Книги з теми "Soft skills courses"

This book presents how 4.0 technologies enable a highly participatory and dialogic education, where students of different levels have the possibility of learning and training in their discipline while developing soft skills and, at the same time, the teachers can follow the development and evolution of these capacities and the purposes expected in the courses. Given the variety of courses modalities that are currently offered (e-learning, b-learning, m-learning, blended learning, among others), the applications presented in each chapter, as well as the appropriation of technologies for the enrichment of the students' cognitive and social skills, are an opportunity to explore new perspectives and approaches to Education 4.0.

The early modern, however defined, is a “sporting” period whose formal-structural characteristics and the extent of its continuity with modern sport are both still often debated. This chapter argues that it played a much more important role than is often recognized in the development of modern sports. Even though sport could sometimes be morally, religiously, and politically problematic, “sporting” material could then be found in a wide range of sources, from recreational guidebooks, manuals, and personal papers to fiction and newspapers. Such material was often linked to the lives of royal courts and the “better sort” rather than the common people, about whom, like women’s involvement, we know less. The more widespread development of rules was encouraged by their association with betting practices. The period also saw new sports lifestyles, better playing skills, new forms of associativity and institutionalization, slowly growing standardization, and the slow emergence of professionalism.

Food sharing has played an important role in the evolution of cooperation, especially in hominization. Evolutionary theories regarding food sharing have been based mainly on chimpanzee meat sharing. However, in bonobos, our other closest evolutionary relatives, food sharing occurs in considerably different ways than it does in chimpanzees. Bonobos often share plant food, which can often be obtained without any cooperation or specialized skills, sometimes even when the same food items are abundant and easily available at the sites. The characteristics of bonobo food sharing appear to be at odds with previous hypotheses, such as reciprocity and sharing under pressure, and urge us to shift our viewpoint from the food owner to the recipient. This chapter proposes that recipients beg to strengthen social bonding as well as to gain access to the food itself. Frequent fruit sharing among bonobos may shed light on the evolution of courtesy food sharing to enhance social bonds in a resource-rich environment. Le partage de la nourriture a joué un rôle très important dans l’évolution de coopération, spécialement dans la hominisation. Les théories évolutionnaires sur le partage de la nourriture sont basées, pour la plupart, sur le partage de la viande par les chimpanzés. Cependant, chez les bonobos, nos autres parents évolutionnaires, le partage de la nourriture est fait d’une manière très différente que chez les chimpanzés. Les bonobos partagent fréquemment les aliments végétaux, qui sont obtenus sans coopération et sans compétences spécialisées, et parfois le font même quand cette même nourriture est facilement accessible aux sites. Les caractéristiques du partage de nourriture chez les bonobos contredisent des hypothèses précédentes, comme celle de la réciprocité et du partage-sous-pression, et nous poussent à changer la perspective du propriétaire de la nourriture à celle du bénéficiaire. Nous proposons que les bénéficiaires supplient pour commencer à se lier socialement, et pour accéder à la nourriture. Le partage fréquent des fruits chez les bonobos peut nous informer sur l’évolution du partage de nourriture par politesse pour augmenter les liens sociaux dans un environnement plein de ressources.

Approaches towards the formal learning of piano playing with respect to musicianship is one that demands the understanding of musical concepts and their applications. Consequently, it requires the boldness to immerse oneself in performance situations while trusting one’s instincts. One needs only to cultivate an amazing ear and a good understanding of music theory to break down progressions “quickly”. Like an alchemist, one would have to pick their creative impulses from their musical toolbox, simultaneously compelling their fingers to coordinate with the brain and the music present to generate “pleasant sounds”. My exploration leading to what will be considered Keyboard Musicianship did not begin in a formal setting. Rather it was the consolidation of my involvement in playing the organ at home, Sunday school, boarding school at Presec-Legon, and playing at weekly gospel band performances off-campus and other social settings that crystalized approaches that can be formally structured. In fact, I did not then consider this lifestyle of musical interpretation worthy of academic inclusivity until I graduated from the national academy of music and was taken on the staff as an instructor in September, 1986. Apparently, what I did that seemed effortless was a special area that was integral to holistic music development. The late Dr. Robert Manford, the then director of the Academy, assigned me to teach Rudiments and Theory of Music to first year students, Keyboard Musicianship to final year students, and to continue giving Piano Accompaniment to students – just as I have been voluntarily doing to help students. The challenge was simply this; there was no official textbook or guide to use in teaching keyboard musicianship then and I was to help guide especially non-piano majors for practical exams in musicianship. What an enterprise! The good news though was that exemplifying functionalism in keyboard, organ, piano, etc. has been my survival activity off campus particularly in church and social settings.Having reflected thoroughly and prayerfully, it dawned on me that piano literacy repertoires were crafted differently than my assignments in Musicianship. Piano literacy repertoires of western music were abundant on campus but applied musicianship demanded a different approach. Playing a sonata, sonatina, mazurka, and waltzes at different proficiency levels was different from punching chords in R&B, Ballard style, Reggae, Highlife or even Hymn playing. However, there are approaches that can link them and also interpretations that can categorize them in other applicable dimensions. A “Retrospective Introspection” demanded that I confront myself constructively with two questions: 1. WHAT MUSICAL ACTIVITIES have I already enjoyed myself in that WARRANT or deserve this challenging assignment? 2. WHAT MUSICAL NOURISHMENT do l believe enriched my artistry that was so observable and Measurable? The answers were shocking! They were: 1. My weekend sojourn from Winneba to Accra to play for churches, brass bands, gospel bands and teaching of Choirs – which often left me penniless. 2. Volunteering to render piano accompaniment to any Voice Major student on campus since my very first year. 3. Applying a principle, I learnt from my father – TRANSFER OF LEARNING – I exported the functionalism of my off-campus musical activities to compliment my formal/academic work. 4. The improvisational influences of Rev. Stevenson Alfred Williams (gospel jazz pianist), Bessa Simmons (band director & keyboardist) and at Ghana Broadcasting Corporation, Mr. Ray Ellis “Afro Piano Jazz Fusion Highlife” The trust and support from lecturers and students in the academy injected an overwhelming and high sense of responsibility in me which nevertheless, guided me to observe structures of other established course outlines and apply myself with respect to approaches that were deemed relevant. Thus, it is in this light that I selected specific concepts worth exploring to validate the functionalism of what my assignment required. Initially, hymn structures, chords I, IV, V and short highlife chordal progressions inverted here and there were considered. Basic reading of notes and intense audiation were injected even as I developed technical exercises to help with the dexterity of stiff fingers. I conclude this preface by stating that, this “Instructional guide/manual” is actually a developmental workbook. I have deliberately juxtaposed simple original piano pieces with musicianship approaches. The blend is to equip learners to develop music literacy and performance proficiencies. The process is expected to compel the learner to immerse/initiate themselves into basic keyboard musicianship. While it is a basic book, I expect it to be a solid foundation for those who commit to it. Many of my former and present students have been requesting for a sort of guide to aid their teaching or refresh their memories. Though not exhaustive, the selections presented here are a response to a long-awaited workbook. I have used most of them not only in Winneba, but also at the Callanwolde Fine Arts Center (Atlanta) and the Piano Lab (Accra). I found myself teaching the same course in the 2009 – 2013 academic year in the Music Department of the University of Education, Winneba when Prof C.W.K Merekeu was Head of Department. My observation is that we still have a lot of work to do in bridging academia and industry. This implies that musicianship must be considered as the bloodline of musicality not only in theory but in practice. I have added simplified versions of my old course outlines as a guide for anyone interested in learning. Finally, I contend that Keyboard Musicianship is a craft and will require of the learner a consistent discipline and respect for: 1. The art of listening 2. Skill acquisition/proficient dexterity 3. Ability to interpret via extemporization and delivery/showmanship. For learners who desire to challenge themselves in intermediate and advanced piano, I recommend my book, “African Pianism. (A contribution to Africology)”