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David Hochheiser

Let's Go Back to Grouping Students by Ability - Barry Garelick - The Atlantic - 3 views

www.theatlantic.com/...274362

tracking atlantic

shared by David Hochheiser on 30 Mar 13 - No Cached
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      Terribly generalized.  
  • treated accordingly.
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      Mistreated accordingly.
  • ...22 more annotations...
  • Students were tracked into the various curricula based largely on IQ but sometimes other factors such as race and skin color.
  • public schools have done away with "tracking"
  • deemed low achievers or of low cognitive ability?
  • Jonathan Kozol brought accusations against a system they found racist and sadistic.
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      He condemns a lot more than the eduction system.  His approach to reform is much more like Finland's, holistic.
  • to restore equity to
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      As if it ever existed?!
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      This is an essential issue.  Are we doing it well?
  • Kozol and others did not go away, and the progressive watchword in education has continued to be "equality."
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      I never knew that equality had such a nasty undertone to it.
  • -- a practice viewed by many in the education establishment as synonymous with tracking
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      It is "tracking." I'm not sure what his point is here.
  • Unfortunately, the efforts and philosophies of otherwise well-meaning individuals have attempted to eliminate the achievement gap by eliminating achievement.
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      Again, a nasty generalization.  Not only that, but the following practices he cites aren't products of heterogeneous grouping.  
  • In other words, the elimination of ability grouping has become a tracking system in itself that leaves many students behind.
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      Now he's just not making sense.
  • Dallas Independent School District
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      Ed research from Texas??  They want to teach evolution in science classes.
  • The rise of computer-aided learning might make it easier for them to instruct students who learn at different rates.
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      Is this a for or against grouping statement?
  • this enables students placed in lower-ability classes to advance to higher-ability classes based on their performance and progress.
    • David Hochheiser
      David Hochheiser on 30 Mar 13
       
      Practices do not support this assertion.  Upward trajectory is very limited.
  • David Hochheiser on 30 Mar 13
     
    "Mark Bowden on Being in the Slow Kids' Class"
Teresa Ilgunas

Free Technology for Teachers: 5 Things We Can do to Prepare Students to Work Independently - 171 views

www.freetech4teachers.com/...an-do-to-prepare-students.html

free technology teachers independentwork

shared by Teresa Ilgunas on 23 Feb 16 - No Cached
  • Teresa Ilgunas on 23 Feb 16
     
    "Stop and think, can these tools help my students learn, work, and thrive in a constantly changing world?"
Ed Webb

The Scarlet "P" | TechTicker - 0 views

techticker.net/...the-scarlet-p

opinion edtech pedagogy

shared by Ed Webb on 23 Feb 09 - Cached
  • To me “sound pedagogy” isn’t a guarded gateway through which all things must pass before becoming true learning, it’s an ideal that should permeate and inform everything.
    • Ed Webb
      Ed Webb on 23 Feb 09
       
      nicely put!
  • the perpetual conflict between the educational technology unit and the learning and teaching unit
  • The educational technologist are seen to be tech-obsessed, light on pedagogy and prone to obscure abbreviations; while the academics are stereotyped as waffley anti-technologists with a love of chalk-and-talk. Adding to this complexity, each sphere tends to be characterised by a distinct culture and common language. Often times the divisions are so clearly delineated that, despite units merging on paper, the two spheres operate largely independently of one another.
  • ...1 more annotation...
  • We won’t always agree with one another, but once we start using language instead of hiding behind it we can begin to actually communicate.
Erin DeBell

Indirect Object Pronouns: Part Three - 0 views

www.studyspanish.com/...iopro3.htm

shared by Erin DeBell on 17 Jul 11 - No Cached
    • Erin DeBell
      Erin DeBell on 17 Jul 11
       
      SCROLL DOWN FOR AN IMPORTANT RULE FOR SENTENCES WITH MULTIPLE VERBS (BACK TO BACK VERBS)
  • When a sentence has two verbs, the first verb is conjugated and the second verb remains in the infinitive form.
  • Puedo pagar
  • ...10 more annotations...
  • prefiere hablar
  • In sentences with two verbs, there are two options regarding the placement of the indirect object pronoun.
  • Here are examples of the indirect object pronoun placed before the conjugated verb:
  • Here are examples of the indirect object pronoun attached directly to the infinitive:
  • Here are the two methods side by side. Neither method is "better" than the other.
  • you must learn to recognize whole groups of words, rather than inspecting each word independently.
  • Your success in being able to recognize these groups is largely dependent upon having learned previous material -- namely verb conjugation.
  • You need to be able to quickly recognize a conjugated verb and an infinitive. You need to automatically recognize "necesito comprar" as "I need to buy."
  • If you can do that, it is just one small step to recognize "te necesito comprar" as "I need to buy for you." From there, the final step is easy: "Te necesito comprar un regalo."
    • Erin DeBell
      Erin DeBell on 17 Jul 11
       
      How quickly are you able to recognize and produce conjugations of key verbs?  Most students are not as confident with conjugation as they should be when they start studying object pronouns.  No wonder it does not come easy!  Want to fix this?   Visit this link to practice conjugating common irregular verbs in the present tense.  If you like it, keep practicing all the other tenses you need to know!
    • Erin DeBell
      Erin DeBell on 17 Jul 11
       
      http://conjuguemos.com/home/docs/nologin/spanish_verbs_verbs_6.html This link also includes regular verbs, FYI.  Follow the link and click START to begin!
meghankelly492

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

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • 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
  • ...39 more annotations...
  • 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."
ivan alba

WatchKnowLearn - Videos educativos gratuitos para estudiantes de nivel preescolar, prim... - 9 views

watchknowlearn.org

learning education videos videotutoriales

shared by ivan alba on 26 Jan 12 - No Cached
  • Kenneth Camp on 26 Jan 12
     
    Free K-12 educational videos … organized. Tens of thousands of excellent, educational videos in a huge, intuitive directory. Organized, reviewed, rated, and described by teachers. Ideal as a supplement to a curriculum or for independent study. Designed for teachers, students, parents, homeschoolers, educators … and all life-long learners!
Michael Sheehan

Must See History Themed Music Videos - 110 views

seekoutlearning.blogspot.com/...istorythemed-music-videos.html

learning music videos declaration of independence Suffrage

shared by Michael Sheehan on 04 Dec 13 - No Cached
  • Michael Sheehan on 04 Dec 13
     
    The best history themed music videos I have ever seen!
D. S. Koelling

Views: What's High School For? - Inside Higher Ed - 35 views

www.insidehighered.com/...sharfman

dual enrollment concurrent enrollment

shared by D. S. Koelling on 04 Jan 11 - No Cached
  • In theory, dual enrollment enables high school students to accrue college credits for very little cost and imbues them with a sense of confidence that they can complete college work. If students can succeed in college classes while still in high school, conventional wisdom holds, they will be more likely to matriculate at the postsecondary level.
  • In reality, though, dual enrollment may do more harm than good.
  • The problem is that high school is not college and completion of a dual enrollment high school class is not always a guarantee that students have learned the material.
  • ...6 more annotations...
  • As a result, classes that used to be termed “college-prep” are now seen as college proper.
  • In practice, however, courses covered in a high school setting on a high school calendar are often vastly different in practice.
  • This is not a criticism of high school teachers. Many are excellent educators and care deeply about students. But they often teach more classes than college faculty do, have myriad extracurricular responsibilities, and lack the requisite training that enables college faculty to introduce best practices in the field. In contrast, college faculty members expect a higher level of work from students, including having them study independently, write in the discipline and be exposed to the latest research. They are less likely to offer extra credit, or evaluate students based on an inflated high school norm.
  • High school students, especially sophomores and juniors, are not like college students. A collection of 15-, 16-, and 17-year-olds are normally at a different stage of intellectual and moral development than are college students. Treating a high school student like a college student does not always do them a favor.
  • This student, as a sophomore in high school, earned a “C” in a “college” English course, which exempts her from our basic English 111 College Writing class. Even though her ACT score indicates her writing skills are deficient, we are limited in what we can do. Like many students who have already passed a “college” class, she thinks she already has the necessary writing skills to be successful in college. We know she very likely does not. Our willingness to increase student access by accepting transfer credit means that, without taking this student’s credits away, we cannot help her with her writing. Instead, by virtue of an average performance as a high school sophomore, this student will be placed into college classes for which she is unprepared.
  • Most colleges willingly accept credits from like institutions because we trust that our courses are equivalent and that our faculty are credentialed. I doubt that same trust applies to high schools. The best service a high school can provide is to prepare students for college, not substitute for it.
  • D. S. Koelling on 04 Jan 11
     
    High school dual enrollment programs may not be helping students succeed in college.
m101poe

SSD - 13 views

www.lesd.k12.az.us/...resources.cfm

resources tools

shared by m101poe on 04 Aug 17 - No Cached
    • m101poe
      m101poe on 04 Aug 17
       
      Sometimes we forget as teachers how important this is.
  • Data suggest that phonological awareness is closely associated with productive phonological ability especially in regard to pseudoword, sentence-word and word-phoneme segmentation tasks that are independent of mental age and educational experiences
    • m101poe
      m101poe on 04 Aug 17
       
      These are truly awesome!!!! Eventhough I'm not a Language Implementor, that doesn't mean I can't use things like this to aid in my students learning.
  • ...1 more annotation...
  • atypical production of speech sounds characterized by substitutions, omissions, additions or distortions that may interfere with intelligibility
  • m101poe on 04 Aug 17
     
    Classroom interventions for Articulation
Chad Evans

Response: Advice From The "Book Whisperer," Ed Week Readers & Me About Teaching Reading... - 1 views

blogs.edweek.org/...me_about_teaching_reading.html

shared by Chad Evans on 09 Mar 12 - No Cached
    • Chad Evans
      Chad Evans on 09 Mar 12
       
      Highlighting text is really easy with Diigo. And adding a sticky note is very simple is well. It can be made private or shared with groups of people who are working with the same document
  • Other ways I encourage these kinds of discussions includes having students choose their own groupings and books for independent book "clubs" and using the Web as a vehicle to create audio and/or video "book trailers."
    • Chad Evans
      Chad Evans on 09 Mar 12
       
      From a technology end, our kids are beginning to do more and more with tools like voicethread, animoto, imovie, etc. Digital storytelling is a great way for students to be creative, share insights and show what they know and can do. 
  • ...6 more annotations...
  • One facet of our reading instruction that cannot be overlooked is the importance of teacher readers in building a classroom reading community. According to Morrison, Jacobs, and Swinyard (1999), "perhaps the most influential teacher behavior to influence students' literacy development is personal reading, both in and out of school."
    • Chad Evans
      Chad Evans on 09 Mar 12
       
      I wonder how open ALL teachers are about what they are reading? How much conversation do teachers as a whole have about what they are reading? 
  • If we don't read, why should our students?
  • Share your reading life with your students. Show your students what reading adds to your life. If you are reading a nonfiction book at the moment, tell them what you are learning. Pass the children's books you are reading to them when you are done. Describe the funny, sad, or interesting moments in the books you read. When you read something challenging, talk with your students about how you work through difficult text. It will surprise them that you find reading hard at times, too, but choose to read, anyway.
  • Many students in today's world do not read books outside of school. When they do read, it is text-messages, web pages or homework assignments. For students who did not grow up in homes with books, with adults who read and who read to them, this time to read in school is both necessary and pleasurable. Many of my students need catch-up time when it comes to "hours-in" reading. The 10 minutes at the beginning of each period that I allow my juniors each day equals hours of reading across the months of the school year. My most dedicated readers begin books in the classroom, finish them at home, and return to the classroom/school library to check out new books.
    • Chad Evans
      Chad Evans on 09 Mar 12
       
      This is an important distinction in that I believe (and research indicates) that our kids ARE reading more than ever before. But it comes in non-traditional forms. We must acknowledge that web based reading is still reading, but it differs. Research also indicates that when kids read digitally, they read in a different pattern. In traditional reading, they read in a z pattern down a page. Digital reading is more of an F pattern,indicating skim and scan. 
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