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1
Michelsen, William. "Erica Simon." Grundtvig-Studier 44, no. 1 (1993): 141–44. http://dx.doi.org/10.7146/grs.v44i1.16107.
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Erica Simon26/2 1910 - 11/2 1993William Michelsen writes a personal obituary about the French Grundtvig scholar Erica Simon. He first met Erica Simon in the middle of the fifties, when she was studying the Swedish folk high schools and wanted to meet all the Grundtvig scholars and people who put Grundtvig’s ideas into practice. Erica Simon was a university professor in Scandinavian languages and literature, but she also founded her own folk high scholl west of Lyons. Erica Simon’s interest in Grundtvig and her commitment to the Grundtvig’s ideal of .the school for life. was aroused in the mid-fifties, when she studied at Uppsala and met the Swedish folk high scholl Hvilan in Sk.ne. Erica Simon worked together especially with the Nordic folk high school in Kung.lv, and she wanted to spread the knowledge of Grundtvig’s ideas, not only in France, but all over the world. Like Grundtvig, Erica Simon wanted to find the roots of folk culture behind the influence from the Roman Empire, an influence which underlies the centralized school system dating back to Napoleonic France. Erica Simon’s main subject in her Grundtvig research was his ideas of the connection between folk enlightenment and science or scholarship. Science and folk culture are different matters but have to interact in order to establish a scholarship built on folk culture. In accordance with Grundtvig, Erica Simon stresses medieval Anglo-Saxon and Icelandic literature as the Nordic element in universal history, establishing a vernacular culture in opposition to the Latin school and scholarship. Erica Simon was a passionate scholar and interpreter of Grundtvigian ideas. She often visited Denmark and was on the Committe of Grundtvig-Selskabet, where she gave lectures, and she published papers in the Grundtvig-Studier in 1969 and 1973.Erica Simon was born i Königsberg on February 26th, 1910. She spent her youth in Hannover and afterwards studied language and literature in Geneva and in Paris. She married in 1936 and became a widow in 1942, but remarried, bearing the name Vollboudt. Jacques Kleiner, her son from her first marriage, today lives in Switserland. From 1939-54 she was a secondary school teacher in France, but in 1954 she began studying the Nordic folk high school, doing research in Uppsala in 1955-56. In 1962 she became a doctor at the Sorbonne University in Paris (Doctorat d.tat in 1962), with a dissertation about the Swedish folk high schools in the late 18th century.
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Peled, Yehuda, Ina Blau, and Ronen Grinberg. "Does 1:1 Computing in a Junior High-School Change the Pedagogical Perspectives of Teachers and their Educational Discourse?" Interdisciplinary Journal of e-Skills and Lifelong Learning 11 (2015): 257–71. http://dx.doi.org/10.28945/2311.
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Transforming a school from traditional teaching and learning to a one-to-one (1:1) classroom, in which a teacher and students have personal digital devices, inevitably requires changes in the way the teacher addresses her role. This study examined the implications of integrating 1:1 computing on teachers’ pedagogical perceptions and the classroom’s educational discourse. A change in pedagogical perceptions during three years of teaching within this model was investigated. The research analyzed data from 14 teachers teaching in a junior high school in the north of Israel collected over the course of three years through interviews and lesson observations. The findings show that the 1:1 computing allows teachers to improve their teaching skills; however, it fails to change their fundamental attitudes in regard to teaching and learning processes. It was further found that the use of a laptop by each student does not significantly improve the classroom’s learning discourse. The computer is perceived as an individual or group learning technology rather than as a tool for conducting learning discourse. An analysis of the data collected shows a great contribution to collaboration among teachers in preparing technology-enhanced lessons. The findings are discussed in terms of Bruner’s (Olson & Bruner, 1996) “folk psychology” and “folk pedagogy” of teachers and “the new learning ecology” framework in 1:1 classroom (Lee, Spires, Wiebe, Hollebrands, & Young, 2015). One of the main recommendations of this research is to reflect on findings from the teaching staff and the school community emphasizing 1:1 technology as a tool for significant pedagogical change. It seems that the use of personal technology per se is not enough for pedagogical changes to take place; the change must begin with teachers’ perceptions and attitudes.
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Henningsen, Hans. "Højskole i 150 år." Grundtvig-Studier 46, no. 1 (1995): 193–204. http://dx.doi.org/10.7146/grs.v46i1.16188.
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150 Years of the Folk High School- Books around a JubileeBy Hans HenningsenWith the book »Rødding Folk High School 1844 - 1994«, Käthe Z. S. Pedersen and John Pedersen have provided an interesting contribution to the history of the folk high school. Thanks to Chr. Flor, the man behind the initiative to establish the school, Rødding Folk High School became an attempt to realize Grundtvig’s folk high school ideas from the 1830s more than any other school in the first hundred years of the folk high school movement. Among successive principals at Rødding it was above all Sofus Høgsbro who tried to continue Flor’s socially oriented line, but came up against difficulties from several sides. After the war in 1864, the principal and teachers decided to carry on the school at Askov, north of the new border.Another publication from the jubilee year is »Knowledge and Spirit - Ask Folk High School 1869 - 1994« by Thorkild C. Lyby, Doctor of Divinity. After the national disaster in 1864 folk high schools sprang up everywhere, some of them sustained, first and foremost, by the need of the peasants for education and social and political equality, others also by the revivals and the educational ideas of Grundtvig and Kold. The schools that were named after Lars Bjømbak, Viby near Aarhus, belonged to the first category. The »Bjømbak« schools did not have the spirit of the time on their side, as the Grundtvigians had. But politically, the »Bjømbak«s were more class-conscious than the Grundtvigians.The goal was the uprising of the peasantry. As this goal was gradually being approached, the justification for this type of folk high school disappeared. The Association of Folk High Schools in Denmark celebrated the jubilee with a publication by Professor Gunhild Nissen, Doctor of Pedagogics: »Challenges to the Folk High School«. The main view is that the folk high school, which should concern itself with universal matters, was hampered by the alliance with the peasantry and allowed itself to be restricted culturally by the Christian world picture as determined by the revivals. The folk high school proved incapable of opening up towards the young people of modem urban culture, and it failed when the democratic wave of the 60s included the question of student influence, which for example showed itself in the Askov controversy around 1970, which is dealt with in detail in the book.An important post-war innovation within the folk high school was Krogerup Folk High School, established in 1946. This is the subject of the book »Hal Koch and Krogerup Folk High School«, written by the former Minister of Economic Affairs, Poul Nyboe Andersen. Krogerup was a modem attempt to create a folk high school on the immediate inspiration of Grundtvig’s folk high school model. But Krogerup turned out to be a disappointment to its founder and first principal, Professor of Theology Hal Koch.In the political associations and youth organizations that Hal Koch had appealed to, tbe belief in the importance of a national community spirit and the enthusiastic faith in dialogue as the mainstay of democracy did not for long survive the War and the Occupation.However, nothing has contributed more than Hal Koch’s Krogerup work to the transplantation of Grundtvig’s idea of the dialogue and the national community feeling to the modem democratic society.
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Harlin, Eva-Marie. "Folk High School Teachers’ Professional Development - Supported by watching videos of their own teaching." Nordic Studies in Education 37, no. 02 (2017): 103–12. http://dx.doi.org/10.18261/issn.1891-5949-2017-02-04.
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Walstad, Pål Bødtker. "Debatforum: Ernst Triers Grundtvigresepsjon: Om dannelse og yrkesutdanning i Vallekilde." Grundtvig-Studier 58, no. 1 (2007): 247–57. http://dx.doi.org/10.7146/grs.v58i1.16521.
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Debatforum[Forum for debate]In the Forum for debate, readers are invited to respond to issues raised, or to raise new issues relative to the field of Grundtvig studies. Items submitted, preferably in the form of an article, may be of any reasonable length and in any of the languages usually accepted by the journal. Contributions in Grundtvig-Studier 2007 are written by Ove Korsgaard and Pål Bødtker Walstad.Unfortunately, due to a mistake during the editing of Professor, dr. p.d. Ove Korsgaard’s contribution “Hvordan erindres folkehøjskolens historie?” in Grundtvig-Studier 2006, certain sections were misplaced. As this may have caused confusion to the readers, we are reprinting the contribution in its original form. The editors of Grundtvig-Studier 2006 would like to apologise for the misprint. Debatforum: Ernst Triers Grundtvigresepsjon: Om dannelse og yrkesutdanning i Vallekilde[Forum for debate: Ernst Trier ’s Grundtvig reception: On general and vocational education at Vallekilde]By Pål Bødtker WalstadIn 1865 Ernst Trier, a young Danish theologian with a close relation to Grundtvig, established Vallekilde Folk High School. He developed a broad range of occupational education units, covering farming, seamanship and fishing, painting and arts, and, especially with the help of the carpenter and teacher Andreas Bentsen, Vallekilde Folk High School offered a variety of education within the field of crafts. Trier strove to maintain all the occupational education units among Vallekilde’s activities. Since, as he believed, each pupil was created in the image of God and therefore a unique human being, Trier wanted his school to “match” the individualities of the pupils. Grundtvig’s expression “Education and Proficiency for Life” (“Dannelse og Duelighed for Livet”) was by Trier interpreted as a folk high school including general as well as vocational education.
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Hansson, Johan. "Ett enande band bland Nordens alla samer." Educare - vetenskapliga skrifter, no. 1 (March 14, 2019): 96–115. http://dx.doi.org/10.24834/educare.2019.1.5.
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From its establishment in 1942, the Sami folk high school included crafts as an important part of its education program. The Swedish Mission Society, who founded the school, not only wanted to educate Sami youth to better their chances on the labour market but also to give them the opportunity to get acquainted with their Sami culture. Thus Sami crafts had a crucial role in educational activities at the folk high school. With the help of Gert Biesta’s concepts, the article shows that crafts had a socializing function. The teaching strengthened the students’ collective identity and provided them with traditional skills and knowledge. However, Lennart Wallmark, the school principal (1942-1972), stressed the importance of learning crafts for other purposes. Influenced by religious thinkers, he stated that the students would also be strengthened as individuals: a process of subjectification. Moreover, the crafts lessons had a third function: qualification. Though the studies were not vocational as such, they could simplify the process of procuring the quality label bestowed by the Sami organization Same Ätnam to crafts of especially high quality. Wallmark and the teachers in crafts were important for the development of craft education at the folk high school. However, Same Ätnam’s ideas of Sami handicraft and government regulations were also influential. These inner and outer forces contributed to the teaching so that it, on one hand, did not change much but, on the other hand, was congruous with the rest of the society.
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Colson, Tori, Kelly Sparks, Gina Berridge, Renee Frimming, and Clarissa Willis. "Pre-service Teachers and Self-Efficacy: A Study in Contrast." Discourse and Communication for Sustainable Education 8, no. 2 (2017): 66–76. http://dx.doi.org/10.1515/dcse-2017-0016.
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AbstractWith increased emphasis on student achievement in schools, teacher education programs are challenged to meet the demand for highly effective teachers. Ensuring that pre-service teachers feel confident in their ability to teach, prompted one Midwestern University to implement an extended student teaching placement. The idea behind this endeavor was two fold; first to provide future teachers a more robust and diverse classroom experience; and secondly to provide more opportunities for students to get experience in high-risk school settings. There is very limited research on the impact of year-long student teaching on a teacher’s sense of efficacy. The purpose of this study was to compare the efficacy of teacher candidates placed in a year-long student teaching placement to teacher candidates placed in a traditional one semester (16 week) placement. All teacher candidates completed a 24 questionTeachers’ Sense of Efficacy Scaleas well as nine demographic questions. The survey developed at Ohio State University by Tschannen-Moran and Woolfolk Hoy (2001), measures teacher attitudes towards working with students, student engagement, instructional practices, and classroom management. Specifically, the questions represent essential tasks in teaching such as assessment, differentiating lessons for individual students, dealing with students with learning challenges, repairing student understanding, and encouraging student engagement and interest. The results of the study indicated that pre-service teacher candidates in a year-long student teaching placement were more satisfied with their ability to engage students and manage classroom behavior than their counterparts in a traditional one semester placement.
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Potapchuk, Tetiana. "Children's folklore as a means of formation of communicative competence in young children of school age." Pedagogìčnij časopis Volinì 1(16), no. 2020 (2020): 75–80. http://dx.doi.org/10.29038/2415-8143-2020-01-75-80.
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Today, the issues of creativity, the disclosure of the creative beginning of each child as a real subject of life, are gaining a new sound. Society today desperately needs people who think creatively, are able to create culture, live р р, develop р. Therefore, the formation of an educated, creative personality р one of the priority tasks of education reform р Ukraine. Under the conditions of the national revival of the spirituality and culture of the Ukrainian people, oral folk art can р an effective means of forming communicative competence. Therefore, younger students should р offered the best examples of folklore. After all, they are close to the children’s world. The ред of oral folk art during the educational process with children has its own methodology and sequence, which takes into account the specifics and features of the child’s age, compliance with which will contribute to the development of speech р general and the formation of speech and communicative competence. Also, one of the important, effective ways to develop verbal creativity р junior high school has always been a folk tale, as one of the varieties of folklore. After all, р р a fairy tale that best activates children’s imagination and creative thinking, serves as a model of literary language and a means of developing coherent speech, a source of images and plots. Listening to fairy tales allows you to expand, enrich your vocabulary, lay a solid foundation for coherent speech and communicative competence. After all, fairy tales, as a rule, include repetitions, repeated listening to which helps to memorize words and individual expressions and, consequently, replenish the passive vocabulary.The teacher needs to create appropriate conditions for the full speech development of students. After all, by systematically using various genres of oral folk art р the educational process, significant results can р achieved. Oral folk art provides an example of literary correct, pure language, significantly enriches the passive and active vocabulary, forms knowledge about the environment, as a result р the basis for the formation of both language and speech competence of primary school children.
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Yaroshevska, Larisa. "Civic education of youth by means of musical art by V. Sukhomlinsky." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 373–77. http://dx.doi.org/10.33310/2518-7813-2019-65-2-373-377.
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Modern higher education actualizes the need of patriotism upbringing for future teachers as a feel and as a basic quality of the person on the basis of new approaches and new ways of its implementation. To solve the problem with success, it will be effective to create a patriotic educational environment of the University. Patriotic revival, taking place in modern Ukraine, activates society attention to the problem of harmonious, creative, spiritually developed, tolerant personality. Therefore, Ukrainian music using in patriotic education of the future teacher becomes prospective, necessary and relevant. The patriotic upbringing of high school students by means of musical art has its own characteristics, which requires extraordinary approaches to the quality of teacher training as a unique person capable in creativity and innovation in the process of patriotic education of schoolchildren. In order to find ways to improve the activities of universities, it is necessary to synthesize the latest achievements of pedagogy and old pedagogical traditions. Modern science should acquire a profound national content and character, to continuously evolve. Young people need to master new conceptual approaches to a correct understanding of patriotism, their own position on this issue. Musical art as a means of forming the national of future teachers is a powerful stimulus in the young people spiritual and moral formation. But attracting students to art is possible only on the solid foundation of spiritual, patriotic, folk music and the best works of modern times. Improvement of students’ musical education system affected the issues of using Ukrainian national folklore. The eternal spiritual traditions of the Ukrainian people should become the property of future teachers. The attraction of musical art specialty students to Ukrainian folk music is one of the ways in spiritual revival of Ukraine. The national awareness upbringing of youth by means of musical art will be effective provided when innovative technologies are used: purposeful, systematic and consistent introduction into practice of original, innovative methods, techniques, embracing a holistic educational process.
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Matanari, Tetty, Syahnan Daulay, and Malan Lubis. "The Development of Writing Folk Poetry Teaching Material According to the Materials Expert Team with Copy the Master Technique for Seventh Grade Student of Junior High School 1 Rantau Selatan, In Labuhan Batu District, Indonesia." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 2, no. 3 (2019): 254–68. http://dx.doi.org/10.33258/birle.v2i3.371.
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The development of a teaching material must be based on the analysis of student needs. Development of teaching materials have to be able to answer or solve problems or difficulties in learning. This study aims to know the development of writing folk poetry teaching material according to the materials expert team with copy the master technique for seventh grade student of junior high school 1 Rantau Selatan, in Labuhan Batu District. This study was conducted by using Probability Sampling technique. The result shows that all teachers and students need modules in the learning process. Teaching material products developed in folk poetry writing materials with copy the master learning technique for seventh grade students of junior high school 1 Rantau Selatan meet the requirements and are appropriate to use based on the validation of material experts and design experts.
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Hendricks, Karin S., and Tawnya D. Smith. "Eclectic Styles and Classical Performance: Motivation and Self-Efficacy Belief at Two Summer Music Camps." String Research Journal 8, no. 1 (2018): 33–49. http://dx.doi.org/10.1177/1948499218769632.
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String teachers and scholars have suggested that classically trained students may be motivated to engage in eclectic (e.g., rock, pop, jazz, groove, folk) styles. However, we do not fully understand the ways in which students’ motivation to engage in new styles might be influenced by their perceptions of their ability to perform in those styles. In this mixed-method study, we draw upon quantitative, qualitative, and arts-based data from 120 middle and high school students at two camps (one emphasizing classical music, the other emphasizing eclectic styles), to explore various ways in which students develop self-efficacy beliefs and motivation to perform in a variety of musical approaches. According to analysis of all data, students at both camps generally expressed having positive musical and social experiences. Negative experiences, while less common, stemmed from confusion or frustration with music learning, boredom with music that was too easy or not interesting, and competitive comparison with others. Based on findings from qualitative and arts-based data, we suggest that these students may have benefited from additional teacher support when encountering new musical techniques.
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Nielsen, Vilhelm. "Myter og mundtlighed." Grundtvig-Studier 37, no. 1 (1985): 79–84. http://dx.doi.org/10.7146/grs.v37i1.15943.
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Myths and Word of MouthJens Peter Ægidius: Braga Talks, Norse Myths and Narrative Myths in the Danish Tradition (to 1910). Odense 1985.Reviewed by Vilhelm NielsenThe title Braga Talks is taken from Grundtvig, who in 1843-44 gave 25 lectures under this heading; these are treated in detail by Ægidius. The phrase has since been misunderstood, however, and misused to mean words without content or basis in reality. Braga, the god of poetry, has been forgotten and the emphasis has been transferred to the word talk. The title of this book expresses a slipping from the mythology itself into its narrative reproduction. While working on the preface and the introduction to Norse Mythology (1832) Grundtvig made the discovery (as Thaning has proved) that myths are oral. This was one of the slow discoveries he made, and could have been made the main theme of this book, which says little that is new about Grundtvig’s use of his sources. It does, however, offer a great deal on the narrative tradition in use at the grundtvigian folk high schools, which has been revived in this century by Aage Møller, a clergyman and high school teacher. Unfortunately this phase has not been treated, as the book stops at 1910. Ægidius has, however, included Ludvig Christian Møller, the narrative historian, who was Grundtvig’s disciple and who even before him gave historical talks for both men and women at Borch’s hostel in the 1830s. His narration of myths and legends was only his introduction to narratives from medieval history. The other major characters in Ægidius’ book are Christian Flor and Ludvig Schrøder. Flor was originally Professor of Danish at Kiel but became principal of the first Danish folk high school at Rødding in 1844. Schr.der became principal of Askov folk high school, which from 1864 onwards carried the stamp of his personality. Ægidius claims, and the reviewer underlines this new information, that Schrøder did not give up teaching the myths, even though from 1884 onwards he went on to talk about Denmark’s natural resources. Unfortunately we have only comprehensive notes to the lectures but no myth narratives in written form from his side. His lectures on myth were apparently not the same from year to year, but they were wellprepared and reformulated every time, a necessary precondition for their being both “animated” and mythically “sound”, not in fact lectures but “proper stories”, as Grundtvig says in 1838. The reviewer looks forward to a continuation of the book to include an assessment of Aage Møller’s attempt to revive the tradition — and possibly as a guideline for the most recent trends.
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Bell, Kristen, Mikerobert Joseph, Rune Simeonson, Ph. D, Jonathan N Livingston, Maia Crumbie, and Amani Wise. "Revisiting Brown Versus Board of Education: Differences in School Context and the influence of Racial Attitudes on Academic Attainment and Civic Engagement among Black Americans across the Lifespan." Advances in Social Science and Culture 2, no. 3 (2020): p47. http://dx.doi.org/10.22158/assc.v2n3p47.
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Since Brown versus the Board of Education 60 years ago, educators and social and behavioral scientists have tried to identify factors related to better achievement for Black Americans. Since the desegregation of schools in the U.S., Black American students have reported lower grade point averages, standardized test scores, and graduation rates (Allen, 1992). Previous research has investigated school context and climate as well as the influence of racial attitudes on academic achievement. Findings suggest that positive student perceptions of school climate and context (e.g., pride, social support, relationships with a teacher, access to resources) were related to better academic outcomes (Hurley & Lustbader, 1997). However, the research on the influence of racial attitudes have been inconclusive (Chavous et al., 2003; Fordham & Ogbu 1986). Thus, the purpose of this study is two-fold. First, to explore whether racial attitudes were related to academic attainment and civic engagement, and second, to examine whether there are differences in perceptions in school pride and school climate for students in historically black high schools and historically white high schools. To assess the aforementioned research questions, thirty-three Black American high school graduates from a historically white high school and eighty-two Black Americans from historically black high schools were sampled. Spearman Rho correlations and Independent sample T-tests were run to assess the relationship between the following. 1) Racial attitudes, educational attainment, and civic engagement. 2) Differences in perceptions of school climate for Blacks at historically White and Black high schools. Findings reveal statistically significant associations between racial attitudes and educational attainment as well as civic engagement. Moreover, differences were also found in perceptions of climate across school types. Given these results, further research is needed to explore the influence of students’ perception of their school experience and racial attitudes upon educational and life outcomes.
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Buryak, Marina K. "Creative Work of Novgorod Original Singers as a Reference for Modern Folk-Singing Education." Musical Art and Education 8, no. 3 (2020): 159–74. http://dx.doi.org/10.31862/2309-1428-2020-8-3-159-174.
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The article presents the theoretical grounding of the folk-singing technologies of Novgorod original singers (authentic performers) as fundamental to the developed author’s methods: intonational-formulaic, vocal-phonatory, polyphonic-specific, local-style. The identified features of authentic intonation-formulaic education and the study resulted singing fund of children’s song folklore became “key” and end-to-end mechanisms in the author’s method of forming and developing skills of sustainable singing intonation with each participant in the educational process aimed at preserving and further developing the traditions of Novgorod folk-song creation. Based on the study of the general-style singing specifics, vocal-phonation and polyphonic texture of ensemble singing of Novgorod authentic singers developed local-style singing classification, which, according to the terminology of the author of the article, Novgorod folk-singing styles are: old Slavic, Old Russian, part singing, as well as four mixed folk-singing styles. The differentiating mechanism of classification is the potential of the applied types of folk vocal phonation, polyphony in the ensemble singing and the type of singing articulation. On this local-style foundation, the author formed a specific Novgorod mixed folk-singing style, combining locally-style folk-singing technologies of Novgorod authentic performers and the academic school of Russian folk singing. This style is used in the singing of teachers and students of the Novgorod Children’s Music School of Russian Folklore. The implementation of the technologies developed by the author in pedagogical practice helps children achieve a high level of singing training and become ethno performer, a future ethnophore and a bearer of Russian local / regional folk song traditions.
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Granero-Gallegos, Antonio, Manuel Gómez-López, Antonio Baena-Extremera, and Marina Martínez-Molina. "Interaction Effects of Disruptive Behaviour and Motivation Profiles with Teacher Competence and School Satisfaction in Secondary School Physical Education." International Journal of Environmental Research and Public Health 17, no. 1 (2019): 114. http://dx.doi.org/10.3390/ijerph17010114.
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The objectives of this work were two-fold: Firstly, to identify the profiles of disruptive behaviours and motivation in secondary school physical education students using cluster analysis; and secondly, to analyse the interaction of the profiles with school satisfaction and perceived teaching competence. A group of 758 secondary school students (54.2% female) between the ages of 13 and 18 (M = 15.22, DT = 1.27) participated in the study by responding to the following scales: The Disruptive Behaviours in Physical Education Questionnaire, The School Satisfaction Scale, The Sport Motivation Scale adapted to Physical Education, and the Evaluation of Teaching Competencies Scale in Physical Education. The cluster analysis established two distinct profiles: High levels of disruptive behaviours and low levels of disruptive behaviours. The results showed that the students with the high disruptive behaviours profile were mostly boys, having low levels of intrinsic motivation and high levels of amotivation and misbehaviour in the classroom. In contrast, those students with the low disruptive behaviours profile were mostly girls, having the highest levels of intrinsic motivation and the lowest levels in all the disruptive behaviours. It was shown that students exhibiting the worse classroom behaviours were more bored in school, while those students with better behaviour perceived greater teaching competence.
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LYTVYNENKO, Yana. "DIALECT TEXTS AS EDUCATIONAL RESOURCE AT UKRAINIAN LESSONS." Cherkasy University Bulletin: Pedagogical Sciences, no. 2 (2020): 253–58. http://dx.doi.org/10.31651/2524-2660-2020-2-253-258.
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ntroduction. The presence of the requi-?ements of modern society to the secondary school graduate determines the modernization of education, in particular its content. One of the current principles of studying the Ukrainian language today is a text-centric approach. The essence of text-centrism is to use texts as illustrative material in the study of language topics. In the texts selection, teachers prefer artistic samples. But diale-?t texts - records of living folk speech can also be used as a learning resource. The purpose of the article is to prove the expediency of using dialect texts as an educational resource in Ukrainian language lessons; to publish some examples of living folk speech, recorded by the author in East Polesian dialects, which can be used in the teaching and education of high school students. The following methods were used in the study: analysis, synthesis, abstraction, analogy, generalization, as well as the method of continuous sampling. The main results of the study. Complex tasks, made on a text basis, allow developing not only language and speech knowledge and skills of students, but also the ability to formulate their own statements, as well as to satisfy the cognitive interests of students. Dialect texts contain rich linguistic material, so their use allows you to master the language at all levels of the language system. Acquaintance with samples of folk speeches promotes the prestige of proficiency in the Ukrainian language. Through dialect texts, students get acquainted with the world picture of Ukrainians, their customs, traditions, spiritual and material culture, folk life. All this forms the ethnic consciousness of high school students. Originality. The article raises the issue of the use of dialect texts in the study of the Ukrainian language for the first time and publishes samples of dialect discourse recorded in East Polesian dialects. Conclusions and author’s specific suggestions. The use of dialect texts contributes to the development of language and speech competence of students, as well as general cultural and national education of high school students. The didactic and information potential of dialect texts is very large, so they can be used in the study of other subjects (Ukrainian literature, history of Ukraine, biology, geography, etc.).
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Picower, Bree. "Teaching Outside One’s Race: The Story of an Oakland Teacher." Radical Teacher 100 (October 9, 2014): 112–21. http://dx.doi.org/10.5195/rt.2014.166.
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“Oh, the District placed you at Prescott Elementary? You better watch out ‒ they hate white people. Especially that Carrie Secret ‒ she’s one of those black radicals, you know, the Ebonics people.” This was the warning I was given multiple times in multiple ways when people found out that I had been assigned to Prescott Elementary School for my first teaching position, in Oakland, California in 1999. The “warners” were other white folks who were trying to protect what they saw as a young, new teacher from what they perceived to be a hostile place. However, I really didn’t fit the stereotype. I had been involved with several organizations that explicitly addressed issues of race and education for several years, often as the only white person there. I was thrilled to be placed at a school such as Prescott, whose reputation for high achievement for African American children and adoption of the “Ebonics” program had placed it at the forefront of national debate.
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Andrushchenko, V. P. "Life in the epoch of changes: realities and prospects. School Principal's Outlook Potential." All Ukrainian scientific-practical magazine Principal of School Liceum Gymnasium, no. 1 (2020): 18–23. http://dx.doi.org/10.37836/2309-7744-2020-1-1.
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The academic and social experience accumulated over the years and decades of our society’s activity demonstrates the unique role of the headmaster as the first and principal organizer of the educational process, the teacher of the student youth, the parents and all employees of the institution. And that’s understandable. The headmaster is a person who the whole team is based on, who they follow and whose activity, as a tuning fork, sets the tone of the work of the whole school. He is not only the organizer of the educational process or the head of the business, but also the first teacher-advisor of the team. He is fully responsible for the state of work of the school as a whole, and most importantly – for the civic, spiritual, moral, patriotic charge with which teachers approach their pupils, and they, in turn, assimilate it and go into the world as independent and creative personalities. It is he who – confident, convinced, creative – conveys to the team his own worldview potential, accumulated in his time during his university studies, as well as in the process of gaining practical academic and civic experience. Therefore, it is quite understandable the need for a high ideological training of the director, the formation and constant updating of his political, spiritual, moral, aesthetic, etc. culture in general.
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Gül, Gülnihal. "In Terms of Music Teachers, the Evaluation of Music Types in the Curriculum for Music in Secondary Education in Turkey." European Journal of Social Sciences Education and Research 2, no. 1 (2014): 19. http://dx.doi.org/10.26417/ejser.v2i1.p19-24.
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Along with the establishment of the Republic, a song repertoire consisting of transferred songs was previously endeavoured to be formed by taking school music samples of foreign countries and writing Turkish words below them. Afterwards, with the same percept, an imitation songs repertoire was attempted to be formed by our composers. Since the 1950s, the idea that school music should be on the axis of folk music and that music education should be carried out through school music samples composed from the close environment of the child has begun to take place. Together with the various developments since the 1970s, the tendency towards soft music has strengthened in society and also interest in Turkish classical music has increased. Moreover, since the 1970s, soft and classical music samples have begun to be used in music education, which was built on folk music in 1968. Thus, high school music teaching programs which went into effect in 1986 were prepared accordingly. Today, the sense that bringing to the classroom appropriate samples of vital music types in society, getting the student to learn at least one example of each music type and introducing these types is dominating. In this study, music types in middle school music teaching programs in Turkey were endeavoured to be evaluated in terms of music teachers. The subject was researched with the case study method which is one of the qualitative research methods. The oriented exemplification method was used in the study and 5 music teachers working in a middle school participated in the study group. The data was analysed by forming the necessary coding and themes. According to the obtained findings, results and suggestions were given place.
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Belinska, Lyudmyla, and Semen Kukurudza. "Anatole Vakhnianyn as an educator-geographer, composer, public figure, politician." Visnyk of the Lviv University. Series Geography 53 (December 18, 2019): 13–23. http://dx.doi.org/10.30970/vgg.2019.53.10652.
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Anatole Vakhnyanin is one of the most representative of the Galician intellectuals, who in the second half of the nineteenth and early twentieth centuries in the conditions of the Austro-Hungarian monarchy selflessly worked on the field of awareness of Ukrainians as a separate nation. Scientific and pedagogical, public-political, musical and cultural activities contributed significantly not only to the formation of the cultural and educational level of the population of Galicia, but also to the close unity of the entire Ukrainian people. In his student years, he started the activity of the student community structures “Hromada” (Przemysl) and “Sich” (Vienna), with whom the memory of Taras Shevchenko for the first time was honored. In Lviv, together with the like-minded people, A. Vakhnyanin initiated the cultural and educational organization “Prosvita” and lead its work in the years 1868–70. He also edited the daily “Pravda” newspaper in Lviv, initiated with the assistance of P. Kulish and O. Konysky and collaborated with other publications, including the “Dilo” Lviv newspaper, in which he published historical and pedagogical explorations, organized the work of music societies “Torban” and “Boyan”, for which he prepared a lot of his own compositions and arrangements of folk songs, and later made a lot of effort in the case of opening of the Higher Institute of Music named after M. Lysenko in Lviv. After graduation from Lviv and later the Przemysl Theological Seminary, A. Vakhnyanin received his first pedagogical experience, teaching rus'ka (Ukrainian), Old-Slavic, Old-Polish and Latin languages in the Przemysl High School for two years. However, he became a real teacher after graduating from the Faculty of Philosophy of the University of Vienna in Lviv Academic High School with the Ukrainian language of teaching, where he became a professor. During this period (1873) A. Vakhnyanin prepared a “A Short Sketch of the Geography for the Junior Classes of Secondary Schools”, and later, in 1884, he wrote an original Ukrainian-language textbook on geography “Geography textbook for secondary schools”, which for many years was an important source of geographical knowledge for high school students. A. Vakhnyanin throughout his adult life wrote music, although he did not consider himself a professional. The opera “Kupala”, which was set in Kharkiv in 21 years after the death of the composer, became the peak of his composer's art. Extremely diverse range of public-political activities of Anatol Vakhnyanin, who, with the circle of like-minded people, managed to organize the work of several public-cultural structures, in particular Prosvita, and subsequently the political organization “People's Council”, which made his name in Galicia widely popular among Rusyn-Ukrainians, so they repeatedly elected him as a deputy to the Galician Sejm and the Vienna Parliament (1894–1900). Key words: teacher, Professor, author of the textbook on geography, composer, public figure, “Prosvita”, politician, deputy.
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García-Hernández, José Luis, María Inés Gabari-Gambarte, and Víctor Idoate-García. "EVALUACIÓN DE LA SATISFACCIÓN LABORAL EN DOCENTES DE FP-FOL DE NAVARRA." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 3, no. 1 (2016): 451. http://dx.doi.org/10.17060/ijodaep.2014.n1.v3.523.
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Abstract:The present study aims to assess the degree of job satisfaction of staff teaching the module training and guidance in the network of vocational training centers Navarra. This precise design and validate a tool to assess psychosocial risk factors in secondary education. The sample consists invited by the total teaching module in this community, the accepting sample is n = 37 subjects ( 49%). Access to schools is provided by the Department of Education, Government of Navarra. The information is through an online questionnaire 30-item Likert scale with response . The results demonstrate the feel satisfaction with what he does and the subject they teach (FOL). Significant elements of dissatisfaction, some in common with the rest of high school teachers , and other specialtythemselves are also apparent.Keywords: job satisfaccion teacher , secondary teacher , psychosocial risk factorsResumen:El presente estudio se propone de valorar el grado de satisfacción laboral del profesorado que imparte el Módulo de Formación y Orientación Laboral en la red de centros de FP navarros. Para ello precisa diseñar y validar una herramienta que evalúe los factores de riesgo psicosocial en educación secundaria. La muestra invitada está formada por el total de profesorado del módulo en esta Comunidad, la muestra aceptante es n=37 sujetos (49%). El acceso a los centros es facilitado por el Departamento de Educación del Gobierno de Navarra. La información se obtiene a través de un cuestionario on-line de 30 ítems con respuesta escala Lickert. Los resultados evidencian el siente satisfacción en relación con lo que hace y con la materia que imparte (FOL). Se manifiestan también elementos de insatisfacción significativos, algunos en común con el resto de profesorado de secundaria, y otros propios de la especialidad.Palabras clave: Satisfacción laboral docente, profesorado de secundaria, actores de riesgo psicosocial
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Tsuranova, Oksana. "The role of N. Ilminsky and S. Rachinsky in the formation of the personality of S. Smolensky." Aspects of Historical Musicology 16, no. 16 (2019): 10–25. http://dx.doi.org/10.34064/khnum2-16.01.
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Background. The modern system of national education, including music, is on the path of reorganization and reformation. Creating new educational models, it is useful to refer to the samples, time-tested, created by people whose names are permanently inscribed in the European cultural and historical fund. This confirms the life and work of Stepan Vasilyevich Smolensky (1848–1909) – teacher, medievalist, composer, regent, reformer of the music education system, public and cultural figure, ideologist of the New Direction of Orthodox Music of the late XIX – first half of the XX centuries. The formation of the ideology of the musician-teacher, the approval of his convictions became possible in many ways thanks to the support of two of his contemporaries, outstanding pedagogical figures – N. Ilminsky and S. Rachinsky. Objectives. The purpose of the article is to reveal the personal interaction of S. Smolensky with N. Ilminsky, S. Rachinsky, to appraise the contribution of the latter to the formation and development of his ideological positions, which determined the direction of further professional activity. Methods. The article uses the method of historicism, which allows us to consider the phenomena of artistic culture, enlightenment and education in the dynamics of their formation. Results. The formation of S. Smolensky took place in the Kazan period of life under the influence of Nikolai Ilminsky and Sergey Rachinsky. Nikolai Ivanovich Ilminsky (1822–1891) – orientologist, mission temissionary-teacher, biblical scholar, takes a special place in the biography of Stepan Vasilyevich Smolensky. The scientific works of N. Ilminsky cover a wide area of knowledge, like that: theology, linguistics, foreign translation, pedagogy and missionary work. His scientific studies, their practical implementation, which have not lost their relevance even nowadays, put Nikolai Ivanovich in a row of prominent figures of the Orthodox enlightenment of small peoples of the Volga region, Ural region and Siberia. The merits of N. Ilmisnky belongs to the founding of the first schools for small nations of the Volga region, as well as the teachers’ seminary in Kazan, where S. Smolensky was invited to the post of teacher of singing, history and geography. Church singing was considered in the missionary policy of the government as an important strategic element of introducing baptized aliens to orthodoxy. To this end, S. Smolensky was involved in a large-scale project of translating religious chants into the languages of the national small peoples of the Volga region, which determined the direction of his entire musical and singing work. Fully sharing the beliefs of N. Ilminsky, the young teacher focused on teaching church singing, in the moral and educational significance of which he infinitely believed. The lack of a methodical program for this discipline in public schools made S. Smolensky delve into this area of knowledge, as a result of which he developed the author’s system of teaching the named subject. In his pedagogical activity, S. Smolensky made extensive use of the methodological manuals created by him, which became an indispensable teaching material for future teachers. Here in Kazan, with the assistance of N. Ilminsky was opened a new page in the life of S. Smolensky, his deep immersion in the field of paleographic research. In Kazan, in the period of close cooperation with N. Ilminsky, typical features of S. Smolensky’s future activity were outlined, which received its brilliant application in the next Moscow period of life, during his leadership and reforming the Synodal School of Church Singing and Choir. S. Smolensky called his last teacher Sergei Alexandrovich Rachinsky (1833–1902) – professor and founder of the Department of Plant Physiology, Moscow University, a teacher, corresponding member of the Imperial St.-Petersburg Academy of Sciences. The acquaintance of S. Smolensky and S. Rachinsky occurred on the basis of the folk soil, based on Orthodox ideals. Foresight of judgment and deep knowledge of ancient church chants gave S. Rachinsky the right to take an active part in the scientific and educational activities of S. Smolensky. This confirms the extensive work carried out by S. Smolensky on the harmonization of the main Orthodox chants, undertaken at the insistence of his elder friend. The reforms carried out by S. Smolensky in Moscow and St.-Petersburg were fundamentally based on the education system of S. Rachinsky, aimed at developing the national element. Conclusions. A powerful monolith in the face of the polyglot and the manager N. Ilminsky, set off by the elegance of the artistic, but at the same time «meekly obstinate» nature of the educator-creator S. Rachinsky multiplied to the personality of Stepan Vasilyevich. In turn, the example of the life and work of S. Smolensky set a high tone and indicated a movement vector for many respectable professionals of musicians, teachers, choir masters, and scientists. Faith S. Smolensky, by lifeblood of the folk song and znamenny chant, inspired a wide range of composers, including P. Chesnokov, A. Kastalsky, S. Rachmaninov, A. Grechaninov, A. Nikolsky, N. Golovanov, K. Shvedov, Vik. Kalinnikov and others. Becoming one of the founders of medievalism in the area of church music, S. Smolensky outlined the main components of a scientific search in the history and theory of ortodox church singing, in the course of which A. Preobrazhensky, A. Nikolsky and others. A gifted teacher and organizer, S. Smolensky showed an example of the work of exemplary musical institutions whose school was attended by the greatest choirmaster of the last century: P. Chesnokov, N. Golovanov, N. Danilin, S. Zharov, A. Egorov and others. What has been said gives the right to assert that we can be fruitful in history, provided, like S. Smolensky, we will with intense effort learn from our forefathers, carefully looking at the value of their professional and life experience.
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Mohammed, Shamsudeen, Roderick Emil Larsen-Reindorf, and Issahaku Awal. "Menstrual Hygiene Management and School Absenteeism among Adolescents in Ghana: Results from a School-Based Cross-Sectional Study in a Rural Community." International Journal of Reproductive Medicine 2020 (April 28, 2020): 1–9. http://dx.doi.org/10.1155/2020/6872491.
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The study aimed to deepen our understanding of the menstrual hygiene management (MHM) of adolescents and the influence of menstruation on school absenteeism. We employed a school-based cross-sectional design in five Junior High Schools combining both quantitative and qualitative data collection methods. A questionnaire was used to collect quantitative data from 250 schoolgirls, and key informant interviews were conducted with a teacher in each of the five schools. We performed logistic regression analysis to provide crude and adjusted effect estimates and 95% confidence intervals. About fifty percent of the girls were engaged in good MHM, and approximately forty percent of them reported menstrual-related school absenteeism. We did not find evidence (p=0.858) of association between MHM and menstrual-related school absenteeism. However, after controlling for the effect of other factors, we found evidence that the age of the schoolgirls, their father’s occupation, and the receipt of allowance for menstrual care products were associated with MHM. When compared to those aged 17 to 19, those aged 10 to 13 years had 0.72 (95% CI 0.21, 2.44) decreased odds of poor MHM while those aged 14 to 16 had almost 3-fold increased odds (95% CI 1.49, 4.55) of poor MHM. The adolescents whose fathers were farmers had 0.42 (95% CI 0.21, 0.82) decreased odds of poor MHM while those whose fathers were unemployed had 0.24 (95% CI 0.10, 0.61) decreased odds of poor MHM. We found that girls who did not receive regular allowance for menstrual care products had nearly 2-fold increased odds (95% CI 1.06, 3.09) of poor MHM compared to those who received allowance for menstrual care products. Menstrual pain (82.2%), fear of staining clothing (70.3%), fear of being teased (70.3%), nonavailability of sanitary pad (63.4%), and lack of private place to manage period at school (60.4%) were the common reasons cited for menstrual-related school absenteeism.
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Andriy, Strilets. "THE CONCERT AND PEDAGOGICAL REPERTORY OF KHARKIV BUTTON ACCORDION SCHOOL IN TERMS OF THE GENRE AND STYLE DYNAMIC." Aspects of Historical Musicology 22, no. 22 (2021): 7–27. http://dx.doi.org/10.34064/khnum2-22.01.
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Introduction. The article is devoted to the study of the historical stages of the modern button accordion repertoire formation based on the genre and stylistic analysis of the repertoire models used in the process of teaching the students in the Kharkiv button accordion school. The actualization of the current research topic has set up a need for relying to a greater extent not on the printed sources, but on the reports of the witnesses, the first button accordion students of Kharkiv Conservatory, such as University professors Alexander Ivanovich Nazarenko, Anatoly Pavlovich Haydenko, Igor Ivanovich Kharkiv, as well as college professors Yevhen Leonidovych Vashchenko and Yevhen Heorhiyovych Malykhin, who were the first-hand participants in the process of the regional school formation. Theoretical background. Although the historiography of the Ukrainian button accordion art contains a fairly large amount of scientific and methodological studies (M. Imkhanitsky, V. Semeshko, A. Stashevsky, I. Snedkov, A. Svetov), many problems of the modern academic folk instrumental music remain unresolved. In particular, the concert repertoire formation in terms of a pragmatic dimension of the button accordion teachers approaches study within the Kharkiv school has not been the subject of a special interest of researchers in this area yet. The purpose of the research is to trace the stages of formation of the button accordionists’ modern concert and pedagogical repertoire on the basis of the genre and stylistic models’ analysis used in the process of teaching in the Kharkiv regional button accordion school. The object of the article is historical experience of the Kharkiv button accordion school as a component of academic folk and instrumental performance. Methods of research are conditioned by the material and formulation of the problem itself, in particular, a historical method is used to explain the organic connection of the facts, preconditions and personalities that brings together the historical experience of the Kharkiv button accordion school, a genre and stylistic method provides the embodiment of the performers original creative achievements. Results and Discussion. There are three main factors which have influenced the formation of the concert and pedagogical repertoire of the button accordion students of the Ukrainian Folk Instruments Department in KhNUA: ● the performing school and its genesis represented by particular teachers with their own repertoire preferences; ● improving the design of the instrument itself; ● the volume and quality of the original repertoire, as well as the productivity level and number of the composers working to develop it. Considering the general condition of the Kharkiv regional button accordion school of the 1950s, we can point out the prospects of the core guidelines underlying its basis: the formation of a list of clearly regulated and systematized program requirements; the impossibility of the requirements for the performance of genre forms (the absence of full-fledged imitation polyphony in the pedagogical repertoire) in full compliance with the “classical canons”; the predominance of small forms over large ones, as well as their obvious genre affiliation (songs, dances, marches); a significant shortage of the original works inciting the adaptation skills formation. Since the late 1960s the original pedagogical repertoire has been characterized by a great variety of genre and stylistic forms, such as a concert, a sonata, a suite, a partita, a fantasy, small cycles, a scherzo, a prelude, a concertino, a play, an arrangement of folk songs, arrangements of popular works, a concert etude. The representatives of five generations provide an inheritance of the traditions that represent the Kharkiv button accordion school creative experience and simultaneously transform it in accordance with the modern challenges. Conclusions. The conclusions emphasize the fact that the historically settled genre models of the performing and pedagogical repertoire of accordionists were established in the process of the Kharkiv button accordion school activity. The diversity of the original music for a button accordion is now represented by almost all existing genres and stylistic performance directions. It was the high culture of the Kharkiv musicians’ performance that brought the status of the academic art of playing folk instruments into a scientific level, as a new standard of sound and creative thinking.
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Lytvyshchenko, O. V. "O. I. Nazarenko as a coryphaeus of the Kharkiv accordion school: formation of the authorial style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 43–56. http://dx.doi.org/10.34064/khnum1-56.03.
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Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s works with great respect and persistence. The artist’s pedagogical activity, his talent as a teacher and mentor was found itself in students who achieved outstanding success thanks to high-quality professional training. The object of the research is O. Nazarenko’s musical activity. The aim is to determine characteristic features of O. Nazarenko’s authorial style in the context of Kharkiv Accordion School traditions. Methodology. This study is based on historical, genre and stylystic as well as interpretive method. The methodological basis is formed by the works of Yu. Diachenko (2012), M. Pliushenko (2017), I. Sniedkov (2016), A. Strilets (2018), which partly appeal to O. Nazarenko’s work and the history of Kharkiv Accordion School. Presenting the main material. One of the brightest representatives of Kharkiv Accordion School is the teacher, performer, composer and conductor O. I. Nazarenko. In the context of Kharkiv Accordion School formation and development, O. Nazarenko was remembered for his networking with famous Kharkiv composers. From 1967 to 1987 O. Nazarenko performed many authorial programs of such Kharkiv composers as V. Bibik, F.Bogdanov, O. Zhuk, V. Zolotukhin, D. Klebanov, I. Kovach, T. Kravtsov, G. Finarovsky, S. Faintukh and N. Yukhnovska. Working as a solo accordionist and accompanist, O. Nazarenko gained richer experience and recognition of stage colleagues; he accompanied the People’s Artists of the USSR such as Ye. Chervoniuk, M. Manoilo, Yu. Bogatykov and N. Surzhina, People’s and Merited Artists of Ukraine as V. Arkanova, A. Rezilova, Yu. Ivanov and others. While setting piano vocal works by Kharkiv composers, O. Nazarenko made editions for accordion and enriched the texture of his own works in every possible way. Materials of arrangements, settings, transcriptions were periodically published in such publishing houses’ collections as “Music” (Moscow), “Musical Ukraine” (Kyiv). We cannot ignore the maestro’s creative contacts with V. Podgorny, who influenced his further activity and made a contributive mark on the path of his professional development. Mastering the technique of influencing the listener through emotional and expressive accordion playing was important for O. Nazarenko. V. Podgorny who possessed a brilliant technique of working with sound, was mentioned by O. Nazarenko as “the artist of sound”. It was communication and creative contact with V.Podgorny that enriched the professional background and stimulation of the composer’s talents in young Olexandr’s soul. O. Nazarenko’s specific performing and composing style was formed under V. Podgorny’s influence also. As one of his brightest students, he collaborated with him, was interested in new creative ideas and imitated the teacher’s manner. O. Nazarenko’s work is more connected with singing and folklore; Ukrainian, Russian, Gypsy, Georgian and Latin American motives became the basis of his musical compositions. Based on folk and authorial melodies, he created largescale complex structures with vivid musical images. A typical feature of topics for adaptation, transcription and arrangement was the idea of taking unfamiliar works, which no one had previously addressed to. This attracts performers to search for their own interpretations without imitating already known performer interpretations. Many works in the maestro’s interpretation are characterized by a waltz manner. During his life, from childhood, all the memories and experiences accumulated and became the basis for many of his works. According to his words, he actively attended music evenings in a village club and school after the war, where he could listen to modern waltz-like music by Soviet composers. The first author’s melody, “Elegy Waltz”, which represents lyrics and romantic images as memories, was a dedication to his brother Volodymyr. The author comments that it was his brother who showed him waltz and taught him to dance it in his childhood. Many accordion works by O. Nazarenko are characterized by symphonic principles of development, which are also used in fantasia genre. In this genre, a dramatic and deeply psychological work interpreting Russian folk song “Thin Rowan” was written, which absorbed the emotions of the author’s inner experiences (being a dedication to his mother Alexandra Monakova). Being an excellent accordionist, he is aware of the instrument’s possibilities and implements this knowledge in working on musical works. He pays much attention to image intonation and the specifics of imitation of other instruments. His performance methods were based on the works by S. Richter, E. Hilels, L. Kohan, Ya. Heifetz and many other maestros. These ideas gave him, as a performer, an extremely subtle feeling of timbre. In the manner of his performance, he made the audience not only listen, but also hear, which is very important for perception of musical work. O. I. Nazarenko managed to raise a large number of students for many years of pedagogical activity. They represent his name not only in Ukraine but also abroad. Conclusions. O. Nazarenko’s authorial style is original and multifaceted, it consists of composition, performance and pedagogical activities. The authorial style formation was greatly influenced by Kharkiv cultural environment, creative connection with V. Podgorny and performing traditions of Kharkiv Accordion School in general. O. Nazarenko’s original compositional style is manifested in the genres of transcription, fantasia and arrangement of folk songs for accordion. O. Nazarenko’s works include a number of ones written and dedicated to people who left a great dramatic imprint in his life. Works dedicated to his mother, father, wife and brother are a musical word where dramatic images emphasize the expression and specificity of addressing close people. Due to the bright timbres, rich texture and registers, the composer’s musical compositions become symphonic, going far beyond the basic thematic material. Based on folk and authorial melodies, he created large-scale complex structures with vivid musical images. O. Nazarenko’s works require a performer’s high level of technical training, an intellectual approach to understanding all the musical text details, fastidious work on the sound. These components of performing skills are inherent in the maestro as a representative of Kharkiv Accordion School.
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Karma, Rudi, and Muhlis Muhlis. "Local Authority of Bugis Oral Literary “Caritana Andi Sessu” and its Emforcement in the Perspective of Character Education." Journal of Indonesian Language Education and Literary 4, no. 2 (2020): 1–9. http://dx.doi.org/10.31327/jilel.v4i2.1128.
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Literary learning is a series of learning that integrated with the teaching of Indonesian and it was taught at all educational levels. The common problem is the lack of learning materials related to literature in the form of stories which are the local wisdom of local students, especially in Wajo Regency. Whereas the existence of these folklore in the community has always existed which incarnated into various forms of oral literature such as Folk song. This study is a qualitative research with data that is the focus of research is the classic Bugis story (literature) contained in the singing of the Buginese people's Pakkacapi. The objective and urgency of the research in this study is the existence of Pakkacapi which has very rarely made the existence of a classic Bugis story contained in it also endangered. Data collection techniques used are interview and documentation techniques as well as data analysis techniques by doing repeated readings that focus full attention on the elements that provide an overview of the local wisdom of the Bugis community contained in the text. The results of this study are (1) Bugis song “Ceritana Andi Sessu” contains forms of local wisdom in it even though there is an implied directly depicted and some are not directly described. (2) The elements of local wisdom basically have accommodated and become part of the values of character education (3) The values of local wisdom in the story of Andi Sessu are in accordance with or relevant to the values of religious character education, honest, loving the motherland, responsible, democratic, nationalism, respect for achievement, and social care. (4). The application of "Andi Sessu's story " as a literary learning material in schools can only be applied at the Middle School and Senior High School levels with the assistance of teachers at the Junior High School level.
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Snedkov, Igor, and Lyudmila Snedkova. "Stages of development and typological features of solo perfomance of the Kharkiv button accordion (bayan) school." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 51–66. http://dx.doi.org/10.34064/khnum1-59.04.
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Background. The article tells about solo performer’s creativity of accordion player of Slobozhanchina region, which is an inherited constituent of pedagogical activity. The relevance of a study is shown through regarding of historical stages of creation of tradition of solo concerto activity of the leading performers on button accordion in the artistic higher education establishments of Slobozhanchina region. The experience of concert form of making music by the accordion players in the region Slobozhanchina has not yet become an object of special treatment and systematisation and therefore calls for throughout profound investigation. Theoretical background. Performers activity of teachers of Department of folk instruments is revealed in works by such scholars as M. Davydova (2005), T. Bolshakova (1992), V. Zelenuk (2010), M. Imkhanitsky (2001), Yu. Loshkov (2008), L. Ponikarova (2004), A. Semeshko (2009), L. Snedkova (2013), V. Pluzhnikov (2016), A. Svetov (2009) etc. Researchers novelty of this study is caused by lack of fundamental and systematical works devoted to exploration of regional specific of stages of creation of solo concert button accordion performance of Slobozhanchina region. The authors regard events of regional meaning, which caused their influence on the changes into process is of performance on button accordion and give a chronology of creation of professional education in educational institutions of different levels, reveal personal role of renowned performers in propagation of the performance on the button accordion. The aim and the task of the research is to define stages of creations of solo concert musician activity of button accordion player of the Slobozhanchina region and reveal their regional peculiarities on the example of experience of professors of Department of folk instruments of Ukraine in Kharkiv I. P. Kotlyarevsky National University of Arts. Conclusions. The research defines 4 main stages of development and outlines typological traits of Kharkiv button accordion school: 1) high level of technical skills as attribute of professional performance on button accordion which is conjoined by expense by extensive emotional expression; 2) specific system of means of play on the accordion, the freedom of fingering, independence of right and left hands, technological leading of the instruments, chord technique which is characterised by soft progressions through joining of vertical and horizontal layers; 3) tradition of interaction between the performers and composers which are capable of playing the folk instruments including button accordion and actively composing for them; 4) culture of ensemble hearing and musical intellect which are characteristic for specific of folklore instrumental music Modern folklore instrumental music of Slobozhanchina region is characterised by overall inclination of the musicians too satisfy demand of objectively existing performance culture.
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Semergeev, Valery B., and Gennady K. Afanasiev. "TRADITIONS OF BALALAIKA ART IN OREL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 197–202. http://dx.doi.org/10.17223/22220836/39/18.
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The role of a musical instrument in the development, preservation and revival of the native cul-ture, in the establishment of esthetic consciousness of multinational Russia’s peoples is difficult to overestimate. Balalaika has won the audience’s hearts, and today it is difficult to find balalaika admirers who are not familiar with performances of accomplished balalaika players – People’s Artist of the USSR, the laureate of state prize, Professor P.I. Necheporenco, People’s Artist of Russia, Pro-fessor E.G. Blinov, and their many students and followers. Orel is home of one of the oldest educational institutions in Russia – Orel Musical College, which, according to the archive documents of Orel and St. Petersburg, was founded in 1877. The good name of the College is supported by its today’s students and teachers. It is here where Orel’s balalaika education was established and developed. In August 1953, on the initiative of the Main Department for Arts of the Ministry of Culture of the Russian Federation, the graduate of the Department of String Musical Instruments of Oktyabrskaya Revolutsiya Music College (now “A.Schnittke Moscow State Institute of Music”) Vera Ivanovna Max-imova came to Orel. It was V.I. Maximova who took charge of creating the string folk music instru-ments class. She also taught domra and balalaika class and was the head of the folk music instruments orchestra of the College. She traveled a lot seeking out young talents in the districts of the Region. Lukonina Lubov Ivanovna, a famous teacher in Orel, combines her work in the ensemble “Or-lovski Suvenir” (“Orel Souvenir”) with educating younger generation of musicians and teachers of Orel. Following their teacher’s traditions, L.I. Lukonina’s students participate in various contests and become laureates. The graduate of Orel Music College, Nadezhda Mikhailovna Kovaleva carries on the work of A.V. Dorofeev and V.I. Maximova. In 1969 she enters the Tambov Branch of Moscow Institute of Culture. For family reasons she interrupts her studies and continues her education at the Orel Branch of Moscow Institute of Culture (now Orel State Institute of Culture). Alexander Alexandrovich Somov is one of the few balalaika players who, for many years, is demonstrating excellent performing skills, stability, brilliant virtuoso technique, impeccable musical taste, artistry. It is amazing how sonorous the voice of the balalaika becomes when it is in the hands of the virtuoso performer and propagandist of this Russian beauty. Stacatto dance tunes and brooding reverie, vigorous energy and strict simplicity fill the musician’s play. Graduating from V.S. Kalinnikov Music School in Orel, balalaika class of N.M. Kovaleva, he entered Orel Music College, the class of L.I. Lukonina. After the graduation A.A. Somov served his military service and entered Rostov State Music Institute (now Rostov State Conservatory. Rachmaninov). He was enrolled in the class of the famous balalaika player, Honored Artist of Russia, rector – А.S. Danilov. At the Institute he worked in the ensemble “Dontsi” (artistic director – Honored Worker of Culture of the Russian Federation, A.P. Kolontaev). Selina Galina Ivanovna is one of those prominent musicians-teachers who are capable of encouraging love for music in their students. She is sincerely involved in her work, which is aimed at bringing both professional skills and rich musical knowledge to students. In Orel there is a professional orchestra of folk music instruments, which is the first orchestra of this kind in the history of the Orel Region. It engages Orel’s best musicians and teachers. The first performance of the professional orchestra of folk music instruments took place in Orel on November 5, 1987. The orchestra was created on the basis of the Region’s musical society. In January 1991, by the decision of the administrative bodies of Orel, it received the status of the munici-pal orchestra. The founder and artistic director of the ensemble is Honoured Art Worker of Russia, Professor of the Orel State Institute of Culture, Viktor Kirianovich Suchoroslov. Orel’s educators are trying to revive and spread the native Russian traditions of instrumental per-formance and enrich them with high performing culture. Creative and pedagogical activities of balalai-ka players in the Orel Region convincingly show the high professional level of musicians. Teachers of modern children's art schools, College of Culture and Arts, Music College and Orel State Institute of Culture are highly qualified, competent and dedicated professionals who inspire their students. Crea-tive and pedagogical activities of balalaika players in Orel contribute to further preservation and development of this type of performing art.
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Meissner, Andrzej. "Edukacja młodzieży chłopskiej w Galicji doby autonomicznej." Biuletyn Historii Wychowania, no. 23 (March 11, 2019): 21–33. http://dx.doi.org/10.14746/bhw.2007.23.2.
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The paper deals with the following questions: the conditions of education of peasant sons, the educational opportunities on an elementary, secondary and higher level as well as the results of this process. In Galicia, especially after it had gained autonomy, there opened real possibilities for learning for peasant children on all levels of education. The offered education was at a very good level, and what is most important in the Polish schools by Polish teachers. Most widespread was compulsory education in folk schools. The secondary school, which originally had an elite character, was becoming ever more democratic in the course of time, the fact demonstrated by a significant proportion of rural youth which in some gymnasiums reached 8-90%. Higher studies were also available for rural youth. In Galicia, when it enjoyed autonomy, 45,4% of pheasant sons studied in the Faculty of Law of the Jagiellonian University, in the Faculty of Philosophy 28,7%, in the Faculty of Theology 18,7% and in the Faculty of Medicine 7,5%. All in all, about 3800 persons of peasant origin completed their studies, which constituted 17,6% of all students. However, education was obtained at the price of many sufferings and with huge physical effort. The graduates of alician schools originating from rural environment were characterized by great diligence and an aspiration for professional success. In the second half of the 19th century, there began the process of formation of the Galician intelligentsia of peasant descent. The sons of peasants came to occupy high-ranking posts in various professions, they were prominent representatives of Polish science, actively participated in the educational, cultural, social and political life.
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Hryn, Yuliia. "STRUCTURE OF CULTURAL PROTECTION CONCEPT OF EDUCATIONAL ACTIVITY BY V. A. SHCHEPOTIEV." Aesthetics and Ethics of Pedagogical Action, no. 16 (September 9, 2017): 184–92. http://dx.doi.org/10.33989/2226-4051.2017.16.176010.
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The article has studied pedagogical views and educational activity of V. Shchepotiev (1880–1937) – the first rector of Poltava Institute of Education, literary critic, art historian, ethnographer, archivist, translator, and public figure.It has been scientifically grounded that a scientist’s pedagogical conception of culture protection has five concepts: 1) purposeful one includes the purpose of education – the formation of national consciousness in young generation by means of Ukrainian culture, the formation of responsibility for it to the succession; 2) theoretical and methodological concept (scientist’s concept was based on culturological approach; principles of nationality, culture-correspondence, democracy, humanism, emotionality; it was realized in conditions of awareness by academic and pedagogical intellectuals of their culture protection mission; involvement of school youth to the common culture protection activities at secondary and high schools, extracurricular institutions, government agencies, community organizations and families; expansion of culture protection network of public institutions and public organizations); 3) content one (Ukrainian culture in all its diversity); 4) method component (unity of pedagogical and scientific methods – verbal, visual, practical, stimulating, active, theoretical and scientific-research; and also pedagogical and scientific forms of educational activity organization – the forms of education and upbringing of a personality, vocational training of future teachers and artists, community and scientific work); 5) praxeological one (culture protection educational activity, scientific and pedagogical intellectuals were the subject of that activity and Poltava Institute of Folk Education was regional centre of culture protection).
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Norrie, Christopher S., Annalu Waller, and Elizabeth F. S. Hannah. "Establishing Context." ACM Transactions on Computer-Human Interaction 28, no. 2 (2021): 1–30. http://dx.doi.org/10.1145/3446205.
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Current mechanisms for adopting and supporting high-tech augmentative and alternative communication (AAC) within special-education appear limited in their success, despite recognition of the potential benefits they represent for young emerging communicators. Prior research in this field has been restricted to discrete survey or interview methodologies. We present a five-month mixed-methods ethnographic study in a special-education school to explore the facilitators and barriers experienced by those using technology, with children who have little or no functional speech, to stimulate communication and language comprehension. Our analysis supports the outcomes of earlier studies, but also furnishes novel insights into the scale and urgency of addressing the problem—with implications for user-centred design within this community. We highlight infrastructure, policy, and recruitment deficits, and propose a two-fold solution: (i) an increase in engagement with this population through the provision of enhanced, user-centred support; and (ii) induction of the cross-disciplinary role of Assistive Technologist, to serve as mediator between teacher, aided communicator, and their assistive technology. This work represents a contribution towards establishing more effective operational, interactional, and pedagogical support for learners using high-tech communication devices.
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Fedenko, A. Yu. "Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 73–92. http://dx.doi.org/10.34064/khnum1-56.05.
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Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.
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신명직. "Cooperative Community and Folk High School." Journal of Seokdang Academy ll, no. 53 (2012): 83–127. http://dx.doi.org/10.17842/jsa.2012..53.83.
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Christophersen, Knut-Andreas, Eyvind Elstad, and Are Turmo. "Antecedents of Teachers’ Fostering of Student effort in Norwegian Folk High-schools." Nordic Studies in Education 33, no. 03 (2013): 204–15. http://dx.doi.org/10.18261/issn1891-5949-2013-03-05.
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Sribnyak, Igor. "PECULIARITIES OF CONDUCTING NATIONAL EDUCATIONAL WORK IN THE CAMP OF CAPTIVE UKRAINIANS WETZLAR, GERMANY (June 1916 - February 1917)." Educological discourse 33, no. 2 (2021): 16–28. http://dx.doi.org/10.28925/2312-5829.2021.2.2.
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The article analyzes the peculiarities of conducting national educational work among the captured Ukrainian soldiers in the camp Wetzlar, Germany, during June 1916 – February 1917. Since the Ukrainization of the camp (September 1915), it has been held by members of the IED Education Department, and since May 1916 – after the establishment of the Educational Community named after M. Drahomanova – passed to the sphere of responsibility of its members from among the prisoners. Thanks to the arrival of a group of Ukrainian activists from the camp Freistadt (Austria-Hungary) it became possible to organize daily classes at the camp folk school of literacy and the sustainable operation of all educational courses. The community took care of providing the school with a teaching staff from among the prisoners themselves, at the same time it was very important to participate in the teaching work of civilian members of the IED Education Department – educators with high school or university education. In addition, members of the Educational Community prepared the convening of general camp meetings (chambers), appointed officers for cultural and educational work in individual blocks of the camp, took care of the camp library. Within the Community there was a teachers' group, whose members had the opportunity to improve their professional competencies at special seminars, which were convened from time to time in the camp. Given that the society brought together the most conscious and active part of the prisoners, the members of the Educational Community had a decisive influence on all aspects of cultural, educational and national-organizational life in the camp. In addition, the community actively participated in the intensification of the educational life of the prisoners, who were part of the workers' teams outside the camp. Largely due to their efforts, it became possible to nationally inform a significant number of captured Ukrainians, who later joined the ranks of the «Blue-Zhupan» division, taking an active part in the struggle for Ukrainian statehood.
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HORIKAWA, Teiichi. "From a High School Teacher." TRENDS IN THE SCIENCES 22, no. 1 (2017): 1_22–1_25. http://dx.doi.org/10.5363/tits.22.1_22.
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DeCesare, Michael. "The High School Sociology Teacher." Teaching Sociology 33, no. 4 (2005): 345–54. http://dx.doi.org/10.1177/0092055x0503300401.
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High school teachers of sociology have long been neglected by academic sociologists and the ASA. Recent developments are encouraging, however. In 2001, the ASA appointed a Task Force on the Advanced Placement Course for Sociology in High School, and Teaching Sociology has published three articles on high school sociology since that year. Still, there is a dire need for research on the characteristics and experiences of teachers themselves, and for empirically-based recommendations for assisting them. The current study uses questionnaire data to examine the personal and professional characteristics of the teachers who offered a sociology course in Connecticut public high schools during academic year 2000-01. The results indicate that teachers have little formal education in sociology, are not involved in the professional activities of the discipline, and have virtually no exposure to sociology outside of their own courses. The paper concludes with recommendations for future research and action.
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Shaffer, Shelly. "One High School English Teacher." Journal of Adolescent & Adult Literacy 59, no. 5 (2015): 563–73. http://dx.doi.org/10.1002/jaal.473.
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Elstad, Eyvind, Knut Andreas Christophersen, and Are Turmo. "Exploring antecedents of organizational citizenship behaviour among teachers at Norwegian folk high schools." Studies in Continuing Education 34, no. 2 (2012): 175–89. http://dx.doi.org/10.1080/0158037x.2011.611798.
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Partanen, Pirkko. "The Finnish Design of Folk High School Education." European Journal of Social & Behavioural Sciences 7, no. 4 (2013): 1180–86. http://dx.doi.org/10.15405/ejsbs.97.
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Thompson, George. "Discipline and the High School Teacher." Clearing House: A Journal of Educational Strategies, Issues and Ideas 67, no. 5 (1994): 261–65. http://dx.doi.org/10.1080/00098655.1994.9956082.
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Reznik, Semen Davydovich. "High school teacher: problems and prospects." Moscow University Pedagogical Education Bulletin, no. 2 (June 29, 2011): 49–55. http://dx.doi.org/10.51314/2073-2635-2011-2-49-55.
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The article discusses the priorities for action high school teacher. Propose a model of quality and competence of teachers of the modern university. Describes the experience of training at the Institute for Student Leadership and self-orientation for young teachers.
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Lattimore, Amanda. "HIGH SCHOOL PERSPECTIVESMy journey to becoming a high school CS teacher." ACM Inroads 7, no. 2 (2016): 23–24. http://dx.doi.org/10.1145/2906361.
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Babajeva, Ludmila. "THEORETICAL CONCEPT OF LEARNING PROCESS IN FOLK HIGH SCHOOL." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 9, 2015): 459. http://dx.doi.org/10.17770/sie2012vol1.73.
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<p>Folk high schools during last 160 years have been known for being unique nonformal education institutions with their own philosophical conception established by Danish philosopher N.F.S. Grundtvig (1783-1872). Founded as national consciousness and Danish culture supportive institutions, folk high schools in short time became centres of democracy. The main ideas of these conception – „living word”, „enlightenment”, „enliving”, „school for life”, „personal development” – have made these institutions as providers of personal enlightenment, development and self-realization, where students enlived their transformations through dimensions of body, feelings and mind.</p>
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Hedegaard, Joel, and Martin Hugo. "Inclusion through Folk High School courses for senior citizens." Educational Gerontology 46, no. 2 (2020): 84–94. http://dx.doi.org/10.1080/03601277.2020.1712773.
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Borenstein, Peter, Peter Währborg, Stina Linell, Eva Hedberg, Marianne Asking, and Elisabeth Ahlsén. "Education in ‘folk high school’ for younger aphasic people." Aphasiology 1, no. 3 (1987): 263–66. http://dx.doi.org/10.1080/02687038708248843.
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Felska, Angelika. "FOLK HIGH SCHOOLS. RELIC OR SCHOOL OF THE FUTURE?" Pedagogika Szkoły Wyższej 22 (2018): 111–19. http://dx.doi.org/10.18276/psw.2017.2-10.
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Hasbi Sjamsir, Usfandi Haryaka,. "Factors Influencing Teachers’ Performance in Junior High School." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 6 (2021): 2058–71. http://dx.doi.org/10.17762/turcomat.v12i6.4810.
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The study aims to determine whether work motivation affects teacher performance, discipline influences teacher performance, and teacher interpersonal communication affects teacher performance. Also, this research explores the prominent factors that influence teacher performance. This research was conducted at Samarinda Middle School with a sample of 60 randomly selected teachers from six Junior High Schools in Samarinda. The data were collected using a questionnaire, followed by interviews with five teacher representatives from each school. Furthermore, the data were analyzed by path analysis. The findings indicate that: (1) work motivation had a direct positive effect on teacher performance, (2) work discipline had a direct positive influence on teacher performance, (3) teacher interpersonal communication had a direct effect on teacher performance, and (4) the most dominant influential factor on teacher performance was teachers’ interpersonal communication.
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Schjørring, Jens Holger. "Helge Grell in memoriam." Grundtvig-Studier 51, no. 1 (2000): 8–13. http://dx.doi.org/10.7146/grs.v51i1.16350.
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In Memory of Helge Grell, 1925 - 2000By Jens Holger SchjørringHelge Grell’s life coincided with some decisive events in the history of research on Grundtvig and Grundtvig’s importance in theology and in the religious and national life in Denmark.When Grell took holy orders in 1940, the year of the occupation of the country by the German Wehrmacht, the depression and confusion over the loss of national independence led many Danes to search for a mobilization of new resources in the Danish people to avoid an internal breakdown. This found expression for example through De danske Ungdomsforeninger (Danish Youth Associations), a particular manifestation being Hal Koch’s famous lectures on Grundtvig and his work for Dansk Ungdomssamvirke (Federation of Danish Youth Associations). In the post-war years the discussion turning on Kaj Thaning’s interpretation of Grundtvig was the point of departure for much debate on the Grundtvigian heritage and in a wider sense the situation of the Danish national church. There was, in particular, Thaning’s protest against tendencies to allow a »pilgrim myth« to determine the understanding of the relationship between created human life and Christianity. Against this Thaning would stress the intrinsic value of created life with his programmatic emphasis on »Man first...«.The last decades of the twentieth century saw, with increasing strength, endeavours being made to apply an international perspective to the interpretation of Grundtvig.Helge Grell lived through all these phases, briefly outlined above, and each one of them came to determine in different ways his work as clergyman, as teacher in many different contexts, as lecturer in Grundtvig circles and participant in their activities, and as Grundtvig scholar. When Helge Grell’s life is considered within such an extensive framework, it becomes apparent that his many activities share an inner coherence. In retrospect, one senses an arch spanning the different aspects of his lifework and combining his practical activity with his work as a Grundtvig scholar. Likewise, when viewed in that light, there is an impressive unity in the books that Grell managed to finish in the last decades of his life, dealing partly with the relation between creator spirit and the spirit of the people, partly with Grundtvig’s travels to England and their significance, and finally with Grundtvig’s folk high school ideas and their realization after Grundtvig’s death.
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Fakhrutdinova, Anastasiya Viktorovna, Mayya Rashidovna Ziganshina, Veronika Alexandrovna Mendelson, and Lyubov Grigorevna Chumarova. "Pedagogical Competence of the High School Teacher." International Journal of Higher Education 9, no. 8 (2020): 84. http://dx.doi.org/10.5430/ijhe.v9n8p84.
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The need conditions the relevance of the article for the formation of higher education teachers’ pedagogical competence as the optimal system and purposeful work in this direction has not yet been formed. The goal of the article lies in the analysis of the study of the theoretical aspects of higher education teachers’ pedagogical competence and identifying the main types of professional competence. The leading approach to the study of this problem for the authors was their understanding of the concept of "competence", the distinction between the concepts of “qualification” and “competence”, as well as an understanding of the essence of higher school teacher’s pedagogical competence. The article presents a scheme of competencies of a higher school teacher, a distinction between key, subject and professional competencies. Taking into account the results of this study, it is possible to identify several scientific problems and promising areas that require further consideration: in particular, the development of new training programs for teachers of higher education institutions.