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

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发表于 2025-3-21 19:02:05 | 显示全部楼层 |阅读模式
书目名称Creative Collaboration in Teaching
编辑Marcelo Giglio
视频video
丛书名称Palgrave Studies in Creativity and Culture
图书封面Titlebook: Creative Collaboration in Teaching;  Marcelo Giglio Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 Creativity.collaboration
描述.Creative Collaboration in Teaching. focuses on the question of how best to facilitate creative collaboration among students in the classroom setting—with a focus on music composition and from the perspective of social-cultural psychology. This book is comprehensive, cutting-edge and scholarly in its approach. Marcelo Giglio’s attention to music and creativity is detailed enough to satisfy any researcher, educator or teacher educator; but at the same time, his research approach, classroom observations and overriding recommendations can be easily applied to a wide range of subject areas. Giglio combines a rigorous review of the relevant literatures on creativity and social interactions with the reporting and analysis of his own original data across the world, and then goes on to support this important work with detailed descriptions of classroom episodes—student-to-student and teacher-to-student interactions. By combining these three elements, this book offers socio-creative and pedagogical models for education in practice as well as teacher education and research.
出版日期Book 2015
关键词Creativity; collaboration; social interactions; music; culture; creative collaboration; teaching; creative
版次1
doihttps://doi.org/10.1057/9781137545978
isbn_ebook978-1-137-54597-8Series ISSN 2755-4503 Series E-ISSN 2755-4511
issn_series 2755-4503
copyrightThe Editor(s) (if applicable) and The Author(s) 2015
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发表于 2025-3-21 20:40:01 | 显示全部楼层
Towards an Innovative Methodology for Teaching Musicgogues Emile Jacque-Dalcroze (1865–1950) and Edgar Willems (1890–1978) in Switzerland, Maurice Martenot (1898–1980) in France, Carl Orff (1895–1982) in Germany, Zoltán Kodaly (1882–1967) in Hungary, and Schinichi Suzuki (1898–1998) in Japan, amongst others. Each of these approaches has its own pedag
发表于 2025-3-22 02:26:50 | 显示全部楼层
The Space Given to Musical Creativity in the Classroomyse the space assigned to creativity in the curricula of the four regions involved in this study: the Province of Buenos Aires (Argentina), the State of Minas Gerais (Brazil), the Province of Quebec (Canada), and the Canton of Neuchâtel (Switzerland). Knowledge of the institutional and ideological c
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Flexible and Creative Pedagogical Sequencesnt (the object of learning) and transforms it into teachable knowledge (didactic transposition (Brousseau, 1998; Chevallard, 1985)). For musical production scenarios, I propose “flexible pedagogical sequences” as a generalized temporal arrangement of activities in which the teacher engages in certai
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“Predicting, Implementing, and Observing”: A Methodological Approach 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
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Consolidation of the Flexible Pedagogical Sequencese the tasks in a way that encourages creativity and learning. Teachers should arrange the setting of the musical production activity, including the layout of furniture and space, so that it is adapted to the students’ tasks and not vice versa. This type of flexible pedagogical sequence insists that
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