piano teachers present.

Other performances in the student concerts

Group lessons and evaluated performances in Sigyn:

Autumn 2024
Thu 26.9. at 11-14 (Group lesson starts at klo 12)
Thu 10.10. at 12-16 (start at 13)
Thu 14.11. at 11-15 (start at 12)
Thu 21.11. at 12-16 (start at 13)

Christmas concert rehearsals in Sigyn
Mon 9.12. klo 9-16
Tue 10.12. klo 9-14
Chrismas concerts (detailed schedule TBA)
Fri 13.12. klo 9-15

Spring 2025
Thu 16.1. at 12-16 (start at 13)
Thu 3.4. at 11-14 (start at 12)

Spring concerts rehearsals in Sigyn
Mon 5.5. at 9-16
Tue 6.5. at 9-14
Spring concerts in Sigyn (detailed schedule TBA)
Fri 9.5. klo 9-15

In addition:
Mon 25.11. at 9-18 Audition for Madetoja competition

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student will receive feedback regularly from the piano teacher during the piano lessons, peer feedback during the group lessons and a more detailed feedback from the teacher and a colleague after the semester ending evaluated performances.

Evaluation scale

Hyväksytty/Hylätty

Assessment criteria, approved/failed

Active participation in teaching and performances.

Content scheduling

Private piano instruction

autumn semester 12x90 min

spring semester 14x90min

Detailed schedule is to be planned with the piano teacher.



Group lessons in Sigyn Hall on Thursday afternoon (dates below and in TUUDO) Firtst hour is booked for rehearsing, discuss the rehearsing time with the other students. Be prepared to give feedback to each other during the group lesson.



In the end of each term there is a evaluated performance. The student prepares and performs a solo piano program suitable for his/her current abilities of the art of piano playing. Afterwards feedback is given by the piano teachers present.



Other performances in the student concerts



Group lessons and evaluated performances in Sigyn:



Autumn 2024

Thu 26.9. at 11-14 (Group lesson starts at klo 12)

Thu 10.10. at 12-16 (start at 13)

Thu 14.11. at 11-15 (start at 12)

Thu 21.11. at 12-16 (start at 13)



Christmas concert rehearsals in Sigyn

Mon 9.12. klo 9-16

Tue 10.12. klo 9-14

Chrismas concerts (detailed schedule TBA)

Fri 13.12. klo 9-15



Spring 2025

Thu 16.1. at 12-16 (start at 13)

Thu 3.4. at 11-14 (start at 12)



Spring concerts rehearsals in Sigyn

Mon 5.5. at 9-16

Tue 6.5. at 9-14

Spring concerts in Sigyn (detailed schedule TBA)

Fri 9.5. klo 9-15



In addition:

Mon 25.11. at 9-18 Audition for Madetoja competition

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student will receive feedback regularly from the piano teacher during the piano lessons, peer feedback during the group lessons and a more detailed feedback from the teacher and a colleague after the semester ending evaluated performances.

Assessment criteria, approved/failed

Active participation in teaching and performances.

Content scheduling

Private piano instruction

autumn semester 12x90 min

spring semester 14x90min

Detailed schedule is to be planned with the piano teacher.



Group lessons in Sigyn Hall on Thursday afternoon (dates below and in TUUDO) Firtst hour is booked for rehearsing, discuss the rehearsing time with the other students. Be prepared to give feedback to each other during the group lesson.



In the end of each term there is a evaluated performance. The student prepares and performs a solo piano program suitable for his/her current abilities of the art of piano playing. Afterwards feedback is given by the piano teachers present.



Other performances in the student concerts



Group lessons and evaluated performances in Sigyn:



Autumn 2024

Thu 26.9. at 11-14 (Group lesson starts at klo 12)

Thu 10.10. at 12-16 (start at 13)

Thu 14.11. at 11-15 (start at 12)

Thu 21.11. at 12-16 (start at 13)



Christmas concert rehearsals in Sigyn

Mon 9.12. klo 9-16

Tue 10.12. klo 9-14

Chrismas concerts (detailed schedule TBA)

Fri 13.12. klo 9-15



Spring 2025

Thu 16.1. at 12-16 (start at 13)

Thu 3.4. at 11-14 (start at 12)



Spring concerts rehearsals in Sigyn

Mon 5.5. at 9-16

Tue 6.5. at 9-14

Spring concerts in Sigyn (detailed schedule TBA)

Fri 9.5. klo 9-15



In addition:

Mon 25.11. at 9-18 Audition for Madetoja competition

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student will receive feedback regularly from the piano teacher during the piano lessons, peer feedback during the group lessons and a more detailed feedback from the teacher and a colleague after the semester ending evaluated performances.

Materials

To be agreed with student.

Teaching methods

Participation in instrumental lessons, group lessons, peer feedback and performances.

International connections

Onsite and online studies.

Student workload

To be agreed with student.

Assessment criteria, approved/failed

Accepted: Students have participated in teaching, given peer feedback, performed in public and in group classes, adopted new software, and developed their musical expression and the playing technique required for it.
Failed: The student has not participated in teaching, group classes and peer-to-peer feedback and has not absorbed the new software sufficiently.

Content scheduling

Instrumental studies: musical expression and the technical skill it requires.

Further information

Email and Teams.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Assessment is continuous: participation in teaching, group classes, peer feedback and performances.

Assessment criteria, approved/failed

Active participation in teaching and performances.

Content scheduling

Private piano instruction

autumn semester 12x90 min

spring semester 14x90min

Detailed schedule is to be planned with the piano teacher.



Group lessons in Sigyn Hall on Thursday afternoon (dates below and in TUUDO) Firtst hour is booked for rehearsing, discuss the rehearsing time with the other students. Be prepared to give feedback to each other during the group lesson.



In the end of each term there is a evaluated performance. The student prepares and performs a solo piano program suitable for his/her current abilities of the art of piano playing. Afterwards feedback is given by the piano teachers present.



Other performances in the student concerts



Group lessons and evaluated performances in Sigyn:



Autumn 2024

Thu 26.9. at 11-14 (Group lesson starts at klo 12)

Thu 10.10. at 12-16 (start at 13)

Thu 14.11. at 11-15 (start at 12)

Thu 21.11. at 12-16 (start at 13)



Christmas concert rehearsals in Sigyn

Mon 9.12. klo 9-16

Tue 10.12. klo 9-14

Chrismas concerts (detailed schedule TBA)

Fri 13.12. klo 9-15



Spring 2025

Thu 16.1. at 12-16 (start at 13)

Thu 3.4. at 11-14 (start at 12)



Spring concerts rehearsals in Sigyn

Mon 5.5. at 9-16

Tue 6.5. at 9-14

Spring concerts in Sigyn (detailed schedule TBA)

Fri 9.5. klo 9-15



In addition:

Mon 25.11. at 9-18 Audition for Madetoja competition

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student will receive feedback regularly from the piano teacher during the piano lessons, peer feedback during the group lessons and a more detailed feedback from the teacher and a colleague after the semester ending evaluated performances.

Materials

To be agreed with student.

Teaching methods

Participation in instrumental lessons, group lessons, peer feedback and performances.

International connections

Onsite and online studies.

Student workload

To be agreed with student.

Assessment criteria, approved/failed

Accepted: Students have participated in teaching, given peer feedback, performed in public and in group classes, adopted new software, and developed their musical expression and the playing technique required for it.
Failed: The student has not participated in teaching, group classes and peer-to-peer feedback and has not absorbed the new software sufficiently.

Content scheduling

Instrumental studies: musical expression and the technical skill it requires.

Further information

Email and Teams.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Assessment is continuous: participation in teaching, group classes, peer feedback and performances.

Materials

To be agreed with student.

Teaching methods

Participation in instrumental lessons, group lessons, peer feedback and performances.

International connections

Onsite and online studies.

Student workload

To be agreed with student.

Assessment criteria, approved/failed

Accepted: Students have participated in teaching, given peer feedback, performed in public and in group classes, adopted new software, and developed their musical expression and the playing technique required for it.
Failed: The student has not participated in teaching, group classes and peer-to-peer feedback and has not absorbed the new software sufficiently.

Content scheduling

Instrumental studies: musical expression and the technical skill it requires.

Further information

Email and Teams.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Assessment is continuous: participation in teaching, group classes, peer feedback and performances.

Objective

After completing the Instrument Pedagogy Courses 1-4, the student:
- identifies and masters the basic technical skills of her instrument and is capable to teach them
- knows the key teaching methods, repertoire, teaching materials of elementary, basic, and advanced studies, including making music together
- is able to set the objectives of teaching on a learner basis and design the lessons in accordance with trainee student’s needs
- can apply the principles of ergonomics creatively and use those skills while working with trainee student
- can guide the learner's training and is able to support the development of the learner's artistic expression and performance capacity
- has internalized the principles of encouraging continuous feedback and can also guide learners in self-assessment and peer review
- can assess the learner's progress and constructively coach and evaluate performance in level performance situations
- can support and guide learners of different ages in both individual and group learning situations
- is able to interact with learners of different levels, ages and from different backgrounds (including adult students) and can teach learners with both for hobby goals and vocational training
- knows how to use online pedagogical methods in her pedagogical work
- is familiar with the work of a musical pedagogue in different environments: music colleges that provide basic education in the arts, in the vocational secondary school of music, in the free education sector and in private sector
- can analyze and showcase her own field of art and its pedagogical activities
- has formed a versatile picture of her as a teacher and is able to reflex her own activities and develop capabilities to help grow as a teacher throughout the professional career

Content

Music pedagogy lectures
Observing teaching practice and teaching samples
Observing professional instrument teaching
Other pedagogical activities, i.e. introduction to group pedagogy, evaluation and possible teaching assistant assignments

Materials

The learning materials are agreed with the student, common materials can be found in itslearning course environment.

Teaching methods

Contact teaching, distance learning and independent working.

International connections

Peer learning, flipped learning and flipped assessment.

Student workload

To be agreed with student.
Assignments in itsLearning.

Assessment criteria, approved/failed

Accepted: The student has participated in the teaching, done the agreed learning tasks, participated in peer feedback events, followed the teaching as agreed, started working with the trainee student and made two recordings of working with the trainee student for peer feedback.
Faliled: learning tasks have been done, working in a group has been inadequate, participation in peer-to-peer feedback events has been incomplete.

Content scheduling

Following the teaching in the fall and spring semester 10x45 minutes, a total of 20 listening sessions during the academic year, collecting written comments. The listening journal is returned to itsLearning at the end of the semester.
Weekly participation in TeknoDida meetings: lectures, program practicum, technology workshop and peer-to-peer feedback sessions for teaching practice.
In the spring semester, a teaching training session will be started with your own training student. In the spring semester, two teaching sessions are recorded with the student for peer feedback.

Further information

Email and TeamsOs

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Participation in teaching, performance of learning tasks, peer feedback, performance of independent work.

Objective

After completing the Instrument Pedagogy Courses 1-4, the student:
- identifies and masters the basic technical skills of her instrument and is capable to teach them
- knows the key teaching methods, repertoire, teaching materials of elementary, basic, and advanced studies, including making music together
- is able to set the objectives of teaching on a learner basis and design the lessons in accordance with trainee student’s needs
- can apply the principles of ergonomics creatively and use those skills while working with trainee student
- can guide the learner's training and is able to support the development of the learner's artistic expression and performance capacity
- has internalized the principles of encouraging continuous feedback and can also guide learners in self-assessment and peer review
- can assess the learner's progress and constructively coach and evaluate performance in level performance situations
- can support and guide learners of different ages in both individual and group learning situations
- is able to interact with learners of different levels, ages and from different backgrounds (including adult students) and can teach learners with both for hobby goals and vocational training
- knows how to use online pedagogical methods in her pedagogical work
- is familiar with the work of a musical pedagogue in different environments: music colleges that provide basic education in the arts, in the vocational secondary school of music, in the free education sector and in private sector
- can analyze and showcase her own field of art and its pedagogical activities
- has formed a versatile picture of her as a teacher and is able to reflex her own activities and develop capabilities to help grow as a teacher throughout the professional career

Content

Music pedagogy lectures
Observing teaching practice and teaching samples
Observing professional instrument teaching
Other pedagogical activities, i.e. introduction to group pedagogy, evaluation and possible teaching assistant assignments

Evaluation scale

Hyväksytty/Hylätty

Objective

After completing the Instrument Pedagogy Courses 1-4, the student:
- identifies and masters the basic technical skills of her instrument and is capable to teach them
- knows the key teaching methods, repertoire, teaching materials of elementary, basic, and advanced studies, including making music together
- is able to set the objectives of teaching on a learner basis and design the lessons in accordance with trainee student’s needs
- can apply the principles of ergonomics creatively and use those skills while working with trainee student
- can guide the learner's training and is able to support the development of the learner's artistic expression and performance capacity
- has internalized the principles of encouraging continuous feedback and can also guide learners in self-assessment and peer review
- can assess the learner's progress and constructively coach and evaluate performance in level performance situations
- can support and guide learners of different ages in both individual and group learning situations
- is able to interact with learners of different levels, ages and from different backgrounds (including adult students) and can teach learners with both for hobby goals and vocational training
- knows how to use online pedagogical methods in her pedagogical work
- is familiar with the work of a musical pedagogue in different environments: music colleges that provide basic education in the arts, in the vocational secondary school of music, in the free education sector and in private sector
- can analyze and showcase her own field of art and its pedagogical activities
- has formed a versatile picture of her as a teacher and is able to reflex her own activities and develop capabilities to help grow as a teacher throughout the professional career

Content

Music pedagogy lectures
Observing teaching practice and teaching samples
Observing professional instrument teaching
Other pedagogical activities, i.e. introduction to group pedagogy, evaluation and possible teaching assistant assignments

Teaching methods

Small group discussion and work

Assessment criteria, approved/failed

The course is approved when all the parts (mentioned earlier) and the pedagogical portfolio are completed. The student has actively participated in teaching sessions and developed his/her own pedagogical knowledge and thinking.

Content scheduling

The implementation takes the entire academic year.
Sectors of the implemention:

1) Lectures/workshops
2) Teaching practice weekly - includes both the private lesson of your student and the teaching practice group meeting
3) Practice pupils' concerts
4) Teaching observation - following a professional piano teacher teaching 20 x 45 min / academic year (10 x 45 min / semester)
5) Giving a evaluated teaching sample and following other students' samples
6) Following possible masterclasses
7) Other pedagogical activities (to be informed later)

Further information

Itslearning and e-mail

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The implementation is evaluated in the of the spring term.

Materials

The learning materials are agreed with the student, common materials can be found in itslearning course environment.

Teaching methods

Peer learning, flipped learning and flipped assessment.

International connections

Peer learning, flipped learning and flipped assessment.

Assessment criteria, approved/failed

Accepted: The student has participated in the teaching, done the agreed learning tasks, participated in peer feedback events, followed the teaching as agreed, started working with the trainee student and made two recordings of working with the trainee student for peer feedback.
Failed: learning tasks have been done, working in a group has been inadequate, participation in peer-to-peer feedback events has been incomplete.

Content scheduling

Following the teaching in the fall and spring semester 10x45 minutes, a total of 20 listening sessions during the academic year, collecting written comments. The listening journal is returned to itsLearning at the end of the semester.
Weekly participation in TeknoDida meetings: lectures, program practicum, technology workshop and peer-to-peer feedback sessions for teaching practice.
Instructional training with your own training student. In the fall and spring semesters, each will record two teaching sessions with the practice student for peer feedback.

Further information

Email and Teams.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Participation in teaching, performance of learning tasks, peer feedback, performance of independent work.

Evaluation scale

Hyväksytty/Hylätty

Evaluation scale

Hyväksytty/Hylätty

Assessment criteria, approved/failed

The course is approved when all the parts (mentioned earlier) and the pedagogical portfolio are completed. The student has actively participated in teaching sessions and developed his/her own pedagogical knowledge and thinking.

Content scheduling

The implementation takes the entire academic year.
Sectors of the implemention:

1) Lectures/workshops
2) Teaching practice weekly - includes both the private lesson of your student and the teaching practice group meeting
3) Practice pupils' concerts
4) Teaching observation - following a professional piano teacher teaching 20 x 45 min / academic year (10 x 45 min / semester)
5) Giving a evaluated teaching sample and following other students' samples
6) Following possible masterclasses
7) Other pedagogical activities (to be informed later)

Further information

Itslearning and e-mail

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The implementation is evaluated in the of the spring term.

Assessment criteria, approved/failed

The course is approved when all the parts (mentioned earlier) and the pedagogical portfolio are completed. The student has actively participated in teaching sessions and developed his/her own pedagogical knowledge and thinking.

Content scheduling

The implementation takes the entire academic year.
Sectors of the implemention:

1) Lectures/workshops
2) Teaching practice weekly - includes both the private lesson of your student and the teaching practice group meeting
3) Practice pupils' concerts
4) Teaching observation - following a professional piano teacher teaching 20 x 45 min / academic year (10 x 45 min / semester)
5) Giving a evaluated teaching sample and following other students' samples
6) Following possible masterclasses
7) Other pedagogical activities (to be informed later)

Further information

Itslearning and e-mail

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The implementation is evaluated in the of the spring term.

Evaluation scale

Hyväksytty/Hylätty

Assessment criteria, approved/failed

The course is approved when all the parts (mentioned earlier) and the pedagogical portfolio are completed. The student has actively participated in teaching sessions and developed his/her own pedagogical knowledge and thinking.

Content scheduling

The implementation takes the entire academic year.
Sectors of the implemention:

1) Lectures/workshops
2) Teaching practice weekly - includes both the private lesson of your student and the teaching practice group meeting
3) Practice pupils' concerts
4) Teaching observation - following a professional piano teacher teaching 20 x 45 min / academic year (10 x 45 min / semester)
5) Giving a evaluated teaching sample and following other students' samples
6) Following possible masterclasses
7) Other pedagogical activities (to be informed later)

Further information

Itslearning and e-mail

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The implementation is evaluated in the of the spring term.

Evaluation scale

Hyväksytty/Hylätty

Evaluation scale

Hyväksytty/Hylätty

Evaluation scale

Hyväksytty/Hylätty

Objective

History of music
The student can understand the different styles of music from the Middle Ages to the music of our time. By listening, he recognizes the characteristic features of the styles of key composers. The student understands the connection between the music of our own time and the continuum of music history. He knows the key sources for deepening his knowledge of music history and knows how to apply his knowledge of music history to his own artistic work, both as a musician and as a teacher.

Music analysis C
The student knows the basic concepts of music theory and music analysis. The student knows how to use conceptual and theoretical knowledge to understand music. The student knows the basic structures of tonal music and can analyze and describe the structures of music from different periods.

Writing music C
The student knows the basic phenomena and concepts of tonal harmony and melody. He knows the basic concepts and principles of tonal voice-leading and knows how to apply them when writing music. According to their orientation, the student can write instrumental and/or vocal music for different ensembles. The student understands the characteristics of different instruments and the human voice and knows the practices of writing for them. The student knows the principles of arranging.

Content

History of music, 2 credits
From the Middle Ages in the history of Western music to the music of our time (key composers, characteristics of the stylistic periods). Music as part of its own time and historical continuum.

Music analysis C, 3 credits
Analysis exercises from different periods of tonal music. Miniature and work analyzes based on different question layouts. Familiarization with key music analytical literature.

Writing music C, 5 credits
Principles and basic concepts of tonal voice-leading. The most common chord notation (Roman analysis, chord markings and general bass notation). Producing a multi-voiced tonal texture. Different music writing techniques (harmonization, instrumentation, counterpoint, arranging). The content can be weighted according to the student's own major.

Materials

WRITING MUSIC C

Material to be distributed in the course.

Related literature:
Aldwell-Schachter: Harmony and voice-leading
Kontunen Jorma: Soinnutus
Murto Matti: Soivat soinnut

MUSIC ANALYSIS C

Material to be distributed in the course.

Related literature:
Jorma Kontunen: The language of music 2, Forms of composition
William Caplin: Classical form

MUSIC HISTORY

D.J.Grout: History of western music
D.J.Grout: Short history of opera
Music presented/listened during lectures

Teaching methods

WRITING MUSIC C: distance learning, class assignments, preliminary assignments, practice assignments

MUSIC ANALYSIS C: face-to-face teaching, homework assignments, practice assignments

MUSIC HISTORY:

lectures
two essay assignments, for which the topics will be decided together with teacher

Exam schedules

MUSIC HISTORY

the timing of writing the two essays will be discussed with teacher. usually this takes place during the spring term

Student workload

MUSIC HISTORY

lectures: 16 x 90 min
essay assignment and work on background material about 20 hours

Content scheduling

WRITING MUSIC C

Principles and basic concepts of tonal melody and harmony. The most common notation of chords. Producing a multi-voiced tonal texture. Different music writing techniques (harmonization, counterpoint, arrangement)

English-speaking group: On Fridays 10-11:30am (first lecture on 6th of September).

Meetings will be held online via Zoom:
https://turkuamk.zoom.us/j/68021100512
Meeting ID: 680 2110 0512

The detailed information about the course you find at ItsLearning course enviroment.

MUSIC ANALYSIS C

Analysis exercises from different eras of tonal art music. Analyzing musical form based on different question layouts.

English-speaking group: Group lectures on Fridays at 10-11.30am on Zoom. First meeting on Fri 10th of January 2025, last meeting on 8rd of May 2025.

Meetings will be held online via Zoom:
https://turkuamk.zoom.us/j/68021100512
Meeting ID: 680 2110 0512

MUSIC HISTORY

During the academic year 2023-2024 focus will be on music before the year 1900
Lectures will be held on Tuesdays about every two week at 2pm - 4pm

First lecture will be on September the 10th in Crichton hall

Further information

WRITING MUSIC C AND MUSIC ANALYSIS C: teacher, ItsLearning course enviroment

MUSIC HISTORY: email

Evaluation scale

H-5

Assessment methods and criteria

WRITING MUSIC C
The course has two parts
1. Display test of four-voice writing
2. Independent writing assignments (2 pcs), to be arranged separately

MUSIC ANALYSIS C
Written exam on Fri 8rd of May 2025.

MUSIC HISTORY

- attending lectures is obligatory/absence will be discussed with teach in advance
-signing for the course will be checked during the first lecture on September the 10th
-attendance will be checked in the begining of each lecture

Assessment criteria, satisfactory (1-2)

Writing music C
The student masters the basics of writing harmony and melody. There are still shortcomings in the details and overall management.

Music analysis C
The student masters the basics of analyzing compositions. The student can helpfully analyze the most important forms of composition and understands different methods of analysis.

Assessment criteria, good (3-4)

Writing music C

The student masters different writing techniques fluently and knows how to apply his knowledge in different situations. The student has a vision of how the written set should sound and he masters the means and techniques to achieve it.

Music analysis C
The student comprehensively understands the structure of the composition, from miniatures to larger entities. The student knows how to apply stylistic approaches when describing the characteristics of compositions in different styles.

Assessment criteria, excellent (5)

Writing music C

The student masters voice-leading principles flawlessly and the features required by different styles. The student knows how to apply his knowledge creatively. The student also manages exceptional solutions smoothly and according to style.

Music analysis C
The student can analyze his extensive knowledge on his own initiative, utilizing more challenging and even exceptional compositions. The student demonstrates stylistic and insightful control of different analysis methods.

Objective

After completion of the course unit the student is able to perceive music as a historical, oral, auditive and structural phenomena.
 

Content

The course unit is divided into four different areas:
- Western music history
- Writing music 
- Music analysis
- Solfége

Materials

SOLFEGE C
All tonal Western classical music as well as rhythm music can be used in the study of solfege.
In addition, study books directed at this level can be used, e.g.
Lectio Sonorum I- II, Seija-Sisko Raitio
Säveltapailu C-B, Seija Salmiala

MUSIC ANALYSIS C
Material to be distributed in the course.
Jorma Kontunen: Musiikin kieli 2, Sävellysmuodot
William Caplin: Classical form

MUSIC HISTORY

D.J.Grout: History of western music
D.J.Grout: Short history of opera
Music presented/listened during lectures

Teaching methods

SOLFEGE C
independent working and practising, distance learning, face to face teaching

MUSIC ANALYSIS C: distance teaching, homework assignments, practice assignments

MUSIC HISTORY:

lectures
two essay assignments, for which the topics will be decided together with teacher

Exam schedules

SOLFEGE C
Sections of the written exam of Solfege C are performed in a manner that is agreed with the teacher, usually during lessons in April. Oral exams are held in early May.

MUSIC ANALYSIS C
During academic year student writes an independent analysis on a composition chosen by the student.

MUSIC HISTORY

the timing of writing the two essays will be discussed with teacher. usually this takes place during the spring term

Student workload

MUSIC HISTORY

lectures: 16 x 90 min
essay assignment and work on background material about 20 hours

Content scheduling

SOLFEGE C
Solfege C is a compulsory section of the study course Music perceiving, to be completed during the first two years of study.
This section includes tonal music exercises that contain
- chromatic notes, altered chords and changing timesignatures as well as beats with different durations
- reading of exceptional rhythms (duol, triol, etc.) maintaining the basic pulsation audibly
- singing of tonal melodies containing chromatic tunes and the most common altered chords
to recognize, perceive and notate the chord series with altered notes and the most general altered chords using letter marking and degrees.

There are two alternative teaching groups in Solfège C:

C1 Mondays 10.00-11.30, A214 (in Finnish)
C2 Tuesdays 12.15-13.15, on Zoom (in English)


MUSIC ANALYSIS C
Analysis exercises from different eras of tonal art music. Miniature and work analyzes based on different question layouts.

English-speaking group: Weekly group meetings on Fridays from 13.30 p.m. to 14:30 p.m. First meeting on Fri 6.9. 2024, last meeting on Fri 13.12. 2024.

MUSIC HISTORY

Lectures will be held on Tuesdays about every two week at 2pm - 4pm

First lecture will be on September the 10th in Crichton hall

Further information

MUSIC ANALYSIS C: teacher, ItsLearning course enviroment

MUSIC HISTORY: email

SOLFÈGE C:
teacher, ItsLearning course enviroment

MUSIC HISTORY: email

Evaluation scale

H-5

Assessment methods and criteria

SOLFEGE C
Solfege C contains the next assessed parts:
written parts:
- notation of one-voiced, tonal melody and identification of its accompaniment chords with letter marking
- perception, identification and notation of a chord series that contains altered chords
oral parts:
- prima vista singing a tonal melody with chromatic notes
- reading /presenting a rhythm which contains changing durations of the beat maintaining the basic pulsation audibly

MUSIC ANALYSIS C
During academic year student writes an independent analysis on a composition chosen by the student.

MUSIC HISTORY

- attending lectures is obligatory/absence will be discussed with teach in advance
-signing for the course will be checked during the first lecture on September the 10th
-attendance will be checked in the begining of each lecture

Assessment criteria, fail (0)

The student does not manage the core competencies of the study course in a manner that meets minimum requirements.

Assessment criteria, satisfactory (1-2)

Solfege C
The student demonstrates his/ her mastery of the study course's core competencies in a manner that meets the minimum requirements. The student has participated in the required group assignments and evaluation discussions and completed the learning tasks required in the study course successfully.

Music analysis C
The student masters the basics of analyzing compositions. The student can helpfully analyze the most important forms of composition and understands different methods of analysis.

Assessment criteria, good (3-4)

Solfege C
The student demonstrates that he/she masters the core competencies of the study course well. The student has participated in the required group assignments and evaluation discussions and completed the learning tasks required in the study course successfully. The students is able to direct his/her own work in a self-directed, goal-oriented and responsible manner.

Music analysis C
The student comprehensively understands the structure of the composition, from miniatures to larger entities. The student knows how to apply stylistic approaches when describing the characteristics of compositions in different styles.

Assessment criteria, excellent (5)

Solfege C
The student demonstrates their mastery of the core competencies of the study course commendably/excellently. The student has participated in the required group assignments and evaluation discussions and completed the learning tasks required in the study course successfully. The student is able to direct his/her own work in a self-directed, goal-oriented and responsible manner. The student demonstrates profound competence of the study course objectives.

Music analysis C
The student can analyze his extensive knowledge on his own initiative, utilizing more challenging and even exceptional compositions. The student demonstrates stylistic and insightful control of different analysis methods.

Materials

Basics of the overall and extensive learning curriculum for basic arts education
- Materials on music basics published by the Finnish Association of Music Educational Institutions
- pedagogical literature on the teaching of the subject concerning Music perceiving
- tonal music suitable for basic level (sheet music and recordings and live music)
- accompaniment notes for instrument teaching on the basic level
- elementary school music textbooks and other learning material
- textbooks and online learning materials drawn up for knowledge of music and music in music educational institutions
- applicable material available online and
- material produced by the students themselves (pedagogical materials, compositions, etc.)

Teaching methods

face-to face and distance teaching, independent learning, teaching practise

Exam schedules

The student and the guiding teachers agree on the dates of the teaching samples to be assessed.

Student workload

- getting familiariar with learning materials, literature and learning contents of the subjects concerning Music perceiving, and reporting on them

- monitoring the teaching of the subjects concerning Music perceiving 10x45 minutes per semester, i.e. 20 hours per academic year

- taking part in the evaluation of the skills concerning Music perceiving

Content scheduling

Students, who study the subjects concerning Music perceiving as their major subject, complete the Pedagogy 1 of the subject concerning Music perceiving in the first year of study.
The study course includes:
-observing teh teaching of the subjects concerning Music perceiving at the basic level of music schools (MuPe levels 1-3)
Comprehensive perception skills of music are amplified by the integration of different content areas.
- the basics of music: perceiving tonal music by singing and writing; note writing, melody and rhythm and harmony (major/minor varieties and scales, intervals with quality, triads and septim chords with letter marking and degrees, most common music terms)
- different tools and methods of work in music, taking into account the pupil's objectives
- co-musization skills
- skills to perceive music, as well as
- history awareness of music

Further information

Teaching on Thursdays at 13.00-14.30 in A214 and/or by zoom
beginning 19th September 2024

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

the mastery of the objectives and core competencies of the course being taught

- participation in group tasks and evaluation discussions

- completion of the learning tasks required in the course

- self-direction, the goal-oriented and accountability of your own work

Materials

- The basics of the overall and extensive learning curriculum for basic arts education
- the teaching materials of the subject concerning Music perceiving published by the Finnish Association of Music Educational Institutions
- pedagogical literature on teaching the subjects concerning Music perceiving
- tonal music suitable for basic level (sheet music and recordings and live music)
- accompaniment notes for instrument teaching on the basic level
- elementary school music textbooks and other learning material
- textbooks and online learning materials drawn up for knowledge of music and the teaching of the subject concerning Music perceiving in music schools
- applicable material available online and
- material produced by the students themselves (pedagogical materials, compositions, etc.)

Teaching methods

face to face and distance teaching, independent learning and teaching practise

Exam schedules

The student and the supervising teachers agree on the times of the teaching samples of the subjects concerning Music perceiving to be evaluated.

Student workload

The student
-gets acquainted with the learning materials, literature and doctrinal content of the subjects concerning Music perceiving and reports them in writing
- observes the Teaching of the subjects concerning Music perceiving 10×45 minutes per semester, that is 20 hours per academic year
- participates in teaching planning: making hourly and period plans and
-carries out a teaching internship in the subjects included in the study course with their students or group of pupils (autumn term 4 x 60 min, spring term16 x 60 min)
- gets acquainted with the evaluation of the subjects concerning Music perceiving
and participates in it

Content scheduling

The students who study the subjects concerning Music perceiving as major subject complete the study course Pedagogy 2 in the second year of study.
The study course includes:
-the observing of the Teaching
the subjects concerning Music perceiving
(the basics of music theory and solfege
as well as knowledge of Western music history teaching) at the basic level of music schools
- the teaching practising of the subjects concerning Music perceiving
on the basic level of music institutions (basics of music 1,2,3 and knowledge of music)
The comprehensive perception skills of music are amplified by the integration of different content areas.
-the basics of music: perceptionof tonal music by singing and writing; note writing, melody and r hythm and harmony (major- and minor keys, scales, intervals with their qualities, triads and septim chords with letter marking and functions, the most common music terms)
-different tools and methods of work on the teaching of the subjects concerning Music perceiving, taking into account the pupil's objectives
- co-musisation skills
- the perception skills of music
-history awareness of music

Further information

Teaching on Thursdays at 13.00-14.30 in A214 and/or by zoom
beginning 19th September 2024

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

During the second year of study, next sections are assessed:
- the mastery of the objectives and core competencies of the course being taught
- participation in group tasks and evaluation discussions
- completion of the learning tasks required in the course
- self-direction, the goal-oriented and accountability of your own work
The student gives a teaching sample of the teaching of the subjects concerning Music perceiving, which is evaluated by the guiding teachers together.

Materials

The basics of the extensive learning curriculum for basic arts education
- materials, published by the Finnish Association of Music Educational Institutions, especially the subjects concerning Music perceiving, used in advanced music studies
- pedagogical literature on the teaching of the subject concerning Music perceiving
- tonal music suitable for advanced music studies (sheet music and recordings and live music)
- accompaniment notes for instrument teaching suitable for advanced music studies
- textbooks and other learning material of music colleges
- textbooks and online learning materials, ment for advanced music studies of the subject concerning Music perceiving and knowledge of music
- applicable material available online
- material produced by the students themselves (pedagogical materials, compositions, etc.)

Teaching methods

face to face and distance teaching, independent learning and teaching practise

Exam schedules

The student and the guiding teachers agree with each other on the dates of the teaching samples to be evaluated on the subjects concerning Music perceiving.

Student workload

The student
- gets acquainted with the learning materials, literature and doctrinal content of the subjects concerning Music perceiving used in advanced studies of Music institutions and reports them in writing
- observes the teaching of the subjects concerning Music perceiving used in advanced studies of music schools (MuPe D or 4, Harmony and Music history)10x60 minutes per semester,
that is 20 hours per academic year
-participates in teaching planning: making hourly and period plans and
- carries out a teaching practise in the subjects included in the study course with their pupils during one study year (autumn term 14 x 60 min, spring term 16 x 60 min)
- gets acquainted with the evaluation of the competence of the subjects concerning Music perceiving used in advanced studies of music institutions and participates in it

Content scheduling

Students studying the subjects concerning Music perceiving as major subject complete Pedagogy 3 of the subjects concerning Music perceiving in the third year of study.
The study course includes:
- observing the teaching of the subjects concerning Music perceiving used in advanced studies of music schools (MuPe D or 4, Harmony and Music history)
- teaching the subjects concrning Music perceiving used in advanced studies of music schools: MuPe D or 4, Harmony and Music history during one study year (secondary dominant chords with inversions, seventh degree in triads and septim chords written with letter markings, modal chords with their notation; Neapolitan chord and augmented sixth chords, the chording of the natural minor scale and of the melodic minor scale and of modal music, rhythmic exceptions, overtone series, types of modulation, types of different music cadences, music analytical tasks containing septim chords, altered chords and modulations, the most common principles of voice leading, non-harmonic notes, melody connection with chords, the chording of the melody, polyphony in singing and writing sheet music)
Comprehensive perception skills of music is amplified by the integration of different content areas.
- different tools and methods of work on teaching the subjects concerning Music perceiving, taking into account the pupil's objectives
- co-musisation skills
- perception skills of music
- history awareness of music

Further information

Teaching on Thursdays at 13.00-14.30 in A214 and/or by zoom
beginning 19th September 2024

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

During the third year of study, next sections are assessed:
- the mastery of the objectives and core competencies of the study course being taught
- participation in group tasks and evaluation discussions
- completion of the learning tasks required in the course
- self-direction, the goal-oriented and accountability of your own work
The student gives a teaching sample of the subjects concerning Music perceiving, which is evaluated by the guiding teachers together.

Objective

Opintojakson suoritettuaan opiskelija
- tuntee wieniläisklassismin ja romantiikan sekä 1900-luvun alkupuolen musiikin melodianmuodostusta, harmoniaa, kudostekniikkaa ja muotoja
- osaa säveltää näiden tyylien mukaisia kappaleita
- osaa arvioida omaa työtään ja ottaa vastaan palautetta

Content

Wieniläisklassismi- tyypillisiä muunnesointuja- wieniläisklassismin uudet modulaatiotavat- tavallisimpia keinoja luoda epäsymmetriaa rakenteisiin- pienimuotoisia sävellysharjoituksia (esim. menuetti, muunnelmien teema)- sovittamista erilaisille kokoonpanoille ottaen huomioon opiskelijan pääinstrumentti tai muu suuntautumiseen vaikuttava seikka
Romantiikka- tyypillisiä muunnesointuja- esimerkkejä tonaalisen ajattelun kehityksestä romantiikan aikana- pienimuotoisia sävellysharjoituksia (esim. karaktäärikappale, Lied)
1900-luvun musiikki- katsaus konsonanssi-dissonanssi-ajattelun kehitykseen- 1900-luvulla käytettyjä asteikkoja- harmonian uusia ajattelutapoja (kvartti- ja kvinttirakenteiset soinnut, lisäsävelharmonia, sekuntirakenteiset soinnut, peiliharmonia)- katsaus rivitekniikkaan- pienimuotoisia sävellysharjoituksia

Materials

Material to be distributed during the course.

Aldwell-Schachter: Harmony and voice-leading
Persichetti, Vincent: Twentieth-century harmony

Content scheduling

After completing the course, the student
- knows the melody formation, harmony, weaving technique and forms of Viennese classicism and romanticism and the music of the early 20th century
- can compose according to these styles
- knows how to evaluate his own work and receive feedback

Course content
Viennese classicism and romanticism
- typical chromathic chords
- the new modulation methods of Viennese classicism and romanticism
- small composition exercises
- arranging for different ensembles, taking into account the student's main instrument or other factor influencing orientation

20th century music
- an overview of the development of consonance-dissonance thinking
- scales used in the 20th century
- new ways of thinking about harmony (fourth- and fifth-structured chords, additional note harmony, second-structured chords, mirror harmony)
- an overview of 12-tone technique
- small composition exercises

The course starts in week 37 and lasts the whole academic year.
Registration for the course: contact teacher vesa-pekka.kuusinen@turkuamk.fi

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Style exercises with different styles and for different line-ups. Oral feedback.

Objective

Opintojakson suoritettuaan opiskelija osaa
- määritellä sopimusoikeuden perusperiaatteet
- nimetä sopimuksia säätelevät normistot
- tunnistaa sopimusten merkityksen työelämässä ja omalla alallaan
- selittää tekijänoikeuksien ja tekijänoikeuslain keskeisen sisällön
- tunnistaa tekijänoikeuslain tuomat velvoitteet ja oikeudet oman ammattialansa toiminnassa
- nimetä omaan ammattialaan liittyvät tekijänoikeusjärjestöt
- tunnistaa ja analysoida yrittäjyysvalmiuksiaan ja omaa yrittäjäidentiteettiä
- nimetä yritystoimintaan liittyvät peruskäsitteet
- tuottaa omasta osaamisestaan yritysideoita/toiminta-ajatuksia
- tunnistaa mitä yritysidean kehittäminen liikeideaksi vaatii
- kuvata yritysmuodot ja löytää niistä sopivan omalle liikeidealleen ja löytää yrityksen perustamisvaiheessa tarvittavat neuvontapalvelut

Content

Sopimusoikeudenja tekijänoikeuksien perusteet musiikkialalla.
Yritystoiminnan perusteet
Yrittäjänä musiikkialalla

Evaluation scale

Hyväksytty/Hylätty

Objective

Opiskelija
- oppii tuntemaan erilaisia musiikkianalyysin teorioita, lähestymistapoja ja keinoja
- saa valmiudet omatoimiseen, oivaltavaan analyysiin 1900- tai 2000-luvun säveltäjien teoksista
- oppii soveltamaan erilaisia lähestymistapoja musiikin analysoinnissa
- ymmärtää musiikkianalyysin mahdollisuuksia tiedon tuottamisessa ja ongelmien ratkaisemisessa
- oppii soveltamaan analyysia käytännön työssään

Content

- luentoja eri historiallisista analyysimenetelmistä ja -teorioista, myös esimerkkianalyyseja
- analyysiharjoituksia joistakin 1900-luvun sävellyksistäopiskelijan opettajan ohjauksessa valmistama analyysityö ja sen esittäminen opiskeluryhmälle

Materials

Material to be distributed in the course

Kontunen, Jorma: Musiikin kieli 3
Roig-Francoli, Miguel A: Understanding post-tonal music

Content scheduling

After completing the course, the student

- knows how to apply different approaches in music analysis
- knows how to apply music analysis in his practical work
- can make an independent, insightful analysis of a work by a composer from the 20th or 21st century
- understand the possibilities of music analysis in generating information and solving problems
- knows how to evaluate his own work and receive feedback

Course content
- lectures on different historical analysis methods and theories, also sample analyses
- analysis exercises on some 20th century compositions
- analysis works prepared by the student under the guidance of the teacher and their presentation to the study group

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Four analysis papers presented to a group of students.

Objective

After completing the course, the student will be able to
- identify and analyse the key themes and development tasks of music pedagogy as well as the different methods used in the field from the perspective of one's own development task
- identify and select appropriate operating methods, methods and tools in different operating environments, contexts, processes and among different actors
- make use of individual, group, community and network expertise related to the content and practices of music pedagogy (innovation competences)
- plan and implement the work of a music pedagogue according to their own profile, in a customer- and participant-oriented manner.
perceive and structure the concept of music pedagogue at an in-depth level more broadly as an industry.
recognizes the core competence of both one's own and another profession, sees common goals and opportunities for co-operation, and is ready to develop new ways of working and forms of co-operation from them in a multidisciplinary manner.
identify different cultural needs of individuals and communities and barriers to meeting them. Enables consultation of these needs in an inclusive, customer and operator-oriented manner.

Content

In this course, you will delve into your own profile as a music professional, and create your own digital career story. We will consider how one's professional identity is shaped, and what kinds of different skills identities and professional paths can be.

Deepening into the curriculum of basic education in art, defining how instruction affects the work of a music pedagogue.

Students are introduced to the concepts of reverse learning, reverse classroom, and reverse assessment, and to what the above concepts mean in practice, especially in their own work.

Materials

Indicated on the ItsLearning platform. Some of the materials are in English. The scope of the course corresponds to approximately 135 hours of work.

Teaching methods

Contact and distance teaching including thematic initializers, presentations, lectures, couple and small group work. Teaching is carried out as a contact teaching and/or online education. The work utilizes art-driven methods as well as the students' own specific skills.
- Advance tasks for contact days
- Learning tasks
- Independent working.
-. Group work

International connections

Innovation pedagogy is at the centre of all training at Turku University of Applied Sciences. Students study theory, applying practice and working life.

Contact teaching introduces the theory and research knowledge central to the course and discuss and share experiences on the topics discussed. Small-group work emphasizes self-direction, peer learning, reflection skills, creativity, multiprofessionalism and dialogical interaction. Individual assignments include familiarization with the literature and source materials of the course, practice information acquisition and refining, and structured presentation of things. The tasks utilize methods suitable for the pedogical development task.

Student workload

The learning tasks of the course are described in more detail on the ItsLearning platform.

Assessment criteria, approved/failed

Learning tasks are evaluated by the responsible instructors. Completion of the course acceptably requires completing all learning assignments as well as participating in the contact and distance learning sessions (or, in the case of a force-majeure absence, completing a substitute assignment approvingly). The tutor teacher records the attendance of contact sessions and evaluates the performance of absentee compensatory tasks.
Course is failedif any of the sub-tasks are missing or have not been completed in an acceptable manner.

Content scheduling

After completing the course, the student will be able to
• identify and analyse key themes and development tasks in music pedagogy and various methods used in the field from the perspective of their own development task
• to perceive and select appropriate policies, methods and tools in different operating environments, contexts, processes and various actors
• leverage individual, group, community and network expertise in the content and practices of music pedagogy (innovation competencies)
• plan and implement the work of the music pedagogue according to their own profile, subscriber- and participant oriented.
• perceive and structured at an engaging level the concept of music pedagogue more broadly as a field of activity.
• identifies the core competencies of cross disciplinary professions, to see common goals and opportunities for cooperation, and is ready to develop new ways and forms of cooperation in a multiprofessional manner.
• identifies various cultural needs of individuals and communities and barriers to their fulfillment. Enables these needs to be heard in an inclusive and customer-oriented and operator-oriented manner.

Personal target competences are defined taking into account the needs of the pedagogical development project. The course examines the possibilities of technology-assisted music pedagogy.

The detailed information about the course and content of contact studies you find at itsLearning course environment.

CONTACT DAYS IN SEPTEMBER:
2.9. at 8.30-15.30 online
3.9.2024 on campus from 9.00 to 16.00; morning at H112, afternoon at H115
9.9. at 9-12 online and
16.9. online from 9am to 11am

CONTACT DAYS IN OCTOBER:
7 October at 9-12 online and
8.10.. at 9-16.30 online;

CONTACT DAYS in NOVEMBER
4.11. at 9-12 online
5.11. at 9-16.30 online

CONTACT DAYS IN DECEMBER
2.12. at 9-15.30 on campus.
3.12. at 9.16.30 on online
4.12. thesis seminar, time and place will be specified later

Changes in schedule are possible.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The evaluation is focused on learning tasks and active participation at distance and contact learning sessions. The evaluation is continuous.

Completion alternatives

Prior learning in worklife can be recognized and replace the entire Towards working life - lecture series or parts of it. These must be discussed in advance with the responsible teacher Eveliina Kytömäki eveliina.kytomaki@turkuamk.fi

Assessment criteria, approved/failed

Commitment and participation in tutoring and ISP process
Attending to Towards working life - lectures

Content scheduling

Tutor discussions and drawing up a individual study plan (ISP) together with the tutor teacher. At least two tutor discussions will be held during the academic year. One in the beginning of the academic year and another one in the end. More discussions can be arranged if needed.

Towards working life - lectures on Wednesdays at 13-15 or 13.30-15, usually in Sigyn Hall. The schedule of the lectures can be found also on TUUDO.

Towards working life -lectures

Autumn:
4.9. at 13.30-15 Keho ja mieli – Saara Sahrman (with conservatory students)

2.10. at 13.30-15 Keho ja mieli – Saara Sahrman (with conservatory students)

13.11. at 13-16 Improvisation pedagogy workshop - Aapo Alinikula NB! Signing up needed, the link below
https://forms.office.com/e/C0FVWNCMCT

27.11. at 13-14.30 Musicians’ wellbeing - Liisi Uusitalo

Spring term
8.1. at 13.30-15 Body and Mind – Saara Sahrman (with conservatory students)

29.1. at 13.30-15 Body and Mind – Saara Sahrman (with conservatory students)

5.3. at 13- 14.30 Visitor from working life Annika Viitanen, headmaster, Salo music institute NB the location: Kuvateatteri

2.4. at 13-14.30 Developing music education - students and teachers together NB the location: Kuvateatteri

Evaluation scale

Hyväksytty/Hylätty

Completion alternatives

Prior learning in worklife can be recognized and replace the entire Towards working life - lecture series or parts of it. These must be discussed in advance with the responsible teacher Eveliina Kytömäki eveliina.kytomaki@turkuamk.fi

Assessment criteria, approved/failed

Commitment and participation in tutoring and ISP process
Attending to Towards working life - lectures

Content scheduling

Tutor discussions and drawing up a individual study plan (ISP) together with the tutor teacher. At least two tutor discussions will be held during the acedemic year. One in the beginning of the academic year and another one in the end. More discussions can be arranged if needed.

Towards working life -lectures



Autumn:

4.9. at 13.30-15 Keho ja mieli – Saara Sahrman (with conservatory students)



2.10. at 13.30-15 Keho ja mieli – Saara Sahrman (with conservatory students)



13.11. at 13-16 Improvisation pedagogy workshop - Aapo Alinikula NB! Signing up needed, the link below

https://forms.office.com/e/C0FVWNCMCT



27.11. at 13-14.30 Musicians’ wellbeing - Liisi Uusitalo



Spring term

8.1. at 13.30-15 Body and Mind – Saara Sahrman (with conservatory students)



29.1. at 13.30-15 Body and Mind – Saara Sahrman (with conservatory students)



5.3. at 13- 14.30 Visitor from working life Annika Viitanen, headmaster, Salo music institute NB the location: Kuvateatteri



2.4. at 13-14.30 Developing music education - students and teachers together NB the location: Kuvateatteri

Evaluation scale

Hyväksytty/Hylätty

Objective

After completing the course, the student is able to:
- design his/her profile as a music professional according to needs from the perspective of hybrid work, taking into account the potential of network-based working methods and digitalisation to promote his/her employment
- define the needs for developing his/her own skills, working methods, technological solutions and pedagogical methods required by chosen educational development task from the perspective of hybrid work
- use technological solutions to enhance working on-site and online environments

Content

The students own professional development profile
Digitalization and the work of a music pedagogue
The networks in the music pedagogues working life
Digital workstation
Sound settings
Working with digital scores
Software knowledge
Pedagogical practices

Materials

The learning materials can be found at itsLearning course environment.

Teaching methods

Contact learning, e-learning, lectures, work shops, working in a small group, independent learning tasks.

Completion alternatives

By demonstrating mastery of the course's learning objectives, the student can apply for credit based on prior knowledge.

Student workload

Contact days and lectures: 17 h
Online and virtual working individually and in groups: 118 h

Assessment criteria, approved/failed

The assessment focuses on the adoption of learning tasks and active participation in the work of the contact days.

Responsible teacher evaluates the assignments. To pass the course, students are expected to participate in the contact days and to contribute to group work in them, as well as to complete and turn in all the assignments. Missing contact day participation will be compensated by an extra assignment. Tutor teachers will keep records of participation in group work in contact days and evaluate the compensatory assignments

Content scheduling

09.02.2024-12.31.2024
In this study module, we will delve into the concept of hybrid work from the perspective of a music professional. We will contemplate what future work requirements may look like, define various expertise profiles, and explore the digital skills needed by music professionals.

After completing the study module, the student will be able to:
- Define and set up a mobile workstation for a music educator.
- Use a digital sheet music application and integrate it with a web conferencing program.
- Utilize an external microphone as the audio input for a web conferencing program through an audio interface.
- Configure audio settings for a web conferencing program.
- Add a secondary camera to a web conferencing program.
- Identify necessary audio sources for remote teaching.
- Adjust audio settings for their own instrument for remote teaching purposes.
- Understand the significance of the network connection in achieving low-latency audio and video.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

After completing the study module, the student will be able to:
- Define and set up a mobile workstation for a music educator.
- Use a digital sheet music application and integrate it with a web conferencing program.
- Utilize an external microphone as the audio input for a web conferencing program through an audio interface.
- Configure audio settings for a web conferencing program.
- Add a secondary camera to a web conferencing program.
- Identify necessary audio sources for remote teaching.
- Adjust audio settings for own instrument for remote teaching purposes.
- Understand the significance of the network connection in achieving low-latency audio and video.

Evaluation scale

H-5

Materials

theses made by others, previously completed theses

Teaching methods

lectures, seminars, face-to-face and distance learning, independent work

Student workload

-participation in organized lectures and supervised teaching,
-conclusion of the thesis plan and thesis agreement,
- familiarization and reporting with theses written by others (Theseus)
-working as an opponent
-presenting your own thesis

Content scheduling

The student draws up a plan for his thesis. The student formulates a key investigative question and justifies own arguments both verbally and in writing. The student presents their research idea or an idea of a functional or artistic or pedagogic project in seminars and acts as an opponent of the research idea/ plan and text of fellow students. Students complete an online course in information retrieval. The student works on the thesis and presents its progress and the final thesis in seminars.

Evaluation scale

H-5

Assessment methods and criteria

-participation in organized lectures and supervised courses and in processing of other theses and theses,
-conclusion of the thesis plan and the thesis agreement,
- study and report on others' theses
-working as an opponent
-presenting your thesis at different stages of it

Assessment criteria, fail (0)

The student does not manage the core competencies of the study course in a manner that meets minimum requirements.

Assessment criteria, satisfactory (1-2)

The student demonstrates mastery of the study course's core competencies in a manner that meets the minimum requirements. The student has participated in the required group assignments and evaluation discussions and completed the learning tasks required in the study course successfully.

Assessment criteria, good (3-4)

The student demonstrates that he/she masters the core competencies of the study course well. The student has participated in the required group assignments and evaluation discussions well and completed the learning tasks required in the study course successfully. The student is able to direct his/her own work in a self-directed, goal-oriented and responsible manner.

Assessment criteria, excellent (5)

The student demonstrates his/her mastery of the core competencies of the study course commendably/excellently. The student has participated in the required group assignments and evaluation discussions excellently and completed the learning tasks required in the study course successfully. The student is able to direct his/her own work in a self-directed, goal-oriented and responsible manner. The student demonstrates profound competence of the study course objectives.

Assessment criteria, approved/failed

Participating in the orientation to music pedagogy studies and making your individual study plan (ISP) together with your tutor teacher

Content scheduling

Orientation to music pedagogy studies will be arranged 26.-30.8. Orientation includes introduction to the studies, personal study plan, Arts Academy, teachers, study environment, tutor students and every day as a music student.

Locations:
Mon-Wed:Arts Academy, Music Education, Linnankatu 60
Thu-Fri: See below

Schedule:
Mon 26.8. at 10-16 Crichton Hall, A224
Tue 27.8. at 10-16 A224
Wed 28.8. at 10-16 A224
Thu 29.8. at 9-14 Linna Hall, F-building, in the afternoon Study in Turku Fair
Fri 30.9. at 9-12 Auditorium Lemminkäinen, all Arts Academy students

In addition the tutor students will arrange free time program during the orientation week.

Evaluation scale

Hyväksytty/Hylätty

Materials

To be agreed with student.

Teaching methods

Independent instumental working.

International connections

Onsite and online studies.

Student workload

To be agreed with student.

Assessment criteria, approved/failed

The student has the technical and expressive skills to perform works corresponding to the level of B-level performance in a concert situation.
The student is capable of independent artistic expression and mastery of large musical ensembles.
The interaction skills with the audience and the co-player are good.
Students will be able to use professional literature, research publications and their skills in understanding music, history and writing in the development of instrument competence.
The student has internalized the goals of self-reflection, i.e. the ability to examine and develop their own work analytically.
The student has enough
Instrumental competence for working as a musician or music pedagogue and for further studies.

Content scheduling

Instrumental studieis and repertoire work.

Further information

Email and Teams,

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Practice the key repertoire of the main instrument independently.
Regular and active participation in instrument lessons.
Performing in group classes and concerts.

Assessment criteria, fail (0)

Student do not master playing technique and expression as required by B-level performance. The level performance repertoire does not meet the skill requirement.

Evaluation scale

Hyväksytty/Hylätty

Evaluation scale

Hyväksytty/Hylätty

Objective

Opintojakson suoritettuaan opiskelija on perehtynyt soitin-/lauluopinnoissaan jonkin säestyssoittimen ja laulun perustekniikkaan ja perusohjelmistoon.

Content

Tämä opintojakso koskee niitä opiskelijoita, joilla on pääaineena musiikin hahmotusaineet. Opintojakso sisältää opiskelijan valitseman säestyssoittimen ja/tai laulun instrumenttiopetusta lukuvuoden ajan.
Tämä opintojakso tai osa siitä voidaan toteuttaa TKI-projektin yhteydessä tai KV-vaihto-opiskelun aikana.

Evaluation scale

Hyväksytty/Hylätty

Objective

Tavoitteena on omaksua soitinnustekniikoita wieniläisklassismista 1900-luvun alkuun ja tuntea erilaisia soitinnustyylejä, hallita eri tyylien mukaisia kirjoitustapoja eri kokoonpanoille, ymmärtää sointivärin merkitys rakenteen osatekijänä sekä kehittää sointitajua perinteisten ja modernien keinovarojen käytössä.

Content

- soitinten tekniset mahdollisuudet- soitinidiomatiikan vaikutukset musiikin kudokseen
- kuuloanalyysi erilaisista soitinnusratkaisuista
- soitinten yhteissoinnin ja yhdistämisen periaatteet
- perehtyminen analyysin, transkriptioiden ja harjoitelmien avulla eri tyyleihin ja tekniikoihin

Materials

Material to be distributed in the course.

Adler, Samuel: The study of orchestration
Sevsay, Ertugrul: The Cambridge guide to orchestration

International connections

Personal and possibly small group teaching.

Content scheduling

After completing the course, the student

- knows orchestration techniques from Viennese classicism to the beginning of the 20th century
- knows different orchestration styles
- knows how to write in different styles for different compositions
- can hear in his mind the effect of different arrangement solutions
- understand the importance of timbre as a component of structure
- knows how to evaluate his own work and receive feedback
Course content
- the technical possibilities of musical instruments
- the effects of instrument idiomatics on the fabric of music
- auditory analysis of different playing solutions
- the principles of combining instruments
- familiarization with different styles and techniques through analysis, transcriptions and exercises
- orchestration and arranging exercises for different ensembles

The course begins in week 37 and lasts for the whole academic year.
Registration for the course, take contact to teacher: vesa-pekka.kuusinen@turkuamk.fi

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Exercises prepared during the course (4pcs), for which oral feedback is given.

Objective

The student can communicate orally in different work-life situations.

Content

The student
- can describe the content and structure of his/her studies, training and work experience
- can describe his/her working environment and operations of a company, products and processes
- can communicate in various business life situations appropriately
- is able to use appropriate vocabulary and phrases when presenting tasks of his/her own field

Evaluation scale

H-5

Objective

The student can communicate in writing in different work-life situations.

Content

The student
- can describe the content and structure of his/her studies, training and work experience
- can describe his/her working environment and operations of a company, products and processes
- can communicate in various business life situations appropriately
- is able to use appropriate vocabulary and phrases when presenting tasks of his/her own field

Evaluation scale

H-5

Objective

After completing the course, the student · can sing and note free tonal and modal polyphonic music more demanding than the B level
- can sing single-tone and polyphonic music containing c-clefs ·
- can perform and write down polyrhythmic music
- shows a personal artistic view when interpreting music

Content

Solfege B is an optional study course that a student can complete in any year of study, after having demonstrated that he/she possess the knowledge and skills required at C level.
The study course includes
· singing and notation of free tonal music containing intervals from unison to augmented fourth/diminished fifth and symmetric scales
- writing down/ notation polyphonic western music (3 or 4 voices)
-identification and naming the chords of a modulating chord sequence based on auditory perception
- singing one-voiced and polyphonic music with C-clefs
- performing music containing changing timesignatures and different lengths of the beat as well as exceptional divisions of the rhytmic measure

Materials

- one-voiced and polyphonic, tonal and free-tonal music,
- music written with different clefs/ keys
Edlund; Modus novus
Säveltapailu B; S. Salmiala

Content scheduling

Solfege B is an optional study course that a student can complete in any year of study, after having demonstrated that he/she possess the knowledge and skills required at C level.
The study course includes
· singing and notation of free tonal music containing intervals from unison to augmented fourth/diminished fifth and symmetric scales
- writing down/ notation polyphonic western music (3 or 4 voices)
-identification and naming the chords of a modulating chord sequence based on auditory perception
- singing one-voiced and polyphonic music with C-clefs
- performing music containing changing timesignatures and different lengths of the beat as well as exceptional divisions of the rhytmic measure

Teaching in group on Mondays at 2-3.30pm, room A226. Starts on 9th of Sept.

Further information

Siiri Anttonen
siiri.anttonen@turunkonservatorio.fi

Evaluation scale

H-5

Assessment methods and criteria

The student demonstrates control over the different content areas of the course using the following written and oral displays:
-singing and notating an unison free tonal melody and identificating the accompaniment chords of it
-singing of a melody including C-clefs
-presenting and notating/ writing down the rhythm including changing timesignatures and different lengths of the beats

Objective

After completing the course, the student
- knows what music technology means in terms of the work of a music pedagogue
- is able to utilize music technology in her teaching and artistic work
- knows the basics of recording and editing digital audio and video to the extent required by her profession
- masters the principle of streaming and knows how to make a streaming broadcast
- can define and deploy a workstation (AV and IT hardware and software) for artistic work and remote teaching for a music pedagogue.
- can set up and use a combination of software suitable for teaching
- understands the impact how different ways to distribute music effects the quality of sound and auditory image.

Content

Student can digitally record and edit audio and video. Student can make appropriate settings for recording her instrument and for online meeting software. Student can specify a pedagogically justified set of devices and software that meet her professional needs.

The student understands the impact how different ways to distribute music effects the quality of sound and auditory image. Student can use and combine software necessary for teaching in the online meeting application.

Materials

Course supporting materials:
- The materials of the lessons
- Muse publications
- Other publications

Teaching methods

Teaching (IRL, online), independent work

Student workload

Completion and evaluation of the course:
The student can do the course assignments in close lessons, personal guidance sessions,
or independently
according to their schedules
To complete the course, you need to accomplish:
four practical tasks
two essays, or other performance

Content scheduling

Opening of the course on 16. September 2024 at 17:00-18:30
In place C207, Crichton's foyer

Let's go through the goal, progression and content of the course
Let's repeat the equipment that can be borrowed and how to get to know them.

Subjects of essays (vlog, podcast, etc.):
Essay1: Which technological means and tools help me in music practice?
Essay 2: What technological means and tools will help me in my future work as a music
pedagogue?
Share the essays into your return folder

Lesson 1.
Monday 7.10 2024 at 17:00-18:30 - Zoom - Distance learning station usage training +
assignment
In place C207, Crichton's foyer
Task: Record your own playing with the Zoom program and share the material in your
recovery folder.

Lesson 2.
Monday 28.10.2024 at 17.00-18.30 - Recording your own or a student's call + assignment
In place C207, Crichton's foyer
Task: Film and record a teaching session that you could use in your own teaching and
share it in the return folder.

Lesson 3.
Monday 11.11 2024 at 17:00-18:30 - Video and audio editing using the BYOD(bring your
own device)-method + assignment
In place C207, Crichton’s foyer
Task: Edit (add texts, edit image, edit sound, etc.) filmed and recorded teaching session
improve the material and share it in the return folder.

Lesson 4:
Monday 9.12.2024 at 17.00-18.30 - Artificial intelligence in music + Producing, sharing and
using electronic sheet music material
+ assignment
In place C207, Crichton's warmth
Task: Make an electronic sheet music of a work or song and share it in your return folder.

Personal guidance is offered for course assignments whenever requested.

In addition, hop on, hop off control is available:
21.10. 17:00-18:00, C207
25.11, 17:00-18:00, C207
16.12. 17:00-19:00, C207

Further information

Mikko Maunula
mikko.maunula@turunkonservatorio.fi
+358505167177

Evaluation scale

H-5

Assessment methods and criteria

Online teaching:
Using Zoom in recording and sharing one's own performance
Recording teaching
Editing a recording

Making, sharing and using digital notation

Assessment criteria, fail (0)

Student does not complete the tasks given

Assessment criteria, satisfactory (1-2)

The student completes the tasks and demonstrates that he has a satisfactory level of competence

Assessment criteria, good (3-4)

The student completes the tasks and demonstrates developing skills

Assessment criteria, excellent (5)

The student completes the tasks to a very high standard and demonstrates commendable competence

Objective

After completing the course, the student will be able to
- get free from music tied to a sheet music picture
- know how to play simple accompaniments and making a soloist easy piano arrangement
- apply stylistic accompaniment models in domestic dance and singing music and African American music
- identify chords and chord sequences in different musical genres

Content

- accompanying with the letter markings of chords in different musical styles
- prima vista playing and transcribing
- chording of melodies
- making easy instrumental arrangements
- getting to know improvisation
This course follows the National Level and Nomination Recommendation of the Association for Free Accompaniment Teachers.

Materials

Material to be distributed in the course.

Related literature:

Tenni-Varpama: Vapaa säestys ja improvisointi
Tenni- Abelein: Vapaan säestyksen käsikirja

International connections

Face-to-face teaching, small group teaching.

Content scheduling

Competence objectives of the course
After completing the course, the student will be able to
- free yourself from playing tied to a musical score
- masters playing simple accompaniments and making an easy solo piano arrangement
- apply stylistic accompaniment models in domestic dance and singing music as well as in African-American music
- recognize chords and chord sequences in different keys
Course content
- accompaniment from real chords in different music styles
- prima vista playing and transposition
- chording of melodies
- making easy instrumental arrangements
- getting to know improvisation

Face-to-face teaching in small groups (3 students) that meet weekly during the academic year, room A214.

Further information

The free accompaniment D course starts with information about free accompaniment and the division of small groups.
Info will be held on Zoom on Tuesday, 3th of September from 12:00 to 13:00. Zoom-link is on Tuudo.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student compiles a video portfolio of the repertoire played during the school year.

Objective

Opintojakson suoritettuaan opiskelija osaa
- säestää sointumerkeistä ja vapautua nuottikuvasta
- soveltaa yksinkertaisia komppeja ja muita säestystapoja sekä käyttää niitä tyylinmukaisesti
- soinnuttaa melodioita luontevasti sävellajin soinnuilla
- transponoida helpoissa sävellajeissa

Content

- yksinkertaisten melodioiden säestäminen
- melodian soinnuttaminen
- prima vista soitto ja transponointi

Materials

Material to be distributed in the course.

Related literature:

Tenni-Varpama: Vapaa säestys ja improvisointi
Tenni- Abelein: Vapaan säestyksen käsikirja

International connections

Face-to-face teaching, small group teaching.

Content scheduling

After completing the course, the student will be able to
- to accompany with chords and free yourself from the sheet music
- apply simple accompaniment methods and use them according to style
- harmonize melodies naturally with the chords of the key
- transpose in easy keys

Contents
- accompanying simple melodies
- harmonizing the melody
- prima vista playing and transposition

Face-to-face teaching in small groups (3 students/45 mins) that meet weekly during the academic year, room A214.

Further information

The basics of free accompaniment course starts with information about free accompaniment and the division of small groups.
Info will be held on Zoom on Tuesday, 3th of September, from 12:00 to 13:00. Zoom-link for info is on Tuudo.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student compiles a video portfolio of the repertoire played during the school year.

Teaching methods

Dialogical small group working
Self assessment
Peer review

Assessment criteria, approved/failed

To pass the course, the student needs to:

rehearse the repertoire alone and together with the duo partner

attend to the lessons

share the scores online as agreed on the course

edit, translate and share the material needed for the concert programs and marketing

perform in the final concert (or in another occasion if the attending to the final concert is impossible due to illness or other force majeure)

Content scheduling

Lied music is studied two periods. The student can participate both or just one. The subject for the autumn study period is Finnish Art Song. The repertoire for the spring study period is free of choice.

During the Lied study periods the student will get to know lied repertoire in different eras, composers, poets, style, phonetics and performance practice. The lied duos can choose their repertoire freely but a good dialogue with the teacher in needed to avoid collisions in the choices.

Duo lessons and group lessons - flexible schedule as long as the learning goals will be reached.

First meeting Fri 27.9. at 14-15.30 A224 - everyone participates - also possible to attend via zoom

Helsinki Lied - competition calling - lied concert Thu 3.10. at 18 Sigyn - lied course students will attend

Duo lessons Thu 10.10. at 10-12.30 A225

Duo lessons on project week Mon 21.10. & Tue 22.10. at 11-15, Wed 23.10. at 12-14.30 A225

Group lesson Fri 1.11. at 14-17 A224

Group lesson Fri 8.11. at 14-17 A224

Group lesson Fri 22.11. at 14-17 A224

Duo lessons Thu 28.11. Klo 10-15 A225

Dress rehearsal at Sibelius Museum Tue 3.12. at 14-16

Concert at Sibelius Museum Finnish Music day Sun 8.12. - detailed schedule TBA


Spring 2025 - start February

ENROLL FOR LIED MUSIC by e-mail eveliina.kytomaki@turkuamk.fi
AUTUMN STUDY PERIOD latest by 22.9.
SPRING STUDY PERIOD latest by the end of January.
After the deadline the teacher will do the final decisions and form the duos.

Already existing duos are prioritized in the student choices.

Further information

ENROLL FOR LIED MUSIC by e-mail eveliina.kytomaki@turkuamk.fi
AUTUMN STUDY PERIOD latest by 21.9.2024
SPRING STUDY PERIOD latest by the end of January.
After the deadline the teacher will do the final decisions and form the duos.

Already existing duos are prioritized in the student choices.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

After passing the course the student:

is able to rehearse and prepare lied repertoire as a member of duo

has gained experience and confidence as performer and interpreter

has widened the lied repertoire knowledge

has the ability to analyse and comment on the text and the music as well as its vocal and piano parts and their relations in different eras

Evaluation scale

Hyväksytty/Hylätty

Teaching methods

Execution Methods
- Attendance at classes
- Independent training alone as well as with the ensemble
- Translation of possible song texts
- Attendance at end-of-period concerts (or similar performance)

Student workload

The scope of the student's work is agreed on per student, depending on the amount of the work prepared and performed.

Content scheduling

After completing the Baroque, Renaissance or Medieval Music Band course, the student:

- is familiar with the Early Music repertoire produced during the period and the performance practices of the period in question, and prepares the agreed repertoire for the performance level
- is able to specify and implement musical characteristics specific to the Medieval, Renaissance or Baroque era according to the content of the period in question, according to their own instrument
- is able to work in ensembles of different sizes consisting of instrumentalists and/or singers
- is able to analyse the music and poetry of works from different eras and is aware of the different roles of the members of the band in the works in question

Evaluation scale

Hyväksytty/Hylätty

Objective

The student can communicate in writing in different work-life situations.

Content

The student
- can describe the content and structure of his/her studies, training and work experience
- can describe his/her working environment and operations of a company, products and processes
- can communicate in various business life situations appropriately
- is able to use appropriate vocabulary and phrases when presenting tasks of his/her own field

Evaluation scale

H-5

Objective

The student can communicate orally in different work-life situations.

Content

The student
- can describe the content and structure of his/her studies, training and work experience
- can describe his/her working environment and operations of a company, products and processes
- can communicate in various business life situations appropriately
- is able to use appropriate vocabulary and phrases when presenting tasks of his/her own field

Evaluation scale

H-5

Teaching methods

Dialogical small group working
Self assessment
Peer review

Assessment criteria, approved/failed

To pass the course, the student needs to:

rehearse the repertoire alone and together with the duo partner

attend to the lessons

share the scores online as agreed on the course

edit, translate and share the material needed for the concert programs and marketing

perform in the final concert (or in another occasion if the attending to the final concert is impossible due to illness or other force majeure)

Content scheduling

Lied music is studied two periods. The student can participate both or just one. The subject for the autumn study period is Finnish Art Song. The repertoire for the spring study period is free of choice.

During the Lied study periods the student will get to know lied repertoire in different eras, composers, poets, style, phonetics and performance practice. The lied duos can choose their repertoire freely but a good dialogue with the teacher in needed to avoid collisions in the choices.

Duo lessons and group lessons - flexible schedule as long as the learning goals will be reached.

First meeting Fri 27.9. at 14-15.30 A224 - everyone participates - also possible to attend via zoom

Helsinki Lied - competition calling - lied concert Thu 3.10. at 18 Sigyn - lied course students will attend

Duo lessons Thu 10.10. at 10-12.30 A225

Duo lessons on project week Mon 21.10. & Tue 22.10. at 11-15, Wed 23.10. at 12-14.30 A225

Group lesson Fri 1.11. at 14-17 A224

Group lesson Fri 8.11. at 14-17 A224

Group lesson Fri 22.11. at 14-17 A224

Duo lessons Thu 28.11. Klo 10-15 A225

Dress rehearsal at Sibelius Museum Tue 3.12. at 14-16

Concert at Sibelius Museum Finnish Music day Sun 8.12. - detailed schedule TBA


Spring 2025 - start February

ENROLL FOR LIED MUSIC by e-mail eveliina.kytomaki@turkuamk.fi
AUTUMN STUDY PERIOD latest by 22.9.
SPRING STUDY PERIOD latest by the end of January.
After the deadline the teacher will do the final decisions and form the duos.

Already existing duos are prioritized in the student choices.

Further information

ENROLL FOR LIED MUSIC by e-mail eveliina.kytomaki@turkuamk.fi
AUTUMN STUDY PERIOD latest by 21.9.2024
SPRING STUDY PERIOD latest by the end of January.
After the deadline the teacher will do the final decisions and form the duos.

Already existing duos are prioritized in the student choices.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

After passing the course the student:

is able to rehearse and prepare lied repertoire as a member of duo

has gained experience and confidence as performer and interpreter

has widened the lied repertoire knowledge

has the ability to analyse and comment on the text and the music as well as its vocal and piano parts and their relations in different eras

Objective

After completing the course, the student is able to:
- design his/her profile as a music professional according to needs from the perspective of hybrid work, taking into account the potential of network-based working methods and digitalisation to promote his/her employment
- define the needs for developing his/her own skills, working methods, technological solutions and pedagogical methods required by chosen educational development task from the perspective of hybrid work
- use technological solutions to enhance working on-site and online environments

Content

The students own professional development profile
Digitalization and the work of a music pedagogue
The networks in the music pedagogues working life
Digital workstation
Sound settings
Working with digital scores
Software knowledge
Pedagogical practices

Materials

The learning materials can be found at itsLearning course environment.

Teaching methods

Contact learning, e-learning, lectures, work shops, working in a small group, independent learning tasks.

Completion alternatives

By demonstrating mastery of the course's learning objectives, the student can apply for credit based on prior knowledge.

Student workload

Contact days and lectures: 17 h
Online and virtual working individually and in groups: 118 h

Assessment criteria, approved/failed

The assessment focuses on the adoption of learning tasks and active participation in the work of the contact days.

Responsible teacher evaluates the assignments. To pass the course, students are expected to participate in the contact days and to contribute to group work in them, as well as to complete and turn in all the assignments. Missing contact day participation will be compensated by an extra assignment. Tutor teachers will keep records of participation in group work in contact days and evaluate the compensatory assignments

Content scheduling

09.02.2024-12.31.2024
In this study module, we will delve into the concept of hybrid work from the perspective of a music professional. We will contemplate what future work requirements may look like, define various expertise profiles, and explore the digital skills needed by music professionals.

After completing the study module, the student will be able to:
- Define and set up a mobile workstation for a music educator.
- Use a digital sheet music application and integrate it with a web conferencing program.
- Utilize an external microphone as the audio input for a web conferencing program through an audio interface.
- Configure audio settings for a web conferencing program.
- Add a secondary camera to a web conferencing program.
- Identify necessary audio sources for remote teaching.
- Adjust audio settings for their own instrument for remote teaching purposes.
- Understand the significance of the network connection in achieving low-latency audio and video.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

After completing the study module, the student will be able to:
- Define and set up a mobile workstation for a music educator.
- Use a digital sheet music application and integrate it with a web conferencing program.
- Utilize an external microphone as the audio input for a web conferencing program through an audio interface.
- Configure audio settings for a web conferencing program.
- Add a secondary camera to a web conferencing program.
- Identify necessary audio sources for remote teaching.
- Adjust audio settings for own instrument for remote teaching purposes.
- Understand the significance of the network connection in achieving low-latency audio and video.

Objective

After completing the course, the student will be able to
- identify and analyse the key themes and development tasks of music pedagogy as well as the different methods used in the field from the perspective of one's own development task
- identify and select appropriate operating methods, methods and tools in different operating environments, contexts, processes and among different actors
- make use of individual, group, community and network expertise related to the content and practices of music pedagogy (innovation competences)
- plan and implement the work of a music pedagogue according to their own profile, in a customer- and participant-oriented manner.
perceive and structure the concept of music pedagogue at an in-depth level more broadly as an industry.
recognizes the core competence of both one's own and another profession, sees common goals and opportunities for co-operation, and is ready to develop new ways of working and forms of co-operation from them in a multidisciplinary manner.
identify different cultural needs of individuals and communities and barriers to meeting them. Enables consultation of these needs in an inclusive, customer and operator-oriented manner.

Content

In this course, you will delve into your own profile as a music professional, and create your own digital career story. We will consider how one's professional identity is shaped, and what kinds of different skills identities and professional paths can be.

Deepening into the curriculum of basic education in art, defining how instruction affects the work of a music pedagogue.

Students are introduced to the concepts of reverse learning, reverse classroom, and reverse assessment, and to what the above concepts mean in practice, especially in their own work.

Materials

Indicated on the ItsLearning platform. Some of the materials are in English. The scope of the course corresponds to approximately 135 hours of work.

Teaching methods

Contact and distance teaching including thematic initializers, presentations, lectures, couple and small group work. Teaching is carried out as a contact teaching and/or online education. The work utilizes art-driven methods as well as the students' own specific skills.
- Advance tasks for contact days
- Learning tasks
- Independent working.
-. Group work

International connections

Innovation pedagogy is at the centre of all training at Turku University of Applied Sciences. Students study theory, applying practice and working life.

Contact teaching introduces the theory and research knowledge central to the course and discuss and share experiences on the topics discussed. Small-group work emphasizes self-direction, peer learning, reflection skills, creativity, multiprofessionalism and dialogical interaction. Individual assignments include familiarization with the literature and source materials of the course, practice information acquisition and refining, and structured presentation of things. The tasks utilize methods suitable for the pedogical development task.

Student workload

The learning tasks of the course are described in more detail on the ItsLearning platform.

Assessment criteria, approved/failed

Learning tasks are evaluated by the responsible instructors. Completion of the course acceptably requires completing all learning assignments as well as participating in the contact and distance learning sessions (or, in the case of a force-majeure absence, completing a substitute assignment approvingly). The tutor teacher records the attendance of contact sessions and evaluates the performance of absentee compensatory tasks.
Course is failedif any of the sub-tasks are missing or have not been completed in an acceptable manner.

Content scheduling

After completing the course, the student will be able to
• identify and analyse key themes and development tasks in music pedagogy and various methods used in the field from the perspective of their own development task
• to perceive and select appropriate policies, methods and tools in different operating environments, contexts, processes and various actors
• leverage individual, group, community and network expertise in the content and practices of music pedagogy (innovation competencies)
• plan and implement the work of the music pedagogue according to their own profile, subscriber- and participant oriented.
• perceive and structured at an engaging level the concept of music pedagogue more broadly as a field of activity.
• identifies the core competencies of cross disciplinary professions, to see common goals and opportunities for cooperation, and is ready to develop new ways and forms of cooperation in a multiprofessional manner.
• identifies various cultural needs of individuals and communities and barriers to their fulfillment. Enables these needs to be heard in an inclusive and customer-oriented and operator-oriented manner.

Personal target competences are defined taking into account the needs of the pedagogical development project. The course examines the possibilities of technology-assisted music pedagogy.

The detailed information about the course and content of contact studies you find at itsLearning course environment.

CONTACT DAYS IN SEPTEMBER:
2.9. at 8.30-15.30 online
3.9.2024 on campus from 9.00 to 16.00; morning at H112, afternoon at H115
9.9. at 9-12 online and
16.9. online from 9am to 11am

CONTACT DAYS IN OCTOBER:
7 October at 9-12 online and
8.10.. at 9-16.30 online;

CONTACT DAYS in NOVEMBER
4.11. at 9-12 online
5.11. at 9-16.30 online

CONTACT DAYS IN DECEMBER
2.12. at 9-15.30 on campus.
3.12. at 9.16.30 on online
4.12. thesis seminar, time and place will be specified later

Changes in schedule are possible.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The evaluation is focused on learning tasks and active participation at distance and contact learning sessions. The evaluation is continuous.

Materials

theses made by others, previously completed theses

Teaching methods

lectures, seminars, face-to-face and distance learning, independent work

Student workload

-participation in organized lectures and supervised teaching,
-conclusion of the thesis plan and thesis agreement,
- familiarization and reporting with theses written by others (Theseus)
-working as an opponent
-presenting your own thesis

Content scheduling

The student draws up a plan for his thesis. The student formulates a key investigative question and justifies own arguments both verbally and in writing. The student presents their research idea or an idea of a functional or artistic or pedagogic project in seminars and acts as an opponent of the research idea/ plan and text of fellow students. Students complete an online course in information retrieval. The student works on the thesis and presents its progress and the final thesis in seminars.

Evaluation scale

H-5

Assessment methods and criteria

-participation in organized lectures and supervised courses and in processing of other theses and theses,
-conclusion of the thesis plan and the thesis agreement,
- study and report on others' theses
-working as an opponent
-presenting your thesis at different stages of it

Assessment criteria, fail (0)

The student does not manage the core competencies of the study course in a manner that meets minimum requirements.

Assessment criteria, satisfactory (1-2)

The student demonstrates mastery of the study course's core competencies in a manner that meets the minimum requirements. The student has participated in the required group assignments and evaluation discussions and completed the learning tasks required in the study course successfully.

Assessment criteria, good (3-4)

The student demonstrates that he/she masters the core competencies of the study course well. The student has participated in the required group assignments and evaluation discussions well and completed the learning tasks required in the study course successfully. The student is able to direct his/her own work in a self-directed, goal-oriented and responsible manner.

Assessment criteria, excellent (5)

The student demonstrates his/her mastery of the core competencies of the study course commendably/excellently. The student has participated in the required group assignments and evaluation discussions excellently and completed the learning tasks required in the study course successfully. The student is able to direct his/her own work in a self-directed, goal-oriented and responsible manner. The student demonstrates profound competence of the study course objectives.

Evaluation scale

H-5

Assessment criteria, approved/failed

The course is approved when all the parts (mentioned earlier) and the pedagogical portfolio are completed. The student has actively participated in teaching sessions and developed his/her own pedagogical knowledge and thinking.

Content scheduling

The implementation takes the entire academic year.
Sectors of the implemention:

1) Lectures/workshops
2) Teaching practice weekly - includes both the private lesson of your student and the teaching practice group meeting
3) Practice pupils' concerts
4) Teaching observation - following a professional piano teacher teaching 20 x 45 min / academic year (10 x 45 min / semester)
5) Giving a evaluated teaching sample and following other students' samples
6) Following possible masterclasses
7) Other pedagogical activities (to be informed later)

Further information

Itslearning and e-mail

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The implementation is evaluated in the of the spring term.

Assessment criteria, approved/failed

Active participation in teaching and performances.

Content scheduling

Private piano instruction
autumn semester 12x90 min
spring semester 14x90min
Detailed schedule is to be planned with the piano teacher.

Group lessons in Sigyn Hall on Thursday afternoon (dates below and in TUUDO) Firtst hour is booked for rehearsing, discuss the rehearsing time with the other students. Be prepared to give feedback to each other during the group lesson.

In the end of each term there is a evaluated performance. The student prepares and performs a solo piano program suitable for his/her current abilities of the art of piano playing. Afterwards feedback is given by the piano teachers present.

Other performances in the student concerts

Group lessons and evaluated performances in Sigyn:

Autumn 2024
Thu 26.9. at 11-14 (Group lesson starts at klo 12)
Thu 10.10. at 12-16 (start at 13)
Thu 14.11. at 11-15 (start at 12)
Thu 21.11. at 12-16 (start at 13)

Christmas concert rehearsals in Sigyn
Mon 9.12. klo 9-16
Tue 10.12. klo 9-14
Chrismas concerts (detailed schedule TBA)
Fri 13.12. klo 9-15

Spring 2025
Thu 16.1. at 12-16 (start at 13)
Thu 3.4. at 11-14 (start at 12)

Spring concerts rehearsals in Sigyn
Mon 5.5. at 9-16
Tue 6.5. at 9-14
Spring concerts in Sigyn (detailed schedule TBA)
Fri 9.5. klo 9-15

In addition:
Mon 25.11. at 9-18 Audition for Madetoja competition

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student will receive feedback regularly from the piano teacher during the piano lessons, peer feedback during the group lessons and a more detailed feedback from the teacher and a colleague after the semester ending evaluated performances.

Objective

After completing the course, the student
- knows what music technology means in terms of the work of a music pedagogue
- is able to utilize music technology in her teaching and artistic work
- knows the basics of recording and editing digital audio and video to the extent required by her profession
- masters the principle of streaming and knows how to make a streaming broadcast
- can define and deploy a workstation (AV and IT hardware and software) for artistic work and remote teaching for a music pedagogue.
- can set up and use a combination of software suitable for teaching
- understands the impact how different ways to distribute music effects the quality of sound and auditory image.

Content

Student can digitally record and edit audio and video. Student can make appropriate settings for recording her instrument and for online meeting software. Student can specify a pedagogically justified set of devices and software that meet her professional needs.

The student understands the impact how different ways to distribute music effects the quality of sound and auditory image. Student can use and combine software necessary for teaching in the online meeting application.

Materials

Course supporting materials:
- The materials of the lessons
- Muse publications
- Other publications

Teaching methods

Teaching (IRL, online), independent work

Student workload

Completion and evaluation of the course:
The student can do the course assignments in close lessons, personal guidance sessions,
or independently
according to their schedules
To complete the course, you need to accomplish:
four practical tasks
two essays, or other performance

Content scheduling

Opening of the course on 16. September 2024 at 17:00-18:30
In place C207, Crichton's foyer

Let's go through the goal, progression and content of the course
Let's repeat the equipment that can be borrowed and how to get to know them.

Subjects of essays (vlog, podcast, etc.):
Essay1: Which technological means and tools help me in music practice?
Essay 2: What technological means and tools will help me in my future work as a music
pedagogue?
Share the essays into your return folder

Lesson 1.
Monday 7.10 2024 at 17:00-18:30 - Zoom - Distance learning station usage training +
assignment
In place C207, Crichton's foyer
Task: Record your own playing with the Zoom program and share the material in your
recovery folder.

Lesson 2.
Monday 28.10.2024 at 17.00-18.30 - Recording your own or a student's call + assignment
In place C207, Crichton's foyer
Task: Film and record a teaching session that you could use in your own teaching and
share it in the return folder.

Lesson 3.
Monday 11.11 2024 at 17:00-18:30 - Video and audio editing using the BYOD(bring your
own device)-method + assignment
In place C207, Crichton’s foyer
Task: Edit (add texts, edit image, edit sound, etc.) filmed and recorded teaching session
improve the material and share it in the return folder.

Lesson 4:
Monday 9.12.2024 at 17.00-18.30 - Artificial intelligence in music + Producing, sharing and
using electronic sheet music material
+ assignment
In place C207, Crichton's warmth
Task: Make an electronic sheet music of a work or song and share it in your return folder.

Personal guidance is offered for course assignments whenever requested.

In addition, hop on, hop off control is available:
21.10. 17:00-18:00, C207
25.11, 17:00-18:00, C207
16.12. 17:00-19:00, C207

Further information

Mikko Maunula
mikko.maunula@turunkonservatorio.fi
+358505167177

Evaluation scale

H-5

Assessment methods and criteria

Online teaching:
Using Zoom in recording and sharing one's own performance
Recording teaching
Editing a recording

Making, sharing and using digital notation

Assessment criteria, fail (0)

Student does not complete the tasks given

Assessment criteria, satisfactory (1-2)

The student completes the tasks and demonstrates that he has a satisfactory level of competence

Assessment criteria, good (3-4)

The student completes the tasks and demonstrates developing skills

Assessment criteria, excellent (5)

The student completes the tasks to a very high standard and demonstrates commendable competence

Completion alternatives

Prior learning in worklife can be recognized and replace the entire Towards working life - lecture series or parts of it. These must be discussed in advance with the responsible teacher Eveliina Kytömäki eveliina.kytomaki@turkuamk.fi

Assessment criteria, approved/failed

Commitment and participation in tutoring and ISP process
Attending to Towards working life - lectures

Content scheduling

Tutor discussions and drawing up a individual study plan (ISP) together with the tutor teacher. At least two tutor discussions will be held during the academic year. One in the beginning of the academic year and another one in the end. More discussions can be arranged if needed.

Towards working life - lectures on Wednesdays at 13-15 or 13.30-15, usually in Sigyn Hall. The schedule of the lectures can be found also on TUUDO.

Towards working life -lectures

Autumn:
4.9. at 13.30-15 Keho ja mieli – Saara Sahrman (with conservatory students)

2.10. at 13.30-15 Keho ja mieli – Saara Sahrman (with conservatory students)

13.11. at 13-16 Improvisation pedagogy workshop - Aapo Alinikula NB! Signing up needed, the link below
https://forms.office.com/e/C0FVWNCMCT

27.11. at 13-14.30 Musicians’ wellbeing - Liisi Uusitalo

Spring term
8.1. at 13.30-15 Body and Mind – Saara Sahrman (with conservatory students)

29.1. at 13.30-15 Body and Mind – Saara Sahrman (with conservatory students)

5.3. at 13- 14.30 Visitor from working life Annika Viitanen, headmaster, Salo music institute NB the location: Kuvateatteri

2.4. at 13-14.30 Developing music education - students and teachers together NB the location: Kuvateatteri

Evaluation scale

Hyväksytty/Hylätty

Completion alternatives

Prior learning in worklife can be recognized and replace the entire Towards working life - lecture series or parts of it. These must be discussed in advance with the responsible teacher Eveliina Kytömäki eveliina.kytomaki@turkuamk.fi

Assessment criteria, approved/failed

Commitment and participation in tutoring and ISP process
Attending to Towards working life - lectures

Content scheduling

Tutor discussions and drawing up a individual study plan (ISP) together with the tutor teacher. At least two tutor discussions will be held during the acedemic year. One in the beginning of the academic year and another one in the end. More discussions can be arranged if needed.

Towards working life -lectures



Autumn:

4.9. at 13.30-15 Keho ja mieli – Saara Sahrman (with conservatory students)



2.10. at 13.30-15 Keho ja mieli – Saara Sahrman (with conservatory students)



13.11. at 13-16 Improvisation pedagogy workshop - Aapo Alinikula NB! Signing up needed, the link below

https://forms.office.com/e/C0FVWNCMCT



27.11. at 13-14.30 Musicians’ wellbeing - Liisi Uusitalo



Spring term

8.1. at 13.30-15 Body and Mind – Saara Sahrman (with conservatory students)



29.1. at 13.30-15 Body and Mind – Saara Sahrman (with conservatory students)



5.3. at 13- 14.30 Visitor from working life Annika Viitanen, headmaster, Salo music institute NB the location: Kuvateatteri



2.4. at 13-14.30 Developing music education - students and teachers together NB the location: Kuvateatteri

Evaluation scale

Hyväksytty/Hylätty

Assessment criteria, approved/failed

Active participation in teaching and performances.

Content scheduling

Private piano instruction

autumn semester 12x90 min

spring semester 14x90min

Detailed schedule is to be planned with the piano teacher.



Group lessons in Sigyn Hall on Thursday afternoon (dates below and in TUUDO) Firtst hour is booked for rehearsing, discuss the rehearsing time with the other students. Be prepared to give feedback to each other during the group lesson.



In the end of each term there is a evaluated performance. The student prepares and performs a solo piano program suitable for his/her current abilities of the art of piano playing. Afterwards feedback is given by the piano teachers present.



Other performances in the student concerts



Group lessons and evaluated performances in Sigyn:



Autumn 2024

Thu 26.9. at 11-14 (Group lesson starts at klo 12)

Thu 10.10. at 12-16 (start at 13)

Thu 14.11. at 11-15 (start at 12)

Thu 21.11. at 12-16 (start at 13)



Christmas concert rehearsals in Sigyn

Mon 9.12. klo 9-16

Tue 10.12. klo 9-14

Chrismas concerts (detailed schedule TBA)

Fri 13.12. klo 9-15



Spring 2025

Thu 16.1. at 12-16 (start at 13)

Thu 3.4. at 11-14 (start at 12)



Spring concerts rehearsals in Sigyn

Mon 5.5. at 9-16

Tue 6.5. at 9-14

Spring concerts in Sigyn (detailed schedule TBA)

Fri 9.5. klo 9-15



In addition:

Mon 25.11. at 9-18 Audition for Madetoja competition

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student will receive feedback regularly from the piano teacher during the piano lessons, peer feedback during the group lessons and a more detailed feedback from the teacher and a colleague after the semester ending evaluated performances.

Assessment criteria, approved/failed

Active participation in teaching and performances.

Content scheduling

Private piano instruction

autumn semester 12x90 min

spring semester 14x90min

Detailed schedule is to be planned with the piano teacher.



Group lessons in Sigyn Hall on Thursday afternoon (dates below and in TUUDO) Firtst hour is booked for rehearsing, discuss the rehearsing time with the other students. Be prepared to give feedback to each other during the group lesson.



In the end of each term there is a evaluated performance. The student prepares and performs a solo piano program suitable for his/her current abilities of the art of piano playing. Afterwards feedback is given by the piano teachers present.



Other performances in the student concerts



Group lessons and evaluated performances in Sigyn:



Autumn 2024

Thu 26.9. at 11-14 (Group lesson starts at klo 12)

Thu 10.10. at 12-16 (start at 13)

Thu 14.11. at 11-15 (start at 12)

Thu 21.11. at 12-16 (start at 13)



Christmas concert rehearsals in Sigyn

Mon 9.12. klo 9-16

Tue 10.12. klo 9-14

Chrismas concerts (detailed schedule TBA)

Fri 13.12. klo 9-15



Spring 2025

Thu 16.1. at 12-16 (start at 13)

Thu 3.4. at 11-14 (start at 12)



Spring concerts rehearsals in Sigyn

Mon 5.5. at 9-16

Tue 6.5. at 9-14

Spring concerts in Sigyn (detailed schedule TBA)

Fri 9.5. klo 9-15



In addition:

Mon 25.11. at 9-18 Audition for Madetoja competition

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student will receive feedback regularly from the piano teacher during the piano lessons, peer feedback during the group lessons and a more detailed feedback from the teacher and a colleague after the semester ending evaluated performances.

Evaluation scale

Hyväksytty/Hylätty

Assessment criteria, approved/failed

The course is approved when all the parts (mentioned earlier) and the pedagogical portfolio are completed. The student has actively participated in teaching sessions and developed his/her own pedagogical knowledge and thinking.

Content scheduling

The implementation takes the entire academic year.
Sectors of the implemention:

1) Lectures/workshops
2) Teaching practice weekly - includes both the private lesson of your student and the teaching practice group meeting
3) Practice pupils' concerts
4) Teaching observation - following a professional piano teacher teaching 20 x 45 min / academic year (10 x 45 min / semester)
5) Giving a evaluated teaching sample and following other students' samples
6) Following possible masterclasses
7) Other pedagogical activities (to be informed later)

Further information

Itslearning and e-mail

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The implementation is evaluated in the of the spring term.

Assessment criteria, approved/failed

The course is approved when all the parts (mentioned earlier) and the pedagogical portfolio are completed. The student has actively participated in teaching sessions and developed his/her own pedagogical knowledge and thinking.

Content scheduling

The implementation takes the entire academic year.
Sectors of the implemention:

1) Lectures/workshops
2) Teaching practice weekly - includes both the private lesson of your student and the teaching practice group meeting
3) Practice pupils' concerts
4) Teaching observation - following a professional piano teacher teaching 20 x 45 min / academic year (10 x 45 min / semester)
5) Giving a evaluated teaching sample and following other students' samples
6) Following possible masterclasses
7) Other pedagogical activities (to be informed later)

Further information

Itslearning and e-mail

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The implementation is evaluated in the of the spring term.

Objective

After completing the Instrument Pedagogy Courses 1-4, the student:
- identifies and masters the basic technical skills of her instrument and is capable to teach them
- knows the key teaching methods, repertoire, teaching materials of elementary, basic, and advanced studies, including making music together
- is able to set the objectives of teaching on a learner basis and design the lessons in accordance with trainee student’s needs
- can apply the principles of ergonomics creatively and use those skills while working with trainee student
- can guide the learner's training and is able to support the development of the learner's artistic expression and performance capacity
- has internalized the principles of encouraging continuous feedback and can also guide learners in self-assessment and peer review
- can assess the learner's progress and constructively coach and evaluate performance in level performance situations
- can support and guide learners of different ages in both individual and group learning situations
- is able to interact with learners of different levels, ages and from different backgrounds (including adult students) and can teach learners with both for hobby goals and vocational training
- knows how to use online pedagogical methods in her pedagogical work
- is familiar with the work of a musical pedagogue in different environments: music colleges that provide basic education in the arts, in the vocational secondary school of music, in the free education sector and in private sector
- can analyze and showcase her own field of art and its pedagogical activities
- has formed a versatile picture of her as a teacher and is able to reflex her own activities and develop capabilities to help grow as a teacher throughout the professional career

Content

Music pedagogy lectures
Observing teaching practice and teaching samples
Observing professional instrument teaching
Other pedagogical activities, i.e. introduction to group pedagogy, evaluation and possible teaching assistant assignments

Teaching methods

Small group discussion and work

Assessment criteria, approved/failed

The course is approved when all the parts (mentioned earlier) and the pedagogical portfolio are completed. The student has actively participated in teaching sessions and developed his/her own pedagogical knowledge and thinking.

Content scheduling

The implementation takes the entire academic year.
Sectors of the implemention:

1) Lectures/workshops
2) Teaching practice weekly - includes both the private lesson of your student and the teaching practice group meeting
3) Practice pupils' concerts
4) Teaching observation - following a professional piano teacher teaching 20 x 45 min / academic year (10 x 45 min / semester)
5) Giving a evaluated teaching sample and following other students' samples
6) Following possible masterclasses
7) Other pedagogical activities (to be informed later)

Further information

Itslearning and e-mail

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The implementation is evaluated in the of the spring term.

Assessment criteria, approved/failed

Active participation in teaching and performances.

Content scheduling

Private piano instruction

autumn semester 12x90 min

spring semester 14x90min

Detailed schedule is to be planned with the piano teacher.



Group lessons in Sigyn Hall on Thursday afternoon (dates below and in TUUDO) Firtst hour is booked for rehearsing, discuss the rehearsing time with the other students. Be prepared to give feedback to each other during the group lesson.



In the end of each term there is a evaluated performance. The student prepares and performs a solo piano program suitable for his/her current abilities of the art of piano playing. Afterwards feedback is given by the piano teachers present.



Other performances in the student concerts



Group lessons and evaluated performances in Sigyn:



Autumn 2024

Thu 26.9. at 11-14 (Group lesson starts at klo 12)

Thu 10.10. at 12-16 (start at 13)

Thu 14.11. at 11-15 (start at 12)

Thu 21.11. at 12-16 (start at 13)



Christmas concert rehearsals in Sigyn

Mon 9.12. klo 9-16

Tue 10.12. klo 9-14

Chrismas concerts (detailed schedule TBA)

Fri 13.12. klo 9-15



Spring 2025

Thu 16.1. at 12-16 (start at 13)

Thu 3.4. at 11-14 (start at 12)



Spring concerts rehearsals in Sigyn

Mon 5.5. at 9-16

Tue 6.5. at 9-14

Spring concerts in Sigyn (detailed schedule TBA)

Fri 9.5. klo 9-15



In addition:

Mon 25.11. at 9-18 Audition for Madetoja competition

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student will receive feedback regularly from the piano teacher during the piano lessons, peer feedback during the group lessons and a more detailed feedback from the teacher and a colleague after the semester ending evaluated performances.

Materials

- The basics of the overall and extensive learning curriculum for basic arts education
- the teaching materials of the subject concerning Music perceiving published by the Finnish Association of Music Educational Institutions
- pedagogical literature on teaching the subjects concerning Music perceiving
- tonal music suitable for basic level (sheet music and recordings and live music)
- accompaniment notes for instrument teaching on the basic level
- elementary school music textbooks and other learning material
- textbooks and online learning materials drawn up for knowledge of music and the teaching of the subject concerning Music perceiving in music schools
- applicable material available online and
- material produced by the students themselves (pedagogical materials, compositions, etc.)

Teaching methods

face to face and distance teaching, independent learning and teaching practise

Exam schedules

The student and the supervising teachers agree on the times of the teaching samples of the subjects concerning Music perceiving to be evaluated.

Student workload

The student
-gets acquainted with the learning materials, literature and doctrinal content of the subjects concerning Music perceiving and reports them in writing
- observes the Teaching of the subjects concerning Music perceiving 10×45 minutes per semester, that is 20 hours per academic year
- participates in teaching planning: making hourly and period plans and
-carries out a teaching internship in the subjects included in the study course with their students or group of pupils (autumn term 4 x 60 min, spring term16 x 60 min)
- gets acquainted with the evaluation of the subjects concerning Music perceiving
and participates in it

Content scheduling

The students who study the subjects concerning Music perceiving as major subject complete the study course Pedagogy 2 in the second year of study.
The study course includes:
-the observing of the Teaching
the subjects concerning Music perceiving
(the basics of music theory and solfege
as well as knowledge of Western music history teaching) at the basic level of music schools
- the teaching practising of the subjects concerning Music perceiving
on the basic level of music institutions (basics of music 1,2,3 and knowledge of music)
The comprehensive perception skills of music are amplified by the integration of different content areas.
-the basics of music: perceptionof tonal music by singing and writing; note writing, melody and r hythm and harmony (major- and minor keys, scales, intervals with their qualities, triads and septim chords with letter marking and functions, the most common music terms)
-different tools and methods of work on the teaching of the subjects concerning Music perceiving, taking into account the pupil's objectives
- co-musisation skills
- the perception skills of music
-history awareness of music

Further information

Teaching on Thursdays at 13.00-14.30 in A214 and/or by zoom
beginning 19th September 2024

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

During the second year of study, next sections are assessed:
- the mastery of the objectives and core competencies of the course being taught
- participation in group tasks and evaluation discussions
- completion of the learning tasks required in the course
- self-direction, the goal-oriented and accountability of your own work
The student gives a teaching sample of the teaching of the subjects concerning Music perceiving, which is evaluated by the guiding teachers together.

Objective

After completing the course, the student will be able to
- get free from music tied to a sheet music picture
- know how to play simple accompaniments and making a soloist easy piano arrangement
- apply stylistic accompaniment models in domestic dance and singing music and African American music
- identify chords and chord sequences in different musical genres

Content

- accompanying with the letter markings of chords in different musical styles
- prima vista playing and transcribing
- chording of melodies
- making easy instrumental arrangements
- getting to know improvisation
This course follows the National Level and Nomination Recommendation of the Association for Free Accompaniment Teachers.

Materials

Material to be distributed in the course.

Related literature:

Tenni-Varpama: Vapaa säestys ja improvisointi
Tenni- Abelein: Vapaan säestyksen käsikirja

International connections

Face-to-face teaching, small group teaching.

Content scheduling

Competence objectives of the course
After completing the course, the student will be able to
- free yourself from playing tied to a musical score
- masters playing simple accompaniments and making an easy solo piano arrangement
- apply stylistic accompaniment models in domestic dance and singing music as well as in African-American music
- recognize chords and chord sequences in different keys
Course content
- accompaniment from real chords in different music styles
- prima vista playing and transposition
- chording of melodies
- making easy instrumental arrangements
- getting to know improvisation

Face-to-face teaching in small groups (3 students) that meet weekly during the academic year, room A214.

Further information

The free accompaniment D course starts with information about free accompaniment and the division of small groups.
Info will be held on Zoom on Tuesday, 3th of September from 12:00 to 13:00. Zoom-link is on Tuudo.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student compiles a video portfolio of the repertoire played during the school year.

Objective

Opintojakson suoritettuaan opiskelija on perehtynyt soitin-/lauluopinnoissaan jonkin säestyssoittimen ja laulun perustekniikkaan ja perusohjelmistoon.

Content

Tämä opintojakso koskee niitä opiskelijoita, joilla on pääaineena musiikin hahmotusaineet. Opintojakso sisältää opiskelijan valitseman säestyssoittimen ja/tai laulun instrumenttiopetusta lukuvuoden ajan.
Tämä opintojakso tai osa siitä voidaan toteuttaa TKI-projektin yhteydessä tai KV-vaihto-opiskelun aikana.

Evaluation scale

Hyväksytty/Hylätty

Objective

After completion of the course unit the student is able to perceive music as a historical, oral, auditive and structural phenomena.
 

Content

The course unit is divided into four different areas:
- Western music history
- Writing music 
- Music analysis
- Solfége

Materials

SOLFEGE C
All tonal Western classical music as well as rhythm music can be used in the study of solfege.
In addition, study books directed at this level can be used, e.g.
Lectio Sonorum I- II, Seija-Sisko Raitio
Säveltapailu C-B, Seija Salmiala

MUSIC ANALYSIS C
Material to be distributed in the course.
Jorma Kontunen: Musiikin kieli 2, Sävellysmuodot
William Caplin: Classical form

MUSIC HISTORY

D.J.Grout: History of western music
D.J.Grout: Short history of opera
Music presented/listened during lectures

Teaching methods

SOLFEGE C
independent working and practising, distance learning, face to face teaching

MUSIC ANALYSIS C: distance teaching, homework assignments, practice assignments

MUSIC HISTORY:

lectures
two essay assignments, for which the topics will be decided together with teacher

Exam schedules

SOLFEGE C
Sections of the written exam of Solfege C are performed in a manner that is agreed with the teacher, usually during lessons in April. Oral exams are held in early May.

MUSIC ANALYSIS C
During academic year student writes an independent analysis on a composition chosen by the student.

MUSIC HISTORY

the timing of writing the two essays will be discussed with teacher. usually this takes place during the spring term

Student workload

MUSIC HISTORY

lectures: 16 x 90 min
essay assignment and work on background material about 20 hours

Content scheduling

SOLFEGE C
Solfege C is a compulsory section of the study course Music perceiving, to be completed during the first two years of study.
This section includes tonal music exercises that contain
- chromatic notes, altered chords and changing timesignatures as well as beats with different durations
- reading of exceptional rhythms (duol, triol, etc.) maintaining the basic pulsation audibly
- singing of tonal melodies containing chromatic tunes and the most common altered chords
to recognize, perceive and notate the chord series with altered notes and the most general altered chords using letter marking and degrees.

There are two alternative teaching groups in Solfège C:

C1 Mondays 10.00-11.30, A214 (in Finnish)
C2 Tuesdays 12.15-13.15, on Zoom (in English)


MUSIC ANALYSIS C
Analysis exercises from different eras of tonal art music. Miniature and work analyzes based on different question layouts.

English-speaking group: Weekly group meetings on Fridays from 13.30 p.m. to 14:30 p.m. First meeting on Fri 6.9. 2024, last meeting on Fri 13.12. 2024.

MUSIC HISTORY

Lectures will be held on Tuesdays about every two week at 2pm - 4pm

First lecture will be on September the 10th in Crichton hall

Further information

MUSIC ANALYSIS C: teacher, ItsLearning course enviroment

MUSIC HISTORY: email

SOLFÈGE C:
teacher, ItsLearning course enviroment

MUSIC HISTORY: email

Evaluation scale

H-5

Assessment methods and criteria

SOLFEGE C
Solfege C contains the next assessed parts:
written parts:
- notation of one-voiced, tonal melody and identification of its accompaniment chords with letter marking
- perception, identification and notation of a chord series that contains altered chords
oral parts:
- prima vista singing a tonal melody with chromatic notes
- reading /presenting a rhythm which contains changing durations of the beat maintaining the basic pulsation audibly

MUSIC ANALYSIS C
During academic year student writes an independent analysis on a composition chosen by the student.

MUSIC HISTORY

- attending lectures is obligatory/absence will be discussed with teach in advance
-signing for the course will be checked during the first lecture on September the 10th
-attendance will be checked in the begining of each lecture

Assessment criteria, fail (0)

The student does not manage the core competencies of the study course in a manner that meets minimum requirements.

Assessment criteria, satisfactory (1-2)

Solfege C
The student demonstrates his/ her mastery of the study course's core competencies in a manner that meets the minimum requirements. The student has participated in the required group assignments and evaluation discussions and completed the learning tasks required in the study course successfully.

Music analysis C
The student masters the basics of analyzing compositions. The student can helpfully analyze the most important forms of composition and understands different methods of analysis.

Assessment criteria, good (3-4)

Solfege C
The student demonstrates that he/she masters the core competencies of the study course well. The student has participated in the required group assignments and evaluation discussions and completed the learning tasks required in the study course successfully. The students is able to direct his/her own work in a self-directed, goal-oriented and responsible manner.

Music analysis C
The student comprehensively understands the structure of the composition, from miniatures to larger entities. The student knows how to apply stylistic approaches when describing the characteristics of compositions in different styles.

Assessment criteria, excellent (5)

Solfege C
The student demonstrates their mastery of the core competencies of the study course commendably/excellently. The student has participated in the required group assignments and evaluation discussions and completed the learning tasks required in the study course successfully. The student is able to direct his/her own work in a self-directed, goal-oriented and responsible manner. The student demonstrates profound competence of the study course objectives.

Music analysis C
The student can analyze his extensive knowledge on his own initiative, utilizing more challenging and even exceptional compositions. The student demonstrates stylistic and insightful control of different analysis methods.

Objective

History of music
The student can understand the different styles of music from the Middle Ages to the music of our time. By listening, he recognizes the characteristic features of the styles of key composers. The student understands the connection between the music of our own time and the continuum of music history. He knows the key sources for deepening his knowledge of music history and knows how to apply his knowledge of music history to his own artistic work, both as a musician and as a teacher.

Music analysis C
The student knows the basic concepts of music theory and music analysis. The student knows how to use conceptual and theoretical knowledge to understand music. The student knows the basic structures of tonal music and can analyze and describe the structures of music from different periods.

Writing music C
The student knows the basic phenomena and concepts of tonal harmony and melody. He knows the basic concepts and principles of tonal voice-leading and knows how to apply them when writing music. According to their orientation, the student can write instrumental and/or vocal music for different ensembles. The student understands the characteristics of different instruments and the human voice and knows the practices of writing for them. The student knows the principles of arranging.

Content

History of music, 2 credits
From the Middle Ages in the history of Western music to the music of our time (key composers, characteristics of the stylistic periods). Music as part of its own time and historical continuum.

Music analysis C, 3 credits
Analysis exercises from different periods of tonal music. Miniature and work analyzes based on different question layouts. Familiarization with key music analytical literature.

Writing music C, 5 credits
Principles and basic concepts of tonal voice-leading. The most common chord notation (Roman analysis, chord markings and general bass notation). Producing a multi-voiced tonal texture. Different music writing techniques (harmonization, instrumentation, counterpoint, arranging). The content can be weighted according to the student's own major.

Materials

WRITING MUSIC C

Material to be distributed in the course.

Related literature:
Aldwell-Schachter: Harmony and voice-leading
Kontunen Jorma: Soinnutus
Murto Matti: Soivat soinnut

MUSIC ANALYSIS C

Material to be distributed in the course.

Related literature:
Jorma Kontunen: The language of music 2, Forms of composition
William Caplin: Classical form

MUSIC HISTORY

D.J.Grout: History of western music
D.J.Grout: Short history of opera
Music presented/listened during lectures

Teaching methods

WRITING MUSIC C: distance learning, class assignments, preliminary assignments, practice assignments

MUSIC ANALYSIS C: face-to-face teaching, homework assignments, practice assignments

MUSIC HISTORY:

lectures
two essay assignments, for which the topics will be decided together with teacher

Exam schedules

MUSIC HISTORY

the timing of writing the two essays will be discussed with teacher. usually this takes place during the spring term

Student workload

MUSIC HISTORY

lectures: 16 x 90 min
essay assignment and work on background material about 20 hours

Content scheduling

WRITING MUSIC C

Principles and basic concepts of tonal melody and harmony. The most common notation of chords. Producing a multi-voiced tonal texture. Different music writing techniques (harmonization, counterpoint, arrangement)

English-speaking group: On Fridays 10-11:30am (first lecture on 6th of September).

Meetings will be held online via Zoom:
https://turkuamk.zoom.us/j/68021100512
Meeting ID: 680 2110 0512

The detailed information about the course you find at ItsLearning course enviroment.

MUSIC ANALYSIS C

Analysis exercises from different eras of tonal art music. Analyzing musical form based on different question layouts.

English-speaking group: Group lectures on Fridays at 10-11.30am on Zoom. First meeting on Fri 10th of January 2025, last meeting on 8rd of May 2025.

Meetings will be held online via Zoom:
https://turkuamk.zoom.us/j/68021100512
Meeting ID: 680 2110 0512

MUSIC HISTORY

During the academic year 2023-2024 focus will be on music before the year 1900
Lectures will be held on Tuesdays about every two week at 2pm - 4pm

First lecture will be on September the 10th in Crichton hall

Further information

WRITING MUSIC C AND MUSIC ANALYSIS C: teacher, ItsLearning course enviroment

MUSIC HISTORY: email

Evaluation scale

H-5

Assessment methods and criteria

WRITING MUSIC C
The course has two parts
1. Display test of four-voice writing
2. Independent writing assignments (2 pcs), to be arranged separately

MUSIC ANALYSIS C
Written exam on Fri 8rd of May 2025.

MUSIC HISTORY

- attending lectures is obligatory/absence will be discussed with teach in advance
-signing for the course will be checked during the first lecture on September the 10th
-attendance will be checked in the begining of each lecture

Assessment criteria, satisfactory (1-2)

Writing music C
The student masters the basics of writing harmony and melody. There are still shortcomings in the details and overall management.

Music analysis C
The student masters the basics of analyzing compositions. The student can helpfully analyze the most important forms of composition and understands different methods of analysis.

Assessment criteria, good (3-4)

Writing music C

The student masters different writing techniques fluently and knows how to apply his knowledge in different situations. The student has a vision of how the written set should sound and he masters the means and techniques to achieve it.

Music analysis C
The student comprehensively understands the structure of the composition, from miniatures to larger entities. The student knows how to apply stylistic approaches when describing the characteristics of compositions in different styles.

Assessment criteria, excellent (5)

Writing music C

The student masters voice-leading principles flawlessly and the features required by different styles. The student knows how to apply his knowledge creatively. The student also manages exceptional solutions smoothly and according to style.

Music analysis C
The student can analyze his extensive knowledge on his own initiative, utilizing more challenging and even exceptional compositions. The student demonstrates stylistic and insightful control of different analysis methods.

Objective

Opintojakson suoritettuaan opiskelija
- tuntee wieniläisklassismin ja romantiikan sekä 1900-luvun alkupuolen musiikin melodianmuodostusta, harmoniaa, kudostekniikkaa ja muotoja
- osaa säveltää näiden tyylien mukaisia kappaleita
- osaa arvioida omaa työtään ja ottaa vastaan palautetta

Content

Wieniläisklassismi- tyypillisiä muunnesointuja- wieniläisklassismin uudet modulaatiotavat- tavallisimpia keinoja luoda epäsymmetriaa rakenteisiin- pienimuotoisia sävellysharjoituksia (esim. menuetti, muunnelmien teema)- sovittamista erilaisille kokoonpanoille ottaen huomioon opiskelijan pääinstrumentti tai muu suuntautumiseen vaikuttava seikka
Romantiikka- tyypillisiä muunnesointuja- esimerkkejä tonaalisen ajattelun kehityksestä romantiikan aikana- pienimuotoisia sävellysharjoituksia (esim. karaktäärikappale, Lied)
1900-luvun musiikki- katsaus konsonanssi-dissonanssi-ajattelun kehitykseen- 1900-luvulla käytettyjä asteikkoja- harmonian uusia ajattelutapoja (kvartti- ja kvinttirakenteiset soinnut, lisäsävelharmonia, sekuntirakenteiset soinnut, peiliharmonia)- katsaus rivitekniikkaan- pienimuotoisia sävellysharjoituksia

Materials

Material to be distributed during the course.

Aldwell-Schachter: Harmony and voice-leading
Persichetti, Vincent: Twentieth-century harmony

Content scheduling

After completing the course, the student
- knows the melody formation, harmony, weaving technique and forms of Viennese classicism and romanticism and the music of the early 20th century
- can compose according to these styles
- knows how to evaluate his own work and receive feedback

Course content
Viennese classicism and romanticism
- typical chromathic chords
- the new modulation methods of Viennese classicism and romanticism
- small composition exercises
- arranging for different ensembles, taking into account the student's main instrument or other factor influencing orientation

20th century music
- an overview of the development of consonance-dissonance thinking
- scales used in the 20th century
- new ways of thinking about harmony (fourth- and fifth-structured chords, additional note harmony, second-structured chords, mirror harmony)
- an overview of 12-tone technique
- small composition exercises

The course starts in week 37 and lasts the whole academic year.
Registration for the course: contact teacher vesa-pekka.kuusinen@turkuamk.fi

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Style exercises with different styles and for different line-ups. Oral feedback.

Objective

Opiskelija
- oppii tuntemaan erilaisia musiikkianalyysin teorioita, lähestymistapoja ja keinoja
- saa valmiudet omatoimiseen, oivaltavaan analyysiin 1900- tai 2000-luvun säveltäjien teoksista
- oppii soveltamaan erilaisia lähestymistapoja musiikin analysoinnissa
- ymmärtää musiikkianalyysin mahdollisuuksia tiedon tuottamisessa ja ongelmien ratkaisemisessa
- oppii soveltamaan analyysia käytännön työssään

Content

- luentoja eri historiallisista analyysimenetelmistä ja -teorioista, myös esimerkkianalyyseja
- analyysiharjoituksia joistakin 1900-luvun sävellyksistäopiskelijan opettajan ohjauksessa valmistama analyysityö ja sen esittäminen opiskeluryhmälle

Materials

Material to be distributed in the course

Kontunen, Jorma: Musiikin kieli 3
Roig-Francoli, Miguel A: Understanding post-tonal music

Content scheduling

After completing the course, the student

- knows how to apply different approaches in music analysis
- knows how to apply music analysis in his practical work
- can make an independent, insightful analysis of a work by a composer from the 20th or 21st century
- understand the possibilities of music analysis in generating information and solving problems
- knows how to evaluate his own work and receive feedback

Course content
- lectures on different historical analysis methods and theories, also sample analyses
- analysis exercises on some 20th century compositions
- analysis works prepared by the student under the guidance of the teacher and their presentation to the study group

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Four analysis papers presented to a group of students.

Objective

Opintojakson suoritettuaan opiskelija osaa
- säestää sointumerkeistä ja vapautua nuottikuvasta
- soveltaa yksinkertaisia komppeja ja muita säestystapoja sekä käyttää niitä tyylinmukaisesti
- soinnuttaa melodioita luontevasti sävellajin soinnuilla
- transponoida helpoissa sävellajeissa

Content

- yksinkertaisten melodioiden säestäminen
- melodian soinnuttaminen
- prima vista soitto ja transponointi

Materials

Material to be distributed in the course.

Related literature:

Tenni-Varpama: Vapaa säestys ja improvisointi
Tenni- Abelein: Vapaan säestyksen käsikirja

International connections

Face-to-face teaching, small group teaching.

Content scheduling

After completing the course, the student will be able to
- to accompany with chords and free yourself from the sheet music
- apply simple accompaniment methods and use them according to style
- harmonize melodies naturally with the chords of the key
- transpose in easy keys

Contents
- accompanying simple melodies
- harmonizing the melody
- prima vista playing and transposition

Face-to-face teaching in small groups (3 students/45 mins) that meet weekly during the academic year, room A214.

Further information

The basics of free accompaniment course starts with information about free accompaniment and the division of small groups.
Info will be held on Zoom on Tuesday, 3th of September, from 12:00 to 13:00. Zoom-link for info is on Tuudo.

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

The student compiles a video portfolio of the repertoire played during the school year.

Materials

Basics of the overall and extensive learning curriculum for basic arts education
- Materials on music basics published by the Finnish Association of Music Educational Institutions
- pedagogical literature on the teaching of the subject concerning Music perceiving
- tonal music suitable for basic level (sheet music and recordings and live music)
- accompaniment notes for instrument teaching on the basic level
- elementary school music textbooks and other learning material
- textbooks and online learning materials drawn up for knowledge of music and music in music educational institutions
- applicable material available online and
- material produced by the students themselves (pedagogical materials, compositions, etc.)

Teaching methods

face-to face and distance teaching, independent learning, teaching practise

Exam schedules

The student and the guiding teachers agree on the dates of the teaching samples to be assessed.

Student workload

- getting familiariar with learning materials, literature and learning contents of the subjects concerning Music perceiving, and reporting on them

- monitoring the teaching of the subjects concerning Music perceiving 10x45 minutes per semester, i.e. 20 hours per academic year

- taking part in the evaluation of the skills concerning Music perceiving

Content scheduling

Students, who study the subjects concerning Music perceiving as their major subject, complete the Pedagogy 1 of the subject concerning Music perceiving in the first year of study.
The study course includes:
-observing teh teaching of the subjects concerning Music perceiving at the basic level of music schools (MuPe levels 1-3)
Comprehensive perception skills of music are amplified by the integration of different content areas.
- the basics of music: perceiving tonal music by singing and writing; note writing, melody and rhythm and harmony (major/minor varieties and scales, intervals with quality, triads and septim chords with letter marking and degrees, most common music terms)
- different tools and methods of work in music, taking into account the pupil's objectives
- co-musization skills
- skills to perceive music, as well as
- history awareness of music

Further information

Teaching on Thursdays at 13.00-14.30 in A214 and/or by zoom
beginning 19th September 2024

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

the mastery of the objectives and core competencies of the course being taught

- participation in group tasks and evaluation discussions

- completion of the learning tasks required in the course

- self-direction, the goal-oriented and accountability of your own work

Materials

The basics of the extensive learning curriculum for basic arts education
- materials, published by the Finnish Association of Music Educational Institutions, especially the subjects concerning Music perceiving, used in advanced music studies
- pedagogical literature on the teaching of the subject concerning Music perceiving
- tonal music suitable for advanced music studies (sheet music and recordings and live music)
- accompaniment notes for instrument teaching suitable for advanced music studies
- textbooks and other learning material of music colleges
- textbooks and online learning materials, ment for advanced music studies of the subject concerning Music perceiving and knowledge of music
- applicable material available online
- material produced by the students themselves (pedagogical materials, compositions, etc.)

Teaching methods

face to face and distance teaching, independent learning and teaching practise

Exam schedules

The student and the guiding teachers agree with each other on the dates of the teaching samples to be evaluated on the subjects concerning Music perceiving.

Student workload

The student
- gets acquainted with the learning materials, literature and doctrinal content of the subjects concerning Music perceiving used in advanced studies of Music institutions and reports them in writing
- observes the teaching of the subjects concerning Music perceiving used in advanced studies of music schools (MuPe D or 4, Harmony and Music history)10x60 minutes per semester,
that is 20 hours per academic year
-participates in teaching planning: making hourly and period plans and
- carries out a teaching practise in the subjects included in the study course with their pupils during one study year (autumn term 14 x 60 min, spring term 16 x 60 min)
- gets acquainted with the evaluation of the competence of the subjects concerning Music perceiving used in advanced studies of music institutions and participates in it

Content scheduling

Students studying the subjects concerning Music perceiving as major subject complete Pedagogy 3 of the subjects concerning Music perceiving in the third year of study.
The study course includes:
- observing the teaching of the subjects concerning Music perceiving used in advanced studies of music schools (MuPe D or 4, Harmony and Music history)
- teaching the subjects concrning Music perceiving used in advanced studies of music schools: MuPe D or 4, Harmony and Music history during one study year (secondary dominant chords with inversions, seventh degree in triads and septim chords written with letter markings, modal chords with their notation; Neapolitan chord and augmented sixth chords, the chording of the natural minor scale and of the melodic minor scale and of modal music, rhythmic exceptions, overtone series, types of modulation, types of different music cadences, music analytical tasks containing septim chords, altered chords and modulations, the most common principles of voice leading, non-harmonic notes, melody connection with chords, the chording of the melody, polyphony in singing and writing sheet music)
Comprehensive perception skills of music is amplified by the integration of different content areas.
- different tools and methods of work on teaching the subjects concerning Music perceiving, taking into account the pupil's objectives
- co-musisation skills
- perception skills of music
- history awareness of music

Further information

Teaching on Thursdays at 13.00-14.30 in A214 and/or by zoom
beginning 19th September 2024

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

During the third year of study, next sections are assessed:
- the mastery of the objectives and core competencies of the study course being taught
- participation in group tasks and evaluation discussions
- completion of the learning tasks required in the course
- self-direction, the goal-oriented and accountability of your own work
The student gives a teaching sample of the subjects concerning Music perceiving, which is evaluated by the guiding teachers together.

Objective

After completing the course, the student · can sing and note free tonal and modal polyphonic music more demanding than the B level
- can sing single-tone and polyphonic music containing c-clefs ·
- can perform and write down polyrhythmic music
- shows a personal artistic view when interpreting music

Content

Solfege B is an optional study course that a student can complete in any year of study, after having demonstrated that he/she possess the knowledge and skills required at C level.
The study course includes
· singing and notation of free tonal music containing intervals from unison to augmented fourth/diminished fifth and symmetric scales
- writing down/ notation polyphonic western music (3 or 4 voices)
-identification and naming the chords of a modulating chord sequence based on auditory perception
- singing one-voiced and polyphonic music with C-clefs
- performing music containing changing timesignatures and different lengths of the beat as well as exceptional divisions of the rhytmic measure

Materials

- one-voiced and polyphonic, tonal and free-tonal music,
- music written with different clefs/ keys
Edlund; Modus novus
Säveltapailu B; S. Salmiala

Content scheduling

Solfege B is an optional study course that a student can complete in any year of study, after having demonstrated that he/she possess the knowledge and skills required at C level.
The study course includes
· singing and notation of free tonal music containing intervals from unison to augmented fourth/diminished fifth and symmetric scales
- writing down/ notation polyphonic western music (3 or 4 voices)
-identification and naming the chords of a modulating chord sequence based on auditory perception
- singing one-voiced and polyphonic music with C-clefs
- performing music containing changing timesignatures and different lengths of the beat as well as exceptional divisions of the rhytmic measure

Teaching in group on Mondays at 2-3.30pm, room A226. Starts on 9th of Sept.

Further information

Siiri Anttonen
siiri.anttonen@turunkonservatorio.fi

Evaluation scale

H-5

Assessment methods and criteria

The student demonstrates control over the different content areas of the course using the following written and oral displays:
-singing and notating an unison free tonal melody and identificating the accompaniment chords of it
-singing of a melody including C-clefs
-presenting and notating/ writing down the rhythm including changing timesignatures and different lengths of the beats

Assessment criteria, approved/failed

Participating in the orientation to music pedagogy studies and making your individual study plan (ISP) together with your tutor teacher

Content scheduling

Orientation to music pedagogy studies will be arranged 26.-30.8. Orientation includes introduction to the studies, personal study plan, Arts Academy, teachers, study environment, tutor students and every day as a music student.

Locations:
Mon-Wed:Arts Academy, Music Education, Linnankatu 60
Thu-Fri: See below

Schedule:
Mon 26.8. at 10-16 Crichton Hall, A224
Tue 27.8. at 10-16 A224
Wed 28.8. at 10-16 A224
Thu 29.8. at 9-14 Linna Hall, F-building, in the afternoon Study in Turku Fair
Fri 30.9. at 9-12 Auditorium Lemminkäinen, all Arts Academy students

In addition the tutor students will arrange free time program during the orientation week.

Evaluation scale

Hyväksytty/Hylätty

Evaluation scale

Hyväksytty/Hylätty

Evaluation scale

Hyväksytty/Hylätty

Teaching methods

Execution Methods
- Attendance at classes
- Independent training alone as well as with the ensemble
- Translation of possible song texts
- Attendance at end-of-period concerts (or similar performance)

Student workload

The scope of the student's work is agreed on per student, depending on the amount of the work prepared and performed.

Content scheduling

After completing the Baroque, Renaissance or Medieval Music Band course, the student:

- is familiar with the Early Music repertoire produced during the period and the performance practices of the period in question, and prepares the agreed repertoire for the performance level
- is able to specify and implement musical characteristics specific to the Medieval, Renaissance or Baroque era according to the content of the period in question, according to their own instrument
- is able to work in ensembles of different sizes consisting of instrumentalists and/or singers
- is able to analyse the music and poetry of works from different eras and is aware of the different roles of the members of the band in the works in question

Evaluation scale

Hyväksytty/Hylätty

Objective

Tavoitteena on omaksua soitinnustekniikoita wieniläisklassismista 1900-luvun alkuun ja tuntea erilaisia soitinnustyylejä, hallita eri tyylien mukaisia kirjoitustapoja eri kokoonpanoille, ymmärtää sointivärin merkitys rakenteen osatekijänä sekä kehittää sointitajua perinteisten ja modernien keinovarojen käytössä.

Content

- soitinten tekniset mahdollisuudet- soitinidiomatiikan vaikutukset musiikin kudokseen
- kuuloanalyysi erilaisista soitinnusratkaisuista
- soitinten yhteissoinnin ja yhdistämisen periaatteet
- perehtyminen analyysin, transkriptioiden ja harjoitelmien avulla eri tyyleihin ja tekniikoihin

Materials

Material to be distributed in the course.

Adler, Samuel: The study of orchestration
Sevsay, Ertugrul: The Cambridge guide to orchestration

International connections

Personal and possibly small group teaching.

Content scheduling

After completing the course, the student

- knows orchestration techniques from Viennese classicism to the beginning of the 20th century
- knows different orchestration styles
- knows how to write in different styles for different compositions
- can hear in his mind the effect of different arrangement solutions
- understand the importance of timbre as a component of structure
- knows how to evaluate his own work and receive feedback
Course content
- the technical possibilities of musical instruments
- the effects of instrument idiomatics on the fabric of music
- auditory analysis of different playing solutions
- the principles of combining instruments
- familiarization with different styles and techniques through analysis, transcriptions and exercises
- orchestration and arranging exercises for different ensembles

The course begins in week 37 and lasts for the whole academic year.
Registration for the course, take contact to teacher: vesa-pekka.kuusinen@turkuamk.fi

Evaluation scale

Hyväksytty/Hylätty

Assessment methods and criteria

Exercises prepared during the course (4pcs), for which oral feedback is given.

Evaluation scale

Hyväksytty/Hylätty