MØTEPLAN (BESTÅR AV FIRE ELEMENTER) Det er hva du ønsker å få ut av et møte som bestemmer agendaen, ikke omvendt.
Norske ledere bruker gjennomsnittlig 40% av uken på møter. Og 40% av tiden er ansett som uproduktiv. (Henning Bang, Psykologisk Institutt ved Universitetet i Oslo). Ifølge undersøkelsen er viktigste grunn til borkasted tid hyppige avsporinger og for mye irrelevant informasjon. Les om møteteknikk og få mange tips og praktiske råd
Mange ledere bruker halve tiden sin i møter og anser halvparten som bortkastet tid.
Avsporinger og irrelevans
Iflg. undersøkelser er hyppige avsporinger og for mye irrelevant informasjon grunnen. For egen del vil jeg legge til; for dårlige forberedelser og for lite forhåndsdelt informasjon om hensikten og ønsket resultat for møtet. Det er altså MYE å vinne på å utvikle kompetanse på god møteteknikk.
This document outlines the six main concepts of music - duration, pitch, dynamics and expressive techniques, tone colour, texture, and structure. For each concept, it provides definitions and terminology used to describe elements within that concept. It also includes links to audio examples for each concept.
MØTEPLAN (BESTÅR AV FIRE ELEMENTER) Det er hva du ønsker å få ut av et møte som bestemmer agendaen, ikke omvendt.
Norske ledere bruker gjennomsnittlig 40% av uken på møter. Og 40% av tiden er ansett som uproduktiv. (Henning Bang, Psykologisk Institutt ved Universitetet i Oslo). Ifølge undersøkelsen er viktigste grunn til borkasted tid hyppige avsporinger og for mye irrelevant informasjon. Les om møteteknikk og få mange tips og praktiske råd
Mange ledere bruker halve tiden sin i møter og anser halvparten som bortkastet tid.
Avsporinger og irrelevans
Iflg. undersøkelser er hyppige avsporinger og for mye irrelevant informasjon grunnen. For egen del vil jeg legge til; for dårlige forberedelser og for lite forhåndsdelt informasjon om hensikten og ønsket resultat for møtet. Det er altså MYE å vinne på å utvikle kompetanse på god møteteknikk.
This document outlines the six main concepts of music - duration, pitch, dynamics and expressive techniques, tone colour, texture, and structure. For each concept, it provides definitions and terminology used to describe elements within that concept. It also includes links to audio examples for each concept.
The document discusses UNESCO programs and trainings in the Philippines related to integrating information and communication technologies (ICT) into education. It outlines several projects, including guidelines for teacher education programs to help teachers integrate ICT pedagogy, a conference on creativity and innovation in education, and programs that provide computers for multi-grade classrooms and e-learning centers for out-of-school youth. UNESCO also facilitates a collaborative teacher education project on basic assistive technology. Tips are given for searching UNESCO's website for more information on their ICT programs and trainings in the Philippines.
This document defines and provides examples of different musical intervals, including perfect unison, perfect octave, perfect fourth, perfect fifth, major second, minor second, major third, and minor third. It explains that perfect intervals are the perfect unison, perfect fourth, perfect fifth, and perfect octave. The perfect octave is the same note name with the interval of an eighth note higher or lower. The perfect fifth is the interval between the first and fifth notes of a major scale.
Tonic Identification System for Indian Art MusicSankalp Gulati
The document describes a system for identifying the tonic pitch in Hindustani and Carnatic music recordings. The system utilizes both audio signals and metadata. It analyzes the audio to extract sinusoidal components and computes pitch salience over time. Potential tonic candidates are identified and further processed using signal processing techniques like harmonic summation. The system then identifies the tonic pitch class using a multi-pitch histogram and machine learning. It also estimates the correct octave of the tonic using predominant melody extraction and classification methods. The goal is to automatically label the tonic in large music databases, which provides fundamental information for music analysis tasks.
This document defines and explains several fundamental concepts in music including pitch, volume, duration, timbre, scale, texture, and form. Pitch is measured by frequency and relates to how high or low a sound is. Volume refers to the loudness of a sound which is measured by amplitude. Duration is conceptualized through musical patterns such as meter and rhythm. Timbre is what gives a sound its unique tone color. Scale is the organization of pitches within an octave that generates melodies and harmonies. Texture describes how multiple lines of music are combined. Form refers to the structure and patterns of repetition and variation in a musical work over time.
This document discusses different types of triads including major, minor, augmented, and diminished triads. It defines what defines each type of triad, such as a major triad consisting of a major third and perfect fifth above the root note, and a minor triad consisting of a minor third and perfect fifth above the root note. Examples are provided of different triads on various root notes like C, D, E, and G. The document also discusses other intervals like tritones, minor sixths, major sixths, and minor sevenths.
The document discusses different types of musical intervals such as major, minor, augmented, and diminished intervals. It then explains the characteristics of different chord types including major, minor, augmented, and diminished chords. Finally, it provides an example of identifying chord types and includes a video demonstrating the use of chords in a song.
The document discusses triads, intervals, major and minor chords, diatonic harmony, and chord sequences. It defines a triad as a three note chord consisting of a root, third, and fifth note. It explains that the only difference between a major and minor chord is the third note. It also defines diatonic harmony as chords that only contain notes within a given key and lists the seven diatonic chords in the key of C major. Finally, it provides an example of a four chord progression using diatonic chords from the C major scale.
A triad is the most basic type of chord and consists of three notes stacked in thirds. There are four types of triads: major, minor, diminished, and augmented. Each type has a specific interval pattern between the root, third, and fifth notes. Major triads have a major third from the root to the third and a minor third from the third to the fifth. Minor triads have a minor third from the root to the third and a major third from the third to the fifth. Diminished triads have two minor thirds. Augmented triads have two major thirds. Triads are considered the basic building blocks of music.
Music is the art of expressing yourself through sound. It uses elements of sound, art, and expression. Sound refers to the basic musical tones. Art involves how those sounds are structured through melody, harmony, and rhythm. Expression is how ideas, feelings, and moods are conveyed. Music notation represents these musical elements symbolically on a staff to communicate musical works.
The document discusses potential music choices for a short film trailer, analyzing four songs. It finds that "Pretty Reckless - You make me wanna die" and the beginning of "Avenged Sevenfold - Nightmare" have the desired slow, eerie openings but may not fit the full length or pacing of the trailer. "Eyes set to kill – Violent Kiss" has appropriate semantics but its opening is too fast. "Paramore – Decode" also starts slowly but does not build up in speed as needed to match the antagonist's actions. In the end, none of the songs are deemed perfect fits for the trailer.
This document defines and provides examples of basic musical elements including melody, harmony, scales, and intervals. It discusses the components of melody such as range, motion, and contour. Conjunct and disjunct melodic motion are defined. Regarding harmony, it defines intervals and chords, and distinguishes between consonant and dissonant intervals. Examples of diatonic, pentatonic, chromatic, and whole tone scales are provided. Listening activities throughout require the reader to identify these elements in various musical compositions. Required further readings on melody, harmony, and music theory are listed.
This document discusses various musical forms including binary, ternary, rondo, and others. It explains that binary form has two sections, ternary has three, and rondo form repeats one section throughout. Letters are used to label sections, with uppercase for larger sections and lowercase for subsections. Repetition, contrast, and variation are key principles in determining musical form. Texture and melody can both be used to delineate formal sections within a piece of music.
This document provides an overview of a teacher induction program module focusing on curriculum and instruction for Music, Art, Physical Education, and Health Education (MAPEH/MSEP). It discusses five different teaching methods for music - Kodaly, Orff-Schulwerk, Dalcroze Eurythmic, Carabo-Cone, and Justine Ward. It also covers contents and activities for art, as well as teaching strategies for physical education and health education. The module aims to enhance teachers' skills and competence in providing varied learning experiences for students in these subject areas. It includes objectives, lessons, activities, sample lesson plans, and assessments to help new teachers deliver quality MAPEH/MSEP education.
The document summarizes the basic elements of music - melody, rhythm, harmony, texture, and form. It defines each element and provides examples. Melody is a succession of pitches that form phrases through cadences. Rhythm deals with musical movement through time defined by beats and meters. Harmony refers to the simultaneous sounding of pitches or tones to form chords and scales. Texture describes how melodic and harmonic elements are combined, such as in monophony, polyphony, homorhythm, and homophony. Form structures music through repetition, contrast, and variation in structures like binary and ternary forms.
Tonic, subdominant, dominant and intervalsAngelica Nuby
This document reviews the names of the 7 diatonic chords in a major scale, including the tonic, supertonic, mediant, subdominant, dominant, submediant, and leading tone chords. It also discusses the major 7th interval and the difference between an augmented 4th and a perfect 4th. Finally, it asks the reader to identify intervals heard in popular songs such as "Maria" from West Side Story and the NBC song.
Igor Stravinsky, Arnold Schoenberg, and Claude Debussy were three influential 20th century composers who helped develop new musical styles. Impressionism, pioneered by Debussy, used vague melodies, innovative chords, and color/effects to evoke moods rather than depict specific scenes. Schoenberg later developed the twelve-tone technique which abandoned traditional tonality. Stravinsky's works incorporated elements of folk music and were characterized by rhythmic drive and dissonance. Together, these composers revolutionized classical music and their experimentation laid the groundwork for styles throughout the 20th century.
The document discusses UNESCO programs and trainings in the Philippines related to integrating information and communication technologies (ICT) into education. It outlines several projects, including guidelines for teacher education programs to help teachers integrate ICT pedagogy, a conference on creativity and innovation in education, and programs that provide computers for multi-grade classrooms and e-learning centers for out-of-school youth. UNESCO also facilitates a collaborative teacher education project on basic assistive technology. Tips are given for searching UNESCO's website for more information on their ICT programs and trainings in the Philippines.
This document defines and provides examples of different musical intervals, including perfect unison, perfect octave, perfect fourth, perfect fifth, major second, minor second, major third, and minor third. It explains that perfect intervals are the perfect unison, perfect fourth, perfect fifth, and perfect octave. The perfect octave is the same note name with the interval of an eighth note higher or lower. The perfect fifth is the interval between the first and fifth notes of a major scale.
Tonic Identification System for Indian Art MusicSankalp Gulati
The document describes a system for identifying the tonic pitch in Hindustani and Carnatic music recordings. The system utilizes both audio signals and metadata. It analyzes the audio to extract sinusoidal components and computes pitch salience over time. Potential tonic candidates are identified and further processed using signal processing techniques like harmonic summation. The system then identifies the tonic pitch class using a multi-pitch histogram and machine learning. It also estimates the correct octave of the tonic using predominant melody extraction and classification methods. The goal is to automatically label the tonic in large music databases, which provides fundamental information for music analysis tasks.
This document defines and explains several fundamental concepts in music including pitch, volume, duration, timbre, scale, texture, and form. Pitch is measured by frequency and relates to how high or low a sound is. Volume refers to the loudness of a sound which is measured by amplitude. Duration is conceptualized through musical patterns such as meter and rhythm. Timbre is what gives a sound its unique tone color. Scale is the organization of pitches within an octave that generates melodies and harmonies. Texture describes how multiple lines of music are combined. Form refers to the structure and patterns of repetition and variation in a musical work over time.
This document discusses different types of triads including major, minor, augmented, and diminished triads. It defines what defines each type of triad, such as a major triad consisting of a major third and perfect fifth above the root note, and a minor triad consisting of a minor third and perfect fifth above the root note. Examples are provided of different triads on various root notes like C, D, E, and G. The document also discusses other intervals like tritones, minor sixths, major sixths, and minor sevenths.
The document discusses different types of musical intervals such as major, minor, augmented, and diminished intervals. It then explains the characteristics of different chord types including major, minor, augmented, and diminished chords. Finally, it provides an example of identifying chord types and includes a video demonstrating the use of chords in a song.
The document discusses triads, intervals, major and minor chords, diatonic harmony, and chord sequences. It defines a triad as a three note chord consisting of a root, third, and fifth note. It explains that the only difference between a major and minor chord is the third note. It also defines diatonic harmony as chords that only contain notes within a given key and lists the seven diatonic chords in the key of C major. Finally, it provides an example of a four chord progression using diatonic chords from the C major scale.
A triad is the most basic type of chord and consists of three notes stacked in thirds. There are four types of triads: major, minor, diminished, and augmented. Each type has a specific interval pattern between the root, third, and fifth notes. Major triads have a major third from the root to the third and a minor third from the third to the fifth. Minor triads have a minor third from the root to the third and a major third from the third to the fifth. Diminished triads have two minor thirds. Augmented triads have two major thirds. Triads are considered the basic building blocks of music.
Music is the art of expressing yourself through sound. It uses elements of sound, art, and expression. Sound refers to the basic musical tones. Art involves how those sounds are structured through melody, harmony, and rhythm. Expression is how ideas, feelings, and moods are conveyed. Music notation represents these musical elements symbolically on a staff to communicate musical works.
The document discusses potential music choices for a short film trailer, analyzing four songs. It finds that "Pretty Reckless - You make me wanna die" and the beginning of "Avenged Sevenfold - Nightmare" have the desired slow, eerie openings but may not fit the full length or pacing of the trailer. "Eyes set to kill – Violent Kiss" has appropriate semantics but its opening is too fast. "Paramore – Decode" also starts slowly but does not build up in speed as needed to match the antagonist's actions. In the end, none of the songs are deemed perfect fits for the trailer.
This document defines and provides examples of basic musical elements including melody, harmony, scales, and intervals. It discusses the components of melody such as range, motion, and contour. Conjunct and disjunct melodic motion are defined. Regarding harmony, it defines intervals and chords, and distinguishes between consonant and dissonant intervals. Examples of diatonic, pentatonic, chromatic, and whole tone scales are provided. Listening activities throughout require the reader to identify these elements in various musical compositions. Required further readings on melody, harmony, and music theory are listed.
This document discusses various musical forms including binary, ternary, rondo, and others. It explains that binary form has two sections, ternary has three, and rondo form repeats one section throughout. Letters are used to label sections, with uppercase for larger sections and lowercase for subsections. Repetition, contrast, and variation are key principles in determining musical form. Texture and melody can both be used to delineate formal sections within a piece of music.
This document provides an overview of a teacher induction program module focusing on curriculum and instruction for Music, Art, Physical Education, and Health Education (MAPEH/MSEP). It discusses five different teaching methods for music - Kodaly, Orff-Schulwerk, Dalcroze Eurythmic, Carabo-Cone, and Justine Ward. It also covers contents and activities for art, as well as teaching strategies for physical education and health education. The module aims to enhance teachers' skills and competence in providing varied learning experiences for students in these subject areas. It includes objectives, lessons, activities, sample lesson plans, and assessments to help new teachers deliver quality MAPEH/MSEP education.
The document summarizes the basic elements of music - melody, rhythm, harmony, texture, and form. It defines each element and provides examples. Melody is a succession of pitches that form phrases through cadences. Rhythm deals with musical movement through time defined by beats and meters. Harmony refers to the simultaneous sounding of pitches or tones to form chords and scales. Texture describes how melodic and harmonic elements are combined, such as in monophony, polyphony, homorhythm, and homophony. Form structures music through repetition, contrast, and variation in structures like binary and ternary forms.
Tonic, subdominant, dominant and intervalsAngelica Nuby
This document reviews the names of the 7 diatonic chords in a major scale, including the tonic, supertonic, mediant, subdominant, dominant, submediant, and leading tone chords. It also discusses the major 7th interval and the difference between an augmented 4th and a perfect 4th. Finally, it asks the reader to identify intervals heard in popular songs such as "Maria" from West Side Story and the NBC song.
Igor Stravinsky, Arnold Schoenberg, and Claude Debussy were three influential 20th century composers who helped develop new musical styles. Impressionism, pioneered by Debussy, used vague melodies, innovative chords, and color/effects to evoke moods rather than depict specific scenes. Schoenberg later developed the twelve-tone technique which abandoned traditional tonality. Stravinsky's works incorporated elements of folk music and were characterized by rhythmic drive and dissonance. Together, these composers revolutionized classical music and their experimentation laid the groundwork for styles throughout the 20th century.
10. Til å begynne med…
• Hva er din forventning?
• Ditt læringsutbytte?
• Hvorfor kurs i
medarbeidersamtale?
Geir Hareide Hansen
11. Historikk
• Til Norge etter 2.
verdenskrig
• Utviklet i USA (Scientific
Management og Human
Relation)
• Vurderings- og
veiledningssamtaler
• Tilpasninger til norske og
nordiske forhold frem til i
dag
• Mange ulike definisjoner
på medarbeidersamtale
Geir Hareide Hansen
12. Litt lovverk likevel…
• Ikke lovfestet, men:
– Grunnloven § 110, 2.ledd:
• Nærmere Bestemmelser om
Ansattes Medbestemmelsesret paa
deres Arbeidsplads, fastsættes ved
Lov.
– Arbeidsmiljøloven § 8-1
(arbeidsgivers plikt til å
informere og drøfte), § 6-1
(arbeidstakers
medbestemmelsesrett gjennom
verneombudsordningen)
– Aksjeloven og allmennaksjeloven
Geir Hareide Hansen
13. Avtaleverk og reglement
• Tariffavtaler innen offentlig
og privat virksomhet
(hovedavtaler)
• Overenskomster
• Personalreglement
(personalhåndbok)
• Arbeidsreglement
• Andre avtaler/reglement
Geir Hareide Hansen
17. Medarbeidersamtalen er ikke…
• ”En vanskelig samtale”
• ”Daglige samtaler” eller en unnskyldning for at
leder ikke ser/snakker med sine medarbeidere
daglig/regelmessig
• Lønnsforhandlinger (noen unntak)
• Monolog fra leder (eller ”forhør” av
medarbeider)
• Koseprat
• Nærgående og personlige vurderinger
Geir Hareide Hansen
20. Kroppsspråket
• Har du opplevd en slik samtale før, hvor
kroppsspråket forteller noe annet enn det som
blir sagt?
• Har du noen gang fått et av disse falske
smilene som nesten kommer i lysets
hastighet?
• Har noen prøvd å overbevise deg om en
ting, selv om både øynene og nervøsiteten
forteller deg noe annet?
Geir Hareide Hansen
21. • Kroppsspråk viser til ikke-verbal
kommunikasjon som ansiktsuttrykk, kroppens
bevegelser, holdning og bevegelse med
hender, armer og fingre.
• Det har en betydning og innvirkning på hva
som blir sagt. Det forteller motparten hva du
egentlig sier.
Geir Hareide Hansen
22. • Ord og tonen i stemmen din skal være i
harmoni med kroppsspråket ditt. Disse tre
tingene må stemme overens for å få en
meningsfylt ikke-verbal tale.
• Når disse tre elementene i ansikt-til-ansikt
kommunikasjon støtter hverandre vil
kroppsspråket formidle mesteparten av
meldingen.
Geir Hareide Hansen
23. Hvordan kroppsspråket kan forbedres
• Hold opp hodet, oppretthold god
øyekontakt, men ikke stirre.
• Hold et rolig tempo, både i snakking og i
bevegelsene dine.
• Slapp av, og fokuser på dine bevegelser.
• Sitt eller stå rett.
Geir Hareide Hansen
24. • Ikke kryss armene eller bena, slapp av i
skuldrene.
• Ikke stå/sitt for nær eller for langt unna.
• Oppriktig smil og latter.
• Ha en positiv, åpen og avslappet holdning.
Geir Hareide Hansen
25. Negativt kroppsspråk
• Stadig kontroll av klokken (sjekker tiden) eller
sjekk av fingernegler er et sterkt tegn på
kjedsomhet.
• Plukking på klærne eller det å se nedover folk
gir signaler på at du ikke godkjenner/
anerkjenner deres ideer og/eller føler deg
urolig for å si din ærlige mening.
Geir Hareide Hansen
26. • Å la hånden stryke over haken mens du ser på
noen, kan gi noen signaler om at du
forhåndsdømmer deres beslutninger.
• Mysing med øynene kan gi signaler til noen
om at du ikke liker dem eller deres ideer.
• Falskt smil er et annet tegn på bedrag. Et ekte
smil rynker hjørnene på øynene og endrer
hele ansiktsuttrykket.
Geir Hareide Hansen
27. • Å lene seg unna noen man liker er et tegn på at
man kjeder seg eller blir distrahert. Folke lener
seg vanligvis mot folk de liker, og lener seg bort
fra dem man misliker.
• Å ikke se direkte på personen du snakker
med, indikerer en viss grad av ubehag eller
manglende interesse.
• Det å krysse armene er tegn på defensiv
motstand eller selvopptatthet.
• Å vise en svak holdning gir negative meldinger.
Geir Hareide Hansen
29. • Ha respekt og ydmykhet overfor dine
medarbeidere, og du vinner deres respekt.
• Ikke vær arrogant eller irettesettende.
• Bruk ”voksendelen” i din personlighet, ispedd
en passe dose av ”barnedelen”.
• Du dekker både fakta- og følelsesverden.
• Aktiv lytting og gjensidig respekt.
Geir Hareide Hansen
30. Tillit og holdning
• Å klø seg på baksiden av hodet eller nakken
signaliserer tvil og usikkerhet.
• Slapp holdning med skuldrene indikerer lavt
selvbilde. Trekk alltid skuldrene bakover. Ikke
bare vil du se mer trygg ut, du vil også føle deg
sikrere.
Geir Hareide Hansen
31. • Risting eller tapping med føtter eller fingre
indikerer stress, utålmodighet eller
kjedsomhet.
• Fikling på små gjenstander er et annet tegn på
angst eller manglende interesse. Hold
hendene behagelig i ro når du er i nærvær av
andre.
Geir Hareide Hansen
34. Forankring
• Forankring i ledelse?
– …i personalet?
• Akseptert?
• Implementert?
• Informasjon?
• Mål og hensikt?
• Medbestemmelse?
Geir Hareide Hansen
35. Årshjul
• Alle må kjenne til
medarbeidersamtalen
• Det må være kjent i
hvilken periode
samtalen gjennomføres
• Er det én eller flere
runder med samtaler i
løpet av året?
Geir Hareide Hansen
37. Før møtet…møteplan
• Møteplan
(dager, uker, måneder)
– gjøres kjent i god tid
• Antall møter - sluttdato
• Tidsramme for hvert
møte
• Skal noe forberedes –
og av hvem?
• Møtested – tips?
Geir Hareide Hansen
38. Lederens forberedelse…
• Sjekk eventuelle tidligere avtaler
fra medarbeidersamtalene/
tidligere samtaler
• Har du sett medarbeideren
”nok” før møtet?
• Hvis du bruker ulike typer
maler/skjema – gå gjennom
disse på forhånd slik at du er
kjent med innholdet
Geir Hareide Hansen
39. • Mentale forberedelser –
snakk med deg selv
• Notér stikkord
• Finne egnet møtested
(ditt kontor, nøytral
plass osv…)
• Hva er viktig for deg
som leder å få frem i
medarbeidersamtalen
(personavhengig)?
Geir Hareide Hansen
40. Medarbeiderens forberedelse…
• Sjekk eventuelle tidligere avtaler
fra samtalene
• Gå gjennom eventuelle utleverte
skjema/forberedelsesark
• Notér stikkord
• Hva er viktig for deg å få fram i
samtalen?
• Tør du å fortelle det du har tenkt
å fortelle?
• Mentale forberedelser…
Geir Hareide Hansen
41. Om maler…
Uansett om du bruker maler eller ikke:
Samtalen må tilpasses/skreddersys den
enkelte medarbeider – ingen samtaler
er like!
Geir Hareide Hansen
42. Oppgave!
• Ta utgangspunkt i arket
”Samtalestikkord” – diskutér
dere fram til 10 punkter som
”må” eller kan være med til
forberedelsene eller i selve
samtalen. Kategorisér.
• Er det noe som ikke er
relevant for deg?
Geir Hareide Hansen
44. Gode forberedelser…
• …er nøkkelen til en
vellykket gjennomføring
• …gjør at du er trygg på
hva du skal snakke om
• …får medarbeideren til
å føle seg trygg
• …gjør samtalen til et
nyttig verktøy
Geir Hareide Hansen
45. Før du setter i gang…
• Husk kommunikasjonsteknikkene
(kroppsspråk, aktiv lytting, vise
respekt osv)
• Praktiske ting: Vann, kaffe, te, noe
å bite i, notater, møtested osv
• Sørge for at dere ikke blir
forstyrret under samtalen (stenge
telefon, slå av mobil osv)
• Slapp av!
Geir Hareide Hansen
46. Oppfølging av forrige samtale
• Hva ble vi enige om forrige
gang (tiltak)?
• Har du/vi gjennomført?
• Hva bidro til gjennomføringen?
• Hvis ikke, hva er grunnen?
• Det som ikke er gjennomført
– Hva kan medarbeider bidra med?
– Hva kan leder bidra med?
Geir Hareide Hansen
47. Aktiv lytting og gjensidig respekt
• Aktiv lytting og gjensidig respekt for den
andres meninger
• Oppmuntring – ikke avfeie
• Be om utdypninger og eksempler for å skjønne
hva den andre mener
Geir Hareide Hansen
48. Motta tilbakemeldinger
• Aksepter at andre har meninger som er ulik
dine
• Be om konkrete eksempler
• Spør gjerne medarbeideren om dennes
synspunkter på dine arbeidsoppgaver (forslag
til endringer?)
• Er det noe du kan eller vil forandre – si takk for
at du blir gjort oppmerksom på dette, eller lov
å ”jobbe” med saken.
Geir Hareide Hansen
49. Gi tilbakemeldinger
• Hjelpe medarbeider til å bli bedre og utvikle
seg
• Legg vekt på det som er bra
• Negative tilbakemeldinger hvis behov – følg
opp med konkrete eksempler – vær
konstruktiv
• Kritikk kan bare gis på kjente forhold for
medarbeideren
Geir Hareide Hansen
50. • Ikke kom med råd for rask forbedring – spør
heller hva medarbeideren kan gjøre
• Vær ærlig og åpen
• Husk kroppsspråket i dine tilbakemeldinger
• Du spøker ikke med
– Sex, religion, livssyn, handicap, kjønn, sykdom, dø
d, rusmidler
Geir Hareide Hansen
51. Praktiske gjøremål
• Leder skriver referat og/
eller avtaler man blir
enige om
• Referat/avtale skal ha
med navn på deltakere
(og rolle), dato og
klokkeslett
• Signering – må være
omforent
Geir Hareide Hansen
55. Etter samtalen…
• Bli enig om endelig ordlyd på
oppsummeringen av samtalen – eventuelt
avtale over ulike tiltak som skal gjennomføres
• Få med deltakere (roller), dato og tidspunkt
• Et eksemplar til hver
Geir Hareide Hansen
56. Leders rolle i etterkant
• Oppfølging av konkrete tiltak
• Kortere samtaler med aktuell
medarbeider i etterkant
• Sjekkpunkter
• Forberedelse til neste
medarbeidersamtale
Geir Hareide Hansen
57. Nye ideer?
• Medarbeidersamtale i
gruppe?
– Stor arbeidsplass –
mange ansatte
– Mer generell
– Ingen konkrete avtaler
– Likevel mulighet for
individuell samtale
• Andre ideer?
Geir Hareide Hansen
58. Aktuell litteratur
Bård Kuvaas
” Different relationships between perceptions of developmental performance
appraisal and work performance.. Personnel review 2007 ;Volum 36.(3) s. 378-
397 “ (www.emeraldinsight.com/0048-3486.htm)
Liv Eli Lysfjord – masteroppgave HHB (HiBo/UiN), desember 2010
”Opplever medarbeiderne at medarbeidersamtalen bidrar til medbestemmelse på
arbeidsplassen?” (http://brage.bibsys.no/hibo/bitstream/URN:NBN:no-
bibsys_brage_16478/1/Lysfjord_L.pdf)
Kari Garmannslund, 2000 Aslaug Mikkelsen, 2002
Geir Hareide Hansen