Praxis och perception : En studie av gymnasieelevers tolkning av två lärares undervisningsmetoder i historia

Syftet med detta arbete är att ta reda på i vilken utsträckning och på vilket sätt lärarens undervisningspraxis styr gymnasieelevers syn på historieämnet. I samband med att vedertagna uppfattningar om kunskap och kunskapsöverföring har utmanats inom pedagogisk forskning, har historieämnet alltmer kommit att definieras som ett instrument för självinsikt och förståelse för omvärlden. Den förändrade historiesynen medför nya typer av undervisningspraxis bland enskilda lärare, där till exempel kronologi och kanon får stå tillbaka för bland annat tematisk fördjupning och flerperspektivism.Undersökningen består av intervjuer med två gymnasieklasser och deras gymnasielärare. I intervjuerna fick lärarna och eleverna var för sig definiera momentet utifrån vad det handlade om, vilka målsättningar man haft, hur undervisningen gått till och vad övningarna syftat till.Resultaten visar att lärarnas respektive historiesyn och undervisningspraxis i mycket stor utsträckning präglar elevers perception av historieämnet. Elevernas normer och målsättningar i relation till historieundervisningen följde respektive lärares undervisningspraxis, utan att andra faktorer, som läromedel, i nämnvärd utsträckning spelade in. Läraren framstår därmed som den klart viktigaste auktoriteten för elevernas förståelse av historieämnet.

Hur påverka tyngden i mixen? : Från mixning till perception

Uppsatsen handlar om den subjektivt upplevda tyngden i musik. Avsikten med arbetet har varit att härleda ljudets fysiska egenskaper ur upplevelsen av tyngd och rörelse, och på det viset klargöra samband, vilka kan underlätta för förståelse och omsättning av kunskaperna i en praktisk mixningssituation. Detta har undersökts genom en sammanställning av litteratur, genom vilken kunskap om perception, psykoakustik och teknik har ordnats. Intentionen var att knyta samman perceptionsteori och psykoakustik med ljudteknik, för att följa fenomenet från upplevelse till teknisk påverkan. Av resultaten framkommer att tonhöjd och tonstyrka är avgörande för tyngdupplevelsen, och att de i någon mån kan påverkas med samtliga processorer som behandlas i arbetet.

Visuell Perception : En studie av visuella faktorer kring ett musikaliskt framträdande

The essay investigates the visual element as seen by the audience and artist to be of greatest importance to a musicalperformance. The study was conducted in the form of a field work which included doing interviews with artists, surveys of the audience and interpretive observations of live performance. The fieldwork was conducted in three different environments in which I found myself on the spot and performed the various stages included in the field work. It was done to create a surface that could be used in an essay, and through that use this material to compare and analyze my results and in the end be able to answer my questions. I started from eight different factors which all could beexperienced visually on stage. The factors were light / colors, costumes, props, effects, stage presence, attitude / image, nervousness and dance / body language. Those factors would then be examined in the various musical performances and to be answered by the audience and performers which of those factors they considered to be of great importance or small importance when it comes to visual perception in a musical context. The result was a clear statement where two factors were considered to be most crucial for a musical performance, and a clear statement in which two factors were considered by the majority to be less important. The results demonstrate a common understanding what the artist and the audience thinks is important. A result that can act as a template for what an artist should think about regarding the visual elements before an performance. My theory is my assumption that the visual elements of musical performances can play an important or decisive role, an assumption that was strengthened by my empirical experiences at a concert visit. I wanted in this essay explore and give a clear picture of what it is that artists and audiences consider to be visually crucial for a musical context

The priority of temporal aspects in L2-Swedish prosody : Studies in perception and production

Foreign accent can be everything from hardly detectable to rendering the second language speech unintelligible. It is assumed that certain aspects of a specific target language contribute more to making the foreign accented speech intelligible and listener friendly, than others. The present thesis examines a teaching strategy for Swedish pronunciation in second language education. The teaching strategy “Basic prosody” or BP, gives priority to temporal aspects of Swedish prosody, which means the temporal phonological contrasts word stress and quantity, as well as the durational realizations of these contrasts. BP does not prescribe any specific tonal realizations. This standpoint is based on the great regional variety in realization and distribution of Swedish word accents. The teaching strategy consists virtually of three directives: · Stress the proper word in the sentence. · Stress proper syllables in stressed words and make them longer. · Lengthen the proper segment – vowel or subsequent consonant – in the stressed syllable. These directives reflect the view that all phonological length is stress-induced, and that vowel length and consonant length are equally important as learning goals. BP is examined in the light of existing findings in the field of second language pronunciation and with respect to the phonetic correlates of Swedish stress and quantity. Five studies examine the relation between segment durations and the categorization made by native Swedish listeners. The results indicate that the postvocalic consonant duration contributes to quantity categorization as well as giving the proper duration to stressed syllables. Furthermore, native Swedish speakers are shown to apply the complementary /V: C/ - /VC:/ pattern also when speaking English and German, by lengthening postvocalic consonants. The correctness of the priority is not directly addressed but important aspects of BP are supported by earlier findings as well as the results from the present studies.

Women's experiences of two different self-assessment methods for monitoring fetal movements in full-term pregnancy : a crossover trial

Background: Low maternal awareness of fetal movements is associated with negative birth outcomes. Knowledge regarding pregnant women's compliance with programs of systematic self-assessment of fetal movements is needed. The aim of this study was to investigate women's experiences using two different self-assessment methods for monitoring fetal movements and to determine if the women had a preference for one or the other method. Methods: Data were collected by a crossover trial; 40 healthy women with an uncomplicated full-term pregnancy counted the fetal movements according to a Count-to-ten method and assessed the character of the movements according to the Mindfetalness method. Each self-assessment was observed by a midwife and followed by a questionnaire. A total of 80 self-assessments was performed; 40 with each method. Results: Of the 40 women, only one did not find at least one method suitable. Twenty of the total of 39 reported a preference, 15 for the Mindfetalness method and five for the Count-to-ten method. All 39 said they felt calm, relaxed, mentally present and focused during the observations. Furthermore, the women described the observation of the movements as safe and reassuring and a moment for communication with their unborn baby. Conclusions: In the 80 assessments all but one of the women found one or both methods suitable for self-assessment of fetal movements and they felt comfortable during the assessments. More women preferred the Mindfetalness method compared to the count-to-ten method, than vice versa.