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to understand better how expectations operate as a cultural force in learning groups, we have to make a distinction between two types of expectations: directives and beliefs.

very clear standards for students about points, grades, and keeping score, one sees a belief that school is about work and that students must be coerced or bribed into learning through the use of grades

one sees the belief that learning algebra is primarily about acquiring knowledge of procedures rather than developing understanding, and that memorization and practice are the most effective tools for that job. This theory of action, “One learns through memorization and practice,” made it hard for Karen to bring out and facilitate students’ thinking. Instead, thinking existed as an add-on to the regular rhythm of the class, something she did as an “extra” to the regular work of the class. Through her strong focus on grades and passing the course, even if one is “no good at mathematics,” Karen sent the message that our abilities are largely fixed and that “getting by” was all that some could hope to accomplish. One might not understand algebra, but with effort one could at least pass the course. Finally, in her efforts to promote order and control, certainly worthwhile and important goals in any classroom, Karen tilted the balance toward students’ becoming passive learners who were dependent on her.

The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.

However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity

The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.

treated accordingly.

Students can build their blogging “skill set”.

It doesn't solve anything. It is a great first step in reframing the role of the teacher in the classroom. It fosters the "guide on the side" mentality and role, rather than that of the "sage of the stage." It helps move a classroom culture towards student construction of knowledge rather than the teacher having to tell the knowledge to students.

We must first focus on creating the engagement and then look at structures, like the flipped classroom, that can support.

If the flipped classroom is truly to become innovative, then it must be paired with transparent and/or embedded reason to know the content.