Group items tagged

solve problems like those faced by people in the world outside of school (

eal-world processes, tasks and tools, and performance standards,

address a need in their school or community

own concerns, interests, cultures,

Student Voice & Choice

Students can have input and (some) control over many aspects of a project, from the questions they generate, to the resources they will use to find answers to their questions, to the tasks and roles they will take on as team members, to the products they will create

Reflection

We do not learn from experience. We learn from reflecting on experience.

Critique & Revision

ddition to peers and teachers, outside adults and experts can also contribute to the critique process, bringing an authentic, real-world point of view.

product” can be a tangible thing, or it can be a presentation of a solution to a problem or answer to a driving question.

resent or display their work to an audience beyond the classroom, the performance bar raises, since no one wants to look bad in public

aking student work public is an effective way to communicate with parents, community members, and the wider world about what PBL is and what it does for students.

people need to be able to think critically and solve problems,

Reach out when students appear to be struggling.

Use online learning to reach a more diverse group of learners.

Put a spotlight on interpersonal communications.

strong collaboration between students, teachers and parents.

. The discussions are asynchronous, so students can share their input when it best suits them.

Outline the virtual school's objectives and goals early in the game.

discipline, commitment, and organization are key traits for any successful student,

four- to five-day orientation course

The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.

Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.

Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.