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meghankelly492

Deep Listening to the Musical World: EBSCOhost - 1 views

  • Deep-listening experiences, wrapped in a pedagogy of music listening, take students far beyond the surface of their barely noticeable surround-sound environment and into the nature of music and its workings.
  • Attentive-listening experiences occur when teachers point out specified points of focus, put questions or challenges to the listeners, or merge graphics or visuals with the sound experience itself. Graphs or maps of particular musical features can be helpful, since visual cues may enhance listening. Teachers can provide diagrams of the contours of the melody or depict rhythmic components of a piece through iconic symbols-staff notation, splotches of color, or geometric shapes, for example. Instruments, real or illustrated, can focus student attention on their entrance or continuing presence in the music.
  • Engaged listening invites listeners to enter into the groove or the flow of the music, pick a part to contribute, and consequently feel more involved in the music. A phenomenon of "participatory consciousness"[ 5] unfolds as engaged listeners find their place in the music, find something in the music to hang on to (a melody, a pulse, an ostinato, a groove), and select a contribution to make back to the music. In this way, they connect with the music, joining the recorded musicians and their live participant-colleagues in a musical team.
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  • 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.
Allison Mimms

Differentiating Instruction with Technology - 111 views

  • instructionalstrategies
  • 1.Recognizing similarities and differences
  • Graphic organizers such as the Venn diagram and Comparison matrix
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  • Represent similarities and differences in graphic or symbolic form
  • Sorting, classifying, using metaphors and analogies
  • Word processing tables (Word software)
  • Web-based/downloadable graphic organizers
  • Inspiration and Kidspiration software
  • Beginning, middle, end
  • Clarifying information
  • Teacher-prepared and student-prepared comments
  • Webbing
  • Cornell Note-taking Forms
  • Inspiration and Kidspiration software
  • NoteStar
  • Read•Write•Think Notetaker
  • Word processing notes (Word software
  • 5.Nonlinguistic representations:
  • Creating graphic representations
  • Drawing pictures and pictographsEngaging in kinesthetic activityGenerating mental picturesMaking physical models
  • Digital camerasGraph Club softwareInspiration and Kidspiration softwareKid Pix software
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    This is from a website that explains why differentiating instruction is important. It also includes ways to incorporate technology in the classroom to help differentiate lessons.
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