Discussions and arguments are a central component of science and its development. Therefore, it is very important to integrate them into science teaching. Various studies show that the use of arguments and discussions in science classes significantly improves students’ conceptual understanding compared to other learning methods. Jewish literature has for many centuries been a tradition of learning through the approach of discussions and arguments. This approach is the central guiding principle in learning the Talmud and designs the authentic structure of Talmudic texts. In the present study, we bring the Talmud to physics class. Since, students frequently misconceptualize the nature of heat we chose to respond the challenge and developed a unique Physics Talmud Page (PTP) about the concept of heat. We examined how learning physics by Whole-Class Dialogic Discussions (WCDD) based on the PTP was expressed in students’ argumentation skills. The participants in this study included 101 first-degree engineering students who studied a course in mechanics and heat in two respective groups: the experimental group (N = 51) and the control group (N = 50). In this work we conclude that students in the experimental group demonstrated remarkable improvement in their overall argumentation abilities, showing enhanced capacity to construct compelling arguments, develop thoughtful counter-arguments, and effectively utilize textual evidence to support their reasoning—clear evidence that the Talmudic learning approach significantly strengthens critical scientific discourse skills.
In the words of Eric Lewis, “approaching Afrological musics from the theoretical perspective of a Western aesthetic…yields not only a lack of understanding…but can have pernicious political and social results.” In this paper, I demonstrate the relevance of this statement to the British Music classroom. In Part One, I outline the current state of the UK’s Model Music Curriculum and seek to identify its underlying ideology. Part Two offers a survey of how the universal understanding of music as a series of autonomous products generates a prescribed set of criteria for musical evaluation. By ascribing idiosyncratically European notions to our evaluation of music on a universal scale, we are left with an incomplete understanding and appreciation of music not conceived according to this ideology. Looking to the future, Part Three suggests how we might approach music in a fair and germane way via a transfer of emphasis from the musical product to the people involved in the musical process. I name this an outside-in approach to music, and consider it a universally applicable and fruitful mode of musical analysis—people are, after all, the common denominator for music-making. By beginning with the social and cultural conditions in which musicians create, students are equipped with a multiplicity of lenses through which they can better appreciate the value and beauty of musical cultures both near and far.
This qualitative study investigated the impact of explicit instruction, collaborative reflective tasks, and constructive feedback on the criticality of student teachers' (STs') reflections over time. The participants were 26 STs who were engaged in a second language teacher education (SLTE) programme at a research university in Istanbul, Turkey. Data were collected through written reflective reports (n = 26) and a semi-structured interview (n = 13). The findings showed a progression from superficial reflections to more critical reflections (CR) over one semester. Specifically, STs demonstrated more features of improved problematisation, reasoning and deeper analysis ability of their beliefs and practices. In conclusion, this study highlighted that well-planned instructional activities and a supportive learning environment can positively influence the development of STs' CR.