Mokytojo tipas - bendradarbiavimo muzikos pamokoje prielaida

LTStraipsnyje remiantis empirinio tyrimo duomenų analize nagrinėjami muzikos mokytojų tipai ir jų Įtaka bendradarbiavimui muzikos pamokoje. Klasterinės analizės metodu atlikta mokytojų tipologizacija požiūrio į savo profesiją aspektu. Nustatyta, kad muzikos mokytojai pasižymi skirtingomis profesinėmis nuostatomis (išskirti trys mokytojų tipai). Tyrimas patvirtino, kad mokytojo tipas turi įtakos bendradarbiavimo kokybei muzikos pamokoje. [Iš leidinio]Reikšminiai žodžiai: Muzikos mokytojų tipažai; Pedagoginis bendradarbiavimas; Muzikavimas; Scenos baimė; Teachers of music; Pedagogical cooperation; Music; Stage fear.

ENLinks between general professional attitudes held by teachers of music and the most frequently used methods of teaching to activate students at the listening to music stage are analysed in the article. Relying on the respondents' answers to the survey questions and using factor analysis the model of general professional attitudes can be formulated: professional enthusiasm; professional indifference; professional satisfaction; teacher center orientation. Teachers of music were typologised by the expression of professional attitudes. 3 groups of teachers were distinguished: active, demanding, dedicated, keeping up to the program; trying to please students, experimenting and that is why not keeping up to the program; disappointed, dissatisfied, indifferent, neglecting their profession. Professional attitudes held by teachers of music predetermine how they assess means used to stimulate students at the listening to music stage. Educators with various attitudes differently assess the effect of teaching methods used at this stage. The analysis of the research data revealed that teachers with favourable professional attitudes choose attractive and acceptable for pupils means of teaching in their lessons. Such teachers are more self-confident as music performers than the teachers from other groups. Teachers with unfavorable professional attitudes do not confide in their capabilities as music performers, feel tension in lessons. They are not satisfied with the atmosphere in class. In addition, avoiding to receive critical observations from pupils, in their work they seldom use not only alive playing, but other means of teaching activating the musical education process as well. [From the publication]