The emotional faces of student agency

2021 ◽  
Vol 77 ◽  
pp. 101352
Author(s):  
Consuelo Mameli ◽  
Valentina Grazia ◽  
Luisa Molinari
Keyword(s):  
Student Agency ◽  
Emotional Faces

Memory for Emotional Faces: Are Angry Faces More Memorable Than Happy Faces?

2013 ◽  
Author(s):  
Nathan Herdener ◽  
Alison Burros ◽  
Mei-Ching Lien ◽  
Eric Ruthruff ◽  
Philip A. Allen
Keyword(s):  
Emotional Faces

Age Differences in Attention to Emotional Faces: An ERP Assessment

2007 ◽  
Author(s):  
Fredda Blanchard-Fields ◽  
Andrew Mienaltowski ◽  
Paul Corballis
Keyword(s):  
Age Differences ◽  
Emotional Faces

Emotional Faces Processing Takes Precedence of Inhibition of Return: ERPs Study

2013 ◽  
Vol 45 (1) ◽  
pp. 1-10 ◽  
Author(s):  
Jingxin WANG ◽  
Liping JIA ◽  
Xuejun BAI ◽  
Yuejia LUO
Keyword(s):  
Inhibition Of Return ◽  
Emotional Faces

Emotional Faces Modulate Implicit Perception of Shorter SOA in Auditory Modality

2011 ◽  
Vol 38 (2) ◽  
pp. 159-165
Author(s):  
Bin XUAN ◽  
Kai WANG ◽  
Da-Ren ZHANG
Keyword(s):  
Auditory Modality ◽  
Emotional Faces ◽  
Implicit Perception

Habits of Mind as a Framework for Assessment in Music Education

2019 ◽  
pp. 201-224
Author(s):  
Jillian Hogan ◽  
Ellen Winner
Keyword(s):  
Music Education ◽  
Arts Education ◽  
Habits Of Mind ◽  
Public High School ◽  
Student Agency ◽  
Thinking Dispositions ◽  
Music Classroom ◽  
Music Ensembles ◽  
School Music ◽  
High School Music

Music making requires many kinds of habits of mind—broad thinking dispositions potentially useful outside of the music room. Teaching for habits of mind is prevalent in both general and other areas of arts education. This chapter reports a preliminary analysis of the habits of mind that were systematically observed and thematically coded in twenty-four rehearsals of six public high school music ensembles: band, choir, and orchestra. Preliminary results reveal evidence of eight habits of mind being taught: engage and persist, evaluate, express, imagine, listen, notice, participate in community, and set goals and be prepared. However, two habits of mind that the researchers expected to find taught were not observed: appreciate ambiguity and use creativity. These two nonobserved habits are ones that arts advocates and theorists assume are central to arts education. The chapter discusses how authentic assessment of habits of mind in the music classroom may require novel methods, including the development of classroom environments that foster additional levels of student agency.

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