When There isn't a Right Answer: Interpretation and reasoning, key skills for twenty‐first century geoscience

The vibrant dynamics of the educational realm are interfused by polylingual and polycultural flows and it is important to define and model new competencies in the opening decades of the third millennium. This article offers a survey of key competencies united by the concept of ”new literacy”, or a form of post literacy that is designed to help students succeed in the information culture and education sphere of the twenty-first century. These include training in: educational and cognitive competence, laying the groundwork for further education with the help of foreign languages; existential competence, which content are Soft Skills vs. Hard Skills; competence of social interaction; intercultural competence; information ethics, modeling a certain image of behavior in online communication; and information literacy. Media education is viewed as a tool for the formation of general cultural competence. This article accentuates the key function of foreign language in modeling the key skills of the twenty-first century, where the language is positioned as a mandate into other cultures and other pictures of life. Teaching foreign languages draws on the competence-based approach, emphasizing digital citizenship,and increasing the share of autonomous learning activities in the paradigm of mobility, interactivity and edutainment. Keywords: information culture and education, multimodal media and information literacy, teacher’s mission, transdisciplinarity

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Introduction

10.1093/oxfordhb/9780190219505.013.20 ◽

2018 ◽

Author(s):

Brydie-Leigh Bartleet ◽

Lee Higgins

Keyword(s):

Social Change ◽

First Century ◽

Community Music ◽

Key Skills ◽

History Of ◽

Twenty First Century ◽

Historical Developments

A documented history of almost fifty years and a growing internationalization and interculturalisation of community music invites a revisiting of some of the field’s approaches, ideologies, and contexts. This chapter critically reflects on historical developments and current realities of how the field is conceptualized around the globe. It also touches on the role of community music facilitators in bringing about social change and outlines some of the key skills, working methods, values and ethics that are commonly associated with work in this field. It provides a snapshot of what has become a truly global phenomenon, and critically discusses the recurring question of whether community music needs a new defitinion or (re)definition in the twenty-first century.

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