In this respect, the ultimate aim is to enable learners to understand how to take responsibility for their own development. Teachers can do this by planning and preparing teaching and learning activities that take account of the needs and well-being of individual learners as well as groups of learners. Some key aspects of a role as a teacher may be: carrying out initial and/or diagnostic assessments; clear communication with your learners, other professionals and stakeholders; promoting appropriate behaviour and respect for others; identifying and meeting individual learners’ needs; being aware of the support mechanisms available; being organised; being reflective, which means learning from successes as well as mistakes. What are my responsibilities as a teacher? As a teacher, my primary responsibility is to ensure that learners are enrolled onto the correct course, in terms of meeting their needs, abilities and aspirations.
If you know the learning style of the student, it is easier to convey the message you are trying to convey. Teachers adapt to their students and help them according to their style learning. Knowing the learning strategies influence teaching and learning by allowing the teacher know what is going on and giving students a chance to understand the material. These learning strategies help both: the teacher and the student. References Roell, K. (2014, January 1).
Moreover, the class took place in one famous music college that was just a few blocks away from my school. I used the appeals of ethos, pathos and logos to become accepted as an essential unit of this discourse community in which I had taken part in. During my three years in the class, I learned much about my instrument and the theory of music. I learned music as a whole new subject and explored the dynamics of learning and playing the keyboard and how to use it to produce good sound! I also learnt the different types of notes, scales, rhythms, tempos, the history of music, the composition of good music, and many more new things which not only made me develop my skills in my instrument but also gave me a thorough review of orchestration music as a whole.
OCR GCSE MUSIC – AREA OF STUDY 4 – DESCRIPTIVE MUSIC W2 SUB-AREA 1 – PROGRAMME MUSIC – STUDY SESSION 32 – EXPLORING PROGRAMME MUSIC COMPOSING You are going to listen to compose a piece of programme music entitled “The Storm”. To help you with ideas, we’re going to begin by listening to two pieces of music by two different composers that describe a storm through music. Extract 1 “Storm” from Symphony No.6 Beethoven | Extract 2 “Storm” from “4 Sea Interludes” Benjamin Britten | How would you describe the DYNAMICS at the beginning of the piece? Quiet, crescendo used. | How would you describe the DYNAMICS at the beginning of the piece?
The music ended tonic key transitioned to bridge and modulated to dominant key. The second theme was presented in dominant key and concluded with codetta. 6. How does the music of the recapitulation compare to the music of the exposition? Exposition is the place where the composer “exposes” all of their musical ideas that they will use in movement Recapitulation.
The slide harmonica solos conjured up a real “bluesy” feeling regardless of the tempo of the song and adding blues notes when needed. Anson’s guitar solos appeared improvisational exploring chords both in and out of the melody of the song. The keyboards provided the timbre of the song adding embellishments when needed and “taken away” when required. The bass and drums provided a steady rhythm section. While the solos were improvisational, they appeared to be rehearsed as to when they would be played in a song.
MUSIC ETHNOGRAPHY PROJECT World Music Cultures – MUET3030 Purpose: The purpose of this project is to challenge students to engage firsthand with a musical event and to critically reflect upon that event in order to develop deeper insights into the myriad meanings that music has for people. Instructions for Field Research: Students will conduct firsthand observations of a live musical event of their choosing (direct participation is optional). They will interview at least one key participant (preferably more), whether it be a performer, teacher, or audience member who has fairly extensive experience with and/or knowledge of the musical subject matter and the sociocultural context with which it’s associated. Students will also conduct basic research pertaining to the music’s stylistic features, its historical background, and its social, cultural, political, and/or religious significance. Format: 6-7 pages Times New Roman – 12 pt.
There is the acoustic country blues and the electrified city blues. Three distinctive regional styles-Delta, Piedmont, and Texas blues--evolved into three urban styles: Chicago, East Coast, and West Coast. The blues has two basic musical forms. One form follows a basic A-A-B pattern. The performer sings a verse and then repeats the first line, sometimes with some variation.
The teacher should model, how to do the objective being taught. 4. Teacher should grab the students curiosity. Get the students interested in what you are doing. These Guidelines can be used along with the current objectives to make the lesson more interesting.
But the growing interest in learner centredness indicates a new and emerging valuing of diversity and difference, which also links with the points I made about networking. 3 Reflective practice and teacher learning This is about teachers questioning and exploring their own practice of teaching. It is a sort of systematic curiosity about going beyond the edges of what we know and do, to find out how we could do things differently or better. Of particular interest are questions like 'Is there a discrepancy between what I say I do and what I actually do?' Action research might guide us to try to become more aware of our own beliefs and how they frame the way we teach and think about teaching.