Open Journals at Memorial University
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Advanced Counselling: Integrating Theory with the Self
Get PDFStudent counsellors must develop introspective awareness over the course of their programs. This may be a difficult task for some, as it requires patience, self-awareness, and the motivation to develop the skill more fully. As a skill, introspection is necessary to uncover bias, strengths, and the motivations of counsellors in order to better assist their future clients and communities. Psychology further acknowledges the necessity of this skill, as many psychologists and psychotherapists in practice today emphasize the importance of moving toward integrative praxis—which is to say, using an integrative approach to counselling, while incorporating the self within such theoretical orientations. To incorporate the self, then, refers to building on our self-awareness and utilizing the strengths that we identify, or uncover, within our self-awareness practices. As a counselling student myself, the need of self-awareness must be demonstrated and reflected on in order to further my training. This paper examines the nature of multitheoretical integrative models, and more specifically, examines the Multitheoretical Psychotherapy model, in relation to my own epistemological underpinnings. In this paper, then, I argue that while the Multitheoretical Psychotherapy model is a useful tool in addressing the varied needs of clients, the model must be complemented with other ways of conducting knowledge in order to more effectively evoke change in client narratives. I demonstrate this through a thorough reflection of my own epistemology as feminist, queer, postmodern, and critical in nature. In doing so, I integrate the Multitheoretical Psychotherapy model’s concepts of Systemic-Constructivist and Multicultural-Feminist, and argue for the complementary nature of my background in integration of the two. Ultimately, I hope to underline that counsellor strengths can provide a richness that may not otherwise be present in many mainstream theories of psychology
Supporting Blended Learning Teachers
Get PDFI began using blended learning four years ago as a secondary school teacher in Ontario. I started small, using one feature at a time, but quickly became hooked. The more I learned how to do, the more I wanted to explore and try new things. This learning and growth gave my teaching a renewed energy because I was excited about new things that I was now able to do, and for the first time in my adult life, I was excited about my own learning. My love of blended learning and new-found interest in technology soon led to seeking other ways to integrate technology into my classroom. At this point, there was no turning back. Last year I moved out of the classroom and into a different position, as an Instructional Coach. My job is to support teachers at my high school in adopting new practices and trying new approaches, so much of what I do is related to technology. Both as a classroom teacher and in my new role I’ve seen colleagues begin a semester by setting up a course in our Learning Management System (LMS), but for a variety of reasons, some of them don’t end up using blended learning as the semester progresses. Why does this initial interest not always mean that blended learning is adopted
Tant que durera l’automne”: Text-music relationships in Correspondances by Henri Dutilleux
Get PDFThe reputation of French composer Henri Dutilleux (1916-2013) rests primarily on his orchestral works, produced regularly throughout his mature career. By contrast, his output of vocal works reveals an interesting gap: having won the Prix de Rome in 1938 for his student cantata, L’anneau du Roi and composing small vocal works at intervals until approximately 1967, he would produce no more vocal music from this time until 1997. After a gap of 30 years, his last decade-and-a-half of compositional activity contained a disproportionate amount of vocal writing, beginning modestly with the incorporation of children’s voices in the primarily orchestral work, The Shadows of Time (1997), and continuing with two substantial works for soprano and orchestra: Correspondances (2003) and Le temps l’horloge (2007-2009).This study looks at elements of voice-leading, harmony, motive and musical structure in Correspondances, with specific concern for how these inform and are informed by the texts. For example, the first movement begins with a chord built out of a cycle of perfect fifths/fourths and comprising a 1#-diatonic collection, perhaps representing the gong of the title. The vocal line isinitially limited to the pitches D, E and F#, present in the double bass harmonics of the first chord. But as the text suggests the possibility of a sound which is not measurable by the ear, so the melodic line stretches, at the word ‘mesurable,’ to G#, transcending the initial harmonic context and establishing a new one: the whole-tone collection implied by the first four vocal pitch-classes will control the remainder of the vocal line in this movement and determine many elements of the harmonic progression, including extensions and transpositions of the initial interval-cycle. Similar processes will be explored in the other movements, as well as textual and musical connections among movements, with the goal of exposing elements of style and technique in the late works of Dutilleux and musical meanings within this important late work
Norwegian Stev Text and Tune Relationships: Millennium-old Vocal Tradition as Accentual Poetry
Get PDFNorwegian stev are one-stanza songs sung throughout centuries especially in the regions of Setesdal and Telemark. The tradition is now thought to connect over a millennium in an unbroken line with Old Norse poetry. Texts abound while melodies are few: 20 000 nystev use 43 melodies, and 5 000 gamalstev use 5 melodies. The main focus of a stev performer, a kvedar, is variation of text not melody. The stev stanza has four lines, with four accents per line in nystev, whereas gamalstev have a 4-3-4-3 accent-pattern (“ballad meter”). The four accents per line are grouped in two pairs of accents. Each accent pair, a “dipod” or a “two-pulse”,emphasizes two “important” words. Other aspects of the dipod are shown in analysis of: 1) metrics (poetic accents and phrasing), 2) melody (paired tonal centers), 3) duration (short-long duration after 1st and 2nd accent in the dipod). Norwegian stev as sung-recited, ”kveding”, have an irregular rhythm, yet present a predictable accent pattern. Stev can be regarded as accentual poetry with a complex meter, closer to free verse than to rigid meters. The terms“strong” and “weak” beats normally used in music and poetry do not do justice to the rhythmic force found in stev. The basic unit in stev has two strong accents, which gives a tight and clearly defined structure, yet allows performance flexibility. Flexibility may be the key to the survival of a tradition. Dipodic vocal traditions are found in early cultures such as visuorð in Old Norse poetry, as well as musicals and popular music today such as “Summertime” or “September Song”. The flexibility of expression in Norwegian stev is readily demonstrated through performance
Clinical exposure to RCPSC Acute Care "problem list" in a small, tertiary care pediatric hospital
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Virtual Reality in the Language Learning Classroom
Get PDFAs a Language Teacher in an English for Academic Purposes (EAP) program, one of the most prominent issues in my classroom is distraction from electronic devices, namely mobile smartphones. Typically, this is not just an issue in the EAP classroom, but rather it represents a larger issue within the post-secondary system (Burston, 2014), and the philosophy of how to deal with this distraction varies from instructor to instructor. From the outset of my teaching career five years ago, I have seen numerous failed attempts to keep devices out of student hands, instructors arriving at the frustrated concession of the current status quo: “as long as it doesn’t distract anyone else.
Removing Barriers from Choral Singing
Get PDFChoral singing is a collaborative activity which educates singers so as to make them more competitive in today's world.People often judge or assess a choir by the way they sing, based on whether they like their voice or not. Rarely do they focus on the many other ways a member can contribute to the choir, as a whole.In this regard, Kodály said that “Music is for everyone”, and during primary education music classes are usually focused on singing popular and traditional repertoires, since these songs are the ones closest to the singers. In this way, teachers ensure that music reaches all children