Books on the topic 'Bandit learning'

This chapter examines three approaches to teaching and learning that resonate with community music principles and that can help inform the theoretical bases for community music practice, because there are similarities between the facilitating behaviours of community musicians and the teaching behaviours of educators. Specifically, this chapter portrays a continuum of viewpoints about guiding others—pedagogy, andragogy, and heutagogy—and illustrates how aspects of each approach can be applied to community music practice. These approaches range from authoritarian ideas that are teacher-centred and learner-dependent to more autonomous ideas that embrace learner-centred and self-directed learning. The New Horizons Band of Iowa City, Iowa, in the United States, is presented as an illustration.

Assessment is central to ensemble music. Yet, teachers do not always have the expertise to harness its potential to improve rehearsals and performances, and promote and document student learning. Written specifically for band, choir, and orchestra teachers at all levels, this book contains all of the information necessary to design and use assessment in a thriving music classroom. The first section addresses foundations such as learning targets, metacognition, and growth mindset. Assessment jargon such as formative assessment, summative assessment, Assessment for Learning, self and peer assessment, and authentic assessment is clarified and illustrated with music examples. Readers will learn practical strategies for choosing which concepts to assess, which methods to use, and how to use results to provide accurate and effective feedback to students. The second section brings assessment fundamentals into the music room. Filled with practical advice, each chapter examines a different facet of musicianship. Sample assessments in all performance areas are provided, including concert preparation, music literacy, fundamentals and technique, terminology, interpretation, evaluation and critique, composition and improvisation, beliefs and attitudes, and more. The final section is an examination of grading practices in music classes. Readers will gain information about ensemble grades that communicate what students know and are able to do. The book concludes with ways for music educators to take their first steps toward implementing these strategies in their own teaching, including the use of instructional technology. Assessing like an expert is possible, and this book is just what teachers need to get started.

Neurofeedback of specific brain activity patterns allows perceiving and learning to gain control over these otherwise unaware neuronal processes. Neurofeedback may improve underlying neuronal deficits, and/or establish more general self-regulatory skills for compensating behavioural difficulties in other domains. Treating ADHD is the most common clinical neurofeedback application. Standard neurofeedback protocols based on electroencephalography train self-regulation of oscillatory activity in certain frequency bands (targeting theta/beta ratio) or slow cortical potential shifts. Both protocols have demonstrated promising outcomes, particularly in improving inattention symptoms, although controlled effects remain heterogeneous and often attenuated in blinded ratings. Further randomized controlled and (as far as possible) blinded evaluation studies are needed for better understanding of the mode of action and to establish robust standard training protocols for routine care. In the current state of evidence, neurofeedback can be recommended as part of a multimodal treatment of ADHD.

Wie gibt man vielen Studierenden die Möglichkeit, sich online in Forschungsprojekte zu Nachhaltigkeitsfragen einzubringen? Mit dieser Frage hat sich das Design-Based Research-Projekt Videobasiertes Lernen durch Forschung zur Nachhaltigkeit: Student Crowd Research (SCoRe) beschäftigt. Im Ergebnis hat der interdisziplinäre Verbund hinter SCoRe eine Online-Plattform entwickelt und bildungswissenschaftliche Erkenntnisse zur Förderung forschenden Lernens unter besonderen Bedingungen gewonnen: online, für eine größere Zahl von Studierenden, mit Video als Forschungswerkzeug und Nachhaltigkeit als Thema. Das Projekt zeigt, wie man Studierende darin unterstützen kann, kollaborativ in größeren Gruppen videobasiert zu forschen. Untersucht wurde, wie Peer-Learning und kollaborative Zusammenarbeit im asynchronen digitalen Raum funktioniert und welche didaktischen und technischen Bedingungen dafür notwendig sind. Die Beiträge im vorliegenden Band stellen ausgewählte technische und didaktische Design-Artefakte, empirische Befunde und theoretische Erkenntnisse aus den beteiligten Teilprojekten vor.

„Vielfalt, die verbindet“ ist ein Leitmotiv, welches das Hanse-Kolloquium zur Hochschuldidaktik der Mathematik 2018 in Essen gut beschreibt. Zu diesem kamen Akteure von Fachhochschulen und Universitäten mit fachmathematischer wie fachdidaktischer Perspektive vom 9. bis 10. November zusammen, um die Problematik des Übergangs von Schule zu Hochschule im Kontext mathematischer Studiengänge zu diskutieren. Der vorliegende Band bündelt die vielfältigen Projekte und Forschungsaktivitäten rund um den Übergang Schule–Hochschule und zeigt Innovationen innerhalb der mathematischen Hochschullehre gleichermaßen praxisorientiert wie theoretisch fundiert auf. Neben drei Hauptbeiträgen von Bärbel Barzel, Frode Rønning sowie Nimet Sarikaya und Peter Furlan umfasst der Band weitere 13 Sektionsbeiträge, welche u. a. die nebenstehenden Schwerpunkte fokussieren. • Heranführen von Studierenden an hochschulmathematische Denk- und Arbeitsweisen • Anpassung von Strukturen und Aufgaben für einen konstruktiven Übergang von Schule zu Hochschule • Bewährte Unterstützungsmaßnahmen für ein erfolgreiches Selbstlernen, z. B. in Form von Peer Instruction. • Etablierte Flipped-Classroom- und Blended-Learning-Formate • Messung vielfältiger Fähigkeitsprofile von Studierenden beim Eintritt in die Hochschule • Chancen der Digitalisierung nutzen: Lehren und Lernen mit digitalen Medien, z. B. mithilfe von Lernvideo oder durch dynamische Visualisierungen • Umgang mit zunehmender Heterogenität und unterschiedlichem Vorwissen auf Seite der Studierenden • Konzepte problembasierten Lernens in die Hochschullehre integrieren • Steigerung der Motivation von Studierenden • Umgang mit der doppelten Diskontinuität mathematischer Lehramtsstudiengänge

No human now gathers for himself or herself the essential resources for life: food, shelter, clothing and the like. Humans are obligate co-operators, and this has been true for tens of thousands of years; probably much longer. In this regard, humans are very unusual. In the living world more generally, cooperation outside the family is rare. Though it can be very profitable, it is also very risky, as cooperation makes an agent vulnerable to incompetence and cheating. This book presents a new picture of the emergence of cooperation in our lineage, developing through four fairly distinct phases. Our trajectory began from a baseline that was probably fairly similar to living great apes, who cooperate, but in fairly minimal ways. As adults, they rarely depend on others when the outcome really matters. This book suggests that cooperation began to be more important for humans through an initial phase of cooperative foraging generating immediate returns from collective action in small mobile bands. This established in our lineage about 1.8 million years ago, perhaps earlier. Over the rest of the Pleistocene, cooperation became more extended in its social scale, with forms of cooperation between bands gradually establishing, and in spatial and temporal scale too, with various forms of reciprocation becoming important. The final phase was the emergence of cooperation in large scale, hierarchical societies in the Holocene, beginning about 12,000 years ago. This picture is nested in a reading of the archaeological and ethnographic record, and twinned to an account of the gradual elaboration of cultural learning in our lineage, making cooperation both more profitable and more stable.

Im vorliegenden fünften Band der Reihe MimaSch werden Entstehung, Realisierung und Ergebnisse einer immer wieder geforderten Zusammenarbeit zwischen Schule und Universität dokumentiert. Im Zuge der themen- und kompetenzorientierten Vermittlung Mittelhochdeutscher Sprache und Literatur des Lehrstuhls für Deutsche Philologie des Mittelalters wurde zusammen mit dem E.T.A-Hoffmann-Gymnasium Bamberg in der gymnasialen Oberstufe ein wissenschaftspropädeutisches Seminar zum Heldenbegriff durchgeführt, an dessen Ende erste wissenschaftliche Arbeiten verfasst und präsentiert wurden. In einer Einführung wird u.a. das mittelhochdeutsche Nibelungenlied als Ausgangstext für eine schulische Auseinandersetzung mit dem Heldenbegriff diskutiert. Darüber hinaus wird aus der Sicht der betreuenden Lehrkraft der Mehrwert einer Ko-operation zwischen Schule und Universität gerade im Hinblick der aktuellen Kompetenzorientierung dargelegt. Abschließend werden die Qualifikationsarbeiten der Schüler:innen gesammelt, die eindrucksvoll die Lernprozesse und erzielten Lernerfolge verdeutlichen. In this fifth volume of the MimaSch series, the development, realization and results of a collabo-ration between school and university that has been repeatedly called for are documented. In the course of the topic- and competence-oriented teaching of Middle High German language and literature of the Chair of German Philology of the Middle Ages, a scientific propaedeutic seminar on the concept of the hero was carried out together with the E.T.A Hoffmann Gymnasium Bam-berg in the grammar school upper level, at the end of which the first scientific papers were writ-ten and presented. In an introduction, the Middle High German Nibelungenlied is discussed as a starting text for an educational examination of the concept of the hero. Furthermore, from the perspective of the supervising teacher, the added value of a cooperation between school and uni-versity is demonstrated, especially with regard to the current competence orientation. Finally, the qualification works of the students are compiled, which impressively show the learning processes and achieved learning successes.

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)”

Technology is an increasingly popular part of music education in schools that attracts students to school music who might not otherwise be involved. In many teacher preparation programs, music technology is an afterthought that does not receive the same extensive treatment as do traditional areas of music teaching such as band, orchestra, choir, and general music. This book helps to establish a theoretical and practical foundation for how to teach students to use technology as the major means for developing their musicianship. From its discussions of lesson planning, lesson delivery, and assessment, readers will learn how to gain comfort in the music technology lab. Theory and Practice of Technology-Based Music Instruction also includes “profiles of practice” that dive into the experiences of real teachers in music technology classes, their struggles, their successes, and lessons we can learn from both. In this second edition, new profiles feature teachers of color who use technology extensively in their varied types of music teaching. This edition encourages readers to think about issues of inequity and social justice in music education technology and how teachers might begin to address those concerns. Also updated are sections about new standards that may guide music education technology practice, about distance and technology-enhanced learning during the global pandemic, and about ways to integrate technology in emerging contexts.

China is building a New Silk Road that runs through the heartland of the Muslim world. Its leaders promise to bring about change through improved economies and greater communications across the Eurasian and African continents. While China has the financial and technical resources to accomplish its infrastructure goals, it is sorely unprepared to deal with the social and political demands of the people in the partner countries. This book addresses how China’s leaders and citizens—in their relationships with Pakistan, Turkey, Indonesian, Iran, Nigeria, and Egypt—are learning that they have to respect and adjust to the aspirations of ordinary people throughout the Islamic world, not just cater to the narrow band of government and business elites. In addition, it is becoming increasingly clear that turbulent countries along the New Silk Road are likely to transform Chinese society at least as much as China is changing them. This is a deeply unsettling realization for China’s authoritarian rulers who desperately want to monopolize power domestically. The party and state bosses have responded with a contradictory blend of flexibility abroad and rigidity at home—compromising with popular demands in one country after another while refusing to negotiate many of the same issues with their own citizens. Maintaining such a split-minded statecraft will become ever more difficult as people in China and across the New Silk Road share their aspirations and grievances in wider networks.