「班級音樂讀書會」提升高年級學童多元智能發展 之行動研究----以臺中縣華盛頓國小第九屆一班為例

Reading fluency has been identified as an essential skill in early readers. The technological boom to which students in the iGeneration have been exposed, has produced many potential tools for developing reading fluency. This study investigated reading fluency and technology. The design of the study presented here allowed the researchers to ask two questions related to the development of reading fluency in 2nd graders. First, did the use of MP3 players as an at-home tool increase reading fluency in 2nd graders? Second, did teacher experience increase the reading fluency of these 2nd graders? The results indicated that the use of MP3 players as an at-home tool did not have a statistically significant impact on reading fluency. However, teacher experience did have a statistically significant impact on reading fluency. Several explanations for these results are discussed including the, perhaps, outdated choice of the MP3 player as the technological tool utilized in the study. In addition, questions are raised about the efficacy of using the MP3 player as a homework-type of assignment. While the importance of establishing a solid home-school connection is noted, schools may need to rethink the most beneficial methods for building that connection with ALL parents/families. Teacher experience is, not surprisingly, connected to student achievement. This result highlighted the need for schools to develop an environment for beginning teachers to grow and find support. Keeping teachers in the classroom is of utmost importance to student achievement.

A questão que se pretende responder aqui é: qual o olhar de professores da área de lingua-gens sobre o tema da educação para as relações étnico-raciais, especialmente aqueles que possuem o corpo como elemento central em suas práticas educativas? Foi realizada análise bibliográfica para a conceituação do termo educação do corpo; exercício analítico apontan-do como processos de educação do corpo podem dar visibilidade ao tema da educação para as relações étnico-raciais na escola; pesquisa de campo representada por entrevistas com três professores de uma escola do município do Rio de Janeiro: uma professora de Artes Cênicas, uma de Educação Física e um professor de Música. Os dados apontaram para duas categorias analíticas: conhecimento sobre as políticas educacionais voltadas ao tema; práticas educativas, curriculares ou não, com foco nas relações étnico-raciais. Ainda que o tema não seja observado nos planejamentos de todos os professores, há uma sensi-bilização para com o mesmo.

Background The curriculum for the courses given at the music specialization of the upper secondary school’s aesthetic program in Sweden includes the concept of artistic expression (AE). Being a criterion for assessment, no definition is provided by the National Agency of Education and there exists no consensus of how to interpret artistic expression among music teachers and music teacher students. Methods In order to explore how teachers understand, teach, and assess the concept and phenomenon of artistic expression, twelve qualitative interviews with music teachers were conducted and analyzed through an open coding process. Results The findings show that the concept of artistic expression is multifaceted and evasive. The results focus on two analytic threads: (i) situatedness and (ii) entanglement. (i) AE is situated due to context-specific parameters which underpins the meaning of the concept in this particular educational setting. (ii) Furthermore, the phenomenon of artistic expression is entangled (a) with the ongoing relationship between teacher and student, and (b) in a temporally unfolding and interactive musical event. The phenomenon of artistic expression as entangled is discussed, primarily through Hartmut Rosa’s concept of resonance, which brings into focus the intersubjective character of aesthetic experience. Doing so questions understandings of – and assessment procedures surrounding – artistic expression that relies on skill-based interpretations or reductions of entanglement. One example of such reduction is assessment of recordings of student performances which limits (a) the relational perspective (if assessed by a third person) or (b) the entanglement with the musical event. The perspective of resonance brings forth the teacher’s role during a student performance as characterized by self-efficacy and active listening, thus co-constitutive of artistic expression. Conclusions The article concludes with reflections on how the findings may contribute to the continuous discussion on how scientific grounding and proven experience may inform both the music education at upper secondary school and music teacher education. The concept of resonance provides a possibility to reframe conceptions of artistic competence in art education as being grounded in intersubjective and relational terms, rather than being reified as a set of measurable skills, an understanding which in turn risks replacing learning with criteria compliance.

The study compared socialization and personal values of teachers in general education schools, special education schools, and music schools that offer extracurricular education. A total of 401 teachers in Estonia filled in the Portrait Values Questionnaire. The results showed that teachers’ socialization and personal values were similar across different schools, but teachers in special education schools differed from general education and music school teachers. Teachers in schools for students with emotional-behavioral difficulties ranked achievement much lower and considered hedonism more important to socialize in children. Teachers in schools for students with disabilities rated self-transcendence values less important to develop in children than general educators and music school teachers. Regarding personal values, teachers in schools for students with emotional-behavioral difficulties considered hedonism more important and security less important than teachers from other schools. Overall, the findings suggest that teachers adapt their values to the school’s context and children’s characteristics.

The objective of this paper is to know how to teach collaborative strategic reading and teaching reading by using CSR. This paper uses descriptive qualitative method by searching any references to accomplish this analysis. The data were collected through observation, teaching learning process and evaluation. This program contains the planning, how to implement the students’ reading comprehension through Collaborative Strategic Reading (CSR). The post-test was a mean to evaluate the action conducted in this field study. The teacher uses collaborative strategic reading to get the goal of teaching. In general, the results of this field study show that teaching English reading comprehension through collaborative strategic reading has advantages, disadvantages, and impacts: (1) The advantages are improving students’ ability in reading comprehension and increasing students’ English learning motivation, (2) The disadvantages are some group`s members lack contribute to the activity and seriousness is lacking, (3) The impacts are students are working and learning together and also collaborative strategic reading allows students to be more engaged and involved in the learning process, instead of being just passive learners. K eywords: Teaching, Reading, Collaborative Strategic Reading

The Malaysian Ministry of Education aspires to produce knowledgeable, creative and innovative music pupils, teachers, educators, researchers, material writers, and curriculum designers. Thus, there is an urgency to advocate new and current ways of attracting 21st century pupils to learn music. This study involves designing educational music teaching materials and approaches. It also evaluates the effectiveness of musical creativity, engagement, and learning outcomes through musical experience, music composition, and music appreciation. The findings of this study provide insights on ways that will help policymakers, curriculum designers, and music teachers in Malaysia to develop quality teaching and learning materials for future music education.

This study has been carried out to determine the impact of the development of metacognition on guitar performance achievement in the individual instrument guitar lesson, which is included in the Bachelor’s program of Music Teacher Education in Marmara University Ataturk Faculty of Education, Department of Fine Arts Education, in Turkey. “Experimental Design with Pretest–Posttest Control Group” has been used, in order to achieve the objective of the study. The study sample (N=10) consists of guitar students of the second, third and fourth classes of Marmara University, Ataturk Faculty of Education, Department of Fine Arts Education, Major Music Education continuing their guitar education during the academic year 2008-2009. The educational program for guitar courses consisting of 14 units with the purpose of metacognitional development has been applied to the experiment group whilst the control group continued the education-training in the present usual course. In order to achieve the results of the study, two measurement tools have been used, the Metacognitive Awareness Inventory and the Observation Form. Consequently, it has been determined that the education program that is applied with the purpose of developing the metacognition in guitar education is more effective and constructive in comparison with the classic education in relation with the improvement of the guitar performance achievement of the students. Key words: Metacognition, guitar education, guitar performance achievement.

意識流與極簡主義：《達洛維夫人》、《時時刻刻》與菲利普．格拉斯音樂之研究

Your Future as a Teacher of Music in the Schools

This study investigates how boys come to be choirboys. It is a sociological examination of the musical lives of a group of 10–13 year old choirboys who are members of a renowned boys’ choir in Australia and who are passionate about singing. The thesis is positioned within debates about young musical masculinities and addresses previously under-researched aspects of boys’ voices which speak to larger questions about the interrelationship between music, structure/agency and the individual/society.A considerable body of literature exists about why singing continues to be a fraught pursuit for the majority of boys in English-speaking cultures. This research supports the view that the ‘missing males’ in singing, particularly in school and in choirs, is a serious challenge for music educators and English-speaking cultures at large. However, previous theorisations of this phenomenon have generated a bifurcated view of male vocality which I redress. The boys’ choir in this study is a particularly potent site to intervene in these debates as the historical musical practices associated with educating choirboys provide a rich context for interrogating how the gendered meanings of this type of boy voice are constructed. Little is known about those boys who contradict gender norms by dedicating themselves to choral singing. What enables such boys to take up singing and to continue down this pathway? What does being a choirboy mean for them and what does it afford? What is special about the pedagogical practices that produce the choirboy? I respond to these questions by analysing the minutiae of choirboys’ musical lives and how gender and class influence why and how certain children take up certain musical ways of being. I use narrative enquiry methods to generate evocative stories of lived experience and I read the personal narratives of the choirboys, their mothers and teachers as relational to dominant cultural narratives of gender and class.To explain this I put Bourdieu’s signature concepts to work drawing together the seldom conversant fields of Bourdieusian sociology and the sociology of music education. Specifically I build on Bourdieu’s notion of habitus as it applies to music through the concept of musical habitus. I expand this concept to reveal the practices that have inculcated the particular dispositions that the choirboys share and to consider the self-reflexive capacities of the choirboys as musical agents. Emerging from my analysis is the inseparability of the classed delineations from the symbolic gendered meanings of the choirboys’ voice type. Throughout I develop the argument that the power of the choirboy is the distinction of his form of middle-class masculinity. This contributes new understandings about ‘making up’ the middle-class child through music education. Integral to this process is the significant role of mothers in enabling musical masculinities. I develop the concept of musical mothering to discuss the intensive pedagogical labour and emotional capital that the women invest in their son’s in and through music. The examination of pedagogy extends to the practices of the choirboys’ teachers which, I argue, reproduce the cultural distinction of the choirboy through what I term pedagogies for virtuosity. By providing a critical perspective on music, masculinity and the middle-class in relation to the musical lives of choirboys, this study offers a fresh way of understanding how certain subject positions are made possible and how social structures are reproduced or transformed through music.

The birth of musicology as a theoretical discipline coincided with the professionalization of international academic bodies, most famously in natural and social sciences, but also in the humanities. While presenting an important example of transnational exchange, such trend in academic research was directly affected by intergovernmental relations. The intersections between the beginnings of musicology as a theoretical discipline and diplomatic relations will be the object of this round table. The birth of musicology was closely related also to the formation of modern nation states in an age of increased global exchanges, with important implications for the internationalization of the musical repertoire and the music industry. World fairs and exhibitions, and international political-commercial initiatives shaped these experiences. Musicologists felt compelled to compare and put order into a previously unknown multitude of musical practices. Without overlooking the power dynamics underlying processes of canon-building, traditionally expressed with the North-South dichotomy, this round table will contemplate an extended approach to comparativism. We will introduce an East-West dialectic, conceived both as a geographical framing – including Europe, Musicology, Diplomacy, and International Networks at the Turn of the 20th Century Discourses, Practices, Events Prof. Axel Korner, Chair Prof. Bonnie C. Wade, Respondent Dr. Ferran Escriva-Llorca Dr. Maria Caceres-Pinuel Dr. Vincenzina C. Ottomano Dr. Christiane Sibille Prof. Dr. Cristina Urchueguia, Team Leader MA Alberto Napoli, Coordinator 3 Asia, America – and a “longitudinal” exchange among different but equally empowered agents, who evaded fixed hierarchies and learned or profited from one another, continuously questioning the concept of a dominating “center.” Reflecting the complexity of the subject, our panel will include varied topics and disciplinary perspectives. Considering that the transnational flow of music theory and practice serving power relations has been studied in scholarship from Europe outward, in the first presentation Wade will address the adoption of Western theory and practice as a technology for modern nation-building by the Japanese government in late 19th century. Ottomano will explore the impact of the early dissemination of Russian music in Paris, focusing on the very close relationship between music, culture and political interests in the diplomatic exchanges between France and Russia after the Alliance franco-russe (1894). Focusing on international organizations dealing with musical questions in the early 20th century, Sibille will analyze their publications and conferences showing the experts’ efforts to gain political relevance, especially by the standardization of their methodological tools. Escriva-Llorca will then retrace the turn-of-the-century establishment of music divisions in several important European and American institutional libraries, analyzing the diplomatic and philanthropic actions of specific patrons and curators which constituted their pre-Baroque holdings. Urchueguia will present a case of direct interaction between politics and musicology, discussing the influence of the Spanish regent Maria Cristina in the preparation of Spanish contributions to the 1892 International Music and Theater Exhibition in Vienna. Caceres-Pinuel will then assess the role of Guido Adler in the organization of the same event, and its influence on subsequent discourses about music, particularly those referring to ‘national idioms.’ Finally, analyzing musical events at international exhibitions in fin-de-siecle Italy, Napoli will illustrate that consequent musicological writings reflected negotiations between nationalist narratives and local cosmopolitan aspirations. Korner will lead the following discussion, as a transnational historian particularly interested in the exchange of knowledge and the role of culture in international relations.

Across ages and cultures, music has been associated with sexual allure, gender inversion and suspect sexuality. Music has been theorised as both a putative agent of moral corruption and an expressive mechanism of gender and sexual signification, capable of arousing and channelling sexual urges and desires. This research examines musically facilitated expressions of queerness and queer identity, asking how and why music is used by queer musicians and musical performers to express non-normative gender and sexual identities. A queer theoretical approach to gender and sexuality, coupled with interdisciplinary theories concerning music as an identificatory practice, provides the theoretical landscape for this study. An investigation into queer musical episodes such as this necessitates an exploration of the broader cultural milieu in which queer musical work occurs. It also raises questions surrounding the corpus of queer musical practice—that is, do these practices constitute the creation of a new musical genre or a collection of genres that can be understood as queer music? The preceding questions inform an account of the histories, styles, sensibilities, and gender and sexual politics of camp, drag and genderfuck, queer punk and queercore, as well as queer feminist cultures, positioning these within musical praxis. Queer theory, music and identity theories as well as contemporary discussions relating to queer cultural histories are then applied to case studies of queer-identified music performers from Brisbane, Australia. A grounded theoretical analysis of the data gathered in these case studies provides the necessary material to argue that musical performance provides a creative context for the expression of queer identities and the empowerment of queer agency, as well as oppositional responses to and criticism of heterosexual hegemony, and the homogenisation and assimilation of mainstream gay culture. Resulting from this exploration of queer musical cultures, localised data gathering and analysis, this research also supposes a set of ideologies and sensibilities that can be considered indicative and potentially determinant of queer musical practice generally. Recognising that queer theory offers a useful theoretical discourse for understanding the complexities and flexibility of gender and sexual identities—particularly those that resist the binary logics of heteronormativity—this project foregrounds a question that is relatively unanswered in musicological work. It asks: how can musicology make use of queer theory in order to produce queer readings and new, anti-oppressive knowledge regarding musical performance, composition and participation? To answer this, it investigates the history of resistance towards embodied studies of music; the disjuncture between competing discourses of traditional and ‘new’ musicology; and recent developments in the pursuit of queer visibility within music studies. Building upon these recent developments, this work concludes that the integration of queer theoretical perspectives and queer aesthetic sensibilities within musicological discourse allows for a serious reconsideration of musical meaning and signification. In the development of a queer musicology, a committed awareness of queer theory, histories, styles and sensibilities, together with an embodied scholarly approach to music, is paramount. It is through this discursive nexus that musicology will be able to engage more fully with the troubling, performative and contingent qualities of gender, sexuality and desire.

Introduction. The main problem of the research on artistic-creative communication as a key component in the formation of professional competencies of future music art teachers is the necessity of a comprehensive approach, finding objective research methods, and taking into account the diversity of this phenomenon. Purpose. The main goal of the research is to clarify the impact of artistic-creative communication on the formation of professional competencies of future music art teachers in order to determine its role and significance in the educational process. Methods: analysis of pedagogical practice and observation of the interaction between future music teachers and their students during creative sessions; surveys and interviews with future music teachers regarding their perception of the role of artistic-creative communication in shaping professional skills; analysis of educational programs and methodological materials aimed at developing artistic-creative communication among future music teachers;utilization of observation methods and analysis of interaction results between teachers and students during music lessons. Results. It has been found that artistic and creative communication plays a crucial role in shaping the professional competencies of future music teachers. In particular, the use of artistic and creative communication methods has been shown to contribute to the development of creativity, emotional expression, creative self-expression, and mutual understanding between the teacher and the student. Additionally, this approach contributes to the creation of a positive psychological climate in the learning environment, increases students’ interest in the learning process, and promotes their creative development. Originality. The scientific novelty lies in the development and utilization of new teaching approaches based on artistic and creative communication as the main factor in shaping the professional competencies of future music teachers. Conclusion: prioritize the development of artistic and creative communication skills in the training and education of future music teachers; implement specific teaching approaches that emphasize the use of artistic and creative communication as a fundamental tool for developing students’ professional competencies; provide opportunities for future music teachers to engage in practical and hands-on experiences that foster artistic and creative communication skills; offer professional development and training opportunities for current music teachers to enhance their abilities in utilizing artistic and creative communication in their teaching practices; encourage further research and collaboration within the field to continue exploring the impact of artistic and creative communication on the development of professional competencies in music education.

Reading is one of the most important skills to acquire knowledge in each discipline. In the information explosion times, good English reading ability is indispensable. The purpose of this study is to investigate what learning strategies are adopted by technical college students in English reading comprehension. The author find out the way of obtaining good reading proficiency, and this will provide the teachers and the students with a more effective teaching and studying method. The subjects were four-year technical college students in the Department of Applied Foreign Languages. Statistic analysis methods, such as descriptive statistics, T-test, analysis of variance, and Pearson product-moment correlation analysis were adopted. The author investigates the following problems concerning reading comprehension. (1) Do gender and reading proficiency play an important role in reading strategy use? (2) What strategies do students prefer during the process of learning? (3) What are the effective learning strategies in reading comprehension?

BackgroundIn response to the wide-ranging concern of career choice, the present study aimed to explore the antecedents and internal mechanisms of choosing a music career.MethodsBased on the model of context–process–outcomes, the school context (eg, school musical activities, musical specialized classrooms, music broadcasting and music teachers) was incorporated into an integrated model as predictors. We selected music interest and music value as mediators. A total of 28,018 adolescents in public secondary school completed psychometric questionnaires.ResultsThe results of structural equation modeling indicated that school musical activities, musical classroom, and music teachers were all positively related to music interest and music value, which in turn positively predicted music career choice but the indirect impact of school musical broadcasting on music career choice via music value is not valid.ConclusionThis survey investigated a large national sample of adolescents for music career choice and its relevant antecedents based on the context–process–outcomes model. There was a significant influence of school music context on students’ music career choice. Furthermore, music interest and music value partially explained the indirect psychological process between school music context and music career choice.