Literacy of the Other: Renarrating Humanity. Mishra Tarc, A. New York, NY: State University of New York Press, 2015. 172 pp. $75.00.

음악적 이해의 폭넓은 확장을 위한 코다이 교수법과 상징적 표현 활동의 적용

“…This suggests that participants demonstrated a tendency to emphasize their emotional reactions and used them as resources to evaluate the suitability of their peers' drawings. These findings support the sociocultural perspective on learning (Battistich & Watson, 2003;Walkup-Amos, 2020;Wiggins, 2015), emphasizing the importance of cooperative learning and the exchange of ideas. This also implies that a more student-centered learning environment increases the construction of knowledge.…”

“…Carroll (2018) observed that children without formal music education refine their musical understanding through teaching and discussing songs with classmates, utilizing self-created notations. As students extract musical meanings from these notations, they engage in an exchange of musical insights, enhancing their comprehension of each other's musical perspectives in line with the constructivist view on knowledge construction (Choi, 2003;Wiggins, 2015).…”

Musical communication in scaffolding young learners’ expressive agency

“…Central to successful scaffolding, in a constructivist view of learning and teaching, is awareness that: there must exist creative tension around the cultural foundation of student work and the scaffold upon which an outside learning task is built (Allsup, 2002, p. 359); intersubjectivity (Newson & Newson, 1975; Riegel, 1979; Rogoff, 1990; Wertsch, 1979) or shared understanding of the activity is critical; learners must have a sense of agency—they must know “their ideas are valued and central to their learning process” (Wiggins, Blair, Ruthmann, & Shively, 2006, p. 90); and the most important role of a teacher is to support and enable learners to construct their own meaning of experience (Fosnot, 2005; Rogoff, 1990; Wiggins, 2015). Thus, an essential element of scaffolding in this study is that, through social interaction, participants negotiate or compromise by constantly striving for a shared view of the situation within the learners’ zone of proximal development (Vygotsky 1978, p. 86).…”

“…They met every week mostly in the piano laboratory room of 16 electronic keyboards, but occasionally students visited the bigger music rooms to experience other instruments. My teaching in this program was rooted in a social constructivist learning approach (based on the work of Wiggins, 2015). Learners have many opportunities to experience music, not only through playing the piano, but also through singing, moving, listening, creating, and playing other instruments, as well as introductory experiences with verbalization and visualization of musical ideas in a socially supportive environment.…”