试论高师音乐教育专业学生职业技能的培养

教师职业技能是教师从事教育工作的必要条件。重视对学生教师职业技能的训练,是师范院校培养目标的重要体现。高师音乐教育专业作为高师院校的有机组成部分,应该加强对学生音乐专业基本技能、口头表达能力、组织管理能力和音乐教育科研能力等的培养和训练。     

民族地区高师英语教育专业课程设置刍议

高师英语教育专业不同于其他英语专业,民族地区高师英语教育专业更有其自身发展特点。通过对目前民族地区高师英语教育专业课程设置现状做出分析,并从地区性、专业性以及实习等几个方面对该专业课程设置改革提出自己的见解。     

民族地区高师数学专业应对基础教育新课改的研究与实践——以吉首大学为例

本文研究了基础教育数学新课改给民族地区高师数学专业带来的新挑战,并结合吉首大学数学专业在人才培养过程中的改革实践提出了高师数学专业人才培养的新思路：树立服务民族地区的信念;构建新的人才培养方案;引导学生全方位参与教学,实施创新教育;加强学生应用与实践能力培养;强化教师教育。     

基于PDS模式下的民族地区教师教育课程体系构建

民族地区高校在为地方培养高素质师资的过程中,合理的课程设置是实施培养目标的重要保证。基于此,结合PDS模式的理念以及民族地区教师教育课程体系构建的现实需要,在民族地区教师教育课程体系领域开展一系列本土化的尝试,以期实现提升民族地区教师教育教学水平、提高其专业发展能力等目的。     

根据专业特点搞好高师物理化学教学

从高师培养目标出发，论述物理化学教学如何从提高教师业务水平、提高学生的素质、提高对中学化学竞赛的指导水平等方面改革教学方法，突出高师的专业特点。     

民族地区高师数学专业应对基础教育新课改的研究与实践——以吉首大学为例

拳文研究了基础教育数学新课改给民族地区高师数学专业带来的新挑战,并结合吉首大学数学专业在人才培养过程中的改革实践提出了高师数学专业人才培养的新思路:树立服务民族地区的信念;构建新的人才培养方案;引导学生全方位参与教学,实施创新教育;加强学生应用与实践能力培养;强化教师教育.     

民族地区高师学科教学论教师专业发展现状调查与分析——以贵州黔南民族师范学院为例

以黔南民族师范学院为个案,对学科教学论教师的专业发展现状进行了调查与分析。结果表明,教育基础理论、实践理论、教育研究方法等是制约民族地区高师学科教学论教师专业发展的瓶颈。普遍偏低的本科学历、缺乏必要的针对性职后培训,是导致这一现象的主要原因;不被重视的学科地位、不够明晰的教师定位、地区经济发展滞后对教学、科研条件的限制等,是影响民族地区高师学科教学论教师专业发展的主要因素。根据调查与分析作者提出了四点建议。     

论高师音乐专业学生的从业素养

高师音乐专业培养目标是为中小学培养合格的音乐教师,因而高师音乐专业学生在大学学习期间必须加强专业理论和技能、教学理论和方法的学习与训练,使自己毕业时具有从事中小学音乐教学应具备的素养。     

本科院校学前教育专业人才培养目标及课程设置的思考

当前高校学前教育专业在目标定位及课程体系建设上依旧存在诸多问题。作者尝试从教师专业发展的角度来浅析高师本科学前教育人才培养目标的要求,提出应树立开放、多元、整合的课程观、以培养目标促进教师专业成长以及突出学生实践能力的培养。     

高师音乐教育专业学生的能力结构探析

高师音乐教育专业学生的能力结构体现为音乐专业能力、音乐教学能力、教育管理能力、信息素养能力、自我完善和发展能力等，对高师音教专业的学生能力结构的认识程度，必将影响高师音教专业学生的培养目标及发展方向。     

高校美术学专业基础素描教学探究

高校美术学专业大量扩招，生源的专业水准整体呈下降趋势，且参差不齐，加之高校多年来沿习的基础素描教学体系，以“一致”的标准要求学生，既不适应现代美术发展需要，又导致部分学生丧失学习兴趣，且创造性思维得不到应有的发展。因此，在基础素描教学中，应切实围绕艺术素质教育开展教学，努力创设良好的教学环境，充分发挥学生的艺术潜质，培养学生的个性，使他们不断积累基础素描的知识和技能，学有所长。     

专题欣赏：让儿童与文化相遇——以《中国古代青铜艺术》一课为例

美术课程中的欣赏教学分渗透式欣赏教学和专题式欣赏教学。当前专题式欣赏教学存在诸多“症结”,既有观念上的,也有操作层面的。相比渗透式欣赏教学,专题式欣赏教学对学生提供的文化信息更为整体,对学生产生的文化冲击力更为强烈,对学生文化素养的培养更为全面。因而,专题欣赏必须引起我们足够的重视。本文试以《中国古代青铜艺术》（苏教版小学美术教材第十一册）一课,谈谈我对专题式欣赏教学的思考。     

“失败”的作品和“成功”的作业——对两个美术课堂教学情境的反思

通过对两个美术课堂教学情境的反思,正确看待大师作品与学生作业,厘清备课与上课的关系,由此深化对美术课堂教学的理解和认识.美术课堂不是现成知识传授的场所,而是原发意义的构成场域和发生世界,其中,教师的语言、声调、眼神、动作、情绪、状态、思想,学生的回应、思考、疑问、感受、体验,教学所用的板书、图片、课件、音乐、影像,相互碰撞、交融,不断生发、构成新的知识和意义.     

Re-play: Re-assessing the effectiveness of an arts partnership in teacher education

RE-PLAY: RE-ASSESSING THE EFFECTIVENESS OF AN ARTS PARTNERSHIP IN CANADIAN TEACHER EDUCATION – Elementary teachers in Canada are increasingly expected to deliver arts instruction in their classrooms, as financial exigencies have restricted the hiring of specialists. This study examines the effectiveness of an arts partnership between a Canadian university faculty of education and local-area school boards. In this partnership, university staff and specialist arts teachers together delivered the integrated arts component in teacher education. Findings indicate that specialist arts instruction, peer learning methods and theory/practice integration strengthen such training in the arts. Specialist arts teachers can enhance the instructional effectiveness of teacher-candidates by introducing current classroom teaching strategies, concrete activities, up-to-date resources and classroom management techniques. The confidence of beginning teachers to teach the arts can be promoted by observing colleagues, engaging in team learning activities, and obtaining peer feedback. The use of integrated arts theory and a focus on practical applications of concepts, coupled with reflective discussion, can also be seen to promote conceptual understanding. A further recommendation involves expanding the role of the arts in teacher education to foster cultural diversity.     

Instruction,repetition, discovery: restoring the historical educational role of practice

This conceptual paper considers what it would mean to take seriously Freudenthal's suggestion that mathematics should be taught like swimming. The general claim being made is that “direct instruction” and “discovery” are not opposite but complementary, linked by repetitive yet explorative practice. This claim is elaborated through an empirical case of martial arts instruction. That repetitive practice can nonetheless be a fountainhead of discovery is explained using Bernstein's notion of repetition-without-repetition. Finally, we attend to parallels in canonical mathematics practice. Implications are discussed, with a focus on reconceptualizing direct instruction, repetition, and discovery as complementary and synergistic.     

Why Arts Integration Improves Long‐Term Retention of Content

Advocates of the arts agree that the K‐12 curriculum should include dedicated time for arts instruction. Some have argued further that knowledge and skills acquired through the arts transfer to nonarts domains. Others claim that evidence of this kind of transfer is limited and instead argue that the arts cultivate valuable dispositions that help students succeed both in and outside of school. Another potential benefit of the arts has received little attention, however. Arts integration—the use of the arts as a teaching methodology throughout the curriculum—may improve long‐term retention of content. A variety of long‐term memory effects well known in cognitive psychology are reviewed, and it is argued that arts integration naturally takes advantage of these effects while promoting student motivation. This review of findings and applications provides an example of how existing research from neuroscience and cognitive science can inform the work of practicing educators.     

Kulturelle und künstlerische Bildung in der Volksschule der Schweiz

Music, visual arts and design instruction has hardly been studied by the educational research community in Switzerland. Beyond a narrow group of specialists, there is little aware-ness of the basic pedagogical premises, subject matter expertise and the theoretical underpinnings of music visual art and design education although these areas of instruction are firmly anchored in the education goals for compulsory public schooling that have been outlined at national level in Switzerland and a generous amount of instructional time appears to be allocated to these subject areas in comparison with curriculum guidelines in other countries. This paper presents the findings of a trend analysis focused on music, visual arts and design instruction in Switzerland. It shows the importance accorded to aesthetic subjects within the scope of compulsory public education, explores differences in the amount of time resources allocated to these subject areas and describes the subject-specific and cross-functional goals and objectives. Teacher education programs are also examined as their current content and structure raise concerns about inadequate teacher qualifications that contradict the ambitious curricular goals. A review of previous research efforts, most of which have explored the transfer effects of creative, artistic subject areas, follows and desiderata with respect to the future development of research activities are presented.     

论文科实验教学特征与实验准备——以新闻传播类专业实验教学准备为例

随着基于信息技术的高等文科教育改革的深入,文科实验教学成为高校人才培养的重要环节。本文以新闻传播类专业实验教学准备为例,总结了高校文科实验教学的特点,探讨了文科实验准备的特征与存在的问题,最后系统论述了有效开展文科实验准备的策略。文章的上述观点对文科实验教学教师与管理技术人员的实验教学与准备具有积极的启发意义。     

Navigating a sea of ideas: Teacher and students negotiate a course toward mutual relevance

Theories of social cognition and verbal communication were used to analyze the science teaching of an experienced fourth-grade teacher. Her teaching skills in language arts and reading were assets in negotiating the rapid flow of relatively unstructured information typical of inquiry in elementary classrooms, to help students generate relevant information about hands-on experience. The teacher was a collaborator in this case study of her thinking and instructional planning, and her students' learning in a unit of instruction about space. Implications for elementary science instruction include recognizing the importance of embedded speech in conceptually broad discussions with students. Efforts to reform elementary science instruction should attend to these instructional skills more common to language arts instruction.     

浅谈钢琴演奏基础教学

钢琴基础教学中的技能训练、一定的理论基础知识 ,以及教材的使用 ,说明在钢琴教学中 ,教师不仅要具有较高的文学艺术修养和较全面的音乐专业知识 ,还必须对钢琴音乐和钢琴演奏技艺有较深的了解和较高的造诣。