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・ Patricia Schonstein
・ Patricia Schroeder
・ Patricia Schwager
・ Patricia Scotland, Baroness Scotland of Asthal
・ Patricia Scott
・ Patricia Scott (public servant)
・ Patricia Seed
・ Patricia Selinger
・ Patricia Serneels
・ Patricia Serpa
・ Patricia Seybold
・ Patricia Shakesby
・ Patricia Shanil Muluzi
・ Patricia Shaw
・ Patricia Shaw (novelist)
Patricia Shehan Campbell
・ Patricia Simpson
・ Patricia Skinner
・ Patricia Smith
・ Patricia Smith (actress)
・ Patricia Smith (poet)
・ Patricia Smith, Viscountess Hambleden
・ Patricia Soltysik
・ Patricia Soman
・ Patricia Sosa
・ Patricia Soto
・ Patricia Southall
・ Patricia Spafford Smith
・ Patricia Spears Jones
・ Patricia Spratlen


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Patricia Shehan Campbell : ウィキペディア英語版
Patricia Shehan Campbell
Patricia Shehan Campbell (born May 3, 1950) is a music educator and distinguished faculty member of the University of Washington’s School of Music. As a professor, she “teaches undergraduate and graduate courses at the interface of Ethnomusicology and Music Education, including music for children, world music pedagogy, and ethnographic research in music.” Dr. Campbell "has lectured on the pedagogy of world music and children's musical involvement throughout the United States, in much of Europe and Asia, and in Australia, New Zealand, and South Africa" Dr. Campbell has contributed extensive research, books, journal articles and helped develop the way world music is taught. In a discipline which consists of traditionally quantitative research designs, "Dr. Campbell has been a leader in spreading the adoption of qualitative designs and ethnographies, especially when it comes to deepening the understanding of children's musical cultures."
== Research and Publications ==
Dr. Campbell's main research focus revolves around the interactions, both social and human, in children. In her qualitative research, Dr. Campbell focuses on being immersed in the culture of children and the way they learn music. She suggests building a connection and sense of trust with the children. "Over time, participants become used to the researcher, and for accurate information to be gathered, the researcher must build trust and a connection with the culture."〔 By building a trusted and connected relationship, more accurate research can be achieved. Dr. Campbell believes that children encompass innate musical abilities for teachers to develop and build upon. Each student brings a different experience and perspective to the classroom. "We prescribe antidotes for children's education without full knowledge of their conditions and symptoms." As music teachers, it is important to take into consideration the musical expressiveness and abilities of each child. "We may be the most effective teachers when we consider children less as blank slates for us to fill than as thoughtful minds-musical minds, already taking shape through the process of enculturation." 〔
In music education, World Music is an integral part of the curriculum. "For teachers at all levels of instruction, the world's musical cultures can come alive in the lives of their students through their active involvement as music listeners and makers of music." 〔 In the book Teaching Music Globally, Dr. Campbell discusses the ways in which people interact and respond to music. "All the day long and well into the night, in varied venues, the music envelops those of us who choose to listen or not." Whether involved in formal music training, or simply listening to the television, music is part of our lives. She continues to detail how people are wired to hear and respond to music, as well as sing move and play music. "Children exhuberantly manifest their musical leanings in their chants, songs, dances, and rhythmic movement, and it is only because of the natural development of inhibitions in late childhood and adolescence that the music goes "under cover" (usually in Western Cultures)." 〔 In this book, Dr. Campbell discusses the ways in which students can listen to music. Students can listen attentively, by providing "points of focus or graphic visual means",〔 engaged listening which requires active participation and Enactive listening. Enactive listening "is to utilize listening as the guide to stylistically appropriate performance."〔

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