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MA Music Education
Programme handbook
201718
Contents
Contents
Welcome from the Director of the UCL Institute of Education
General information
Student academic support
Programme Leader
Programme Administrator
Module Tutors
Other tutors and guest lecturers
Aims
Content
Objectives
Further professional development
UCL IOE induction
Music induction
Library and information literacy
UCL Student Gateway
The Student Helpdesk
Calendar for the 201718 academic year
First term
Monday 25 September 2017Friday 15 December 2017
Second term
Monday 8 January 2018Friday 23 March 2018
Third term
Monday 23 April 2018Friday 6 July 2018
Deadlines for dissertations and reports
Module dates, times and locations (overview)
First termcore modules
Second termcore and optional modules
Programme structure
Completion requirements
Core modules
Optional modules
Pathways through the MA
Programme procedures
Module requirements
Importing credit
Auditing modules
Starting dissertations and reports
Postgraduate Diploma in Music Education
Module registration
Disabled students
Regulations
Version 2.3 (6 September 2017) 1

Attendance
Time commitment
Reading
Additional sources for reading material
Programme evaluation and student representation
UCL disciplinary policies and expected behaviour
Assignments and assessmentguidance
Guidance on writing assignments
Layout
Appendices
Footnotes
Referencing (APA 6th ed.)
Short quotations
Long quotations
Endnote
Bibliography vs. references
Word count
Academic Writing Centre
Grade-related criteria (level descriptors)
Deadlines and assessment offences
First hand-in date for formative feedback
Second (final) hand-in date for summative assessment
Assignment extensions, deferrals and interruptions
Plagiarism and other assessment offences
Turnitin
Word count penalties
Late submission penalties
Final classification
Using Moodle
Portico
Information on transcripts and how to access replacements
Core modules outlined
Disciplines of Music EducationPhilosophy, Sociology and Psychology (Part 1)
Aims
Learning outcomes
Disciplines of Music EducationPhilosophy, Sociology and Psychology (Part 2)
Aims
Learning outcomes
Disciplines of Music Education (core modules)
Disciplines of Music EducationPsychology strand
Aims
Learning outcomes
Schedule
Disciplines of Music EducationSociology strand
Aims
Learning outcomes

Schedule
Disciplines of Music EducationPhilosophy strand
Aims
Learning outcomes
Schedule
Gamelan workshop
Disciplines of Music Educationassignments
Psychology assignment
Sociology assignment
Philosophy assignment
Optional modules
Critical Studies in Music Pedagogy and Practice
Aims
Learning outcomes
Schedule
Assessment
Option 1project
Option 2observations
Music Technology in Education (online)
Aims
Learning outcomes
Core topics
Schedule
Assessment
Portfolio
Written assignment
Prerequisites
Choral Conducting, Leadership and Communication
Aims
Learning outcomes
Seminars
Schedule
Assessment
Video submission: Final conducting session
Written submission
Dissertations and reports
Supervision
Scope of the work
Preliminary questions
Word limits
Ethical approval
Software
Stages of progression
Research methods texts
Dissertation/report format
Bibliography

Submitting the report or dissertation
Names and addresses of academic theses binders
Appendices
Student services and support
Switchboard
IOE Student Welfare and Support Services
UCL International Student Support
Student Disability Services
Information Serviceslibrary, computing and media
Graduate Admissions and the UCL Student Centre
Student and Registry Services
Examinations Office
Financial support and fees
Fees, scholarships and bursaries
Funding for UK citizens
Payment of tuition fees
Accommodation
University of London Housing Service
Halls of residence
Health services
Doctors
Dentists
Counselling
Out-of-hours support
Nursery
Chaplaincy
Union
University College London Union
Student Central
Careers
Careers ServiceUCL careers and jobs
Doctoral School
Research degrees

Welcome from the Director of the UCL Institute of
Education
Dear Students,
Welcome to the UCL Institute of Education. I hope that you will have a great experience
studying with us. The IOE is an incredibly rich learning environment in the fields of education
and social science. Our concentration of leading experts in these subject areas is
second-to-none; our library and archive is the best you will find in the UK on education; and
there will be numerous seminars and events to choose from alongside your course. And do
not forget to take advantage of all the facilities and support on offer in the wider UCL, from
the students' union, to volunteering opportunities, to careers advice.
As you commence a lifelong connection with this university and the IOE, you have a
challenging course of study ahead of you. The IOE's mission is to improve lives through
education. This is something that we pursue through our research, but also through our
teaching and the contribution that our alumni go on to make throughout their lives. We look
forward to working with you.
Professor Becky Francis FAcSS

Director, UCL Institute of Education

General information
Student academic support

There are three main sources of academic support during your MA studies:
1. The Programme Leader will answer all general enquiries about the programme
structure, your choice of modules and help to resolve any major difficulties you have,
such as requiring an extension for coursework or a deferral. You can contact the
Programme Leader at any time by email and are welcome to make an appointment
for an individual meeting.
2. The Module Tutor will answer questions relating to a specific module, such as
questions about assignments or module content. The Module Tutor will also provide
written formative feedback on your assignment(s) for each module. This feedback
may be delivered via email or on Moodle. You can also contact the Module Tutor for
an individual tutorial.
3. You will be allotted a tutor for your dissertation or report in the first term of your MA
according to the area of your chosen topic. This tutor will supervise your work. Your
tutor will work closely with you throughout the time you spend on your dissertation or
report and will provide guidance and support: in creating a focus for your research;
helping you to determine an appropriate research methodology for collecting and
analysing data; and planning and structuring your writing. You will work with your
tutor in individual tutorials and also through email contact.
Music is a significant part of the Department of Culture, Communication and Media, which
has programmes in initial teacher education and professional development as well as having
many students taking research degrees. We aim to provide a high quality learning
experience as well as support and guidance during your study here.
Programme Leader
The Programme Leader is Dr David Baker. You can contact the Programme Leader at any
time by email and are welcome to make an appointment for an individual meeting. Davids
email address is david.baker@ucl.ac.uk. His office is Room 931, which is on the ninth floor
(Core B).
Programme Administrator
The Programme Administrator is Alison Slade, who is available for information about the
programme or to make appointments with tutors where necessary. Alison can be contacted
at ioe.musicadmin@ucl.ac.uk and a.slade@ucl.ac.uk. Alison can be located at the Academic
Programmes Office on Level 4.

Module Tutors
Dr David Baker david.baker@ucl.ac.uk
Sociology strand; Critical Studies in Music Pedagogy
and Practice
Dr Evangelos Himonides e.himonides@ucl.ac.uk

Choral Conducting, Leadership and Communication;
Music Technology in Education
Dr Jo Saunders jo.saunders@ucl.ac.uk
Philosophy strand
Prof. Graham Welch graham.welch@ucl.ac.uk

Psychology strand
Other tutors and guest lecturers

Dr Colin Durrant, Principal Tutor, Association of British Choral Directors
Mr John Finney, Senior Lecturer in Education (Music), University of Cambridge
Emerita Prof. Lucy Green, Professor in Music Education, UCL Institute of Education
Prof. Susan Hallam, Emeritus Professor of Education and Music Psychology, UCL Institute
Prof. Adam Ockelford, Professor of Music, Roehampton University
Mr Tim Palmer, Senior Lecturer in Education, Trinity Laban Conservatoire of Music
Dr Mary Stakelum, Head of Postgraduate Programmes, Bath Spa University
As above, from time to time, additional guest lecturers are invited to contribute to modules
and/or our study day.
Aims
The aims of the programme are to develop students critical thinking, and understanding of
research and practice in the field of music education.
Content
The programme consists of modules, or educational units, covering particular subject areas.
There are two core (compulsory) modules (Disciplines of Music Education, Parts 1 and 2),
which together focus on three key strands (Psychology, Philosophy, Sociology in relation to
music and music education). Each strand represents a major discipline underpinning the
advanced study of music education. Students must attend lectures and complete
assignments for all three strands to complete the two core modules. This enables
students to gain a broad, overarching perspective, whilst at the same time they are able to
study particular aspects in depth. Optional modules offer a distinctive approach to particular

areas within music education, focussing on the application of the core disciplines and
inspiring debate from different music education perspectives. The dissertation and report
modules provide an opportunity to instigate and carry out a piece of small-scale empirical or
theoretical research within a particular methodological framework.
Objectives
By the end of the programme, students:
should be able to make informed, critical judgements about their own and other
people's musical and educational abilities, assumptions, values and practices;
should have expanded their understanding of the varied and complex nature of
learning and teaching in music;
should have increased their knowledge of music teaching, evaluation and
assessment techniques;
should have developed their knowledge and understanding of childrens, young
people's and adults' relationships to music as performers, composers and listeners;
should have gained an increased awareness and understanding of philosophical,
sociological, psychological, historical and political issues concerning the position of
music in society and in education, within an international perspective.
Further professional development

The programme helps many students to locate an area in which to pursue further research,
and can often enhance the prospects of promotion. Moreover, for some, it can act as a
springboard to further studies at doctoral level. Graduates from this programme have
become: advocates for the arts; arts, health and wellbeing therapists; composers; doctoral
and postdoctoral researchers; freelance music teachers; Further Education lecturers; music
education hub managers; performers; primary music coordinators; music producers; and
university lecturers. Example career destinations for this programme include: Arts Education
Officer, Ministry of Education, Singapore; Head of Music, Dormers Wells High School;
Subject Leader for Music and Performing Arts, South Grove Primary School; Head of Music,
Freman College; and Director of Music, Claremont Schools.
UCL IOE induction

New non-UK students have an Institute of Education (IOE) induction at the start of the first
term. Further information about the induction will be sent to students. This will be an
opportunity for new students to meet key members of staff and fellow students, and will also
provide practical information about living and travelling in London, immigration, opening bank
accounts, working in the UK and health and safety. There will be presentations from external
speakers.

Music induction
The MA Music Education induction for all new students, full and part time, will take place
18:0020:00 on Monday 25 September 2017 in Room 944 (Core B). P lease bring a
passport-sized photograph with you.
Library and information literacy
The UCL Institute of Education Library and Archives is the largest education library in
Europe stocked with physical and online resources covering a variety of collections. These
include archives and special collections. As a part of UCL, students also have access to 17
other UCL libraries offering a huge range of resources.
UCL Institute of Education librarians and archivists are highly skilled and have a clear focus
of the needs of users. They are able to offer online as well as face-to-face support in the
library, through booked library sessions, and through one-to-one sessions. The library also
offers a professional enquiry service in person, online, via phone, email and via Twitter
through http://libanswers.ioe.ac.uk In addition, there is a dedicated archive enquiry service at
ioe.arch-enquiries@ucl.ac.uk Help and individual library training for students can be booked
at ioe.informationliteracy@ucl.ac.uk
Online support can be found on interactive online guides, which provide guidance on
collections, on services and include how to topics. These library guides also offer video
demonstrations, slideshows, links to catalogues, and discovery platforms and databases.
LibGuides can be accessed at http://libguides.ioe.ac.uk/home
Barbara Sakarya provides support for MA students and can be contacted about information
literacy on 020 7612 6069 or at b.sakarya@ucl.ac.uk
UCL Student Gateway

The UCL Student Gateway can be found at http://www.ucl.ac.uk/students/ This contains a
wide range of links under headings including:
Accommodation
careers Service
Directories and maps
Doctoral school
Health Centre
International students
Portico (student record and module selection)
Students Union
Support and wellbeing

The Student Helpdesk
The Student Helpdesk can help you with any information or advice that you may need
throughout your studies.The Helpdesk is located on Level 4 of the main IOE Building in 20
Bedford Way, and can provide advice on the following areas:
general queries about studying at the IOE;
queries regarding registration, assessment and timetabling;
advice and guidance on applying for Extenuating Circumstances;
submission of hard copy coursework;
and advice and guidance on the services available to UCL students.
The Student Helpdesk acts as a conduit between you, the student, and the wider faculty
network. Its staff work closely alongside academic departments to help in delivering you the
best possible learning experience they can. The Student Helpdesk is open from 09:00 to
17:30 Monday to Friday in term time, excluding closure days and public holidays. The
Helpdesk can be contacted at ioe-studenthelpdesk@ucl.ac.uk or 020 7612 6674.

Calendar for the 201718 academic year
First term
Monday 25 September 2017Friday 15 December 2017
Reception and induction for new students Monday 25 September 2017 (18:0020:00)
Modules start Monday 2 October 2017 at 18:00 (Sociology)

Tuesday 3 October 2017 at 11:00
(Psychology)
Module registration deadline To be confirmed: Please contact the

Programme Administrator, Alison Slade for
details at a.slade@ucl.ac.uk
Draft coursework hand-in for feedback Monday 8 January 2018 by 17:00

(Psychology and Sociology strands)
Final coursework deadline Monday 12 February 2018 by 17:00

(Psychology and Sociology strands)
Second term
Monday 8 January 2018Friday 23 March 2018
Modules start Monday 8 January 2018 (Philosophy)

Monday 8 January 2018 (Music Technology)
Tuesday 9 January 2018 (Critical Studies)
Friday 19 January 2018 (CCLC)
Draft coursework hand-in for feedback Monday 2 April 2018 by 17:00

(Philosophy strand, Critical Studies and
Music Technology modules)
Final coursework deadline Monday 14 May 2018 by 17:00

(Philosophy strand, Critical Studies and
Music Technology modules)

Third term
Monday 23 April 2018Friday 6 July 2018
Module (CCLC) continues Wednesday 25 April 2018
CCLC (Choral Conducting, Leadership and

Communication) comprises five full days,
10:0017:00 spread across Terms 2 and 3
(starting Friday 19 January 2018).
Summer Study Day Tuesday 29 May 2018, 11:0017:00
Draft coursework hand-in for feedback Monday 18 June 2018 by 17:00

(CCLC module)
Final coursework deadline (CCLC module) Monday 23 July 2018 by 17:00
Deadlines for dissertations and reports

Draft submission deadline Friday 8 June 2018 by 17:00
Final submission deadline Monday 3 September 2018 by 17:00

Module dates, times and locations (overview)
Please note that taught sessions take place during evenings in order to accommodate the
arrangements of students who work during weekdays. The exceptions are Choral
Conducting, Leadership and Communication, which comprises five full days, and Music
Technology in Education, which is delivered online.
First termcore modules

Disciplines of Music Education, Part 2 Tuesdays 11:0013:00
(core) Room 944
Psychology strand
Please note that there will also be study
skills sessions with Jo Saunders from
14.00 to 16.00 each week.
Disciplines of Music Education, Part 1 Mondays 18:0020:00

(core) Room 944
Sociology strand
Second termcore and optional modules

Disciplines of Music Education, Part 1 Mondays 18:0020:00
(core) Room 944
Philosophy strand
Critical Studies in Music Pedagogy and Tuesdays 18.0020.00

Practice (optional) Room 944
Music Technology in Education (optional) Online
There will be time available for students

in Room 938 (music technology suite) on
Thursdays, 11 January15 March 2018,
16:0018:00.
Choral Conducting, Leadership and Friday 19 January 2018

Communication (optional) Thursday 8 March 2018
Wednesday 25 April 2018
Wednesday 30 May 2018
Thursday 31 May 2018
10:0017:00, Room 944

There will be additional student-led
sessions on Saturdays 27 January, 17
March and 28 April 2018.

Programme structure
Completion requirements
A total of 180 M-level (Masters-level) credits is required to complete the MA. Modules are
weighted as follows:
Each taught module: 30 credits
Dissertation: 60 credits
Report: 30 credits
In order to qualify for an MA at the UCL Institute of Education, you must take:
four taught modules (see below) plus a dissertation (20,000 words)
or
five taught modules (also below) plus a report (10,000 words)
Core modules
Disciplines of Music Education, Part 1 30 credits
Disciplines of Music Education, Part 2 30 credits
Dissertation or report 60 credits or 30 credits
Optional modules
Critical Studies in Music Pedagogy and 30 credits
Practice
Choral Conducting, Leadership and 30 credits

Communication
Music Technology in Education 30 credits

(online)
A module from another UCL IOE MA up to 60 credits can be imported by

or agreement with the course leader
a module from another university
Pathways through the MA

There are a number of different pathways through the MA in Music Education. Below are
some examples.
Two core modules, three optional modules and report:

Critical Choral Music
DOME 1 DOME 2 Report 180
Studies Conducting Tech
credits
30 credits 30 credits 30 credits 30 credits 30 credits 30 credits
Two core modules, two optional modules and dissertation:

Critical
DOME 1 DOME 2 Music Tech Dissertation 180
Studies
credits
30 credits 30 credits 30 credits 30 credits 60 credits
or
Critical Choral
DOME 1 DOME 2 Dissertation 180
Studies Conducting
credits
or
Choral
DOME 1 DOME 2 Music Tech Dissertation 180
Conducting
credits
Any combination of the above with 30 or 60 imported credits:

Imported Credits DOME 1 DOME 2 Dissertation 180
credits
60 credits 30 credits 30 credits 60 credits
or
Music
Imported Credits DOME 1 DOME 2 Report 180
Tech
credits
or
Imported Music Critical
DOME 1 DOME 2 Report 180
Credits Tech Studies
credits
30 credits 30 credits 30 credits 30 credits 30 credits 30 credits
As long as you have at least two core modules and either a dissertation or report, any
combination is acceptable. If you are unsure of your module choices, the Programme Leader
will be able to advise you.

Programme procedures
Module requirements
Full-time students normally take four or five modules during the academic year as well as a
report or dissertation. Please note that your options are subject to the Programme Leaders
approval and that of senior members of the Institutes staff; we reserve the right to disallow
registration on, or to withdraw access to modules where appropriate. Please discuss your
choices with the Programme Leader. Normally you would expect to take a range of modules
in different areas of the subject to help you develop and extend your knowledge of music
education.
Importing credit
Students may, at the Programme Leaders discretion, import some M-level credits that they
have been previously awarded from another subject area (including PGCE M level) within
the Institute or from another Higher Education institution. Advice on the relevance of such
other modules to the MA in Music Education must be discussed with the Programme Leader.
Students are discouraged from seeking to undertake modules outside the MA in Music
Education Programme and will be required to submit a written rationale to the Programme
Leader outlining the perceived benefit from so doing. The Programme Leader will assess
each case on individual merit.
Auditing modules
Students are permitted to audit modules (that is, attend the teaching sessions, but not
complete coursework for assessment). Students auditing a module will not be assessed in
relation to the module. A maximum of two modules may be audited during the programme of
study. Students wishing to audit must secure the agreement of their Programme Leader and
the particular Module Tutor. Your intention to audit must be clearly specified on the
registration form. An audit fee may be charged.
Starting dissertations and reports

Full-time students should begin to develop ideas for their dissertation or report from the start
of the programme. Full- and part-time students in their first year will normally confirm
dissertation ideas with the Programme Leader before being allocated a dissertation tutor.
Modular flexible students should contact the Programme Leader in good time, i.e. when they
register for the dissertation of report module, so that a supervisor can be identified. Tutorials
are by arrangement. The study skills sessions led by Jo Saunders, which will follow the
Psychology strand, in addition to the Summer Study Day (29 May 2018, 11:0017:00, Room
944), will aid in the process.

Postgraduate Diploma in Music Education
Students who successfully complete modules to the value of 120 credits only, without a
dissertation or report, may request, in writing, a Postgraduate Diploma in Music Education.
Module registration
Students are asked to enrol for modules on Portico (http://www.ucl.ac.uk/portico) by the
stated deadlines. Please contact the Programme Administrator for information on these
deadlines and the Programme Leader if you have any questions about your MA programme
of study.
For those optional modules that fall outside your main area of study you m
ust obtain the
authorisation of the Programme Leader for the MA in Music Education a nd also the
Programme Leader to which the module is attached. You will not be permitted to join a
module without permission.
Disabled students
This document is available in a range of alternative formats. Please contact UCL Disability
Services at disability@ucl.ac.uk or 0207 679 0100. They can provide help with specific
learning difficulties (e.g. dyslexia, dyspraxia), blindness and visual impairment, deafness and
hearing impairment, and mental health (e.g. depression, anxiety). For further information on
disability support, refer to www.ucl.ac.uk/disability. Details of the Student Funding Welfare
Advisor, who can also offer support to disabled students, are in the appendices of this
document.

Regulations
Attendance
Students must attend all three strands (Philosophy, Psychology and Sociology) to
complete the two core modules (Disciplines of Music Education, Part 1 and 2). They
must complete assignments for all three.
Students are expected to attend all timetabled teaching sessions for each module in which
they are registered. UCL requires an 80% minimum attendance for each module in order to
pass. If a student does not meet this requirement they may be barred from summative
assessment. For information on attendance requirements, see:
https://www.ucl.ac.uk/srs/academic-manual/c1/taught-registration/attendance#top
https://www.ucl.ac.uk/srs/academic-manual/c1/agreements/barring#top
The Summer Study Day (29 May 2018) is included in the dissertation and report support.
The Study Day is compulsory for all full-time students. Jo Saunders will also lead study
skills sessions after each Psychology session (14:0016:00, see the schedule later in this
document for the dates). These will encompass writing skills, research methodology
sessions, and seminars for the discussion of dissertations or reports, etc. F
ull-time
students must attend.
Time commitment
As a general rule, students should be assigning 10 to 15 study hours per week for each
module, in addition to the hours spent in seminars and tutorials. There is a notional
allocation of 300 learning hours per 30 credit module.
Reading
Information about the programme modules and their component strands is provided in detail
hereafter. You will notice that, for each module, there are references to books and articles.
These texts form the core and further readings for the module. Full bibliographic details
relating to them will be provided on Moodle. This is intended to help students follow
individual interests, particularly with relation to dissertation work. You will, nonetheless, find it
necessary to look further afield for specialist readings in your particular area. Some articles
and books are available in electronic format in the library or through the e-journal search.
Further guidance about reading and searching for literature will be given during lectures,
seminars and tutorials. Students are expected to read, in detail and with understanding, a
number of primary and secondary texts in the field.

Additional sources for reading material
Owing to the pressure on the UCL Institutes library caused by students seeking the same
book at the same time, it is strongly recommended that alternative libraries be used
wherever feasible. Most libraries in the schools and colleges of the University of London
allow loans to UCL IOE MA students. Although students may not borrow books from the
Institute library until registration, it is possible to use the library for reference.
The Senate House Library (www.ucl.ac.uk/library/sites/senate-house) has an excellent

collection of resources for music. UCL IOE students can join Senate House Library for free,
but may need to get a validation form from the UCL IOE Library enquiry desk. Other
University of London libraries in the immediate vicinity of UCL IOE that loan books to MA
students include Birkbeck College, School of Oriental and African Studies (SOAS), and
University College London (UCL).
As a postgraduate student of the UCL IOE, you are also entitled to use the British Library
(www.bl.uk) and may also be able to use other university libraries in the UK, and should
contact relevant libraries and make enquiries. Only researchers, such as MA students, may
use the British Library. Books from this library are not loaned to anyone and must be used in
special reading rooms. You will need to present a validation letter available from the UCL
IOE Student Support Centre, on Level 4, along with your student ID when applying. This is
one of the greatest literary treasures on earth and is well worth your time.
The Westminster Central Library near Victoria Station has an excellent music department.
Waterstones, 28 Gower Street (gowerst@waterstones.com or 020 7636 1577) is a nearby

bookshop with a large selection.
Programme evaluation and student representation

Student representation is vital part of the organisation of the MA programme. Each year,
changes are made to modules as a result of student evaluation and Student Representatives
have a key role in this.
The MA Music Education Board monitors the programme. After each module students are
asked to complete an evaluation form that is collected and analysed by the elected Student
Representative. Evaluation forms and reports are then passed to the Module Tutor, the
Programme Leader and, finally, the Programme Board. This board meets regularly, including
two formal meetings at which the Student Representative gives a further, oral evaluation
report.
Nominations for the Student Representative will be requested at the start of term. As a
Student Representative, you will attend the MA Music Education Board and contribute to the
Institute of Educations Quality Assurance procedures. You will also gain an insight into

academic management within Higher Education. If you wish to become a Student
Representative, please see the Programme Leader.
You can also volunteer to become a Student Academic Representative (StAR), see:
http://uclu.org/representation/education/student-academic-representatives-stars and
www.ucl.ac.uk/srs/academic-manual/c6/student-representation/stars StARs sit on various
committees at programme, faculty and university level, at which they act as the voice of
students, ensuring that UCL takes into account the needs of students in its decision-making
processes. For further information, contact stars@ucl.ac.uk
UCL disciplinary policies and expected behaviour

Student Code of Conduct
UCL enjoys a reputation as a world-class university. It was founded on the basis of equal opportunity,
being the first English university to admit students irrespective of their faith and cultural background
and the first to admit women. UCL expects its members to conduct themselves at all times in a
manner that does not bring UCL into disrepute. Students should ensure they read and familiarise
themselves with UCLs Student Code of Conduct and be aware that any inappropriate behaviour may
lead to actions under UCLs Student Disciplinary Procedures. For further information, see:
https://www.ucl.ac.uk/srs/academic-manual/c1/code-of-conduct
https://www.ucl.ac.uk/srs/academic-manual/c1/disciplinary-code
Harassment and bullying

Every student and member of staff has a right to work and study in a harmonious
environment. UCL will not tolerate harassment or bullying of one member of its community
by another or others and promotes an environment in which harassment and bullying are
known to be unacceptable and where individuals have the confidence to raise concerns in
the knowledge that they will be dealt with appropriately and fairly. For further information,
see:
UCL Policy on harassment and bullying
Students Union Rights and Advice Centre
Sexual harassment
It is unacceptable for any person at UCL, whether staff or student, to be subjected to any
unwanted and persistent behaviour of a sexual nature. UCL is working with the Students
Union UCL to implement a two-year action plan to tackle issues of sexual harassment and
make sure that staff and students have access to relevant training. Any UCL student
experiencing sexual harassment may access confidential support from a range of sources
including their personal tutor or any other member of staff in their department or faculty who
they trust, their Hall Warden, a Students Union student officer, the trained staff in the
Students Union Rights and Advice Centre, or the UCL Student Mediator. For further
information, see:
Zero tolerance to sexual harassment

Support for students who have been affected by sexual violence
UCL will do its utmost to support anyone who has been, or is being, affected by sexual
violence. If a student would like to talk to somebody at UCL, the Student Support and
Wellbeing team can offer advice on the support available both internally and externally. For
further information, see:
Support for students who have been affected by sexual violence
Assignments and assessmentguidance
Guidance on writing assignments

Detailed information on dissertations and reports can be found later in this document.
Two important considerations should be borne in mind. The first is the stimulation gained
from reading what other people have written in the same field of study. To begin with, such
reading may very well be unfocused and rather general, but eventually you will find a sense
of direction and come to an understanding of what the central issues are for your special
area of enquiry. Once the books you have read have passed back into circulation via the
library shelves, it may be very difficult to acquire them a second time. It is therefore essential
to make detailed notes of ideas, information and quotations. When you are reading and
compiling notes you should not forget the importance of articles in journals and other
periodicals. These are often more up-to-date than books and may throw new light on your
investigations.
The second stage is to write something, anything in fact, that will get you started no matter
how rough and ready or insubstantial the ideas may seem. This can, if necessary, be shown
to the Module Tutor who will be able to make positive suggestions. I t is better to read, write
and consult staff members than to do nothing and worry.
From the beginning of the course, you should begin to compile a detailed list of references
using some form of index system. A good way to start would be to make a list using the core
readings for each module or component strand, as shown against the session titles.
Although the first few entries may look rather lonely, by the time you have collected a fair
number you will realise just how valuable this index is going to be. It will eventually form the
basis for your alphabetical list of sources. Each book or article will be fully detailed in a
separate entry, and you may find it useful to jot down on your index a few keywords to direct
you to your notes and important page numbers. If you come across a work that is constantly
quoted and which you feel may be particularly helpful, clearly it is then time to find this
particular text and read it for yourself.

Layout
Please ensure that all of your submitted work adheres to the following points. Work should
use 1.5 or double spacing with wide margins, on one side of the page only. Paragraphs
should be aligned to the left.
Appendices
The reader should not be forced to turn to an appendix for important details; crucial
information should be given in the text, but any necessary supplementary information and
statistical workings or interesting side-issues should be collected together at the end in one
appendix or more.
Footnotes
Footnotes should be used sparingly to give details of terminology that would otherwise
clutter the main text. They should not be used for references.
Referencing (APA 6th ed.)

You are advised to use the APA (American Psychological Association) style, which is most
commonly used to cite sources within the social sciences.
A comprehensive guide to using the APA6 format is available here:

https://owl.english.purdue.edu/owl/resource/560/01/
The APA style follows the author-date method of in-text citation. This means that the
authors last name and the year of publication for the source should appear in the text, for
example (Jones, 1998), and a complete reference should appear in the reference list at the
end of the paper.
If you are referring to an idea from another work but n ot directly quoting the material, or
making reference to an entire book, article or other work, you only have to make reference to
the author and year of publication and not the page number in your in-text reference. All
sources that are cited in the text must appear in the reference list at the end of the paper.
Short quotations
If you are directly quoting from a work, you will need to include the author, year of
publication, and the page number for the reference (preceded by p.). If the quoted material
spans two pages, include the page range (preceded by pp.). Introduce the quotation with a
signal phrase that includes the author's last name followed by the date of publication in
parentheses.
According to Jones (1998), students often had difficulty using APA style, especially when it
was their first time (p. 199).

Jones (1998) found students often had difficulty using APA style (p. 199); what implications
does this have for teachers?
Doe (2014) wrote sometimes quotations span two pages (pp. 1819).
If the author is not named in a signal phrase, place the author's last name, the year of
publication, and the page number in parentheses after the quotation.
She stated, students often had difficulty using APA style (Jones, 1998, p. 199), but she did
not offer an explanation as to why.
Long quotations
Place direct quotations that are 40 words, or longer, in a freestanding block of typewritten
lines, and omit quotation marks. Start the quotation on a new line, indented 1/2 inch (or 1cm)
from the left margin, i.e., in the same place you would begin a new paragraph. Type the
entire quotation on the new margin, and indent the first line of any subsequent paragraph
within the quotation 1/2 inch (or 1cm) from the new margin. Maintain double-spacing
throughout. The parenthetical citation should come after the closing punctuation mark.
Jones's (1998) study found the following:
Students often had difficulty using APA style, especially when it was their first
time citing sources. This difficulty could be attributed to the fact that many
students failed to purchase a style manual or to ask their teacher for help. (p.
199)
Endnote
It is a good idea to use a bibliographic software package like EndNote to help keep a record
of your reading. Please contact the library for training courses in using EndNote. Information
on Endnote software, which can be used for referencing, is available at
http://libguides.ioe.ac.uk/endnote It is available on every public computer workstation in the
IOE, and software can be downloaded from the UCL Software Database at
https://www.ucl.ac.uk/isd/services/software-hardware/student-software For further
assistance, please visit the Computer Helpdesk on Level 3 (in the IOE library).
Bibliography vs. references

We do not use a bibliography in academic writing. We solely use a list of works that have
been referenced inside the main body of the text. This is a list of references. Please ensure
that every piece of work that you refer to inside the text is included at the end. Also ensure
that every item in the list of references does actually appear inside the main body of the text.
Word count
The word count sets the parameters for the assignment. The tolerance is 10% above or
below the word count. So, for a 5,000-word assignment, between 4,500 and 5,500 is

acceptable. The current student handbook states that the word count excludes appendices,
the list of references and bibliographies but includes the contents page, footnotes, glossary,
maps, diagrams and tables.

The UCL Institutes Academic Writing Centre (Room 602, UCL Institute of Education)
provides guidance and training for planning and writing assessments. The service is open to
all IOE students. Detailed writing guides, information on referencing, advice on editing and
information on courses offered by the Academic Writing Centre can be found at:
https://www.ucl.ac.uk/ioe/departments-centres/centres/academic-writing-centre/
The Academic Writing Centre can be contacted by sending a message to

ioe.writingcentre@ucl.ac.uk or by calling 020 7612 6723.
Grade-related criteria (level descriptors)

A B C D
(PASS) (PASS) (PASS) (FAIL)
GRASP OF FIELD OF STUDY
Outstanding grasp of Clear understanding Basic understanding Inadequate

issues and high level of issues and good of issues and insights understanding of
of critical insights into level of insights into into field of study. issues and insights
field of study. field of study. into field of study.
Extensive, insightful Wide-ranging, Basic critical Unfocused or

and critical review of coherent and critical competence in inaccurate review of
literature. review of literature. reviewing literature. literature.
High levels of Elements of creativity Little development of Confusion in the

creativity and and independence of ideas in the application of
independence of thought in the application of knowledge.
thought in the application of knowledge.
application of knowledge.
knowledge.
UNDERSTANDING & EVALUATING EVIDENCE BASE
Sophisticated Consistent and fluent Adequate Lack of

conceptual understanding and understanding and understanding and
understanding and critical evaluation of evaluation of the critical evaluation of
high levels of critical the evidence base evidence base the evidence base
evaluation of the (scholarship, (scholarship, (scholarship,
evidence base research and research and research and
(scholarship, research methodologies in the methodologies in the methodologies in the
and methodologies in field of study). field of study). field of study).
the field of study).

Outstanding Thorough Basic understanding Lack of
understanding of how understanding of how of how established understanding of
established established techniques of how established
techniques of techniques of research and enquiry techniques of
research and enquiry research and enquiry are used to create research and
are used to create and are used to create and interpret enquiry are used to
interpret knowledge and interpret knowledge and how create and interpret
and how these apply knowledge and how these apply to knowledge and how
to students own these apply to students own these apply to
research and/ or students own research and/or students own
practice. research/ practice. practice. research and/or
practice.
Creative and critical Competent and Rudimentary Inadequate or

handling, presenting critical handling, handling, presenting confused handling,
and inferring from presenting and and inferring from presenting and
literature/data. inferring from literature/data. inferring from
literature/data. literature/data.
STRUCTURE, COMMUNICATION & PRESENTATION
Exceptional clarity, Fluency in Basic clarity, focus Disorganised and

focus and cogency in organisation and and competence in unfocused
organisation and presentation of organisation and presentation of
presentation of arguments and presentation of arguments and
arguments and conclusions. arguments and conclusions.
conclusions. conclusions.
In all your assignments you will be assessed against the following criteria that are used for
all Masters assignments at the Institute of Education:
Grasp of field of study
Understanding and evaluating research and methodologies
Structure, communication and presentation
These criteria apply to a wide range of programmes and modules at the Institute of
Education. They are interpreted in the context of the stated learning outcomes for
programmes and modules, as not every criterion will apply to each module assignment. The
following key skills are built into the assessment criteria: scholarly skills, critical analysis,
methodological and research skills, communication skills. ICT skills are not explicitly referred
to as they are embedded in all aspects of the programme. Students are expected to present
word-processed work.

Deadlines and assessment offences
There are two deadlines for each module or its component strand (as detailed earlier in this
document), one for formative and one summative assessment.
First hand-in date for formative feedback

The draft assignment should be handed in electronically as advised by the Module Tutor.
This is typically as a Microsoft Word file submitted to a Turnitin point on Moodle. All work
which is handed in by these dates will be read by the Module Tutor and returned with
formative feedback and guidance on any appropriate steps that could be taken in order to
improve it. It is the responsibility of the student to internalise and act upon the feedback,
making arrangements for a tutorial with the Module Tutor wherever this is appropriate.
Second (final) hand-in date for summative assessment

The second (final) handing-in dates are also indicated for each strand or module earlier in
this handbook. An electronic copy, as a PDF with the appropriate cover sheet as its first
page, should be submitted to the requisite Turnitin point on Moodle. You will receive
summative feedback, including an indicative grade agreed by two Internal Examiners.
Please note the specific advice on submitting your dissertation or report. Sample coursework
and dissertations are sent to the External Examiner for moderation. Students who fail a
piece of coursework are entitled to one resubmission by the next deadline. The grades will
be recommended to the MA Examination Board, which convenes in the first term of each
academic year. You will be notified of your final grades after a Board held by the UCL
examinations team.
Assignment extensions, deferrals and interruptions

Students are required to adhere to deadlines. However, under exceptional circumstances,
students may request an extension, deferral or interruption. These completion of an
application form with supporting evidence (e.g. a doctors note) are appraised beyond the
MA Music Education teaching team; they may be rejected. UCL regulations are quite specific
on these. For information, please visit
https://www.ucl.ac.uk/srs/academic-manual/c4/extenuating-circumstances/principles
Plagiarism and other assessment offences

Your work must be expressed in your own words and incorporate your own ideas.
Plagiarism, that is the unacknowledged presentation of another persons thoughts or words
as though they were your own, must be avoided. Direct quotations from the published or
unpublished works of others (including internet sources) must always be clearly identified as
such by being placed inside quotation marks, and a full reference to their source must be
provided in the proper form.

Remember that a series of short quotations from several different sources, if not clearly
identified as such, constitutes plagiarism just as much as does a single unacknowledged
long quotation from a single source. Equally, if you summarise another persons ideas or
judgements, you must refer to that person in your text, and include the work to which you
have referred in your list of references.
Collusion with another student also constitutes an offence. You should not work together on
any part of an assignment unless the assignment specifically requests that you do. You also
cannot submit part of a previous assignment, even if it is your own work.
Failure to observe these rules may result in an allegation of cheating. You should consult
your tutor or Programme Leader if you are in any doubt as to what is permissible.
For further information, see Examination irregularities and plagiarism procedures
Turnitin
UCL policy is to use Turnitin Plagiarism Detection Service to check for plagiarism in all
assignments. This is automatically applied when you submit your assignment via Moodle.
Turnitin will highlight:
text that has been directly copied from internet sources such as Wikipedia;
text that has been directly copied from essays submitted to other institutions;
text that has been directly copied from essays submitted to the IOE, including your
own previously submitted essays.
Please note, when you do submit your assignment via Moodle, it will highlight a small
percentage of similarity. This is entirely normal. Where there is a large percentage of
similarity, this will automatically be investigated by the Programme Leader. There is online
guidance on submitting your work through Turnitin
Cases of suspected plagiarism or other forms of cheating are taken seriously and will be
reported to the appropriate Institute authorities for investigation. Please see the UCL website
for the regulations relating to the proceedings in respect of assessment irregularities. Also
see http://www.ucl.ac.uk/current-students/guidelines/plagiarism
Student policies and procedures can be found at h

ttp://www.ucl.ac.uk/current-students
You are advised to visit this student information and familiarise yourself with all student
policies and procedures.
Word count penalties

Assignment briefs will include clear instructions about word counts, the inclusion of
footnotes, diagrams, images, tables, figures and list of references, etc. Students are

expected to adhere to the requirements for each assessment. Students exceeding these
parameters may receive a reduction in marks.
1. A minimum or maximum word count will be specified as part of the assessment
criteria for a component or module. Items such as an abstract, footnotes, reference
list, appendices, tables, figures will not be included in the word count.
2. Work that exceeds the word count (or is under the word count) by more than 10% will
be reduced by one grade (no more than one grade will be deducted).
3. The mark will not be reduced below Grade C/Pass.
4. In the case of coursework that is submitted over- or under-length and is also
submitted late, the greater of any penalties will apply.
Refer to the IOE derogations in Chapter 8 of the Academic Manual for further details.
Late submission penalties

Planning, time-management and the meeting of deadlines are part of the personal and
professional skills expected of all graduates. For this reason, UCL expects students to
submit all coursework by the published deadline date and time, after which penalties will be
applied.
1. Where a student is ill or has other Extenuating Circumstances preventing them from
meeting the published deadline, they should refer to the UCL Academic Manual
Section 6: Extenuating Circumstances. If the EC is accepted, the student may be
granted an extension or other mitigation affecting the deadline. If the deadline has
already passed, the below penalties will not apply.
2. For all other students, the following penalties apply:
a. The grade for coursework received up to two working days after the published date
and time will be lowered by one grade (grades will not be lowered below Grade
C/Pass at this stage).
b. The grade for coursework received more than two working days and up to five
working days after the published date and time will be capped at Grade C/Pass.
c. Work submitted more than five working days after the published date and time will
receive a Grade D/Fail.
d. In the case of coursework that is submitted over- or under-length and is also late, the
greater of any penalties will apply.
3. There is no technical support for online submissions at weekends or after working
hours. As a consequence, penalties are based on the number of working days.
For further information, see Extenuating Circumstances
Final classification
The Board of Examiners will make the final decision regarding student results.

Using Moodle
Moodle is UCLs online learning space. It includes a wide range of tools which can be used
to support learning and teaching. Moodle is used to supplement taught modules, in some
cases just by providing essential information and materials, but it can also be integrated
more fully, becoming an essential component of a module. Some modules may use Moodle
to provide access to readings, videos, activities, collaboration tools and assessments. For
further information, see:
Moodle
Frequently Asked Questions (FAQs)
Quick start guide
Portico
Portico is the main UCL student information system which is used by all students for:
updating personal data such as addresses or contact numbers
completing online module registration
viewing information about programmes/modules
viewing examination timetables and results
pre-enrolment and re-enrolment
applying for graduation ceremonies
For further information, see:
Portico login
Portico Helpdesk
Information on transcripts and how to access

replacements
An official transcript, detailing examinations taken and results achieved, is issued
automatically to all graduating students and sent to their contact addresses as held on
Portico approximately 10 weeks after the awards have been ratified by the UCL authorities.
UCL Student Records can produce additional transcripts for students on taught programmes
as well as for affiliate students via the UCL Transcript Shop at
http://onlinestore.ucl.ac.uk/product-catalogue/student-registry-services-c19/assessment-stud
ent-records-j13/j13-transcripts

Core modules outlined
Disciplines of Music EducationPhilosophy, Sociology and

Psychology (Part 1)
Aims
The aims of this module (CCMEG821A) are:
to help students reflect on the nature and value of music, musical experience and
music education; to make students aware of the social significance of music, the
social organization of musical production and reception, and the social functions and
effects of music education.
This is achieved through:
an exploration of aesthetics and aesthetic experience from both Western and
non-Western perspectives, theories of the meaning of music, current views of music
as a form of knowledge, notions of the arts as a generic community, the concept of
aesthetic education;
a study of the inter-relationships between musics social context and perceived or
hypothesised musical meaning, the social construction of notions of musical value
and musical ability and an exploration of access to musical opportunity.
Learning outcomes
Students should be able to demonstrate a critical awareness and understanding of:
current debates within the areas of philosophy of music and sociology of music;
philosophical and sociological perspectives and how these underpin music
education;
the application of theoretical concepts to their professional practice, reflecting on the
challenges facing music educators working in contexts within and beyond their own
immediate environment;
teaching as enquiry, and how knowledge is created and interpreted as a result of
reflective teaching and theorising practice;
the conceptual understandings that enables the students to evaluate critically current
research in both music and music education.

Disciplines of Music EducationPhilosophy, Sociology and
Psychology (Part 2)
Aims
The aims of this module (CCMEG831A) are:
to critically examine a wide range of music psychology and sociocultural theory
research sources concerning how people make sense of music;
to show how peoples thinking is shaped by social groups, enculturation, maturation
and experience;
to show how specific musical knowledge, skills and understanding are developed.
This is done through:

examining the way that music acts as social life, how music is recontextualised in
education, and the implications that this has for music education;
a study of music in social justice, showing how music facilitates social change, and
illustrating the relationship between music in conflict areas and criminal justice and
music education in the broadest sense;
exploring key features of musical development from pre-birth into adolescence and
adulthood, and considering neurological and socio-psychological factors in
development.
Opportunities will be provided to examine issues concerning the definition and assessment
of musical abilities, psychological perspectives on musical performance and generative skill
development, such as singing.
Learning outcomes
current debates within the areas of psychology of music including sociocultural
theory;
psychological and sociocultural perspectives and how these underpin music
education;
the application of theoretical concepts to their professional practice, reflecting on the
challenges facing music educators working in contexts within and beyond their own
immediate environment;
teaching as enquiry, and how knowledge is created and interpreted as a result of
reflective teaching and theorising practice;
how to evaluate critically current research in both music and music education.

Disciplines of Music Education (core modules)
Disciplines of Music EducationPsychology strand

Module Tutor: Graham Welch
Aims
This strand critically examines a wide range of music psychology and music social
psychology research sources concerning how people make sense of music. It shows how
their musical thinking is shaped by enculturation, maturation and experience; and how they
develop specific musical knowledge, skills and understanding.
The strand explores key features of musical development from pre-birth into adolescence
and adulthood and also considers neurological and socio-psychological factors in
development. Opportunities will also be provided to examine issues concerning the definition
and assessment of musical abilities, psychological perspectives on musical performance
and generative skill development, such as in singing.
Learning outcomes
Students should be able to demonstrate an awareness and critical understanding of:
the evidence of musical development from early childhood through to adolescence
and beyond;
theoretical issues surrounding the definition of musical abilities and their
measurement;
psychological aspects of musical behaviour, such as in performance;
social-cultural perspectives on musical cognition and perception;
research approaches in the psychology of music and their relationship to music
education.
Students should be able to reflect critically upon and develop their own professional practice
in light of the above.
Schedule
Date/time Session Topic Tutor Readings
3 October 1 The ontogenesis G.W.1 Lecaneut (1996), Papousek

11:0013:00 of musical (1996), Parncutt (2006, 2009),
behaviour Trevarthen (1999)
NB. Each week, from 3 October to 5 J.S.2

December, Jo Saunders will lead a study
1
Graham Welch
2
Jo Saunders
skills session after these lectures,
14:0016:00. Please note that, in addition
to face-to-face lectures, some of the weeks
may comprise presentations, embedded
tasks and discussion groups delivered via
Moodle. Please ask Jo for details.
10 October 2 Neuropsychobiolo- G.W. Ayotte, et al. (2002), Blood and

11:0013:00 gical features of Zatorre (2001), Janata et al.
musical behaviour (2002), Juslin and Sloboda
and development (2001), Maess et al. (2001),
Munte (2002), Patel (2009),
Peretz and Zatorre (2003),
Schlaug (2009), Stewart and
Williamon (2008), Zatorre and
Peretz (2001)
17 October 3 Musical G.W. Bamberger (2003), Hallam

11:0013:00 development in (2006), Hargreaves (1996);
childhood Schlaug et al. (2005),
Shehan Campbell (1998),
Trehub (1997, 2006), Welch
(2000, 2006b)
24 October 4 Musical G.W. Creech et al. (2008),

11:0013:00 performance Gabrielsson (1999), Lehmann et
al. (2007), McPherson and
Thompson (1998), Papageorgi
et al. (2009), Parncutt and
McPherson (2002), Small
(1999), Welch and Papageorgi
(2008), Williamon (2004);
31 October 5 Music and J.S.3 Hargreaves and North (1997),

11:0013:00 adolescence MacDonald et al. (2002), North
and Hargreaves (2008),
Saunders (2010)
7 November 6 The problem with G.W. Gagn (1999), Gardner (1998),

11:0013:00 musical abilities Hallam et al. (2008), O'Neill and
and their Sloboda (1997), Psychology of
measurement Music (2004, Special Issue),
Rakowski (1999), Shuter-Dyson
(1999), Sloboda and Howe
(1999)
14 November 7 Social psychology G.W. Clayton (2009), Deutsch (1999),

11:0013:00 of music and Hargreaves and North (1997,
music education 1999), MacDonald et al. (2002),
Miell et al. (2005), North and
3
Jo Saunders
Hargreaves (2008), Shehan
Campbell (1998, 2005), Welch
(2007, 2010)
21 November 8 Musical A.O.4 Miller (1989), Ockelford (2000,

11:0013:00 development: 2008), Schwalkwijk (1994),
Special needs and Welch and Ockelford (2010),
special talents Welch et al. (2009)
28 November 9 Psychological G.W. Saunders et al. (2010), Thurman

11:0013:00 aspects of singing and Welch (2000), Welch (2000,
development 2005, 2006a), Welch and
Sundberg (2002), Welch et al.
(2008, 2009, 2010, 2011);
5 December 10 Course review: G.W. McPherson and Welch (2012)

11:0013:00 Music, psychology,
pedagogy; and
assignments
4
Adam Ockelford
Disciplines of Music EducationSociology strand
Module Tutor: David Baker
Aims
The sociology strand aims to make students aware of the social significance of music, the
social organisation of musical production and reception, and the social functions and effects
of music education. We will study the interrelationships between musics social context and
musical meaning, the social construction of notions of musical value and musical ability,
access to musical opportunity, and a diversity of music teaching and learning approaches in
different social circumstances. The reproduction of social groups, including class, ethnicity,
gender and youth subcultures will be considered in the light of the role played by music
education.
Learning outcomes
sociological approaches to musical meaning and value;
the pertinence of traditional musicological procedures for studying non-classical
music;
learning practices in relation to a range of different musical styles;
the construction of what counts as music through education;
the sociological implications of the entrance of popular and world musics into the
curriculum;
gender, ethnicity, youth and identity issues in relation to music and music education;
women, gender and sexuality in relation to music and music education;
research approaches in the sociology of music and their relationship to music
education.
Students should be able to reflect upon and develop their own professional practice in the
light of the above.
Schedule
2 October 1 Introduction to the D.B.5 Baronski and Hassan

18:0020:00 sociology of music and (2015), De Nora (2003a, b),
music education Green (1999, 2002, 2010),
Martin (1995), Wright
(2010)
9 October 2 Music in the New D.B. Bourdieu (1994), Burnard,

18:0020:00 Sociology of Education Trulsson and Sderman
(2015), Green (1988),
5
David Baker
Storey (1996a, b, 2009),
Vulliamy (1977), Vulliamy
and Shepherd (1984),
Whitty (1985), Young
(1971)
16 October 3 Informal learning L.G.6 Downey (2009), Folkestad

18:0020:00 (2006), Green (2002, 2008),
Jaffurs (2004), Karlsen
(2010), Lebler (2008), Mans
(2009), Rodriguez (2009),
Vakeva (2009), Wright,
Younker and Beynon
(2017)
23 October 4 Gender and music L.G. Citron (1993), Green (1993,

18:0020:00 education 1994, 1996, 1997a, b,
2002), Legg (2010),
McClary (1991)
30 October 5 Visually-impaired D.B. Baker and Green (n.d.,

18:0020:00 musicians lives 2016), Lubet (2011), Straus
(2011)
6 November 6 Different approaches to M.S.7 Green (2008), Shehan

18:0020:00 music and musical Campbell and Wiggins
learning (2013), Small (1998),
Stakelum (2013)
13 Nov 7 Multiculturalism and D.B. Elliott (1989, 1990),

18:0020:00 globalisation in music Schippers (2009), Shehan
education Campbell (2005), Volk
(1998)
20 Nov 8 Music education and the T.P.8 Henley, Caulfield, Wilson

18:0020:00 community and Wilkinson (2012),
Higgins (2012), Jones and
Langston (2012), Rimmer,
Higham and Brown (2014),
Silvermann (2012), Wiegold
and Kenyon (2015)
27 Nov 9 Music, conflict and music T.P. Green (2011), Haynes

18:0020:00 education (2014), OConnell and
Castelo-Branco (2010),
Turino (2008), Urbain
(2014)
6
Lucy Green
7
Mary Stakelum
8
Tim Palmer
4 December 10 Course review: Student D.B.
18.0020:00 presentations and
discussion on
assignments

Disciplines of Music EducationPhilosophy strand
Module Tutor: Jo Saunders
Aims
The aim of this strand is to help students reflect upon the nature and value of music, musical
experience and music education. Students will consider some central issues in aesthetics
with reference to the writings of philosophers, musicians and music educators, paying
attention to 18th and 19th century thought and its influences on more recent philosophies and
aesthetic theories. These include theories of the meaning of music, current views of music
as a form of knowledge, notions of the arts as a generic community, aesthetic theories in
non-Western musics and the concept of aesthetic education.
Learning outcomes
aesthetics as a form of inquiry;
referential, expressionist and formalist theories of music;
Langers theory of music;
philosophical and aesthetic views of selected musicians;
Deweys theory of art as experience;
theories of the arts as knowledge;
the notion of the arts as a generic community;
philosophical concepts in non-Western music;
the relationships between philosophical theories and music education practice.
light of the above.
Schedule
8 January 1 Introduction to J.S.9 Elliott (2012), Graham

18:0020:00 philosophy of music and (1997), Hume
music education (1757/2008), Kant
(1790/2008), Kivy (1997),
Schopenhauer
(1851/2008), Storr (1992),
Westerlund and Vkev
(2011)
15 January 2 Musical meaning J.S. Cooke (1959, Ch.1),

18:0020:00 Cooper (1997), Hamilton
(2007), Hanslick (1957),
Koopman and Davis
9
Jo Saunders
(2001), Swanwick (1979),
Walton (1994)
22 January 3 Musical expression J.S. Almen and Pearsall

18:0020:00 (2006), Langer (1957),
Meyer (1956), Roholt
(2010), Silverman (2007);
Swanwick (1979), Woody
(2010)
29 January 4 Musical knowledge J.S. Elliott (1991, 1995),

18:0020:00 Gardner (1993), Hirst
(1973/2006), McCarthy
and Scott Goble (2005),
Regelski (1997), Reid
(1974/2006), Reminer
(1991), Swanwick (1991,
1994, 1999)
5 February 5 Musical value and J.F10 https://jfin107.wordpress.c

18:0020:00 assessment om/2014/11/28/the-proble
m-of-standards-in-music-e
ducation-and-the-loss-of-h
appiness/?preview=true&
preview_id=1041&preview
_nonce=0ec89b35cc
Beauvais (2011), Ross et

al. (1993), Spruce (1998)
12 February 6 Musical enculturation TBC Baily (2015)

11
18:0020:00 and music education in
Afghanistan
19 February 7 Musical experience J.S. Dewey (1934),

18:0020:00 Plummeridge (1999),
Puolakka (2014), Reimer
and Wright (1992)
26 February 8 Bridging aesthetics with E.H.12 Himonides (2009, 2011)

18:0020:00 science and application
of theories: Part I
5 March 9 Bridging aesthetics with E.H. Himonides (2009, 2011)

18:0020:00 science and application
of theories: Part II
12 March 10 Course review: Music, J.S.
10
John Finney
11
Jo Saunders to confirm this lecture title and presenter.
12
Evangelos Himonides
18:0020:00 philosophy, pedagogy;
and assignments
Gamelan workshop
As a practical activity, and to explore non-Western philosophies in music, we also hope to
organise two gamelan workshops, held at the Southbank Centre as part of this module
(details to follow).
Disciplines of Music Educationassignments
Psychology assignment
A 3,500-word written assignment chosen from one of the following options:
Choose one of the following:

Discuss the potential significance of one aspect of the psychology of music literature
for your own practice, such as a performer, as a manager/administrator, or as a
teacher (or a combination of these). [Applied practice focus]
Critique one aspect of any countrys National Curriculum for Music in the light of
particular area of theme in the psychology of music literature. [Curriculum focus]
Conduct a critical review and evaluation of the literature in one area of music
psychology and education that you find particularly interesting. [Topic focus]
Review the implications of the musical development literature for a particular age
phase or group, such as in a school or community setting. [Development focus]
Sociology assignment
Choose one of the following:

Discuss the potential significance of one aspect of the sociology of music and/or
music education literature for your own practice, such as a performer, as a
manager/administrator, or as a teacher (or a combination of these). [Applied practice
focus]
Critique one aspect of any countrys National Curriculum for Music in the light of
particular area of theme in the sociology of music and/or music education literature.
[Curriculum focus]
Conduct a critical review and evaluation of the literature in one area of the sociology
of music and/or music education that you find particularly interesting. [Topic focus]
Review the implications of the sociology of music and/or music education literature
for a particular age phase or group, such as in a school or community setting.
[Development focus]

Philosophy assignment
Focussing on any aspect of music education in any country, discuss one of the following
questions in relation to the philosophical challenges that it presents to music educators. In
your discussion, review and evaluate the philosophical writings of musicians and educators,
as well as literature from the fields of philosophy and aesthetics, and the wider area of arts
education.
What is musical knowledge?
What does it mean to express music?
What gives music its meaning?
Can music be assessed?
What is an aesthetic experience?

Optional modules
Critical Studies in Music Pedagogy and Practice

Module Tutor: David Baker
Aims
This optional module (CCMEG871B) embraces the overarching aims of the MA Music
Education course, by critically examining past and present music educational research and
practice across a range of social and cultural contexts. Promoting thinking, it addresses
research and practice in relation to pedagogy concerning the teaching and learning of
practical musical skills as well as historical and theoretical aspects of musical knowledge. It
will enable students to examine critically and deepen their understanding of the role of the
music teacher, and the developmental routes to becoming a music teacher, in relation to
their own and others professional and personal contexts. It will also examine notions of
diversity within and between cultures in relation to pedagogy and practice in music, as well
as, critically evaluating existing models of music pedagogy, curriculum development and
implementation.
Learning outcomes
At the end of the module all students should have:
critically examined a variety of theories, pedagogies and practices in music
education;
developed their understanding of the nature of the role and development of the
teacher in the promotion of musical learning in a variety of contexts, local and
international, and in relation to a critical analysis of research in the area;
examined and understood aspects of diversity both culturally and pedagogically in
musical practice;
critically evaluated models of pedagogy, curriculum development and
implementation;
planned, executed and evaluated a particular curriculum or other musical project.
light of the above.
Schedule
Date/time Week Topic Tutor Readings
9 January 1 An historical D.B.13 Clarke, Dibben and Pitts (2009),

18:0020:00 overview of music Cox (1993, 2002), Cox and
13
David Baker
Room 944 education and its Steven (2010), Finney (2011),
curricula Garnett (2013), Hargreaves and
North (2001), Swanwick (1999)
16 January 2 International S.H.14 Barrett (2011), Hallam and

18:0020:00 perspectives on Creech (2010), Hentschke (2012),
Room 944 music education Lehmann (2012), McCarthy
(2012)
For Seminar 2 (16 January), Susan Hallam has asked that students prepare a short
presentation, in groups if there are others from the same country, on the following
title: Describe the music education system in your country? Briefly explain how is
it organised (inside and outside schools, universities and other institutions, in
childhood and onward to adulthood, including any curricula and aims)? Explain
your pathway as a musical learner through that education system. (5 minutes
max.)
23 January 3 The role of S.H. Creech (2016), Creech and Gaunt

18:0020:00 instrumental and (2012), Davis (2012), Hallam and
Room 944 vocal Bautista (2012), Hallam (1998,
curricula in music 2012, 2016), Hallam, Creech,
education Papageorgi, Gomes, Rinta,
Varvarigou and Lanipekun (2016),
Hallam, Rinta, Varvarigou,
Creech, Papageorgi and Lani
(2012), Jorgensen and Hallam
(2016), Webb and Seddon (2012)
30 January 4 Ear playing in the L.G15 Baker and Green (2013), Downey
18:0020:00 instrumental lesson and (2009), Folkestad (2006), Green
D.B. (2001, 2008, 2014), Jaffurs
(2004), Karlsen (2010), Lebler
(2008), Mans (2009), Rodriguez
(2009), Vakeva (2009)
6 February 5 Practical session: D.B. Green (2014)

18:0020:00 Ear playing Practical session: Please bring
a pitched instrument with you
to the session
13 February 6 Assessment in D.B. Fautley (2010), Savage and

18:0020:00 music education Fautley (2007, 2013), Savage
(2014), Swanwick (1994, 1999)
20 February 7 Musicology and M.S.16 Bayley (2010), DeNora (2003a),

18:0020:00 music education Middleton (1990, 2000), Moore
(2012a, b), Small (2011)
14
Sue Hallam
15
Lucy Green
16
Mary Stakelum
27 February 8 Authenticity in music J.S.17 DeNora (2000), Drummond
18:0020:00 Education (2010), Hoffman and Carter
(2012), Lundquist and Szego
(1998), Power and Horsely (2010)
6 March 9 Research into J.S.

18:0020:00 practice: Overview
of current and
recent research
13 March 10 Course review: D.B.

18:0020:00 Student
presentations and
discussion on
assignments
Assessment
Students are required to complete one assignment, i.e. one of the two options below. The
number of words contained in the assignment must be stated at the end of the assignment.
Choose one of the following options:
Option 1project
A practitioner project. This can take the form of, for example, a performance a concert, or
series of music-making events, which is to be devised and evaluated from an educational
point of view; or a composition for a specific group of learners; or a particular curriculum
project. The assignment will include: (i) planning and a log of preparation; (ii)
implementation; (iii) recording, reflection and evaluation.
(i) Planning: a written description and rationale of the intended music project, d rawing on
research in music teaching and learning to inform the projects design (1,500 words);
(ii) Implementation: the performance or equivalent of the project in the students professional
context and a video or appropriate recording of it (1,500 words or equivalent);
(iii) Review, reflection and evaluation: A written reflection of the project drawing on the
relationship between research and practice (2,000 words).
Option 2observations
A critical reflection of the nature of music teaching and learning, pedagogy and practice in a
variety of contexts. Students will demonstrate their understanding through:
A critical review of observations of up to three different contrasting practice-based music

teaching and learning situations (e.g. a primary school class lesson, a community choir
rehearsal, an instrumental lesson). The review should draw on the relationship between
research, theory and observed practice and seek to determine what counts as effective and
successful music teaching and learning, pedagogy and practice (5,000 words).
17
Jo Saunders
You may focus on any topic relating to the module: e.g. curricula, cross-cultural
perspectives, informal learning, assessment, instrumental teaching, or authenticity.

Music Technology in Education (online)
Module Tutor: Evangelos Himonides
Aims
By taking this optional module (CCMEG882B), students will have opportunities to develop
skills and knowledge, and compile evidence of an increasing specialist expertise in using
music technology in six core areas of: (i) sound and its properties; (ii) basic audio
processing; (iii) an introduction to MIDI; (iv) digital audio basics; (v) basic recording; and (vi)
an introduction to music sequencing.
Students will also critically review music technology through focusing on the issues and
challenges of creative applications of music technology to music education. They will engage
with key literature and commentary in relation to the specialist use of music technology,
teaching and learning with technology in music, and electroacoustic and electronic music.
Students will engage in reflective self-analysis in relation to their own practice in teaching
and learning with creative music technology through further study of applications and
pathways for creative music technology. They will explore: the future of music technology;
the issues, challenges and implications of music technology for music education; and
creative and aesthetic issues in music technology.
You do not need to have a technological background or any former study in Music
Technology in order to undertake this course.
Learning outcomes
At the end of the module all students should have:
demonstrated evidence of increased specialist skills in using music technology in a
variety of applications;
considered innovative and intellectually grounded strategies and approaches to
improve pedagogy and excite learning using music technology in a variety of music
curricula;
created a portfolio of assignments demonstrating their competence in using music
technology in relation to the core areas;
explored issues in relation to the core areas and their application to music teaching
and learning in greater depth through critical analysis and review of key literature and
commentary, which may include a review of the students own practice or review of
those of key practitioners in the field.
Core topics
Students consider the following core topics through a focus on creative applications within
music technology:
Sound
Audio

MIDI
Digital Audio
Basic Recording
Sequencing
Students are encouraged to reflect on their own experience and area of music education,
and opportunities are provided for engagement in reflective analysis on their own
professional practice through explorations of three further areas of study:
applications and pathways for creative music technology within education;
the future of music technology and the challenges for education;
creative and aesthetic issues in music technology and music education.
Schedule
Date/time Week Topic Tutor Key concepts
8 January 1 Introduction E.H.18
15 January 2 Sound and its E.H. Generating sounds: Generating sound

production and discussion forum
22 January 3 Audio E.H. Generating audio: Create a digital

audio file and discussion forum
29 January 4 Audio E.H. Audio editing: Speech manipulation

task and discussion forum
5 February 5 MIDI E.H. Introduction to MIDI: Write a MIDI

procedure and discussion forum
General MIDI: Edit a MIDI file and

discussion forum
12 February 6 Digital Audio E.H. Binary: Binary conversion and

discussion forum;
audio compression and file qualities
19 February 7 Sound in the E.H. Virtual Modular Studio and device

digital domain setup
26 February 8 Capturing and E.H. Automated sequencing using virtual

processing instruments
sound
5 March 9 An introduction E.H. Sequencing strategies using a popular

to music digital audio workstation (DAW)
sequencing
18
Evangelos Himonides
12 March 10 MIDI to audio E.H. Hands-on sequencing and conversion
to audio
Please note that key literature for this module will be made available online (see UCL
Moodle).
Assessment
Portfolio
As part of the course, students will develop a portfolio of evidence demonstrating their
developing expertise in music technology and its application within education. This
comprises directed tasks that explore the core topic areas. Tasks are time-released in
conjunction with online teaching of each core area (3,000-word equivalent).
Written assignment
After completion of the portfolio directed tasks, students will be required to undertake a
written task. For the final 2,000 word assignment for 201718, you will all be asked to
choose one of two titles:
1. What is the imprint of technology on music education?

or
2. Collaborations are powerful but difficult to sustain. To what extent can new models of
collaboration within music education be facilitated? What role can technology play in helping
build new, meaningful collaborative networks?
Both can be found as reflective questions in Jonathan Savage's chapter in the technology
section of the Oxford Handbook of Music Education.
Prerequisites
Students will be expected to have a reasonable non-specialist users knowledge of generic
computer use including using email and attachments, using typical computer peripherals,
using the internet, and doing general word processing.
We do not require students to have a prior knowledge in music technology. However, in

order to complete the course, students will need regular and open access to a computer with
a sound-card, speakers and internet connection upon which they can install software, i.e. it
should be the students own workstation or a computer over which they have administrative
privileges. The computer will need to run Windows XP or above (e.g. Vista, 7, 8, 10,
Windows 10), or Mac OS9 or above (preferably Lion and above).

Choral Conducting, Leadership and Communication
Module Tutor: Evangelos Himonides
Aims
The aims of this optional module (CCMEG895B) are to identify areas for development in
students professional practice and in their theoretical understanding with a view to
development. It will also develop the skills and attitudes necessary for effective choral
conducting and rehearsing within the context of study at an advanced level. Students will
systematically analyse and critically evaluate their professional practice in the light of this
enquiry and critically evaluate models of effective practice. The role of research in choral
education will also be critically reflected upon.
Learning outcomes
appropriate literature and research material whilst considering the implications for
choral rehearsing, training and performing;
various choral conducting techniques, gestures and language within an informed and
critical context;
the psychology of conducting and rehearsing;
the communication and interpersonal skills of the conductor;
the relationship between gestural and verbal language on the voice and its efficient
and healthy practice;
various ways and methods of dealing with singing development, particular vocal and
choral problems, achieving choral effectiveness in terms of blend, balance, intonation
etc.;
the science and workings of the voice in order to be able to make effective technical
judgements and comments in rehearsal.
light of the above.
Seminars
Each session will include some or most of:
Critical evaluation of the techniques of conducting, including exploration of
conducting patterns, gestures, expressions and means of verbal and nonverbal
communication.
Techniques of choral rehearsing and conducting; setting tempi, effecting changes in
such concepts as dynamics, choral tone and blend, metre, pace, expressive
character, pauses and closures.
Practical application of conducting and rehearsing; critical exploration of musical
style, methods and style of rehearsing, critique of aspects of communication and
motivation; dealing with musical problems.

Evaluation of conducting procedures; critical review of research, choral conducting
methodologies and singing development.
Evaluation of the choral repertoire in an educational context and from a vocal
perspective.
Schedule
Date/time Session Topic Tutor
19 January 1 The nature of choral conducting E.H.19

10:0017:00 Introduction to choral conducting,
leadership and communication
The concept of choral education
Exploration of gesture: An expressive
and holistic approach
Conducting workshop
27 January Student-led session (Room 944)
8 March 2 The conductor as a singer E.H.

10:0017:00 Vocal issues and responsibilities
Vocal, physical and aural warm-ups
Vocal development from early years
to adolescence the changing voice
Conducting workshop
17 March Student-led session (Room 944)
25 April 3 The conductor as a leader E.H.

10:0017:00 Review and reflection of students
practice
Review of research
Rehearsal strategies and the nature of
leadership
Conducting workshop
28 April Student-led session (Room 944)
30 May 4 Contextual issues E.H.

10:0017:00 Sociocultural environment of singing
Conducting workshop
31 May 5 Final conducting session C.D.20

10:0017:00
19
Evangelos Himonides
20
Colin Durrant
Assessment
A critical exploration of your own and others conducting, communication and leadership in
rehearsal.
Video submission: Final conducting session

A video-recording of a rehearsal of a choral group in a 15 minute programme of a rehearsal,
which represents the culmination of a series of rehearsals with that group. You will need to
demonstrate the ability to communicate effectively with the singers by verbal and nonverbal
means, to conduct an appropriately expressive performance and display understanding of
the voice in a choral context (2,000 word equivalent).
Written submission
A reflective paper outlining some of the technical, musical and/ or communication problems
and issues you have encountered during rehearsals, and a description of ways of dealing
effectively with them. You should refer to your practice as evidenced in the video
submission and will need to demonstrate an understanding of these issues and their
possible solutions as well as making appropriate connections with literature (1,500 words).
A critical comparison of at least three other choral conductors or choral situations in

rehearsal over the period of the course in relation to the perceptible musical outcomes, and
appropriate literature. You should link this to your own practice (1,500 words).

Dissertations and reports
Supervision
Members of the Programme Team are all involved in the supervision of MA dissertations and
reports. The Programme Leader needs to be kept informed in the early stages of proposals
in order to match students with supervisors.
The study day, and study skills sessions led by Jo Saunders in Term 1, will stimulate
discussion and thinking on an area for you potentially to research. A good idea is to focus on
some area that is related to your professional concerns and establish a suitable
methodology. It is crucial to produce something on paper for your supervisor to see and to
arrange a meeting to discuss it. It is usually not sufficient to see a supervisor once or twice.
On the other hand, it is an excessive demand on staff time to expect regular weekly or
fortnightly consultations unless there is a real problem over some specific part of the work.
Normally we would expect to see a student two or three times for a report, and about five
times for a dissertation. Ideally, an early meeting will establish the direction of the work,
while subsequent meetings are likely to be spent on feedback on written submissions, or
dealing with particular problems that have emerged.
At the start of your work on your dissertation/report, you should discuss a timetable for
completing it with your tutor. Together you will determine deadlines for completing particular
stages of your work, including filling out and turning in the ethics approval form. Exactly
when these deadlines fall will depend on the following factors: whether you are writing a
dissertation or a report, whether you are a full- or part-time student, your personal work rate,
and your tutors style of supervision.
It is the students responsibility to make contact with tutors to arrange tutorials,

bearing in mind the dates of term. It is advisable to send written work to your supervisor,
normally through email, before each meeting so that there is work in progress to discuss.
Although tutors are willing to see students outside of term times for particular reasons, it is
not always possible for them to do so. Part-time students may be able to arrange tutorials
during the limited amount of time available before MA evening sessions. Students must
particularly ensure that they are informed about their dissertation or report supervisors
availability over the summer, and that they have drawn up a mutually agreed plan for drafting
and getting feedback on their work. It is too late to ask for supervision during August for
dissertations or reports due in September. Such work needs to have reached the final
stages by the end of July at the latest, so that August is spent in polishing and finalising
details.
Scope of the work

It is recommended that dissertations and reports are clearly defined and limited in scope. An
MA dissertation or report is not the place to deal with cosmic issues in music education,
human nature or artistic experience, though such issues may be referred to in the course of

the work. Music education badly needs much more information about the way children and
adults learn particular things, the way in which music functions in different contexts, the
effectiveness of particular strategies for certain purposes and so on. Peoples narratives are
usually more interesting and informative than a plethora of statistics. A dissertation or report
should try to shed light on one relatively limited problem area.
What you have to say should be said freely and economically. There is no need to wrap
things up in what is sometimes called academic jargon. You should avoid mere narrative
description and unsupported assertions of opinion. Fundamentally, your argument will be a
blend of literature review, theoretical perspective and your own research. Any difficult points
should be supported by an example or illustration. Make sure that you do not exceed the
word limit: an overlong piece of work is as unwelcome as an undersized one.
You may wish to focus your dissertation or report on a small research project such as an
investigation of musical learning in a particular context. You may, on the other hand prefer
to write a more philosophical piece that presents and critically analyses issues and ideas in
the chosen area. It is important to discuss the structure of your dissertation or report with
your supervisor early on in the planning stages.
Preliminary questions
1. What are the objectives of the study? Are they clear? Are they SMART? (Specific,
Measurable, Achievable, Relevant and will fit into the Time you have available?)
2. What is the main method of collecting data? Some of the most commonly used
methodologies are:
Conceptual: where you explore a concept in music education. For this kind of
research you should check that the line of reasoning clear and there are there good
examples to support your argument.
Historical: where you explore the historical context of a particular aspect of music
education. For this kind of research you need to think carefully about the quality of
the sources you are using
Empirical: where you use observational or experimental techniques to collect data
from real life. Think about what kind of data you need to collect and how you plan to
analyse it.
Case studies: where you focus on a specific example of an aspect of music
education and seek to explore it in detail. In this instance ask yourself: is the case
description fair, rich in relevant detail and, at the same time, economical in terms of
words?
Action research: where an evaluation is made of the effectiveness of a particular
activity, teaching method or strategy that has been carried out by the researcher in
the field. This style of research needs careful planning and preparation as well as a
valid and reliable evaluation tool.

Many dissertations or reports will be a blend of these main methodologies and in any event
there must be clear conceptual strength underpinning your study.
3. Is the project small enough to be possible? An MA dissertation or report is intended to

show ability to conduct research on a small scale. It needs to fit into the word limit of the
assignment.
Word limits
The dissertation word limit is 20,000 (with a 10% tolerance above or below) and the report
word limit is 10,000 (with a 10% tolerance above or below). The word count excludes
appendices and the list of references, but includes the contents page, footnotes, glossary,
maps, diagrams and tables.
Ethical approval
Ethical approval forms will be available from Moodle. These must be completed, reviewed by
your supervisor, and then countersigned by a second Programme Team member. A pproval
to proceed must be gained before proceeding with any fieldwork. In most
circumstances, you will be required to understand and implement informed consent
procedures as well as respecting the confidentiality and voluntary participation of any
respondents. The British Educational Research Association have ethical guidelines that are
free to download, see: https://www.bera.ac.uk/
Software
Software for the storage and analysis of qualitative or quantitative research data can be very
helpful. Applications like SPSS and NVivo can be downloaded from the UCL Software
Database: https://www.ucl.ac.uk/isd/services/software-hardware/student-software
Stages of progression
Normally, a dissertation/report progresses through the following stages:
1. Developing a focus for the dissertation/report where you devise:

a title and rationale for your dissertation/report;
three to five research questions or key questions which you plan to answer in your
dissertation/report; and
an outline bibliography.
If you are planning to collect data to use in your dissertation/report, such as through
classroom observation, interviews and surveys, then you should also work out what research
methods you plan to use to collect and analyse this data.
2. Exploring the literature and collecting data where you:

make revisions and refinements to the title, rationale, research questions and (where
appropriate) research methodology;
undertake a literature review;

write an outline of chapters for the whole dissertation/report; and
if you are collecting and analysing data in your dissertation/report, present some
early results from your data collection.
At this stage you may find that you can present some draft chapters for your tutor to review.
Some tutors may ask you to start writing draft chapters. If you are collecting data for your
dissertation/report, you should aim to start this in good time, and your tutor will work out a
timetable for this part of your work with you during tutorials.
3. Analysing data and writing the dissertation/report. In this stage you will:
determine the final version of your dissertation/report;
confirm how you will use your research findings (if you are collecting data) and
literature review to answer your research questions; and
if you are collecting data, complete the final analysis of the results from your data
collection.
Throughout this stage you will continue to present draft chapters to your tutor for review and
feedback, in order that you are confident that you are progressing appropriately with writing
the final version of the dissertation/report.
Please note that some dissertations and reports will not necessarily fit into this framework.
The important thing is to make sure that you keep in regular contact with your supervisor,
and to discuss all concerns and issues about your dissertation/report with them.
Research methods texts

The following texts, which are available at the IOE library (with some that can also be read
online - see the library catalogue), will help when planning your dissertation or report:
Bell, J. (1999) Doing Your Research Project: A Guide for First-time Researchers in
Education, Health and Social Science (5th ed.). Buckingham: Open University Press.
esearch Methods in Education (6th ed.).

Cohen, L., Manion, L. and Morrison, K. (2007) R
London: Routledge (Taylor and Francis).
Denscombe, M. (2007) The Good Research Guide for Small-scale Social Research Projects.
Buckingham: Open University Press.
Lankshear, C. and Knobel, M. (2004) A Handbook for Teacher Research: From Design to
Implementation. Maidenhead: Open University Press.
Mason, J. (2002) Qualitative Researching. London: Sage.
Opie, C. (Ed.) (2004) Doing Educational Research: A Guide to First-time Researchers.

Thousand Oaks, CA: Sage.

Robson, C. and McCartan, K. (2011) Real World Research: A Resource for Users of Social
Research Methods in Applied Settings. Chichester: Wiley.
Salkind, N. (2014) Statistics for People Who (Think They) Hate Statistics (5th ed.). Thousand
Oaks, CA: Sage.
Silverman, D. (2014) Interpreting Qualitative Data (5th ed.). Thousand Oaks, CA: Sage.
Silverman, D. (2011) Qualitative Research: Issues of Theory, Method and Practice (3rd ed.).
Thousand Oaks, CA: Sage.
Dissertation/report format
Use this format to focus your ideas for your dissertation or report. When approaching your
supervisor in the first instance, it is advisable to submit in this format for discussion in
tutorials.
Working title
Literature review (brief and to be developed further)
Background issues and rationale for your research
Aims and objectiveswhat will your research achieve?
Methodologywhat techniques will you use to collect and analyse your data?
Possible chapter contents with word limits
Further questions which can help in the assessment process later, including self-assessment
as you write the dissertation/report are:
Is there a good analysis and synthesis of relevant and up-to-date literature?
Does the study illuminate any specific aspect of music education?
Was the appropriate research methodology used for collecting and analyzing data?
Has the research implemented ethical principles effectively?
Have you been candid in your reporting about matters affecting ethical practice or the
plausibility of your findings?
Have you, participants, other musical learners, or others, benefited from the study?
Could others profit from reading about it?
Is the presentation clear, with grammatical, jargon-free English, without
inconsistencies and typos, and with a logical structure?
Is the referencing, both within the main body of the document and reference list,
consistent and in APA format?
Does it fall within the specified limits of size?
Bibliography
When working with your supervisor, compile a bibliography of all the texts you have read so
far, and the texts you plan to read in future on your topic. The submitted dissertation or
report will only have a list of references however, i.e. only those items to which you refer in
your writing.

Submitting the report or dissertation
The study will be typed (1.5 or double spaced, usually 12pt) allowing a good inside margin
for binding purposes.
The title page should include:

the title of the report or dissertation;
your name;
The caption MA in Music Education
the caption UCL Institute of Education;
the year.
The following claim should be typed at the bottom of the title page:
Dissertation submitted in part fulfilment of the requirements for the degree of Master of Arts
(Music Education)
or
Report submitted in part fulfilment of the requirements for the degree of Master of Arts
(Music Education)
An abstract of about 200 words should appear on the next page. This is not an introduction;
it is a summary of the contents of the dissertation/report for the benefit of other students and
researchers. Then a contents page should list the chapters and sections within the chapters.
A complete reference list of all works cited must follow the text. The appendices (if any)
come right at the end.
If you are submitting additional materials such as audio or video recordings, these must be
properly bound into the text.
Students are advised to consult existing MA dissertations and reports as this is the clearest
way to understand what is required.
Three copies of the dissertation or report must be submitted by 17:00 on the required
hand-in date in September. These are (i) two bound copies (one hardback, one softback)
and (ii) one e-copy (named with your surname in one Word file, i.e. not a .pdf, and not with
e.g. appendices, etc. appearing as separate files). The bound copies must be handed in at
the Academic Programmes Office on Level 4. These must be bound in the appropriate
university blue with the name of the degree, the year and your name on the spine. The
e-copy must be submitted on Moodle. Eventually, dissertations or reports that receive a
Grade A will go to the Institute Library; the soft copy is made available to other students in
the Music Advanced Studies Room.

Names and addresses of academic theses binders
These can be obtained from Registry or by looking in existing bound copies. There is also a
list of binders at http://libanswers.ioe.ac.uk/a.php?qid=205248 Any acceptable binder will do,
as long as the appropriate university binding is used.
The following companies offer a thesis binding service. Please note that inclusion in this list
offers no guarantee that the work will be carried out to the necessary UCL specification. It is
your responsibility to ensure the work is carried out to the required standards. Enquiries
about the cost and time required for binding should be made directly to the company
concerned.
Acorn Press: 103 London Road, Stanway, Colchester, Essex. Telephone: 01206 46101
A. J. B. Bookbinding Company.: 5 Athole Terrace, Bensham Grove, Thornton Heath, Surrey

CR4 8DX. Telephone: 020 8653 5877
Avalon Associates: 23 Dunmore Road, Chelmsford, Essex CM2 6RY. Telephone: 01245
468706
B. P. F. Bookbinders: 7D Diamond Ind. Centre, Works Road, Letchworth, Hertfordshire SG6

1LW. Telephone: 01462 686013
Collis-Bird and Withey: 1 Drayton Park, London N5. Telephone: 020 7607 1116
Ex-Libris: 105 Westbourne Grove, Bayswater, London W2 4UW. Telephone: 020 7229 4134
F. J. Blissett and Company: Palmerston Works, 1 Roslin Road, South Acton, London W3
8DH. Telephone: 020 8992 3965
Grays (Bookbinders) Ltd.: Unit 5, Capital Industrial Park, 24 Willow Lane, Mitcham, Surrey,
CR4 4NA. Telephone: 020 8640 1449
Hollingworth and Moss: Manor Street Industrial Estate, Enfield Terrace, Leeds LS7 1RG.
Kallkwick Printing: 72 Southampton Row, Russell Square, London WC1B 4AR. Telephone:
07814 642 272
Keypoint Bookbinders: Unit 9 Railway Street, Kings Cross, London, N1 9EE. Telephone: 020
7837 4833
London Student Print Centre: University of London Union, Malet Street, London WC1E 7HY.
Telephone: 020 7664 2028 email: i.boyle@ulu.lon.ac.uk
Prontaprint: 63 Coram Street, London WC1N 1HB. Telephone: 020 7833 3005
www.pprussellsquare.com/

Appendices
Student services and

support
Switchboard
The central UCL switchboard number: Telephone: +44 (0)20 7679 2000
IOE Student Welfare and Level 4, UCL Institute of Education, 20 Bedford

Way, London WC1H 0AL
Support Services
Telephone: 0207 679 0100

The Academic Writing Centre offers Academic Writing Centre, Room 602, UCL
support to help you understand and Institute of Education, 20 Bedford Way, London
write your assignments and WC1H 0AL
dissertations. Telephone: 020 7612 6723
email: ioe.writingcentre@ucl.ac.uk
UCL International Student

Support
UCL International Student Support offers email: internationalsupport@ucl.ac.uk
advice on immigration and visas, the Web: http://www.ucl.ac.uk/iss
cost of living in the UK, possible sources
of funding, academic support, and For immigration advice, see:
details of the orientation programme, http://www.ucl.ac.uk/iss/immigration-visa/advic
etc. e
Student Disability Services

Level 4, UCL Institute of Education, 20 Bedford
Provides advice and support regarding
Way, London WC1H 0AL
disability issues and available support
Telephone: 0207 679 0100
for students with disabilities across the
email: disability@ucl.ac.uk
UCL Institute of Education.

Information Serviceslibrary,
computing and media
Information and advice relating to all Tel: 020 7612 6696
aspects of IT at the IOE, including email: computerhelpdesk@ioe.ac.uk
accounts, facilities, equipment and Web: https://www.ucl.ac.uk/isd/ioe
services. Library and information
literacy contacts are given earlier in this For general library information about the
document. library, please refer to
www.ucl.ac.uk/library/sites/ioe
The UCL Service Desk can also be email: ioe.lib-enquiries@ucl.ac.uk
contacted for matters relating to central
computing, including passwords and
audiovisual equipment in email: servicedesk@ucl.ac.uk
centrally-booked teaching spaces.
Graduate Admissions and the UCL Student Centre

UCL Student Centre Ground Floor, Chadwick Building, Gower
The Graduate Admissions section Street, London WC1E 6BT
manages student recruitment activities Web:
and admissions for the UCL IOE. There www.ucl.ac.uk/current-students/student-centre
is a Graduate Admissions Advisor at the
UCL Student Centre. The Centre can Telephone (Graduate Admissions): 0203 108
answer questions about graduation 7288
ceremonies, international student email: admissions@ucl.ac.uk
welfare or changes to student records. email (regarding graduation ceremonies):
grad-ceremonies@ucl.ac.uk
Student and Registry Services

Student and Registry Services provide Enquiry form:
information on regulations and policies, http://www.ucl.ac.uk/registry-admin/support/op
graduation ceremonies, fees and en
financial support, including hardship Web (list of services):
funds for international students, etc. http://www.ucl.ac.uk/srs/student-support
They also offer help and advice on a
range of non-academic issues such as

immigration and visas, employment,
healthcare and living in London.
Examinations Office
Part of Registry and responsible for Web:
producing transcripts of awards and for http://www.ucl.ac.uk/current-students/exams_a
sending out official results to students. nd_awards
The Examination and Academic
Programmes Office also arranges the
annual graduation ceremonies.
Financial support and

fees
Fees, scholarships and

bursaries
email: studentfunding@ucl.ac.uk
Information on fees, scholarships and
Tel: 0207 679 0004
bursaries can be found at
Web:
http://www.ucl.ac.uk/prospective-student
http://www.ucl.ac.uk/prospective-students/schol
s/graduate/taught/degrees/music-educat
arships
ion-ma Alternatively, use the email
address or telephone numbers to the
right.
Funding for UK citizens

The UK government has confirmed it will Web: https://www.gov.uk/postgraduate-loan
be offering Masters degree student
loans for the 201718 academic year for
its citizens. Please refer to the link to the
right for further information.
Payment of tuition fees

For advice and information on how to Telephone: 020 3108 7284
pay for your programme fees or other email: fees@ucl.ac.uk
charges made by the Institute (e.g. for Web:
residences, fines, graduation http://www.ucl.ac.uk/prospective-students/grad
uate/taught/fees-funding

ceremonies), please see the contact Online payments: https://payonline.ucl.ac.uk/
details to the right.
Accommodation
University of London Housing

Service
University of London Housing Service, Malet
This is a service for all University of
Street, London WC1E 7HY
London students, which provides
Telephone: 020 7862 8880
information for students looking for
email housing@lon.ac.uk
affordable housing. The service has
Web: http://housing.london.ac.uk/
databases for flats, rooms and houses
available to students and a database for
students who wish to flat share. The
service also provides housing talks; a
contract checking service; one-to-one
housing advice for students and legal
advice regarding complaints about
registered landlords and letting agents.
Halls of residence
Enquiries about UCL's halls of residence email: residences@ucl.ac.uk
or other matters dealt with by the
Student Residence Office.
See:
Health services http://www.ucl.ac.uk/current-students/support
Doctors
Information about registering with a Ridgemount Practice, 8 Ridgemount Street,
doctor at the Ridgemount Practice can London WC1E 7AA
be found at the link to the right. Students Telephone: 0207 387 6306
living in postcodes covered by the email: gpp@nhs.net
practice can register as NHS patients. Web:
http://www.gowerplacepractice.nhs.uk/index.as
px

Dentists
Dental services can be found at the The Dental Centre London, 139 Euston Road,
Dental Centre London; National Health London WC1 2AA
Service (NHS) Choices also has Telephone: 0207 380 0034
information on its dental practices in Web:
your local area. http://thedentalcentrelondon.com/ucl-students/
NHS Choices
Web: http://www.nhs.uk/pages/home.aspx
Counselling
Gopiha Nandagopal is the point of
contact for UCL Student Psychological
Services, which includes a free, Telephone: 020 7679 1487
confidential counselling service provided email: g.nandagopal@ucl.ac.uk
for all enrolled students at the UCL IOE Web:
to talk about any personal, professional http://www.ucl.ac.uk/student-psychological-serv
or study related issue. ices/counselling
Out-of-hours support
UCL works in with Care First to provide Telephone: 0800 197 4510
students with out-of-hours support and Web:
they have a helpline. http://www.ucl.ac.uk/current-students/support/w
ellbeing/care-first
Central London Samaritans provides
emotional support around the clock for
anyone experiencing feelings of distress
or despair. They can be contacted by
phone (116 123) or email
(jo@samaritans.org). They also offer a .
drop-in service from 09:0021:00 every
day at 46 Marshall Street, London W1F
9BF.
Nursery

The nursery is located at two sites at Tel: 020 7679 7461
5051 and 5559 Gordon Square email: nursery@ucl.ac.uk
(WC1H 0PQ and WC1H 0NU Web:
respectively). It is open to staff and http://www.ucl.ac.uk/estates/news/a-z-services/
students of UCL (including UCL IOE nursery-services
students).
Chaplaincy
The UCL Chaplaincy offers confidential Web: http://www.ucl.ac.uk/srs/chaplain
pastoral counselling and support and
guidance in matters of faith for all
students and staff.
Union
University College London

Union
UCLU has over 200 clubs and societies UCLU, 25 Gordon Street, London WC1H 0AY
covering a wide range of sporting, Telephone: 020 7679 2500
cultural and artistic interests. It has a Web: http://uclu.org/
number of bars, cafs and shops, which
along with The Study are convenient
places on campus where you can relax
and socialise. At UCLU you can get
involved in campaigning, or volunteering
in the local community, or find part-time
work. You can also volunteer to become
a Student Academic Representative
(StAR), see:
http://uclu.org/representation/education/
student-academic-representatives-stars
Student Central
Formerly ULU, Student Central is the Student Central, Malet Street, London, WC1E
representative body for all 120,000 7HY
students in the University of London, Tel: 020 7664 2000
campaigning on educational and email: studentcentral@london.ac.uk

regional issues. It also has a gym and Web:http://www.studentcentral.london/
swimming pool, a bar, shops, print
centre and runs a variety of clubs and
societies.
Careers
Careers ServiceUCL careers

and jobs
Whether or not you know what you want UCL Careers, 4th Floor, Student Central, Malet
to do after leaving UCL IOE or do not Street, London WC1E 7HY
have a clue where to start, UCL Careers Telephone: 020 3549 5900
Service will help you to find your future. email: careers@ucl.ac.uk
The UCL Union also has a Job Shop for Web: http://www.ucl.ac.uk/careers
students seeking part-time roles at
http://uclu.org/human-resources/jobshop
Doctoral School
Research degrees
The first link to the right gives details of
graduate research degrees at the IOE. email: c.lapping@ucl.ac.uk
These include PhD, MPhil, MRes, MSc Web:
Economics of Education, EdD and http://www.ucl.ac.uk/ioe/courses/graduate-rese
DEdPsy degrees. Dr Claudia Lapping is arch and
the Postgraduate Research Tutor for the http://www.ucl.ac.uk/ioe/courses/graduate-rese
Department of Culture, Communication arch/culture-communication-media-mphil-phd
and Media (please see the second link).

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MA Music Education

Version 2.3 (6 September 2017) 1

Version 2.3 (6 September 2017) 2

Version 2.3 (6 September 2017) 3

Version 2.3 (6 September 2017) 4

Professor Becky Francis FAcSS

Version 2.3 (6 September 2017) 5

Student academic support

Version 2.3 (6 September 2017) 6

Dr Evangelos Himonides e.himonides@ucl.ac.uk

Prof. Graham Welch graham.welch@ucl.ac.uk

Other tutors and guest lecturers

Version 2.3 (6 September 2017) 7

Further professional development

UCL IOE induction

Version 2.3 (6 September 2017) 8

Library and information literacy

UCL Student Gateway

Version 2.3 (6 September 2017) 9

Version 2.3 (6 September 2017) 10

Monday 25 September 2017Friday 15 December 2017

Modules start Monday 2 October 2017 at 18:00 (Sociology)

Module registration deadline To be confirmed: Please contact the

Draft coursework hand-in for feedback Monday 8 January 2018 by 17:00

Final coursework deadline Monday 12 February 2018 by 17:00

Monday 8 January 2018Friday 23 March 2018

Modules start Monday 8 January 2018 (Philosophy)

Draft coursework hand-in for feedback Monday 2 April 2018 by 17:00

Final coursework deadline Monday 14 May 2018 by 17:00

Version 2.3 (6 September 2017) 11

Monday 23 April 2018Friday 6 July 2018

Module (CCLC) continues Wednesday 25 April 2018

CCLC (Choral Conducting, Leadership and

Summer Study Day Tuesday 29 May 2018, 11:0017:00

Draft coursework hand-in for feedback Monday 18 June 2018 by 17:00

Final coursework deadline (CCLC module) Monday 23 July 2018 by 17:00

Deadlines for dissertations and reports

Final submission deadline Monday 3 September 2018 by 17:00

Version 2.3 (6 September 2017) 12

First termcore modules

Disciplines of Music Education, Part 1 Mondays 18:0020:00

Second termcore and optional modules

Critical Studies in Music Pedagogy and Tuesdays 18.0020.00

Music Technology in Education (optional) Online

There will be time available for students

Choral Conducting, Leadership and Friday 19 January 2018

10:0017:00, Room 944

Version 2.3 (6 September 2017) 13

Version 2.3 (6 September 2017) 14

Disciplines of Music Education, Part 2 30 credits

Dissertation or report 60 credits or 30 credits

Choral Conducting, Leadership and 30 credits

Music Technology in Education 30 credits

A module from another UCL IOE MA up to 60 credits can be imported by

Pathways through the MA

Two core modules, three optional modules and report:

Version 2.3 (6 September 2017) 15

Two core modules, two optional modules and dissertation:

Any combination of the above with 30 or 60 imported credits:

Version 2.3 (6 September 2017) 16

Starting dissertations and reports

Version 2.3 (6 September 2017) 17