Titlebook: Creative Collaboration in Teaching; Marcelo Giglio Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 Creativity.collaboration

細(xì)菌等

財產(chǎn)

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

陶醉

Irksome

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

paragon

Morphine

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

Adherent

Certainty

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

Jogging

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