No description available.

No description available.

yes / In this paper we consider how we can undercut the various binaries of gender and sexuality in archaeological practice, and particularly in our teaching. We argue that taking an assemblage theory approach enables us to look at the multiplicity of identities of those practicing archaeology as different and intersecting assemblages that bring one another into being through their connections at different scales. In particular, we examine how this approach can be applied to archaeological pedagogy and how this in turn enables us to move away from modern binary distinctions about sex and gender identities from the "bottom up", fostering an approach in our students that will then go on to be developed in professional practice.

Drawing on relational theoretical perspectives in archaeological discourse, this paper considers how we can address the undervaluation of pedagogy and pedagogic research in archaeology. Through examining the relationships between fieldwork, teaching, and research, in light of Ingold’s concept of the meshwork and DeLanda’s assemblage theory, the division between teaching and research is undermined, and students and pedagogy are recentred as fundamental to the production of archaeological knowledge. This paper provides a theoretical grounding for resituating our current practices, suggests practical means for change, and highlights the benefit to the archaeological discipline arising from a revaluation of archaeological pedagogic research and an enmeshed understanding of archaeological practice.

This creative non-thesis project includes three theories from communication studies. Uncertainty Reduction Theory, Cultivation Theory, and Cognitive Dissonance Theory. Each theoretical framework also includes a script written with the intent of filming in the future. Those videos could be shown in communication classes. These three theories cover a breadth of knowledge in the field as they pertain to interpersonal communication, media studies, and persuasion.

The diploma thesis deals with the topic of using musical teaching aids in the study of piano playing at music schools up to the 5th year of study. First, it presents individual areas of children's psychological and psychomotor development, in which the author demonstrates the link between children's development and the positive effects of the use of musical teaching aids in teaching. The subsequent focus of the work is an introduction of and a proposal for the use of specific musical didactic aids for the study of piano playing, i.e. in the subjects Piano and Music Theory, in the framework of education at music schools. Attention is paid to individual aspects influencing the functionality of these aids. The results of a questionnaire created and sent to piano teachers are also presented, on the basis of which, among other things, a selection of the described musical didactic aids is based. The thesis was created with the intention of acquainting beginning teachers with a wide range of musical teaching aids. It can help with better orientation in the available materials for pedagogical practice and with a more effective conception of teaching. Keywords Musical didactic aids, piano lessons, music theory, pedagogy

No description available.

This dissertation argues for the importance of prioritizing the student experience in music theory discourse, both in teaching practice and content. To achieve this, a student centered curriculum and methodology are proposed, using learning objectives that align with student experiences. The concept of music literacy is defined as the sum of undergraduate music theory experience. Bloom's Taxonomy is proposed as a means of delivery to ensure a student centered experience. The methodology and curriculum are based on the principles of student centered learning with an emphasis on personalized instruction and collaborative learning. The use of Bloom's Taxonomy as a framework for instruction and assessment ensures that learning objectives are aligned with student experiences. This approach aims to promote student success, enhance the relevancy of undergraduate music theory for contemporary students, and facilitate interdisciplinary learning from cognate disciplines. The dissertation concludes by highlighting the importance of prioritizing the student experience in music theory discourse and suggests further research to explore the potential of student centered learning in music theory education. / Music Theory

No description available.

No description available.