Guiding Reflective Practice: An Auditing Framework to Assess Teaching Philosophy and Style

Titus, Philip A.; Gremler, Dwayne D.

doi:10.1177/0273475309360161

Cited by 16 publications

(7 citation statements)

References 13 publications

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“…A range of benefits flow from SoTL to faculty, students and the institution: For instance, it leads to more reflective and informed teaching practice and renews faculty's enthusiasm for teaching; student learning is enhanced through development of innovative teaching methods and attention to outcomes; the institution's reputation is strengthened ( Hubball and Clarke, 2010;Iowa State University, 2001) . SoTL is also consistent with a range of pedagogical concepts raised in recent marketing education literature, such as master teaching ( Smart et al, 2003 ), the principle of servant teachers as stewards of the teaching and learning environment ( Chonko, 2007 ), metacognition and transfer ( Ramocki, 2007 ), pedagogical competence ( Madhavaram and Laverie, 2010 ) and conscientious reflective practice to grow as an educator ( Titus and Gremler, 2010 ).…”

Section: What Is Sotl?supporting

confidence: 81%

A Scholarship Approach to Embedding Creativity and Sustainability in Marketing Principles Curriculum

Heidt

2018

Australasian Marketing Journal

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In business, creativity and innovation can be the difference between success and failure, especially in a world challenged by sustainability issues. Yet creativity and sustainability are rarely discussed with students and seldom appear as part of the formal material in tertiary marketing studies, certainly at the introductory level. This article reports on a curriculum initiative which sought to address this gap in the context of a first-year undergraduate Marketing Principles, multi-cohort course. To help warrant the rigour of the initiative, drawing on the literature, a six-step scholarship of teaching and learning (SoTL) theoretical framework was used to describe the initiative, and to determine its effectiveness. The investigation was informed by a multi-method study comprising descriptive analysis of 323 students’ performance scores, content analysis of 59 student groups’ preliminary marketing plans, descriptive analysis of 113 students’ attitudes (survey), and content analysis of 35 students’ post-assessment reflections. The results indicate that sustainability-oriented creativity can be successfully taught and assessed in large, first-year marketing cohorts, provided the curriculum is scaffolded and the teaching team is ‘on-board’. Further, viewing teaching and learning initiatives through the SOTL lens is a valuable way for scholarly academics to enhance their intellectual contributions to their schools, to improve student learning experience and outcomes and to help the business school faculty, as well as the marketing discipline.

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Section: What Is Sotl?supporting

confidence: 81%

A Scholarship Approach to Embedding Creativity and Sustainability in Marketing Principles Curriculum

Heidt

2018

Australasian Marketing Journal

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“…With music teaching occurring in schools, the private instrumental teaching studio, and in a range of community settings, but bearing in mind visual impairment is a relatively low incidence Special Educational Need, all this also raises questions about the training and awareness needed by, say, music degree students who, as part of a "portfolio career" (Bennett, 2008), may well teach; not to mention those who are training to become specialist music teachers. Perhaps awareness can be raised in "reflective practice" exercises by in-service and future music educators (on "reflective practice" read: Schön, 1983Schön, , 1987Loughran, 2002;Titus & Gremler, 2010;Burwell, 2012). In relation not only to visual impairment but "disability", or "different abilities" in general, this could take music undergraduates in conservatoires and university music departments along a critical chain from the "insider" views of the differently-abled to the autonomous development of practice; that is, teaching of which they have very deep understanding and considerable ownership.…”

Section: Concluding Thoughtsmentioning

confidence: 99%

“…Yet we should bear in mind, here, that visual impairment has a relatively low incidence. Perhaps awareness can be raised in "reflective practice" exercises by inservice and future music educators (on "reflective practice" read: Burwell, 2012;Loughran, 2002;Schön, 1983Schön, , 1987Titus & Gremler, 2010). In relation not only to visual impairment but "disability", or "different abilities" in general, this could take music undergraduates in conservatoires and university music departments along a critical chain from the "insider" views of the differently-abled to the autonomous development of practice; that is, teaching of which they have very deep understanding and considerable ownership.…”

Section: Concluding Thoughtsmentioning

confidence: 99%

Perceptions of schooling, pedagogy and notation in the lives of visually-impaired musicians

Baker¹,

Green²

2016

Research Studies in Music Education

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This article discusses findings on schooling, pedagogy and notation in the life-experiences of amateur and professional visually-impaired musicians; and the professional experiences of sighted music teachers who work with visually-impaired learners. The study formed part of a broader UK Arts and Humanities Research Council funded project, officially entitled "Visually-impaired musicians' lives: Trajectories of musical practice, participation and learning" (Grant ref. AH/K003291/1), but which came to be known as "Visually-Impaired Musicians' Lives" (VIML) (see http://vimusicians.ioe.ac.uk). The project was led at the UCL Institute of Education, London, UK and supported by the Royal Academy of Music, London, and Royal National Institute of Blind People (RNIB) UK, starting in 2013 and concluding in 2015. It sourced "insider" perspectives from 219 adult blind and partially-sighted musicians, and 6 sighted music teachers, through life history interviews, in tandem with an international questionnaire, which collected quantitative and qualitative data. Through articulating a range of "insider" voices, this paper examines some issues, as construed by respondents, around educational equality and inclusion in music for visually-impaired children and adults in relation to three main areas: the provision of mainstream schooling versus special schools; pedagogy, including the preparedness of teachers to respond to the needs of visually-impaired learners; and the educational role of notation, focussing particularly on Braille as well as other print media. The investigation found multifaceted perspectives on the merits of visually-impaired children being educated in either mainstream or special educational contexts. These related to matters such as access to specific learning opportunities, a lack of understanding of visually-impaired musicians' learning processes at times (including accessible technologies and score media) in mainstream contexts, and concerns about the knowledge of music educators in relation to visual impairment. Regarding pedagogy, there were challenges raised, but also helpful areas for sighted music educators to consider, such as differentiation by sight condition and approach, and the 2 varying roles of gesture, language, light, and touch. There was a diversity of musical participation in visually-impaired adult learners, along with some surprising barriers as well as opportunities linked to different genres and musical contexts, particularly in relation to various print media, and sight reading. INTRODUCTION This article reports findings on schooling, pedagogy and notation from a broader UK Arts and Humanities Research Council funded study. The project was officially entitled "Visuallyimpaired musicians' lives: Trajectories of musical practice, participation and learning" (Grant ref. AH/K003291/1), but came to be known as "Visually-Impaired Musicians' Lives" (VIML) (see http://vimusicians.ioe.ac.uk). It was led at the UCL Institute of Education, London, UK, starting in 2013 and concluding in 2015. It had...

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“…En contraste, Schaefer y Zygmont (2003) concluyeron que los estilos más tradicionales, centrados en el profesor, no favorecen un buen clima. No obstante, se debe tomar en cuenta que no existe un estilo de enseñanza puro, sino combinaciones, o un estilo predominante que se combinan con otros estilos secundarios (Titus y Gremler, 2010).…”

Section: Creencias Docentes Estilo De Enseñanza Y Manejo De La Disciplinaunclassified

Clima de aula en secundaria: Un análisis entre las interacciones de estudiantes y docentes

Villanueva

2020

rpie

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Esta investigación tuvo como objetivo caracterizar el clima del aula y explorar los aspectos que influyen en este a partir de cuatro casos de estudios, conformados por dos docentes y dos aulas de tercero de secundaria de una institución educativa pública. Para el estudio, se realizaron entrevistas individuales a las docentes, entrevistas grupales a los estudiantes y observaciones de aula. Los resultados muestran que el clima en cada caso fue diferente, dado que en cada aula las distintas características de los estudiantes y las docentes interactuaron de manera diferenciada. En la clase de la docente con estilo tradicional y autoritario, se generó un clima desfavorable para el aprendizaje. En la clase de la docente con características del estilo innovador, cognoscitivo y autoritativo, se generó un clima favorable con los estudiantes de mayor autorregulación y un clima menos favorable con los estudiantes de menor autorregulación. Se concluye que las interacciones que ocurren en el aula con más frecuencia están relacionadas al estilo de enseñanza y a la participación de los estudiantes, al manejo de la disciplina y del comportamiento de los estudiantes, y que estas interacciones generan emociones positivas o negativas que permiten caracterizar el clima de aula. Basándose en ello, es importante considerar el estilo de enseñanza y el estilo de manejo de disciplina en la formación inicial docente. Asimismo, se recomienda abrir espacios para la reflexión y la toma de consciencia de los docentes sobre su propia práctica, así como sobre la influencia de esta en los logros de aprendizaje, desarrollo psicosocial y la satisfacción de sus estudiantes.

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Guiding Reflective Practice: An Auditing Framework to Assess Teaching Philosophy and Style

Cited by 16 publications

References 13 publications

A Scholarship Approach to Embedding Creativity and Sustainability in Marketing Principles Curriculum

A Scholarship Approach to Embedding Creativity and Sustainability in Marketing Principles Curriculum

Perceptions of schooling, pedagogy and notation in the lives of visually-impaired musicians

Clima de aula en secundaria: Un análisis entre las interacciones de estudiantes y docentes

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