Relevant bibliographies by topics / School music – Instruction and study – China

Academic literature on the topic 'School music – Instruction and study – China'

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Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "School music – Instruction and study – China"

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Botha, Werner. "English in China's universities today." English Today 30, no. 1 (February 5, 2014): 3–10. http://dx.doi.org/10.1017/s0266078413000497.

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According to Bolton (2013), Chinese university students are invariably multilingual, not only acquiring English at school, but increasingly outside of their formal curricula, through the Internet, music, computer games, movies, and television series. Indeed, many of these students are also highly mobile, and in most cases migrate throughout Greater China (and abroad) in order to pursue higher education degrees. Bolton (2012, 2013) also points out that current theorizing about English in Greater China needs to take into account what he calls ‘the language worlds’ of these young people, especially with regard to how they use various languages in various aspects of their lives, increasingly sampling different ‘worlds’, both ‘physical’ as well as ‘imaginary’ (see also Blommaert, 2010). Studies of migration and mobility within Greater China – particularly with regard to how this relates to the use of English in the context of local languages and language varieties – have received very little attention. This paper aims to fill this gap by providing a sociolinguistic account of the contemporary use of English in China's higher education, by specifically reporting on a recent large-scale sociolinguistic study that was carried out in Macau and Guangzhou, in southern China. The study reported on in this paper captures the increasing use of English as a medium (or additional medium) of instruction in two universities at these locations. The study also reveals how English is used in the personal lives of ordinary Chinese students.
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Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (April 2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.

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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band director perceptions revealed themes identifying challenges to implementing composition instruction: performance culture traditions, time, class setting, teacher preparation, and lack of student fundamental musical knowledge. Teachers in both programs identified benefits as development of student potential, importance of exposure to composition, and increased musical understanding. In the band program, student attitude toward composition increased significantly from pre- to post-instruction, while the general music students, with previous composition experience, showed no change in attitude. Students from both programs identified time as a challenge to composition and also indicated frustration in their lack of fundamental music knowledge. Students identified enjoyment, improved musical understanding, personal expression, increased interest in music, and understanding composition process as benefits to composition experience.
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Buonviri, Nathan O., and Andrew S. Paney. "Technology use in high school aural skills instruction." International Journal of Music Education 38, no. 3 (March 1, 2020): 431–40. http://dx.doi.org/10.1177/0255761420909917.

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In this study, we investigated the use of digital technology for aural skills instruction in Advanced Placement Music Theory (APMT) classes in the United States. Our research questions focused on which technologies teachers use for aural skills, how they incorporate them, and what influences their decisions to use them. We created, piloted, and distributed a survey electronically to a stratified sample by state of 866 instructors. Participants who completed the survey ( N = 317, response rate = 36%) were current APMT teachers representing 48 states. Of the 91% of respondents who used digital technologies for teaching aural skills, 93% used websites, 47% used software programs, and 38% used mobile apps. Participants incorporated technology for student practice outside class (93%) and during class (78%), and to present new material during class (55%). Of those who did not use technologies ( n = 29), 41% cited lack of funds and 34% cited lack of class time. Participants noted that technology can provide extra practice for students and customization for their needs, but that students’ lack of access and limitations of the programs may temper these benefits. Implications for pedagogical practice and music teacher training are discussed.
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Smith, Camille M. "Access to String Instruction in American Public Schools." Journal of Research in Music Education 45, no. 4 (December 1997): 650–62. http://dx.doi.org/10.2307/3345429.

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This study is an examination of string access in American public schools; the researcher sought to determine the actual number of school districts in each state that offered string instruction and at which grade levels. Specific questions posed were (a) What is the current relationship between access to string instruction and school-district location, size, and socioeconomic level? (b) How does access vary by school type—elementary, middle, high school? (c) How does access vary in different regions of the country? Data were obtained for each of the 14,183 school districts listed in the 1994-1995 Market Data Retrieval School Directories. A total of 2,268 districts (15.99%) were identified that offered string instruction. Of these, it was found that 71.42% (N = 1,620) offered string instruction at the elementary school level, 78.52% (N = 1,781) at the middle school level, and 80.15%) (N = 1,818) at the high school level. The findings also indicated that string instruction was offered most often in average-socioeconomic-level, medium-sized, urban districts in the Eastern, North Central, and Northwest Music Educators National Conference divisions, and in average-socioeconomic-level, large, metropolitan districts in the Southern, Southwestern, and Western divisions. String instruction was offered least often in low-socioeconomic-level school districts (N = 100) regardless of location or size.
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Miksza, Peter, and Brent M. Gault. "Classroom Music Experiences of U.S. Elementary School Children." Journal of Research in Music Education 62, no. 1 (March 5, 2014): 4–17. http://dx.doi.org/10.1177/0022429413519822.

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The primary purpose of this study was to describe the music experiences elementary school children in the United States receive in the academic classroom setting. The data were drawn from the Early Childhood Longitudinal Study of the Kindergarten Class of 1998–1999 (ECLS-K), a nationally representative study that followed kindergarteners through to their eighth-grade school year with the last data collection wave in 2006–2007. The variables pertaining to music experiences in the academic classroom that were available in the ECLS-K were (a) the frequency and duration with which children received music instruction, (b) the frequency that music was used to teach math, and (c) the percentage of children receiving formal music instruction outside of school. Each of these variables also was analyzed as a function of child urbanicity, socioeconomic status (SES), and race. Statistically significant ( p < .001) disparities among children based on urbanicity, SES, and race were found on each of the music experience variables. Overall, White suburban students of high levels of SES tended to receive significantly more music experiences than students of color from urban and rural settings and of low SES. The findings support the need to advocate for high-quality music programs for all students and particularly for those from traditionally underserved populations.
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Norgaard, Martin, Laura A. Stambaugh, and Heston McCranie. "The Effect of Jazz Improvisation Instruction on Measures of Executive Function in Middle School Band Students." Journal of Research in Music Education 67, no. 3 (August 9, 2019): 339–54. http://dx.doi.org/10.1177/0022429419863038.

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Research investigating links between academic achievement and active music instruction has not previously differentiated between different types of instruction. In the current study, 155 seventh- and eighth-grade middle school band students were divided into two groups. Both groups received 2 months of instruction in jazz phrasing, scales, and vocabulary, but only the experimental group was taught to improvise. All instruction was part of the warm-up routine in regular band classes. All students were tested before and after instruction on the Wisconsin Card Sorting Task (cognitive flexibility) and the classic Stroop task (inhibitory control). At posttest, eighth-grade students in the experimental group scored significantly better on cognitive flexibility with a smaller percentage of perseverative errors, whereas the treatment had no effect on seventh-grade students on this outcome. Seventh graders, but not eighth graders, in the experimental group increased their posttest scores for inhibitory control, though this result was only marginally significant. In relation to previous research, the current results strongly suggest that far-transfer effects of active music participation depend on the nature of the instruction. Results of prior and future studies should therefore be interpreted in light of the type of music-making engaged by participants.
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Vogel, Dorothy. "“Are You Only an Applauder?” American Music Correspondence Schools in the Early Twentieth Century." Journal of Research in Music Education 62, no. 4 (November 10, 2014): 446–61. http://dx.doi.org/10.1177/0022429414554230.

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The purpose of this study was to examine correspondence schools of music in the early twentieth century. Advertisements in widely circulated household and music periodicals and archival copies of courses from Siegel-Myers Correspondence School of Music, United States School of Music, American College of Music, and others were examined. Research questions focused on course offerings, faculty, recruitment, and reputation of the schools. The study also examined the advantages and disadvantages of this first generation of distance education and implications for current distance education practices today. Results revealed that correspondence schools of music had more breadth and, in some cases, depth than previous research had indicated. Instruction at numerous schools was offered on a wide variety of instruments, including voice, as well as in music history, music theory, and music teacher education. One of the prominent teacher education resources was Frances Elliott Clark’s Course in Public School Music offered through Siegel-Myers Correspondence School of Music. Instruction reached a wide demographic, including segments of the population without alternate access to music education. This rich history shows that distance education has been and will remain a viable and valuable option for accessing music education.
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Hewitt, Michael P. "The Impact of Self-Evaluation Instruction on Student Self-Evaluation, Music Performance, and Self-Evaluation Accuracy." Journal of Research in Music Education 59, no. 1 (December 16, 2010): 6–20. http://dx.doi.org/10.1177/0022429410391541.

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The author sought to determine whether self-evaluation instruction had an impact on student self-evaluation, music performance, and self-evaluation accuracy of music performance among middle school instrumentalists. Participants ( N = 211) were students at a private middle school located in a metropolitan area of a mid-Atlantic state. Students in intact classes, grades 5 through 8, were assigned to one of three treatment groups: self-evaluation instruction (SE-I), self-evaluation only (SE-O), or no self-evaluation (SE-No) for treatment lasting 5 weeks. All groups played through music used in the study at each lesson and heard a model recording of it. Participants in the SE-I group received instruction in self-evaluation while students in the SE-O group self-evaluated their performances daily and the SE-No group received no additional instruction. Results suggest that instruction in self-evaluation had little impact on students’ self-evaluation accuracy or music performance, although grade level did influence music performance. Additional time may be necessary for students to learn to evaluate their own performances effectively; however, it is interesting that students’ music performance did not appear to suffer from time spent in self-evaluation instruction or practice. Music teachers may wish to consider implementing self-evaluation strategies to help students develop the skills necessary for successful self-regulation of music performance.
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Miranda, Martina L. "Developmentally Appropriate Practice in a Yamaha Music School." Journal of Research in Music Education 48, no. 4 (December 2000): 294–309. http://dx.doi.org/10.2307/3345365.

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Pedagogical practices in a Yamaha Music School were explored using ethnographic techniques to collect data during one semester of instruction. Two groups of participants served as informants in this study: (1) children 4-6 years of age, who were enrolled in the Yamaha Junior Music Courses, and (2) their teachers and parents in the setting. Developmentally Appropriate Practice (DAP) guidelines as published by the National Association for the Education of Young Children were the theoretical grounding for the study. The following question guided the investigation: In what ways are the events and interactions in a Yamaha music class congruent or incongruent with DAP guidelines ? Congruent events and interactions were the pace and variety of instructional activities, recognition of individuals, involvement of parents, and inclusion of dramatic play. Incongruent events and interactions were the approach to two-hand playing, fixed accompaniment tempos, minimal peer interactions, and fixed curricular goals.
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Ihas, Dijana. "A Mixed Methods Study on the Status of School Orchestra Programs in Oregon: An Explanation of Inhibiting and Promoting Factors." String Research Journal 9, no. 1 (June 25, 2019): 5–22. http://dx.doi.org/10.1177/1948499219851144.

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The purpose of this explanatory sequential mixed methods study was to examine the status of school orchestra programs in Oregon and to explain the reasoning behind the descriptive data. The quantitative phase of the study reported the data on the number of school districts and schools by type that offer orchestra instruction as well as the profile of those schools, their orchestra programs, and orchestra teachers. Unexpected findings from the quantitative phase indicated that among the three large school districts that are comparable in size, budget, and students’ demographics, only one offers orchestra instruction in every school within the district ( n = 65) while the other two districts offer orchestra instruction in one high school each. This finding prompted the qualitative phase of the study that illuminated factors that inhibit and promote the quality of education within Oregon schools. The mixed methods findings explained the discrepancy in music offerings among the three large school districts through the perspectives of the three arts administrators, one from each district.
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Dissertations / Theses on the topic "School music – Instruction and study – China"

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Leung, Bo Wah School of Music &amp Music Education UNSW. "Creative Music Making in Hong Kong Secondary Schools: The Present Situation and Professional Development of Music Teachers." Awarded by:University of New South Wales. School of Music and Music Education, 2002. http://handle.unsw.edu.au/1959.4/18665.

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Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.
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Ma, Shuhui. "The Curricular Content of Elementary Music in China Between 1912 and 1982." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331647/.

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The purpose of this study was to investigate the curricular content of elementary music in China between 1912 and 1982. The questions addressed were: (1) What changes in elementary music resulted from China's becoming a republic in 1912? (2) What changes in elementary music resulted from China's becoming a socialist country in 1949? (3) What changes in elementary music in the People's Republic of China resulted from the Anti—Rightist Struggle Movement in 1957? (4) What changes in elementary music in the People's Republic of China resulted from the Cultural Revolution (1966-1976)? (5) Have changes occurred in elementary music in the People's Republic of China since the beginning of the reform movement in 1978? (6) Did any of the changes affect curricular goals, contents, methods, required materials, and instruction time allotted in a like manner, or did some of these components remain the same while others changed? (7) Were the changes important enough to attribute them to a changed political ideology? After translating all pertinent documents, the goals, contents, methods, materials, and time allotted for the elementary music curricula between 1912 and 1982 were listed and identified. Subsequently, the areas of focus within those categories as well as changes in focus were identified and their importance determined. The findings were: (1) all important curricular changes occurred after 1950; and (2) changed goals resulted in changed teaching techniques; however, changed teaching techniques did not result in the changing of goals.
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Ng, Yuen-fun Fanny, and 吳婉芬. "The Hong Kong secondary school music curriculum: constructing marginality." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31237587.

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Chan, Wai-lan Candy, and 陳惠蘭. "Music extra-curricular activities and students' sense of belonging to the school." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37604569.

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Lau, Kai-chi Anthony, and 劉繼智. "The cultural contents of the secondary school music curricula in Hong Kong and Taiwan: a comparative study of foursets of textbooks." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31960273.

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Ryan, Michael Joseph. "A critical examination of the provision for music education and attitudes to the music curriculum amongst secondary school pupils inHong Kong: implications for schooladministration." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31955484.

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Leung, Hoi-yan, and 梁愷恩. "A comparative study of music education in two secondary schools in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B27709528.

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Wang, Miao, and 王苗. "Professional autonomy of music teachers in China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45595847.

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HAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.

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There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.
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Xu, Yingru, and 徐霙茹. "A study of using music in primary school TCSL class." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B48369299.

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随着中国经济的发展，国家地位不断崛起，“汉语热”也在世界各地逐渐兴起，对外汉语教学开始成为语言教育中一个新的关注点。无论是内地还是香港，大量的国际学校开始开设中文课，家长们都希望自己的孩子可以从小就学习中文。由于学生母语并非中文，背景也参差不同，因此，使用什么方式，既可以提高学生学习的兴趣，也可以帮助学生学习汉语成为了教师关注的焦点。 本文将通过实际的汉语教学实践，介绍音乐教学法在小学对外汉语教学中的应用，并详细解释音乐教学法的使用方式，旨在把音乐作为一种载体，用更加朗朗上口的方式教学中文，以求达到更好的教学效果。 本文共分为五个章节。 第一章为引言，介绍当前对外汉语教学的大背景，提出问题。 第二章为文献综述，搜集音乐教学法的理论基础，并且联系音乐与汉语间的密切关系。 第三章将介绍音乐在教学中的应用，包括音乐的优点、教学功能和其他功能。 第四章将详细分析笔者在香港九龙小学做的一系列音乐教学实验。 第五章为总结，阐述音乐教学法的优势和认知上的误区，以及文章在写作上的限制和对音乐教学法的展望。 With the economic development, China’s position continues to rise. "Chinese fever" is also gradually on the rise around the world, teaching Chinese as a second language (TCSL) in language education became a new focus. Both the mainland and Hong Kong, a large number of international schools begin to offer Chinese language classes. Parents hope their children to learn Chinese from an early age. As the student's native language is not Chinese and the background also varies, thus, using which method, not only can enhance students' interest in learning but also can help students to learn Chinese, has become a spotlight in teaching. This article will introduce using music pedagogy in primary school TCSL class and explain in detail through the teaching practice. The purpose is that using the music as a carrier, with more catchy way to teach Chinese in order to achieve better teaching results. This paper is composed of the following five chapters. The first chapter introduces the current foreign language teaching background and asks questions. The second chapter is literature review, collecting theoretical basis of music teaching, contacts the close relationship between Chinese and music. The third chapter describes the application of music in teaching, including the advantages of music, teaching and other features. The fourth chapter will analyze a series of music teaching experiment in detail of author in Hong Kong Kowloon primary school. The fifth chapter is Summary. It describes the advantages and knowledge errors of music pedagogy, limitations on article writing and the prospect of music pedagogy.
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Books on the topic "School music – Instruction and study – China"

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Yang, Yanyi. Musikerziehung in China: Zielsetzungen, Methoden und ästhetische Grundlagen. Augsburg: Wissner, 1995.

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Schönhofer, Hui. Chinesische Schulmusikerziehung seit der Gründung der Volksrepublik China. Augsburg: Wissner, 1998.

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School music education and social change in mainland China, Hong Kong, and Taiwan. Leiden: Brill, 2011.

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Lepherd, Laurence. Music education in international perspective: The People's Republic of China. Darling Heights, Queensland, Australia: Music International, 1988.

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Ho, Wai-chung. School music education and social change in mainland China, Hong Kong, and Taiwan. Leiden: Brill, 2011.

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Ho, Wai-chung. School music education and social change in mainland China, Hong Kong, and Taiwan. Leiden: Brill, 2011.

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Music in the school. Oxford: Oxford University Press, 2005.

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Rexroad, Eileen F. Teaching elementary school music. Englewood Cliffs, N.J: Prentice Hall, 1992.

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Coordinating music across the primary school. London: Falmer Press, 1998.

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West, Bernard. The importance of school music. Slough: Music Industries Association, 1997.

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Book chapters on the topic "School music – Instruction and study – China"

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Ho, Wai-Chung. "Critical Perspectives on Values Education in China’s School Music Education in a Changing Society: A Study of Beijing in the Global Age." In Culture, Music Education, and the Chinese Dream in Mainland China, 195–232. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7533-9_7.

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Ho, Wai-Chung. "The Challenges of Implementing Diverse Political Directives in Contemporary China: Between Creativity and Confucianism." In The Politics of Diversity in Music Education, 103–17. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_8.

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AbstractThe People’s Republic of China (PRC) was founded as a communist state in 1949 within the framework of the collective leadership model under the Communist Party of China (the single-party system in China). After experiencing sociopolitical and economic changes, the PRC has moved to the free market economy of globalisation in the global age. The evolution of Chinese politics and the economic system has resulted in more diversity and changes in school education, along with struggles to adjust to these changes. Along this line, this chapter will examine the complex relationship between the politics of diversity, Confucianism, and creativity education, particularly in response to the views of Chinese teachers from Beijing via in-depth, semi-structured individual interviews on the implementation of a creativity policy in school music education. Based on current education policies and the interview data collected for this study on the examination of the nature of creativity, this chapter will conclude with a discussion of how school music education may help initiate a dialogue on the politics and nature of creativity and cultural identity in response to the challenges of contemporary political and cultural values between creativity and Confucianism that prevail in the global age of China.
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Sutani, Shizuka, and Taichi Akutsu. "Japanese Special High School Students' Reflections on 9-11." In Advances in Early Childhood and K-12 Education, 36–48. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8042-3.ch003.

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In this study, the authors describe the reflective practices of a violin group instruction session that evolved into a mixed ensemble lesson in which the participants at a Japanese special high shared thoughts and feelings about the 9-11 terrorist attack in New York City. The lesson originally planned for a group violin instruction; however, the students and teacher co-created and arranged the lessons into a mixed ensemble practice in order to share their thoughts concerning the disaster victims. While students were learning the violins, T, by coincidence, found a lyric along with chord progression indicated on a sheet of paper set on a music stand in the corner of the classroom. The name of the song was “Hanamizuki,” the popular Japanese song by Yo Hitoto dedicated to the victims of 9-11. This chapter presents how the teacher's reflective practice and students' active involvement co-created the contents of the class and made an unexpected connection through a song they learned about 9-11.
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Fleener, Jayne, Lianfang Lu, Jian Dun, and Yang Mingquan. "Sustaining a Teacher Professional Learning Community in China Through Technology." In Research Anthology on Facilitating New Educational Practices Through Communities of Learning, 800–819. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7294-8.ch040.

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This study explores the evolution of a professional learning community (PLC) of Chinese teachers over a multi-year period. A group of 16 teachers participated in a three-semester PLC over the 2008-2009 school years to develop master mathematics teachers in a school district in Beijing, China. The goal of the PLC, as identified by the teachers, was to improve instruction for greater student autonomy, creativity, and problem solving as they developed their master capacity building skills and networked relationships. This paper explores what has happened to these 16 teachers six years later, specifically considering how they may have used technology to further their development as master teachers. This study shows the potential of a PLC for self-adaptive, emergent behaviors and understandings that are instructional for transforming teaching practices, sustaining changes in teaching practices and preparing students for 21st century engagements.
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Jia, Jiyou, Zhuhui Ding, Yuhao Chen, and Xuemei Cui. "The Study of the Relationship among Learner-Content Interaction, Learning Performance, and Learner Satisfaction in a Blended Learning English Class in a Rural High School." In Educational Stages and Interactive Learning, 191–208. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0137-6.ch012.

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Learner-content interaction is one of the four interaction types in computer assisted instruction systems. “Without leaner-content interaction, little or no learning will occur” (Moore, 1993). The authors developed a web-based vocabulary and listening learning and assessment system for English instruction, which focuses on the learner-content interaction based on the behaviorisms learning theory. The authors integrated it into a normal English class weekly for a term in a high school located in a rural province in China. They analyzed the student exam scores, the student survey answers, learner-content interaction records in the learning system, and their relationship using statistical software SPSS. The research reveals that there exists almost significant positive correlation between learner-content interaction and learning performance, but there is not any correlation between the learner-content interaction and learner satisfaction. The survey results also demonstrated the learners’ satisfaction with this interactive learning system. The reasons for those findings are analyzed. Finally, limitations and further work are discussed.
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Schulenberg, David. "Bach the Teacher." In Bach, 284–331. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0013.

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This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.
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