標題: Titlebook: Creative Collaboration in Teaching; Marcelo Giglio Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 Creativity.collaboration [打印本頁] 作者: Covenant 時間: 2025-3-21 19:02
書目名稱Creative Collaboration in Teaching影響因子(影響力)
書目名稱Creative Collaboration in Teaching影響因子(影響力)學科排名
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書目名稱Creative Collaboration in Teaching網(wǎng)絡公開度學科排名
書目名稱Creative Collaboration in Teaching被引頻次
書目名稱Creative Collaboration in Teaching被引頻次學科排名
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書目名稱Creative Collaboration in Teaching年度引用學科排名
書目名稱Creative Collaboration in Teaching讀者反饋
書目名稱Creative Collaboration in Teaching讀者反饋學科排名
作者: diathermy 時間: 2025-3-21 20:40
Towards an Innovative Methodology for Teaching Musicgogues Emile Jacque-Dalcroze (1865–1950) and Edgar Willems (1890–1978) in Switzerland, Maurice Martenot (1898–1980) in France, Carl Orff (1895–1982) in Germany, Zoltán Kodaly (1882–1967) in Hungary, and Schinichi Suzuki (1898–1998) in Japan, amongst others. Each of these approaches has its own pedag作者: collagen 時間: 2025-3-22 02:26
The Space Given to Musical Creativity in the Classroomyse the space assigned to creativity in the curricula of the four regions involved in this study: the Province of Buenos Aires (Argentina), the State of Minas Gerais (Brazil), the Province of Quebec (Canada), and the Canton of Neuchatel (Switzerland). Knowledge of the institutional and ideological c作者: SNEER 時間: 2025-3-22 08:06 作者: addict 時間: 2025-3-22 12:04
Flexible and Creative Pedagogical Sequencesnt (the object of learning) and transforms it into teachable knowledge (didactic transposition (Brousseau, 1998; Chevallard, 1985)). For musical production scenarios, I propose “flexible pedagogical sequences” as a generalized temporal arrangement of activities in which the teacher engages in certai作者: 忘川河 時間: 2025-3-22 16:12
“Predicting, Implementing, and Observing”: A Methodological Approach to happen. This is how we recorded what we called our “predictions” (Ps); named as such because they entail notes written beforehand about what we thought would occur during each lesson. Afterwards, we implemented, filmed, and observed the lessons. We also observed what the students produced. After作者: 忘川河 時間: 2025-3-22 20:14 作者: Enthralling 時間: 2025-3-23 00:16 作者: Facilities 時間: 2025-3-23 04:28
Consolidation of the Flexible Pedagogical Sequencese the tasks in a way that encourages creativity and learning. Teachers should arrange the setting of the musical production activity, including the layout of furniture and space, so that it is adapted to the students’ tasks and not vice versa. This type of flexible pedagogical sequence insists that 作者: 領帶 時間: 2025-3-23 07:33 作者: Promotion 時間: 2025-3-23 12:47
Stage Three: Definitions and Considerations for Observing the Interaction between Students and Teachee what happens when different people apply this pedagogy in different settings. Up until this point, I had taken on several roles: that of an evaluator of teachers and that of a professor of pedagogy. I added to these that of an observer in order to describe these activities in practice. After revi作者: 改進 時間: 2025-3-23 15:21
How Do Students Collaborate Creatively?escribed above. Although this collaboration requires a certain level of teacher involvement, this section focuses mainly on identifying the different forms of student collaboration during the composition task. According to our research, students should be able to divide the task amongst themselves, 作者: 波動 時間: 2025-3-23 18:18
Creative Scaffolding: A Way of Teaching That Should Changeo observe if teachers approach the group, if they notice what the students are doing, and if they interact with them. It is worth mentioning that we have already described what happens when teachers do not interact with the groups. Some of the examples presented in this chapter occurred before and o作者: Ejaculate 時間: 2025-3-23 22:45
How Student Creative Collaboration and Teaching Practices Affect Each Otheristribution of labour to the final rehearsal, as well as the conception, organization, and composing of the musical piece. In Chapter 13, I identify, from the educator’s perspective, the teaching practices that scaffold creative collaboration, including everything from preparing students to complete作者: 感染 時間: 2025-3-24 03:42
Andreas Jeromin,A. Peter Schaffarczykng of a musical piece by a student group. The instances of student-teacher interaction are listed according to when they appear chronologically during the observed activities: in the beginning, in the middle, or towards the end of the student composition task.作者: Stricture 時間: 2025-3-24 08:55
Creative Scaffolding: A Way of Teaching That Should Changeng of a musical piece by a student group. The instances of student-teacher interaction are listed according to when they appear chronologically during the observed activities: in the beginning, in the middle, or towards the end of the student composition task.作者: 暗諷 時間: 2025-3-24 14:37
2755-4503 m setting—with a focus on music composition and from the perspective of social-cultural psychology. This book is comprehensive, cutting-edge and scholarly in its approach. Marcelo Giglio’s attention to music and creativity is detailed enough to satisfy any researcher, educator or teacher educator; b作者: SLAY 時間: 2025-3-24 18:19 作者: 高興去去 時間: 2025-3-24 23:00
Busse Sebastian,Hanelt Andre,Kolbe Lutz M. about the observations made during this stage, and the decisions I made in order to modify our work in the hope of allowing students access to the production and writing of music during their composition task, and to foster a discussion between the students and the teacher.作者: 平 時間: 2025-3-25 02:26
https://doi.org/10.1007/978-3-642-54634-1or of teachers and that of a professor of pedagogy. I added to these that of an observer in order to describe these activities in practice. After reviewing the scientific literature, my results — which I will describe and discuss in upcoming sections — led me to a new research subject and set the stage for new questions and approaches.作者: 官僚統(tǒng)治 時間: 2025-3-25 07:14 作者: muscle-fibers 時間: 2025-3-25 08:39 作者: Autobiography 時間: 2025-3-25 13:40 作者: extract 時間: 2025-3-25 18:16
The Space Given to Musical Creativity in the Classroomof Minas Gerais (Brazil), the Province of Quebec (Canada), and the Canton of Neuchatel (Switzerland). Knowledge of the institutional and ideological contexts of these areas, along with the conditions of their curricula, allowed for the creation of a more realistic framework for preparing interventions in the four schools chosen for this study.作者: 中和 時間: 2025-3-25 20:19
First Stage: Implementation, Observations, and Modifications from the Perspective of a Teacher Resea about the observations made during this stage, and the decisions I made in order to modify our work in the hope of allowing students access to the production and writing of music during their composition task, and to foster a discussion between the students and the teacher.作者: aneurysm 時間: 2025-3-26 03:44
Stage Three: Definitions and Considerations for Observing the Interaction between Students and Teachor of teachers and that of a professor of pedagogy. I added to these that of an observer in order to describe these activities in practice. After reviewing the scientific literature, my results — which I will describe and discuss in upcoming sections — led me to a new research subject and set the stage for new questions and approaches.作者: 投射 時間: 2025-3-26 05:00 作者: heterogeneous 時間: 2025-3-26 11:42 作者: Jocose 時間: 2025-3-26 12:42
Hess Thomas,Matt Christian,Hilbers Konrad concerning what actually occurred. The following presents our observations with examples. Based on these documented gaps, we improved and edited the flexible pedagogical sequences and how teachers should implement them with their students.作者: Interstellar 時間: 2025-3-26 19:53
Book 2015with a focus on music composition and from the perspective of social-cultural psychology. This book is comprehensive, cutting-edge and scholarly in its approach. Marcelo Giglio’s attention to music and creativity is detailed enough to satisfy any researcher, educator or teacher educator; but at the 作者: interlude 時間: 2025-3-26 22:19
Haitham Yaish,Madhu Goyal,George Feuerlichts a professor of music education in the secondary school “Les Cerisiers”, as a professor in a teacher education program, and as a researcher in the . BEJUNE in Switzerland. The ages of the students that participated most actively in this project range from 11 to 13 years old. However, some activities were carried out with even younger students.作者: MUTED 時間: 2025-3-27 03:47
Müssen Führungskr?fte normalisieren k?nnen?feedback from all of the students after they have presented the music they have produced. Recording these discussions about creative activity gives the teacher the opportunity to listen to the reflections of their students again.作者: 未完成 時間: 2025-3-27 05:36
Gesch?ftsmodelle im Cloud Computingmances and practices, they should also have moments of disagreement and agreement. I wanted to know if and how these things really happened, and what types of collaboration students engaged in to finish these compositions.作者: chandel 時間: 2025-3-27 11:23
Thick Airfoil Deep Dynamic Stallns, this chapter examines how the teacher’s actions affect how students collaborate while creating a piece of music. Conversely, I describe how teachers employ these practices in reaction to and when adapting to their students’ work.作者: 懸掛 時間: 2025-3-27 16:45
Introduction or Preludes a professor of music education in the secondary school “Les Cerisiers”, as a professor in a teacher education program, and as a researcher in the . BEJUNE in Switzerland. The ages of the students that participated most actively in this project range from 11 to 13 years old. However, some activities were carried out with even younger students.作者: conflate 時間: 2025-3-27 21:37 作者: 打包 時間: 2025-3-28 00:53
How Do Students Collaborate Creatively?mances and practices, they should also have moments of disagreement and agreement. I wanted to know if and how these things really happened, and what types of collaboration students engaged in to finish these compositions.作者: 透明 時間: 2025-3-28 02:15
How Student Creative Collaboration and Teaching Practices Affect Each Otherns, this chapter examines how the teacher’s actions affect how students collaborate while creating a piece of music. Conversely, I describe how teachers employ these practices in reaction to and when adapting to their students’ work.作者: TERRA 時間: 2025-3-28 07:28 作者: vascular 時間: 2025-3-28 12:51
Book 2015 across the world, and then goes on to support this important work with detailed descriptions of classroom episodes—student-to-student and teacher-to-student interactions. By combining these three elements, this book offers socio-creative and pedagogical models for education in practice as well as teacher education and research.作者: AWL 時間: 2025-3-28 15:06 作者: 信徒 時間: 2025-3-28 19:17
Busse Sebastian,Hanelt Andre,Kolbe Lutz M.al sequences and the production settings in order to implement and observe them again during new lessons. For the researcher, this provided opportunities to identify the unfounded convictions that teachers might have that must be overcome to implement this type of activity. For the student, this pro作者: 修改 時間: 2025-3-29 00:00 作者: 顛簸地移動 時間: 2025-3-29 06:45 作者: slipped-disk 時間: 2025-3-29 09:35 作者: AER 時間: 2025-3-29 12:23
Towards a “Socio-Creative” Approach to Educationof these steps (the creative collaboration task, the mini-recital, the follow-up discussion, and its playback) multiply the teacher’s opportunities to engage in a specialized and progressive pedagogy that encourages socio-cultural and creative learning, in other words, the “socio-creative educationa作者: confide 時間: 2025-3-29 17:10
https://doi.org/10.1057/9781137545978Creativity; collaboration; social interactions; music; culture; creative collaboration; teaching; creative 作者: Frequency 時間: 2025-3-29 19:59 作者: Diskectomy 時間: 2025-3-30 00:04
Haitham Yaish,Madhu Goyal,George Feuerlichtch experience with more than 280 students, seven teachers, six different places, and three languages in four different countries (Argentina, Brazil, Canada, and Switzerland). This experiment is an adaptation of my doctoral thesis in which I designed and observed creative student-teacher interaction 作者: Gene408 時間: 2025-3-30 07:51
Benefit Appraisal of the Wetlandgogues Emile Jacque-Dalcroze (1865–1950) and Edgar Willems (1890–1978) in Switzerland, Maurice Martenot (1898–1980) in France, Carl Orff (1895–1982) in Germany, Zoltán Kodaly (1882–1967) in Hungary, and Schinichi Suzuki (1898–1998) in Japan, amongst others. Each of these approaches has its own pedag作者: 細菌等 時間: 2025-3-30 09:21 作者: 財產(chǎn) 時間: 2025-3-30 13:29
Benefit Appraisal of the Wetlandose discussing them through the research literature. In the realm of music education, student creative activity has traditionally been studied through personal lessons outside of the context of the classroom. Some authors have already committed themselves to the observation of improvisation and musi作者: 陶醉 時間: 2025-3-30 17:46 作者: Irksome 時間: 2025-3-30 23:22
Busse Sebastian,Hanelt Andre,Kolbe Lutz M. to happen. This is how we recorded what we called our “predictions” (Ps); named as such because they entail notes written beforehand about what we thought would occur during each lesson. Afterwards, we implemented, filmed, and observed the lessons. We also observed what the students produced. After作者: paragon 時間: 2025-3-31 03:31 作者: Morphine 時間: 2025-3-31 07:03
Hess Thomas,Matt Christian,Hilbers Konradwho works in a secondary school in Argentina, so that they could try these sequences with their own students. During this stage (second level of research), we observed the gaps between student and teacher predictions made before the lessons were given, and between what students and teachers observed作者: Adherent 時間: 2025-3-31 10:33 作者: Certainty 時間: 2025-3-31 16:00
Bullinger Hans-J?rg,Weisbecker Anettecal model based on student creativity. They also gave participating teachers the information that they needed to develop the third stage of our research, which we will describe throughout the next chapters. According to our model, all creative collaboration should be supported by class discussion. O作者: Jogging 時間: 2025-3-31 20:01
https://doi.org/10.1007/978-3-642-54634-1ee what happens when different people apply this pedagogy in different settings. Up until this point, I had taken on several roles: that of an evaluator of teachers and that of a professor of pedagogy. I added to these that of an observer in order to describe these activities in practice. After revi
