Kaliopi Stavropoulos - Academia.edu (original) (raw)
Papers by Kaliopi Stavropoulos
This paper will justify and outline a systematic approach for the design of Fluid Pedagogy Negoti... more This paper will justify and outline a systematic approach for the design of Fluid Pedagogy Negotiated Curriculum (F.P.N.C.). F.P.N.C is structured to support the development of creative potential in secondary school music students, thus attaining master student outcomes at various stages of development. Fluid Pedagogy is a responsive student centred organic teaching method I have designed to nurture creative potential with intrinsically motivated experiences that create master student outcomes. This paper establishes that the process of experiencing such student outcomes is essential and informs unique Negotiated Curriculum from students' formative self-evaluations and teacher formative assessments. The paper will align relative curriculum models, ethical philosophies, pedagogical theories, instructional methods, formative self-evaluation and intervention with Fluid Pedagogy Negotiated Curriculum. A critical view of the definition of 'Master Student Outcomes' is explored and contextualised for the purpose of this model as well as what Master Students look like at various stages of development through Secondary School. The tension from navigating between fluid student centric organic scaffolding, and measurable summation of Master Student Outcomes, that align with mandatory curriculum, are addressed with formative teacher intervention and formative student self-evaluation.
A philosophy to stimulate creativity in music education and bridge intrinsic and extrinsic motiva... more A philosophy to stimulate creativity in music education and bridge intrinsic and extrinsic motivation in senior secondary schools (to inform an 'Australian Collective Arts Curriculum' [ACAC]) Abstract This paper aims to discuss a framework and paradigm for what Fluid Pedagogy might look like in a classroom and how this method could stimulate and nurture personal creativity. Building from previous research and development of Fluid Pedagogy (Stavropoulos, 2015), I will report on the philosophical and pedagogical influences that contextualise the creative principles underlining this theory. I will then explore three simulated case studies of students in a vertical learning environment from Years 10, 11 and 12 practicing Fluid Pedagogy to study three primary units of music (Musicianship, Aural and Theory). Finally, I will briefly envision an informed Australian Collective Arts Curriculum [ACAC] by elaborating how a Professional Learning Community (PLC) model designed to develop and implement Fluid Pedagogy (Stavropoulos, 2016) could extend and inform this curriculum essentially from the summation of student creative outcomes.
Equal Temperament is a tuning system that divides a pitch of a note by two to establish its octa... more Equal Temperament is a tuning system that divides a pitch of a note by two to establish its octave, or the nearest same relative pitch distance; and then equally partitions the values of the notes within the octave by a factor. The most common factor used in Equal Temperament [ET] is twelve thus giving us the infamous western twelve equal semitones within an octave. By halving or dividing a fundamental tone by two, the vibrations or cycles creating the tone are an exact 2:1 ratio, the first natural harmonic overtone inherent within a fundamental tone. Aside from establishing the first octave, the ET system disregards all other natural overtones to enable equal partitioning for attaining consistent octaves. ET is the most popular of many tempered tuning development from the Pythagorean system of tuning based on the ratios of 3 (fifth intervals strongly apparent within natural overtones), discovered about 2500BC though documented by Pythagoras of Samos in the sixth century BC. The different methods in attaining a twelve-note octave are both audible and practical where ET compromises harmonic richness and sustain occurring from natural overtones for technical versatility and broader functional purposes. To assist in comprehending the contradiction between ET and the Pythagorean tuning systems, we should examine the natural overtones within a monophonic fundamental tone and the Pythagorean method of attaining a twelve-note octave.
This paper proposes a model to develop Professional Learning Community with a network of regional... more This paper proposes a model to develop Professional Learning Community with a network of regional schools to develop and implement Fluid Pedagogy. Designed to address the declining numbers of students enrolled in co-curricular music studies in senior high school by bridging intrinsic and extrinsic motivation in music education.
![Research paper thumbnail of Personal Creativity & Fluid Pedagogy: Can an organic facilitation of ‘Fluid Pedagogy’ encourage creative practices and develop creative potential in the classroom to inform an authentic ‘Australian Collective Arts Curriculum’ [ACAC]?](https://attachments.academia-assets.com/38759094/thumbnails/1.jpg)
](The introduction of the Australian Curriculum has augmented a series of implications for the cult... more The introduction of the Australian Curriculum has augmented a series of implications for the cultivation of personal creativity within secondary music teacher pedagogy in their local environment. In particular, rigidity is ostensible in fostering creative potential from student outcomes within a national standards framework measured against that of the highest international countries while providing locally relevant student centred individual learning plans.
From the paradigm of a poststructuralist lens, I intend to argue the case for a ‘fluid’ pedagogy, largely influenced by Freire and ‘Critical Pedagogy’ , for the facilitation of senior secondary classroom music (that resonates within the unique discipline of the Arts domain). I propose that ‘Fluid Pedagogy’ (differing from Critical Pedagogy which is an interactive method varying from ‘Fluid Pedagogy’) espouses responsive teaching practices that nurture individual and collective creativity to inform our national curriculum. In doing so, the collective education of our secondary students could initiate relevant transformations that reflect intrinsically motivated creative potential, evaluation of potential for creativity [EPoC] , innovation and education through divergent and convergent thinking , experimentation and play.
This paper will justify and outline a systematic approach for the design of Fluid Pedagogy Negoti... more This paper will justify and outline a systematic approach for the design of Fluid Pedagogy Negotiated Curriculum (F.P.N.C.). F.P.N.C is structured to support the development of creative potential in secondary school music students, thus attaining master student outcomes at various stages of development. Fluid Pedagogy is a responsive student centred organic teaching method I have designed to nurture creative potential with intrinsically motivated experiences that create master student outcomes. This paper establishes that the process of experiencing such student outcomes is essential and informs unique Negotiated Curriculum from students' formative self-evaluations and teacher formative assessments. The paper will align relative curriculum models, ethical philosophies, pedagogical theories, instructional methods, formative self-evaluation and intervention with Fluid Pedagogy Negotiated Curriculum. A critical view of the definition of 'Master Student Outcomes' is explored and contextualised for the purpose of this model as well as what Master Students look like at various stages of development through Secondary School. The tension from navigating between fluid student centric organic scaffolding, and measurable summation of Master Student Outcomes, that align with mandatory curriculum, are addressed with formative teacher intervention and formative student self-evaluation.
A philosophy to stimulate creativity in music education and bridge intrinsic and extrinsic motiva... more A philosophy to stimulate creativity in music education and bridge intrinsic and extrinsic motivation in senior secondary schools (to inform an 'Australian Collective Arts Curriculum' [ACAC]) Abstract This paper aims to discuss a framework and paradigm for what Fluid Pedagogy might look like in a classroom and how this method could stimulate and nurture personal creativity. Building from previous research and development of Fluid Pedagogy (Stavropoulos, 2015), I will report on the philosophical and pedagogical influences that contextualise the creative principles underlining this theory. I will then explore three simulated case studies of students in a vertical learning environment from Years 10, 11 and 12 practicing Fluid Pedagogy to study three primary units of music (Musicianship, Aural and Theory). Finally, I will briefly envision an informed Australian Collective Arts Curriculum [ACAC] by elaborating how a Professional Learning Community (PLC) model designed to develop and implement Fluid Pedagogy (Stavropoulos, 2016) could extend and inform this curriculum essentially from the summation of student creative outcomes.
Equal Temperament is a tuning system that divides a pitch of a note by two to establish its octa... more Equal Temperament is a tuning system that divides a pitch of a note by two to establish its octave, or the nearest same relative pitch distance; and then equally partitions the values of the notes within the octave by a factor. The most common factor used in Equal Temperament [ET] is twelve thus giving us the infamous western twelve equal semitones within an octave. By halving or dividing a fundamental tone by two, the vibrations or cycles creating the tone are an exact 2:1 ratio, the first natural harmonic overtone inherent within a fundamental tone. Aside from establishing the first octave, the ET system disregards all other natural overtones to enable equal partitioning for attaining consistent octaves. ET is the most popular of many tempered tuning development from the Pythagorean system of tuning based on the ratios of 3 (fifth intervals strongly apparent within natural overtones), discovered about 2500BC though documented by Pythagoras of Samos in the sixth century BC. The different methods in attaining a twelve-note octave are both audible and practical where ET compromises harmonic richness and sustain occurring from natural overtones for technical versatility and broader functional purposes. To assist in comprehending the contradiction between ET and the Pythagorean tuning systems, we should examine the natural overtones within a monophonic fundamental tone and the Pythagorean method of attaining a twelve-note octave.
This paper proposes a model to develop Professional Learning Community with a network of regional... more This paper proposes a model to develop Professional Learning Community with a network of regional schools to develop and implement Fluid Pedagogy. Designed to address the declining numbers of students enrolled in co-curricular music studies in senior high school by bridging intrinsic and extrinsic motivation in music education.
The introduction of the Australian Curriculum has augmented a series of implications for the cult... more The introduction of the Australian Curriculum has augmented a series of implications for the cultivation of personal creativity within secondary music teacher pedagogy in their local environment. In particular, rigidity is ostensible in fostering creative potential from student outcomes within a national standards framework measured against that of the highest international countries while providing locally relevant student centred individual learning plans.
From the paradigm of a poststructuralist lens, I intend to argue the case for a ‘fluid’ pedagogy, largely influenced by Freire and ‘Critical Pedagogy’ , for the facilitation of senior secondary classroom music (that resonates within the unique discipline of the Arts domain). I propose that ‘Fluid Pedagogy’ (differing from Critical Pedagogy which is an interactive method varying from ‘Fluid Pedagogy’) espouses responsive teaching practices that nurture individual and collective creativity to inform our national curriculum. In doing so, the collective education of our secondary students could initiate relevant transformations that reflect intrinsically motivated creative potential, evaluation of potential for creativity [EPoC] , innovation and education through divergent and convergent thinking , experimentation and play.