He faced a class reality that forced him to find solutions for the management of the group and its apprentissages.Le work environment did not allow for truly effective learning difficulties to learn enfants.Leurs their many failures and the image they think give others cause crises often violentes.Violence to self, to others, insults and blows …

Author: Cathy Tricoche More
1 result Results exchange of knowledge and knowledge of trees CLIS in: school level> Special Education The New Educator PEMF For teachers review instructional techniques> Evaluation> Knowledge Learning Techniques trees> knowledge exchange in November 2005 Roland taught for two years in a CLIS located in a school of 11 classes (kindergarten and cycle 2), in a town of 3000 inhabitants, the population is more and more social problems.

He faced a class reality that forced him to find solutions for the management of the group and its apprentissages.Le work environment did not allow for truly effective learning difficulties to learn enfants.Leurs their many failures and the image they think give others cause crises often violentes.Violence to self, to others, insults and blows … Author: Roland Lioger more

In: The Educator CEL For teachers review Arts> Music and sound pedagogical principles> term-creation> creativity in April 1973 Although we freinetistes, a fact often escapes us because of our or our nonformation distortion, namely: globality of human activity. We know evil perceive because our mind is left compartmentalize. Since some of us lean a little creativity, it might be good to see how our poor reception of childhood activity can be an obstacle to the normal course of things.

The following lines will seem very intellectual. But we must do unturned. And if it can also go through the carrier What decided me to write is the new contact with the instrumental sound that the movement had taken in Vence August 72. And, by chance, in one evening have found together all the elements of the grid in five holes. A word of explanation: It seems that everything that exists in nature, the man takes to make at least a fivefold use.

And to be able to perceive, we also have five windows. If one is satisfied with a single skylight, we are likely to behave in traditional. For then we will handle the class to come and produce something unique front opening where one is placed. If hate was five skylights …

But what are they? They are: – objective study – subjective study (and self-knowledge) – survival – Communication – Projection. Through them, look at the instrumental sound.

FIRST ELEMENT OF ACTIVITY: STUDY OBJECTIVE We have seen how, momentarily situating without any emotions, Beaugrand, Paris, Lignon, Claude … were totally connected to the objective study of the phenomenon. They were attentive to the quality of the material (wood, gutter iron, molten aluminum, steel), the use of tubes, slides, various beaters, to octave beats, the effects of vibraphone, measurement electronic frequencies. In short, it was a “scientific” study of the phenomenon.

Who occupies moreover, currently, many people in our land. Generally, this objective study of the phenomenon is balancing because it leaves the individual to himself. It can then rest him. It is entirely present at what he does. Only the senses are involved.

And his brain is at rest because there over the hands and ears that are put into action. This balance is perhaps one of the main justifications for the “Education of labor” – should be studied more thoroughly the issue – SECOND ELEMENT: STUDY A SUBJECTIVE Vence, we saw how adults and children were attracted, even fascinated, by metallophones and xylophones Beaugrand, I saw that had never had intercourse with music and which plunged in the sounds with a kind of ecstatic rapture.

Their gestures were unusual. They were different. The sound produced by the blades delights because it lasts, because it is rich in harmonics, because it gives a feeling of fullness. It can strike or caress the metallo phone with the bat.

So the “new instrumentalist” never tires of its power production; he discovers that he, too, musician; it can produce at will sounds, beautiful sounds that owe entirely born, “strong” sounds that he “goes into the skin, from the bottom, from the top .. *” He never tires to sounds caress as caressed by warm water from the shower after the chills of a cold winter day. This subjective study is that of sensuality, is the study of the deep pleasures can give the material considered.

It is also the access to art is a personal resonance and satisfying fragrance to the world. Under normal circumstances, the being is always looking for these pleasures. But it is also, in 2a, during the self-discovery of his own pleasures and personal fields by the awareness of the special pleasures of others.

Dufour: “What I like in your electronic organ, are the bassoon sound. “Delobbe:” Mine’s violin I hear in the treble. “Another (imaginary)” Ah! How curious, you you love the treble. Me, it’s the bass that I thrive. “Another imagination:” You like the bass? Ah! so far I was not paying attention. But since I love you, you have to go see.

For perhaps, too, can resonate with you. “Beaugrand conversed in metallophone with the child by supporting his high notes of rare bass. ITEM THREE: THE SURVIVAL Dufour said: “The lyre of Orpheus had only three strings.” Orpheus! It goes way back. In ancient times when people in religious status, and social status played music to propitiate the gods, that is to say, to survive.

And this is true of all languages ??used by magic, as can be seen even now on our planet. But now, many people have accessed, in addition to professional status. How many people survive by instrumental sound: musicians, instrument makers, music publishers, record stores, the bell ringers, etc. But in the evening of Vence, where was she survive? Well ! perhaps the survival of C.E.L.

For the survival of some workshops. And also in that of Claude who wins may, in part, his life, leaning on sound scrap metal. This question of survival can take many forms but it is hardly material that receives this job: just think of the stone, fire, iron, voice, tissues, animals, plants. .. FOURTH ELEMENT: tHE COMMUNICATION the Freinet School, you hit the gong so melodious. This instrumental sound then told us: “Come on, hurry up, come to the soup. “And the dog confirmed.

At the homework service
kitchen window, Clem taps with a hammer on the dustpan. The sound we said, “Wait, shut up a bit: Clem has something to tell you. “Six, seven in the morning, the sound of the bell said; “Get up, bunch of idlers.

Come on! at work. “In the evening, he said: You can pick up the tools. “And on Sunday:” Come on, sheep; the priest wanted to sing. “The twelve strokes say” It’s the middle of the day (or night), “In the past, the tocsin was saying,” Hey! guys, hurry, there is fire, come quickly. “Now at Orly” do mi so “it’s” The soft voice of the announcer will be heard. “And the” do mi sol “the door of the house said,” There’s someone! “It is clear that for many materials, the communication aspect is sometimes elusive. By cons, other materials are widely used for this purpose: the voice sound, color {green lights, red lights; the black of mourning), cement (arrows), track (writing), etc.

FIFTH ELEMENT: THE PROJECTION It is in Vence it became clear. I asked Dufour mention the use he made of a balafon (African xylophone) to accompany a nursery rhyme of it. But I felt it was not necessary to create the text before. I stood before the xylophone at the first sounds, I felt a barrier stood between comrades and me. Unless I am not felt in the center of a circle sound like my post muted when I write (and as does the helmet to him who is to speak to cap tape).

I said, “I have to give an example. For this, I will say anything that comes into my head. “I started with a trivial sentence:” I came in Vence. ” And I said, following an unexpected sentence that I did not wear me: “I have found my mother. “I was amazed because I had to refer to an event that occurred seven years ago.

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