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Projekt: Předškolní estetická výchova "PEV" / Project: Pre-school aesthetical education "PAE"Chaloupková, Eliška January 2015 (has links)
The main topic of this diploma thesis is project called Pre-school aesthetic education "PAE", which is tought at Elementary Art School. In theoretical part are generally explained terms aesthetic, aesthetic education and their brief history, current possibilities of aesthetic education in selected Elementary Art Schools and characteristic of PAE project. Research part focus on acquisition of the project in education at Elementary Art Schools, effectiveness in the selection of artistic field in pre-school age and at least suitability of including this project into the School Education Program of other Elementary Art Schools. For the research were used empirical methods (observations, questionnaire, interviews). Overall results of research are based on comparison and evaluation of the answers from all respondent categories. These results show positive evaluation of PAE, which suitably fills the pre-school period of children with meaningful activities, which are connected with comprehensive development of personality. Extensive appendix brings closer view to the work of children in PAE classes. It contains scanned pictures, newspaper articles and patterns of questionnaires. This work is designed for all teachers, who are interested in unique projects, which are related to education of pre- school...
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Toward a Rationale for Music Education in the Public School Context Framed with both Progressive and Essentialist Considerations: Operationalizing the Ideas of William Chandler BagleyPrice, Benjamin J., 1980- 05 1900 (has links)
In music education, aesthetic education and praxial music education serve as two major, guiding philosophical frameworks, yet supporters of each often conflict with one another. Furthermore, both are slightly problematic with respect to the specific context of the public school. Each framework is primarily music-based, however, music education has existed in the wider context of general education since the 1830s. Given the recent core-status designation for music education, as part of all fine arts, in the reauthorization of the Elementary and Secondary Education Act, a framework from general education that supported music education could offer benefits for the domain. However, the wider context of general education is messy as well. Two groups occupy most of the space there, and remain locked in a fundamental disagreement over the purpose of a formal education. The progressive educators, historically framed by Dewey and Thorndike, contend that education functions as societal improvement. In contrast, the essentialists contend that education functions as cultural transmission. Therefore, a more specific need for music education involves selecting a framework from general education that resolves this conflict. The writings of William Chandler Bagley indicate that he balanced both considerations of a formal education while also advancing his notion of essentialism. Bagley differed from the progressive educators predominately associated with Dewey over definitions and ideas surrounding a democratic education. Emergent points of contrast with Thorndike include distinctions between social efficiency and Bagley's alternative idea of social progress. Bagley also diverged from other essentialists over definitions concerning liberal and cultural education. To make these viewpoints of Bagley explicit, I describe characteristics of a progressive education, and an essentialist education separately, before introducing Bagley. Finally, I apply Bagley's ideas into the domain of music education. Ultimately, I contend that through common outcomes of creativity, competition, and literacy, the domain of music education can remain securely grounded in the values within the public schools.
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Wenn Musik nur in erfüllter Praxis erscheintWallbaum, Christopher 05 June 2012 (has links)
Der Artikel stellt eine musikdidaktische Perspektive dar, die ihren Ausgang bei der Frage nimmt, ob und wie Musik im Musikunterricht erscheint, sofern das Phänomen Musik nur in erfüllter Praxis erscheint. Erfüllte Praxis wird verstanden als eine gelingende Konstellation verschiedener Situationsmerkmale wie Wahrnehmungsinteressen, Themen, Vollzugs-, Interaktions- und Kommunikationsweisen der beteiligten Personen. Nach einer erfahrungsbezogenen Einleitung wird im ersten Abschnitt der Praxisbegriff als Dreh- und Angelpunkt der musikdidaktischen Theorie und auch Videographie dargestellt. Im zweiten und dritten Abschnitt werden ästhetische Praxis und kulturelle Bedeutung als allgemeine Form und inhaltliche Konkretisierung erfüllter Praxis dargestellt. Zweimal vier Kriterien für die Analyse und Gestaltung von erfüllter Praxis im Musikunterricht (=SchulMusik) werden ausgewiesen und mit den gemeinsamen Videos des Symposions und des Buchs veranschaulicht. Über den deskriptiven Kern des Artikels hinaus, der auf normative Setzungen verzichtet, wird in einem Exkurs ein musikdidaktisches Modell „Musikpraxen erfahren und vergleichen“ entworfen. / The article constitutes an approach on music education, which takes its starting point from a question: Does music appear in music lessons and how, assuming the phenomenon music appears in fulfilling praxis only. Fulfilling praxis is defined as a meaningful constellation of different characteristics, such as the attitude of perception, the topic, the ways of action, interaction and communication of the participating people. The introduction leads from observations in school settings to the keypoints of music didactics, focusing on three different scientific parts of the related issues. Part one portrays “praxis” as the key issue connecting different theories ranging from epistemology to videography. Part two and three depict aesthetical praxis as general form and culture-related meaning as specification of fulfilling musical praxis. Two times four criteria identify aesthetical and cultural aspects of fulfilling musical praxis in the classroom (=SchoolMusic) and are illustrated by the joint music lessons on DVD, which are appended to the book. While the main emphasis of the article is descriptive and does not aim for normative purposes, an excursus drafts a model of music education called “Experiencing and comparing different kinds of musical praxis”.
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RED – A supposedly universal quality as the core of music educationWallbaum, Christopher 23 July 2019 (has links)
The Chapter consists in two sections complementing Analytical Short Films. The first is about a supposedly universal atmosphere called RED in the Bavaria-Lesson, the second about different cultures in voice and posture coming together in the Beijing-Lesson. Both are related to theory as well as German philosophies of music education.
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Εκπαίδευση και πολιτισμός : Η πρόταση του «Προγράμματος Μελίνα»Κοσμέτος, Ευάγγελος 10 June 2013 (has links)
Η εργασία αυτή διαπραγματεύεται το Πρόγραμμα «ΜΕΛΙΝΑ» το οποίο θεωρείται πρωτοποριακό στην Ελλάδα διότι προσφέρει, μέσα από τις δυνατότητες της τέχνης, την ευκαιρία για πολλαπλές αναγνώσεις τόσο των γνωστικών αντικειμένων όσο και των συναισθημάτων των μαθητών που μετέχουν στην επικοινωνία.
Η κεντρική ιδέα του προγράμματος είναι το παιδί και η αυτοεκτίμησή του, ο σεβασμός στις ανάγκες του, στις ικανότητές του, στους ρυθμούς και στους χρόνους του, στις ιδιαιτερότητές του.
Έτσι, το Πρόγραμμα έχει ως βασικό μέσο τις τέχνες για την προσέγγιση των γνωστικών αντικειμένων, αλλάζοντας τη μεθοδολογία του παραδοσιακού σχολείου και δίνοντας απάντηση στο πώς μπορούν να αναπτυχθούν κανονικά και ισάξια οι γνωστικές, συναισθηματικές, ψυχοκινητικές και κοινωνικές δεξιότητες του παιδιού, παράλληλα με την απελευθέρωση της φαντασίας και της δημιουργικότητάς του. / This paper discusses the "MELINA" Project, which is considered innovative because it offers in Greece, through the possibilities of art, the opportunity for multiple interpretations of both the subjects and the emotions of the students involved in communication.
The central idea is the child and his self-esteem, respect their needs, their abilities, and the pace of the times, the peculiarities.
Thus, the program is a key instrument for the arts approach of disciplines, changing the methodology of traditional school and giving answer to that can grow normally and equally cognitive, affective, psychomotor and social skills of the child, along with the release imagination and creativity.
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VÝTVARNÁ VÝCHOVA - LITERÁRNÍ VÝCHOVA: Průměty "vyšší" kultury v estetické edukaci na příkladu geometrického umění. / ART EDUCATION - LITERARY EDUCATION: Subjects of "higher" culture in aesthetic education on the example of geometric art.Vaniš, Leo January 2021 (has links)
1 Leo Vaniš: Abstrakt dizertace (EN): The dissertation theses "ART EDUCATION - LITERARY EDUCATION: The subjects of" higher "culture in aesthetic education on the example of geometric art" is based primarily on the field of educational sciences, focusing on two areas of the educational process: art and literary education. Two equivalent school subjects matters (which the very graphic concept of the name by capital letters suggests, as well as the intentional duplication of the word education) is based on the study of culture, which is conceived on two levels - "higher" and "lower," possibly simple, unprofessional, but not necessarily of lower quality. The intentional introduction of the word "higher" in quotation marks already in itself suggests that it will be a problem of defining what such a culture means, what it can look like and how it can be understood in an educational context. collection of so-called canonically anchored works, in the field of verbal and artistic creation, while cross-sectionally focusing on one researched aspect - geometry. Whith the concept of dual geometry (often referred to in the theses as the "phenomenon of simple and artistic geometrization") the author tries to show the projection of already established great artistic values into contemporary educational reality, defining...
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