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Lucas Cittadino

World Class - What is World Class? - 42 views

www.bbc.co.uk/15335556

free education interactive flat global

shared by Lucas Cittadino on 29 Nov 11 - No Cached
  • BBC World Class helps UK schools to twin with schools around the globe as part of its educational legacy for the 2012 Olympics. Our mission is to support teachers in developing school-to-school partnerships, encouraging pupils to share creative work inspired by the Olympics. World Class encourages and helps children and schools get their stories on-air and online across the BBC. We provide the inspiration and resources to help teachers bring their projects to life through reports, blogs and features. Schools can also use our wealth of assembly resources - film clips, scripts and discussion ideas - on topics inspired both by the Olympics and international stories. The Schools World Service provides stories every month for schools to share. We work in partnership with the British Council and other organisations outside the BBC which facilitate school twinning. BBC World Class offers support and advice to help schools twin successfully.
Don Doehla

Français interactif - 80 views

www.laits.utexas.edu/home

french language resources education français fle langue française

shared by Don Doehla on 13 Dec 11 - No Cached
  • Martin Burrett on 13 Dec 11
     
    A superb complete course for beginners of French language. Find a complete PDF textbook, videos and much more to get you started in no time. http://ictmagic.wikispaces.com/Languages%2C+Culture+%26+International+Projects
  • Don Doehla on 19 May 13
     
    Le Français interactif est une méthode pour le FLE
Roland O'Daniel

Ending America's 'race to the bottom' - International Herald Tribune - 0 views

www.iht.com/...ededucation.php

IHT opinion education

shared by Roland O'Daniel on 14 Mar 09 - Cached
  • sophisticated examinations that better measure problem-solving and critical thinking.
    • Ed Webb
      Ed Webb on 14 Mar 09
       
      Good. Devil in the detail, as always, of course.
    • Roland O'Daniel
      Roland O'Daniel on 15 Mar 09
       
      Interestingly, KY is looking to get rid of their sophisticated examinations because of political pressure, lack of comparibility, and $. In the 90s KY was a leader in attempting to change assessment and accountability, but for a plethora of reasons has fallen back in line. Not trying to be negative, but recognize the difficulty in the challenge and hope he's up to it.
  • Once charter schools have opened, it becomes politically difficult to close them, even in cases where they are bad or worse than their traditional counterparts.
    • Roland O'Daniel
      Roland O'Daniel on 15 Mar 09
       
      Ed, great example of how not to structure the change. Open more charter schools, make them have a 5 year evaluation plan, have an accountability plan in place that allows the school to stay true to their ideal, make changes that they feel will help them achieve their goals, even allow them additional time if results warrant, and then HOLD THEM ACCOUNTABLE. If they can't show they haven't at least held their own, then close them, but make that part of the evaluation plan from the beginning. The rub of that plan is that you can't hold them accountable at a level that you aren't going to hold everybody else to. What about traditional schools that aren't working, what do you do with those schools? Isn't that one of the big knocks on NCLB that they are 'being taken over' because of some testing system?
  • Congress will need to broaden and sustain those reforms in the upcoming reauthorization of the No Child Left Behind Act.
    • Ed Webb
      Ed Webb on 14 Mar 09
       
      Why reauthorize? Why not tear it up and write something better?
    • Roland O'Daniel
      Roland O'Daniel on 15 Mar 09
       
      I disagree with tearing it up and starting over, isn't that what we do in education? Try something it doesn't work (for lots of reasons, including lack of implementation), and move on to the next shiny thing. Why not analyze the program, identify the aspects that have shown efficacy, identify the aspects that haven't achieved their goals, make changes that are informed and researchable, put them in place and hold people accountable for implementing. I think NCLB was well intentioned and represented the best thinking of a group of people (in education as in many areas i don't think you can say it represents the best thinking of everyone). I just don't like the idea of letting everyone off the hook by starting over. I believe it reinforces the concept that I don't have to worry about this project because it too will pass.
Cindy Edwards

TypeIt - Type accent marks, diacritics and foreign letters online - 64 views

www.typeit.org

Languages

shared by Cindy Edwards on 12 Mar 10 - Cached
  • Maureen Chertow Miller on 12 Mar 10
     
    Type in any language, copy and paste to any document.
  • Martin Burrett on 11 Jul 11
     
    A useful site that helps with characters and symbols in European languages not usually found on an English keyboard. http://ictmagic.wikispaces.com/Languages,+Culture+&+International+Projects
  • Cindy Edwards on 26 Jun 13
     
    Having trouble typing in a foreign language? Try typeit.  You can cut and paste into a word document, also.
Kalin Wilburn

Forvo: the pronunciation guide. All the words in the world pronounced by native speakers - 55 views

www.forvo.com

pronunciation language audio dictionary languages words forvo

shared by Kalin Wilburn on 27 May 10 - Cached
  • Martin Burrett on 10 Sep 11
     
    The thing that worries most non-specialists teaching language is pronouncing words correctly from a book. This is where Forvo is is priceless. Native speaker users and the site itself have uploaded audio clips of word for us non native speakers to copy. The site has 250+ languages uploaded. I tested the Mandarin section, as I understand that, and it was faultless. An amazing resource. http://ictmagic.wikispaces.com/Languages%2C+Culture+%26+International+Projects
Tricia Hunt

lingro: The coolest dictionary known to hombre! - 85 views

lingro.com

dictionary Technology assistivetecchnology

shared by Tricia Hunt on 20 Jul 11 - Cached
    • Tricia Hunt
      Tricia Hunt on 15 Aug 13
       
      Lingro is really cool.  It takes any website or highlighted piece of text and makes every single word clickable.  Once you click on the word, it will tel you the definition in more than 11 lanugages!
  • Martin Burrett on 20 Jul 11
     
    A nice multilingual dictionary and translation site. Lots of extra tools, such as a website translator and file viewer. http://ictmagic.wikispaces.com/Languages,+Culture+&+International+Projects
  • Michele Brown on 05 Jun 12
     
    The coolest dictionary known to hombre!  Creates an interactive dictionary from what you are reading, text or web.  It remembers all the words you look up so that you can review later.
  • Stacy Olson on 12 Dec 12
     
    An online dictionary and translator - view on webpage through their web page viewer and every word becomes clickable to see a definition
onepulledthread

Duolingo | Learn Spanish, French, German, Portuguese, Italian and English for free - 85 views

duolingo.com

language crowdsourcing duolingo translation education

shared by onepulledthread on 16 Mar 12 - No Cached
  • Martin Burrett on 16 Mar 12
     
    This site looks amazing and a clever way of using the power of crowd sourcing to translate the web. Translate text into another language to learn Spanish, German, French, Italian and Chinese. The text is levelled to your ability. http://ictmagic.wikispaces.com/Languages%2C+Culture+%26+International+Projects
  • ...2 more comments...
  • Marc Patton on 28 Sep 12
     
    With Duolingo you learn a language for free
    while helping to translate the web
  • Stacy Olson on 10 Apr 13
     
    Online program for learning a new language or ESL students - haven't quite figured out if there is a cost...
  • Profe Harper on 12 Apr 13
     
    I have been using Duolingo since November and is it fantastic. Not only is it free, but the system works. I am studying German and Spanish and I am amazed at not only how much I have learned, but how much I have retained.
  • onepulledthread on 25 Apr 13
     
    free resource using crowd sourcing to promote translation of web resources and chance to practice learning a new language.  worth exploring
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."
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