The course offers the student an analysis of the double pedagogical-didactic status of Music Education in Pre-primary and Primary School through active and guided listening.
With the Laboratory of Pedagogy and Didactics of Music the student will be able to achieve the following training objectives
In terms of knowledge and understanding:
- to define and to identify the epistemological and methodological field of the discipline;
- to know the theory of musical education through active and guided listening in the national and international context.
In terms of applying knowledge and understanding:
- to analyze the best educational practices of active and guided listening in the School with reference to consolidated pedagogical methods;
- to identify educational phenomena and processes.
In terms of making judgements:
- to connect pedagogical theory of active and guided listening to school situations and contexts;
- to evaluate pedagogical innovations.
In terms of communication skills:
- to use strategies of human relationships in the classroom and outside the classroom;
- to develop competence in the design and organization of pedagogical thinking and educational action in music through active and guided listening.
In terms of learning skills:
- to encourage scientific research in the field of active and guided listening in School context;
- to understand the educational challenge by identifying problems and proposing solutions in the perspective of lifelong musical learning.
With the Laboratory of Pedagogy and Didactics of Music the student will be able to achieve the following training objectives
In terms of knowledge and understanding:
- to define and to identify the epistemological and methodological field of the discipline;
- to know the theory of musical education through active and guided listening in the national and international context.
In terms of applying knowledge and understanding:
- to analyze the best educational practices of active and guided listening in the School with reference to consolidated pedagogical methods;
- to identify educational phenomena and processes.
In terms of making judgements:
- to connect pedagogical theory of active and guided listening to school situations and contexts;
- to evaluate pedagogical innovations.
In terms of communication skills:
- to use strategies of human relationships in the classroom and outside the classroom;
- to develop competence in the design and organization of pedagogical thinking and educational action in music through active and guided listening.
In terms of learning skills:
- to encourage scientific research in the field of active and guided listening in School context;
- to understand the educational challenge by identifying problems and proposing solutions in the perspective of lifelong musical learning.
Canali
teacher profile teaching materials
The laboratory is theoretical-practical in nature and is organized as follows:
- 3 workshop-based lessons.
- Attendance at a concert (to be chosen from two options which will be listed on the course platform at the start of the semester).
The training program explores the following thematic core areas:
- Literacy and Production: Fundamental principles of musical language aimed at vocal and instrumental production within the classroom.
- Analysis and Appreciation: Tools for analyzing musical pieces and criteria for interpreting/understanding a concert program, designed to teach pupils how to listen mindfully.
- Teaching Methodologies: Experimentation with inclusive practices based on Circle Singing and Cognitive Embodiment, integrating choral singing and body movement as mediators for musical learning.
Programme
The laboratory offers students a space for critical reflection on the dual pedagogical-didactic status of music education within Early Childhood and Primary School contexts. Through both appreciation and production, the course aims to provide practical tools to transform sound experience into an effective educational vehicle.The laboratory is theoretical-practical in nature and is organized as follows:
- 3 workshop-based lessons.
- Attendance at a concert (to be chosen from two options which will be listed on the course platform at the start of the semester).
The training program explores the following thematic core areas:
- Literacy and Production: Fundamental principles of musical language aimed at vocal and instrumental production within the classroom.
- Analysis and Appreciation: Tools for analyzing musical pieces and criteria for interpreting/understanding a concert program, designed to teach pupils how to listen mindfully.
- Teaching Methodologies: Experimentation with inclusive practices based on Circle Singing and Cognitive Embodiment, integrating choral singing and body movement as mediators for musical learning.
Core Documentation
A selection of teaching materials provided by the instructor and made available on the course platform.Reference Bibliography
Addessi, A. R. (a cura di). (2022). Manuale di metodologia dell'educazione musicale. UTET. Parte II "I laboratori di musica". Ferrarese, S. (Ed.). (2020). Didattica della musica: Progettazione, metodologie e percorsi inclusivi. Mondadori Università. La Face Bianconi, G. (2010). Il valore del sapere musicale: Educazione al sapere e ascolto attivo. FrancoAngeli. Mado Proverbio, A. (2019). Neuroscienze cognitive della musica: Il cervello musicale tra arte e scienza. Zanichelli. Pace, A. (2012). Musica e formazione primaria. Libreriauniversitaria.it edizioni. Pantano, G., & Rizzo, A. (2025). La pratica del circle singing: Un approccio innovativo per l’apprendimento della musica e dell’inglese in spazi educativi realmente inclusivi. In 2000-2025: Confini educativi tra generazioni. Un giubileo per l’educazione (pp. 254–262). Pensa MultiMedia. Pelassa, A., & Franco, F. (2014). Musical-mente: Attività interdisciplinari di educazione musicale nella scuola primaria. Edizioni Erickson. Piazza, G. (1979). Orff-Schulwerk: Musica per bambini. Suvini Zerboni. Rizzo, A. (Ed.). (2025). Giochi musicali per la scuola dell'infanzia: Preparare lettura e scrittura. Carocci. Schafer, R. M. (1992). A sound education: 100 exercises in listening and sound-making. Arcana Editions.Attendance
Attendance is mandatory (minimum of 2 lessons and the concert).Type of evaluation
Assessment is divided into two parts: - Concert Review (Individual Activity): Writing an individual critical report (maximum 4,000 characters, including spaces) on the chosen musical event, to be uploaded to the course platform at least seven days before the exam date. The text must apply the analytical and methodological principles covered in the workshop, examining the structure of the program, the musical elements of the pieces, and the communicative dimension of the performance. - Practical Exercise with "Teaching Pill" (Individual or small groups - maximum 3 people): Development of a Flipped Classroom activity based on one of the musical pieces from the course. The activity involves creating a video recording between 3 and 5 minutes long. The video must be structured as follows: Opening: A slide containing the title of the activity, the target class (e.g., third grade, primary school), and the names of the group members; Body of the video: Initial greeting and presentation of the proposed activity (vocal, instrumental, movement-based, body percussion, etc.) tailored to the chosen target class; Closing: A summary of the content and a final greeting, consistent with the chosen target class. The "teaching pill" must be uploaded to the course platform at least seven days before the scheduled exam date. teacher profile teaching materials
The laboratory is theoretical-practical in nature and is organized as follows:
- 3 workshop-based lessons.
- Attendance at a concert (to be chosen from two options which will be listed on the course platform at the start of the semester).
The training program explores the following thematic core areas:
- Literacy and Production: Fundamental principles of musical language aimed at vocal and instrumental production within the classroom.
- Analysis and Appreciation: Tools for analyzing musical pieces and criteria for interpreting/understanding a concert program, designed to teach pupils how to listen mindfully.
- Teaching Methodologies: Experimentation with inclusive practices based on Circle Singing and Cognitive Embodiment, integrating choral singing and body movement as mediators for musical learning.
Programme
The laboratory offers students a space for critical reflection on the dual pedagogical-didactic status of music education within Early Childhood and Primary School contexts. Through both appreciation and production, the course aims to provide practical tools to transform sound experience into an effective educational vehicle.The laboratory is theoretical-practical in nature and is organized as follows:
- 3 workshop-based lessons.
- Attendance at a concert (to be chosen from two options which will be listed on the course platform at the start of the semester).
The training program explores the following thematic core areas:
- Literacy and Production: Fundamental principles of musical language aimed at vocal and instrumental production within the classroom.
- Analysis and Appreciation: Tools for analyzing musical pieces and criteria for interpreting/understanding a concert program, designed to teach pupils how to listen mindfully.
- Teaching Methodologies: Experimentation with inclusive practices based on Circle Singing and Cognitive Embodiment, integrating choral singing and body movement as mediators for musical learning.
Core Documentation
A selection of teaching materials provided by the instructor and made available on the course platform.Reference Bibliography
Addessi, A. R. (a cura di). (2022). Manuale di metodologia dell'educazione musicale. UTET. Parte II "I laboratori di musica". Ferrarese, S. (Ed.). (2020). Didattica della musica: Progettazione, metodologie e percorsi inclusivi. Mondadori Università. La Face Bianconi, G. (2010). Il valore del sapere musicale: Educazione al sapere e ascolto attivo. FrancoAngeli. Mado Proverbio, A. (2019). Neuroscienze cognitive della musica: Il cervello musicale tra arte e scienza. Zanichelli. Pace, A. (2012). Musica e formazione primaria. Libreriauniversitaria.it edizioni. Pantano, G., & Rizzo, A. (2025). La pratica del circle singing: Un approccio innovativo per l’apprendimento della musica e dell’inglese in spazi educativi realmente inclusivi. In 2000-2025: Confini educativi tra generazioni. Un giubileo per l’educazione (pp. 254–262). Pensa MultiMedia. Pelassa, A., & Franco, F. (2014). Musical-mente: Attività interdisciplinari di educazione musicale nella scuola primaria. Edizioni Erickson. Piazza, G. (1979). Orff-Schulwerk: Musica per bambini. Suvini Zerboni. Rizzo, A. (Ed.). (2025). Giochi musicali per la scuola dell'infanzia: Preparare lettura e scrittura. Carocci. Schafer, R. M. (1992). A sound education: 100 exercises in listening and sound-making. Arcana Editions.Attendance
Attendance is mandatory (minimum of 2 lessons and the concert).Type of evaluation
Assessment is divided into two parts: - Concert Review (Individual Activity): Writing an individual critical report (maximum 4,000 characters, including spaces) on the chosen musical event, to be uploaded to the course platform at least seven days before the exam date. The text must apply the analytical and methodological principles covered in the workshop, examining the structure of the program, the musical elements of the pieces, and the communicative dimension of the performance. - Practical Exercise with "Teaching Pill" (Individual or small groups - maximum 3 people): Development of a Flipped Classroom activity based on one of the musical pieces from the course. The activity involves creating a video recording between 3 and 5 minutes long. The video must be structured as follows: Opening: A slide containing the title of the activity, the target class (e.g., third grade, primary school), and the names of the group members; Body of the video: Initial greeting and presentation of the proposed activity (vocal, instrumental, movement-based, body percussion, etc.) tailored to the chosen target class; Closing: A summary of the content and a final greeting, consistent with the chosen target class. The "teaching pill" must be uploaded to the course platform at least seven days before the scheduled exam date. teacher profile teaching materials
The laboratory is theoretical-practical in nature and is organized as follows:
- 3 workshop-based lessons.
- Attendance at a concert (to be chosen from two options which will be listed on the course platform at the start of the semester).
The training program explores the following thematic core areas:
- Literacy and Production: Fundamental principles of musical language aimed at vocal and instrumental production within the classroom.
- Analysis and Appreciation: Tools for analyzing musical pieces and criteria for interpreting/understanding a concert program, designed to teach pupils how to listen mindfully.
- Teaching Methodologies: Experimentation with inclusive practices based on Circle Singing and Cognitive Embodiment, integrating choral singing and body movement as mediators for musical learning.
Programme
The laboratory offers students a space for critical reflection on the dual pedagogical-didactic status of music education within Early Childhood and Primary School contexts. Through both appreciation and production, the course aims to provide practical tools to transform sound experience into an effective educational vehicle.The laboratory is theoretical-practical in nature and is organized as follows:
- 3 workshop-based lessons.
- Attendance at a concert (to be chosen from two options which will be listed on the course platform at the start of the semester).
The training program explores the following thematic core areas:
- Literacy and Production: Fundamental principles of musical language aimed at vocal and instrumental production within the classroom.
- Analysis and Appreciation: Tools for analyzing musical pieces and criteria for interpreting/understanding a concert program, designed to teach pupils how to listen mindfully.
- Teaching Methodologies: Experimentation with inclusive practices based on Circle Singing and Cognitive Embodiment, integrating choral singing and body movement as mediators for musical learning.
Core Documentation
A selection of teaching materials provided by the instructor and made available on the course platform.Reference Bibliography
Addessi, A. R. (a cura di). (2022). Manuale di metodologia dell'educazione musicale. UTET. Parte II "I laboratori di musica". Ferrarese, S. (Ed.). (2020). Didattica della musica: Progettazione, metodologie e percorsi inclusivi. Mondadori Università. La Face Bianconi, G. (2010). Il valore del sapere musicale: Educazione al sapere e ascolto attivo. FrancoAngeli. Mado Proverbio, A. (2019). Neuroscienze cognitive della musica: Il cervello musicale tra arte e scienza. Zanichelli. Pace, A. (2012). Musica e formazione primaria. Libreriauniversitaria.it edizioni. Pantano, G., & Rizzo, A. (2025). La pratica del circle singing: Un approccio innovativo per l’apprendimento della musica e dell’inglese in spazi educativi realmente inclusivi. In 2000-2025: Confini educativi tra generazioni. Un giubileo per l’educazione (pp. 254–262). Pensa MultiMedia. Pelassa, A., & Franco, F. (2014). Musical-mente: Attività interdisciplinari di educazione musicale nella scuola primaria. Edizioni Erickson. Piazza, G. (1979). Orff-Schulwerk: Musica per bambini. Suvini Zerboni. Rizzo, A. (Ed.). (2025). Giochi musicali per la scuola dell'infanzia: Preparare lettura e scrittura. Carocci. Schafer, R. M. (1992). A sound education: 100 exercises in listening and sound-making. Arcana Editions.Attendance
Attendance is mandatory (minimum of 2 lessons and the concert).Type of evaluation
Assessment is divided into two parts: - Concert Review (Individual Activity): Writing an individual critical report (maximum 4,000 characters, including spaces) on the chosen musical event, to be uploaded to the course platform at least seven days before the exam date. The text must apply the analytical and methodological principles covered in the workshop, examining the structure of the program, the musical elements of the pieces, and the communicative dimension of the performance. - Practical Exercise with "Teaching Pill" (Individual or small groups - maximum 3 people): Development of a Flipped Classroom activity based on one of the musical pieces from the course. The activity involves creating a video recording between 3 and 5 minutes long. The video must be structured as follows: Opening: A slide containing the title of the activity, the target class (e.g., third grade, primary school), and the names of the group members; Body of the video: Initial greeting and presentation of the proposed activity (vocal, instrumental, movement-based, body percussion, etc.) tailored to the chosen target class; Closing: A summary of the content and a final greeting, consistent with the chosen target class. The "teaching pill" must be uploaded to the course platform at least seven days before the scheduled exam date. teacher profile teaching materials
The laboratory is theoretical-practical in nature and is organized as follows:
- 3 workshop-based lessons.
- Attendance at a concert (to be chosen from two options which will be listed on the course platform at the start of the semester).
The training program explores the following thematic core areas:
- Literacy and Production: Fundamental principles of musical language aimed at vocal and instrumental production within the classroom.
- Analysis and Appreciation: Tools for analyzing musical pieces and criteria for interpreting/understanding a concert program, designed to teach pupils how to listen mindfully.
- Teaching Methodologies: Experimentation with inclusive practices based on Circle Singing and Cognitive Embodiment, integrating choral singing and body movement as mediators for musical learning.
Programme
The laboratory offers students a space for critical reflection on the dual pedagogical-didactic status of music education within Early Childhood and Primary School contexts. Through both appreciation and production, the course aims to provide practical tools to transform sound experience into an effective educational vehicle.The laboratory is theoretical-practical in nature and is organized as follows:
- 3 workshop-based lessons.
- Attendance at a concert (to be chosen from two options which will be listed on the course platform at the start of the semester).
The training program explores the following thematic core areas:
- Literacy and Production: Fundamental principles of musical language aimed at vocal and instrumental production within the classroom.
- Analysis and Appreciation: Tools for analyzing musical pieces and criteria for interpreting/understanding a concert program, designed to teach pupils how to listen mindfully.
- Teaching Methodologies: Experimentation with inclusive practices based on Circle Singing and Cognitive Embodiment, integrating choral singing and body movement as mediators for musical learning.
Core Documentation
A selection of teaching materials provided by the instructor and made available on the course platform.Reference Bibliography
Addessi, A. R. (a cura di). (2022). Manuale di metodologia dell'educazione musicale. UTET. Parte II "I laboratori di musica". Ferrarese, S. (Ed.). (2020). Didattica della musica: Progettazione, metodologie e percorsi inclusivi. Mondadori Università. La Face Bianconi, G. (2010). Il valore del sapere musicale: Educazione al sapere e ascolto attivo. FrancoAngeli. Mado Proverbio, A. (2019). Neuroscienze cognitive della musica: Il cervello musicale tra arte e scienza. Zanichelli. Pace, A. (2012). Musica e formazione primaria. Libreriauniversitaria.it edizioni. Pantano, G., & Rizzo, A. (2025). La pratica del circle singing: Un approccio innovativo per l’apprendimento della musica e dell’inglese in spazi educativi realmente inclusivi. In 2000-2025: Confini educativi tra generazioni. Un giubileo per l’educazione (pp. 254–262). Pensa MultiMedia. Pelassa, A., & Franco, F. (2014). Musical-mente: Attività interdisciplinari di educazione musicale nella scuola primaria. Edizioni Erickson. Piazza, G. (1979). Orff-Schulwerk: Musica per bambini. Suvini Zerboni. Rizzo, A. (Ed.). (2025). Giochi musicali per la scuola dell'infanzia: Preparare lettura e scrittura. Carocci. Schafer, R. M. (1992). A sound education: 100 exercises in listening and sound-making. Arcana Editions.Attendance
Attendance is mandatory (minimum of 2 lessons and the concert).Type of evaluation
Assessment is divided into two parts: - Concert Review (Individual Activity): Writing an individual critical report (maximum 4,000 characters, including spaces) on the chosen musical event, to be uploaded to the course platform at least seven days before the exam date. The text must apply the analytical and methodological principles covered in the workshop, examining the structure of the program, the musical elements of the pieces, and the communicative dimension of the performance. - Practical Exercise with "Teaching Pill" (Individual or small groups - maximum 3 people): Development of a Flipped Classroom activity based on one of the musical pieces from the course. The activity involves creating a video recording between 3 and 5 minutes long. The video must be structured as follows: Opening: A slide containing the title of the activity, the target class (e.g., third grade, primary school), and the names of the group members; Body of the video: Initial greeting and presentation of the proposed activity (vocal, instrumental, movement-based, body percussion, etc.) tailored to the chosen target class; Closing: A summary of the content and a final greeting, consistent with the chosen target class. The "teaching pill" must be uploaded to the course platform at least seven days before the scheduled exam date.