Didactics and Pedagogy in Music Education

This Professional Master’s Degree in Didactics and Pedagogy in Music Education will give you confidence to pursue your occupation, which will help you grow both personally and professionally"

Music teaching should not only be reduced to a matter of internalized contents, it also requires trained and specialized teachers or professors in each and every one of the dimensions involved in musical learning.

This educational initiative allows professionals in the field to increase their capacity for success, which results in better practice and performance that will have a direct and positive impact on students, as well as on music as a subject of study, thereby benefiting society as a whole.

The program offers a comprehensive vision of music education in all its dimensions, providing tools, experiences and advances in this field, all of which have been endorsed by the teachers of this program. This way, students will learn from the faculty’s professional experience and knowledge, which makes this program more effective and accurate. In addition, it is important to highlight that, although there is training on music teaching, there is no course that offers a multidimensional approach to musical learning, in which not only elements related to the content are studied, but where importance is also given to the figure of the learner and their educational, personal, social and intellectual characteristics and needs. 

The different modules are taught in independent sessions and follow a primarily practical approach backed by the necessary theoretical fundamentals. All TECH Professional Master’s Degree teachers have extensive experience working with people of all ages and from diverse socio-familial and educational contexts. Also, the approach to musical learning in this course has been formulated to integrate educational, personal, social and group aspects.

In addition to training students in Music Education and in the educational environment, this program will also facilitate their insertion in the labor market, due to the great demand for this type of specialized professional within the formal education system as well as in the non-formal sector (private music schools or music groups). For those students who are already working in this field, it will bring better positioning and increased likelihood of promotion or recognition in the workplace.

Update your knowledge through the Professional Master’s Degree in Didactics and Pedagogy in Music Education ”

This Professional Master’s Degree in Didactics and Pedagogy in Music Education contains the most complete and up-to-date educational program on the market. Its most important features include:

• More than 75 case studies presented by experts in Didactics and Pedagogy in Music Education
• Graphic, schematic and practical contents designed to provide scientific and practical information on those disciplines that are essential for professional practice
• Latest developments in Didactics and Pedagogy in Music Education
• Practical exercises where the self-evaluation process can be carried out to improve learning
• Algorithm-based interactive learning system for decision-making in the situations that are presented to the student
• Special emphasis on evidence-based methodologies in Didactics and Pedagogy in Music Education
• All of this will be complemented by theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

This Professional Master’s Degree may be the best investment you can make when selecting a refresher program, for two reasons: in addition to updating your knowledge in Didactics and Pedagogy in Music Education , you will obtain a qualification from TECH Technological University”

The teaching staff includes professionals from the field of Didactics and Pedagogy in Music Educationwho bring their experience to this program, as well as renowned specialists from leading societies and prestigious universities.

Thanks to its multimedia content developed with the latest educational technology, it will allow the professional to experience situated and contextual learning, that is to say, a simulated environment that will provide immersive learning programmed to train in real situations.

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different practical problems that arise throughout the course. For this, the professional will be assisted by an innovative interactive video system designed by recognized experts in the field of Didactics and Pedagogy in Music Education with extensive teaching experience.

Increase your decision-making confidence by updating your knowledge through this Professional Master's Degree"

Take this opportunity to learn about the latest advances in Didactics and Pedagogy in Music Education and improve the education that your students will receive"

The program’s syllabus has been designed by a team of professionals from the best educational centers, universities, and companies in the country, who are aware of the relevance of up-to-date training in order to provide education and guidance to students or to apply strategies in the world of business. In addition, they are committed to quality teaching through new educational technologies.

This Professional Master’s Degree in Didactics and Pedagogy in Music Education contains the most complete and up-to-date program on the market”

Module 1. Primary and Secondary Socialization and its Relation to Music

1.1. Introduction

1.1.1. Sociology, and Pedagogy as a Process that Studies the Socialization Process
1.1.2. Sociology and Learning Music

1.2. Concept of Socialization

1.2.1. Ethnography
1.2.2. Social Anthropology and Education
1.2.3. Observation as the Main Tool in Anthropology

1.3. The Socialization Process

1.3.1. The Human Being as a Learner
1.3.2. Main Contributions to the Concept of Socialization
1.3.3. Culture

1.4. Primary and Secondary Socialization

1.4.1. Process of Primary Socialization
1.4.2. Process of Secondary Socialization
1.4.3. Other Socialization Process Theories: Tertiary Socialization

1.5. Socialization Agents

1.5.1. The Family
1.5.2. Education
1.5.3. Relationships with Peers
1.5.4. The Media and New Technologies

1.6. The Life Cycle and its Relation to the Socialization Process

1.6.1. Infancy
1.6.2. Childhood
1.6.3. Adolescence
1.6.4. Adulthood
1.6.5. Old Age

1.7. Socialization, Learning and its Relation to Educational Sciences

1.7.1. Developmental and Educational Psychology
1.7.2. Educational Sociology
1.7.3. Teaching
1.7.4. Comparative Education
1.7.5. Philosophy of Education
1.7.6. Educational Economics

1.8. The Socialization Process and its Relation to Music

1.8.1. Introduction
1.8.2. Managing these Foundations for the Acquisition of Musical Knowledge

Module 2. Child Psychology, Music and Personal Motivation

2.1. Introduction

2.1.1. Educational Psychology
2.1.2. Influence of Psychological Processes
2.1.3. Music and Psychology
2.1.4. The Human Brain

2.2. Concept of Psychology

2.2.1. Main Tendencies in Psychology
2.2.2. Areas of Specialization in Psychology

2.3. Developmental Psychology

2.3.1. Definition of Development
2.3.2. The Brain and Cognitive Development
2.3.3. Piaget and Vygotsky as Points of Reference in Social Psychology

2.4. Educational Psychology

2.4.1. Introduction to the Psychology of Education
2.4.2. Concept, Definition and Current State of Educational Psychology
2.4.3. Importance of Language in the Acquisition of Knowledge
2.4.4. Development of Memory in Learning of Contents
2.4.5. Main Learning Strategies

2.5. Psychology and its Relationship with Musical Learning

2.5.1. The 1980s as a Point of Departure
2.5.2. Phylogenetic Movement
2.5.3. Ontogenetic Studies
2.5.4. Aesthetic Comprehension
2.5.5. Acquisition of the Symbolic Function
2.5.6. Theory of Enculturation and Training
2.5.7. Neuroscience and Emotional Intelligence

2.6. Concept of Motivation

2.6.1. Introduction
2.6.2. Types of Motivation
2.6.3. Cognitive Theories of Motivation in School
2.6.4. Phases of Motivation
2.6.5. Student Motivation
2.6.6. Motivational Intervention Programs
2.6.7. Steps in Personal Growth

2.7. Motivation and its Relationship with Music

2.7.1. Introduction
2.7.2. How to Motivate the Music Student

Module 3. Musical Learning at Different Stages in Life: Music for Children and Adults

3.1. Introduction

3.1.1. Objectives
3.1.2. Importance of this Module in this Program
3.1.3. Its Audience
3.1.4. Contents
3.1.5. Methodology

3.2. Bases and Fundamentals of Musical Learning

3.2.1. Main Teaching Tendencies - 20th Century to Present Day

3.2.1.1. Introduction to The Dalcroze Method
3.2.1.2. Introduction to The Kodaly Method
3.2.1.3. Introduction to The Willems Method
3.2.1.4. Introduction to The Orff Method
3.2.1.5. Introduction to The Suzuki Method

3.2.2. Pedagogical Bases for the Early Stages of Learning Music

3.2.2.1. Towards a New Approach to Work: Cooperative Learning
3.2.2.2. Benefits of Learning Music

3.3. When Can One Start Learning Music?

3.3.1. General Considerations

3.3.1.1. Importance of the Family Environment
3.3.1.2. Child Prodigies
3.3.1.3. Learning an Instrument

3.3.1.3.1. Wind Instruments
3.3.1.3.2. String Instruments
3.3.1.3.3. Percussion Instruments

3.3.1.4. Music Therapy as an Activity Prior to Formal Learning

3.4. Early Childhood Education and Music Learning

3.4.1. Basic Characteristics of the Early Childhood Stage
3.4.2. Integration of Music Studies in the Early Childhood Stage
3.4.3. Main Methodological Considerations

3.5. Music in Primary Education

3.5.1. Basic Characteristics of the Primary Education
3.5.2. Integration of Music Studies in Primary Education
3.5.3. Main Methodological Considerations

3.6. Benefits of Music Learning in Secondary Education

3.6.1. Basic Characteristics of Secondary Education
3.6.2. Integration of Music Studies in Secondary Education
3.6.3. Main Methodological Considerations
3.6.4. Contribution of Musical Learning at this Stage

3.7. Music: Adult Education

3.7.1. General Considerations
3.7.2. Characteristics of this Type of Learning

3.7.2.1. Operation of the Brain in Learning
3.7.2.2. Possible Obstacles

3.7.3. Music Schools as the Main Educational Institutions in Adult Education
3.7.4. The Teacher as a Guide in Adult Learning

3.8. Learning Music in Later Life: Characteristics of the Evolutionary Stage and Its Relationship to Learning

3.8.1. General Considerations
3.8.2. Main Methodological Lines
3.8.3. Proposals for Vocal Education
3.8.4. Proposals for Auditory Education
3.8.5. Music Therapy as a Source of Well-Being
3.8.6. Proposals for Rhythmic Education

Module 4. Music Teacher Training

4.1. Introduction to Teacher Training

4.1.1. Music Education as a Social Fact
4.1.2. Approaches to Teacher Training
4.1.3. Challenges of Higher Musical Training

4.2. Vocation as a Core Component of Music Education

4.2.1. Teaching as a Vocation
4.2.2. Basic Features
4.2.3. Personal Fulfillment

4.3. Teaching Skills

4.3.1. Fundamentals of Didactics in Music Education
4.3.2. Didactics of Musical Language

4.3.2.1. Voice and Canthus
4.3.2.2. Practicing an Instrument
4.3.2.3. Dance

4.3.3. Applications of ICT
4.3.4. Research and Teaching
4.3.5. Syllabus Guidelines
4.3.6. Music Teaching Models

4.4. The Importance of Mastery in Knowledge Transfer

4.4.1. Teaching Styles
4.4.2. Structuring Contents

4.5. Profile of the Music Teacher

4.5.1. The Teacher in the Early Infancy Stage
4.5.2. The Primary Level Teacher
4.5.3. The Secondary Level Teacher
4.5.4. The Conservatory Professor
4.5.5. Music Schools Non-Formal Training

4.6. Current Approaches to Teacher Training

4.6.1. The Educational Value of Music
4.6.2. Specialist Teacher Training
4.6.3. Professional Competencies

4.7. Importance of Quality in the Teacher Education Process

4.7.1. Introduction

4.8. Teachers and Non-Formal Education

4.8.1. Introduction
4.8.2. Differences between Formal, Non-Formal and Informal Education
4.8.3. Music Schools

4.9. Continuous Training of Music Teachers

4.9.1. Introduction
4.9.2. Continuous Training Modalities

4.9.2.1. Modalities of Continuous Education Activities
4.9.2.2. Types of Continuous Education Activities
4.9.2.3. ICT

4.9.3. Initial and Continuous Education for Music Teachers

4.10. Importance of Quality in the Teacher Education Process

4.10.1. Quality Criteria in Teacher Training
4.10.2. The Concept of Educational Quality
4.10.3. Quality Standards

4.10.3.1. School Management Standards
4.10.3.2. Professional Performance Standards
4.10.3.3. Professional Performance Standards - Teachers
4.10.3.4. Professional Performance Standards - Managers

4.10.4. Quality Criteria in Education Centers

4.6. Current Approaches to Teacher Training

4.6.1. The Educational Value of Music
4.6.2. Specialist Teacher Training
4.6.3. Professional Competencies

4.7. Importance of Quality in the Teacher Education Process

4.7.1. Introduction

4.8. Teachers and Non-Formal Education

4.8.1. Introduction
4.8.2. Differences between Formal, Non-Formal and Informal Education
4.8.3. Music Schools

4.9. Continuous Training of Music Teachers

4.9.1. Introduction
4.9.2. Continuous Training Modalities

4.9.2.1. Modalities of Continuous Education Activities
4.9.2.2. Types of Continuous Education Activities
4.9.2.3. ICT

4.9.3. Initial and Continuous Education for Music Teachers

4.10. Importance of Quality in the Teacher Education Process

4.10.1. Quality Criteria in Teacher Training
4.10.2. The Concept of Educational Quality
4.10.3. Quality Standards

4.10.3.1. School Management Standards
4.10.3.2. Professional Performance Standards
4.10.3.3. Professional Performance Standards - Teachers
4.10.3.4. Professional Performance Standards - Managers

4.10.4. Quality Criteria in Education Centers

Module 5. Music Didactics

5.1. Introduction

5.1.1. Introduction
5.1.2. Music in Ancient Greece
5.1.3. Concept of Ethos in Ancient Greece
5.1.4. Epic Poetry: Homer

5.1.4.1. The Illiad
5.1.4.2. The Odyssey

5.1.5. From Myth to Logos
5.1.6. Pythagorism
5.1.7. Music and Healing

5.2. Major Musical Methodologies

5.2.1. The Dalcroze Method

5.2.1.1. Description of the Method
5.2.1.2. Main Features

5.2.2.    The Kodaly Method

5.2.2.1. Description of the Method
5.2.2.2. Main Features

5.2.3. The Willems Method

5.2.3.1. Description of the Method
5.2.3.2. Main Features

5.2.4. The Orff Method

5.2.4.1. Description of the Method
5.2.4.2. Main Features

5.2.4. The Suzuki Method

5.2.4.1. Description of the Method
5.2.4.2. Main Features

5.3.    Music and Corporal Expression

5.3.1. The Musical Experience through Movement
5.3.2. Rhythmic-Corporal Expression
5.3.3. Dance as a Didactic Resource
5.3.4. Relaxation Techniques and their Relation to Musical Learning

5.4. Musical Play as a Learning Activity

5.4.1. What is Play?
5.4.2. Characteristics of Play
5.4.3. Benefits of Play
5.4.4. Musical Play

5.4.4.1. Resources for Musical Play

5.5. Main Differences Between Music Education for Children and Music Education for Adults

5.5.1. Music Education for Children
5.5.2. Music Education for Adults
5.5.3. Comparative Study

5.6. Educational Resources for Music Education for Children: Musicograms and Musical Stories

5.6.1. Musicograms
5.6.2. Musical Stories

5.6.2.1. The Elaboration of Texts in Musical Storytelling
5.6.2.2. Musical Adaptation of Texts

5.7. Educational Resources for Adult Music Education

5.7.1. Introduction
5.7.2. Main Educational Resources for Adults

Module 6. Resource Materials for Teaching Music

6.1. Introduction

6.1.1. The Shift from Analog to Digital
6.1.2. Open Educational Resources as a Basis for Student Equality
6.1.3. Education for All and its Relation to New Technologies
6.1.4. Some OER-Based Educational Models

6.1.4.1. Open Learn (United Kingdom)
6.1.4.2. The OpenCourseWare Worldwide Consortium (OCW)
6.1.4.3. Digital Educational Platforms
6.1.4.4. Open Materials for University Staff Training in ELearning and Learning Object Repositories 
6.1.4.5. Open E-Learning Content Observatory Services

6.1.5. Music Learning Materials and Resources

6.2. Music Learning Materials

6.2.1. Features of Music Learning Materials
6.2.2. Types of Material

6.3. Non-Musical Resources

6.3.1. Main Material Resources Not Related to Music
6.3.2. Use of New Technologies for Learning Music

6.3.2.1. Some Technological Resources

6.3.2.1.1. Digital Tablets
6.3.2.1.2. Computers
6.3.2.1.3. Web Applications and Resources

6.4. Music Teaching Resources

6.4.1. Main Teaching Resources
6.4.2. Musical Instruments in the Classroom
6.4.3. Musicograms in Early Childhood and Primary Education

6.4.3.1. Characteristics of the Musicogram

6.4.4. Songbooks

6.4.4.1. Main Features of Songbooks
6.4.4.2. Folk Songs
6.4.4.3. The Importance of Culture in Music Education

6.5.    Resources for Learning Dance and Ballet

6.5.1. The Importance of Dance and Ballet for Learning Music
6.5.2. Main Teaching Resources

6.5.2.1. Adaptation of the Classroom to the Learning of Dance and Ballet

6.6. Musical Instruments and Other Sound Elements for Learning Music 

6.6.1. The Body as a Musical Instrument
6.6.2. Percussive Instruments in the Classroom

6.6.2.1. Characteristics of Percussion Instruments
6.6.2.2. Most Commonly Used Percussive Instruments in the Classroom
6.6.2.3. Music Teaching through Percussive Instruments

6.6.3. Keyboard Percussion Instruments and their Importance for Learning Music

6.6.3.1. Xylophones and Marimbas
6.6.3.2. Characteristics of Keyboard Percussion Instruments
6.6.3.3. Music Teaching through Keyboard Percussion Instruments

6.6.4. Wind Instruments: The Recorder

6.6.4.1. Characteristics of the Recorder
6.6.4.2. Music Teaching through the Recorder

6.7. The Importance of Audiovisual Material for Learning Music

6.7.1. Digital Whiteboards as a Tool for Learning Music
6.7.2. Audiovisual Resources

Module 7. Fundamentals of Musical Composition for Schools

7.1. Introduction to Musical Composition

7.1.1. Components of Composition

7.2. Fundamentals of Musical Composition

7.2.1. Construction of the Antecedent
7.2.2. Construction of Simple Theme

7.2.2.1. The Concept of Form
7.2.2.2. Phrasing

7.2.2.2.1. Beginning of Phrase
7.2.2.2.2. End of Phrase

7.2.2.3. The Motif or Leitmotif of a Work
7.2.2.4. Linking of Motifs

7.2.3. Accompaniment
7.2.4. Melody and Theme

7.2.4.1. The Vocal Melody
7.2.4.2. The Instrumental Melody

7.2.5. Smaller Forms
7.2.6. Greater Forms

7.3. Importance of Composition in the Teaching Profession

7.3.1. Application of Musical Composition in Education
7.3.2. Musical Composition in Primary and Secondary Education

7.4. Main Tools for Musical Composition

7.4.1. Technological Tools: Applications for Musical Composition

Module 8. Instrumentation for Music Education

8.1. Introduction

8.1.1. Concept of a Musical Instrument

8.1.1.1. Definition
8.1.1.2. Types of Musical Instruments

8.1.2. Instrumentation throughout History

8.1.2.1. Historical Review
8.1.2.2. The Musical Instrument as an Artistic Object

8.1.3. Instrumentation in the Classroom Context

8.1.3.1. Acquiring Abilities
8.1.3.2. Developing Skills

8.2. What is Musical Instrumentation?

8.2.1. Up until J.S. Bach

8.2.1.1. Treatises on Instrumentation

8.2.2. From J.S. Bach Onwards

8.2.2.1. Treatises on Instrumentation

8.3. Aspects Specific to Instrumentation

8.3.1. Musical Tone and Timbre

8.3.1.1. Instrument Tessitura or Range

8.3.2. Chords

8.3.2.1. Construction
8.3.2.2. Tonal Functions

8.4. Orff Instruments: Technical Knowledge of Instruments Found in the Music Classroom

8.4.1. Keyboard Percussion Instruments

8.4.1.1. Family Features

8.4.2. Small Percussion Instruments

8.4.2.1. Membranophones
8.4.2.2. Idiophones
8.4.2.3. Shaken Instruments

8.5. Musical Instrumentation on Stringed Instruments

8.5.1. Plucked String

8.5.1.1. The Guitar

8.5.2. Struck String

8.5.2.1. The Piano

8.6. Musical Instrumentation for the Baroque Flute

8.6.1. Types of Flutes

8.6.1.1. Flutes in Folklore
8.6.1.2. The Baroque Flute

8.7. Percussion Instruments in the Classroom

8.7.1. The Orff Family

8.7.1.1. Uses
8.7.1.2. Correct Positions for Playing an Instrument 

8.7.2. Small Percussion Instruments

8.7.2.1. Playing Techniques

8.8. Instrumentation for Keyboard Percussion Instruments

8.8.1. Types of Drumsticks/Mallets

8.8.1.1. Uses
8.8.1.2. Sonorities

8.8.2. Chord Use

8.8.2.1. 2 Drumsticks/Mallets
8.8.2.1. 3 Drumsticks/Mallets

8.8.3. Melodic Function

8.8.3.1. Introductory Exercises
8.8.3.2. Striking Techniques and Expressiveness

8.9. Review of Content Covered

8.9.1. Adapting Classroom Instruments
8.9.2. Important Factors in Classroom Didactics

Module 9. History of Music Teaching

9.1. Introduction: The Importance of Music in History

9.1.1. Baroque

9.1.1.1. Characteristics of the Period

9.1.2. The Classical Period

9.1.2.1. Characteristics

9.1.3. Romanticism

9.1.3.1. Characteristics of the Period

9.1.4. Modern and Contemporary Music

9.1.4.1. Characteristics

9.2. Musical Education in History

9.2.1. The Music Teacher in Different Historical Periods

9.2.1.1. The Role of the Teacher in the Baroque Period
9.2.1.2. The Role of the Teacher in the Classical Period
9.2.1.3. The Music Teacher in Romantic Period
9.2.1.4. The Modern Music Teacher

9.2.2. Emergence of the Conservatory

9.2.2.1. Beginnings and Origins
9.2.2.2. The Conservatory as a Place of Intervention for Children at Risk of Social Exclusion
9.2.2.3. The Conservatory Today
9.2.2.4. New Spaces for Music Learning

9.3. Music Teaching in the 20th Century

9.3.1. Introduction
9.3.2. A Traditional Model Based on Imposition
9.3.3. A Change of Perspective: Towards Participatory, Non-Imposing Methodologies

9.4. Current Educational Paradigms Applied to Music Education

9.4.1. Introduction
9.4.2. New Methodologies Applied to Music Education

9.4.2.1. Cooperative Learning and Learning Music

9.4.2.1.1. What is Cooperative Learning?
9.4.2.1.2. The Characteristics of Cooperative Learning

9.4.2.2. PBL Project-Based Learning

9.4.2.2.1. What is PBL?
9.4.2.2.2. Characteristics of Project-Based Learning

9.4.2.3. Gamification in the Music Classroom

9.4.2.3.1. What is Gamification?
9.4.2.3.2. Characteristics of Gamification

Module 10. Evaluation of Music Students

10.1.Introduction

10.1.1. General Aspects
10.1.2. References

10.2. Evaluations in Music

10.2.1. Preliminary Considerations
10.2.2. Principal Definitions of the Evaluation Process
10.2.3. Features of an Evaluation
10.2.4. Role of Evaluation in the Teaching-Learning Process

10.3. What Should be Evaluated in Music?

10.3.1. Knowledge
10.3.2. Skills
10.3.3. Skills

10.4. Pre-Evaluation Guidelines and Criteria

10.4.1. Functions of an Evaluation
10.4.2. Didactic Programming

10.4.2.1. What is Didactic Programming?

10.4.3. Why Program in Advance?

10.5. Evaluation Instruments and Tools

10.5.1. Observation as a Tool for Evaluation

10.5.1.1. Participative Observation
10.5.1.2. Indirect Observation

10.5.2. The Portfoilio

10.5.2.1. What is a Portfolio?
10.5.2.2. Characteristics of a Portfolio

10.5.3  Class Diaries

10.5.3.1. What is a Class Diary?
10.5.3.2. Parts of a Class Diary

10.5.4. Debate

10.5.4.1. What is Debate?
10.5.4.2. Importance of Debate in the Educational Process
10.5.4.3. Considerations Prior to Debating

10.5.5. Conceptual Maps

10.5.5.1. What is a Conceptual Map?
10.5.5.2. Principal Elements of the Conceptual Map
10.5.5.3. ICT Tools for the Elaboration of Concept Maps

10.5.6. Objective Assessment Tests

10.5.6.1. Completion or Simple Recall Tests
10.5.6.2. Matching
10.5.6.3. Ordering Tests
10.5.6.4. Answer Exercises with Options
10.5.6.5. Multiple Solution

10.6. Music Evaluation as Applied to New Technologies

10.6.1. Kahoot and Other Virtual Assessment Resources

Module 11. New Technologies Applied to Music Education

11.1. Introduction

11.1.1. Music Prior to the Information Society
11.1.2. The Information Society
11.1.3. Digital Breach and its Impact on Musical Learning

11.2. What are ICTs?

11.2.1. Definition
11.2.2. Concept Evaluation

11.3. Main Technological Devices

11.3.1. Computers in the Music Classroom
11.3.2. Digital Tablets
11.3.3. The Use of Smartphones in the Classroom

11.4. Internet and its Relationship with Musical Learning

11.4.1. Introduction
11.4.2. Learning Music on the Web

11.5. Benefits of ICTs to Learn Music

11.5.1. Characteristics of ICT
11.5.2. Main Benefits of Learning Music

11.6. ICT Resources for Learning Music

11.6.1. Music Educational Resources

11.7. Risks Associated with the Use of ICTs: Techno-Addictions in Children and Young People

11.7.1. What is an Addiction?
11.7.2. Techno-Addiction
11.7.3. Intervention in Cases of Techno-Addiction

Module 12. Music as an Alternative Therapy: Music Therapy

12.1. What is Alternative Therapy?

12.1.1. Definition
12.1.2. Conventional Therapy vs. Alternative Therapies

12.2. Main Alternative Therapies

12.2.1. Chromotherapy
12.2.2. Art Therapy
12.2.3. Aromatherapy
12.2.4. Relaxation and Mindfulness Techniques
12.2.5. Music Therapy

12.3. Music as an Alternative Therapy: Music Therapy

12.3.1. Definition
12.3.2. Origins
12.3.3. Current Context

12.4. Benefits of Music Therapy

12.4.1. Introduction
12.4.2. Main Benefits of Music Therapy

12.5.  Main Tendencies in Music Therapy

12.5.1. Introduction
12.5.2. The Benenzon Metho|d

12.6. Principal Tools of Music Therapy

12.6.1. Introduction
12.6.2. Principal Tools

12.7. Music Therapy in Childhood and Juvenile Disorders

12.7.1. Music Therapy and Asperger Syndrome
12.7.2. Music Therapy and ADHD
12.7.3. Music Therapy and Down Syndrome

12.8. Primary and Secondary Education and its Relation to Music Therapy

12.8.1. Music Therapy in Primary Education
12.8.2. Music Therapy in Secondary Education

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