The problem was to investigate current thoughts concerning the beginning piano class at the college level, Data were collected from published and unpublished materials from 1964 to 1976. It was found that class piano instruction usually occurs in a three- to four-semester sequence, with classes meeting from two to five periods per week, containing from four to twenty-five students. Classification of students is by interview, placement test, and/or audition. Varying room arrangements are used with either conventional or electronic pianos, plus a variety of audio-visual equipment, Course content, with varying emphases, includes sight-reading, functional skills, technique, and repertoire. Teaching techniques used are numerous and varying. Recommendations were submitted for administrators, teachers, and researchers.

The aim of this work is to describe the proceedings of a beginning teacher and beginning drama bee at Elementary school and Kindergarden Pernink where the classwork is conducted in a form of joint classes. The general organization of the bee is built upon my teaching experience yet and specialised literature therefore the main focus will be on personality and social education, preparatory games and exercises, elements of dramatic expressions, technique of declamation , acting games and improvisation and methods and techniques used in drama education. My goal which is also the subject of this thesis is to supply elements of drama education to a heterogeneous group of children. KEYWORDS: Teacher, beginner, Drama in Education, village, school

The introductory art history course at the university level is the focus of this study. Recognized inadequacies of the traditionally conceived course prompt the development and implementation of a new course humanistically oriented and characterized by innovative methodologies derived from encounter group processes. The course develops through formative processes of examining three deviating teaching approaches: traditional, transitional-exploratory, and alternative-innovative. The resultant format applies concepts of art history, art education,general education, and humanistic psychology to needs of art and non-art students. Course implementation reveals experiences conducive to both art and personological student self-development. The conclusion is that a new art history course was developed and merits empirical testing.

Comprehensive Musicianship (CM) is a philosophy that developed in the 1960s to encourage the study of contemporary music and student creativity. It expanded in the 1970s to describe the interdisciplinary study of music. Its goal was to encourage teachers to go beyond technical and performance aspects of music and start integrating theory, history, composition, improvisation and aural skills instruction to their curriculums. However, while CM has had a strong influence on many music programs, it is not clear whether this trend has influenced the field of private piano instruction, and whether CM elements have been included and integrated in beginner piano method books. To address this question, categories that constitute the core elements of CM were selected to conduct a content analysis of 12 piano method series. Analysis showed that the focus tends to be on aural skills (as teacher duets), and theory, with a noticeable lack of the more creative activities of improvisation and composition.

Face-to-face interaction with target language (TL) group members can provide the intensive second language (L2) exposure required to enhance motivation; it improves attitudes towards L2 development, and promotes achievement (Freed, 1995; Warden, Lapkin, Swain, & Hart, 1995). However, face-to-face interaction with TL group members is not always possible. This is especially true for former core French (CF) students who have enrolled in beginner French as a Second Language (FSL) courses at universities in predominantly Anglophone regions of Canada. To address this issue, I designed a mixed-method case study to examine opportunities for providing intensive FSL exposure and enhancing motivation for beginner FSL university learners. The participants were 55 beginning learners of FSL studying at an Anglophone university in Atlantic Canada. To examine intensive FSL exposure, I compared the overall writing achievement over time of 2 groups interacting in a telecollaborative context: (a) a group interacting with younger Francophone Acadians in another province; and (b) a group interacting with classroom peers of similar L2 proficiency. To gain indepth insight into the effects of the telecollaboration, I explored 4 learners’ L2 motivational self-system: (a) perceptions of their prior and current language-learning experiences; and (b) how language-learner identity was shaped by the experiences. The study is based on 5 data sources: writing samples, background questionnaires, stimulated-recall interviews, language-learning autobiographies, and ongoing observations. It is grounded in 5 bodies of knowledge: the Input-Interaction-Output hypothesis within a socio-cultural perspective (Block, 2003), current L2 writing theory, collaborative learning theory, telecollaborative research, and Dörnyei’s (2005) L2 Motivational Self-System Theory. Quantitative comparison of overall writing achievement in the 2 telecollaborative writing contexts (using Mann-Whitney U tests) revealed that the comparison group performed better than the treatment group. Qualitative findings, however, demonstrated that the treatment group had more positive perceptions of their language-learning experiences with respect to L2 writing achievement at university, as well as more positive language-learner identities than did the comparison group. Further exploration of language-learner identities from an L2 motivational self-system perspective identified 3 identity shaping characteristics: evolution, demotivation and amotivation, and self-regulation.

Face-to-face interaction with target language (TL) group members can provide the intensive second language (L2) exposure required to enhance motivation; it improves attitudes towards L2 development, and promotes achievement (Freed, 1995; Warden, Lapkin, Swain, & Hart, 1995). However, face-to-face interaction with TL group members is not always possible. This is especially true for former core French (CF) students who have enrolled in beginner French as a Second Language (FSL) courses at universities in predominantly Anglophone regions of Canada. To address this issue, I designed a mixed-method case study to examine opportunities for providing intensive FSL exposure and enhancing motivation for beginner FSL university learners. The participants were 55 beginning learners of FSL studying at an Anglophone university in Atlantic Canada. To examine intensive FSL exposure, I compared the overall writing achievement over time of 2 groups interacting in a telecollaborative context: (a) a group interacting with younger Francophone Acadians in another province; and (b) a group interacting with classroom peers of similar L2 proficiency. To gain indepth insight into the effects of the telecollaboration, I explored 4 learners’ L2 motivational self-system: (a) perceptions of their prior and current language-learning experiences; and (b) how language-learner identity was shaped by the experiences. The study is based on 5 data sources: writing samples, background questionnaires, stimulated-recall interviews, language-learning autobiographies, and ongoing observations. It is grounded in 5 bodies of knowledge: the Input-Interaction-Output hypothesis within a socio-cultural perspective (Block, 2003), current L2 writing theory, collaborative learning theory, telecollaborative research, and Dörnyei’s (2005) L2 Motivational Self-System Theory. Quantitative comparison of overall writing achievement in the 2 telecollaborative writing contexts (using Mann-Whitney U tests) revealed that the comparison group performed better than the treatment group. Qualitative findings, however, demonstrated that the treatment group had more positive perceptions of their language-learning experiences with respect to L2 writing achievement at university, as well as more positive language-learner identities than did the comparison group. Further exploration of language-learner identities from an L2 motivational self-system perspective identified 3 identity shaping characteristics: evolution, demotivation and amotivation, and self-regulation.

Majority of the psychologists note that it is natural of a man to evolve gradually. In the beginning of the career, a teacher survives some stages of pedagogical development progress (Frances Fuler, 1969; Feiman – Nemsener, 1983; Leitwood, 1992; Arends, 1998; Šernas, 1998 etc.), but first and most of all (s)he experiences diffidence and self-concern. Only later (s)he starts to care about the teaching situation and the learners. After surveying a range of studies considering first-year teaching problems, a conclusion can be made that there are still very few programs helping beginner teachers’ work. As one of the ways which could help a young teacher solve raising problems, mentorship is being studied as method to establish and maintain partnership with young and little- or non-experienced colleagues. Good partnership should be grounded on common interests, mutual help and knowledge. The present article the deals with mentorship as way to help a beginner teacher’s adaptation and his formation as an educator, in which mentor means a person specially appointed to admonish a young teacher. Since Lithuania joined the international APartMent mentor preparation project in 2001, mentor has been defined as a qualified specialist able to conduct future teachers’ school practice. The present article states the opinion that it would be logical if the same mentor or a specially appointed person could admonish a beginner primary teacher as well, because a... [to full text]

Comprehensive Musicianship (CM) is a philosophy that developed in the 1960s to encourage the study of contemporary music and student creativity. It expanded in the 1970s to describe the interdisciplinary study of music. Its goal was to encourage teachers to go beyond technical and performance aspects of music and start integrating theory, history, composition, improvisation and aural skills instruction to their curriculums. However, while CM has had a strong influence on many music programs, it is not clear whether this trend has influenced the field of private piano instruction, and whether CM elements have been included and integrated in beginner piano method books. To address this question, categories that constitute the core elements of CM were selected to conduct a content analysis of 12 piano method series. Analysis showed that the focus tends to be on aural skills (as teacher duets), and theory, with a noticeable lack of the more creative activities of improvisation and composition.

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Made available in DSpace on 2016-06-02T19:35:34Z (GMT). No. of bitstreams: 1 2526.pdf: 1576502 bytes, checksum: 0c986d8f9d41801d8384451c15eb9349 (MD5) Previous issue date: 2009-06-29 / Universidade Federal de Sao Carlos / The diversity invades the school through the culture and beliefs of students and their families, minority groups etc. The attention to issues such as diversity, difference, equality and inequality it is urgent. In this scenario, the teaching can not only field of teaching contents. It needs to be intermulticultural, understood as that one that considers the diversity and differences and conceives the inaqualities as constructed in the discursives and social relations. Moreover, the teacher, whose practices are based on intermulticulturality, conducts its activities with political sensitivity to transform social reality. Under these assumptions, this research was carried out with a beginner teacher in their first two years of practice in teaching (with two classes of first grade) in order to assist it in the construction of teaching practices based on intermulticulturalidade. Initially we offer a course for continued formation on the thematic that had as main objective to help the participants realize ideological traps and disarm them in which we, teachers, fall in the classroom. Soon after, one of the teachers of the course expressed interest in continuing to work and was monitored for two semesters. In its first two years of teaching in two different schools, one countrified and one urban, the teacher went through all the difficulties to the beginning of the career: a professional loneliness, fluctuations between discovery and survival, the desire to abandon a career were reported feelings for her. While we folloied her in the classroom, we see the ideological traps in which the teacher fell and especially the reasons that led to fall, that is, to understand its cultural conceptions, as interrogated it them and to help it in this process. In interviews and informal conversations the teacher explained some stereotypical beliefs and values, while they, in their work in the classroom, invested in some practices that they considered and worked with the diversity and difference between their students and which the students in a positive way. Some approaches and practices based on removals intermulticulturality are perceived, also, as fruit of adversity the start of teaching. / A diversidade invade a escola por meio da cultura e das crenças dos estudantes e suas famílias, dos grupos minoritários etc. A atenção para questões como diversidade, diferença, igualdade e desigualdade faz-se urgente. Nesse cenário, a docência não pode ser apenas domínio de conteúdos de ensino. Ela precisa ser intermulticultural, entendida como aquela que considera a diversidade e as diferenças e concebe as desigualdades como construídas nas relações discursivas e sociais. Além disso, o professor, cujas práticas são pautadas na intermulticulturalidade, conduz sua atuação com sensibilidade política visando transformar a realidade social. Partindo destes pressupostos, esta pesquisa foi realizada com uma professora iniciante em seus dois primeiros anos de exercício no magistério (com duas turmas de primeira série) com o objetivo de auxiliá-la no processo de construção de práticas pedagógicas pautadas na intermulticulturalidade. Inicialmente oferecemos um curso de formação continuada sobre a temática que teve como principal objetivo auxiliar os participantes a perceberem e desarmarem as armadilhas ideológicas nas quais nós, professores e professoras, caímos na sala de aula. Logo depois, uma das professoras concluintes do curso manifestou interesse em dar continuidade ao trabalho e foi acompanhada durante dois semestres. Em seus dois primeiros anos de docência, em duas escolas diferentes, uma rural e outra central, a professora passou por todas as dificuldades inerentes ao início da carreira: a solidão profissional, as oscilações entre descoberta e sobrevivência, o desejo de abandonar a carreira eram sentimentos relatados por ela. Enquanto a acompanhávamos em sala de aula, buscamos perceber as armadilhas ideológicas nas quais a professora caía e, sobretudo, os motivos que a levavam a cair, ou seja, compreender suas concepções culturais, como ela as interrogava e auxiliá-la neste processo. Nas entrevistas e conversas informais a professora explicitou algumas crenças e valores estereotipados, ao mesmo tempo em que, em seu trabalho na sala de aula, investia em algumas práticas que consideravam e trabalhavam com a diversidade e a diferença entre seus alunos e alunas de forma positiva. Algumas aproximações e afastamentos das práticas pautadas na intermulticulturalidade são percebidos, também, como fruto das adversidades do início da docência.