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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Stage Three: Definitions and Considerations for Observing the Interaction between Students and Teachee what happens when different people apply this pedagogy in different settings. Up until this point, I had taken on several roles: that of an evaluator of teachers and that of a professor of pedagogy. I added to these that of an observer in order to describe these activities in practice. After revi

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How Do Students Collaborate Creatively?escribed above. Although this collaboration requires a certain level of teacher involvement, this section focuses mainly on identifying the different forms of student collaboration during the composition task. According to our research, students should be able to divide the task amongst themselves,

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Creative Scaffolding: A Way of Teaching That Should Changeo observe if teachers approach the group, if they notice what the students are doing, and if they interact with them. It is worth mentioning that we have already described what happens when teachers do not interact with the groups. Some of the examples presented in this chapter occurred before and o

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How Student Creative Collaboration and Teaching Practices Affect Each Otheristribution of labour to the final rehearsal, as well as the conception, organization, and composing of the musical piece. In Chapter 13, I identify, from the educator’s perspective, the teaching practices that scaffold creative collaboration, including everything from preparing students to complete

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Andreas Jeromin,A. Peter Schaffarczykng of a musical piece by a student group. The instances of student-teacher interaction are listed according to when they appear chronologically during the observed activities: in the beginning, in the middle, or towards the end of the student composition task.

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Creative Scaffolding: A Way of Teaching That Should Changeng of a musical piece by a student group. The instances of student-teacher interaction are listed according to when they appear chronologically during the observed activities: in the beginning, in the middle, or towards the end of the student composition task.

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2755-4503 m 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; b

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Busse Sebastian,Hanelt Andre,Kolbe Lutz M. about the observations made during this stage, and the decisions I made in order to modify our work in the hope of allowing students access to the production and writing of music during their composition task, and to foster a discussion between the students and the teacher.

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https://doi.org/10.1007/978-3-642-54634-1or of teachers and that of a professor of pedagogy. I added to these that of an observer in order to describe these activities in practice. After reviewing the scientific literature, my results — which I will describe and discuss in upcoming sections — led me to a new research subject and set the stage for new questions and approaches.