Hong Kong Community College

SHDH2046 Music, Mind and Human Behaviour

Semester One 2023/2024

Tentative Teaching Plan

Subject Leader

Dr Ivy Man (Main Office: WK-S1304; Tel: 3746-0431; email: ivy.man@cpce-polyu.edu.hk)

Subject Lecturer

Ms Jacqueline Leung (WK Office: WK-N1201; HHB Office: HHB-1545; Tel: 61571058; email: hkjleung@cpce-polyu.edu.hk)

Objectives

This subject aims to explore the meanings and functions of music in the modern world. It enables students to develop basic knowledge of music, and to
understand how music is related to culture, communication, psychology, human behaviour and mental health. It also provides students with a contextual
framework for understanding related research.

Subject Intended Learning Outcomes

Upon completion of this subject, students will be able to:

 identify various meanings and functions of music in societies;
 examine the multiple perspectives with which people view and understand music;
 describe the interplay between music, mind and human behaviour;
 apply concepts and theories to the analysis of the cultural and social implications of musical performances; and
 demonstrate a foundation knowledge base for further study of the meanings of music to culture and both the mental and behavioral aspects
of human living.

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Respective Scheme/Programme Intended Learning Outcomes

Please refer to your scheme/programme requirement document for the Scheme/Programme Intended Learning Outcomes.

Teaching and Learning Approach

Please refer to the Subject Description Form.

Weekly Teaching Pattern

2 hours of lecture
1 hour of tutorial

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Tentative Teaching Schedule
Lecture Tutorial

No. Content Remarks No. Content Remarks

Course introduction; Briefing of the requirements

Topic One: Basic Elements of Music– and objectives of the
1 1
Music Appreciation (I) assignments, and the
assessment methods of the
course
Topic One: Basic Elements of Music– Introduction of basic
2 Music Appreciation (II) 2 music theory (I)

Topic One: Basic Elements of Music– Introduction of basic music Formation of project groups
3 Music Appreciation (III) 3 theory (II)

Topic Two: Music & Human Behaviour– Introduction of basic

4 Power of Music on Emotions 4 music theory (III)

Topic Two: Music & Human Behaviour– Guided study & discussion Submission of In-class Assignment 1
5 Choosing Your Music 5

Topic Three: Music & Mind– Guided study & discussion

6 Does music affect our brain 6
development?

Topic Three: Music & Mind– Group project presentation 1

7 The Mozart Effect 7

Topic Four: Music & Mental Health– Group project presentation 2

8 What is Music Therapy? 8

9 Topic Four: Music & Mental Health– 9 Group project presentation 3

How does music improve social and
cognitive development?

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 10 Topic Four: Music & Mental Health– Submission of 10 Group project presentation 4
How does music improve motor and Assignment 2
emotional development?
Topic Five: Music, Culture & Society – Group project presentation 5
11 Introduction to World Music 11

Topic Five: Music, Culture & Society – Group project presentation 6

12 Knowing The World Instruments 12

Topic Five: Music, Culture & Society –

13 Comparing Music from Different Cultures Final Test 13 Group project presentation 7

Bold cells indicate important events or deadlines of assignments.

Assessment Weighting
Continuous Assessment: 100%
100%
Assessment Methods for Continuous Assessment

Continuous Assessment Percentage Brief Description

Assignment 1* 10% (Individual) Quizzes about basic music theory

Assignment 2* 20% (Individual) Reflection on an academic article

Group Presentation* 30% (Group) A group project related to the syllabus of the course

Final Test 30% (Individual) A test with MC and short questions

In-Class Exercises # 10% (Individual) See below for details

100%

* Please also refer to “Guidelines and Grading Criteria for Coursework” of this subject for details.
# Almost silence at all times, never participated in in-class exercises and frequently ignore the questions and discussions in classes: 0% - 10% out of 100 in-class exercise marks
No initiative to talk with peers and barely talk when asked by the teacher, frequent absence from discussions: 11% - 30% out of 100 in-class exercise marks
Has participated in discussions, demonstrated an initiative to talk with peers and to respond to teacher’s questions: 31% - 50% out of 100 in-class exercise marks
Has participated in all in-class exercises, demonstrated an initiative to talk with peers, to respond to teacher’s questions, and to lead peers to talk: 51% - 70% out of 100 in-class exercise
marks
Has actively participated in all discussions, demonstrated an ability to lead peers to talk, and is highly responsive to teacher’s questions: 71% - 100% out of 100 in-class exercise marks

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Attendance and other rules / regulations
The attendance requirements and all other rules and regulations stated in the HKCC Student Handbook as well as in the respective
scheme/programme requirement document apply to the classes of this course. Please refer to these documents for details.

 It is important that students attend classes and study-related activities regularly and punctually. Participation forms a critical part in
the learning process, contributing to the desired learning outcomes. Absence will affect study progress and students should not be
absent without good reason.

 Students are required to turn off their mobile phones and/or pagers during classes.

 Students are required to keep quiet when the lecturer delivers the lectures. You have no right to disturb other students who
want to listen to the lectures.

 To increase the effectiveness of the learning process, students should complete and submit the assigned coursework and/or
assignments by the specified deadline(s). No late assignment will be accepted without a very exceptional reason. 20% of the marks
will be deducted for late submissions, and NO assignments will be accepted if the submission is late for more than 7 calendar
days.

 If a student has to miss a class, he/she must inform the subject lecturer ahead of time. No make-up test will be given without a
very exceptional reason.

 Because the lecturer may have to travel between two campuses during the semester, students are encouraged to communicate with
her through email rather than by phone.

Lecture/Tutorial Notes and Assignments

Students are required to download the lecture/tutorial notes and assignments from the e-learning platform and other relevant websites.

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References

Blacking, J. (1995) Music, Culture and Experience, University of Chicago Press. Byrne, D. (2012) How Music Works, Canongate Books Ltd.

Davis, W.B., Gfeller, K.E., & Thaut, M.H. (2008). An Introduction to Music Therapy, Theory and Practice. 3rd edition. Boston: The McGraw-Hill

Companies, Inc.

Deliege, I. & Sloboda, J. (1997) Perception and Cognition of Music, The Psychology Press.

Erlmann, V. (Ed.) (2004) Hearing Cultures: Essays on Sound, Listening and Modernity, Bloomsbury Academic.
th
Grout, D. J. et al. (2009) A History of Western Music, 8 Ed., W. W. Norton & Company.

Hallam, S., Cross, I., & Thaut, M. (Eds.). (2009). The Oxford handbook of music psychology. Oxford: Oxford University Press.

Hodges, D. A. & Sebald, D. C. (2011) Music in the Human Experience: An Introduction to Music Psychology, Routledge.

Juslin, P. N., & J. A. Sloboda (Eds.). (2010). Handbook of music and emotion: Theory, research, applications. Oxford: Oxford University Press.

Levitin, D. J. (2006) This Is Your Brain on Music: The Science of a Human Obsession, Dutton.

McPherson, G.E. (2006). The Child as Musician: A handbook of musical development. Oxford: Oxford University Press.

Nettl, B. (2012) Nettl’s Elephant: On the History of Ethnomusicology, University of Illinois Press.

Patel, A. D. (2008) Music, Language, and the Brain, Oxford University Press.

Peretz, I. & Zatorre, R. J. (2003) The Cognitive Neuroscience of Music, Oxford University Press. Rice, T. (2013) Ethnomusicology: A Very Short

Introduction, Oxford University Press.

Sacks, O. (2008) Musicophilia: Tales of Music and the Brain (Revised and Expanded), Vintage Books.

Shelton, C.D. (2013) Music and the Brain: How Music Changes the Brain (e-book), Choice PH. Snyder, R. (2001) Music and Memory: An

Introduction, MIT Press.

Thompson, W.F. (2009). Understanding the psychology of music. Oxford: Oxford University Press.

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 Wallin, N. L. et al. (Ed.) (2001) The Origins of Music, New Edition, A Bradford Book.

Wigram, T. et al. (2002) A Comprehensive Guide to Music Therapy, Jessica Kingsley Publishers.

Audio-visual materials

National Geographic (Produced). (2007) My Brilliant Brain: Vol. 2 Born Genius, National Geographic.

Lockwood, L. (Directed). (2008) Musical Minds, NOVA.

Mannes, E. (Directed). (2009) The Music Instinct: Science and Song, Public Broadcasting Service (PBS).

Useful websites

http://www.8notes.com/theory/ http://www.musictheory.net

https://www.earmaster.com/music-theory-online/ch04/chapter-4-4.html

Plagiarism

You are strongly advised to pay attention to the rules and guidance notes regarding plagiarism, how sources should be referred to, and
bibliography referencing as stipulated in the Student Handbook.

The College may take disciplinary actions against students when there is evidence of collusion between individuals. The work of others which
is included in the assignment must be attributed to its source (a full bibliography and a list of references must be submitted). Failure to observe
such requirements may lead to serious consequences for your study in this subject and your registration at the College. Please refer to the
Section “Penalties for Offences” in the Student Handbook for details.

You are also strongly advised to review the hot tips about plagiarism and how to avoid it with reference to the following document:
http://www.polyu.edu.hk/ogur/academic_integrity/Plagiarism_Booklet.pdf.

In principle, CPCE considers GenAI tools as positive and creative forces in education and encourages their use in learning, teaching, and
assessment. However, extensive copy-pasting from AI-generated content without citation is considered plagiarism.

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