Team-Based Electronic Portfolio As An Assessment Of And For Learning Of Ordinary Differential Equations

Dengan had kemampuan pentaksiran pembelajaran kaedah tradisional dan wujudnya keperluan pendidikan berasaskan hasil yang memerlukan bukti-bukti kukoh hasil pembelajaran Due to the limitations of the traditional mode of measuring students learning and inspired by outcome-based education that requires concrete evidence of learnin

The 'memoir problem', revisited.

The ‘memoir problem’ revisited “That you had parents and a childhood does not of itself qualify you to write a memoir”. Neil Gunzlinger, book reviewer for the New York Times, griped in a review of yet another confessional memoir. It’s true; suddenly everyone is writing memoir, even people who only ever wrote fiction, rock music or poetry, or never wrote before. I even find myself writing memoir, but mining some of my own fictional writing for triggers and nudges, delving into old poems for clues and lines of inquiry. After all, the memory does not always linger on. Now, since revisiting this autobiographical writing as a resource for chapters of my Creative Nonfiction PhD thesis, a food memoir, in this paper I’ll discuss attempts made to fictionalise the ‘true’ events of the stories, and the uses made of them, to revitalise memoir. I also reflect on the work of controversial memoirist Karl Ove Knausgaard, whose six-volume work, ‘My struggle’, has offended members of his extended family, critics and purists, or simply bored many readers with the impossibly detailed accounts of his life, to ask again of memoir, “Should it be artful or truthful?

Creative Practice for Classical String Players with Live Looping

In recent years, string pedagogy discussions have highlighted the greater need for creative practice as classical string players. Since the second half of the nineteenth century, string methods have shifted towards a limited scope of improvisatory techniques, parallelling the decline of improvisation in Western classical music performance practices. This thesis explores live looping as a practice tool to facilitate learning concepts and help string players develop musicianship skills including improvisation, participate in non-classical genres, and explore their creative voices. Examining the results of string educators that incorporate live looping into their own teaching reveals the tool’s effectiveness in bridging curricula standards with opportunities for avenues of creativity and endless experimentation. Ultimately, live looping can help string players learn a concept more deeply, employing scaffolding techniques to practice abstract models and thus relying less on any specific example such as learning from sheet music. This encourages a broader musical foundation enabling classical string players to feel more equipped in areas beyond their comfort zones and participate in and enjoy a wider range of musically fulfilling experiences