- Republic of Lithuania
- +370 620 63985
- Vilnius University, Faculty of Philosophy, Institute of Psychology, Faculty Memberadd
- I received my BM and MM in music education at DePaul University in Chicago, and my Ph.D. in Curriculum and Instructio... moreI received my BM and MM in music education at DePaul University in Chicago, and my Ph.D. in Curriculum and Instruction at the University of Maryland College Park. Since 2004 I've been living and working in Lithuania, where my primary interest is pre-service and in-service teacher education.edit
Stojančiųjų į pedagogines specialybes motyvacijos tapti pedagogu vertinimas
Research Interests:
Anotacija. Pedagogai, tėvai, švietimu besirūpinantys politikai, žiniasklaida ir kitos suin-teresuotos visuomenės grupės vis dažniau kreipia dėmesį į Lietuvos mokyklose naudojamas priemones. Akivaizdu, kad sprendimai apie vadovėlių turinį,... more
Anotacija. Pedagogai, tėvai, švietimu besirūpinantys politikai, žiniasklaida ir kitos suin-teresuotos visuomenės grupės vis dažniau kreipia dėmesį į Lietuvos mokyklose naudojamas priemones. Akivaizdu, kad sprendimai apie vadovėlių turinį, pobūdį ir funkcijas priimami ne-pakankamai ištyrus jų funkcionavimą ugdymo procese. Šiame straipsnyje pateikiamos užsienio šalių mokyklinių vadovėlių tyrimų tendencijos, aptartos per 2014 m. gruodžio 4 d. vykusios konferencijos " Mokymo priemonės XXI amžiuje: kūrimas ir taikymas " plenarinį posėdį Lie-tuvos edukologijos universitete. Apžvelgus Lietuvoje atliktus negausius tyrimus dėl mokyklose naudojamų vadovėlių, pateikiami užsienio tyrimų aspektai, siūlantys galimų naujų krypčių šios srities tyrimams.
Research Interests:
Pridėtinės vertės įvertinimas kaip mokytojo rezultatų gerinimo priemonė: Kritinė dabartinių tendencijų apžvalga.
Pedagogika 97 (2010), p. 99-106.
Pedagogika 97 (2010), p. 99-106.
Research Interests:
An examination of how competition affects quality in education
Research Interests:
The intent of this study was to examine how musical meaning is constructed using figurative language (i.e., tropes such as metaphor) in the music classroom. The researcher observed three sixth-grade general music classes taught by one... more
The intent of this study was to examine how musical meaning is constructed using figurative language (i.e., tropes such as metaphor) in the music classroom. The researcher observed three sixth-grade general music classes taught by one teacher in a private school for girls. Audio recordings of nineteen class sessions, including individual discourse of the teacher and six students, were transcribed for analysis.
Theories of cognitive linguistics were applied to the data, with the theory of embodied schema guiding the analysis. Five schemata involving figurative language emerged: containment and entity, personification, verticality, regularity vs. irregularity, and location, space and motion. An additional emergent category of timbre articulations was presented.
Analysis showed the ubiquitous use of the container metaphor with its in-out spatial orientation for musical events, elements, and even for persons. There were personifications of music, perceived as an “agent” who implies, speaks, and has needs. Classroom discourse frequently involved polysemous words such as up or down, high or low. Students offered value judgments of musical events based on their notions of regularity or irregularity. To a surprising extent they rejected dissonance and non-Western tunings which they perceived to be irregular rather than different. There were references to music as an external force that causes movement, occupies space, and has a clear location. Students lacking the professional vocabulary to describe timbre used similes, analogies, onomatopoeia, and synthetic metaphors.
Several pedagogical implications were identified. The ambiguous meanings of polysemous words offer opportunities to explore cognitive relationships that exist between those different meanings. Teachers can bring musical meaning to consonance and dissonance by verbally bridging the chasm between disparate understandings of those concepts. Student strategies dealing with timbre descriptions point to the efficacy of developing metaphoric capacities in students. Teaching methods involving kinesthetic experience support the notion of embodied cognitive schemata, but further discussion is needed concerning the relationship among sensory experience, mental representation, and linguistic expression in the construction of musical meaning. Data analysis shows that figurative language is essential in constructing musical meaning, even as it challenges established educational thinking and practice.
Theories of cognitive linguistics were applied to the data, with the theory of embodied schema guiding the analysis. Five schemata involving figurative language emerged: containment and entity, personification, verticality, regularity vs. irregularity, and location, space and motion. An additional emergent category of timbre articulations was presented.
Analysis showed the ubiquitous use of the container metaphor with its in-out spatial orientation for musical events, elements, and even for persons. There were personifications of music, perceived as an “agent” who implies, speaks, and has needs. Classroom discourse frequently involved polysemous words such as up or down, high or low. Students offered value judgments of musical events based on their notions of regularity or irregularity. To a surprising extent they rejected dissonance and non-Western tunings which they perceived to be irregular rather than different. There were references to music as an external force that causes movement, occupies space, and has a clear location. Students lacking the professional vocabulary to describe timbre used similes, analogies, onomatopoeia, and synthetic metaphors.
Several pedagogical implications were identified. The ambiguous meanings of polysemous words offer opportunities to explore cognitive relationships that exist between those different meanings. Teachers can bring musical meaning to consonance and dissonance by verbally bridging the chasm between disparate understandings of those concepts. Student strategies dealing with timbre descriptions point to the efficacy of developing metaphoric capacities in students. Teaching methods involving kinesthetic experience support the notion of embodied cognitive schemata, but further discussion is needed concerning the relationship among sensory experience, mental representation, and linguistic expression in the construction of musical meaning. Data analysis shows that figurative language is essential in constructing musical meaning, even as it challenges established educational thinking and practice.
Research Interests:
From: Cox, G. & Stevens, R. (2017). The Origins and Foundations of Music Education: International Perspectives. New York: Bloomsbury
Chapter 6: Lithuania: The continuous assertion of national identity (p. 82-98)
Chapter 6: Lithuania: The continuous assertion of national identity (p. 82-98)
Research Interests:
Mokiniai prastai skaito? Padainuokime, pamuzikuokime ir pašokime su jais!
Žvirblių takas, 2006, Nr. 5, p. 18-21
Žvirblių takas, 2006, Nr. 5, p. 18-21
Research Interests:
Examination of field experiences in music education. How do students and mentors respond to their preparation to teach inclusively?