Teaching Diploma in Music and Musicology

Explanations in Arabic, documentation in French, English, and Arabic

22Credits
1Duration of the program
$60Price

Official Name of the Program	Teaching Diploma in Music and Musicology
Official Degree Level	Teaching Diploma
Price/Credit	Collective course: $60 – Individual course: $100
Campuses Availability	Hadat–Baabda

Program Objectives

This program responds to the growing needs of Lebanese society and the Lebanese school education sector which needs to hire (over the next 15 years) a large number of music educators, due to the legislation that makes music education mandatory over primary schools and the shortage of qualified teachers (Bachelors holders). This program enhances the LUMM-SEM program.

Eligibility

The LEMM program aims holders of the MM bachelor's at the SEM concentration. After completion of the Bachelor's degree in a focus other than that planning for the LEMM, the applicant must validate the requisites courses as remedial.

Teaching Methods

Educational practices are classified into

Collective scientific courses of musicology, music education sciences and music therapy delivered as lectures, while resorting, at the same time, to ancillary and diverse learning strategies, including group work and preparation of literature reviews, synthesis reports, and presentations by students based on the information and communication technologies (ICT) in education;
music (Levantine and Western) and harmony training courses which combine ear training with musical listening, memorization, collective singing, collective and individual solfeggio reading and musical dictation, while making use of the information and communication technologies (ICT) in education;
collective courses of music therapy, which combine theoretical teaching and learning with practical training courses in healthcare contexts; and
individual and collective music instruction courses aimed at the development of students enrolled in the Arab Art Music or European Art Music concentrations in terms of high-end instrumental or vocal learning

Evaluation Process

The system for assessing students' achievement of course learning outcomes is based on the evaluation components as follows, depending on the types of courses taught:

Theoretical courses A of mainly lecture-based teaching leading to a cumulative assessment of four evaluative components, as follows:
- Component 1, with 20%: continuous evaluation (classroom activities, tests, assignments, oral presentations, etc.)
- Component 2, with 20%: Test 1 (Written test of 30 minutes.)
- Component 3, with 20%: Test 2 (Written test of 30 minutes.)
- Component 4, with 40%: Final exam (anonymous test taken at the end of the semester.)
Theoretical courses B of mainly lecture-based teaching leading to a cumulative assessment of four evaluative components, as follows:
- Component 1, with 20%: continuous evaluation (classroom activities, tests, assignments, oral presentations, etc.)
- Component 2, with 20%: Test 1 (Written test of 30 minutes.)
- Component 3, with 20%: Test 2 (Written test of 30 minutes.)
- Componet 4, with 40%: Final exam (anonymous test taken at the end of the semester.)
Musical awakening course, and introduction to office automation and documentation course leading to a cumulative assessment of four evaluative components, as follows:

- Component 1, with 20%.
- Component 2, with 30%.
- Component 3, with 20%.
- Component 4, with 30%.
Courses of occidental musical training, Mashriqi musical training, and harmony, leading to a cumulative evaluation consisting of six evaluative components, as follows:
- Component 1, with 10%.
- Component 2, with 10%.
- Component 3, summary, with 30%.
- Component 4, with 10%.
- Component 5 with 10%.
- Component 6, summary, with 30%.
The internships are evaluated by the supervising teacher as follows:
- Component 1, evaluation of internship participation, with 30%;
- Component 2, evaluation of placement learning outcomes, with 30%;
- Component 3, evaluation of the placement report with 40%.
Individual musical practice courses shall be evaluated by the teacher and a Board of Examiners as follows:
- Component 1, continuous assessment, with 60%;
- Component 2, assessment by the Board of Examiners, with 40%.
Collective musical practice courses evaluated as follows:
- Component 1, continuous assessment, with 60%;
- Component 2, evaluation following participation in a concert, with 40%.

Communication courses give rise to assessments for this type of course in compliance with the general evaluation framework in place at the Antonine University (UA) level. The classes of communication in Arabic are based on their decomposition on music awakening courses.

The elective courses chosen from the course offerings of the other UA departments shall be assessed in the existing framework implemented by the departments offering these courses.

The passing grade for all courses in the Teaching Diploma is set at 70/100.

Grading
The Teaching Diploma students are covered by the academic regime with GPA. The result obtained by a student enrolled in a given course appears as a numerical notation of 100 on the SIS, this result is translated into the SIS and the transcripts into the alphabetical ranking.

Graduation Requirements
To be eligible for a Master 1, Master 2 or Teaching Diploma, students under the academic regime with GPA (cohorts registered for the first time in a graduate degree from September 2019 and concerned by the calculation of the GPA) must fulfill the following requirements:

validate all credits required for the academic program courses (passing grade: 70/100);
validate all other admission requirements;
achieve an overall cumulative GPA greater than or equal to 2.3/4 (equivalent to an overall average greater than or equal to 75/100);
achieve a cumulative GPA specific to the discipline (for the musical training courses) greater than or equal to 2.3/4;
demonstrate ethical conduct in the university; and
have honored payment of all tuition fees at the university.

Program Learning Outcomes (PLOs)

At the end of the program of teaching diploma in music and musicology (LE_MM_MM), the student will be able

to perform, in a relevant way, a simple musical sequence used in the chosen professional context, in an individual and collective situation;
to decipher and transcribe a musical score of a complex musical sequence used in the professional context selected;
to analyze in-depth musical sequences from several traditions;
to implement, in an advance way, the principal theories of music psychopedagogy and didactics in actual pedagogical situations;
to teach music effectively to a group of children of a given age class, by developing their receptive and performative musical skills based on melodic and rhythmic components, belonging to the popular traditional modal monodic system of the Levant or the western tonal harmonic system.

Job Prospects

Graduates of this program shall become musical experts, especially music educators. These trades are to be carried out in schools in the public or private sector, in technical schools and music schools.

Program Structure

Mandatory Courses

Code	Course	Credits
MUFM 104	Mashriq musical training 4 Mashriq musical training 4 MUFM 104 3 Credits This course is offered in the first year of university studies in music and musicology and corresponds to the early stage of Mašriqian musical training. In other words, the study of the oriental Arab artistic tradition, in terms of ear training and musical memory, the acquisition of in-depth theoretical knowledge of this tradition's melodic and rhythmic structure and advanced skills of musical theory and dictation tailored to this context. At this advanced stage, the student will be able to transcribe any recorded monodic music sequence quickly.	3
MUFO 401	Western musical training IV Western musical training IV MUFO 401 3 Credits Western musical training courses intend to facilitate the learning of western instruments and singing, as well as the understanding of musical texts and their interpretation. It also aims to refine auditory culture through the development of attention, memorization, intonation, and analytical skills. These studies promote the acquisition of the critical and aesthetic double sense, necessary for the development of musicological and educational skills. The fourth course consists of exercising rhythmic reading by alternating both treble and bass clefs with the exercise and with the change of time signature. Also, to sing with proper intonation in different tonalities music of the classical and modern repertoire. Besides that, to exercise ear training in addition to dictations with one and two voices, harmonic dictations, and sight-reading. Also, the acquisition of all Major and minor keys, seventh chords, cadences, and nonchord notes, as well as the capacity of making a tonal plan of a musical score, a reading of an orchestral score and initiation to contemporary music.	3
MUMS 108	Analysis of traditional Mashriq musical utterances Analysis of traditional Mashriq musical utterances MUMS 108 3 Credits This course offers a musical analysis of modal semiotic essence throughout examples borrowed from the musical traditions of Mašriq. As for modal semiotics, it consists of a study of musical sound signs and their significant references, whose field is musical utterances shaped by modes, consistency of a musical text on the melodic level. This approach represents the framework of all the modes as a melodic or transmodal language, which, in the form of temporally articulated musical texts, is historically used and whose rhythmic stylistic systems or traditional standards form a metric component and regulate syntax and structures the general form. The first part of this analysis course is devoted to acquiring the essential tools for this type of analysis. In contrast, the second part puts this approach and the related tools into practice and developing exhaustive analyzes of recorded traditional musical sequences.	3
MUMS 110	Form analysis of European art music Form analysis of European art music MUMS 110 3 Credits Based on numerous examples, chosen from the musical repertoires of the Renaissance, the Baroque period and the European classical period, this course offers an analytical study of the harmonic musical language, the contrapuntal style, and musical forms, thus aiming at the development of analytical skills applied to European tonal music.	3
MUFO801	Choir conducting – initiation Choir conducting – initiation MUFO801 3 Credits Individual course of introduction to occidental choir conducting.	3
MUFE104	Figured harmony at the keyboard – initiation Figured harmony at the keyboard – initiation MUFE104 1 Credits Introduction to the harmonic accompaniment of a single song, or a played melody, on a keyboard (primarily a piano).	1
MUSE106	Observation and training Observation and training MUSE106 3 Credits The observation and training course comprises of two distinct moments and frameworks: in the classroom, students undergo the first part of the course. It involves critical analysis of different methods (local and foreign), observation of the musical training process, and reviewing the reports written by the trainees. In a second moment (alternating with the first one), the trainee goes into the field to be in direct contact with the students (by observation and in practice), and that, in different schools, private and public, and in various music schools. The faculty offers this course in individual follow-up sessions.	3

Elective Course

Code	Course	Credits
ANCC 498	Statistics Statistics ANCC 498 3 Credits	3
MUFE 102	Introduction to counterpoint Introduction to counterpoint MUFE 102 3 Credits Introduction to contrapuntal writing according to the French school	3
MUMS 112	Psychocognition of music Psychocognition of music MUMS 112 3 Credits Cognitive psychology studies the great psychological functions of the human being related to knowledge. The cognitive psychology of music applies this disciplinary approach to the musical phenomenon, from both a poietic (production: composition/improvisation/interpretation/performance/performance of the musical utterance) and aesthetic (reception of the musical utterance by the listener), relying on the immanent or neutral analytical level and reserving a special place in the process of developing related skills (learning). This course presents the disciplinary framework of cognitive psychology within cognitive research, particularly with neuroscience, as well as the history of research on music perception. It also studies in detail some of the research applied to polyphonic tonal music and modal monodic musical traditions.	3
MUMS 114	Neurosciences and music Neurosciences and music MUMS 114 3 Credits This course introduces neuroscience in their approach to the musical phenomenon from perception, cognition, and psychomotor production.	3
MUMS 115	Receptive music therapy Receptive music therapy MUMS 115 3 Credits This course introduces receptive music therapy and represents both its theoretical and practical aspects. The theoretical part defines music therapy as a science of its right. It defines its framework and its fields of intervention, as an adjunct to medical therapy, particularly in psychiatry and neurology. It introduces receptive music therapy as a method of listening to musical extracts capable of causing effects in patients who are called upon to incorporates into the therapeutic process. As for the second part, it introduces creativity and claims in favor of music therapy, the use of the musical elements listened to in the therapeutic relationship.	3
MUMS 116	Active music therapy Active music therapy MUMS 116 3 Credits This course introduces active music therapy and represents both its theoretical and practical aspects. The theoretical part defines music therapy as a science of its right. It defines its framework and its fields of intervention, as an adjunct to medical therapy, particularly in psychiatry and neurology. It presents active music therapy as a method that promotes non-verbal sound communication in the field of music therapy and which uses vocal and instrumental practice, often improvised in patients, to establish such communication for therapeutic purposes. As for the second part, it brings experimentation and argues the use of music elements listened to in the therapeutic relationship in support of music therapy.	3
MUMS 142	Music therapy and childhood disorders Music therapy and childhood disorders MUMS 142 3 Credits Each of the childhood disorders will be treated as follows: definition, diagnostic criteria, classification, etiology, major associated disorders, some epidemiological data, and signs of appeal, followed by resources on the course and how to act in music therapy for each disorder.	3

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