昏迷状态
发表于 2025-3-26 22:56:57
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Processes
发表于 2025-3-27 02:00:03
Book 2020lenges existing conceptions of learning in music education in part by drawing on research in adult learning, but also by considering the contexts in which learning takes place, and the extent to which this learning can be classified as formal, informal or non-formal. .
让空气进入
发表于 2025-3-27 06:37:25
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空中
发表于 2025-3-27 10:32:50
Brain Development and Ontogeny of Behaviorsiffering orientations to facilitation and learning intersect with formal, non-formal and informal practices and contexts, in turn shaping the development of learners’ musical possible selves. We conclude with a detailed discussion of the theory of possible selves, proposing the notion of musical possible selves.
言行自由
发表于 2025-3-27 17:31:34
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allude
发表于 2025-3-27 21:37:14
Palgrave Studies in Indigenous Psychologyed, framed by the concepts of andragogy and geragogy. We consider the implications of music learning and participation in adulthood, with regard to rediscovered lost possible selves and the sustenance of lifelong musical possible selves.
浮雕宝石
发表于 2025-3-27 21:55:44
Kuang-Hui Yeh,Sophia Chia-Min Chounce musical possible selves. We consider a range of vulnerable groups, including children with profound and multiple learning disabilities, young people and adults in the criminal justice system, refugee communities and underserved communities where Sistema-inspired programmes have emerged.
人工制品
发表于 2025-3-28 02:19:10
Book 2020 and contexts. At a time when the boundaries between music learning and participation are increasingly blurred, this volume is distinctive in challenging a ‘siloed’ approach to understanding the diverse international music education landscape. Instead, the book proposes a multi-layered continuum of
边缘
发表于 2025-3-28 07:53:32
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Parameter
发表于 2025-3-28 12:07:27
Emergent Musical Possible Selves in Primary School,nce on children’s developing musical possible selves, first considering musical preferences and then discussing some different ways that the three facilitation modes and the experiential learning cycle proposed by Heron may be articulated within primary music classrooms.