Introduction to Participatory Music

MUSC20802 Introduction to Participatory Music 20 Semester 2 Undergraduate Level 2 James Garratt Unit coordinator Music 1 FHEQ level (Framework for Higher Education Qualifications) ' Middle part of Bachelors ' European Credit Transfer & Accumulation System Rating : 10.0 This unit aims to give students a basic grounding in the field of participatory music practice. It provides an introduction to the broad range of settings for the application of participatory music practice and a theoretical grounding in key areas such as group process, behaviour management and ethical practice in social contexts. Highly skilled and well-respected practitioners share their expertise and insight from their work in a range of settings, providing practical experiences and first-hand insights for students.The weekly sessions will challenge as well as inform. Assessment is undertaken through (1) a group presentation (with written submission) in which students pitch their ideas for a project, and (2) an individual coursework essay. This unit aims to give students a basic grounding in the field of participatory music practice. It provides an introduction to the broad range of settings for the application of participatory music practice and a theoretical grounding in key areas such as group process, behaviour management and ethical practice in social contexts. Highly skilled and well-respected practitioners share their expertise and insight from their work in a range of settings, providing practical experiences and first-hand insights for students.The weekly sessions will challenge as well as inform. Assessment is undertaken through (1) a group presentation (with written submission) in which students pitch their ideas for a project, and (2) an individual coursework essay.   <ul> <li>To provide a foundation of knowledge upon which students can develop their skills in participatory practice</li> <li>To broaden the range of ways and settings in which students are able to apply their skills and learning in further study and upon graduation</li> <li>To contribute to society through the development of people-centred practice  </li></ul> By the end of the course, students will be able to:<ul> <li>Describe a range of settings in which participatory music can be applied</li> <li>Understand some of the key issues of participatory music practice, particularly in regard to its social, economic and/or historical contexts</li> <li>Draw upon a range of experiences and resources to inform their writing, thinking and/or own practice  </li></ul> By the end of the course, students will be able to:•    Develop and apply critical interrogation skills to issues relating to participatory music practices •    Synthesise a wide range of theoretical materials relating to the topic •    Begin to evaluate the relationships between theory and practice in participatory music By the end of the course, students will be able to:•    Demonstrate group-work and presentation skills •    Show experience in workshop design and delivery •    Demonstrate some understanding of the intersections of theory and practice relating to participatory music   By the end of the course, students will be able to:<ul> <li>Demonstrate a developing understanding of employment opportunities in which participatory music skills can be utilised, and skills that are directly transferable to that employment market </li> <li>Produce high-quality work independently, showing evidence of critical engagement with relevant source materials</li> <li>Articulate, discuss and support findings coherently in both written and verbal form, and in both individual and group-work contexts  </li></ul> Analytical skills Surveying institutional and policy contexts in relation to participatory music; identifying needs of particular constituent groups and considering ethical imperatives. Group/team working Team-work: developing an idea for a participatory music project in collaboration with others Innovation/creativity Initiative: developing ideas for a project brief Leadership Leadership skills: leading activities and understanding group process Project management Time management: setting and achieving goals, working to deadlines Oral communication Presentation skills: personal communication and use of technology Problem solving Creative problem-solving: responding to the challenges of a set task with limited resources and complex needs Other Self-awareness: developing good practice through critical interrogation 0 Other 100%  <figure class="table"><table border="1" cellpadding="0" cellspacing="0"><tbody><tr><td style="width:274px;">Assessment task</td><td>Formative or Summative</td><td style="width:143px;">Weighting within unit</td></tr><tr><td style="width:274px;">Group presentation  (group mark)</td><td>Formative and Summative</td><td style="width:143px;">40%</td></tr><tr><td style="width:274px;">Essay</td><td>Summative</td><td style="width:143px;">60%</td></tr></tbody></table></figure>   <figure class="table"><table style="width:662px;" border="1" cellpadding="0" cellspacing="0" width="662"><tbody><tr><td style="width:321px;">Feedback method</td><td style="width:340px;">Formative or Summative</td></tr><tr><td style="width:321px;">Written feedback on group presentation using SALC presentations feedback form</td><td style="width:340px;">Formative and summative</td></tr><tr><td style="width:321px;">Written feedback on essay via Turnitin</td><td style="width:340px;">Formative and summative</td></tr><tr><td style="width:321px;">One to one oral feedback available by appointment at any time during the course.</td><td style="width:340px;">Formative</td></tr></tbody></table></figure>  BA(Hons) Music & Drama BA(Hons) Music & Drama Second Year Optional MusB(Hons) MusB (Hons) Music Second Year Optional MusB(Hons) (joint with RNCM) MusB(Hons) (joint with RNCM) Second Year Optional BA Film and Music BA Film and Music Second Year Optional N <ul><li>Caulfield, L. (2021). ‘The Role of the Arts in the Criminal Justice System’. In G. Towl and D. Crighton (eds.), Forensic Psychology, 3rd edition (New York: Wiley), pp.514–528.</li><li>Friere, P. (1970) Pedagogy of the Oppressed (London: Continuum).  </li><li>Hawley, R. (2024). ‘1000 Days Project: An A/r/tographic Inquiry of Hospital Music-making’. In The Routledge Companion to Music, Autoethnography, and Reflexivity (London: Routledge).</li><li>Mullen, P. (2021). Challenging Voices: Music Making with Children Excluded from School (Oxford: Peter Lang).</li><li>Tuckman, B. W. and M. A. C. Jensen (1977). ‘Stages of Small-Group Development Revisited’, Group and Organization Studies, 2 (4): pp. 419–427.   </li></ul> Practical classes & workshops 33 0 167