Suchergebnisse

The future of schooling : a distinctively different direction of travel -- Anarchism and the abolition of the State : an intention to murder, Russian-style -- Murdering the state, in American deschooler-style -- English-style anarchism : state murder by other means -- The state and schooling : some old and some new assailants -- Anarchist challenges to state schooling from the right, American-style -- State schooling versus community education -- Utopia and the remaking of social and educational systems -- Power and resistance in society and in education -- Paths to a new imaginary for education and schooling -- Education, not schooling : realising the new imaginary.

This paper reviews some of the changes and developments that have occurred in music education over the last decade, following Hargreaves and North's (2001) international review. I describe some recent developments in England, in which change has been very rapid, and in which education has had a high political profile, and then consider the three main issues which emerged from our international review, namely curriculum issues; the aims and objectives of music education; and the relationship between music in and out of school. I go on to describe two theoretical models which were developed as a result of my work with the Qualifications and Curriculum Authority (QCA) in England: these are models of the different opportunities in music education, and of its intended outcomes. The first of these reveals the importance of the differences between formal and informal music learning, both of which can take place inside as well as outside schools. I conclude by reflecting on the power and ubiquity of music in young people's everyday lives, which mean that music education policy should reflect and capitalize upon this power. ; Este artigo efetua uma revisão de algumas mudanças e desenvolvimentos que ocorreram na Educação Musical ao longo da última década, seguindo a revisão internacional efetuada por Hargreaves e North (2001). Descrevo alguns dos recentes desenvolvimentos em Inglaterra, em que a mudança foi muito rápida, e nas quais a educação teve um elevado estatuto político, e considero depois os três temas principais que emergiram da revisão internacional que efetuámos, nomeadamente os temas curriculares; as finalidades e os objetivos da Educação Musical; e a relação entre Música dentro e fora da Escola. Prossigo descrevendo dois modelos teóricos que foram desenvolvidos como resultado do meu trabalho com a Autoridade para as Qualificações e Currículo (AQC) em Inglaterra: são os modelos das diferentes oportunidades em Educação Musical e dos resultados pretendidos. O primeiro deles revela a importância das diferenças entre a aprendizagem formal e informal da Música, em que ambas podem ocupar o seu lugar tanto dentro como fora das escolas. Concluo refletindo acerca do poder e ubiquidade da Música na vida quotidiana dos jovens, o que significa que uma política da Educação Musical deve refletir e capitalizar esse poder.

This paper reviews some of the changes and developments that have occurred in music education over the last decade, following Hargreaves and North's (2001) international review. I describe some recent developments in England, in which change has been very rapid, and in which education has had a high political profile, and then consider the three main issues which emerged from our international review, namely curriculum issues; the aims and objectives of music education; and the relationship between music in and out of school. I go on to describe two theoretical models which were developed as a result of my work with the Qualifications and Curriculum Authority (QCA) in England: these are models of the different opportunities in music education, and of its intended outcomes. The first of these reveals the importance of the differences between formal and informal music learning, both of which can take place inside as well as outside schools. I conclude by reflecting on the power and ubiquity of music in young people's everyday lives, which mean that music education policy should reflect and capitalize upon this power. ; Este artigo efetua uma revisão de algumas mudanças e desenvolvimentos que ocorreram na Educação Musical ao longo da última década, seguindo a revisão internacional efetuada por Hargreaves e North (2001). Descrevo alguns dos recentes desenvolvimentos em Inglaterra, em que a mudança foi muito rápida, e nas quais a educação teve um elevado estatuto político, e considero depois os três temas principais que emergiram da revisão internacional que efetuámos, nomeadamente os temas curriculares; as finalidades e os objetivos da Educação Musical; e a relação entre Música dentro e fora da Escola. Prossigo descrevendo dois modelos teóricos que foram desenvolvidos como resultado do meu trabalho com a Autoridade para as Qualificações e Currículo (AQC) em Inglaterra: são os modelos das diferentes oportunidades em Educação Musical e dos resultados pretendidos. O primeiro deles revela a importância das diferenças entre a aprendizagem formal e informal da Música, em que ambas podem ocupar o seu lugar tanto dentro como fora das escolas. Concluo refletindo acerca do poder e ubiquidade da Música na vida quotidiana dos jovens, o que significa que uma política da Educação Musical deve refletir e capitalizar esse poder. ; Universidad de Granada. Grupo de Investigación "Desarrollo Educativo de las Didácticas en la Comunidad Andaluza" (HUM742).

Durch über 300 Statistiken, Karten und Graphiken erläuterte Analyse der Lagerstätten und des Standes des Abbaus und Verarbeitung der 40 strategisch wichtigsten Mineralien und Metalle der Welt. (SWP-Hck)

Previous research has suggested that music might influence the amount of time for which people are prepared to wait in a given environment. In an attempt to investigate the mechanisms underlying such effects, this study employed three levels of musical complexity and also a "no-music" condition. While one of these played in the background, participants were left to wait in a laboratory for the supposed start of an experiment. The results indicated that participants waited for the least amount of time during the no-music condition, and that there were no differences between the three music conditions. Other evidence indicated that this may be attributable to the music distracting participants' attention from an internal timing mechanism. The results are discussed in terms of their implications for consumer behavior and research on the psychology of everyday life.

Several studies indicate that mood can influence the likelihood of an individual demonstrating instances of helping behavior, and one previous laboratory study has indicated that music can be used to bring about manipulations of mood to such an end. To investigate this in a naturalistic setting, 646 users of a university gym were played either uplifting or annoying music while theyworked out. Upon completion of theirworkout, they were asked to either sign a petition in support of a fictitious sporting charity (i.e., a low-cost task) or to distribute leaflets on their behalf (i.e., a high-cost task). Responses to the petition-signing measure indicated a ceiling effect with almost all participants offering to help. However, consistent with previous research on mood and helping behavior, uplifting music led to participants offering to help more on the high-cost, leaflet-distributing task than did annoying music.

Classical music, pop music, and no music were played in a British restaurant over the course of 18 evenings. The mean spend per head for each table was calculated for starters, main courses, desserts, coffee, bar drinks, wine, overall drink bill, overall food bill, and total spend. Total time spent in the restaurant was also measured. A MANOVA analysis revealed that there was an overall significant difference between the conditions with classical music leading to higher spending than both no music and pop music. Univariate analyses indicated that there were differences between the conditions on mean spend per head on starters, coffee, total spend on food, and overall spend. These findings were consistent with the limited previous research, which indicated that the playing of background classical music led to (a) people reporting that they were prepared to spend more and (b) higher actual spending. The results indicate that restaurant managers can use classical music to increase customer spending, and the results are discussed in terms of three possible explanations for this.