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Sharin Tebo

4 Steps to Empower Student Voice | The Remind Blog - 39 views

blog.remind.com/empower-student-voice

voice student instructional personalizedlearning personalized

shared by Sharin Tebo on 05 Nov 14 - No Cached
  • The term “student voice” refers to the input and perspectives of students, and describes how their voices and actions affect what happens in the classroom. Through developing their own questions, seeking out their interests, and driving their own learning, students become more involved in their education. With this involvement comes empowerment, as students are able to use their knowledge to contribute to the greater community.
  • 1. Inclusion When students feel that they matter and are included in the classroom community, they are much more likely to open up and share their perspectives.
  • 2. Integration Begin to integrate student voice into your daily lessons by creating more opportunities for students to contribute. This can come in the form of whole classroom discussion, small group activities, input on writing activities, and more
  • ...3 more annotations...
  • At the transformational level, teachers can draw on student input to shape curricular goals for the class.
  • Student empowerment enables students to use their knowledge to contribute to the classroom and greater outside community. When students feel comfortable sharing their voices, they grow into positions of leadership.
  • Resources Encourage student voice in your classroom and school community with some of these helpful resources: Student Voice: Student Voice has toolkit filled with classroom resources, student voice stories, and more that will allow you to transform your classroom into one where students can thrive. Edutopia: Check out some of these great articles and resources for highlighting student voice in your classroom. Students at the Center: Motivation, engagement, and student voice activities. MindShift KQED: From student voices, learn what students say about being trusted partners in learning.
  • Sharin Tebo on 05 Nov 14
     
    Voice and Choice--Encouraging it in 4 steps to personalize the learning experience.
Has Slone

Always Write: Cobett's "7 Elements of a Differentiated Writing Lesson" Resources - 10 views

www.corbettharrison.com/seven_elements.htm

shared by Has Slone on 09 Apr 12 - No Cached
    • Has Slone
      Has Slone on 09 Apr 12
       
      This is a neat way to start a writing class with the creating plot ideas....
  • One of the goals I ask teachers to set after my training is to find new ways to push students to analyze and evaluate as they learn to write.
  • As part of my teacher workshop on the writing process, we investigate multiple uses of student samples. One of my favorite techniques involves having student compare and contrast finished pieces of writing. During both pre-writing and and revision, this push for deeper student thinking both educates and inspires your students.
  • ...30 more annotations...
  • The handout has student writers analyze two fifth graders' published writing with a compare and contrast Venn diagram.
  • Revision is hard, and most teachers recognize it as an area of deficiency; the truth is, a lot of really great writing teachers I know still freely admit that revision is where they struggle the most.
  • revision shouldn't be the first of the seven elements to work on
  • When students like what they've written in rough draft form, they're ready to move to revision. My other six elements aim at helping students increase their pre-writing time so they both like and see more potential in their rough drafts
  • I believe in the power of collaboration and study teams,
  • Professional development research clearly cites the study team model as the most effective way to have learners not only understand new ideas but also implement them enough times so they become regular tools in a teacher's classroom.
  • Below, find three examples created by study teams during past workshops. I use them as models/exemplars when I set the study teams off to work.
  • My students learn to appreciate the act of writing, and they see it as a valuable life-skill.
  • In a perfect world, following my workshop,
  • follow-up tools.
  • I also use variations of these Post-its during my Critical Thinking Using the Writing Traits Workshop.
  • By far, the best success I've ever had while teaching revision was the one I experienced with the revision Post-its I created for my students
  • During my teacher workshop on the writing process, we practice with tools like the Revision Sprint (at right), which I designed to push students to use analysis and evaluation skills as they looked at their own drafts
  • I used to throw my kids into writing response groups way too fast. They weren't ready to provide critical thought for one another
  • The most important trick learned was this: be a writer too. During my first five years of teaching, I had assigned a lot of writing but never once had I written something I intended to show my students.
  • I have the following interactive plot element generator (which can be replicated with three coffee cans and index cards) to help my students feel in control of their options:
  • If you want to hear my take on graphic organizers in detail, you're going to have to hire me to come to present to you. If you can't do that, then I'll throw you a challenge that was thrown once at me, and completing the challenge helped me become a smarter designer of graphic organizers. The challenge came in two parts: 1) learn how to use tables and text boxes in Microsoft Word; 2) for practice, design a graphic organizer that would help students be successfully with the following trait-based skills:
  • "It was the best of times, it was the worst of times, etc," which is an interesting structure that students can borrow from to write about other topics, be they fiction or non-fiction.
  • Asking students to create daily journals from the perspective of other animals or even inanimate objects is a great way to borrow this book's idea.
  • it challenges students to analyze the author's word choice & voice skills: specifically his use of verbs, subtle alliteration, and dialogue.
  • Mentor Text Resource Page here at my website, because this topic has become such a big piece of learning to me. It deserved its own webpage.
  • Here are seven skills I can easily list for the organization trait. Organization is: 1) using a strong lead or hook, 2) using a variety of transition words correctly, 3) paragraphing correctly, 4) pacing the writing, 5) sequencing events/ideas logically, 6) concluding the writing in a satisfying way, 7) titling the writing interestingly and so that the title stands for the whole idea. Over the years, I have developed or found and adapted mini-lessons that have students practice these skills during my "Organization Month."
  • Now, let's talk differentiation:
  • The problem with focusing students on a product--instead of the writing process--is that the majority of the instructional time is spent teaching students to adhere to a formula.
  • the goal of writing instruction absolutely should be the helping students practice the three Bloom's levels above apply: analyze, evaluate, and create.
  • Click here to access the PowerPoint I use during the goal-setting portion of my workshop.
  • Improving one's ability to teach writing to all students is a long-term professional development goal; sticking with it requires diligence, and it requires having a more specific goal than "I want to improve writing
  • "Trying to get better at all seven elements at once doesn't work;
  • strive to make my workshops more about "make and take,
  • Robert Marzano's research convinced me years ago of the importance of having learners set personal goals as they learn to take responsibility for their own learning.
tapiatanova

A Social Network Can Be a Learning Network - The Digital Campus - The Chronicle of High... - 98 views

chronicle.com/...129609

social network sociallearning Social Media learning education millenials socialnetworking socialbookmarking pln ple optometry

shared by tapiatanova on 08 Nov 11 - No Cached
Kate Pok liked it
  • Sharing student work on a course blog is an example of what Randall Bass and Heidi Elmendorf, of Georgetown University, call "social pedagogies." They define these as "design approaches for teaching and learning that engage students with what we might call an 'authentic audience' (other than the teacher), where the representation of knowledge for an audience is absolutely central to the construction of knowledge in a course."
    • trisha_poole
      trisha_poole on 08 Nov 11
       
      Very important - social pedagogies for authentic tasks - a key for integrating SNTs in the classroom.
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      Agreed, for connectivism see also www.connectivism.ca
  • External audiences certainly motivate students to do their best work. But students can also serve as their own authentic audience when asked to create meaningful work to share with one another.
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      The last sentence is especially important in institutional contexts where the staff voices their distrust against "open scholarship" (Weller 2011), web 2.0 and/or open education. Where "privacy" is deemed the most important thing in dealing with new technologies, advocates of an external audience have to be prepared for certain questions.
    • tapiatanova
      tapiatanova on 03 Jan 14
       
      yes! nothing but barriers! However, it is unclear if the worries about pravacy are in regards to students or is it instructors who fear teaching in the open. everyone cites FERPA and protection of student identities, but I have yet to hear any student refusing to work in the open...
  • Students most likely won't find this difficult. After all, you're asking them to surf the Web and tag pages they like. That's something they do via Facebook every day. By having them share course-related content with their peers in the class, however, you'll tap into their desires to be part of your course's learning community. And you might be surprised by the resources they find and share.
  • ...9 more annotations...
  • back-channel conversations
  • While keynote speakers and session leaders are speaking, audience members are sharing highlights, asking questions, and conversing with colleagues on Twitter
    • trisha_poole
      trisha_poole on 08 Nov 11
       
      An effective use of Twitter that can be translated to classrooms.
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      All classrooms?
    • John Dorn
      John Dorn on 09 Nov 11
       
      classrooms where students are motivated to learn. Will this work in a HS classroom where kids just view their phones as a means to check up on people? Maybe if they can see "cool" class could be if they were responsible for the freedoms that would be needed to use twitter or other similar sites.
  • Ask your students to create accounts on Twitter or some other back-channel tool and share ideas that occur to them in your course. You might give them specific assignments, as does the University of Connecticut's Margaret Rubega, who asks students in her ornithology class to tweet about birds they see. During a face-to-face class session, you could have students discuss their reading in small groups and share observations on the back channel. Or you could simply ask them to post a single question about the week's reading they would like to discuss.
  • A back channel provides students a way to stay connected to the course and their fellow students. Students are often able to integrate back channels into their daily lives, checking for and sending updates on their smartphones, for instance. That helps the class become more of a community and gives students another way to learn from each other.
  • Deep learning is hard work, and students need to be well motivated in order to pursue it. Extrinsic factors like grades aren't sufficient—they motivate competitive students toward strategic learning and risk-averse students to surface learning.
  • Social pedagogies provide a way to tap into a set of intrinsic motivations that we often overlook: people's desire to be part of a community and to share what they know with that community.
  • Online, social pedagogies can play an important role in creating such a community. These are strong motivators, and we can make use of them in the courses we teach.
  • The papers they wrote for my course weren't just academic exercises; they were authentic expressions of learning, open to the world as part of their "digital footprints."
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      Yes, but what is the relation between such writing and ("proper"?) academic writing?
  • Collaborative documents need not be text-based works. Sarah C. Stiles, a sociologist at Georgetown, has had her students create collaborative timelines showing the activities of characters in a text, using a presentation tool called Prezi.com. I used that tool to have my cryptography students create a map of the debate over security and privacy. They worked in small groups to brainstorm arguments, and contributed those arguments to a shared debate map synchronously during class.
  • Daniel Spielmann on 09 Nov 11
     
    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
  • John Dorn on 09 Nov 11
     
    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
  • tapiatanova on 03 Jan 14
     
    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
Nigel Coutts

Student voice, choice, agency, partnerships and participation - The Learner's Way - 13 views

thelearnersway.net/...partnerships-and-participation

education student voice learning agency partnerships participation choice

shared by Nigel Coutts on 15 Dec 19 - No Cached
  • Nigel Coutts on 15 Dec 19
     
    This week I joined with teachers, students, researchers and policy writers at Melbourne University to discuss student voice. This conference was hosted by Social Education Victoria and made possible by the conference partners, The University of Melbourne, Education and Training Victoria, Foundation for Young Australians and Connect. Over three days, participants engaged in rigorous dialogue about the significance of student voice and what is required to ensure its benefits are maximised for all.
Jennifer Diaz

13 Strategies to Improve Student Classroom Discussions - 149 views

www.weareteachers.com/...-student-classroom-discussions

6th grade Response to Literature Evidence student classroom strategies discussions

shared by Jennifer Diaz on 15 Nov 14 - No Cached
  • These 13-teacher and expert-tested strategies will strengthen your students' ability to find and use evidence from any text
  • Texts that inspire questions encourage students to return to the text and find support for their answers
  • starting with one overarching focus question
  • ...14 more annotations...
  • Require students to have evidence ready at the start of the discussion
  • "prove it"
  • evidence will actually open up a text to different interpretations
  • The challenge is getting students to expand and explain. To get students to explain why they choose a piece of evidence, provide them with a structure that moves from evidence to interpretation. Williams' students use a graphic organizer with three columns: They write their answer in the first column, note textual evidence in the second, and explain their evidence in the third.
    • Jennifer Diaz
      Jennifer Diaz on 15 Nov 14
       
      I want to do this!
  • Use sentence starters strategically
  • In the text ... the author mentions ...
  • the author uses this evidence to ... this lets us know that ...
  • Give students enough time to flip through and find just the right piece of evidence. If other students are getting antsy, choose one of your always-ready students to share, then loop back to the student who needed time with the text
    • Jennifer Diaz
      Jennifer Diaz on 15 Nov 14
       
      Good idea to keep the pace moving, while providing enough time to find better evidence.
    • deniseahlquist
      deniseahlquist on 17 Nov 14
       
      And if you encourage a collaborative atmosphere, having students ALL look for evidence related to each person's idea will mean they are all engaged in searching whenever anyone makes a claim. Either choose someone who has found it, or have them mark the page and keep searching for more evidence. Then have students ALL GO to the passage cited, so they can closely follow and respond with additional or conflicting evidence.
  • "Just because there's more than one right answer," says Riley, "doesn't mean there's no wrong answer."
    • deniseahlquist
      deniseahlquist on 17 Nov 14
       
      Part of what students do when they all look for evidence for each idea is to learn to weigh evidence for competing ideas and sift out "weaker" or unsupported answers from "stronger" claims. Brainstorming an idea that later doesn't pan out should not e seen as bad or wrong, but more accurately as the way idea-generating and sifting actually happens in many situations.
  • According to page
  • create an anchor chart
    • Jennifer Diaz
      Jennifer Diaz on 15 Nov 14
       
      Create and authentic anchor chart of student/teacher generated starters and prompts.
  • Listen for how students personalize the discussion, and encourage them to develop their own voice.
  • go back to the text
  • They answer the focus question a second time, explain whether or not they changed their answers, and reflect on how the evidence brought up during discussion impacted their thinking.
  • Jennifer Diaz on 15 Nov 14
     
    Great ideas for 6th grade response to literature discussion and writing.
  • Tanya Kolkema on 18 Nov 14
     
    I haven't taught sixth grade for 3 1/2 years now, but if I ever go back to ms, I'd incorporate this into my weekly plans. One way I get my second graders to grow their thinking is by having them respond to one another using the following prompts:  I agree with the part about…  Going back to what you said about…  One thing I noticed…  One thing I pictured…  It reminded me of…  I am not sure what you are saying. Could you say it in another way?  I agree with what you are saying because…  What you just said matches what is in my mind because…  I hear what you are saying, but I see it differently because…  If what you said is true, is it not also true that…  That is true, but… Or - That is true, and…  Could you say more?  Could you give me an example?  I would like to add on to what _________ said.  I have an example of what you just said.  I wonder why…  I was surprised to see…  Another thing that goes with that is…  So are you saying…
Katt Blackwell-Starnes

using diigo with students - 568 views

I'm interested to see where this conversation goes next. There's some great information and pointers here. Thanks for the blog link, Andy. I'll be keeping up with what you're writing. In just ove...

diigo students bookmarking

started by Andy Whiteway on 16 Mar 09 8 follow-ups, last by Katt Blackwell-Starnes on 11 Oct 09
Jeff Ferrell liked it
Roland Gesthuizen

How To Give Your Students a Voice; Advice From Someone Who Tries | Blogging Through the... - 85 views

pernillesripp.com/...-advice-from-someone-who-tries

howto advice voice classroom teaching studentvoice feedback assessment

shared by Roland Gesthuizen on 07 Sep 14 - No Cached
  • Roland Gesthuizen on 07 Sep 14
     
    "I often find myself discussing "Giving students a voice" in the classroom with people who wonder what I exactly mean.  Sure, giving someone a voice sounds great, but how do I know that I am doing that?  What can I do to do that?  What does it look like?  I am not an expert but here is what it looks like to me."
Roland Gesthuizen

How To Give Your Students a Voice; Advice From Someone Who Tries - 5 views

www.pernilleripp.com/...our-students-voice-advice.html

studentvoice students blog classroommanagement classroom

shared by Roland Gesthuizen on 19 Jun 13 - No Cached
Kelly Dau liked it
  • Roland Gesthuizen on 19 Jun 13
     
    "I often find myself discussing "Giving students a voice" in the classroom with people who wonder what I exactly mean.  Sure, giving someone a voice sounds great, but how do I know that I am doing that?  What can I do to do that?  What does it look like?  I am not an expert but here is what it looks like to me."
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."
anonymous

Rethinking the Way College Students Are Taught - 52 views

americanradioworks.publicradio.org/...rethinking-teaching.html

teaching learning Education pedagogy discussion effective_use_of_multiple_choice

shared by anonymous on 19 Dec 12 - No Cached
  • But here's the irony. "Mary is more likely to convince John than professor Mazur in front of the class," Mazur says. "She's only recently learned it and still has some feeling for the conceptual difficulties that she has whereas professor Mazur learned [the idea] such a long time ago that he can no longer understand why somebody has difficulty grasping it." That's the irony of becoming an expert in your field, Mazur says. "It becomes not easier to teach, it becomes harder to teach because you're unaware of the conceptual difficulties of a beginning learner."
  • To make sure his students are prepared, Mazur has set up a web-based monitoring system where everyone has to submit answers to questions about the reading prior to coming to class. The last question asks students to tell Mazur what confused them. He uses their answers to prepare a set of multiple-choice questions he uses during class.
  • Mazur begins class by giving a brief explanation of a concept he wants students to understand. Then he asks one of the multiple-choice questions. Students get a minute to think about the question on their own and then answer it using a mobile device that sends their answers to Mazur's laptop. Next, he asks the students to turn to the person sitting next to them and talk about the question. The class typically erupts in a cacophony of voices, as it did that first time he told students to talk to each other because he couldn't figure out what else to do. Once the students have discussed the question for a few minutes, Mazur instructs them to answer the question again.
  • ...7 more annotations...
    • anonymous
      anonymous on 05 Feb 13
       
      Why do we continue to do things the same way we always have and expect different results from what we have always gotten?
    • anonymous
      anonymous on 05 Feb 13
       
      How true this statement is!  If students want to learn, they are going to learn in spite of who the teacher is or what the teacher does - no teacher is really needed!
  • So Mazur gave what he thought was a thorough and thoughtful explanation of the concept. He went slowly, putting all kinds of helpful diagrams up on the board. "I thought I'd nailed it," he says. "I thought it was the best explanation one could possibly give of this question." Mazur triumphantly turned around. "Any questions?" he asked. The students just stared at him. "Nobody raised their hand and said, well but what if this and what if that, simply because they were so confused they couldn't," he says. "I didn't know what to do. But I knew one thing. I knew that 50 percent of the students had given the right answer."
    • anonymous
      anonymous on 05 Feb 13
       
      How many times have we done this when we are providing direct instructions to students and then felt frustration when we assess what they know?  ARGH!
    • anonymous
      anonymous on 05 Feb 13
       
      Watch this video!
    • anonymous
      anonymous on 05 Feb 13
       
      The same probably goes for info that is simply read and not annotated or discussed.  It is probably also true for info gained from a video or movie...
    • anonymous
      anonymous on 05 Feb 13
       
      This would be an effective use of Socrative or WallWisher!
Mr. Eason

Educational Leadership:Reading: The Core Skill:The Challenge of Challenging Text - 131 views

www.ascd.org/...lenge-of-Challenging-Text.aspx

teaching text complexity literacy

shared by Mr. Eason on 24 Mar 12 - No Cached
  • The new standards instead propose that teachers move students purposefully through increasingly complex text to build skill and stamina.
  • higher-order thinking in reading depends heavily on knowledge of word meanings.
  • Students' ability to comprehend a piece of text depends on the number of unfamiliar domain-specific words and new general academic terms they encounter.
  • ...16 more annotations...
  • If students are to interpret the meanings such complex sentence structures convey, they need to learn how to make sense of the conventions of text—phrasing, word order, punctuation, and language.
  • Students who are aware of the patterns authors use to communicate complex information have an advantage in making sense of text.
  • maintaining understanding across a text.
  • Students' background knowledge, including developmental, experiential, and cognitive factors, influences their ability to understand the explicit and inferential qualities of a text.
  • building skills, establishing purpose, and fostering motivation.
  • even students who have basic decoding skills sometimes struggle to deploy these skills easily and accurately enough to get a purchase on challenging text. To help these students develop reading fluency, teachers should give them lots of practice with reading the same text, as well as instruction to help them develop a stronger sense of where to pause in sentences, how to group words, and how their voices should rise or fall at various junctures when reading aloud.
  • A final determinant of text difficulty, however, depends on the reader's prior knowledge.
  • pair repeated readings of the same text with questions that require the student to read closely for detail and key ideas.
  • Ongoing, solid vocabulary instruction
  • also on general academic words.
  • also explore the connections among words,
  • In contrast, in reading history and literature, readers need to be concerned with not just the causes of events, but also the human intentions behind these causes.
  • teachers should not convey so much information that it spoils the reading or enables students to participate in class without completing the reading; rather, they should let students know what learning to expect from the reading.
  • Teachers may be tempted to try to make it easier for students by avoiding difficult texts. The problem is, easier work is less likely to make readers stronger.
  • You need to create successive successes.
  • Students experience success in the company of their teacher, who combines complex texts with effective instruction.
  • Christine Dailey on 24 Mar 12
     
    What makes text difficult and how to teach skills for successful comprehension.
Florence Dujardin

Burns - 37 views

www.aldinhe.ac.uk/...index.php

genre note-taking HE meaning-making

shared by Florence Dujardin on 24 Mar 10 - Cached
  • Florence Dujardin on 24 Mar 10
     
    This paper explores the role that notemaking strategies can play as part of an emancipatory pedagogy designed to empower students. We will argue that being taught active notemaking is fundamental in enabling students to use information with confidence and thus that notemaking allows students to gain a voice (Bowl, 2005; Burns et al., 2006) within their own education. Rather than taking a psychological approach to notemaking, we suggest that notemaking allows students to take ownership of ideas and concepts in powerful ways (Gibbs, 1994 cited Burns and Sinfield, 2004), ways that reinforce understanding and build knowledge. These processes and practices can essentially help students to learn what they want to learn - and, pragmatically, to write essays that are adequately researched and correctly referenced (Burns and Sinfield, 2004). The final focus will be on the collaborative development of NoteMaker, a Reusable Learning Object (RLO) designed for use across the university - and across the sector.
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

started by Jason Finley on 25 Oct 11 6 follow-ups, last by Jason Finley on 27 Oct 11
Nigel Coutts

Assessment and Student Agency - Better Together - The Learner's Way - 8 views

thelearnersway.net/...student-agency-better-together

assessment student agency learning education voice choice

shared by Nigel Coutts on 29 Dec 19 - No Cached
  • Nigel Coutts on 29 Dec 19
     
    As with many things in education, the outcome achieved will be a result of all that we do. Efforts to promote and empower student agency, voice and choice certainly falls into this category. We might have the best of intentions but unless each of our messaging systems align, we are unlikely to achieve success. So where do our efforts go wrong and what else might we change so that student agency is genuinely a part of our learning environment?
Randolph Hollingsworth

Mid-continent Research for Education and Learning - School Improvement Reform Report on... - 15 views

www.mcrel.org/...0887RR_Stupski_ped.pdf

professional development differentiated instruction role fluidity Stupski Foundation Education reform technology leadership

shared by Randolph Hollingsworth on 24 Oct 10 - No Cached
  • Randolph Hollingsworth on 24 Oct 10
     
    Stupski Fndtn staff + McREL researchers ask 2 questions: (1) How can teachers adapt the principles of effective pedagogy to differentiate instruction and meet the needs of all learners in order to help Our Kids be challened, motivated, and successful? (2) How can teachers create structured, challenging, yet nurturing classroom environments to ensure that Our Kids are engaged and successful learners? KEY FINDINGS: adaptive and differentiated instruction (theory and methodologies) in culturally relevant classroom that allows for student "role fluidity" + teacher skill in finding gaps in knowledge/skills + motivating students through engaging projects and targeted instruction (academically rigorous and nurturing) PLUS fac devt must be supported by and inclusive of school leadership. a Design Collaborative might act on 5 options: (1) Support teachers to better utilize methods and theories of culturally relevant pedagogy and differentiated instruction, (2) Implement a pedagogical program based on the notion of "role fluidity" to give students a central voice in the classroom, (3) Use technology to engage students and enhance pedagogy, (4) Guide teachers in creating academically rigorous and positive classroom learning environments, (5) Implement pedagogical programs based on developing higher order thinking and subject-specific skills. Report by Kerry Englert, Helen Apthorp, Matthew Seebaum. Dated Oct 2009
Deborah Baillesderr

Today's Featured Discussions | Youth Voices - 15 views

youthvoices.net

collaboration education social_networking youth YouthVoices technology

shared by Deborah Baillesderr on 10 Aug 15 - Cached
  • Deborah Baillesderr on 10 Aug 15
     
    Youth Voices is a vibrant home for young writers seeking an authentic audience and a space to publish writing across a wide range of genres. The site is essentially a social network, so students can easily align their interests and make meaningful connections with other young writers. Students touch on issues ranging from the environment and politics to personal narrative stories and video gaming. Some students also add multimedia components like video.
Donal O' Mahony

How will 100 Mbps broadband affect teaching and learning in Ireland's post-primary scho... - 7 views

donalomahony.edublogs.org/...-irelands-post-primary-schools

broadband teaching learning

shared by Donal O' Mahony on 26 May 13 - No Cached
  • Donal O' Mahony on 26 May 13
     
    Schools must regard 100Mbps Broadband not as an opportunity to do existing things faster, but to do new things altogether. These are things that some of our students are doing at home (and occasionally in school) - creating music, animations, sound, music, programming, curating, remixing - that should be given a voice and a place in our schools. this type of work will help support at least four of Hargreaves gateways: Learning to Learn, Assessment for Learning, New Technologies (ICT) and Student Voice.
Deborah Baillesderr

TodaysMeet - 41 views

todaysmeet.com

collaboration backchannel conversation todaysmeet tools

shared by Deborah Baillesderr on 16 Apr 14 - No Cached
  • Deborah Baillesderr on 16 Apr 14
     
    I have a few students who have a very difficult time asking questions and contributing to class discussions, so I thought I would try out a backchannel tool to help them find their voice. I was amazed at how much more these students participated during the lesson. I used this site, it was very easy to use and you don't have to sign-up for an account. Also, the students do not have to sign-in to the site, they just put in the class name I set up.
Amy Burns

Guide to Student-to-Student Teaching With Online Video | Edudemic - 55 views

www.edudemic.com/-student-teaching-online-video

guide teaching online online video video

shared by Amy Burns on 28 Jan 15 - No Cached
  • Amy Burns on 28 Jan 15
     
    Student voice!
Martin Burrett

What Makes Great Teaching? 6 Lessons from Learners by @Powley_R - 24 views

ukedchat.com/...what-makes-great-teaching

teaching

shared by Martin Burrett on 22 Jan 19 - No Cached
  • Martin Burrett on 22 Jan 19
     
    "At times, students' viewpoints need to be treated with caution.  In Do Learners Really Know Best? urban legends about learners as 'digital natives' and 'self-educators' are exploded, whilst Kirschner et al. argue, that students do not always prefer the most effective form of instruction.  Despite this, what struck me when reading the Sutton Trust's What Makes Great Teaching was the correlation to student's voice I had done with Year 10 students on their views of effective teaching."
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