Universidad Pública de Navarra - Nafarroako Univertsitate Publikoa

Module/Subject matter

Basic training / History

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Contents

To know different representation strategies in the visual arts in order to enrich the educational processes of early childhood and primary education

To know the most significant elements of heritage, such as historical heritage that integrates and interrelates diverse concepts of history, geography and arts.

To know arts and heritage as a source of information to obtain knowledge of social, economic and cultural processes.

To know how to define and know the scope of the terms: Music, Music and Heritage, Music and Territory, Music and Ideology and Musical Style.

To know the social spaces and social function of music. To approach to the manifestations of musical art and musical culture, as well as its value for education.

To approach to musical manifestations in other times and cultural contexts, as well as their value to education. To know the management of the Spanish musical heritage.

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General proficiencies

Basic proficiencies

BP1 - Students have demonstrated that they possess knowledge of and understand an area of study, based on general secondary education and usually at a level which, albeit with the support of advanced textbooks, also includes some aspects which imply knowledge of the latest developments in their field of study.

BP3 - Students are able to compile and interpret relevant information (normally within their area of study) in order to voice opinions which include reflection on relevant themes of a social, scientific or ethical nature.

BP4 - Students are able to transmit information, ideas, problems and solutions to both specialist and non-specialist audiences.

 

General proficiencies

GP2 - To promote and facilitate learning in early childhood from a global perspective, integrating the different cognitive, emotional, psychomotor and volitional dimensions.

GP3 - To design and regulate learning spaces in contexts characterised by diversity which attend to the unique educational needs of children, gender equality, fairness and respect for human rights.

GP12 - To understand the function, possibilities and limits of education in today's society, and the core competences which affect early childhood education centres and the professionals who belong to them. To be familiar with quality improvement models as applicable to education centres.

 

Transverse proficiency

TP1 - To demonstrate a level of competence in English, French, German or Italian equivalent to the C1 level of the Council of Europe¿s Common European Framework of Reference for Languages.

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Specific proficiencies

SP2 - To promote learning in early childhood from a global perspective, integrating cognitive, emotional, psychomotor and volitional dimensions.

SP3 - To design learning spaces in contexts characterised by diversity and in multicultural and multilingual environments which attend to the unique needs of children, gender equality, fairness and the development of human rights.

SP11 -To maintain a critical, independent relationship with respect to knowledge, values and the institutions involved in education.

SP12 - To organise actively the processes of teaching and learning the contents of Early Childhood Education from a perspective of skills development.

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Learning outcomes

The learning outcomes are the concretion of the competences that the student will acquire in the subject. Three levels are established:

 

-Optimum: acquisition of 100% of the competences and mastery in at least 75% of them.

-Medium: acquisition of the majority of the intended competences in the subject and mastery in those aspects that contribute to the specific competences of the degree.

-Deficient: insufficient acquisition of the aspects that contribute to the specific competences of the degree.

 

A student gets an APT rating if the level of learning is optimal or medium.

 

These learning outcomes are specified in this subject as follows:

 

Visual Arts Module

LO1- To know different manifestations of contemporary plastic/visual art, the different uses to which they obey and the relationship between the visual arts and visual culture.

LO2- To understand the educational opportunities that visual art and culture can offer us. To interpret what works of art may be relevant for use in educational contexts based on specific educational objectives.

LO3- To understand the different modes of representation and communication strategies used by artists throughout history and therefore be able to identify, explain, describe and classify them.

LO4- To apply knowledge and understanding about artistic manifestations, their modes of representation and plastic/visual communication strategies for the interpretation of images and the realization of images or aesthetic artifacts of their own.

LO5- To analyze and to compare contemporary artworks to identify and distinguish different modes of representation and communication strategies.

Historical Heritage Module

LO6- To know and understand conceptual aspects related to cultural, natural heritage of world and national rank.

LO7- To learn to distinguish and categorize cultural heritage, natural.

LO8- To apply knowledge of cultural, natural heritage and in the nearest environment of schools (regional and local).

 

Music Module

LO9- To be aware of the different dimensions of the musical phenomenon.

LO10- To have a perspective of cultural and artistic competence in the curriculum of the Education degrees.

LO11- To understand musical heritage as a pedagogical element and as a source of information to gain knowledge of social, economic and cultural processes.

LO12- To know the social functions of music.

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Methodology

Teaching methods

Code	Description
TM1	Lecture with full attendance
TM2	Interaction in large group
TM3	Interaction in medium-sized group
TM4	Interaction in small group
TM5	Individualised interaction: tasks and guidelines for autonomous study

 Learning activities

Code	Description	Hours	Attendance
LA1	Theory classes (foundation, examples, proven applications and developments)	45	100
LA2	Practical classes or, in the event, practical experience (in the field)	15	100
LA3	Preparation of papers and oral defence	30	10
LA4	Self-study	50	0
LA5	Tutorials	5	100
LA6	Oral or written exams	5	100

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Languages

English, Spanish and Basque

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Evaluation

 

Learning outcome	Assessment activity	Weight (%)	It allows test resit	Minimum required grade
LO1, LO2, LO3, LO8, LO11, LO12	ES1 Attendance and participation in class.	0	No	No
LO1, LO2, LO3, LO8, LO11, LO12	ES2 Theory review and summary work	30	Yes	No
LO1, LO2, LO3, LO8, LO11, LO12	ES3 Practical work: observation, proposal and, where appropriate, evaluation	30	Yes	No
LO4, LO5, LO6, LO7, LO9 y LO10	ES4 Complete oral or written assessments	40	Yes	4/10

 

The subject is divided in three modules. Each module has the weight detailed below and is reflected in Final Test of the assessment of the subject, as well as in the number of sessions: Arts 40% (6 weeks), Heritage 40% (6 weeks) and Music 20% (3 weeks). Teaching order will be established at the beginning of the course in each group.

 

 

 

Specifications on evaluation

In general, the evaluation of the subject will be continuous. This type of evaluation has a dual function: to contribute to the final qualification of the students (summary assessment) and to provide information on their scope of the competencies (training assessment). Although, in cases where the student is unable to attend the classes, students will be provided with the completion of the continuous evaluation tests or the completion of a final evaluation in which all the aspects and contents (theoretical and practical) worked in the subject will be collected. Consequently, the evaluation weight will be 100%.

 

Given the modular distribution of the subject and in order to give unity to the process of evaluation and learning of the subject, the final score will be obtained from:

 

-An individual final and recoverable oral or written test (40%) (SE 4) that will take place at the end of the subject. The content of which will integrate in a percentage way each of the modules worked in the subject. It will be essential to have a minimum rating of 4/10 to weight the final score of the subject.

 

-The continuous evaluation score with a weight of 60% and it will correspond to the weighted average from the different tests of evaluation established for each module (depending on its weight in the subject) and will be obligatory the presentation of all the tests of continuous evaluation in the times established for each one of them. 

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Agenda

Module: Arts

Theme 1: Art as a representation of reality. Art as mimesis vs. art as story

Theme 2: Abstractions. Art as aesthetic research.

Theme 3: Expressionisms. Art as expression.

Theme 4: Narrations. Art as a transmission and communication of ideas.

Theme 5: Narrations. Art as a commentary on society and culture. Critical discourses.

 

Module: Historical Heritage 

Theme 6: Heritage and identity in a multicultural educational space; cultural heritage as an educational resource for the learning history; the urban landscape from the archaeological perspective to the current urbanism.

Theme 7: Cultural heritage and territory: elements, analysis and protection 

Theme 8: Natural heritage: elements, interpretation and protection.

Theme 9: Teaching activities related to heritage: museums and didactic workshops, itineraries and cultural routes.

 

Module 3: Music

Theme 10: Dimensions of the musical phenomenon: music as an object; music as a process.

Theme 11: Social spaces and social function of music.

Theme 12: Musical Heritage: criteria and definition; management of musical heritage; Navarre' musical heritage; music bibliographic funds from Universidad Pública de Navarra.

 

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Experimental practice program

N/A

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Bibliography

Access the bibliography that your professor has requested from the Library.

MODULE-ARTS

Basic

BERGER, John (1972) Modos de ver. Barcelona: Gustavo Gili (2014)

CHARMAN, Helen, ROSE, K. y G. WILSON (eds.) (2006). The art gallery handbook: a resource for teachers. London: Tate

DE DIEGO, Estrella. (2004). La guía Caja Madrid para el arte ahora mismo. Madrid: Obra Social Caja Madrid

FREELAND, Cynthia, (2003). Pero, ¿es esto arte?, Cátedra, 2003

GOMBRICH, Ernest. (1960) Arte e ilusión. Estudio sobre la psicología de la representación pictórica. Phaidon (2008) 

MEGIAS, C., & ACASO, M. (2022). Soberanía visual: Una guía para la autogestión de las imágenes. Ediciones Paidós.

 

Complementary

AGIRRE, Imanol (2000). Teorías y prácticas de la educación artística. Barcelona: Octaedro (2005)

BARROSO, Julia. (2005).  Tema, iconografía y forma de las vanguardias artísticas. Piedras Blancas: Aljimez

CALVO SERRALLER, Francisco. (2001). El arte contemporáneo. Madrid: Taurus

FÓSTER, Hal; Krauss, Rosalind; Bois, Yve-Alain, Benjamin;Buchloh, H.D. (2006). Arte desde 1900. Modernidad, antimodernidad y posmodernidad. Madrid: Akal

HERNÁNDEZ, Fernando (1997). Educación y cultura visual. Barcelona: Octaedro

NOCHLIN, Linda (1971) ¿¿Por qué no han existido grandes artistas mujeres?¿ (traducción al español: Ana María García Kobeh), en CORDERO, Karen e Inda SAENZ (comps.), Crítica feminista en la teoría e historia del arte, Universidad Iberoamericana (Cdmx), Programa Universitario de Estudios de Género de la Unam, Conaculta-Fonca, Curare, 2001, pp. 17-44

TATARKIEWICZ, W. (1979). Historia de seis ideas. Madrid: Tecnos (2002)

 

MODULE - HISTORIC HERITAGE

Basic

CALAF MASACHS, R: Didáctica del patrimonio. Epistemología, metodología y estudio de casos. Gijón: Trea, 2009.

CAMBIL HERNÁNDEZ, M. E. y TUDELA SANCHO, A. (Coords.) (2017). Educación y patrimonio cultural. Fundamentos, contextos y estrategias didácticas. Ediciones Pirámide.

ESTEPA, J. (edi.). La educación patrimonial en la escuela y el museo. Investigación y experiencias. Huelva: Universidad de Huelva, 2013.

GONZÁLEZ VARAS, I.: Patrimonio cultural: conceptos, debates y problemas. Madrid: Cátedra,2015.

UNESCO: Patrimonio Mundial en Manos de Jóvenes. Conocer, Atesorar y Actuar. París: Unesco, 2005 (2ª edi.).

OBSERVATORIO DE LA SOSTENIBILIDAD EN ESPAÑA: Patrimonio natural, cultural y paisajístico. Claves para la sostenibilidad territorial. Madrid: Ministerio de Medio Ambiente y Medio Rural y Marino, 2009.

 

Complementary

Theme 6:

CUENCA LÓPEZ, J. Mª: "Patrimonio e identidad para un espacio educativo multicultural. Análisis de concepciones y propuesta didáctica", Investigaciones en la Escuela, nº 56, 2005, pp. 27-42.

TUSELL GÓMEZ, J. (Coor.). Los museos y la conservación del patrimonio. (Debates sobre arte. Encuentros sobre patrimonio, nº11). Madrid: Fundación Argentaria; A. Machado libros, 2001.

VV. AA.: La ciudad y el patrimonio histórico como recursos educativos. ÍBER, nº 59 (monografía) Barcelona: Graó, 2009.

 

Themes 7 and 8:

BENAYAS DEL ÁLAMO, J. [Coor.]: Viviendo el Paisaje. Guía didáctica para interpretar y actuar sobre el paisaje. Madrid: Fundación Natwest, 1994.

LICERAS RUIZ, Á.: "Didáctica del paisaje"Iber, nº 74, 2013, pp.85-93.

MARTÍNEZ DE PISÓN STAMPA, E. [Ed.]: Estudios sobre el paisaje. Madrid: Ediciones de la Universidad Autónoma de Madrid, 2000 

 

Theme 9:

ALBERCH I FUGUERAS, R BOIX LLONCH L NAVARRO SASTRE, N VELA PALOMARES, S: Archivos y cultura. Manual de dinamización. Gijón: Trea, 2001.

CUENCA LÓPEZ, J.Mª ESTEPA GIMÉNEZ, J: "La didáctica de patrimonio en Internet. Análisis de páginas webs elaboradas por centros de interpretación del patrimonio cultural". Proyecto I+D del Ministerio de Ciencia y Tecnología, Simposio Internacional de Didáctica de las Ciencias Sociales, Alicante 2004,

FERNÁNDEZ DE AVILÉS, P: Servicios públicos de lectura para niños y jóvenes. Gijón: Trea, 1998.

FONTAL MERILLAS, O (Coord.). La educación patrimonial: del patrimonio a las personas. Gijón: Eds. Trea, 2013.

GONZÁLEZ MONFORT, N: "¿Puede el patrimonio cultural ser un recurso educativo relevante en la enseñanza y el aprendizaje de la historia en educación primaria?", Formar para investigar, investigar para formar en didáctica de las ciencias sociales (Gómez

RODRÍGUEZ, A.E. NÚÑEZ GALIANO, Mª.P. coords.). Málaga: Asociación Universitaria del profesorado de Didáctica de las Ciencias Sociales, 2006, pp. 75-88.

MINISTERIO DE EDUCACIÓN Y CIENCIA: La articulación de los recursos en el funcionamiento de la biblioteca escolar. Madrid: Secretaría de Educación, Instituto Superior de Formación del Profesorado, 2007.

MUSEOS Y PROYECTO EDUCATIVO (PEM). Páginas de Internet de las redes de museos (estatales y de Comunidades autónomas, tanto en su versión real como virtual).

 

MODULE -MUSIC

Basic

Arévalo, A. (2009). Importancia del folklore musical como práctica educativa. LEEME, 23

Andrés Vierge, M. (2009). Usos y debates sobre la gestión del Patrimonio Musical en Navarra. Musiker, Cuadernos de Música Vasca,

Blacking, J. (2006). ¿Hay música en el hombre? Alianza Editorial

Cook, N. (2001). De Madonna al canto gregoriano. Una muy breve introducción a la música. Alianza Editorial.

Fontal Merillas, O. (2022). La educación patrimonial centrada en los vínculos: origami de bienes, valores y personas. Trea

Gembero, M. (2005). El patrimonio musical español y su gestión. Revista de Musicología, 28 (1), 135-181 

Gembero, M. (Ed.) (2006). Estudios sobre música y músicos de Navarra. Conmemoración del VIII Centenario de la Chantría de la Catedral de Pamplona como dignidad eclesiástica (1206-2006), Año LXVII, Núm. 238, Pamplona, Príncipe de Viana, Gobierno de Navarra

Leroy, J.L. (2016). Les fonctions de la musique et de l¿art: bilan critique et esquisse théorique. Éditions Delatour France

Merriam, A.P. (1980). Antropology of Music. [Pbk.] Northwstern University Press

 

Complementary

Andrés Vierge, M. (2005). Patrimonio Musical de Navarra. Revista de Musicología, 28 (1), 255-256 

Chao Fernández, R., Gisbert Caudeli, V. y Chao Fernández, A. (2020). Contribución a la conservación del patrimonio musical en Educación Primaria. Estudio de caso en Galicia en 2003 y 2019. Revista Electrónica de LEEME, 45, 111-125 DOI: 10.7203/LEEME.45.16880

Díaz, M. y Arriaga, C. (2013). Canciones tradicionales en el aula de Infantil: en busca del patrimonio heredado. Espacio y tiempo, Revista de Ciencias Humanas, 27, 107-122

Díaz-Emparanza, M., Peruarena, J. y Jiménez R. (2017). Actividades de intervención educativa y de difusión del patrimonio organístico en entornos formales y no formales. Estudios Pedagógicos XLIII, 4, 277-292

Fernández de la Cuesta, I. (1993). La Musicología y el Patrimonio Musical en España. Nasarre, Revista de Musicología, 9 (2) 105-111 

Gómez, C. y Fenoy, B. (2016).  La sensorialidad como estrategia para la educación patrimonial en el aula de educación infantil. Educación artística, Revista de investigación, 7, 54-68

Muñoz, J. R. y González, J. (2020). Una década del flamenco como Patrimonio de la Humanidad. Eufonía. Didáctica de la música, 83, 47-55

Oriola, S. y Gustems, J. (2015). Música y adolescencia: usos, funciones y consideraciones educativas. Revista de Ciències de l'Educaciò, 2, 28-45

Pérez Díaz, P. (2004). Una reflexión sobre el uso del concepto de música culta en la actualidad. Revista de Musicología, ejemplar dedicado a: Actas del VI Congreso de la Sociedad Española de Musicología (Oviedo, 17 20 de noviembre de 2004) (1413-1424)

Raynor, H. (1986). Una historia social de la música, desde la Edad Media, hasta Beethoven. Siglo veintiuno de España editores.

Subirats, M.A. (2014). La canción como recurso educativo en la Educación Primaria. En J.L. Aróstegui, La música en educación primaria (pp. 135-158). Dairea 

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Location

Arrosadia Campus of the Public University of Navarra. For specific classroom, see the website of the Faculty of Humanities, Social and Educational Sciences.

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