The Professional master’s degree in Didactics and Pedagogy in Music Education will generate a sense of confidence in the performance of your profession, which will help you grow personally and professionally"

Therefore, the teaching of music should not only be relegated to a matter of content acquisition, but it is necessary to educate and specialize the teacher in each and every one of the dimensions involved in musical learning. 

This educational program will enable professionals in this field to increase their capacity for success, which results in a better practice and performance that will have a direct impact on students, on the improvement of the subject of music and on the general benefit of society as a whole.

This program offers an integral vision of musical learning in all its dimensions, providing tools, experiences and advances in this field, which have also been guaranteed by the teachers of the educational action. With which the student will learn based on professional experience, as well as pedagogy, which makes the student's education more effective and accurate. In addition, it is necessary to highlight that, although there are courses on the Didactics of music, there is no program that offers a multidimensional approach to musical learning, studying not only elements related to the content, but also giving importance to the figure of the learner, to their educational, personal, social and intellectual characteristics and needs.  

The different modules are taught in sessions with an eminently practical approach, supported by the necessary theoretical support. All the teachers of the Professional master’s degree have extensive experience in cases of all ages and in diverse socio-family and educational contexts. Furthermore, it must be taken into account that musical learning is approached integrating the educational, personal and social-group vision.

In addition to educating students in Musical Didactics and in the educational environment, it will also facilitate their insertion in the labor world, due to the great demand for this type of specialized professionals within the regulated educational system, as well as in the non-formal field (private music schools or musical groups). For those students who are already in the labor market, it will allow them a better professional positioning and will increase their possibilities of promotion and recognition.

Update your knowledge through the program in Didactics and Pedagogy in Music Education "

This Professional master’s degree in Didactics and Pedagogy in Music Education contains the most complete and up-to-date educational program on the market The most important features include:

• The development of 75 practical cases presented by experts in Didactics and Pedagogy in Music Education
• Its graphic, schematic and practical contents are designed to provide scientific and practical information on those disciplines that are essential for professional practice
• The latest developments on Didactics and Pedagogy in Music Education
• It contains practical exercises where the self-assessment process can be carried out to improve learning
• Algorithm-based interactive learning system for decision-making in the situations that are presented to the student
• With special emphasis on evidence-based methodologies in Didactics and Pedagogy in Music Education
• All of this will be complemented  by theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

This Professional master’s degree is the best investment you can make when selecting a refresher program for two reasons: in addition to updating your knowledge in Didactics and Pedagogy in Music Education , you will obtain a qualification endorsed by TECH Global University"

It includes in its teaching staff professional teachers belonging to the field of Didactics and Pedagogy of Music Education who bring to this program their work experience, as well as recognized specialists belonging to reference societies and prestigious universities.

Thanks to its multimedia content developed with the latest educational technology, it will allow the professional a situated and contextual learning, that is to say, a simulated environment that will provide an immersive learning programmed to prepare in real situations.

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise throughout the program. For this purpose, the professional will be assisted by an innovative interactive video system developed by recognized experts in the field of Didactics and Pedagogy in Music Education and with great teaching experience.

Increase your confidence in decision-making by updating your knowledge through this Professional master’s degree"

Make the most of this opportunity to learn about the latest advances in Didactics and Pedagogy in Music Education and improve the education of your students"

The structure of the contents has been designed by a team of professionals from the best international educational centers, universities and companies, who are aware of the current relevance of specialization to be able to intervene in the education and accompaniment of students or to apply strategies in the business world. In addition, they are committed to quality teaching through new educational technologies.

This Professional master’s degree in Didactics and Pedagogy in Music Education contains the most complete and up-to-date program on the market"

Module 1. Primary and Secondary Socialization and its Relation to Music

1.1. Introduction

1.1.1. Sociology and Pedagogy as a Process that Studies the Process of Socialization
1.1.2. Sociology and Music Learning

1.2. Concept of Socialization

1.2.1. Ethnography
1.2.2. Social Anthropology and Education
1.2.3. Observation as the Main Tool of Anthropology

1.3. The Socialization Process

1.3.1. The Human Being as a Learner
1.3.2. Main Contributions to the Concept of Socialization
1.3.3. Culture

1.4. Primary and Secondary Socialization

1.4.1. The Primary Socialization Process
1.4.2. The Secondary Socialization Process
1.4.3. Other Theories on Socialization Processes: Tertiary Socialization

1.5. The Socialization Agents

1.5.1. The Family
1.5.2. Education
1.5.3. Relationship with Peers
1.5.4. The Media and New Technologies

1.6. The Life Cycle and its Relationship with the Socialization Process

1.6.1. Early Childhood
1.6.2. Childhood
1.6.3. Adolescence
1.6.4. Adulthood
1.6.5. Old Age

1.7. Socialization, Learning and its Relation to the Educational Sciences

1.7.1. Developmental Psychology and Education
1.7.2. Educational Sociology
1.7.3. Pedagogy
1.7.4. Comparative Education
1.7.5. Philosophy of Education
1.7.6. Education Economics

1.8. The Process of Socialization and its Relation to Music

1.8.1. Introduction
1.8.2. How Should these Principles for the Acquisition of Musical Knowledge Be Regulated?

Module 2. Child Psychology, Music and Personal Motivation

2.1. Introduction

2.1.1. Educational Psychology
2.1.2. Influence of Psychological Processes
2.1.3. Music and Psychology
2.1.4. The Human Brain

2.2. Concept of Psychology

2.2.1. Main Currents of Psychology
2.2.2. Areas of Specialization of Psychology

2.3. Developmental psychology

2.3.1. Definition of Development
2.3.2. The Brain and Cognitive Development
2.3.3. Piaget and Vygotsky as Referents of Social Psychology

2.4. Educational Psychology

2.4.1. Introduction to Educational Psychology
2.4.2. Concept, Definition and Current Situation of Educational Psychology
2.4.3. The Importance of Language in the Acquisition of Knowledge
2.4.4. The Development of Memory in the Learning of Content
2.4.5. Main Learning Strategies

2.5. Psychology and its Relation to Music Learning

2.5.1. The Decade of the 80's as a Starting Point
2.5.2. The Phylogenetic Current
2.5.3. Ontogenetic Studies
2.5.4. Aesthetic Understanding
2.5.5. The Acquisition of the Symbolic Function
2.5.6. The Theory of Enculturation and Training
2.5.7. Neuroscience and Emotional Intelligence

2.6. The Motivational Concept

2.6.1. Introduction
2.6.2. Types of Motivation
2.6.3. Introduction
2.6.4. Phases of Motivation
2.6.5. School Motivation
2.6.6. Motivational Intervention Programs
2.6.7. Steps in Personal Growth

2.7. Motivation and its Relation to Music

2.7.1. Introduction
2.7.2. How to Motivate the Music Student?

Module 3. Musical Learning in the Different Stages of Life. Music for Children and Adults

3.1. Introduction

3.1.1. Objectives
3.1.2. The Importance of this Module in the Professional Master's Degree as a Whole
3.1.3. Who is Aimed At?
3.1.4. Contents
3.1.5. Methodology

3.2. Principles and Fundamentals of Musical Learning

3.2.1. Main Pedagogical Currents from the 20th Century to the Present Day

3.2.1.1. Introduction to the Dalcroze Method
3.2.1.2. Introduction to the Kodaly Method
3.2.1.3. Introduction to the Willems Method
3.2.1.4. Introduction to the Orff Method
3.2.1.5. Introduction to the Suzuki Method

3.2.2. Pedagogical Principles in the Initial Learning of Music

3.2.2.1. Towards a New Work Proposal: Cooperative Learning
3.2.2.2. Benefits of Musical Learning

3.3. When Can Music Learning Be Initiated?

3.3.1. General Considerations

3.3.1.1. The Importance of the Family Environment
3.3.1.2. Child Prodigies

3.3.1.3. Beginning of Instrument Learning

3.3.1.3.1. Wind Instruments
3.3.1.3.2. Stringed Instruments
3.3.1.3.3. Percussion Instruments

3.3.1.4. Music Therapy as an Activity prior to Formal Learning

3.4. Pre-School Education and Musical Learning

3.4.1. Basic Characteristics of the Pre-School Stage
3.4.2. Integration of the Music Area in the Pre-School Stage
3.4.3. Main Methodological Considerations

3.5. Music in Primary Education

3.5.1. Basic Characteristics of the Primary School Stage
3.5.2. Integration of the Music Area in the Primary School Stage
3.5.3. Main Methodological Considerations

3.6. Benefits of Musical Learning in High School Education

3.6.1. Basic Characteristics of the High School Stage
3.6.2. Integration of the Music Area in the High School Stage
3.6.3. Main Methodological Considerations
3.6.4. What Does Musical Learning Contribute at this Stage?

3.7. SEN and Music Teaching BORRAR 

3.7.1. SEN in the Spanish Educational System BORRAR
3.7.2. Benefits of Music for Students with SEN BORRAR 
3.7.3. Music Therapy as a Stimulating Base BORRAR 
3.7.4. Methodological Proposals for Students with ADHD BORRAR 
3.7.5. Methodological Proposals for Students with Autism BORRAR 
3.7.6. Methodological Proposals for Students with High Abilities BORRAR 
3.7.7. Methodological Proposals for Students with Down Syndrome BORRAR 
3.7.8. Methodological Proposals for Students with Physical Disabilities BORRAR 

3.8. Music: Education for Adults 

3.8.1. General Considerations
3.8.2. Characteristics of this Learning

3.8.2.1. The Functioning of the Brain in this Learning
3.8.2.2. Possible Obstacles

3.8.3. Music Schools as the Main Educational Institutions in Adult Education
3.8.4. The Teacher as a Guide in Adult Learning

3.9. The Learning of the Music in the Old Age: Characteristics of the Evolutionary Stage and its relation with Learning

3.9.1. General Considerations
3.9.2. Main Methodological Lines
3.9.3. Proposals for Voice Education
3.9.4. Proposals for Auditory Education
3.9.5. Music Therapy as a Source of Well-Being
3.9.6. Proposals for Rhythmic Education

Module 4. Music Teacher Training

4.1. Introduction to Teacher Training

4.1.1. Music Education as a Social Fact
4.1.2. Approaches to Teacher Training
4.1.3. Challenges of Higher Music Education

4.2. Vocation as a Fundamental Element of Music Education

4.2.1. Vocation as a Teaching Activity
4.2.2. Fundamental Features
4.2.3. Personal Fulfillment

4.3. Didactic Competencies

4.3.1. Fundamentals of Didactics in Music Education
4.3.2. Didactics of Musical Language

4.3.2.1. Voice and Singing
4.3.2.2. Instrumental Practice
4.3.2.3. The Dance

4.3.3. ICT Applications
4.3.4. Research and Didactics
4.3.5. Curricular Orientations
4.3.6. Models of Music Teaching

4.4. The Importance of Mastery in the Transfer of Knowledge

4.4.1. Teaching-Learning Styles
4.4.2. The Network Structuring of Contents

4.5. The Music Teacher in Pre-School and Primary Education. Main Characteristics

4.5.1. The Teacher in the Pre-School Stage
4.5.2. The Primary Education Teacher
4.5.3. The High School Education Teacher
4.5.4. The Conservatory Teacher
4.5.5. Music Schools. Non-Regulated Education

4.6. The Conservatory as a Training Element for the High School Education Teacher

4.6.1. The Educational Value of Music
4.6.2. Training of the Specialist Teacher
4.6.3. Professional Competencies

4.7. Current Trends in Teacher Training

4.7.1. Introduction

4.8. The Teacher in Non-Formal Education

4.8.1. Introduction
4.8.2. Differences between Formal, Non-Formal and Informal Education
4.8.3. Music Schools

4.9. The Continuing Education of the Music Teacher

4.9.1. Introduction
4.9.2. Modalities of Continuing Education

4.9.2.1. Modalities of Continuing Education Activities
4.9.2.2. Types of Continuing Education Activities
4.9.2.3. ICT

4.9.3. The Initial and Continuing Education of Music Teachers

4.10. The Importance of Quality in the Teacher Education Process

4.10.1. Quality Criteria in Teacher Training
4.10.2. The Concept of Educational Quality
.10.3. Quality Standards

4.10.3.1. School Management Standards
4.10.3.2. Professional Performance Standards
4.10.3.3. Teacher Professional Performance Standards
4.10.3.4. Management Professional Performance Standards

4.10.4. Quality Criteria in Educational Centers

Module 5. Music Didactics

5.1. Introduction

5.1.1. Introduction
5.1.2. Music in Ancient Greece
5.1.3. The Greek Ethos
5.1.4. Epic Poetry: Homer

5.1.4.1. The Iliad
5.1.4.2. The Odyssey

5.1.5. From Myth to Logos
5.1.6. Pythagoreanism
5.1.7. Music and Healing

5.2. Main Musical Methodologies

5.2.1. Dalcroze Method

5.2.1.1. Description of the Method
5.2.1.2. Main Features

5.2.2. Kodaly Method

5.2.2.1. Description of the Method
5.2.2.2. Main Features

5.2.3. Willems Method

5.2.3.1. Description of the Method
5.2.3.2. Main Features

5.2.4. Orff Method

5.2.4.1. Description of the Method
5.2.4.2. Main Features

5.2.5. Suzuki Method

5.2.5.1. Description of the Method
5.2.5.2. Main Features

5.3. Music and Corporal Expression

5.3.1. The Musical Experience through Movement
5.3.2. Rhythmic-Corporal Expression
5.3.3. Dance as a Teaching Resource
5.3.4. Relaxation Techniques and their Relation with Musical Learning

5.4. Playing with Music as a Learning Activity

5.4.1. What is Playing?
5.4.2. Playing Features
5.4.3. Benefits of Playing
5.4.4. Playing with Music

5.4.4.1. Resources for Playing with Music

5.5. Main Differences between Music Education for Children and Music Education for Adults

5.5.1. Music Education in Children
5.5.2. Music Education for Adults
5.5.3. Comparative Study

5.6. Educational Resources for Music Education for Children: Musicograms and Musical Stories

5.6.1. Musicograms
5.6.2. Musical Stories

5.6.2.1. The Elaboration of Texts in Musical Stories
5.6.2.2. Musical Adaptation of the Texts

5.7. Educational Resources for Music Education for Adults

5.7.1. Introduction
5.7.2. Main Educational Resources for Adults

Module 6. Material Resources for Music Education

6.1. Introduction

6.1.1. The Change From Analogue to Digital
6.1.2. Open Educational Resources as a Basis for Student Equity
6.1.3. Education for All and its Relation to the New Technologies
6.1.4. Some Educational Models based on OER

6.1.4.1. Open Learn (United Kingdom)
6.1.4.2. The OpenCourseWare Worldwide Consortium (OCW)
6.1.4.3. Digital Educational Platforms
6.1.4.4. Open Materials for the Training of University Staff in E-Learning and Learning Object Repositories
6.1.4.5. Open E-Learning Content Observatory Services

6.1.5. Materials and Resources for Music Learning

6.2. Music Learning Materials

6.2.1. Characteristics of the Music Learning Materials
6.2.2. Types of Material

6.3. Non-Musical Material Resources

6.3.1. Main Non-Musical Material Resources
6.3.2. The Use of New Technologies in the Learning of Music
6.3.2.1. Some Technological Resources

6.3.2.1.1. Digital Tablets
6.3.2.1.2. Computers
6.3.2.1.3. Web Applications and Resources

6.4. Musical Teaching Resources

6.4.1. Main Teaching Resources
6.4.2. Musical Instruments in the Classroom
6.4.3. Musicograms in Pre-School and Primary Education

6.4.3.1. Characteristics of the Musicogram

6.4.4. Songbooks

6.4.4.1. Main Characteristics of Songbooks
6.4.4.2. Popular Songs
6.4.4.3. Importance of the Culture in Musical Learning

6.5. Resources for Dance Learning
6.5.1. Importance of Dance in Music Learning
6.5.2. Main Resources
6.5.2.1. Adaptation of the Classroom to Dance Learning

6.6. Musical Instruments and other Sonorous Elements for Music Learning

6.6.1. The Body as a Musical Instrument
6.6.2. Percussion Instruments in the Classroom

6.6.2.1. Characteristics of the Percussion Instruments
6.6.2.2. Percussion Instruments Most Commonly Used in the Classroom
6.6.2.3. Music Education through Percussion Instruments

6.6.3. Reed Instruments and their Importance in Musical Learning

6.6.3.1. Xylophones and Marimbas
6.6.3.2. Characteristics of Reed Instruments
6.6.3.3. Music Education through Reeds

6.6.4. Wind Instruments: the Recorder Flute

6.6.4.1. Characteristics of the Recorder Flute
6.6.4.2. Music Education through the Recorder Flute

6.7. Importance of the Audio-Visual Material for Musical Learning

6.7.1. Digital Blackboards as a Tool for Musical Learning
6.7.2. Audiovisual Material Resources

Module 7. Principles of Music Composition for Schools

7.1. Introduction to Musical Composition

7.1.1. What Does Composition Consist Of?

7.2. Fundamentals of Musical Composition

7.2.1. Construction of the Antecedent
7.2.2. Construction of Simple Themes

7.2.2.1. Concept of Form
7.2.2.2. The Sentence

7.2.2.2.1. Beginning of the Sentence
7.2.2.2.2. End of the Sentence

7.2.2.3. The Motive or Leitmotif of a Musical Piece
7.2.2.4. The Link between Motives

7.2.3. The Accompaniment
7.2.4. Melody and Theme

7.2.4.1. Vocal Melody
7.2.4.2. Instrumental Melody

7.2.5. Small Forms
7.2.6. Large Forms

7.3. Importance of Composition in the Teaching Environment

7.3.1. Application of Musical Composition in the Educational Environment
7.3.2. Music Composition in Primary and High School Education

7.4. Main Tools for Musical Composition

7.4.1. Technological Tools: Applications for Musical Composition

Module 8. Instrumentation for Music Education

8.1. Introduction

8.1.1. Concept of Musical Instruments

8.1.1.1. Definition
8.1.1.2. Types of Musical Instruments

8.1.2. Instrumentation throughout History

8.1.2.1. Historical Review
8.1.2.2. The Instrument as an Artistic Object

8.1.3. Instrumentation in the Classroom Context

8.1.3.1. The Acquisition of Competences
8.1.3.2. The Development of Skills

8.2. What is Musical Instrumentation?

8.2.1. Up to J.S. Bach

8.2.1.1. Treatises on Instrumentation

8.2.2. From J.S. Bach

8.2.2.1. Treatises on Instrumentation

8.3. Aspects of Instrumentation

8.3.1. Pitch and Musical Timbre

8.3.1.1. Tessitura of the Instruments

8.3.2. Chords

8.3.2.1. Construction
8.3.2.2. Tonal Functions

8.4. Orff Instruments. Technical Knowledge of the Instruments in the Music Classroom

8.4.1. Reed Instruments

8.4.1.1. Family. Features

8.4.2. Small Percussion

8.4.2.1. Membranophones
8.4.2.2. Idiophones
8.4.2.3. Shaken Instruments

8.5. Musical Instrumentation in Stringed Instruments

8.5.1. Plucked String

8.5.1.1. The Guitar

8.5.2. The Plucked String

8.5.2.1. The Piano

8.6. Musical Instrumentation for Recorder Flute

8.6.1. Types of Recorder Flutes

8.6.1.1. Flutes in Folklore8.6.1.2. Recorder

8.7. Percussion Instruments in the Classroom

8.7.1. The Orff Family

8.7.1.1. Uses
8.7

.1.2. Correct Positions of Instrumental Execution

8.7.2. Small Percussion

8.7.2.1. Execution Techniques

8.8. Instrumentation for Reeds

8.8.1. Types of Drumsticks

8.8.1.1. Uses
8.8.1.2. Sonorities

8.8.2. Use of Chords

8.8.2.1. With 2 Sticks
8.8.2.1. With 3 Sticks

8.8.3. Melodic Function

8.8.3.1. Introductory Exercises
8.8.3.2. Attack Techniques and Expressiveness

8.9. Review of the Contents Covered

8.9.1. Adaptation of Classroom Instruments
8.9.2. Important Factors in Classroom Didactics

Module 9. History of Musical Learning

9.1. Introduction: the Importance of Music in History

9.1.1. Baroque

9.1.1.1. Characteristics of the Period

9.1.2. Classicism

9.1.2.1. Characteristics of the Period

9.1.3. Romanticism

9.1.3.1. Characteristics of the Period

9.1.4. Modern or Contemporary Music

9.1.4.1. Characteristics of the Period

9.2. Music Education in History

9.2.1. The Music Teacher in the Different Historical Periods

9.2.1.1. The Role of the Teacher in the Baroque Period
9.2.1.2. The Role of the Teacher in the Classical Period
9.2.1.3. The Music Teacher in the Romanticism Period
9.2.1.4. The Music Teacher in the Present Day

9.2.2. The Emergence of the Conservatory

9.2.2.1 The Beginnings and Origins
9.2.2.2. The Conservatory as a Place of Intervention for Children at Risk of Social Exclusion
9.2.2.3. The Conservatory Today
9.2.2.4. New Spaces for Musical Learning

9.3. Music Education in the 20th Century

9.3.1. Introduction
9.3.2. A Traditional Model Based on Imposition
9.3.3. A Change of Perspective: Towards Participatory, Non-Imposing Methodologies

9.4. Current Educational Paradigms applied to Music Education

9.4.1. Introduction
9.4.2. New Methodologies applied to Music Education

9.4.2.1. Cooperative Learning and Music Learning

9.4.2.1.1. What is Cooperative Learning?
9.4.2.1.2. The Characteristics of Cooperative Learning

9.4.2.2. PBL: Project-Based Learning

9.4.2.2.1. What Is PBL?
9.4.2.2.2. Characteristics of Project-Based Learning

9.4.2.3. Gamification in the Music Classroom

9.4.2.3.1. What is Gamification?
9.4.2.3.2. Characteristics of Gamification

Module 10. Evaluation of Music Students

10.1. Introduction

10.1.1. General Aspects
10.1.2. References

10.2. What is to Evaluate?

10.2.1. Preliminary Considerations
10.2.2. Main Definitions of the Evaluation Process
10.2.3. Features of the evaluation
10.2.4. The Role of Evaluation in the Teaching-Learning Process

10.3. What Should Be Evaluated in the Musical Area?

10.3.1. Knowledge
10.3.2. Competencies
10.3.3. Skills

10.4. Pre-Evaluation Guidelines and Criteria

10.4.1. Evaluation Functions
10.4.2. Educational Programming

10.4.2.1. What is Educational Programming

10.4.3. Why Pre-Programming?

10.5. Evaluation Tools and Instruments

10.5.1. Observation as an Evaluation Tool

10.5.1.1. Participant Observation
10.5.1.2. Indirect Observation

10.5.2. Portfolio

10.5.2.1. What is a Portfolio?
10.5.2.2. Characteristics of the Portfolio

10.5.3. The Class Journal

10.5.3.1. What is a Class Journal?
10.5.3.2. Parts of a Class Journal

10.5.4. The Debate

10.5.4.1. What is Debating?
10.5.4.2. Importance of the Debate in the Educational Process
10.5.4.3. Considerations Prior to the Debate

10.5.5. Conceptual Maps

10.5.5.1. What is a Concept Map?
10.5.5.2. Main Elements of the Concept Map
10.5.5.3. ICT Tools for the Elaboration of Concept Maps

10.5.6. The Objective Evaluation Tests

10.5.6.1. Completion or Simple Recall Tests
10.5.6.2. Matching
10.5.6.3. Ordering Tests
10.5.6.4. Exercises of Answers with Alternatives
10.5.6.5. Multiple Solution

10.6. Musical Evaluation Applied to the New Technologies

10.6.1. Kahoot and Other Virtual Evaluation Resources

Module 11. New Technologies Applied to Music Education

11.1. Introduction

11.1.1. Music Before the Information Society
11.1.2. The Information Society
11.1.3. Digital Breach and its Impact on Music Learning

11.2. What are ICTs?

11.2.1. Definition
11.2.2. Evolution of the Concept

11.3. Main Technological Devices

11.3.1. Computers in the Music Classroom
11.3.2. Digital Tablets
11.3.3. The Use of Smartphones in the Classroom

11.4. The Internet and its Relation with Music Learning

11.4.1. Introduction
11.4.2. Learning Music on the Internet

11.5. Benefits in the use of ICT for Music Learning

11.5.1. Characteristics of ICT
11.5.2. Main Benefits of Musical Learning

11.6. ICT Resources for Musical Learning

11.6.1. Music Educational Resources

11.7. Risks Associated with the use of ICT: Techno-Addictions in Children and Adolescents

11.7.1. What is an Addiction?
11.7.2. Technoaddiction
11.7.3. Intervention in Situations of Technoaddiction

Module 12. Music as an Alternative Therapy: Music Therapy

12.1. What is an Alternative Therapy?

12.1.1. Definition
12.1.2. Conventional Therapies vs. Alternative Therapies

12.2. Main Alternative Therapies

12.2.1. Chromotherapy
12.2.2. Art Therapy
12.2.3. Aromatherapy
12.2.4. Relaxation Techniques and Mindfulness
12.2.5. Music Therapy

12.3. Music as an Alternative Therapy: Music Therapy

12.3.1. Definition
12.3.2. Origins
12.3.3. Music Therapy Today

12.4. Benefits of Music Therapy

12.4.1. Introduction
12.4.2. Main Benefits of Music Therapy

12.5. Main Benefits of Music Therapy

12.5.1. Introduction
12.5.2. The Benenzon Method

12.6. Main Tools of Music Therapy

12.6.1. Introduction
12.6.2. Main Tools

12.7. Music Therapy in Children and Adolescent Disorders

12.7.1. Music Therapy and Asperger's
12.7.2. Music Therapy and ADHD
12.7.3. Music Therapy and Down Syndrome

12.8. Primary and High School Education and its Relation with Music Therapy

12.8.1. Music Therapy in Primary Education
12.8.2. Music Therapy in High School Education

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