Unit 1:  Teaching plucked stringed instruments technique to children and young people learning plucked stringed instruments 

1. Posture (tendon/muscle tension, points of contact, guitar support)

2. Principles of right and left hand position

3. Tone production (apoyando, tirando)

4. Right hand technique (chord playing – arpeggiated, simultaneous, planting)

5. Left hand technique (pivoting, barre, shifting, vibrato, slurs)

6. Hand co-ordination

7. Finger independence

8. Fingernail shaping/care/repair

9. Phrasing, voicing, musical awareness

10. Fingering technique (technical, musical)

11. Articulation (legato, staccato, damping)

12. Ambidextral weight control

13. Stretching, elasticity, dexterity

14. Extended techniques (pizzicato, harmonics, tremolo, rasgueado, tambora)

Unit 2: How children and young people learn to play plucked stringed instruments

1. How learners learn

2. Simultaneous Learning

3. Learning spiral

4. My learners now

5. Understanding, assimilating and consolidating skills, knowledge and understanding

6. Learning music musically

7. Developing aural awareness/perception and acuity

8. Pupil/teacher relationships

9. Learning scales and studies

10. Starting a lesson

Unit 3: Teaching strategies for plucked stringed instrument teachers working with children and young people

1. Understanding my teaching now

2. Preparation for teaching

3. Expectation of teaching outcomes

4. Diagnosis of learners’ needs

5. Audio-Visual-Kinaesthetic learning

6. Aptitude for learning

7. Motivation for learning

8. Simultaneous learning

9. Assessment

10. Exams/Festivals/Competitions

11. Tutors/methods

12. Teaching whole classes/small groups/individuals

13. Proactive and reactive teaching

Unit 4: Developing a plucked stringed instruments teaching curriculum for children and young people           

1. Understanding what is meant by a curriculum and a syllabus

2. Preparing and implementing schemes of work

3. Short/medium and long term planning

4. Personalising learning

5. Becoming a reflective practitioner

6. Communicating as a musician

7. Playing and performing

8. Chamber music

9. Special needs

10. School and styles and playing

11. Alexander Technique

Unit 5: Teaching Individuals

This module covers a solid base of teaching and learning theory and introduces students to core concepts in psychology having to do with learners as individuals, self-belief, motivation, and thinking processes. The structure of a private music lesson and methods for engaging learners as creative individuals are presented. Students explore various traditional and innovative music teaching methods and consider how these can be adapted for a range of learners.

This module challenges students to focus on the differences present in individual pupils. Students consider their choice of repertoire and how that relates to their critical approach to teaching each individual student. Topics to be covered include:

1. Skills in written communication when articulating and planning teaching content

2. Collecting and organising musical materials to support targeted strategies for teaching different learners

3. Comparative analysis of learners’ progress over time

4. Scholarly presentation and referencing

5. Experience with private teaching in a variety of settings

Key Skills

• Autonomous learning required for managing complex tasks

• Psychological, imaginative, and intuitive understanding

• Development and sustaining arguments to solve problems

• Use research and extend current teaching methods to broaden understanding

Unit 6: Creative Repertoire

Throughout the semester, students explore various core pieces of technical and performance repertoire for their instrument. The focus is on the learning concepts in these pieces and how to address these concepts by engaging students and incorporating elements of creativity and fun.

Students are assigned pieces of music to examine and identify other pieces as models from within their traditional teaching and performance repertoire. They then create new purpose-designed repertoire for teaching using various structures and styles.

This newly created material can include adapted versions of existing material, use theme and variations, include duet or multi-player parts and /or be interactive repertoire. Students will explore creating repertoire in diverse styles (other than the original) such as using pop, jazz, blues, and classical models.

Key Skills

• Autonomous learning required for managing complex tasks

• Creative problem solving

• Use of research tools in extending knowledge and understanding

• Skills in music arrangement / composition to address musical and technical learning

• Awareness of the needs of individual learners (their pupils)

• Strategies for teaching technical / musical content

Unit 7: Dissertation – Teacher and Student learning process (double module)

This module focuses on a holistic understanding of the learning experience, from both the teacher and the student point of view. The student view is authentic as learners on the MA become first-hand students as they undertake new learning experiences. The fresh look at learning and teaching prepares students to write a considered dissertation that reflects a current knowledge and understanding of aspects of practical teaching in the field.

Semester 1 focuses on the student perspective/experience with the students each receive weekly lessons (as if they were a beginner/student) with course mentors/professor which are video recorded.

Semester 2 delves into planning, reacting to, and working with different students. In this semester students will observe the recorded lessons, including observing each other being taught as well as lessons with different students (children and adults). The focus is shifted from the student experience to shadowing course mentors/staff in order to observe their teaching methods.

The first semester allows the students to get used to the teacher and make progress on particular repertoire and techniques. This also gives the student time to reflect on their learning processes before turning to focus from the teacher’s perspective on planning and methods.

It is understood that when joining the course, students agree to be observed by their peers. Written consent is obtained for videos to become part of future course materials.