427 research outputs found
Remixing the music curriculum : the new technology, creativity and perceptions of musicality in music education
Abstract\ud
This thesis interrogates the new music technology and its relationship to\ud
creativity, musicality and learning in the Key Stage 31 curriculum. In doing so it\ud
considers the effectiveness of the technology, what value pupils and teachers\ud
might place on technologically mediated musical interactions and how this\ud
relates to the principles enshrined in the National Curriculum. The research also\ud
explores the views of teachers in relation to the nature of creativity and learning\ud
in the music curriculum and their role in promoting it. The research was carried\ud
out across five sites: a PGCE music course, a year 7, year 8, and year 9 Key Stage\ud
3 music classroom, and a panel of secondary music teachers. It was located in a\ud
qualitative paradigm which made use of observational and interview techniques.\ud
The research also probed the pupils' creative outcomes through detailed\ud
analysis. The findings suggest that the new technology can afford creative\ud
musical engagement through the manipulation of ready-made musical materials.\ud
It also suggests that pupils engage in a range of musical learning through such\ud
interactions and that they value the processes and outcomes. By way of contrast,\ud
teachers are still unclear about how to value such musical actions and are in the\ud
process of re conceptualising the learning that emerges in technologically\ud
mediated settings. Moreover, confusions still exist in relation to creativity and\ud
learning in the music classroom. This is compounded by the fact that the pupils'\ud
musical actions in relation to the new technology do not meet certain core\ud
practices and principles enshrined in the National Curriculum for music. This is\ud
problematic for, as the research suggests, such core practices often exclude or\ud
distance those pupils who are non-performing musicians. Hence the thesis\ud
concludes by positing that music education must consider a broader view of\ud
what it is to be musical. In doing so it needs to remix the music curriculum to\ud
take account of a range of musical actions. This remix should accommodate the\ud
new technology, reconfigure musical creativity and learning in the light of the\ud
technology and find new ways to value pupils' actions. In such settings the role of\ud
the teacher in shaping and supporting the pupils' musical actions will be an\ud
important consideration
Nematodes in Texas Golf Courses
4 pp., 2 photos, 2 illustrationsPlant parasitic nematodes are microscopic roundworms that feed on plant roots. In turfgrasses they cause damage similar to that of water stress, nutrient deficiency or root diseases. Golf course managers can use this publication to learn about testing for nematodes, identifying the species that damage turf, and managing nematodes
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The Domain-Specificity of Epistemological Understanding in Making Aesthetic Judgments
Literature in arts education suggests that experiences in the arts support the development of thinking skills such as critical thinking and reasoning (Fiske, 1999; Eisner, 2004; Greene, Kisida, and Bowen, 2014). But do individuals make aesthetic judgments supported by critical thinking and reasoning, or are these judgments based only on subjective preferences or personal taste? The present study examines whether undergraduate college students from an elite private university serving primarily students of high socioeconomic status (SES) and a public university serving primarily low SES students (n=150) invoke criteria when making evaluative judgments across the domains of visual art, music, and a non-aesthetic more general domain. Students were asked to compare two works of art (visual art or music), and to compare two fictional political candidates and to indicate whether one could be judged superior to the other and if so on what basis. Responses reflected levels of epistemological understanding—that is, whether judgments are based primarily on facts (Absolutist level), subjective opinions (Multiplist level), or criteria (Evaluativist level).
The majority of participants displayed Multiplist levels in the aesthetic domains. Evaluativist levels were more common in the non-aesthetic domain, although significantly so only in comparison to the music domain among the students from the private elite university.
Group comparisons across the two aesthetic domains showed that individuals scored at the Evaluativist level with more frequency in the visual art domain as compared to the music domain. However, this difference was significant only among the participants from the private elite university and not among the participants from the public university. The general educational and social background of the participants (private elite university setting versus public university setting) proved to be the strongest predictor of Evaluativist-level responses.
Continued research in epistemological understanding in the aesthetic domain is needed, as development in epistemological thinking may afford insights into the degree to which individuals exercise critical thinking about the arts, and how such thinking can be fostered
Ball Moss
2 pp., 1 photoBall moss is a bromeliad that grows on trees. It is not a parasite and does not take nutrients from trees. It can be controlled, if desired, by mechanical removal or by applying fungicides that contain copper
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