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The purpose of this study is to examine how teachers include and furthermore instruct and direct string and wind instrumentalists in ensemble activities, such as western popular music and rock music. Our question at issue is how active and prospective music teachers work inclusive and thereby instruct and direct string and wind instrumentalists in the ensemble activities. We are also interested in their opinions on whether or not string and wind instrumentalists should be in western popular music ensembles. The last question investigates what the active and prospective music teachers think their education has done for them regarding including string and wind instrumentalists in the ensemble activities and if there is room for improvements in the music teacher education. Our first method of choice was a survey, which we sent to music teachers working at gymnasiums in Sweden. The second method we used was two group interviews with students at Musikhögskolan i Malmö. The result of this study is that both music teachers and music teacher students find it hard to include and in turn instruct and direct string and wind instrumentalists in ensemble activities because many of them lack knowledge about string and wind instruments and their functions. The problem comes down to absence of relevant courses in the curriculum at higher music education regarding string and wind instruments, and also the instruments declining popularity versus the western popular music’s increased popularity. The conclusion of this essay is that music teachers have been educated in a western pop music environment which has made it difficult to include other instruments than the band instruments we see in today's pop music. Many music teachers and music teacher students are excited about having string and wind instrumentalists in their ensembles, but the attitude towards string and wind instrumentalists is mostly about opportunities to switch up the ordinary ensemble lessons. The music teacher educa, Syftet med studien är att undersöka hur aktiva och blivande musiklärare arbetar för att inkludera gymnasieelever som spelar stråk- och blåsinstrument i pop- och rockensemble. Att inkludera innefattar i vår studie även orden instruera och leda. Vår första forskningsfråga handlar om aktiva och blivande musiklärares arbetssätt för att inkludera och därmed också instruera och leda elever som spelar stråk- och blåsinstrument i ensemble. Vi är även intresserade av de aktiva och blivande musiklärarnas inställning till stråk- och blåsinstrument i ensemblen. Vår sista frågeställning undersöker om de aktiva och blivande musiklärarna tycker att deras utbildning till lärare hade gett dem de verktyg som behövs för att inkludera elever som spelar stråk- och blås i ensembleundervisningen samt vad det finns för utvecklingspotential. Vår första metod var en enkät, som skickades till musiklärare som jobbar med ensemble på musikgymnasium i Sverige. Då vår studie handlar om ensemble inom pop- och rockgenren var således inte ensemblelärare i kammarmusik ämnade att svara. Vår andra metod var två gruppintervjuer med musiklärarstudenter på Musikhögskolan i Malmö. Resultatet av studien visar att både aktiva och blivande musiklärare finner det utmanande att inkludera och i sin tur instruera och leda elever som spelar stråk- och blåsinstrument i ensembleundervisningen eftersom många saknar relevant kunskap om instrumenten och dess funktion. Detta är en konsekvens av bristen på kurser på musikhögskolorna som berör stråk- och blåsinstrument, något som har att göra med stråk- och blåsinstrumentens minskade popularitet kontra pop- och rockmusikens ökade uppmärksamhet i samhället. Vår slutsats är att musiklärare har blivit utbildade i en pop- och rockmiljö som har gjort det svårt att inkludera andra instrument än de som ingår i den vanliga banduppsättningen. Många aktiva och blivande musiklärare ser fram emot att ha stråk- och blåsinstrument i sin ensemble, men attityden lutar mot att dessa instru

[CASTELLÀ] El proyecto se basa en realizar el montaje y estudio de un equipo con fines docentes encarado a la industria 4.0, con la finalidad de ser usado por los alumnos del máster en automática. Se ha diseñado desde cero la arquitectura del sistema, después de debatir con el cliente de este proyecto, se ha decidido por una arquitectura específica y el equipo ha desarrollado la plataforma con el nombre de EDI4.0. Después de realizar un estudio sobre diferentes sistemas I4.0, ya sean eléctricos, electrónicos, mecánicos, informáticos y de comunicaciones; se han seleccionado unos componentes para construir el conjunto, dando como resultado dos motores enfrentados, uno actuando como motor y el otro como carga o viceversa. Entre los motores se encuentra un mecanismo patín-guía accionado por husillo que puede simular un componente de una máquina. Todo esto, se ha montado encima de una estructura metálica y transportable. Este, incluye un panel eléctrico en zona inferior, en el cual van fijados sus componentes, por ejemplo, las protecciones eléctricas, los controladores y un panel para tomar datos en diferentes puntos del esquema eléctrico. Se ha creado una red industrial independiente encarando el proyecto a la I4.0, donde la información se almacenará en una base de datos y se tratarán para introducirlos en una web. Los componentes del equipo son un estudiante de ingeniería eléctrica y uno de ingeniería mecánica de la universidad EPSEVG, han llevado a cabo el proyecto usando metodologías Agile y design thinking., [ANGLÈS] This Project is focused on perform the study and assembly of one system approached to 4.0 industry in order to instruct to the master students. The team have designed from zero the system architecture, after discuss with the project customer, the team have decided to one specific architecture. The team have named the set as EDI4.0. After doing a different systems study like electric, electronic, mechanic, informatic and communications, the team have selected some components to build the assembly. Having two motors facing each other and working one of them like a motor and the other as a load, and vice versa. Between the motors there are one guide-skid mechanism and it can emulate a part of one machine. All of this have been built on a metallic and transportable structure. The kit contains an electrical dashboard on the under part. It includes the different components, for example the electrical protections, the controllers or one panel for extract data between the electrical circuit. The team have created an industrial independent network facing the project to I4.0. There is where the information is stored in a data base and there is where the data will be handled for introduce them in a web page.

This paper analyses the literature that investigates how the body of the fashion model impacts on young girls. It highlights how fashion model bodies are situated in this research as disorderly catalysts in the lives of young girls and, in doing so, will argue that this research is limited by particular epistemological assumptions about female bodies as disorderly bodies. It shows that existing accounts may too easily overlook the degree of precision with which young girls read the body of the fashion model. The paper thereby suggests that it may be useful to re-conceptualise the fashion model/young girl relationship as pedagogical work in order to account for the precise ways that young girls engage with fashion model bodies. Demonstrating that the fashion model is unthinkable as an effective female teacher, the work argues that it may be possible to think of her as an efficient pedagogue of precise bodily knowledge. Drawing briefly on accounts of pedagogical relationships in pre-modern history, the paper illustrates how the fashion model may be thinkable as an effective transmitter of embodied knowing.