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Roland Gesthuizen

Educational building blocks: how Minecraft is used in classrooms - 85 views

arstechnica.com/...eing-used-in-the-classroom.ars

building educational computer game Minecraft

shared by Roland Gesthuizen on 07 Apr 11 - No Cached
  • Levin actually views these negative behaviors as a positive aspect of the lesson, and will often stop the game to address these concerns. He sees it as a way to help shape the way his students behave in an online environment, showing them the importance of acting in a responsible and considerate manner.
  • Class begins with the students away from the game, as Levin explains the goals for the day. Then they go to work, often in pre-built worlds created by Levin which feature specific tasks to accomplish or puzzles to solve. But they always need to work together.
  • Roland Gesthuizen on 07 Apr 11
     
    "With its open-ended nature and robust creation tools, Minecraft has been used to create some amazing things. And as one teacher learned, those very same elements that make the game so compelling also make it a great educational tool.
  • Roland Gesthuizen on 07 Apr 11
     
    Using Minecraft to solve problems as a class and learn how to work together.
  • Roland Gesthuizen on 09 Apr 11
     
    Some good learning angles with this multiplayer Hamelin. Have used it myself :-)
khirnhup yeo

Diigo now less useful - 142 views

There is a neat solution to the caching problem and it can be found at http://groups.diigo.com/group/Diigo_HQ/content/almost-perfect-solution-to-caching-problem-icyte-1889535 .

Diigo

started by khirnhup yeo on 06 Sep 10 11 follow-ups, last by khirnhup yeo on 13 Sep 10
meghankelly492

"Can't We Just Change the Words?": EBSCOhost - 1 views

web.b.ebscohost.com/...detail

Music Theory Test Review UFMUE

shared by meghankelly492 on 24 May 19 - No Cached
  • 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.
  • ...10 more annotations...
  • how does each author use authenticity as a strategy for making or justifying decisions in music education?
  • authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
  • since the original loses some of its essential qualities in a simplification.5
  • His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions
  • Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).
  • Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
  • Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
  • Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.
  • Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.
  • "World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.
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