File:LONGITUDINAL CURRICULUM DESIGN for PIANO SKILLS.pdf

This essay was made during the time while I had been taking my postgraduate oversea study-channel for Education Research in HASS faculty of Newcastle University in Postmodernist UK. The original ideology of making this essay is to deal with the longitudinal data-set for HASS's Postgraduate skills' training of quantitative analysis. However, after its real applications in the practical procedure of piano-skills' teaching and learning, I found its thinking approach from nature was contenting longitudinal analysis and educationally theoretical metrology (A subject designed for measurement applied in multiple-disciplinary fields, about which we can review the introduction in Wikipedia: https://en.wikipedia.org/wiki/Metrology); thereby, it is better to be applied in the real classrooms of piano teachers' rather than merely statistical counting, and channel teachers' thinking of organizing their classes systematically in certain transcendentalist epistemologically travelling routines towards musicality-reasonability. In other words, longitudinal statistics' application is merely a tool and 'numbers' should include the meanings not only about 'themselves' but the real levels of students' skills, rather than which the effectiveness of teaching & learning piano skills and the musicality-improvement are needed to be highlighted by our teachers. During this period, this '6 staged recycling model' has applied the 'metaphor methodology' from applied linguistics to participant-simulate the natural productions of human beings' sensory senses alongside the universal life-line. It has also joined the pedagogical experiences from several Chinese generations, and empirically summarized them with the theoretical constructions from educational research, multiple intelligence's thinking root (Psychology) and musicology, into the 'six' classroom-operations. Here, as a member in Wiki-team and a past student postgraduate-d from Newcastle University, I would like to share this methodology with all people (especially for commons) in their own postmodernist 'channels' permissioned. Though piano used to be the 'king' of all the instruments, we would like to see its popularization worldwide, causing it would bring new hopes for worlds' peacefully appreciating music and making their own musical innovations of sharing folk treasures and honouring classical beauties. I hoped: more and more people will love piano, love music and freely use the knowledge and skills to develop their teaching and training channels. In this essay, the very sense of achievement, to me (and basing on my abilities), is that I can from core area of this field absorbing multiple-subjects' elements to make a mathematically statistics model for the original data-set (or we can call it categories' division, or channel-doors' opening). This empirical and metrological construction transcendentalist make a equation nesting 6 'doors' of 6 channels parallel together and also ordering them vertically across the boundaries of Times and Spaces. Then, when being practised, the senses of it is like multiple-dimensions' travelling with the mind-tentacles communicating with your students on diverse levels. It has also left a developing zone for the operations of artificial intelligence's development (such as robot's humanization) in this field with controllability for future ...

To be honest, this one isn't a fresh story but a re-modification of several different attempts. However, the most 'brighten star' is its statistical regression to the discussion of our musical nature from root to gain new skills in certain instrument. This testimony is recycling the six channel beginning from their doors' openness in a dynamical procedure highway. They are integrated together but also make the differentials - one standing on the former's shoulders but looking for further sustainably.

Here, I would like to make a statement: in Wikiversity, I had made a file named 'Grand theory from new thinking strategy for musical education'. Distributing upon Time, this one should be fundamentally based by that 'Grand theory'. In other words, through learning and teaching in your own instruments, we can all firstly transcendentalist make out some equations with this one's style; then as time's passing and knowledge's improving, you can also travel to some core areas similar to my core diagram as 'Grand theory', by generalizing and abstracting all beneath. Potentials should have been blessed to all the people who are loving music and liking play instruments (including your voices as the special instrument). In another perspective, That one is a mixed approach beginning from the qualitative reasoning, but this one is a mixed approach beginning from the mixed approach starting with the thinking of quantitative analysis and data-setting regression.

Absolutely, the lacks of this essay are all rooting in the limitations of my knowledge, energy and time. Therefore, I am wishing: sharing's meaning is owning to more teachers around our earth can freely organize their curriculums depending on their local conditions, knowledge and skills. They can self-make some teaching materials from some melodies-collections of some great musicians with three knowledge categories' supports - Applied musicology (for performance), Education Research, and Educational Psychology. Meanwhile, Jason (me) will also make my continuously explorations and adventures in this field with multiple-disciplinary senses. Finally, hopping sharing and discussing could let more and more teachers and learners get piano, love it and explore more!

Jason M. C., Han (discuss • contribs) 10:24, 1 August 2016 (UTC)

This article is modified from the module essay of mine in the HASS faculty of Newcastle University - The exploration of the longitudinal quantitative data-sets and the multiple-dimensions analysis through a transcendental research proposal of the design-based teaching & learning quasi-experimental grand model of piano skills (HSS: 8005 QUANTITATIVE ANALYSIS)

1st, August, 2015 - 1st, August, 2016

Jason M. C., Han (Jixun Han)

See below.