#4.09 quiz opera music part 2 how to
It was noticed that the three built their knowledge independently, exchanging experience among peers, searching for information in cyberspace, on the track (such as a DJ or goer) and making use of manufacturing technologies for learning how to 104 produce. The ethnographic case study was the chosen methodology, where the observation environment is the dance floor and the social network sites are the producers. Around this theme we are looking for to understand how those producers to get the learning process. The Learning Process of Three Electronic Music Producers of Dance Floor Eliza Vazquez This work has focused on understanding the learning process of three producers of electronic dance music, they belong to the underground scene of Brasilia. Initial education oriented to pervading into these categories is proposed as crucial in order to construct a useful, flexible and well-based professionalism, summing up, to lead to a music education profession devoted to service.
#4.09 quiz opera music part 2 professional
A clear consistency between professional identities based on education, professional cultures connected to a critical attitude and innovation of the profession as a means for social transformation, and ethics of total commitment to the profession itself has been found. Departing from a dialogical and complexity theoretical background, categories for analysis of identity, professional culture and personal ethics as a teacher are defined. Furthermore, the surprising absence of ethics as a research element to be included into the construct of professional identity is opposed to its high value in comprehending deeply the relation between all the elements. This is completely incompatible with permanent identity crises of teachers with no educational training, and with the historical struggle for professionalism in education. Following Baumann, conceptions of professional identity as flexible according to contingencies and professional culture, or even to the teaching profession itself, confined and atomized into the individual view on working activity, lead the teaching activity to be defined as a ‘semi-profession’ or ‘liquid profession’. The elements of teachers’ professionalism from the postmodern perspective, established during the last two decades of the XX century, should be reviewed because of their inconsistency regarding research data and because of the theoretical gaps of this proposal. The successful teaching at university level ensures the acquisition of competences needed for life and work in modern society. On the other hand, pupils with this kind of teaching approach actively participate in the process of comprehension, acquisition, and application of musical knowledge and skills. The students benefit from this creative process because they offer a new teaching approach, make teaching closer to the pupils’ wishes and needs, foster creativity but also influence the pupils’ general and musical culture. We consider that educational films, didactic in character, are useful because they enable knowledge acquisition and students’ skills development and because they can inspire individual creation of music works already in primary school. Having developed the didactic teaching aids for music classes at the primary and secondary school with the help of information and communications technology, the students demonstrated their creative skills, flexibility and openness, modernized the teaching process and made it more understandable and accessible to students and young people. Based on the students’ knowledge and skills and with their ideas, inspiration and work, it is possible to create and introduce new models and strategies of work into the teaching process releasing and showing thereby their creativity. Having in mind that youth culture is one of the main factors of youth identity, school should be a place of learning about culture and music teaching – its source.
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