Yliopiston oppimis- ja opetuskäsitykset murroksessa : Teknillistieteellisen alan opettajien käsityksiä ja lähestymistapoja alan oppimiseen ja opetukseen

The starting point for this study was university teaching and teachers and specifically their changing role when confronting the Finnish University Reform and the student-focused theories of learning. Teachers’ pedagogical thinking and pedagogical content knowledge were also part of the theoretical framework. In the research of conceptions of and approaches to learning and teaching, the qualitative classifications of Säljö and Marton (1976; 1997), Ramsden (1992), Kember (1997) and Trigwell and Prosser (1999) were utilised. Two study questions were raised (1) What kind of conceptions of and approaches to learning do engineering science teachers have? and (2) What kind of conceptions of and approaches to teaching do engineering science teachers have? The relationship between teachers’ conceptions and teaching was also examined. The research material was collected in autumn 2008 by interviewing teachers and by observing teaching in the Department of Energy Technology at Helsinki University of Technology. Altogether two tutorials and ten lectures were observed. Each teacher of the observed lectures was interviewed once. The interviews were carried out as semi-structured theme interviews. In the analysis of the research material phenomenographical approach was adapted. The study revealed many kinds of conceptions of and approaches to learning and teaching in the teachers’ speech. On the basis of the research material, the conceptions and approaches that the teachers declare do not always reflect their actions in the teaching situation. The surface approaches to learning and teacher-focused approaches to teaching and conceptions of receiving and transmission of knowledge were parallel. Instead the teachers’ declarations of the deep approaches to learning and student-focused approaches to teaching were partly in conflict with how the teacher taught. When striving towards student-centered teaching culture attention should be paid to the development of teachers’ pedagogical thinking and pedagogical content knowledge. The culture and the structures of the educational institution should also be considered.

Koko talo soi : Klemetti-Opisto suomalaisen musiikkikulttuurin kehittäjänä 1953-1968

This study aims to examine the operations and significance of the Klemetti Institute (Klemetti-Opisto) as a developer of Finnish music culture from 1953 to 1968 during the term of office of the Institute s founder and first director, Arvo Vainio. The Klemetti Institute was originally established as a choir institute, but soon expanded to offer a wide range of music courses. In addition to providing courses for choir leaders and singers, the Institute began its orchestral activities as early as the mid-1950s. Other courses included ear training seminars as well as courses for young people s music instructors and in playing the kantele (a Finnish string instrument) and solo singing. More than 20 types of courses were offered over the 16-year period. The Klemetti Institute s courses were incorporated into the folk high school courses offered by the Orivesi Institute (Oriveden Opisto) and were organised during the summer months of June and July. In addition to funding based on the Folk High School Act, financial assistance was obtained from various foundations and funds, such as the Wihuri Foundation. This study is linked to the context of historical research. I examine the Klemetti Institute s operations chronologically, classifying instruction into different course types, and analyse concert activities primarily in the section on the Institute s student union. The source material includes the Klemetti Institute archives, which consist of Arvo Vainio s correspondence, student applications, register books and cards, journals and student lists, course albums and nearly all issues of the Klemettiläinen bulletin. In addition, I have used focused interviews and essays to obtain extensive data from students and teachers. I concentrate on primary school teachers, who accounted for the majority of course participants. A total of more than 2,300 people participated in the courses, nearly half of whom took courses during at least two summers. Primary school teachers accounted for 50% to 70% of the participants in most courses and constituted an even larger share of participants in some courses, such as the music instructor course. The Klemetti Institute contributed to the expansion throughout Finland of a new ideal for choral tone. This involved delicate singing which strives for tonal purity and expressiveness. Chamber choirs had been virtually unheard of in Finland, but the Klemetti Institute Chamber Choir popularised them. Chamber choirs are characterised by an extensive singing repertoire ranging from the Middle Ages to the present. As the name suggests, chamber choirs were originally rather small mixed choirs. Delicate singing meant the avoidance of extensive vibrato techniques and strong, heavy forte sounds, which had previously been typical of Finnish choirs. Those opposing and shunning this new manner of singing called it ghost singing . The Klemetti Institute s teachers included Finland s most prominent pedagogues and artists. As the focused essays, or reminiscences as I call them, show, their significance for the students was central. I examine extensively the Klemetti Institute s enthusiastic atmosphere, which during the early years was characterised by what some writers described as a hunger for music . In addition to distributing a new tonal ideal and choir repertoire, the Klemetti Institute also distributed new methods of music education, thus affecting the music teaching of Finnish primary schools, in particular. The Orff approach, which included various instruments, became well known, although some of Orff s ideas, such as improvisation and physical exercise, were initially unfamiliar. More important than the Orff approach was the in-depth teaching at the Klemetti Institute of the Hungarian ear training method known as the Kodály method. Many course participants were among those launching specialist music classes in schools, and the method became the foundation for music teaching in many such schools. The Klemetti Institute was also a pioneer in organising orchestra camps for young people. The Klemetti Institute promoted Finnish music culture and played an important role in the continuing music education of primary school teachers. Keywords: adult education, Grundtvigian philosophy, popular enlightenment, Klemetti Institute, Kodály method, choir singing, choir conducting, music history, music education, music culture, music camp, Orff approach, Orff-Schulwerk, Orivesi Institute, instrument teaching, free popular education, communality, solo singing, voice production

Advances in the culture of lobsters.

Commercial aquaculture of marine lobsters is an attractive proposition, as most species are high value with established market demand, and fishery production is static or diminishing. Nevertheless, achievement of commercial success will necessitate resolution of technical difficulties associated with on-growing of aggressive species (clawed lobsters) or with rearing the larvae, which for spiny and slipper lobsters is generally a painstaking and protracted process. Notwithstanding these technical challenges, increasing market demand for the product is driving a substantial research and development effort around the world to develop commercial lobster farming technology. This chapter reports on the status of that effort, the successes and obstacles.