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Continuously upgrade educators' classroom technology skills as a pre-requisite of "highly effective" teaching

Home Advocacy Top Ten in '10: ISTE's Education Technology Priorities for 2010 Through a common focus on boosting student achievement and closing the achievement gap, policymakers and educators alike are now reiterating their commitment to the sorts of programs and instructional efforts that can have maximum effect on instruction and student outcomes. This commitment requires a keen understanding of both past accomplishment and strategies for future success. Regardless of the specific improvement paths a state or school district may chart, the use of technology in teaching and learning is non-negotiable if we are to make real and lasting change.  With growing anticipation for Race to the Top (RttT) and Investing in Innovation (i3) awards in 2010, states and school districts are seeing increased attention on educational improvement, backed by financial support through these grants. As we think about plans for the future, the International Society for Technology in Education (ISTE) has identified 10 priorities essential for making good on this commitment in 2010: 1. Establish technology in education as the backbone of school improvement . To truly improve our schools for the long term and ensure that all students are equipped with the knowledge and skills necessary to achieve in the 21st century, education technology must permeate every corner of the learning process. From years of research, we know that technology can serve as a primary driver for systemic school improvement, including school leadership, an improved learning culture and excellence in professional practice. We must ensure that technology is at the foundation of current education reform efforts, and is explicit and clear in its role, mission, and expected impact. 2. Leverage education technology as a gateway for college and career readiness . Last year, President Obama established a national goal of producing the highest percentage of college graduates in the world by the year 2020. To achieve this goal in the next 10 years, we must embrace new instructional approaches that both increase the college-going rates and the high school graduation rates. By effectively engaging learning through technology, teachers can demonstrate the relevance of 21st century education, keeping more children in the pipeline as they pursue a rigorous, interesting and pertinent PK-12 public education. 3. Ensure technology expertise is infused throughout our schools and classrooms.  In addition to providing all teachers with digital tools and content we must ensure technology experts are integrated throughout all schools, particularly as we increase focus and priority on STEM (science-technology-engineering-mathematics) instruction and expand distance and online learning opportunities for students. Just as we prioritize reading and math experts, so too must we place a premium on technology experts who can help the entire school maximize its resources and opportunities. To support these experts, as well as all educators who integrate technology into the overall curriculum, we must substantially increase our support for the federal Enhancing Education Through Technology (EETT) program.  EETT provides critical support for on-going professional development, implementation of data-driven decision-making, personalized learning opportunities, and increased parental involvement. EETT should be increased to $500 million in FY2011. 4. Continuously upgrade educators' classroom technology skills as a pre-requisite of "highly effective" teaching . As part of our nation's continued push to ensure every classroom is led by a qualified, highly effective teacher, we must commit that all P-12 educators have the skills to use modern information tools and digital content to support student learning in content areas and for student assessment. Effective teachers in the 21st Century should be, by definition, technologically savvy teachers. 5. Invest in pre-service education technology

subjecting us to pop quizzes, cold calls, and pedagogical tactics that during an in-the-flesh seminar would have taken precious minutes of class time to arrange.

felt decidedly unlike a normal classroom. For one thing, it was exhausting: a continuous period of forced engagement, with no relief in the form of time when my attention could flag

One educational psychologist, Ludy Benjamin, likens lectures to Velveeta cheese—something lots of people consume but no one considers either delicious or nourishing.)

adically remake one of the most sclerotic sectors of the U.S. economy, one so shielded from the need for improvement that its biggest innovation in the past 30 years has been to double its costs and hire more administrators at higher salaries.

past half millennium, the technology of learning has hardly budge

Lectures are banned

attending class on Apple laptops

Lectures, Kosslyn says, are cost-effective but pedagogically unsound. “A great way to teach, but a terrible way to learn.”

Minerva boast is that it will strip the university experience down to the aspects that are shown to contribute directly to student learning. Lectures, gone. Tenure, gone. Gothic architecture, football, ivy crawling up the walls—gone, gone, gone.

“Your cash cow is the lecture, and the lecture is over,” he told a gathering of deans. “The lecture model ... will be obliterated.”

when you have a noncurated academic experience, you effectively don’t get educated.

Liberal-arts education is about developing the intellectual capacity of the individual, and learning to be a productive member of society. And you cannot do that without a curriculum.”

“The freshman year [as taught at traditional schools] should not exist,” Nelson says, suggesting that MOOCs can teach the basics. “Do your freshman year at home.”) Instead, Minerva’s first-year classes are designed to inculcate what Nelson calls “habits of mind” and “foundational concepts,” which are the basis for all sound systematic thought. In a science class, for example, students should develop a deep understanding of the need for controlled experiments. In a humanities class, they need to learn the classical techniques of rhetoric and develop basic persuasive skills. The curriculum then builds from that foundation.

What, he asks, does it mean to be educated?

methods will be tested against scientifically determined best practices

Subsidies, Nelson says, encourage universities to enroll even students who aren’t likely to thrive, and to raise tuition, since federal money is pegged to costs.

We have numerous sound, reproducible experiments that tell us how people learn, and what teachers can do to improve learning.” Some of the studies are ancient, by the standards of scientific research—and yet their lessons are almost wholly ignored.

memory of material is enhanced by “deep” cognitive tasks

he found the man’s view of education, in a word, faith-based

ask a student to explain a concept she has been studying, the very act of articulating it seems to lodge it in her memory. Forcing students to guess the answer to a problem, and to discuss their answers in small groups, seems to make them understand the problem better—even if they guess wrong.

e traditional concept of “cognitive styles”—visual versus aural learners, those who learn by doing versus those who learn by studying—is muddled and wrong.

Professors are able to sort students instantly, and by many metrics, for small-group work—

a pop quiz at the beginning of a class and (if the students are warned in advance) another one at a random moment later in the class greatly increases the durability of what is learned.

he could have alerted colleagues to best practices, but they most likely would have ignored them. “The classroom time is theirs, and it is sacrosanct,

I couldn’t wait for Minerva’s wrecking ball to demolish the ivory tower.

The MOOCs will eventually make lectures obsolete.”

Minerva’s model, Nelson says, will flourish in part because it will exploit free online content, rather than trying to compete with it, as traditional universities do.

The MOOCs will eventually make lectures obsolete.”

certain functions of universities have simply become less relevant as information has become more ubiquitous

Minerva challenges the field to return to first principles.

MOOCs will continue to get better, until eventually no one will pay Duke or Johns Hopkins for the possibility of a good lecture, when Coursera offers a reliably great one, with hundreds of thousands of five-star ratings, for free.

It took deep concentration,” he said. “It’s not some lecture class where you can just click ‘record’ on your tape.”

part of the process of education happens not just through good pedagogy but by having students in places where they see the scholars working and plying their trades.”

“hydraulic metaphor” of education—the idea that the main task of education is to increase the flow of knowledge into the student—an “old fallacy.”

I remembered what I was like as a teenager headed off to college, so ignorant of what college was and what it could be, and so reliant on the college itself to provide what I’d need in order to get a good education.

it is designed to convey not just information, as most MOOCs seem to, but whole mental tool kits that help students become morethoughtful citizens.

for all the high-minded talk of liberal education— of lighting fires and raising thoughtful citizens—is really just a credential, or an entry point to an old-boys network that gets you your first job and your first lunch with the machers at your alumni club.

professors and students increasingly separated geographically, mediated through technology that alters the nature of the student-teacher relationship

The idea that college will in two decades look exactly as it does today increasingly sounds like the forlorn, fingers-crossed hope of a higher-education dinosaur that retirement comes before extinction.

Tucker believes that teachers should be paid more — though not exorbitantly. But making teacher education more rigorous — and imbuing the profession with more status — is just as important. “Other countries have raised their standards for getting into teachers’ colleges,” he told me. “We need to do the same.”

High-performing countries don’t abandon teacher standards. On the contrary. Teachers who feel part of a collaborative effort are far more willing to be evaluated for their job performance — just like any other professional. It should also be noted that none of the best-performing countries rely as heavily as the U.S. does on the blunt instrument of standardized tests. That is yet another lesson we have failed to learn.

Of course, schools and classroom practices need to be current -- what teacher or district leader would say that we should continue to teach the way we did back in the "good ol' days?" Can you show me a successful organization or business that prides itself on keeping things exactly the way they were?

We need to believe the adults delivering education services are capable of being innovative, adaptive and collaborative and welcome being accountable for student outcomes. Then we need to invest in this belief by providing both the professional development and the infrastructure to make this belief a reality for all students and all teachers.

Ultimately, it is about delivering core education in today's world by today's standards of success.

I believe this is the basic approach: Education needs to be more relevant and rigorous for students. Educational institutions need to be more engaging and empowering for teachers. A high school diploma needs to be more directly applicable and valued in the economy. These are attainable goals; all education investments should be measured against these objectives.

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.

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."

the best device a school can roll out is a teacher who can adapt to new and emerging technologies, does not always require formal training for learning and staying current, and is not tethered to a product (PowerPoint) in order to teach.

At last count, the site had 2,700 audio and video lectures from more than 25 universities; 268 audio books; and 105 e-books. Dr. Colman says he looks for lectures that "take ideas and make them come to life." And so you can learn 37 languages on Open Culture, or stream Jane Austen audio books, Hitchcock films and a John Hopkins biology lecture.

Why pay for test prep? M.I.T. OpenCourseWare has culled introductory courses in physics, calculus and biology, along with problem sets and labs, to help students prep for the Advanced Placement exams. (Not to miss an opportunity, there’s a link to the admissions office.)

The demand for more evidence-based demonstration that the methods of teaching and learning are working will continue to intensify

What is that vision now, in the 21st century? For me, it's the notion that education can be tailored and customized for every single individual

The danger is that we will concentrate exclusively on finding ways to refine the current system and we will lose the opportunity to reimagine higher education for this century, this economy, and this technology. We will miss the opportunity to redefine education for a world in which access to information, networks, and computation is ubiquitous

where does the responsibility lay on education organizations to guide kids in an environment (even facebook, youtube, twitter, gaming)where they are spending so much time?