That's why so many of us have to seek out PD opportunities both on and offline on our own time, past the meetings and opportunities provided by our school.
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The 8 Minutes That Matter Most | Edutopia - 79 views
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I start my English classes with "Observations". Students can state anything they have observed since the last class (as long as it's appropriate). We then explore how the observation can be used in writing. Not just as plot/narrative, but any aspect of English- as a metaphor, a character note- whatever we want to emphasize, and that the observation suggests. It not only gets kids past writer's block, but it promotes a mindset of finding the unique in the ordinary.
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5 Great Teachers On What Makes A Great Teacher : NPR Ed : NPR - 78 views
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I know I'm going to get pushback on this, but I think one of the major problems we face in cultivating great teachers is that we don't pay enough attention, especially in K-12, to the learning of the teacher.
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Personal Passion Project - Reflections After Eight Years - 38 views
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For the past eight years students in Year Six at Redlands have participated in a Personal Passion Project during Term Four. It is a way to finish their time in Junior School with a project that connects their passion with all they have learned about managing inquiry/design based projects to that point.
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Homage or Theft? A Closer Look at the 'Blurred Lines' Verdict - Law Blog - WSJ - 18 views
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A federal jury in Los Angeles on Tuesday ordered singers Robin Thicke and Pharrell Williams to pay about $7.4 million to the family of Marvin Gaye, after finding the duo’s 2013 hit song “Blurred Lines” copied parts of Mr. Gaye’s “Got to Give it Up.”
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only to compare “Blurred Lines” to the sheet music composition of “Got to Give it Up.” So the jury only heard a stripped down version of Mr. Gaye’s song, with his lyrics over a bass line and keyboards.
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substantial copying
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From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world. Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
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Use extreme caution when referencing your forebears in song (without first getting permission, of course)
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From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world. Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
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It will cause people who want to want to evoke the past to perhaps refrain from doing so
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From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world. Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
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a step backward
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From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world. Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
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New Blog Series: Promising Policies for Personalized Learning - iNACOL - 15 views
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How might policymakers remove barriers and support enabling conditions for optimizing learning for each student’s unique needs — both inside and outside of classroom walls?
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Personalized learning is tailoring learning for each student’s strengths, needs and interests — including enabling student voice and choice in what, how, when and where they learn — to provide flexibility and supports to ensure mastery of the highest standards possible.
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According to this RAND study, students attending schools using breakthrough, personalized learning models “made gains in mathematics and reading over the past two years that were significantly greater than a comparison group made up of similar students selected from comparable schools.”
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Build educator capacity and professional judgement in calibration on assessing evidence on common performance tasks
Analyzing the History of the Bicycle: A Prezi DBQ » Copy / Paste by Peter Pappas - 7 views
www.peterpappas.com/...history-bicycle-prezi-dbq.html
domains of learning DBQ prezi teaching learning authentic
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Will Richardson: My Kids are Illiterate. Most Likely, Yours Are Too - 10 views
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I wonder if most parents (and even some teachers) even know what this means. Sometimes I think we are too entrenched in old-school ways of thinking students need to know and love classics instead of understanding how literature is a reflection of the times and using the classics as mentor pieces for creating something which reflects here and now!
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kids need to be in systems that care for them and are focused on literacy they will need to be successful in their lives instead of being focused primarily on standardizing their way to "high student achievement" based on a metric that is growing less and less relevant each day
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I'm mad that the "big" conversations around "reform" in education right now all revolve around basically doing what we've been doing for the past 100 years only "better," and that we'll get there by incentivizing teachers to teach for a test.
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How To Make The Most Of Your 10 Minutes With The Teacher - 30 views
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So you finally get the chance to meet one-on-one with your child's teacher - now what? Like a good Scout, be prepared: Educators agree that doing your homework before a parent-teacher conference can make a big difference. The Harvard Family Research Project's Tip Sheet for Parents suggests reviewing your child's work, grades and past teacher feedback.
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shared by Nigel Coutts on 17 Dec 14
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Creativity in Science and Technology - 59 views
thelearnersway.net/...n-science-and-technology-crest
resources science technology education creativity
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Sobering Finds in Most Comprehensive Study Ever on Antarctic Ice Loss - 7 views
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Scientists are calling it the most complete picture ever of ice loss on the southern continent.
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Antarctica was melting at a steady rate — one-fifth of a millimeter per year — before 2012, when the rate suddenly tripled and stayed at that pace. The current melt rate is now faster than at any time over the past quarter century.
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Their findings showed that the decisions we make over the next decade will determine whether or not Earth is locked into an additional 3 feet of sea level rise.
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shared by N Carroll on 01 Mar 11
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18 Literacy Strategies for Struggling Readers - Defining, Summarizing and Comparing - C... - 289 views
peterpappas.blogs.com/...ing-summarizing-comparing.html
literacy reading strategies comprehension resources summarizing
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Three Reasons Students Should Own Your Classroom's Twitter and Instagram Accounts - EdS... - 51 views
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According to educators Joe Sanfelippo and Tony Sinanis, branding can be defined as “the marking practice of creating a name, symbol or design that identifies and differentiates a product from other products.” Within the past few years, this idea of branding our schools/classrooms has become extremely valuable, as it promotes transparency by painting an accurate, live picture of what is taking place. Yet, in reality, the majority of the time the educators are the ones telling these stories. While this certainly has its place, ultimately what matters most is how students feel about their experiences. Social media has allowed my students to share our classroom happenings through their eyes. It has allowed my students the opportunity to both establish and share the culture of our classroom and our school, and ultimately create our “brand”.
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#1 new release: THE FEEDBACK FIX - 9 views
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What happens when our feedback describes a future people can change, not a past they can't? Find out in THE FEEDBACK FIX, #1 new release from Rowman & Littlefield. Watch the trailer, get the book, and spread the word! Order here: http://amzn.to/2nzgFvV
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shared by Margaret FalerSweany on 19 Sep 14
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Text to Text | 'The Giver' and 'The Dark Side of Young Adult Fiction' - NYTimes.com - 59 views
learning.blogs.nytimes.com/...rk-side-of-young-adult-fiction
The Giver Lois Lawry dystopian literature
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ideas for connecting it to a larger discussion about the popularity of dystopian literature, as well as options for going further
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In this forum, seven experts discuss the questions, Why do bestselling young adult novels seem darker in theme now than in past years? What’s behind this dystopian trend, and why is there so much demand for it?
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The Plagiarism Checker in Education ~ Educational Technology - 308 views
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Gun Culture Is My Culture. And I Fear for What It Has Become. - The New York Times - 15 views
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What I was doing was perfectly legal. In North Carolina, long-gun transfers by private sellers require no background checks.
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We don’t touch the guns or draw them from their holsters. They are unseen and unspoken of, but always there.
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I didn’t know what I was doing, but I knew the rules: Always assume a firearm is loaded. Always keep the gun pointed in a safe direction. Know your target and what’s beyond it.
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or my family, guns had always been a means of putting food on the table. My father never owned a handgun. He kept nothing for home defense.
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In the end, what happened was swept under the rug. My parents said the school was probably trying to keep the story off the news.
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I pushed friends behind the brick foundation of a house as a shootout erupted over pills. There were times when someone could have easily been shot and killed.
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I found a community that reminded me of my grandmother, where folks still kept big gardens and canned the vegetables they grew. They still filled the freezer with meat taken by rod and rifle — trout and turkey, dove and rabbit, deer, bear, anything in season.
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A few weeks later, the boy took that .30-30 lever action into the field and killed his first deer with it — the same as his uncle, his grandfather and great-grandfather.
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There is a sadness that only hunters know, a moment when lament overshadows any desire for celebration
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I asked if there was anything I could’ve done differently to make him more comfortable when he first approached the truck.
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versed and that young black state trooper with braces had been behind the wheel, a white trooper cautiously approaching the car.
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I’ve witnessed how quickly a moment can turn to a matter of life and death. I live in a region where 911 calls might not bring blue lights for an hour. Whether it’s preparation or paranoia, I plan for worst-case scenarios and trust no one but myself for my survival.
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they own them because they’re fun at the range and affordable to shoot. They use the rifles for punching paper, a few for shooting coyotes. E
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step as close to Title II of the federal Gun Control Act as legally possible without the red tape and paperwork. They fire bullets into Tannerite targets that blow pumpkins into the sky.
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None of them see a connection between the weapons they own and the shootings at Sandy Hook, San Bernardino, Aurora, Orlando, Las Vegas, Parkland. They see mug shots of James Holmes, Omar Mateen, Stephen Paddock, Nikolas Cruz — “crazier than a shithouse rat,” they say. “If it hadn’t been that rifle, he’d have done it with something else.”
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They fear that what starts as an assault-weapons ban will snowball into an attack on everything in the safe.
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I think about that boy picking up that AR in Cabela’s, and I’m torn between the culture I grew up with and how that culture has devolved.
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changes I know must come, changes to what types of firearms line the shelves and to the background checks and ownership requirements needed to carry one out the door.
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a subsistence culture already threatened by the loss of public land, rising costs and a widening rural-urban divide; the right of individuals to protect their own lives and the lives of their families.
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Despite everything we have in common, despite the fact that he’s my best friend and we were going squirrel hunting in a few days, the two of us fundamentally disagree
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there were kids on the television in the background, high school survivors who were willing to say what we are not, and I was ashamed.
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ne of those pretty, late-winter days with bluebird skies when the trees are still naked on the mountains and you can see every shadow and contour of the landscape.
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I know that part of what they’re missing or refusing to acknowledge is how fear ushered in this shift in gun culture over the past two decades.
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Fear is the factor no one wants to address — fear of criminals, fear of terrorists, fear of the government’s turning tyrannical and, perhaps more than anything else, fear of one another.
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I recognize this, because I recognize my own and I recognize that despite all I know and believe I can’t seem to overcome it.
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I have no visions of being a hero. Instead, I find myself looking for where I’d run, asking myself what I would get behind. The gun is the last resort. It’s the final option when all else is exhausted.
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we walked, I could feel the pistol holstered on my side, the weight of my gun tugging at my belt. The fear was lessened by knowing that there was a round chambered, that all it would take is the downward push of a safety and the short pull of a trigger for that bullet to breathe. I felt safer knowing that gun was there.
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Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views
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"Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
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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
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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.
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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
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Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
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raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
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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.
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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.
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I need . . . to become involved, to come into a state where I do something without knowing why I do i
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This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
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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
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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
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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
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Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
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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."
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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.
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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.
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Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
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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.
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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.
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Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
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Furthermore, for some composers the musical influence can emerge from the development of computer technology.
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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.
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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.
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After all, the creative process is an elusive cultural activity with no recipes for making it happen.
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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
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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.
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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.
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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
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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.
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Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
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n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
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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
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By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
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which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
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. 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.
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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
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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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Music performance skills: A two-pronged approach - facilitating optimal music performan... - 1 views
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The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
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The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
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Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
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There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners
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Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
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“when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
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Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin & Osorio, 2016).
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However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
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Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
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Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
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These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
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Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
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This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark & Williamon, 2011; Hoffman & Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
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Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
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The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
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Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
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“Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
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Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
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Cohen, S., & Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
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Mental skills for musicians: Managing music performance anxiety and enhancing performance. - 1 views
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In asurvey of 2,212 classical musicians, 40% re-ported that anxiety interfered with their perfor-mances (Kirchner, Bloom, & Skutnick–Henley,
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Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)
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did notreturn any recent studies investigating the effec-tiveness of a purely cognitive intervention in thetreatment of MPA; consequently, research inthis particular area is needed
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Past re-search has focused on combined interventions;however, often these programs run for over 6weeks and it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)
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State–Trait Anxiety Inventory (STAI).The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale(Kenny, 2006).
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The PAI (Nagel, Himle, & Papsdorf, 1981) isbased on the STAI and is a music inventoryassessing the three-systems model of anxiety
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Signs of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating.
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Nagel et al.reported that the average preintervention scorewas 55 and the average postintervention scorewas 38, with a score of 39 or less indicating a
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Researchers have found that MPA af-fects instrumentalists and vocalists of all agesand abilities, including students, professionals,amateurs, and children (Brotons, 1994; Kenny,2006; Liston, Frost, & Mohr, 2003)
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Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)
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Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987
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The cognitive intervention had no significanteffect on anxiety levels. Sweeney and Horan’s(1982) study indicated that a cognitive restruc-turing program may be helpful in the treatmentof MPA; their program, featuring cognitive re-structuring, significantly reduced anxiety.
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d it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)
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igns of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating
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Participants were then taught howthoughts, behaviors, and feelings interact andinfluence performance
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practical exercise, how people waste their en-ergy trying to control uncontrollable factors,thereby impairing performance
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This exercise wasdesigned to demonstrate how thoughts cansometimes be irrational and can be changed inlight of new evidence
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Participants practiced how to identify negativethoughts, stop the thoughts, and use cues to helpthem overcome the negative thoughts.
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Imagery is a mentalexercise that can help athletes maintain concen-tration, decrease anxiety, and improve confi-dence; thus, it may also be helpful for somemusicians (Gregg & Clark, 2007).
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Participants in the wait-list controlgroup waited 3 weeks until their second perfor-mance, which was on the same night as theirfirst worksho
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MPA is a pervasive problem affecting musi-cians of all ages and abilities. As compared withthe research on mental skills training in athletes,relatively little is known about the assessment,treatment, and theoretical underpinnings ofMPA
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Kenny (2006) suggested that improving perfor-mance quality will have a positive, self-reinforcing effect on the musician and enhanceconfidence in future performances.
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We predicted that anxiety levels would de-crease in the treatment group from pre- to post-test. This hypothesis was partially supported.Specifically, there was a significant reductionon the PAI in the treatment group. Although theparticipants improved after the intervention,they were still not within the optimal rangeaccording to Nagel et al. (1981
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Although the decrease in anxiety was notas large in our study, our participants droppedfrom the high performance anxiety category tothe moderate performance anxiety category