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Tonya Thomas

Authoring Tools - The Mobile Learning Edge - 0 views

  • Udutu, a Canadian company, has a set of rich media interactive course development tools for creating courses on iPads and iPhones. Courses built with the Udutu authoring tool will play on iPads and iPhones because the interactions utilize DHTML or HTML5 as an option instead of Flash, and all the navigation and templates are HTML.
  • Articulate has several tools for publishing learning content to mobile devices, including Presenter ’09 and Screenr.
Matt Renwick

Why some schools are giving letter grades a fail - The Globe and Mail - 41 views

  • Instead of reporting to parents only two or three times a year, teachers began regularly communicating using an online student portfolio system called Fresh Grade.
  • ritish education researchers Paul Black and Dylan Wiliam published a widely-cited article demonstrating how increasing descriptive feedback raises student academic achievement
    • Matt Renwick
       
      Inside the Black Box
  • Instead of Ms. Samson telling students how they are doing, they are expected to articulate to her what they learned in class, how it relates to their learning goals and where they’re struggling.
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  • standardized tests don’t predict later life success such as employment and income level
  • Ms. Samson is still required to give students a letter grade at the end of each semester, but the letters have taken on a whole new meaning to her and her students.
  • The move away from grades matches a growing belief among employers that traditional assessment is not the best way to help students develop the skills they need to succeed in today’s world.
Wayne Holly

Rapid E-Learning Workshop: How to Create a Tabbed Notebook » The Rapid eLearn... - 84 views

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    The output of the workshop is an interactive tabbed notebook.
Jon Tanner

Is Brick & Mortar Education Going to be Left in the Dust by Online Learning &... - 52 views

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    "Cognitive theories of education that anchor approaches like Constructivism have been suggested as preferable approaches for many decades. Unfortunately traditional educational institutions, as well as certification bodies and most notably political administrations have long favored didactic instruction (basically drill and kill, lecture-centric approaches to education) because the results of these methods are far simpler to track and report. "
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    This quote explains what I've been trying to articulate for a while.
anonymous

5 Critical Mistakes Schools Make With iPads (And How To Correct Them) - From Tom on Edu... - 166 views

  • technology needs to be — above everything else — in the service of learning. Administrators who fail to articulate the connection between iPads and learning often hamper their iPad initiative.
    • anonymous
       
      Why Ipads
  • put the iPads in the hands of teachers who understand that active learners learn best
  • Focusing on iPad-versus.-laptop comparisons stifles the ability to see how the iPad facilitates student-centered learning
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  • Simply handing a teacher an iPad in advance won’t serve to address these challenges when the school year starts
  • Teachers need instruction on how to incorporate the devices into the learning process, which is quite different than trying out a few apps
  • School administrators should be explaining to their constituents that the iPad supports essential skill areas — complex communication, new media literacy, creativity, and self-directed learning. Instead of focusing on the convenience of ebooks, they should instead be emphasizing the incredibly immersive and active learning environment the iPad engenders and the unprecedented opportunities to develop personalized, student-centered learning. They should highlight some of the beneficial consumption, curation, and creativity activities the iPad facilitates — as well as the student empowerment it inspires.
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    "While we've witnessed many effective approaches to incorporating iPads successfully in the classroom, we're struck by the common mistakes many schools are making with iPads, mistakes that are in some cases crippling the success of these initiatives. We're sharing these common challenges with you, so your school doesn't have to make them. "
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    "While we've witnessed many effective approaches to incorporating iPads successfully in the classroom, we're struck by the common mistakes many schools are making with iPads, mistakes that are in some cases crippling the success of these initiatives. We're sharing these common challenges with you, so your school doesn't have to make them. "
Deborah Baillesderr

Quia - Class Page - SPEECHERSCLASS1 - 19 views

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    Click on a game and play it orally for speech practice. Many Java games will have four activities--flashcards, matching, concentration, and word search--involved! 
Lee-Anne Patterson

2¢ Worth » Method vs Approach - 1 views

  • how we use technology and how we teach it
    • Lee-Anne Patterson
       
      Warlick has articulated what many have struggled to say for so long. Students are not affraid to approach technology in a more investigative way, unlike those of us from the older generation that want the right way to do things everytime.
  • You operate these devices natively, by approaching it with a certain frame of mind, not by method.
  • to kids who are at home accessing and interacting with the world from their pockets — there is a disconnect that may well be a big part of why so few of our children are interested in pursuing technology fields
    • Lee-Anne Patterson
       
      Unfortunately many students are not encouraged to take this method of learning into the classroom. We remove the association so that they are aclimatised to learning in a more method way by their secondary education. What are we doing?
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  • as educators, need to began to picture ourselves as master learners, and to project that image of ourselves to the community.  If we become enthusiastic learners, then we are modeling the concept and process of life-long learning.
    • Lee-Anne Patterson
       
      As technology coordinators/integrators this is what we model. How many teachers within our schools also see themselves as fullfiling this role?
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    David Warlick makes an association between Reynolds Presenation Zen Method v's Approach and the way we approach technology professional development
Susan Manning

Here's How You Can Save Your Training Job in this Economy - The Rapid eLearning Blog - 0 views

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    good example of interactive self-paced
Michele Brown

Stephen R. Covey: Our Children and the Crisis in Education - 61 views

  • Employers and business leaders need people who can think for themselves -- who can take initiative and be the solution to problems. They need people who can build trust and get along with others, and solve complex challenges in teams without much supervision.
  • "Partnerships between schools and parents in educating the whole child, which includes developing both the character strength and the competencies required to really succeed in the 21st Century."
  • A.B. Combs Elementary School in Raleigh, North Carolina
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  • Seven Habits of Highly Effective People -- a set of universal, timeless, self-evident principles common to every enduring, prospering society, organization, or family. I take no credit for these principles. I simply organized, sequenced and articulated them. These principles include 1) taking personal responsibility and initiative, 2) getting clear about what's important to you and setting goals, 3) putting those priorities first and being disciplined, 4) seeking mutual benefit in all interactions with others -- the golden rule, 5) seeking to understand others from their perspective first before making your point, 6) valuing differences and creating third-alternative solutions to problems that are better than "my way" or "your way," and 7) taking care of and renewing yourself in all four areas of life -- body, mind, heart and spirit.
  • The approach is inside-out, with the teachers and administrators learning, living and modeling the principles themselves first, and then, at the most basic level, integrating the principles into their teaching every day. There is no new curriculum. The principles of effectiveness are creatively woven by teachers into every subject -- reading, math, history, science, social studies, art, etc. From the moment they walk into the school each day until the final bell rings, the children soak in their adult leaders' belief that they are leaders of their own lives, have unique talents, and can make a difference.
  • We don't define leadership as becoming the CEO or the few percent who will end up in big leadership positions. We are talking about leading your own life, being a leader among your friends, being a leader in your own family. Leadership, as one school put it, is doing the right thing even when no one is looking.
  • The world has moved into one of the most profound eras of change in human history.
anonymous

Thought Experiment: What Sitcom Best Articulates the Dreams of the Digital World's Most... - 29 views

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    What shared texts survive in the Web 2.0 world? 
Alvar Maciel

You Want E-Learning Success, But Are You Prepared to Go All the Way? » The Ra... - 39 views

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    Preguntas previas para pensar el e-learning
Ian Woods

AJET 26(3) Drexler (2010) - The networked student model for construction of personal le... - 77 views

  • Web application(networked studentcomponent) Tool usedin test case Student activitylevel of structure Social bookmarking (RSS) Delicioushttp://delicious.com/ Set up the account Subscribe to each others accounts Bookmark and read 10 reliable websites that reflect the content of chosen topic Add and read at least 3 additional sites each week. News and blog alert (RSS) Google Alerthttp://www.google.com/alerts Create a Google Alert of keywords associated with selected topic Read news and blogs on that topic that are delivered via email daily Subscribe to appropriate blogs in reader News and blog reader (RSS) Google Readerhttp://reader.google.com Search for blogs devoted to chosen topic Subscribe to blogs to keep track of updates Personal blog (RSS) Bloggerhttp://www.blogger.com Create a personal blog Post a personal reflection each day of the content found and experiences related to the use of personal learning environment Students subscribe to each others blogs in reader Internet search (information management, contacts, and synchronous communication) Google Scholarhttp://scholar.google.com/ Conduct searches in Google Scholar and library databases for scholarly works. Bookmark appropriate sites Consider making contact with expert for video conference Podcasts (RSS) iTunesUhttp://www.apple.com/itunes/whatson/itunesu.html Search iTunesU for podcasts related to topic Subscribe to at least 2 podcasts if possible Video conferencing (contacts and synchronous communication) Skypehttp://www.skype.com Identify at least one subject matter expert to invite to Skype with the class. Content gathering/ digital notebook Evernotehttp://evernote.com/ Set up account Use Evernote to take notes on all content collected via other tools Content synthesis Wikispaceshttp://www.wikispaces.com Post final project on personal page of class wiki The process and tools are overwhelming to students if presented all at once. As with any instructional design, the teacher determines the pace at which the students best assimilate each new learning tool. For this particular project, a new tool was introduced each day over two weeks. Once the construction process was complete, there were a number of personal web page aggregators that could have been selected to bring everything together in one place. Options at the time included iGoogle, PageFlakes, NetVibes, and Symbaloo. These sites offer a means to compile or pull together content from a variety of web applications. A web widget or gadget is a bit of code that is executed within the personal web page to pull up external content from other sites. The students in this case designed the personal web page using the gadgets needed in the format that best met their learning goals. Figure 3 is an instructor example of a personal webpage that includes the reader, email, personal blog, note taking program, and social bookmarks on one page. The personal learning environment can take the place of a traditional textbook, though does not preclude the student from using a textbook or accessing one or more numerous open source texts that may be available for the research topic. The goal is to access content from many sources to effectively meet the learning objectives. The next challenge is to determine whether those objectives have been met. Figure 3: Personal web page compiles learning tools
  • Table 2: Personal learning environment toolset Web application (networked student component) Tool used in test case Student activity level of structure Social bookmarking (RSS) Delicious http://delicious.com/ Set up the account Subscribe to each others accounts Bookmark and read 10 reliable websites that reflect the content of chosen topic Add and read at least 3 additional sites each week. News and blog alert (RSS) Google Alert http://www.google.com/alerts Create a Google Alert of keywords associated with selected topic Read news and blogs on that topic that are delivered via email daily Subscribe to appropriate blogs in reader News and blog reader (RSS) Google Reader http://reader.google.com Search for blogs devoted to chosen topic Subscribe to blogs to keep track of updates Personal blog (RSS) Blogger http://www.blogger.com Create a personal blog Post a personal reflection each day of the content found and experiences related to the use of personal learning environment Students subscribe to each others blogs in reader Internet search (information management, contacts, and synchronous communication) Google Scholar http://scholar.google.com/ Conduct searches in Google Scholar and library databases for scholarly works. Bookmark appropriate sites Consider making contact with expert for video conference Podcasts (RSS) iTunesU http://www.apple.com/itunes/ whatson/itunesu.html Search iTunesU for podcasts related to topic Subscribe to at least 2 podcasts if possible Video conferencing (contacts and synchronous communication) Skype http://www.skype.com Identify at least one subject matter expert to invite to Skype with the class. Content gathering/ digital notebook Evernote http://evernote.com/ Set up account Use Evernote to take notes on all content collected via other tools Content synthesis Wikispaces http://www.wikispaces.com Post final project on personal page of class wiki The process and tools are overwhelming to students if presented all at once. As with any instructional design, the teacher determines the pace at which the students best assimilate each new learning tool. For this particular project, a new tool was introduced each day over two weeks. Once the construction process was complete, there were a number of personal web page aggregators that could have been selected to bring everything together in one place. Options at the time included iGoogle, PageFlakes, NetVibes, and Symbaloo. These sites offer a means to compile or pull together content from a variety of web applications. A web widget or gadget is a bit of code that is executed within the personal web page to pull up external content from other sites. The students in this case designed the personal web page using the gadgets needed in the format that best met their learning goals. Figure 3 is an instructor example of a personal webpage that includes the reader, email, personal blog, note taking program, and social bookmarks on one page.
  • The personal learning environment can take the place of a traditional textbook, though does not preclude the student from using a textbook or accessing one or more numerous open source texts that may be available for the research topic. The goal is to access content from many sources to effectively meet the learning objectives. The next challenge is to determine whether those objectives have been met.
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  • AssessmentThere were four components of the assessment process for this test case of the Networked Student Model: (1) Ongoing performance assessment in the form of weekly assignments to facilitate the construction and maintenance of the personal learning environment, (2) rubric-based assessment of the personal learning environment at the end of the project, (3) written essay, and (4) multimedia synthesis of topic content. Points were earned for meeting the following requirements: Identify ten reliable resources and post to social bookmarking account. At least three new resources should be added each week. Subscribe and respond to at least 3 new blogs each week. Follow these blogs and news alerts using the reader. Subscribe to and listen to at least two podcasts (if available). Respectfully contact and request a video conference from a subject matter expert recognised in the field. Maintain daily notes and highlight resources as needed in digital notebook. Post at least a one-paragraph reflection in personal blog each day. At the end of the project, the personal learning environment was assessed with a rubric that encompassed each of the items listed above. The student's ability to synthesise the research was further evaluated with a reflective essay. Writing shapes thinking (Langer & Applebee, 1987), and the essay requirement was one more avenue through which the students demonstrated higher order learning. The personal blog provided an opportunity for regular reflection during the course of the project. The essay was the culmination of the reflections along with a thoughtful synthesis of the learning experience. Students were instructed to articulate what was learned about the selected topic and why others should care or be concerned. The essay provided an overview of everything learned about the contemporary issue. It was well organised, detailed, and long enough to serve as a resource for others who wished to learn from the work. As part of a final exam, the students were required to access the final projects of their classmates and reflect on what they learned from this exposure. The purpose of this activity was to give the students an additional opportunity to share and learn from each other. Creativity is considered a key 21st century skill (Partnership for 21st Century Skills, 2009). A number of emerging web applications support the academic creative process. Students in this project used web tools to combine text, video, audio, and photographs to teach the research topics to others. The final multimedia project was posted or embedded on the student's personal wiki page. Analysis and assessment of student work was facilitated by the very technologies in use by the students. In order to follow their progress, the teacher simply subscribed to student social bookmarking accounts, readers, and blogs. Clicking through daily contributions was relatively quick and efficient.
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    Scholarly and important but also practical. Scroll down for an incredible chart of ideas that challenges older students to take charge of their own learning.
Jess Hazlewood

"Where's the Writer" TETYC March 2014 - 43 views

  • “Responders Are Taught, Not Born”
  • We contend that student writers will see greater value in peer response if they develop tools that allow them to participate more actively in the feedback process. With teaching suggestions like those above, writers can learn how to re-flect on their experiences with peer response. They can also learn to identify their needs as writers and how to ask questions that will solicit the feedback they need.
  • We like to limit each mock session to no more than seven minutes of back and forth between respondent and writer.
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  • class suggests that the writer’s question
  • This becomes a teachable moment. When the respondent asks for assistance from the class, this break in the session becomes an opportunity for the class to assist the writer and the respondent. The writer appears stuck, not knowing what to ask. And the respondent appears perplexed, too.
  • we follow Carl Anderson’s suggestion to teach students how to ask questions about their writing through role-playing.
  • dynamic list that students freely update throughout the semester on the class classro
  • organize the questions within categories such as tone, content, evidence-based support, style, and logistics
  • The end result is a robust list of questions for writers to ask of their respondents.
  • in-class discussion about effective and less effective questions for writers
  • raft three to five questions they have about the assignment to ask of their peers as they prepare to write or revise their assignment. When appropriate, we can direct our students to the course text, where there are
  • : pointing, summarizing, and reflecting
  • Students’ comments often point to their struggle to position themselves in peer response.
  • “What would it take for you to be in-vested as writers in peer response?” Students’ typical responses include the following:>“I need to know what to ask.” >“I don’t know what to ask about my writing, except for things like punctua-tion and grammar.”>“Does the person reading my work really know what the assignment is? Bet-ter than I do?”>“I’m not really sure if I’m supposed to talk or ask questions when someone is giving me feedback about my work, so I don’t really do anything. They write stuff on my paper. Sometimes I read it if I can, but I don’t really know what to do with it.”
  • it is important to offer activities to ensure that both respondents and writers are able to articulate a clear purpose of what they are trying to accomplish. These activities, guided by the pedagogies used to prepare writing center consultants
  • devote more attention to the respondent than to the writer, we may unwit-tingly be encouraging writers to be bystanders, rather than active participants, in the response process.
  • , “Feedback: What Works for You and How Do You Get It?”
  • highlight the value of both giving and getting feedback:In 56 pages near the end of this book, we’ve explained all the good methods we know for getting feedback from classmates on your writing. . . . The ability to give responses to your classmates’ writing and to get their responses to your own writing may be the most important thing you learn from this book. (B
  • we question whether textbooks provide emergent writers with enough tools or explicit models to engage actively in peer response conversations.
  • While such questions are helpful to emerging writers, who depend on modeling, they lack explanation about what makes them “helpful” questions. As a result, emerging writers may perceive them as a prescriptive set of questions that must be answered (or worse, a set of questions to be “given over” to a respondent), rather than what they are intended to be: questions that could advance the writer’s thoughts and agenda.
  • this information is limited to the instructor’s manual
  • llustrates the difference be-tween vague and helpful questions, pointing out that helpful questions
  • You will need to train students to ask good questions, which will help reviewers target their attention.Questions like “How can I make this draft better?” “What grade do you think this will get?” and “What did you think?” are not helpful, as they are vague and don’t reflect anything about the writer’s own thoughts. Questions like “Am I getting off topic in the introduction when I talk about walking my sister to the corner on her first day of school?” or “Does my tone on page 3 seem harsh? I’m trying to be fair to the people who disagree with the decision I’m describing” help readers understand the writer’s purpose and will set up good conversations. (Harrington 14, emphasis added
  • uestions” when soliciting feedback (like the advice we found in many textbooks), she also provides explicit examples for doing so
  • he most explicit advice for writers about ask-ing questions and, in effect, setting up good conversations is buried in an instruc-tor’s manual for The Allyn & Bacon Guide to Writing. In thi
  • “Getting Response” chapter later in the book, they will benefit from the textbook authors’ instructions that they should in fact use questions that will help them solicit their feedback
  • dependent on what parts of the textbook they choose to read
  • point writers to a specific set of questions that they should ask of their respondents. Such instructions take a notable step toward shifting the locus of control from the respondent to helping writers engage their peers in conversation.
  • there is no mention that writers might use them for purposes of soliciting feedback.
  • we see an opportunity for modeling that is not fully realized.
  • we argue that Faigley offers respondents specific examples that empower them to actively engage the process and give feedback. We contend that emergent writers need a similar level of instruction if they are to be agents in response.
  • textbook authors offer few examples for how to get specific feedback
  • Peter Elbow and Pat Belanoff ’s first edition of A Community of Writers published in 1995, in which eleven “Sharing and Responding” techniques, d
  • we worked to understand how textbooks highlight the writer’s role in peer response.
  • We wanted to know what books tell writers about asking questions
  • lthough we do not discount the importance of teaching respondents how to give feedback, we argue that writers must also be taught how to request the feedback they desire.
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    Writer's role in soliciting feedback during peer edit. Suggestions for modeling and training.
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

  • 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
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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.
  • 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."
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