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anonymous

Free Technology for Teachers - 125 views

www.freetech4teachers.com

technology Education teachers tieclass

shared by anonymous on 16 Jan 10 - Cached
  • skip to main | skip to sidebar Pages Free Downloads Job Board Google Tools Tutorials Video Creation Resources Develop a PLN Work With Me Advertise Monday, June 21, 2010 Measure the Impact of Asteroids & Atomic Bombs Carlos Labs, a data architecture and data integration firm in Australia, has developed two Google Maps-based widgets that demonstrate the range of atomic weapons and the size of areas that could be affected by asteroid impacts.Ground Zero
  • size of an area that
  • TimeMaps is best described as a mash-up of encyclopedia
  • ...3 more annotations...
  • Investopedia
    • anonymous
      anonymous on 27 Jun 17
       
      This is a cool article!!! I like to use exclamation points to show my enthusiasm!!!!!
  • the new version of Google Earth is now a core component of G Suite for Education. This means that your students will be able to use Google Earth with the same account that they use for Google Drive, Classroom, Keep, and other core G Suite components.
    • anonymous
      anonymous on 27 Jun 17
       
      This is a great point!!
  • trisha_poole on 01 Jan 11
     
    Free resources and lesson plans for teaching with technology
  • Deborah McGIffin on 10 Mar 14
     
    Good blog about free technology teachers can access for education
anonymous

web based Teaching Materials - 18 views

www.techtrekers.com

virtual field trip technology educational teacher sites

shared by anonymous on 20 Nov 17 - Cached
  • anonymous on 20 Nov 17
     
    At Techtrekers, technology is our watchword. We aim to provide teachers with free teaching materials, information, help and advice - with a leaning towards technology related subjects.
Deborah Baillesderr

Resources on Learning and the Brain | Edutopia - 27 views

www.edutopia.org/...brain-based-learning-resources

brain research resources education edutopia special

shared by Deborah Baillesderr on 20 Jun 17 - No Cached
  • Deborah Baillesderr on 20 Jun 17
     
    Browse a list of articles, videos, and other links for brain research in education.
anonymous

A Review of Netvibes, Personalized Start Pages - 27 views

www.lifewire.com/review-of-netvibes-3486276

#socialmediatool

shared by anonymous on 08 Jun 17 - No Cached
  • anonymous on 08 Jun 17
     
    Who uses this and do you like it?
  • Fil Salustri on 11 Jun 17
     
    I used to use it, but being cloud-based it doesn't let me use it with my personal workflow offline (which does still happen). I also find it better to use separate tools for separate contexts of work because those tools will better within each context than netvibes, which is a jack of all trades and master of none.
tthomasuscu

Gun Culture Is My Culture. And I Fear for What It Has Become. - The New York Times - 15 views

www.nytimes.com/...ar-for-what-it-has-become.html

shared by tthomasuscu on 02 Apr 18 - No Cached
    • tthomasuscu
      tthomasuscu on 02 Apr 18
       
      Very clear imagery. He opens the essay with his personal anecdote to set the scene for this discussion. It also lets the reader know right away that he is a gun owner.
  • What I was doing was perfectly legal. In North Carolina, long-gun transfers by private sellers require no background checks.
    • tthomasuscu
      tthomasuscu on 02 Apr 18
       
      Should this be changed to prevent criminals from buying guns from private sellers? How is something this dangerous allowed to take place?
  • ...70 more annotations...
  • so long as the buyer has a purchase permit or a concealed-carry license.
  • I felt uneasy
  • He liked the rifle. I needed the cash. We shook hands, and off we went.
  • There is rarely a moment when I’m not within reach of a firearm.
  • We don’t touch the guns or draw them from their holsters. They are unseen and unspoken of, but always there.
  • Rarely do we mention what we carry
  • 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.
  • Guns were often a bridge between father and son.
  • 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.
  • had a gun put to my head
  • I can remember that
  • steel
  • I can remember
  • 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.
  • surrounded myself with the people I did as a form of protection.
  • I dropped to the ground as gunfire rang from a car at a bonfire party.
  • 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.
  • his service weapon pushed into the base of my skull.
  • I stood there trembling while they apologized.
  • Jackson County
  • 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.
  • hared passion for wilderness and time spent in the field with gun in hand.
  • Those types of things are rare now, even in places like Appalachia.
  • 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.
  • centuries of experience gathered around the campfire each night
  • the .308 blew apart the morning.
  • There is a sadness that only hunters know, a moment when lament overshadows any desire for celebration
  • Life is sustained by death
  • the killing is not easy, nor should it be.
  • would feed me for a year
  • I asked if there was anything I could’ve done differently to make him more comfortable when he first approached the truck.
  • He smiled and told me: “But this is South Carolina. Most every car I pull over has a gun.”
  • As I headed toward the mountains, all I could think about was Philando Castile,
  • situation was re
  • All I could think about was how things might have been different if the
  • versed and that young black state trooper with braces had been behind the wheel, a white trooper cautiously approaching the car.
  • It was impossible not to recognize how gun culture reeks of privilege.
  • Ruger 10/22s and Marlin Model 60s, the .22LRs
    • tthomasuscu
      tthomasuscu on 02 Apr 18
       
      This guy knows his guns. Even though his essay doesn't cite research, you can see his ethos through his personal experience and his use of precise jargon.
  • There were always guns, but nothing like the assault weapons that line the shelves today.
  • firearms whose sole purpose would be to take human life if I were left with no other choice.
  • 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.
  • they joke about the minute hand of the doomsday clock inching closer to midnight.
  • as they wait for the end of the world.
  • 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
  • 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.
  • 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.”
    • tthomasuscu
      tthomasuscu on 02 Apr 18
       
      Where is the fault in this logic? It just doesn't add up.
  • They fear that what starts as an assault-weapons ban will snowball into an attack on everything in the safe.
  • I understand what’s at stake
  • 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.
  • 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.
  • an unrelenting fear of what could be lost
  • 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.
  • He cut a look in my direction as if I’d absolutely lost my mind.
  • I’d be fine with an assault-weapons ban
  • question is irrelevant, that the reason doesn’t supersede the right.
  • 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
  • As sad as it is to say, the silence is easier
  • 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.
  • 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.
  • The muzzle was pointed in our direction. Ashley was terrified.
  • The truth is, there are guns I feel justified in owning and guns I feel belong on battlefields.
  • 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.
  • 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.
  • 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.
  • I don’t buy into that only-way-to-stop-a-bad-guy-with-a-gun-is-a-good-guy-with-a-gun bravado.
  • 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.
  • 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.
    • tthomasuscu
      tthomasuscu on 02 Apr 18
       
      How does fear drive so many of us to distrust and hate our fellow Americans? How does the Gun Lobby and the NRA use this fear to their advantage? What role does fear play in racial prejudice? How do we combat and address this fear?
Siri Anderson

Owl Together by Rose Abernathy - 11 views

rose11.itch.io/owl-together

online learning Biology GlobalWarming game-based-learning multiplayer

shared by Siri Anderson on 12 Jun 19 - No Cached
  • Siri Anderson on 12 Jun 19
     
    Multiplayer online game posing the spotted and barred owls against one another in territory acquisition as a means to teach about biospheres and global warming. Brilliant idea. I don't have anyone to play with so not sure how it works.
meghankelly492

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

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • 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
  • ...39 more annotations...
  • 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."
meghankelly492

Music performance skills: A two-pronged approach - facilitating optimal music performan... - 1 views

journals.sagepub.com/...0305735618765349

anxiety Music

shared by meghankelly492 on 21 Aug 19 - No Cached
  • music performance anxiety (MPA)
  • 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
  • Anxiety is generally regarded as having an antithetical relationship with flow
  • ...19 more annotations...
  • 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
  • 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
  • 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
  • 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
  • “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
  • 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).
  • 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
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • 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.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • 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.
  • 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).
  • 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
  • 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
  • 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.
  • “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).
  • 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.
  • 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
meghankelly492

Mental skills for musicians: Managing music performance anxiety and enhancing performance. - 1 views

psycnet.apa.org/...2011-20583-001.pdf

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • In asurvey of 2,212 classical musicians, 40% re-ported that anxiety interfered with their perfor-mances (Kirchner, Bloom, & Skutnick–Henley,
  • , see Kenny (2005) andMcGinnis and Milling (2005
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)
  • ...30 more annotations...
  • 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
  • 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)
  • State–Trait Anxiety Inventory (STAI).The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale(Kenny, 2006).
  • The PAI (Nagel, Himle, & Papsdorf, 1981) isbased on the STAI and is a music inventoryassessing the three-systems model of anxiety
  • heart rate at 10 min, 5
  • 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.
  • 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
  • person has few problems with performance anx-iety
  • 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)
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987
  • 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.
  • d it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)
  • The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale
  • Performance Anxiety Inventory (PAI)
  • cognitive, behavioral, and physiological fac
  • and has beenwidely used in treatment outcome research
  • Behavioral Anxiety Index (BAI)
  • 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
  • Participants were then taught howthoughts, behaviors, and feelings interact andinfluence performance
  • practical exercise, how people waste their en-ergy trying to control uncontrollable factors,thereby impairing performance
  • This exercise wasdesigned to demonstrate how thoughts cansometimes be irrational and can be changed inlight of new evidence
  • how to use self-talk effectively and how touse cues
  • Participants practiced how to identify negativethoughts, stop the thoughts, and use cues to helpthem overcome the negative thoughts.
  • 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).
  • Participants in the wait-list controlgroup waited 3 weeks until their second perfor-mance, which was on the same night as theirfirst worksho
  • 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
  • Kenny (2006) suggested that improving perfor-mance quality will have a positive, self-reinforcing effect on the musician and enhanceconfidence in future performances.
  • 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
  • Although the decrease in anxiety was notas large in our study, our participants droppedfrom the high performance anxiety category tothe moderate performance anxiety category
mrtomak

Duolingo: Home - 49 views

www.duolingo.com

shared by mrtomak on 12 Apr 14 - No Cached
  • Ginna Watson on 12 Apr 14
     
    Duolingo is an intuitive, fun way to learn languages! It contains a variety of activities for both audio and visual learning. It's easy to incorporate this free, cloud-based program into your daily routine.
anonymous

3-D Animated Animals Help Kindergartners Read - 92 views

www.convergemag.com/...-Help-Kindergartners-Read.html

animated reading kindergarten 3 d

shared by anonymous on 04 May 11 - No Cached
  • A new reading curriculum based on augmented reality technology grabs student attention and shows them difficult concepts in a visual form. "Letters alive" uses 26 animals to help pre-kindergartners and kindergartners learn to read.
Michele Brown

Pixton | World's Best Way to Make & Share Comics - 70 views

www.pixton.com

comics cartoon

shared by Michele Brown on 21 Jul 10 - Cached

  • Unleash your creativity! Fun, quick and easy to use.
    Tell your story your way.

  • Unleash your creativity! Fun, quick and easy to use
  • Create real comic layouts. Edit the shape and position of each comic panel. Express yourself. Unlimited range of expression. Move your characters into any pose. Style your words. Give text and speech bubbles personality in any language. Add your own images. Upload photos and personalize with your own art. Make your own art. Group objects to create original characters, props and backgrounds. Show your personality. Design characters of any age — people and other animals. Fast and easy. Kickstart your creativity with presets, shortcuts and templates. Make 'em laugh! Share instantly with friends, family, classmates and colleagues.  
  • adria kempner on 21 Jul 10
     
    Comic strip generator. Requires login
  • Martin Burrett on 04 Aug 11
     
    Pixton is a widely used comic strip maker. The personal account is free. So many options and the click and drag editing is really easy to use. http://ictmagic.wikispaces.com/ICT+&+Web+Tools
  • Michele Brown on 20 Aug 13
     
    Create comics
anonymous

Purposeful Professional Learning (Professional Learning That Shifts Practice- Part 1) -... - 10 views

katielmartin.com/...ctice-series-part-1-purposeful

shared by anonymous on 25 Apr 17 - No Cached
  • allow learners to solve relevant issues that matter to them
    • anonymous
      anonymous on 25 Apr 17
       
      If it doesn't seem to matter to the learners, it will be wasted time for them. Sometimes teachers are only in a PD session for the hours. In such cases, it is the responsibility of the facilitator to make sure there is at least one nugget of info that matters to them.
  • the team determined a specific goal that they wanted to accomplish by the end of the day
    • anonymous
      anonymous on 25 Apr 17
       
      Good practice to ask what individuals hope to gain but also should ask what hope to gain via collaborative efforts. Maybe should ask them to share their top three strengths to give us a place for building upon.
  • To guide the work time, we observed some classrooms and discussed what we noticed. Based on our goals, we set clear targets and some time boundaries to check in on progress.
    • anonymous
      anonymous on 25 Apr 17
       
      We do this with teachers as we begin work with them. Maybe we need to be more transparent and have this in writing as well for them to reference- menu.
  • ...4 more annotations...
  • each teacher shared what they had learned, what they had created, and their actionable next steps.
    • anonymous
      anonymous on 25 Apr 17
       
      Probably the most important step of the day!
  • The more you empower learners, the more they will be invested in the work.
    • anonymous
      anonymous on 25 Apr 17
       
      Profound statement!
  • society evolves and schools work to meet the needs of learners
    • anonymous
      anonymous on 26 Apr 17
       
      I think one of the keys here is to acknowledge that society is evolving and we need to evolve to meet the needs of society - for example, just because research shows that, for some things, handwriting helps people remember something better or reading a hard copy is easier for comprehension than a digital copy - just because research at this point confirms these concepts, that doesn't mean we don't need to provide opportunities for practice and teach learners to recall digitally written info or comprehend digital text. If that is the trend the world is moving toward, we have to move in that direction as well - or be left behind.
  • purposeful
    • anonymous
      anonymous on 26 Apr 17
       
      We know that when learning is purposeful, students are more engaged and grasp more. So, why wouldn't we want professional learning to be the same?
Sharin Tebo

Creative Educator - Connecting Curricula for Deeper Understanding - 34 views

creativeeducator.tech4learning.com/...icula-for-Deeper-Understanding

Engagement legacy integration interdisciplinary STEAM STEM SDW SDWWL philosophy research

shared by Sharin Tebo on 20 Nov 14 - No Cached
  • Most schools will say that they want students to have an understanding of their world as a whole, but they seldom look at topics with an interdisciplinary focus. Why? It is easy to find reasons why this disjointed approach to learning happens: · Some argue that there is so much content and so many skills to be learned  in each discipline that they don’t have time to integrate subjects. · Others say that the each discipline has a body of knowledge and skills that  should stand on its own and not be muddied by the intrusion of other disciplines. · Secondary educators say that there is insufficient common planning time  to combine their efforts to teach an interdisciplinary course. · Still others say that the whole system is geared toward separate subjects  and to break out of this would require a monumental effort. · Others are guided by “the tests,” which are presented by separate disciplines.
  • The ultimate goal for the study of any subject is to develop a deeper understanding of its content and skills so that students can engage in higher-level thinking and higher- level application of its principles. When students dig deeper and understand content across several disciplines, they will be better equipped to engage in substantive discussion and application of the topic. They will also be better able to see relationships across disciplines.
  • They organize students into interdisciplinary teams and coordinate lessons so that what happens in math, science, language arts, and social studies all tie to a common theme. Many times these teachers team-teach during larger blocks of time. Advocates of this more holistic approach to curriculum argue that it helps students:
  • ...2 more annotations...
  • Of course, digging deeper doesn’t fit well in the time frame that most schools use. It takes time to link content across several disciplines, and it may be difficult to squeeze a learning activity into a 40-minute period. To change the method of learning will mean changing more than the curricula. The school structure, including the schedule and methodology will also need to change.
  • To prepare our students for an integrated world, we need to break out of the separate-discipline mentality and develop more holistic and problem/project-based approaches. Many have tried to do this, and it isn’t easy.
  • Sharin Tebo on 20 Nov 14
     
    STEM and STEAM--challenge to aim for more integration cross-disciplines.
Chema Falcó

Evaluation Within Project-Based Learning | Edutopia - 45 views

www.edutopia.org/...aluating-pbl-michael-hernandez

abp pbl evaluación

shared by Chema Falcó on 02 Apr 17 - No Cached
  • Chema Falcó on 02 Apr 17
     
    Qué tener en cuenta al evaluar con ABP / PBL
anonymous

Bloomin' Apps - Kathy Schrock's Guide to Everything - 201 views

www.schrockguide.net/bloomin-apps.html

bloomstaxonomy apps ipad googleapps creating evaluating analyzing Applying Understanding

shared by anonymous on 24 Feb 12 - No Cached
  • carme roig on 20 May 12
     
    bloom's taxonomy in apps
  • ...2 more comments...
  • Brock Baker on 11 Nov 12
     
    Amazing!  Bloom updated for the 21st century with a comprehensive toolkit of apps that help encourage and foster each cog of cognition. Great for problem/inquiry based investigations and collaborations.
  • Marc Patton on 23 Jan 13
     
    This page gathers all of the Bloomin' Apps projects in one place!
  • SJCNY Trainers on 04 Mar 13
     
    This page gathers all of the Bloomin' Apps projects in one place! Each of the images has clickable hotspots and includes suggestions for iPad, Google, Android, and Web 2.0 applications to support each of the levels of Bloom's Revised Taxonomy.
  • anonymous on 21 Nov 17
     
    Each image has clickable hotspots and includes suggestions for iPad, Android, Google and Web 2.0 applications to support each of the levels of Bloom's Revised Taxonomy.
Martin Leicht

Distracted Minds: Why You Should Teach Like a Poet - 4 views

www.chronicle.com/...y-you-should-teach-like-a-poet

education higher ed students engagement focus build zoom learning

shared by Martin Leicht on 11 Jan 21 - No Cached
  • Routine is a great deadener of attention.
  • When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
  • same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
  • ...17 more annotations...
  • Be astonished.
  • Pay attention.
  • Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.
  • We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.
  • Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
  • Close — and I mean really close — reading.
  • in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
  • Tell about it.
  • asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      Metacognition exercise of sorts?
  • Engagement with objects.
  • pointed out anomalies and inconsistencies, and wondered
  • What? For the first step, students spend time just observing the object and taking notes.
  • So what? Students write down questions based on their observations and share them with one another.
  • Now what? The final stage shifts into more whole-class and teacher-centered discussion
  • Attention through assessments.
  • For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.
  • As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.
  • Martin Leicht on 11 Jan 21
     
    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
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