139有關(guān)音樂教育相關(guān)外文文獻(xiàn)翻譯成品在高級(jí)音樂教學(xué)中體現(xiàn)教師的職業(yè)認(rèn)同和專業(yè)知識(shí)

1、<p>　　此文檔是畢業(yè)設(shè)計(jì)外文翻譯成品（ 含英文原文+中文翻譯），無需調(diào)整復(fù)雜的格式！下載之后直接可用，方便快捷！本文價(jià)格不貴,也就幾十塊錢！一輩子也就一次的事！</p><p>　　外文標(biāo)題：Performance teachers’ identity and professional knowledge in advanced music teaching</p><p>

2、　　外文作者：Angeliki Triantafyllaki</p><p>　　文獻(xiàn)出處: Music Education Research,Vol. 12, No. 1, March 2010, 71-87 (如覺得年份太老，可改為近2年，畢竟很多畢業(yè)生都這樣做)</p><p>　　英文4302單詞，25012字符，中文6557漢字。</p><p>　　Pe

3、rformance teachers’ identity and professional knowledge in advanced music teaching</p><p>　　This paper explores the interrelationship between performance teachers’ professional identity and the various forms

4、 of professional knowledge they bring to their work. The data derive from an ethnographic case study conducted across a period of 12 weeks in each of two distinct music training institutions in Greece a University Music

5、Department and a Conservatoire. A total of 28 teachers participated in the study across institutions (Conservatoire, n 18; Music Department, n10) and within each ins</p><p>　　Keywords: advanced music teachin

6、g; teacher identity; professional knowledge; social constructionism</p><p>　　Introduction</p><p>　　Performance teachers as professionals</p><p>　　The question of what forms of knowl

7、edge performance teachers,1 as professionals, hold and express in their practices is important. It is only when practice includes the connotation of something transferable, teachable, transmittable or reproducible that w

8、e can meaningfully talk of teacher education or the professional development of teachers (van Manen 1999). Having a specialised body of knowledge represents the most frequently cited defining feature of the concept of pr

9、ofession (Hoyle and John </p><p>　　It is because professionals face complex and unpredictable situations that they need a specialized body of knowledge; if they are to apply that knowledge, it is argued that

10、 they need the autonomy to make their own judgments. Given that they have autonomy, it is essential that they act with responsibility collectively they need to develop appropriate professional values.</p><p>

11、;　　As this definition implies, closely related to knowledge is the concept of professional practice. In educational research, practice is generally defined as ‘the explicit and tacit dimensions of the rules, precepts, co

12、des, principles, guides, commitments, affects, and behaviours that one observes or recommends within a domain of action’(van Manen 1999, 65).</p><p>　　In performance studies in general and advanced music tea

13、ching in particular, the largely one-to-one nature of instruction and the absence of professional demands for a teaching qualification embedded in the practices of advanced music training institutions have contributed to

14、 the description of instrumental practices as taking place behind ‘closed doors’ or as being something of a ‘secret garden’ (Gaunt 2005;</p><p>　　Young, Burwell, and Pickup 2003). In relation to teachers’ kn

15、owledge, it is argued that ‘a(chǎn)pplied music teaching tends to rely largely on self-devised strategies, commonsense and tradition’ (Persson 1996, 25). Indeed, in a recent study exploring four music educators’ professional k

16、nowledge we discover that teachers’ experience is the main source for their knowledge as the formal education’s influence is very little (Jorquera Jaramillo 2008). Such tacit, intuitive knowledge is revealed also in wri&

17、lt;/p><p>　　Drawing on the above literature, perhaps the ways in which music teacher and teaching research and discourse has highlighted most emphatically the forms of professional knowledge teachers bring to t

18、heir work is: (1) when discussing professional knowledge as linked to ‘knowing one’s subject’ or instrumental music area of specialisation3 and (2) when discussing professional knowledge as informed by teachers’ practica

19、l knowledge or classroom experience. Termed ‘contextual’ (Hoyle and John 1995, 62)</p><p>　　Yet, while this literature highlights instrumental music teachers’ subject-specific knowledge occasionally elicitin

20、g teachers’ insider accounts and perspectives of their professional practice, it can be argued that it has afforded much less attention to the forms of knowledge teachers draw on that directly relate to who they are, i.e

21、. their professional identities.2 And with the recognition that, like many teacher-practitioners in other arts contexts, instrumental teachers may participate in pro</p><p>　　Professional identity, knowledge

22、 and practice in advanced music teaching</p><p>　　The importance of making explicit the links between identity, knowledge and practice is found more specifically in the assumption that who we think we are in

23、fluences what we do (Watson 2006, 510). In the teacher and teaching literature, Clandinin and Connelly(1995) talk about practice as ‘personal practical knowledge at work’ (7). For them, knowledge is ‘narratively embodied

24、 in how a person stands in the world’ (Clandinin and Connelly 1998, 157). This lens highlights the personal and experientia</p><p>　　In generalist teacher and teaching research, there is a growing literature

25、 that explores the self as socially situated, multiple and changing according to context and circumstance (Troman 2008; Warin et al. 2006). These views of teacher identity argue that identity can never be entirely intern

26、al as identity is necessarily relational, to do with recognition of sameness and difference between ourselves and others (Watson 2006). Further, as an ongoing process of identification, identity has also be</p>&l

27、t;p>　　this performative stance views identity as something teachers do in constructing appropriate versions of their selves in particular situations. MacLure (2001, 168) argues that:</p><p>　　Identity sho

28、uld not be seen as a stable entity something that people have but as something that they use to justify, explain and make sense of themselves in relation to other people, and to the context in which they operate.Moreover

29、, not all selves are equally valued or of equal importance to a person and some are more salient in particular times and have more power over others (Stryker and Burke 2000). Warin et al. (2006) indicate that in times of

30、 change, in particular, the importance of teache</p><p>　　Theorising music teacher identity construction</p><p>　　An exploration of the interrelationship between professional knowledge and ident

31、ity within particular institutional contexts situates the study within a social constructionist epistemology that foregrounds two central aspects of identity construction: the relationship between social structures and t

32、he self (Cerulo 1997) and the possibility of having as many identities as groups of people with whom one interacts, i.e. sub-identities (Beijaard, Meijer, and Verloop 2004). As much as these interrela</p><p>

33、;　　Social constructionist theories suggest that people have many identities, each of which is created in interaction with other people, rather than having a single, core identity. These identities can be contradictory; f

34、or example, a musician can be a ‘different person’ on stage than when in solitary rehearsals, and be different again when engaged in each of a number of non-musical activities.</p><p>　　The idea that people

35、occupy multiple positions and play out diverse roles has long been discussed in sociological literature. In advanced music training, if taking into account the significance of also being an active performer when engaged

36、in teaching, it would then be significant to understand how performance teachers think about, articulate and enact their various identities within the context of their professional practice. Yet, rather than conceptualis

37、e teachers’ multiple identities as alwa</p><p><b>　　The study</b></p><p><b>　　Context</b></p><p>　　The overall inquiry was situated in two advanced music tra

38、ining institutions in the Greek music education context a University Music Department and a Conservatoire. Greek conservatoires (not being higher-education institutions) accept students of all ages, usually without forma

39、l auditions, and offer instrumental qualifications in most Western classical, jazz and traditional Greek instruments. The part-time nature of conservatoire studies encourages students to remain in these institutions for

40、as</p><p>　　Research method</p><p>　　An ethnographic case study method (Stenhouse 1988) was followed that encouraged accurate description and subjective, yet disciplined interpretation, a focus

41、on culturally different perceptions of phenomena and empathic representation of local settings (Stake 2000, 444). More specifically, an ethnographic approach enabled an understanding of teachers’ perspectives and practic

42、es from the inside, using the backdrop of the professional values of their institutional and professional communities to en</p><p>　　Role of the researcher</p><p>　　My own background as a (conse

43、rvatoire) trained musical performer allowed an opportunity to pursue ‘insider research’ and was useful in understanding the repertoires teachers used in their daily practice. In this study, I situated myself somewhere be

44、tween an ‘observer-as-participant’ (that involves brief, formal and openly classified as observation contact with informants) and a ‘participant-as- observer’ (that has the researcher participating as well as observing b

45、y developing relationships with</p><p>　　setting I adopted a more active and participatory role. Furthermore, due to the multi-site nature of the research that involved a keen awareness of being within the l

46、andscape, a re-negotiation of the researcher’s identity took place as the landscape changed across sites (Marcus 1995, 112). The practice of my constant‘positioning’ in different ‘fields’ music performance and education

47、was necessary in the current project due to the different ways in which participating teachers conceptualised my o</p><p>　　Valued identities and valued knowledge</p><p>　　In both databases, it

48、was found that the forms of professional knowledge teachers drew on differed across institutions in relation to the construction of the more valued identity in each site as either a performer or a teacher. A dominant fin

49、ding in the Music Department’s database was an emphasis on establishing an institutional ‘position’ within Greek instrumental music education. This was achieved through the emphasis placed on the artistic individuality o

50、f its performance teachers, on achievi</p><p>　　Conclusions and implications</p><p>　　A challenge facing Greek music training institutions would be to continue to develop as ‘centres of excellen

51、ce’ while at the same time ‘respond and develop within contexts that embrace both tradition and innovation’ (Gregory 2005, 21). A pre-condition for this to happen is providing performance teachers with wider definitions

52、of roles, responsibilities, valued knowledge and goals. Also, this should include the spaces, time and resources to explore their professional practice both on an individua</p><p>　　On an institutional level

53、, the creative tensions and interrelationships between teacher and performer identities in the participating institutions indicate that what may be required is for there to be an acceptance of permeable boundaries betwee

54、n instrumental music teachers’ established institutional roles as teachers and their musical interests (see also Jeffery 2005). Given the right conditions of participating in educational communities and crossing the boun

55、daries into artistic communities, p</p><p>　　On the level of the individual teacher, Froehlich (2007a) invites us to consider whether the existing body of knowledge in advanced music teaching offers alternat

56、ives to routinised instructional practices and, if not, how such a knowledge base might be produced. Re-considering the interrelationship between teachers’ identity and their professional knowledge in the context of part

57、icular institutional values and expectations could be a way forward. Performance teachers working in advanced music tr</p><p>　　Celebrating the diversity and richness of musicians’ multiple roles and moving

58、beyond attitudinal and hierarchical barriers in instrumental music education are certainly a way forward (Bennett 2008). Greater interaction between teacher and performer professional identities, between the values promi

59、nent in education and those adhered to in the arts could require that a new type of professionalism is developed at the interface where teaching and performing practices meet (Jeffery 2005). This form </p><p&g

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