Syllabus for

Academic Year  (2022)

As music is the universal language, we approach its education in a similar way: as a language of intersubjective experience. Although this classification makes it easier to relate to on a surface level, when we peer deeper into what this language actually comprises, it begins to take on a different shape and nature to what we generally understand as a traditional language. This global language requires sensitivity to all elements of expression and thus we approach its teaching and learning from an ontological perspective. We accept that every student will approach their learning individually, and in relation to their previous experiences, and as such adopt a learner-centred pedagogical design. Our pedagogy is underpinned by the philosophical dialogues that branch from phenomenological thought, as our students are beings-in-the-world which actively participate within their environments to build upon their experiences as they learn.

By looking at what aspects of music interact with the experience one has of interacting with and in it, pedagogic layers across the entire spectrum of being emerge. As such we can approach teaching and learning musical skills through domains such as “speaking” the language through performance and articulating clearly through elocution; reading, interpreting and writing western notation;  listening deeply using aural mechanics and close examination of interpretation; and comprehension (harmony); this language also requires a deep sensitivity to other contextualising areas across interpersonal and intercultural domains such as phenomenology, autonomous thinking, practice approaches, performance anxiety, emotional connection, interpretation, leadership, pedagogy, history, sociology, effective citizenship, cultural values and culturally sustainable practices. 

Generally, teaching and learning music uses multiple learning models in tandem to assess each learner individually. Using a combination of Bloom's Revised Taxonomy of Cognitive Development (2001); Krathwohl's Taxonomy of Affective Development (1964); and Harrow's Taxonomy of Psychomotor Development (1972), can grant tremendous insight into the multitudes of ways learners compose themselves. These taxonomies are used to evaluate how students think, feel and act when they engage with music using different intelligences or sensibilities. Such sensibilities, thoughts, skill sets, and feelings are part of the pedagogic dialogue. Tasks can be geared to allow for educators to learn and engage with how individuals emotionally respond to their individual learning style and the musical phenomenon. 

The skills of articulating emotions through both word and musical practices are important components of artistic expression. The typical music educator finds such emotional discipline common knowledge as it is safe to assume most have experienced empathy. To a performer, emotional understanding becomes the vehicle that modulates their own theory- and practice-based skills. For instance, if a difficult musical passage is encountered and not fully known whilst practicing, it often becomes a point of anxiety during a performance. However, once the passage has been mastered, it becomes fun to perform as one gains control over the movements required of the passage. To engage in effective pedagogical dialogue, a music educator should see each learner as an individual, as each student brings different experiences to the classroom. The learning outcome for the music program is to empower each student by showing them the multiplicities of ways they (a) learn, (b) relate with and to music, and (c) use music as a vehicle of self-expression. Such an approach assists individual students to navigate through the jungle of finding meaning within their own experiences. With such a mode of thought, it can be said that everything we do is a combination of thinking, feeling, and moving.

Since these actions occur throughout all activities undertaken, these taxonomies are used as the underpinning scaffolds that contextualise assessment criteria. Throughout the duration of the course, neurological connections of these three domains are unpacked and applied to aspects of musical performance. When students understand which parts of the brain are working for what means, a framework for critical self-reflection can be assessed. Such assessments taking an experiential-reflective approach use English and Psychology to understand Music (and vice-versa) to determine individual emotional growth of each student. Practical courses within the department take such knowledge and focus on their physical applications throughout the skill sets. Such an approach links all three taxonomies underpinning both theoretical and practical aspects of English, Psychology and Western Music. It is with these thoughts in mind that the department of music creates and aligns each and every assessment criterion within our courses.

Music is a universal language that goes beyond physical and geographical boundaries of the world. It brings one closer to oneself and to the lived experiences of others. Music helps communicate something that is difficult to put down in a few words: our first-person perspective of reality. The Department of Western Music aspires to create a genuine interest and appreciation for western classical music (voice and piano) among students. Throughout the first year, the Musical Foundations course combines music notation, theory, ear training, sight singing, effective practice and performance anxiety skills. The second year builds on this integrated toolbox by adding practical uses of tonal harmony across all western tonal styles and delving into the art of interpretation. Third year then scaffolds a final layer to this core set of skills which contextualise the history of Western Music to discuss the philosophical outlooks that underpin western approaches to music and life up until the present day. Each student will major in either voice or piano over the course of six practical semesters. The programme maintains a good balance between theory and practical knowledge, along with numerous opportunities for performances. Music as a subject itself goes much beyond just academics, and the programme is structured in a way to be able to contribute to everyone’s life and make a difference through music.

Vision

Learn. Create. Share.

Mission

To produce graduates of musical excellence in service to the community: able to perform, lead, learn and share throughout their entire life.

Nowhere else in the world can the interweaving of language, psychology and western music be found. This combination provides a solid foundation into career paths that value interdisciplinary links already established within the graduate degree holders. Understandings of western culture, history, psychology, and philosophy are bridged within all three overlapping disciplines whilst simultaneously developing a solid musical platform from which one can express themselves artistically and creatively.

A large pool of customization remains within the course structure. Students can elect to specialise as a music teacher or choral director / conductor within the music programme. They can elect to study film, short story or teaching from the English programme; and specialise in French, Hindi, Kannada, Sanskrit or Tamil languages.

Literature is an important cultural product of a society or a nation. Hence, the study of literature offers insights into the worldviews of different societies. This course begins with traditional British literature to the present. The course also introduces students to other literatures namely American world, postcolonial and the Indian literature in translation. The course also introduces students to interdisciplinary studies in culture and gender helping them to gain insights from other disciplines like history, anthropology, sociology etc.

Programme Outcome/Programme Learning Goals/Programme Learning Outcome:

PO2: Emotional Self-Regulation: Demonstrate empathy by listening with respect for others.

PO3: Communication Skills: Demonstrate creative thinking using verbal and non-verbal skills.

PO4: Co-Creation: Demonstrate consultative decision-making using analytical thinking and assertiveness.

PO5: Entrepreneurship: Demonstrate leadership and team-building skills through facilitation.

PO6: Research Skills: Demonstrate a global perspective using critical thinking and knowledge application.

PO7: Cultural Competency: Demonstrate respecting diversity with cross-cultural understanding and a global perspective.

PO8: Autonomy: Demonstrate adaptability through self-awareness and continuous learning.

Programme Specific Outcome:

PSO2: Empathy The ability to recognise emotions and needs in others and to understand other people?s perspectives on a situation. Listening The ability to decode and interpret musical structure, verbal messages and nonverbal cues such as tone of voice, facial expressions and physical posture. Cohesion The ability to develop reciprocal loyalty and solidarity through social relations and shared values to develop a sense of belonging and trust among individuals in society.

PSO3: Creativity The ability to think about a task or problem in a new or different way, or the ability to use the imagination to generate new ideas. Storytelling The ability to captivate an audience, interactively using words and actions to reveal the elements and images of a story while encouraging the use of imagination. Expression The ability to speak, conduct, sing or play with a personal response to music and words; making appropriate use of dynamics, phrasing, timbre and articulation to bring the content to life in an impactful way.

PSO4: Interpretation The ability to synthesise multiple contexts to attribute meaning to a work of art. Musical Analysis The ability to decypher the relationships present within a piece of music relative to the emotional underpinnings adopted within a particular style and historical period. Stage Presence The ability to connect with an audience and hold their attention using charisma, appeal, appearance, demeanour, confidence and energy whilst performing on stage.

PSO5: Leadership The ability to maximise the efforts of others toward the achievement of a goal through social influence. Project Management The ability to use specific knowledge, skills, tools and techniques to deliver something of value to people. Multitasking The ability to manage multiple responsibilities at once by focusing on one task while keeping track of others.

PSO6: Philosophical Inquiry The ability to think and reason using conceptual clarification, analysis of arguments and problems related to ontology, epistemology and ethics. Critical Thought The ability to objectively analyse and evaluate an issue in order to form a judgement. Research Methodology The ability to use digital and techonolgocial tools to identify and design appropriate procedures whilst understanding the limitations and scope of investigating an idea.

PSO7: Contextualisation The ability to make learning and assessment of what has been learned relevant to current or anticipated experience. Sociocultural History The ability to decypher social and cultural structures and the interaction of different groups in society. Ritual and Celebration The ability to conform to cultural rites which are sacred, customary ways of celebrating multiple religions or cultures.

PSO8: Adaptability The ability of being able to adjust to new conditions or modify previously established methods for a new use or purpose. Embodied Knowledge The ability to engage with sensory knowledge structures grounded in bodily experience. Practice The ability to deliberately act upon a process aimed at improving a skill or ability for mastery.

Programme Educational Objective:

PEO2: Emotional Self-Regulation: Demonstrate empathy by listening with respect for others.

PEO3: Communication Skills: Demonstrate creative thinking using verbal and non-verbal skills.

PEO4: Co-Creation: Demonstrate consultative decision-making using analytical thinking and assertiveness.

PEO5: Entrepreneurship: Demonstrate leadership and team-building skills through facilitation.

PEO6: Research Skills: Demonstrate a global perspective using critical thinking and knowledge application.

PEO7: Cultural Competency: Demonstrate respecting diversity with cross-cultural understanding and humility.