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Teresa Shepherdson

Convert metric units of length - 48 views

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    Year 3,4,5,6,7
James Shockley

Web 2.0 Smack Down - 149 views

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Jason Finley

Diigo in Education - 108 views

Marie, my primary use and focus with Diigo is the social networking aspect that you mentioned. There is definitely truth to the statement that "Chance favors the connected mind." I've created a g...

Diigo

Kim Drain

Stanford Copyright & Fair Use - Welcome to the Public Domain - 106 views

  • The public owns these works, not an individual author or artist. Anyone can use a public domain work without obtaining permission, but no one can ever own it.
  • Copyright has expired for all works published in the United States before 1923.
  • For works published after 1977, if the work was written by a single author, the copyright will not expire until 70 years after the author’s death. If a work was written by several authors and published after 1977, it will not expire until 70 years after the last surviving author dies.
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  • Thousands of works published in the United States before 1964 fell into the public domain because the copyright was not renewed in time under the law in effect then.
  • Copyright law does not protect ideas; it only protects the particular way an idea is expressed.
  • Sometimes an author deliberately chooses not to protect a work and dedicates the work to the public. This type of dedication is rare, and unless there is express authorization placing the work in the public domain, do not assume that the work is free to use.
  • Copyright law does not protect the titles of books or movies, nor does it protect short phrases such as, “Make my day.” Copyright protection also doesn’t cover facts, ideas, or theories.
  • Creative Commons, a nonprofit organization designed to foster the public domain, helps copyright owners dedicate their works to the public domain.
  • Works published in the U.S. before 1923 In the
  • In the U.S., any work created by a federal government employee or officer is in the public domain, provided that the work was created in that person’s official capacity.
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    This chapter of Stanford's Copyright and Fair Use Overview defines public domain and explains the main ways in which works become public domain. "Dear Rich" letters provide scenarios to illustrate many of these.
anonymous

Harvard Education Letter - 126 views

  • When students know how to ask their own questions, they take greater ownership of their learning, deepen comprehension, and make new connections and discoveries on their own.
  • Typically, questions are seen as the province of teachers, who spend years figuring out how to craft questions and fine-tune them to stimulate students’ curiosity or engage them more effectively.
  • to introduce students to a new unit, to assess students’ knowledge to see what they need to understand better, and even to conclude a unit to see how students can, with new knowledge, set a fresh learning agenda for themselves. The technique can be used for all ages.
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  • ask as many questions as you can; do not stop to discuss, judge, or answer any of the questions; write down every question exactly as it was stated; and change any statements into questions.
  • for an open-ended thinking process.
  • The teacher begins this step by introducing definitions of closed- and open-ended questions.
  • “Choose the three questions you most want to explore further.”
  • Students will be asking all the questions. A teacher’s role is simply to facilitate that process. This is a significant change for students as well.
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    Mike and I have been using this in our classrooms for a few years and it has really made a difference...it helps to inspire learning.  
taconi12

Fractions- Ideas for Teaching, Resources for Lesson Plans, and Activities for Unit Plan... - 3 views

  • raction Hunt Posted by:lismac #130700 Please Signin We walked around the school in small groups armed with cameras and looked for fractions occuring in our school. Each child had to find one scene to capture with the camera. Another group stayed in the classroom and created their fractions with classroom materials. Example- 10 pencils. 9 were yellow and one was red. Then the small groups would come to our computer and insert their picture. Each child then inserted text boxes to type in the fractions. Example- 9/10 of the pencils are yellow. 1/10 of the pencils are red. 9/10 + 1/10= 10/10 They could choose the fonts and colors and such... they used word art to add their names. They loved it! We also do one using multiplication.
  • Fraction Hunt Posted by:lismac #130700 Please Signin We walked around the school in small groups armed with cameras and looked for fractions occuring in our school. Each child had to find one scene to capture with the camera. Another group stayed in the classroom and created their fractions with classroom materials. Example- 10 pencils. 9 were yellow and one was red. Then the small groups would come to our computer and insert their picture. Each child then inserted text boxes to type in the fractions. Example- 9/10 of the pencils are yellow. 1/10 of the pencils are red. 9/10 + 1/10= 10/10 They could choose the fonts and colors and such... they used word art to add their names. They loved it! We also do one using multiplication.
  • One activity that went over pretty well with my class was putting fractions in order. After completing a lesson on comparing fractions, each student was given a fraction on a 3x5 card and asked to tape it to their chest. Then they were instructed to line up in order from greatest to least. After they had completed the task, after much deliberation, I informed them of the correct order. They did pretty well considering there were fifteen students.
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  • Another thing I did was draw fractions number lines (about seven inches long) on a piece of paper, one under another with enough space between lines so my students could label the points. The first line was not divided. The points were labeled 0 and 1. The second line was divided into halves. The students labeled the points on the line 0/2, 1/2, and 2/2. The third line was divided into thirds. The students labeled the points 0/3, 1/3, 2/3, 3/3. You probably get the idea. The remaining lines were divided into fourths, fifths, sixths, eighths, tenths, and twelfths, and the points were labeled. (It is very...
  • I created an interactive fraction number line from 0 to 2 on my wall. I have about 40 fraction cards with different fractions and I have students take turns putting the cards on the number line. They get the chance to see that some of the fractions are equivelent to others.
  • Well, you are not alone. Fractions lessons sometimes need repeating over and over until they understand the CONCEPTS. Try giving them a mnemonic device to help them remember what to do. My kids decided to use GCF as Greatest Calories n Fat so that's why you REDUCE!! This just helped them to know when to use the GCF but it still needs lots of practice. Also, do a lot of hands-on activities that show equivalency in fractions. Make fraction strips using construction paper, and the kids can show all the equivalent fractions by matching up the strips. Or try the pizza fraction pieces that you can buy. I believe that it just takes lots of fun practice as well as drills on the procedures. Take your time and don't rush through it or you'll be sorry to see that they won't remember any of it by Christmas!!
  • Make up index cards before hand. Group them in 3's (.25 on one card, 1/4 on another, 25% on the third) make up however many sets of three you need to give a card to each of the students in your class. Once the cards have been shuffled, pass one to each student. Have them find their 'family' WITHOUT MAKING A SOUND. When .20, 1/5 and 20% find each other they have to put their cards on a large number line in the front of the class. It's a great way to get them all involved, and gets them up and around the classroom.
  • I also have my student play Fraction Tic Tac Toe, on a 4 x 4 grid filled with halves, fourths, and eighths. They have to make a whole with 3 fractions in a row. They love it!!! I'm not sure where the gamesheet come from, but I am sure you can make your own.
Virginia Meadow

Diigo Tutorials - 4 views

  • Diigo Tutorials Last edited September 19, 2008 More by Cliotech - Jennifer Dorman »
  • #6: Hate photocopying and assembling bulky, wasteful handouts? Save time and money. Just tag the pages, including highlights and notes, you want to include, then quickly Extract all the information under that tag. Give students CDs containing copies of the HTML file which has links to all the original pages and includes highlighted passages and your notes, or print copies as you need them. Watch this demo to see how it's done.
    • Donna Lacon
       
      Teacher uses for instruction
  • #11: Whether you write a blog for colleagues or to keep your students infromed, Diigo offers several useful features. You can blog directly from the Diigo toolbar, with a link to the page you're writing about as well as your highlights and notes already added to the post. Diigo will also send a linkroll of resources you've saved directly to your blog with no extra effort on your part.
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  • As you build your lesson plan, tag each resource by unit or by week, highlight passages you want to draw students' attention to, and add your own notes to guide them. You can also 'chain' resources by simply adding a link to the next page at the bottom of each note. Diigo's flexibility gives you freedom to use just the structure that is right for your needs and the needs of your classes.
  • Keep up with changes, and always offer your students the latest, most accurate information. By finding frequently updated academic or educational sites on the Web, you can provide them with the most current and relevant material. All you need to do is delete links that have become useless, add the new ones you want, and when you extract the entire topic everything will be up to date.
  • Share anything you find with a colleague, including your highlights and notes, even if they don't use Diigo. Simply use the Forward feature, and Diigo will send anyone you choose a link to the original page along with the text you highlighted, your notes, and any comments you choose to add. All with no cutting, pasting, or going to another window to compose an e-mail.
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    Jennifer Dorman's Google Notebook listing Diigo Tutorials. Jennifer if obviously deep into diigo and generously sharing her resources in the best web 2.0 tradition. Check out the list of twelve uses for diigo at the bottom of the page! (I'll highlight a few.)
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    How to get access to this demo?
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    tutorials for diigo
Sharin Tebo

JOLT - Journal of Online Learning and Teaching - 62 views

  • All of them responded that Twitter allows them to build connections with educators beyond those in their immediate vicinity. These connections are purposefully made as a way to find and share resources and to provide and receive support. For example, Participant 8 stated, “My primary purpose is to connect with other teachers, so that I can learn from them and share resources that I find.” Similarly, Participant 9 wrote, “I am the only biology teacher at my school. I use it [Twitter] as a means of obtaining advice, resources and collaboration…I also use it to find out about new tech tools.”
  • Twitter has helped me to build a strong professional reputation
  • they follow educators. They also follow content experts and others who share professional interests.
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  • Participants explained that they choose to follow people who are open, positive, and constructive.
  • “If their tweets seem to be of interest - providing ideas or resources, as opposed to just opinion - I will network with them.” Similarly, Participant 6 stated, “I look for people who interact and don't just post links.”
  • those they trust
  • Since Twitter is considered to be a social networking website, one aspect of this study looked at dialogue that transpired between followers to show evidence of collaborative conversations rather than unidirectional sharing of information.
  • Survey results show that nine out of ten of the respondents were able to give concrete examples of collaboration that occurred with fellow Twitter users.
  • These examples included ideas such as creating units, sharing of resources, students collaborating on projects between classrooms, exchanging professional materials and readings, writing book chapters, and even co-presenting at conferences.
  • beyond 140-character messages. That teachers moved discussions to forums that allow for deeper discussion and expansion of ideas is encouraging; Twitter does not seem to be a place to collaborate in depth, but rather to make those initial connections - a "jumping off" point.
  • how using Twitter has benefited them professionally. Four unique themes emerged from their responses: Access to resources Supportive relationships Increased leadership capacity Development of a professional vision
  • practical resources and ideas as a benefit.
  • opportunities for them to take leadership roles in developing professional development, organizing conferences, publishing, and grant writing.
  • This research study provides new insight into how teachers use social networking sites such as Twitter for professional purposes.
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    Impacts of Twitter on professional lives
Megan Reif

Elections and Events 1811-1849 - The Library - 11 views

    • Megan Reif
       
      NOTE: 1849 has information primarily from 1839 except first highlighted yellow section
  • Indirect elections are “in use between 1840 and 1872.  Indirect elections enhanced the political power of the hacendados, because voting districts often coincided directly with the boundaries of haciendas.  The first stage of an indirect election, when voters gathered to choose electors, occurred in the cantones, the administrative sub-units of a municipality.  Cantones often were made up of nothing more than one or two haciendas, giving landowners a clear advantage to control the selection of electores.  Above and beyond all other aspects of the electoral system, the oral vote [in use until 1950] insured the predominance of patron-client relations” (pages 65-66).  Describes process for recording oral votes.  “Throughout the nineteenth century, national politics followed to a great extent the rise and fall of alliances between departmental networks.  For instance, in the mid 1840s San Vicente and San Miguel were allied against Sonsonate and San Salvador” (page 163).
  • o Vasconcelos “al término de su gestión promovió su reelección, para lo cual reformó la Constitución el 9 de marzo de 1849.  Deseaba otro mandato constitucional de dos años para reconstruir Centroamérica.  Francisco Dueñas y el Coronel Nicolás Angulo se opusieron a esta reforma, alegando que se quebrantaba el ordenamiento constitucional” (page 140). Figeac 1938:  “Don Doroteo Vasconcelos se portó a la altura del deber patriótico en el primer período de su Administración, pero cometió un grave e imperdonable error:  permitió que lo reeligieran para un segundo período presidencial.  La Constitución Política entonces vigente, prohibía en su artículo 44 la reelección del presidente de la República, y para dar el paso apuntado se dispuso la reforma [de 9 de marzo de 1849 de la Cámara de Senadores]” (page 171). Leistenschneider 1980:  “En marzo de 1849 la Asamblea Legislativa reforma el Art. 44 de la Constitución Nacional, el cual fijaba el período presidencial para dos años, prohibiendo la reelección; la reforma permite la reelección de Presidente por una sola vez” (page 88). Monterey 1978:  Marzo 17, 1849—“La Asamblea Legislativa…convoca a los pueblos a elecciones de Presidente del Estado, Diputados y Senadores” (page 85). December Monterey 1978:  Diciembre 1849—“Se efectúan en el Estado de El Salvador las elecciones de Autoridades Superiores; fué reelecto el Presidente don Doroteo Vasconcelos” (page 93).  “Se presentaron como principales candidatos a la Presidencia de la República, los señores Doroteo Vasconcelos y Lic. Francisco Dueñas” (page 94). El SalvadorAcronyms1811-18491850-18991900-19341935-19691970-19791980-19891990-19992000-2009More than one electionSources UC San Diego 9500 Gilman Dr. La Jolla,
D. S. Koelling

Embracing the Cloud: Caveat Professor - The Digital Campus - The Chronicle of Higher Ed... - 37 views

  • My work as chief privacy and security officer at a large public university has, however, given me pause to ask if our posture toward risk prevents us from fully embracing technology at a moment of profound change.
  • Consequently, faculty members are accepting major personal and institutional risk by using such third-party services without any institutional endorsement or support. How we provide those services requires a nuanced view of risk and goes to the heart of our willingness to trust our own faculty and staff members.
  • The technologically savvy among us recognize that hard physical, virtual, and legal boundaries actually demark this world of aggressively competitive commercial entities. Our students, faculty, and staff often do not.
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  • But can we embrace the cloud? Can the faculty member who wears our institution's name in her title and e-mail address, to whom we've entrusted the academic and research mission of the institution, be trusted to reach into the cloud and pluck what she believes is the optimal tool to achieve her pedagogical aims and use it? Unfortunately, no. Many faculty and staff members simply use whatever service they choose, but they often do not have the knowledge or experience needed to evaluate those choices. And those who do try to work through the institution soon find themselves mired in bureaucracy.
  • First we review the company's terms of service. Of course, we also ask the company for any information it can provide on its internal data security and privacy practices. Our purchasing unit rewrites the agreement to include all of the state-required procurement language; we also add our standard contract language on data security. All of this information is fed into some sort of risk assessment of varying degrees of formality, depending on the situation, and, frankly, the urgency. That leads to yet another round of modifications to the agreement, negotiations with the company, and, finally, if successful, circulation for signatures. After which we usually exhume the corpse of the long-deceased faculty member and give him approval to use the service in his class. We go through this process not from misguided love of bureaucracy, but because our institutions know of no other way to manage risk. That is, we have failed to transform ourselves so we can thrive and compete in the 21st century.
  • But our faculty and staff are increasingly voting with their feet—they're more interested in the elegance, portability, and integration of commercial offerings, despite the inability to control how those programs change over time. By insisting on remaining with homegrown solutions, we are failing to fall in lockstep with those we support.
  • Data security? Of course there are plenty of fly-by-night operations with terrible security practices. However, as the infrastructure market has matured (one of the generally unrecognized benefits of cloud services), more and more small companies can provide assurances of data security that would shame many of us even at large research-intensive institutions.
  • If higher education is to break free of the ossified practices of the past, we must find ways to transfer risk acceptance into the faculty domain—that is, to enable faculty to accept risk. Such a transformation is beyond the ability of the IT department alone—it will require our campus officials, faculty senates, registrars, and research and compliance officers working together to deeply understand both the risks and the benefits
Amy Roediger

Reading Strategies for 'Informational Text' - NYTimes.com - 172 views

  • Four Corners and Anticipation Guides:Both of these techniques “activate schema” by asking students to react in some way to a series of controversial statements about a topic they are about to study. In Four Corners, students move around the room to show their degree of agreement or disagreement with various statements — about, for instance, the health risks of tanning, or the purpose of college, or dystopian teen literature. An anticipation guide does the same thing, though generally students simply react in writing to a list of statements on a handout. In this warm-up to a lesson on some of the controversies currently raging over school reform, students can use the statements we provide in either of these ways.
  • Gallery Walks:A rich way to build background on a topic at the beginning of a unit (or showcase learning at the end), Gallery Walks for this purpose are usually teacher-created collections of images, articles, maps, quotations, graphs and other written and visual texts that can immerse students in information about a broad subject. Students circulate through the gallery, reading, writing and talking about what they see.
  • Graphic Organizers:
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  • Making Text-to-Text/Text-to-Self/Text-to-World connectionsCharting Debatable IssuesListing Facts/Questions/ResponsesIdentifying Cause and EffectSupporting Opinions With FactsTracking The Five W’s and an HIdentifying Multiple Points of ViewIdentifying a Problem and SolutionComparing With a Venn Diagram
  • The One-Pager:Almost any student can find a “way in” with this strategy, which involves reacting to a text by creating one page that shows an illustration, question and quote that sum up some key aspect of what a student learned.
  • “Popcorn Reads”:Invite students to choose significant words, phrases or whole sentences from a text or texts to read aloud in random fashion, without explanation. Though this may sound pointless until you try it, it is an excellent way for students to “hear” some of the high points or themes of a text emerge, and has the added benefit of being an activity any reader can participate in easily.
  • Illustrations:Have students create illustrations for texts they’re reading, either in the margins as they go along, or after they’ve finished. The point of the exercise is not, of course, to create beautiful drawings, but to help them understand and retain the information they learn.
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    Update | Feb. 2012: We'll be exploring the new Common Core State Standards, and how teaching with The Times can address them, through a series of blog posts. You can find them all here, tagged "the NYT and the CCSS."
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    A good list of reading strategies for informational text from the New York Times.
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
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