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Edmodo has finally created a quiz application!

Edmodo’s quiz feature allows you to create a quiz that mixes multiple choice, short answer, true/false, and fill in the blank.

But like QuizStar, Edmodo also analyzes results for you.

Rules for ALL Online Quizzes 1.  Never, ever, EVER copy a question from a textbook or a quiz you found online. I can almost guarantee that some enterprising student somewhere has copied the question and placed an answer key online.

Getting the Most out of Formative Assessments 1.  Set a time limit that will simultaneously allow students enough time to an

Getting the Most out of Open Note Formal Assessments 1.  If you are going to permit students to use notes and worksheets from class, design your questions so that they must apply the information they have at their fingertips. I

Getting the Most out of Closed Note Formal Assessments 1.  If no notes are permitted, reduce the amount of time students have to take the test. For multiple choice at the high school level, 45 seconds per question is fairly standard.

Experimentation and Feedback As you play around with online quizzes, ask your students to give you feedback. They’ll let you know what’s working and what isn’t.

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.

Archaeologists are still excavating Göbekli Tepe and debating its meaning. What they do know is that the site is the most significant in a volley of unexpected findings that have overturned earlier ideas about our species' deep past. Just 20 years ago most researchers believed they knew the time, place, and rough sequence of the Neolithic Revolution—the critical transition that resulted in the birth of agriculture, taking Homo sapiens from scattered groups of hunter-gatherers to farming villages and from there to technologically sophisticated societies with great temples and towers and kings and priests who directed the labor of their subjects and recorded their feats in written form. But in recent years multiple new discoveries, Göbekli Tepe preeminent among them, have begun forcing archaeologists to reconsider. At first the Neolithic Revolution was viewed as a single event—a sudden flash of genius—that occurred in a single location, Mesopotamia, between the Tigris and Euphrates Rivers in what is now southern Iraq, then spread to India, Europe, and beyond. Most archaeologists believed this sudden blossoming of civilization was driven largely by environmental changes: a gradual warming as the Ice Age ended that allowed some people to begin cultivating plants and herding animals in abundance. The new research suggests that the "revolution" was actually carried out by many hands across a huge area and over thousands of years. And it may have been driven not by the environment but by something else entirely.

Most of the world's great religious centers, past and present, have been destinations for pilgrimages

Göbekli Tepe may be the first of all of them, the beginning of a pattern. What it suggests, at least to the archaeologists working there, is that the human sense of the sacred—and the human love of a good spectacle—may have given rise to civilization itself.

n the 1960s archaeologists from the University of Chicago had surveyed the region and concluded that Göbekli Tepe was of little interest. Disturbance was evident at the top of the hill, but they attributed it to the activities of a Byzantine-era military outpo

To Schmidt, the T-shaped pillars are stylized human beings, an idea bolstered by the carved arms that angle from the "shoulders" of some pillars, hands reaching toward their loincloth-draped bellies. The stones face the center of the circle—as at "a meeting or dance," Schmidt says—a representation, perhaps, of a religious ritual. As for the prancing, leaping animals on the figures, he noted that they are mostly deadly creatures: stinging scorpions, charging boars, ferocious lions. The figures represented by the pillars may be guarded by them, or appeasing them, or incorporating them as totems.

nches below the surface the team struck an elaborately fashioned stone. Then another, and another—a ring of standing pillars.

Geomagnetic surveys in 2003 revealed at least 20 rings piled together, higgledy-piggledy, under the earth.

he pillars were big—the tallest are 18 feet in height and weigh 16 tons. Swarming over their surfaces was a menagerie of animal bas-reliefs, each in a different style, some roughly rendered, a few as refined and symbolic as Byzantine art.

The circles follow a common design. All are made from limestone pillars shaped like giant spikes or capital T's.

They hadn't yet mastered engineering." Knoll speculated that the pillars may have been propped up, perhaps by wooden posts.

Within minutes of getting there," Schmidt says, he realized that he was looking at a place where scores or even hundreds of people had worked in millennia past.

Puzzle piled upon puzzle as the excavation continued. For reasons yet unknown, the rings at Göbekli Tepe seem to have regularly lost their power, or at least their charm. Every few decades people buried the pillars and put up new stones—a second, smaller ring, inside the first.

he site may have been built, filled in, and built again for centuries.

Bewilderingly, the people at Göbekli Tepe got steadily worse at temple building.

Finally the effort seems to have petered out altogether by 8200 B.C. Göbekli Tepe was all fall and no rise.

turning on or off the “Remember saving preferences” option anytime you like

d it and ren

Ethnomusicologist Bruno Nettl explains that "societies differ, however, in their attitude toward musical stability; to some it is important that a song remain stable and unchanged, while in others individual singers are encouraged to have their personal versions."

but he believes educators must determine at what point that musical experience is no longer acceptable as representative of that culture.

Having clear visions of educational goals and the broad curriculum is vital to making these determinations.

Bennett Reimer states, "Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, 'knowing about' becomes an essential ingredient of artistry and of listening."[ 15] For example, children might not fully understand the meaning of "Take Me Out to the Ball Game" unless they understand what baseball is or realize that the song is traditionally sung at baseball games.

text in an unfamiliar language should include a translation so students understand the meaning of the words.

However, a culturally valid work is not necessarily bias free; and conversely, bias-free music is not necessarily culturally valid.

Selecting the best music to represent a culture in an unbiased manner is a process of discovery. You will first need to educate yourself before you can educate others.

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.