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Teachers as agents in Botswana's music education: challenges and possibilities

机译:博茨瓦纳音乐教育中的老师:挑战与可能性

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The research aimed broadly to understand how Botswana's written government curricula for music are interpreted by music teachers as well as teachers' ideals for music teaching, and to what extent they thought it was possible to achieve those ideals. Grundy's writing on curriculum based on Habermas' technical, practical and emancipatory interests has proven an important lens through which to analyse and interpret the observational and interview data generated. Two music teachers in Botswana's Junior Secondary schools participated in the study, one in an urban area and one in a village. Data were generated through observation of 3 months of teaching in both classrooms, complemented by in-depth semi-structured interviews with both teachers. Additional data were generated through interviews with and observation of three other music teachers, interviews with music representatives for both Examination and Curriculum departments, and document analysis. My interpretation of the data is that most music teaching I observed would best be described as technical, meaning that it is concerned with factual information delivered through teacher-centred pedagogy and assessed by student reproduction of information through written testing. However, there were some examples of the practical paradigm when teaching focused on music making and the student's understandings. There was little evidence of the emancipatory view of knowledge, but the teachers did speak freely about their views on where music education should go and how it might get there. I concluded that dramatic changes to teacher education and music education in particular are necessary if music teaching is to become the rewarding, stimulating and enjoyable experience the teachers and students crave. This would involve re-conceiving education and teacher education by minimising the reproduction of factual knowledge and by emphasising the development of teacher judgement.View full textDownload full textKeywordsAfrica, Botswana, music curriculum, teacher agency, music teaching, knowledge interestsRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/14613808.2012.699955
机译:该研究的广泛目的是了解音乐老师如何解释博茨瓦纳的政府音乐书面课程以及音乐教学的老师理想,以及他们认为在何种程度上可以实现这些理想。格伦迪根据哈贝马斯的技术,实践和解放兴趣编写的课程表,被证明是分析和解释所产生的观察和访谈数据的重要依据。博茨瓦纳初中的两名音乐老师参加了这项研究,一名在市区,另一名在乡村。通过观察两个教室三个月的教学,并与两个老师进行了深入的半结构式访谈,得出了数据。通过与其他三名音乐老师的访谈和观察,与考试和课程部门的音乐代表的访谈以及文档分析,产生了其他数据。我对数据的解释是,我观察到的大多数音乐教学最好被描述为技术性的,这意味着它与通过以教师为中心的教学法传递的事实信息有关,并通过学生通过笔试进行的信息再现进行评估。但是,当教学侧重于音乐制作和学生的理解时,有一些实践范例的例子。几乎没有证据表明对知识的解放性观点,但是教师们确实畅所欲言地表达了他们对音乐教育应该去哪里以及如何到达那里的看法。我的结论是,要使音乐教学成为教师和学生渴望的奖励,刺激和愉快的体验,就必须对教师教育和音乐教育进行重大改变,特别是。这将涉及通过最小化事实知识的重现和强调教师判断力的发展来重新构想教育和教师教育。查看全文下载全文关键字非洲,博茨瓦纳,音乐课程,教师机构,音乐教学,知识兴趣相关的var addthis_config = {ui_cobrand :“ Taylor&Francis Online”,services_compact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more”,pubid:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/14613808.2012.699955

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