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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

Early EFL: Leahn is located in Spain, where she works as a freelance language assistant teacher and as a teacher trainer in workshops for primary and secondary school teachers.

Box of Chocolates: Join this EFL teacher from Recife, Brazil, who is very passionate about teaching

Neslihan Durmusoglu: This blog reflects on the world of EFL and about being a 21st-century learner and teacher.

Is there a model out there, or an institution/student mix that could effectively utilize MOOCs in such a way as to get around this flaw? It’s hard to tell. Recent articles on Inside Higher Ed have suggested that distance education providers (like the University of Maryland’s University College – UMUC) may opt to certify the MOOCs that come out of these elite schools and bake them into their own online programs. Others suggest that MOOCs could be certified by other schools and embedded in prior learning portfolios.

The fatal flaw that I referred to earlier is pretty apparent:  the very notions of "mass, open" and selectivity just don’t lend themselves to a workable model that benefits both institutions and students. Our higher education system needs MOOCs to provide credentials in order for students to find it worthwhile to invest the effort, yet colleges can’t afford to provide MOOC credentials without sacrificing prestige, giving up control of the quality of the students who take their courses and running the risk of eventually diluting the value of their education brand in the eyes of the labor market.

In other words, as economists tell us, students themselves are an important input to education. The fact that no school uses a lottery system to determine who gets in means that determining who gets in matters a great deal to these schools, because it helps them control quality and head off the adverse effects of unqualified students either dropping out or performing poorly in career positions. For individual institutions, obtaining high quality inputs works to optimize the school’s objective function, which is maximizing prestige.

The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).

In other words, authenticity lies within the perceptions of the individual.

Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.