Propuesta de un m??todo de secuenciaci??n de contenidos basado en la Teor??a de Elaboraci??n de Reigeluth y Stein : validaci??n experimental para los contenidos de la F??sica en diferentes niveles del sistema educativo

Complementar la Teor??a de la Elaboraci??n de Reigeluth y Stein para adaptarla a la ense??anza de la F??sica en Educaci??n Secundaria. Se pretende, por una parte, elaborar una propuesta de modificaci??n partiendo de la necesidad de que el aprendizaje se adec??e tanto a la percepci??n de los fen??menos f??sicos como a la propia experiencia previa del sujeto y, por otra, contribuir a dotar al profesorado de esta asignatura de una metodolog??a eficaz tanto para la secuenciaci??n de los contenidos did??cticos como para la elaboraci??n de macrosecuencias instruccionales.. 341 sujetos de 14 grupos de cuarto de ESO de 5 centros de la provincia de Badajoz.. En primer lugar, se realiza una s??ntesis de la Teor??a de la Elaboraci??n de Reigeluth y Stein y se ofrecen las propuestas de modificaci??n de la teor??a junto con sus implicaciones did??cticas y las nuevas estrategias sugeridas como los mapas de experto tridimensional. En segundo lugar, se aplican estas propuestas al contexto curricular y se presentan las diferentes macrosecuencias elaborativas dise??adas para las diferentes ramas de la F??sica, adem??s de un CD-ROM con materiales did??cticos para posibilitar su utilizaci??n interactiva por parte del profesor y la ejemplificaci??n de una unidad did??ctica construida siguiendo la teor??a propuesta. En tercer lugar, se ofrece el dise??o y los resultados obtenidos en la valoraci??n experimental de una de las macrosecuencias dise??adas. Se proponen nuevas variables dependientes y se confeccionan diferentes instrumentos para evaluar la calidad de la instrucci??n en comparaci??n con secuencias tradicionales. Se dise???? una investigaci??n cuasiexperimental pretest-posttest con dos grupos experimentales (secuencia de instrucci??n basada en la Teor??a de la Elaboraci??n) y uno de control (secuencia instruccional seg??n la metodolog??a tradicional del profesor) en cada centro.. Test para el an??lisis de teor??as impl??citas, Test sobre comprensi??n de conceptos, Test de interpretaci??n de fen??menos y de aplicaci??n a situaciones cotidianas, diarios de profesor, mapas conceptuales, pruebas ad hoc tradicionales para valorar el rendimiento de los alumnos.. t de Student, programa inform??tico LXR-TEST.. La utilizaci??n en la ense??anza de la F??sica de secuencias instruccionales elaboradas siguiendo lo establecido en la teor??a de la elaboraci??n de Reigeluth y Stein mejora el aprendizaje a medio plazo de los alumnos en aproximadamente un punto sobre diez. Se se??ala que el ??nico aspecto por evaluar lo constituye la ense??anza de contenidos actitudinales que no se contemplan en la teor??a original de Reigeluth y que se abordar?? en pr??ximas investigaciones del grupo.

Earworms ("stuck song syndrome"): towards a natural history of intrusive thoughts

Two studies examine the experience of “earworms”, unwanted catchy tunes that repeat. Survey data show that the experience is widespread but earworms are not generally considered problematic, although those who consider music to be important to them report earworms as longer, and harder to control, than those who consider music as less important. The tunes which produce these experiences vary considerably between individuals but are always familiar to those who experience them. A diary study confirms these findings and also indicates that, although earworm recurrence is relatively uncommon and unlikely to persist for longer than 24 hours, the length of both the earworm and the earworm experience frequently exceed standard estimates of auditory memory capacity. Active attempts to block or eliminate the earworm are less successful than passive acceptance, consistent with Wegner’s (1994) theory of ironic mental control.

Song development in birds: the role of early experience and its potential effect on rehabilitation success

Environmental conditions during the early life stages of birds can have significant effects on the quality of sexual signals in adulthood, especially song, and these ultimately have consequences for breeding success and fitness. This has wide-ranging implications for the rehabilitation protocols undertaken in wildlife hospitals which aim to return captive-reared animals to their natural habitat. Here we review the current literature on bird song development and learning in order to determine the potential impact that the rearing of juvenile songbirds in captivity can have on rehabilitation success. We quantify the effects of reduced learning on song structure and relate this to the possible effects on an individual's ability to defend a territory or attract a mate. We show the importance of providing a conspecific auditory model for birds to learn from in the early stages post-fledging, either via live- or tape-tutoring and provide suggestions for tutoring regimes. We also highlight the historical focus on learning in a few model species that has left an information gap in our knowledge for most species reared at wildlife hospitals.

Storytelling in song: television music, narrative and allusion in 'The O.C.'

Television’s long-form storytelling has the potential to allow the rippling of music across episodes and seasons in interesting ways. In the integration of narrative, music and meaning found in The O.C. (Fox, FOX 2003-7), popular song’s allusive and referential qualities are drawn upon to particularly televisual ends. At times embracing its ‘disruptive’ presence, at others suturing popular music into narrative, at times doing both at once. With television studies largely lacking theories of music, this chapter draws on film music theory and close textual analysis to analyse some of the programme's music moments in detail. In particular it considers the series-spanning use of Jeff Buckley’s cover of ‘Hallelujah’ (and its subsequent oppressive presence across multiple televisual texts), the end of episode musical montage and the use of recurring song fragments as theme within single episodes. In doing so it highlights music's role in the fragmentation and flow of the television aesthetic and popular song’s structural presence in television narrative. Illustrating the multiplicity of popular song’s use in television, these moments demonstrate song’s ability to provide narrative commentary, yet also make particular use of what Ian Garwood describes as the ability of ‘a non-diegetic song to exceed the emotional range displayed by diegetic characters’ (2003:115), to ‘speak’ for characters or to their feelings, contributing to both teen TV’s melodramatic affect and narrative expression.