By Alfred North Whitehead
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In contrast, staged improvisers do not have the responsibility of causing some mental state change in their audience (beyond some broad hope that the audience will be entertained). The teacher as performer has a more explicitly articulated responsibility to the students:Â€they must learn the required material. Stage improvisers do not have this sort of responsibility. This leads to a very different balance of structure and improvisation in classrooms than in performance genres like jazz. The balance shifts toward a greater degree of structure and a lesser degree of improvisation.
Interscholastic futuristic creative problem solving. Journal of Creative Behavior, 10, 117–125. Trilling, B. & Fadel, C. (2009). 21st century skills:Â€Learning for life in our times. San Francisco, CA:Â€Jossey-Bass. Yinger, R. J. (1979). Routines in teacher planning. Theory into Practice, 18(3), 163–169. â•… (1980). A study of teacher planning. The Elementary School Journal, 80(3), 107–127. â•… (1987). By the seat of your pants:Â€ An inquiry into improvisation and teaching. Paper presented at the Annual Meeting of the American Educational Research Association, April, Washington, DC.
Research Quarterly for Exercise and Sport, 56(1), 45–53. Ingersoll, R. M. (2003). Who controls teachers’ work? Power and accountability in America’s schools. Cambridge, MA:Â€Harvard University Press. Joubert, M. M. (2001). The art of creative teaching:Â€ NACCCE and beyond. In A. Craft, B. Jeffrey & M. ), Creativity in Education (pp. 17–34). London:Â€Continuum. Leinhardt, G. & Greeno, J. G. (1986). The cognitive skill of teaching. Journal of Educational Psychology, 78(2), 75–95. Mayer, R. E. (2004).