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Critical Thinking and Music Listening
Abstract
How can teachers encourage students to use critical thinking to develop listening skills? Lenore Pogonowski, department chairperson for the arts in education at Teachers College Columbia University in New York, believes that dialogues that involve students in analysis can help them become better listeners and musicians.
... The previous studies about critical thinking and listening Pogonowski (1989) in his study of critical thinking and music listening found that dialogues and listening part that make the students engaged in analysis can change them into the better musicians and listeners. He asserts the role of critical thinking in improving music listening skill. ...
... The results showed that subjects with Critical Thinking Instruction (CTI ) were more successful in music, affective, associative, and the whole result of pretest to posttest in comparison with the learners of Activity-Based Instruction (ABI) (Johnson, 2007). Pogonowski (1989) in his study of critical thinking and music listening found that dialogues and listening part that make the students engaged in analysis can change them into the better musicians and listeners. He asserts the role of critical thinking in improving music listening skill. ...
... Teacher has a vital role in the classroom by creating the appropriate atmosphere for students to think critically. Pogonowski (1989) emphasized the role of teacher as calling him/her as a catalyst that provides the motivation for learning. Setting the stage for cognitive challenge in the classroom environment is important, and structuring an event to cause intellectual unrest puts the students on course toward higher level thinking. ...
... It is the teachers' responsibility to plan a music lesson that allows students to use their knowledge on different subjects to create new statements by the help of well designed questions. According to Pogonowski (1989), assisting students in their development of critical thinking skills will help them listen, study a piece of music, and discover meaning beyond that which is elucidated by others. These skills will help students integrate musical understandings and will provide them with the potential for becoming comprehensive musicians and critical thinkers. ...
For decades critical thinking was seen as a skill that had to be developed in every educational context. Therefore, developing this ability became a principal issue for many educators and researchers. A great deal of research was carried out to reveal what fosters this ability and how it is fostered. Besides, the increasing interest in critical thinking popularized the question of how critical thinking could be adapted to other disciplines. In this study, the relationship between critical thinking and music education will be investigated. Hence the purpose of this study is to review the effects of music education on the students' critical thinking abilities in the light of literature. In addition, the teachers' role of guiding students to achieve critical thinking will be discussed. Finally, how to foster the critical thinking abilities of music students in the context of music education will be questioned and some suggestions will be made about the development of music students' critical thinking skills. (C) 2013 The Authors. Published by Elsevier Ltd.
... Teachers have a vital role in the creation of the appropriate environment in which students can think critically. Pogonowski (1989) emphasizes the role of teacher as a catalyst for learning. For her, music teachers set the stage for experiential learning and intellectual challenge in the classroom and are responsible for designing music lessons that allow students to listen to and study works of music while considering them from various perspectives, and to discover meanings beyond those that have been elucidated by others. ...
... 148). For example, Pogonowski (1989) encouraged use of structural dictation, described as "having students listen to an unfamiliar work and generate data about it" through dialog (p. 36). ...
The notion and practice of critical thinking (CT) has moved from its speculative formation by John Dewey to a standard element in teacher education curricula and standards. In the process, CT has narrowed its focus to the analysis and articulation of logical thought, and lost transformative value. In this paper, we examine the conception and implementation of CT in three teacher education domains primarily in the United States–music, media and information literacy, and social studies–asking how CT has deformed education in those domains, and how domain-specific approaches could reinvigorate CT. We further suggest refocusing the purpose of CT in teacher education on accomplishing transformative education for equity in school and society, by implementing a critically reflective, transformative praxis based on the insights of domain-specific approaches to CT.
... Shifting just a little the discussion and adding performing arts together with humanities and HE, we can quote S.V. Chappell and D. Chappell (2016) that describe how a counter-narrative arts-based inquiry projects build critical thought and social inclusion. They prove that "public performance installations created by graduate students in elementary and bilingual education on needs-based and dignity-based rights of bilingual families at schools" and "visual and performance art pieces on historical colonial practices in world history, created by undergraduate theatre students" are good for developing critical thought (which we can consider equivalent to CT).About music, Lenore Pogonowski (1989) thinks that dialogues that involve students in analysis can help them become better listeners and musicians. In an exploratory study by Kilic, Yazici, and Topalak the critical thinking dispositions of music teacher candidates using variables such as age, gender, secondary school type, daily TV viewing frequency, parental attitudes, and frequency of book and newspaper reading. ...
In this paper, I shall present a literature review concerning critical thinking (CT) in Arts and Humanities. The method employed had three phases: i) database and keywords identification, ii) selection of papers for analysis and review, iii) data-extraction and analysis. And the following inclusion criteria were taken into consideration: a) only peer-review articles concerning CT and Higher Education (HE); b) empirical-based and theoretical papers research were also included; c) articles which met quality criteria: explaining the methodological design, argued opinions, variated sources. I did not exclude papers based on the year of publication. I selected a diversity of papers, proceedings, book chapters, dissertations, articles, because of the limited bibliographic resources and also for providing a broader view of the literature. The study revealed that the most frequent research question in the analyzed papers was that Arts and Humanities help in developing CT skills and disposition. On the other hand, in other domains, like STEM or Social Sciences, critical thinking helps to improve one’s activity in the respective domain, and not vice versa (one specific domain is improving CT). The conclusion is that critical thinking is a complex reality that it is not a general domain called Critical Thinking which is impacting upon the specific domains, but the other way around. In the Arts and the Humanities the critical attitude, which is specific to each of those domains, builds up to a more general Critical Thinking skill.
Keywords: critical thinking, Arts, Humanities, higher education
... Many music educators continue to view the act of listening as a passive activity. Few scholars in the field of music education devote time or written word to the act of listening and, those who do, tend to view listening in the music classroom as a tool for developing musical thinking; that is, how focused listening might serve the acquisition of musical understanding and skills (Bell 2018;Campbell 2005;Kaschub and Smith 2014;Pogonowski 1989). At the root of this perspective is the notion that listening is fortification forin service ofhigher level music performance skills rather than an engagement in its own right. ...
Almost twenty years ago, the question of ‘How popular musicians learn’ (Green, [2002]. How popular musicians learn: A way ahead for music education. Hants, England: Ashgate Publishing Limited) catalyzed a paradigm shift in music education and music teacher education bringing informal teaching and learning strategies to the fore. In this article, the author argues that a new paradigm-shifting question requires attention: ‘How children listen’. This article examines the multimodal nature of children’s popular music listening. It then explores the implications of such listening engagements for music teacher education. In a series of three sessions, preservice music education students explored the multimodal aspects of popular videos and designed pedagogical frameworks for ‘multimodal music learning’ that mirror young children’s contemporary listening processes. Findings suggest that young preservice teachers, having grown up with digital technology, are uniquely positioned to facilitate multimodal pedagogies of popular music. The author argues that current music teacher education does not sufficiently build on the digital literacies and affinities of students and suggests ways that music teacher education programs may address this gap.
... Looking further into how children develop creatively, I also learned that they use every affordance available to them in their environment to further their own social; emotional, and intellectual growth (Shonkoff ,and · Phillips 2000). My students Custodero (2006), Dzansi (2002), Fox ( 1988), llari (2009), Niland (2015), Sims (1995), Rutkowski (1996) Campbell (1991, Flohr and Brown, (1979), Metz (1989) Habibi et al. (20 I 8), Aleman et al. (2017), Conway (2004 ), Rickard et al. (2010), Woody and Lehmann (2010), Young (2008a) Pogonowski (1989, Pramling andWallerstedt (2009), Randall et al. (2014), Reybrouck et al. (2009), Sims (2005, Sims andNolker (2002) Custodero (2008), Guderian (2012), MacDonald (2012, 2017), Brophy (2001), Burnard (2000), de Vries (2005), Giddings (2013), Russell and Austin (2010) Barrett (1996Barrett ( , 2003, Bugos and Jacobs (2012), Burnard andYounker (2002, 2004), Deutsch (2016), Hickey (1999Hickey ( , 2003Hickey ( , 2012, Hogenes et al. (2016), Johnson-Green (2018, Jorgeqsen (2016), Kaschub andSmith (2009), Marsh (1995), Shouldice (2014), Stauffer (2002), Strand (20 I 6), Webster (2016) Acker et al' . (2015), Addessi and Pachet (2005-2006, B~on and Pearsati (2016), Lum (2008), Merkow (2013), Young (2008bYoung ( , 2009Young ( , 2012, Young and Gillen (2006) generally were growing up in environments with access to many types of learning materials, including.all ...
... In the field of Music, Lenore Pogonowski (1989) thinks that dialogues which involve students in the analysis process can help them become better listeners and musicians. In an exploratory study, Kilic, Yazici and Topalak describe the critical thinking dispositions of Music teacher candidates using variables such as age, gender, secondary school type, daily TV viewing frequency, parental attitudes and frequency of book and newspaper reading. ...
This paper discusses the need for Arts, Humanities and Cultural Studies to be widely studied within Higher Education. Research shows that such topics are necessary for the development of critical thinking, this type of analysis being innate to these domains. In this paper, I introduce the concept of creating meaning, which I define as the link between creative thinking and critical thinking and as the first attribute of a critical thinker. Before making inferences, judgements or decisions, one must identify the framework of a problem, determine the parameters of the discussion and reflect upon assumptions. These are propaedeutic to a good discussion and are prerequisites of a good critical thinker. Arguing that creativity is not a separate process from critical thinking, I aim to demonstrate that the Arts, Humanities and Cultural Studies are the promoters of critical thinking. Because disciplines in these fields are likely to create environments that foster critical thinking and encourage the production of meaning, I argue that these necessarily belong in all curricula of Higher Education.
... Looking further into how children develop creatively, I also learned that they use every affordance available to them in their environment to further their own social; emotional, and intellectual growth (Shonkoff ,and · Phillips 2000). My students Custodero (2006), Dzansi (2002), Fox ( 1988), llari (2009), Niland (2015), Sims (1995), Rutkowski (1996) Campbell (1991, Flohr and Brown, (1979), Metz (1989) Habibi et al. (20 I 8), Aleman et al. (2017), Conway (2004 ), Rickard et al. (2010), Woody and Lehmann (2010), Young (2008a) Pogonowski (1989), Pramling andWallerstedt (2009), Randall et al. (2014), Reybrouck et al. (2009), Sims (2005, Sims andNolker (2002) Custodero (2008), Guderian (2012), Wilson andMacDonald (2012, 2017), Brophy (2001), Burnard (2000), de Vries (2005), Giddings (2013), Russell and Austin (2010) Barrett (1996, 2003, Bugos and Jacobs (2012), Burnard andYounker (2002, 2004), Deutsch (2016), Hickey (1999Hickey ( , 2003Hickey ( , 2012, Hogenes et al. (2016), Johnson-Green (2018, Jorgeqsen (2016), Kaschub andSmith (2009), Marsh (1995), Shouldice (2014), Stauffer (2002), Strand (20 I 6), Webster (2016) Acker et al ' . (2015), Addessi and Pachet (2005-2006, B~on and Pearsati (2016), Lum (2008), Merkow (2013), Young (2008b, Young and Gillen (2006) generally were growing up in environments with access to many types of learning materials, including.all ...
From before birth, human beings are immersed in sound-rich environments. As hearing typically develops fully at 5 months gestation, sound becomes our primary means of understanding the outside world. We hear the voices of our parents and others through speech and singing, the ambient sounds of our home culture, primary languages spoken, and the surrounding musical culture primarily through singing, live instrumental playing and performance, audio recordings, use of music applications on smartphones and tablets, television, and sound/music embedded in websites and other computer-based materials. This immersion both prepares us to enter into the world and continues after we are born.
Given this intensive musical environment, children typically enter kindergarten with an intuitive musical understanding gained through a highly developed hearing sense and a sophisticated perception of sound. This perspective underlies my own music teaching philosophy and impelled me to develop a comprehensive, developmentally appropriate K-8 music program focused on composition, conducting, aural training, and music analysis, where my students used audio technology (e.g., electronic keyboards, tablets, laptop computers, etc.) as tools of musical expression and creation. Ultimately, my students became composers of original music through sound exploration and manipulation, close listening, and creative license.
This chapter will focus on how my students used sound as a learning manipulative to understand the relationship between their perceptions and experiences of music as meaningful to them. The chapter will show the longitudinal musical development of my students through their work over several years and specifically how their musical sense grew in complexity over that time. I will present evidence of my students’ growing ability to use and understand sound through data including transcriptions of my students’ original pieces, their written musical scores for these pieces, their own explanations of musical thinking, and my observations of their approach to composition.
... Further, active musical participation may strengthen adaptive skills such as resilience (Pasiali, 2012(Pasiali, , 2014Zarobe & Bungay, 2017), critical thinking (M. Major & Cottle, 2010;Pogonowski, 1987Pogonowski, , 1989, creative problem solving (Burnard & Younker, 2004;J. H. Wiggins, 1999), and collaboration (Muhonen, 2014;Stringham, 2016;J. ...
This qualitative study focuses on building a fully immersive musical-architecture composition curriculum for three general music classes of kindergarteners (N=45). Students composed original music using a set of engineering and design precepts. As part of the compositional process, they used Lego bricks to construct three-dimensional representations of their compositions. The children also wrote musical scores using their own notation as a mnemonic device, a "blueprint," which they read while they played their pieces. They could then choose to perform their completed pieces in class and record them as part of their creative process. Each child composed using a keyboard, which allowed individual children to work at their own pace over several weeks. Curriculum design was founded on the following elements: 1. Differentiated teaching practice. 2. Process-oriented learning environment. 3. Acknowledgement of the children's acquired musical and general knowledge. 4. Embedded skills in STEAM (science, technology, engineering, visual art, and math), which were used in service of musical thinking. 5. Engineering "habits of mind." Data collection included: Videos of children reading and playing their original pieces; children's written musical scores; researcher observational notes; and interviews with the children about their creative processes. Data were analyzed for individual children and then examined for trends within the whole group. Results showed evidence of immersive learning, accelerated development of musical thinking, and clear application of STEAM skills within the compositional process.
... As music educator Lenore Pogonowski wrote, learning is "enhanced when we vary our instructional modes to engage our students in active reflection." 6 Instruction that guides students in CL practices enables and supports critical thinking, "an essential component of educating musically and ethically . . . [that] supports music learning as/for social justice." ...
This article presents an approach to music listening that creates spaces for critical literacy, inviting music educators to consider critical literacy practices when listening and responding to music. We begin with a discussion of critical literacy pedagogy in the context of music education followed by a sample flexible lesson plan that uses critical literacy as a framework to guide a music-listening experience. We then outline research-based critical literacy strategies used to frame the design of the learning experience. Through critical literacy listening, students can learn to recognize explicit and implicit messages presented in musical selections and construct new understandings that allow them to enter into a dialogue with the musical text.
... Group Dynamics focuses on the development of shared responsibility, interdependence, and leadership, and encompasses behaviors effective in counteracting social loafing (Stocker, 1981) and related to sectional rehearsals (Mount, 1980), small group learning (Friedmann, 1989;Rutkowski, 1996), peer interactions (Hamilton, 1999), and cooperative/ collaborative learning (Di Natale & Russel, 1995;Luce, 2001). Music Concept Learning comprises effective questioning skills (Kassner, 1998a, Kassner, 1998b, critical thinking (Pogonowski, 1989), and comprehensive musicianship (Dodson, 1980;Garofalo & Whaley, 1979;Whitener, 1982), the underlying focus being to develop and verify students' understand of music. Artistic Music Performance draws together multisensory approaches--modeling (Rosenthal, 1984;Sang, 1987), figurative/metaphorical language (Sakadolskis, 2003;Watkins, 1986), analogy (Stollack & Alexander, 1998), kinesthetic and body movement metaphors (Cohen, 1997;Dura, 1998;Wis, 1993), and musical and bodily/kinesthetic intelligences (Sillick, 1996)--into a pattern that focuses on achieving an expressive mental image, interpretation, and level of performance. ...
Research-based models of effective music teaching behaviors are essential curriculum for music teacher education. However, any distinct model of effectiveness alone does not indicate whether a teacher is effective, but instead only a particular way a teacher is effective. A multidimensional model of music teaching style is proposed as a viable and balanced curricular framework for music education coursework, workshops, and research. Four dimensions-- Assertive Teaching, Nonverbal Motivation, Time Efficiency, and Positive Learning Environment--are effective in getting students to carry out teacher- directed performance tasks and jointly form the higher-order factor Breadth of Activities. Four dimensions, which form the higher-order factor Depth of Student Learning, are effective in getting students to understand music for themselves-- Group Dynamics, Music Concept Learning, Artistic Music Performance, and Student Independence. Positive Learning Environment bridges both higher-order factors, so is perhaps the most generally effective. The two higher-order factors associate with the major philosophical, psychological, and historical differences in education. A curricular sequence is suggested by findings that music teachers develop through an inefficient Self-Reflective Stage, a teacher-centered Broadening Stage, a student-oriented Interdependent Transition, and a student learning-centered Deepening Stage. Research has also shown how diversity in people leads to diverse practices and goals.
... Además del desarrollo de habilidades musicales, la relación entre la educación musical y el pensamiento crítico ha sido motivo de investigación en el estudio de la evolución de competencias matemáticas y lingüísticas (Zellner, 2011), el trabajo de destrezas personales como la resolución de problemas en la percepción auditiva (Bamberger y Brody, 1984), la motivación individual y su influencia en la actitud académica (Wallner, 2007), la implicación de la dimensión afectiva (Pogonowski, 1987(Pogonowski, , 1989, la estimulación de competencias expresivas, las relaciones interpersonales y sociales y su repercusión en la creación de entornos de aprendizaje y en la promoción de la educación intercultural (Priest, 1997; Cabedo y Díaz, 2016) entre otras. ...
Our report is concerned with the study of critical thought in musical education as a capacity which encourages the intellectual autonomy of students in primary education. After a theoretical review, based on the conceptualization and the description of the features that identify it, we provide a practical argument for its educational consideration with the development of a working with two groups of sixth grade of primary education, in which students adopt an active role becoming an element of reflection, analysis and construction of learning the musical activity. The conclusion of the study allows us to demonstrate that the promotion of reflective and critical thinking in a system of learning tasks, from cooperative work stimulates the natural development of the communication and autonomy as fundamental skills in metacognitive learning music.
... When one looks for them, one finds that elements of critical thinking have influenced a number of research projects within the fields of music and music theory. Davis (1995) has investigated the philosophical and epistemological assumptions behind the study and analysis of atonal music; Johnson (2011) has studied the effect of instruction in critical thinking skills on the ability of students to create verbal descriptions of music; and Pogonowski (1989) has described the process of using critical thinking skills to increase the sophistication of students' ability to listen to music while understanding and identifying a number of concepts that relate to a range of academic disciplines. ...
... When one looks for them, one finds that elements of critical thinking have influenced a number of research projects within the fields of music and music theory. Davis (1995) has investigated the philosophical and epistemological assumptions behind the study and analysis of atonal music; Johnson (2011) has studied the effect of instruction in critical thinking skills on the ability of students to create verbal descriptions of music; and Pogonowski (1989) has described the process of using critical thinking skills to increase the sophistication of students' ability to listen to music while understanding and identifying a number of concepts that relate to a range of academic disciplines. ...
Since the 80s, educators have supported instruction in critical thinking (CT) as “an Educational Ideal.” This should not be a surprise given some of the more common conceptions, e.g., Ennis’s “reasonable reflective thinking on what to believe or do,” or Siegel’s “being appropriately moved by reasons,” as opposed to bias, emotion or wishful thinking. Who would want a doctor, lawyer, or mechanic who could not skillfully evaluate arguments, causes, and cures? So, educators endorsed the dream that, through proper CT instruction, students’ critical skills and “rational passions” could be greatly improved. In spite of the dream’s appeal, the reality is, after 30+ years, there is little reason to think the dream resembles reality. After describing what I take to be an adequate definition of CT, such a depressing conclusion will be supported by CT assessment scores from across academe, the continued widespread disagreement among experts in nearly all fields, including CT, and the abundant psychological research on rationality and decision making. And finally, while the ideal extols the value of objectivity, I shall argue that bias may be unavoidable because personal values play a vital role in the evaluation of many arguments.
... When one looks for them, one finds that elements of critical thinking have influenced a number of research projects within the fields of music and music theory. Davis (1995) has investigated the philosophical and epistemological assumptions behind the study and analysis of atonal music; Johnson (2011) has studied the effect of instruction in critical thinking skills on the ability of students to create verbal descriptions of music; and Pogonowski (1989) has described the process of using critical thinking skills to increase the sophistication of students' ability to listen to music while understanding and identifying a number of concepts that relate to a range of academic disciplines. ...
This review is written from the perspective of a consumer of critical thinking tests, one who has used a variety of critical thinking test for nearly 20 years. In choosing an assessment test, it is essential to map the test used with what it taught in one's critical thinking class. Because the Halpern Critical Thinking Assessment test did not cover the logic and fallacies that I teach or the knowledge and skills listed in California's EO 1065 that define what should be taught in a critical thinking class, I could not recommend it.
... Studies specifically targeting nonperformance time usage in rehearsals have revealed that a significant portion of time is spent in nonperformance activity. The quality of that time has been of particular interest to researchers studying critical thinking implementation within the ensemble setting (Pogonowski, 1987(Pogonowski, , 1989Reahm, 1986;Small, 1987). Watkins (1993) discovered that middle school choral directors spent less than 1% of rehearsal time in the use of questioning strategies to evoke higher-order learning. ...
Rehearsals of four outstanding choral conductors were examined to isolate techniques used and time spent in developing choral tone. Participants included four collegiate choral conductors who have been identified as experts in the field of choral music as evidenced by national and international acclaim. Video data were collected over the course of two semesters in three distinct settings: a state level honor choir, a collegiate choir, and a community choir. Two hours of unscripted rehearsals in each setting were recorded, and video footage was edited into five-minute rehearsal segments. Observed rehearsal behaviors were coded into three categories of tone building technique: verbal, nonverbal and vocal model. Video data were analyzed using SCRIBE observation software (Duke & Stammen, 2007) and time spent in each technique was recorded. Additional analysis garnered frequencies of verbal and vocal model types, i.e., technical or figurative language and exemplar or non-exemplar models. Findings indicated significant differences in time spent developing tone between settings as well as between verbal and vocal model types. While Conductors B and C had no statistical differences between time spent in each setting, Conductor A had significant differences between all combinations of settings, and Conductor D had significant differences between the honor choir and community choir settings, as well as between the honor choir and the collegiate choir settings. Significant differences were also found between verbal types for Conductors B and C in the collegiate choir setting, and Conductor D in the community choir setting. No significant differences between vocal model types were found in Conductor A in the collegiate choir or Conductor D in the community choir. However, all other cases yielded significantly more exemplar vocal models. Recommendations for further research were made and implications for practicing choral music educators and teacher certification programs were discussed.
Είναι κοινός τόπος όλων των µουσικών παιδαγωγών, ότι η δηµιουργικότητα και η ανάπτυξη της δηµιουργικής σκέψης αποτελούν αναπόσπαστα κοµµάτια του µαθήµατος της Μουσικής Αγωγής. Παράλληλα, τα τελευταία χρόνια, πολλοί ερευνητές και σχεδιαστές αναλυτικών προγραµµάτων τονίζουν τη σηµασία της κριτικής σκέψης και
τη σπουδαιότητα της ένταξής της στην εκπαιδευτική διαδικασία. Έτσι λοιπόν, η παράλληλη ανάπτυξη της κριτικής και της δηµιουργικής σκέψης στη διδακτική πράξη προβάλλει αναγκαία. Η µουσική εκπαίδευση στο σχολείο, µε την ευελιξία που τη διακρίνει, παρέχει στον εκπαιδευτικό τη δυνατότητα να συνδυάσει το αντικειµενικό µε το
υποκειµενικό, την πιθανότητα µε τη δυνατότητα, τη λογική µε τη φαντασία. Για όλους τους παραπάνω λόγους ο συνδυασµός της κριτικής και της δηµιουργικής σκέψης στη διδακτική πράξη κρίνεται αναγκαίος.
Στην προσπάθεια αυτή εφαρµόστηκε πειραµατικά στην Α΄ τάξη του Γυµνασίου, σε δύο σχολεία του Ν. Βοιωτίας και µαθητών, µια σειρά µαθηµάτων διάρκειας 3 διδακτικών ωρών, µε θέµα «Τα µουσικά όργανα-Τρόποι παραγωγής του ήχου».
Συνοπτικά, τα µαθήµατα αυτά περιελάµβαναν:
- τη γνωριµία των µαθητών µε µια µεγάλη ποικιλία µουσικών οργάνων,
- την κατανόηση του τρόπου παραγωγής του ήχου τους,
- την κατασκευή µουσικών οργάνων χωρίς την καθοδήγηση του καθηγητή και
- το σχεδιασµό οργάνων «νέου» τύπου (τα όργανα του «µέλλοντος»).
Κεντρικοί θεµατικοί άξονες της παρουσίασης θα είναι:
α) Ο ορισµός της κριτικής και δηµιουργικής σκέψης και η σπουδαιότητα τους στη µουσική εκπαίδευση
β) Η περιγραφή της πειραµατικής εφαρµογής του συνδυασµού τους στην Α΄ τάξη (επιµέρους στόχοι και µεθοδολογία)
γ) Η παρουσίαση των αποτελεσµάτων
δ) Η αξιολόγησή της
στ) Συµπεράσµατα.
This article has been retracted: please see Elsevier Policy on Article Withdrawal (https://www.elsevier.com/about/our-business/policies/article-withdrawal).
This article has been retracted at the request of the Editors-in-Chief.
After a thorough investigation, the Editors have concluded that the acceptance of this article was partly based upon the positive advice of one illegitimate reviewer report. The report was submitted from an email account which was provided to the journal as a suggested reviewer during the submission of the article. Although purportedly a real reviewer account, the Editors have concluded that this was not of an appropriate, independent reviewer.
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Audio Education: Theory, Culture, and Practice is a groundbreaking volume of 16 chapters exploring the historical perspectives, methodologies, and theoretical underpinnings that shape audio in educational settings. Bringing together insights from a roster of international contributors, this book presents perspectives from researchers, practitioners, educators, and historians. Audio Education highlights a range of timely topics, including environmental sustainability, inclusivity, interaction with audio industries, critical listening, and student engagement, making it recommended reading for teachers, researchers, and practitioners engaging with the field of audio education. Daniel Walzer is an assistant professor of music at the University of Massachusetts Lowell. Mariana Lopez is a senior lecturer in sound production and postproduction in the Department of Theatre, Film, Television and Interactive Media at the University of York.
Recent educational discourse is full of references to the value of critical thinking as a 21st-century skill. In music education, critical thinking has been discussed in relation to problem solving and music listening, and some researchers suggest that training in critical thinking can improve students’ responses to music. But what exactly is meant by “critical thinking”? This article explores how critical thinking, when thought of as an outgrowth of Critical Theory and pedagogy concepts, may look very different than our popular definitions of the concept. This reframing of critical thinking requires that students take an active role in questioning and challenging music, education, and the ways in which they may take critical action to pursue change. Examples of critical thinking questions, activities, and curricula are offered, and resources are included for further reading.
The purpose of this study was to examine the relationship between time spent in nonperformance and critical thinking activities in high school choral rehearsals. Eighteen rehearsal observations were collected from public school music programs. Observed rehearsal behaviors were coded into three categories of nonperformance activity: lower-order thinking, critical thinking, and nonspecific activity. Results indicated that the mean rehearsal time spent in all nonperformance activities was 53.89%, with 45.96% focused on lower-order thinking skills, 6.36% in critical thinking skills, and 1.57% in nonspecific activities, including off-task behavior and silence. A significant positive correlation was found between the amount of time spent in nonperformance activities and time spent engaged in critical thinking skills. No significant correlation was found between the level of ensemble in which students were enrolled and percentage of time spent in activities that required the use of critical thinking skills. Findings suggest that amount of time spent using critical thinking skills in high school choral rehearsals may be influenced by a variety of factors, including rehearsal techniques and learning objectives used by master teachers.
Engineers have consistently been stereotyped as having poor
communication skills. Though much of the criticism is justified, little
is being done to correct these deficiencies or to analyze the origins of
the problem. This paper examines individual learning styles and attempts
to explain how they may affect the communication style of the student
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