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ReadTheWords.com been created to cater to these students.

ReadtheWords.com is an AMAZING SERIVCE for young students.

ReadTheWords.com allows me to create listening material for some learners that struggle a little bit. It allows my students to read along with the Virtual Avatar Reader. This saves a lot of time so I can focus on certain children without slowing down the rest of the class.

We create links to audio files that read our upcoming events, and we use it to help visually impaired patrons read anything - articles, letters they have received, emails that can be copy/pasted from their email account...the possibilities are endless! On a personal level, I have been using ReadTheWords toolbar plug in.

service with my university students who are learning English

brings the text to life, and stimulates my second language learners in a dynamic way. I would recommend this program to all foreign language teachers,

I have been assisting students to create audio files of study review materials. This greatly helps them decode and analyze the material for comprehension. I have seen a great improvement on test scores

Students listen to a piece of their own writing, so they can hear if what they wrote sounds correct. It helps students with comprehension, spelling, grammar and structuring sentences.

This service is godsend for many students, especially auditory learners. I cannot even begin to imagine how many people this will help in the future. We just received approval to offer this service to our entire school. (Email webmaster@readthewords.com to get a special deal like we did.

When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”

The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.

When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.

those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better

Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.

What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.

kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.

project-based learning

highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.

When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.

solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others

The age-old belief that the arts have a special claim to creativity is unfounded.

When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.

those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.

The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer

The new view is that creativity is part of normal brain function.

“As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”

In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.

fact-finding

problem-finding

Next, idea-finding

there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.

At least a few studies suggest that by limiting the way people navigate texts, screens impair comprehension.

Because of their easy navigability, paper books and documents may be better suited to absorption in a text. "The ease with which you can find out the beginning, end and everything inbetween and the constant connection to your path, your progress in the text, might be some way of making it less taxing cognitively, so you have more free capacity for comprehension," Mangen says.

An e-reader always weighs the same, regardless of whether you are reading Proust's magnum opus or one of Hemingway's short stories. Some researchers have found that these discrepancies create enough "haptic dissonance" to dissuade some people from using e-readers. People expect books to look, feel and even smell a certain way; when they do not, reading sometimes becomes less enjoyable or even unpleasant. For others, the convenience of a slim portable e-reader outweighs any attachment they might have to the feel of paper books.

In one of his experiments 72 volunteers completed the Higher Education Entrance Examination READ test—a 30-minute, Swedish-language reading-comprehension exam consisting of multiple-choice questions about five texts averaging 1,000 words each. People who took the test on a computer scored lower and reported higher levels of stress and tiredness than people who completed it on paper.

to begin addressing the hyper-reading of young people might start with the process of elimination, by helping readers remove the clutter on the web pages they encounter.

Colorado State University offers a useful guide to reading on the web. While it is aimed at college students, much of the information is pertinent to readers of all ages and could easily be part of lessons in the classroom.

Synthesize online reading into meaningful chunks of information.

Use a reader’s ability to effectively scan a page, as opposed to reading every word.

Avoid distractions as much as necessary.

Understand the value of a hyperlink before you click the link.

Navigate a path from one page in a way that is clear and logical. This is easier said than done, since few of us create physical paths of our navigation

However, an interesting finding in some of the empirical studies is that we tend to overestimate our own reading comprehension when we read on screen compared to on paper.

it has been found that we tend to read faster on screen and consequently understand less compared to when reading from paper. This is a very new research topic and there are studies that have not found any differences in this area.

such findings do highlight something very important, namely that we may have a different mental attitude to what we read on a screen. This has very significant implications, including in the context of education.

For example, reading literature has proven to have a stimulating effect on the imagination and encourage the development of empathy. Reading has an effect on our ability to concentrate and for abstract thinking. We want to discover if such processes are influenced by the reading medium.

There is a need for more empirical research on reading comprehension in terms of screen reading and also on the subjective reading experience.

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.

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."

At the heart of CTT is the notion that error is endemic to measurement.

By the beginning of the 20th century, the concept of (p. 462) measurement error was well recognized, and psychometricians focused their efforts on estimating and accounting for error.

In CTT, an observed measure or score (X) consists of two constituent parts—the true score (T) and measurement error (E):

. Measurement error, however, also will account for a certain portion of score variance.

According to CTT, measurement error arises because mental processes are idiosyncratic and in a state of change such that individuals are incapable of performing optimally on a single test or performance task.

random error and systematic error.

(SEM) represents the average of the total random error for all individuals

SEM represents the spread of observed scores for a single individual if that person were tested multiple times.

That score, however, is an imperfect measure of the student’s true ability.

For example, CTT provides in-depth analysis of item characteristics,

each teacher shared what they had learned, what they had created, and their actionable next steps.

The more you empower learners, the more they will be invested in the work.

society evolves and schools work to meet the needs of learners

purposeful

How to teach quality commenting Kathleen teaches commenting skills through: Modelling and composing comments together with students on the interactive whiteboard. Teaching students about the “letter” format and editing process during writing lessons. Giving examples of a poor/high quality comments and having students vote whether the comment should be accepted or rejected. Example of a Sorting blog comments activity devised for our students here. Having students read and comment on a post on our blog as part of a literacy rotation on the computer each week. Taking students to the ICT room once a week to work on composing a quality comment with a partner. Emailing parents and encouraging them to write comments on the blog with their child.

Activities for developing student commenting skills

own or facilitate a collaborative discussion with students to create together (you could include this video as part of the process). Develop a quality comment evaluation guide.  Refer to Linda Yollis’s Learning how to comment. Write a blog post about commenting and what you define as a quality comment. Have your students practise leaving a “quality” comment on the post.

Create a commenting guideline poster (see poster example below) – develop your

“quality” comment on the post.

Create a commenting guideline for your blog.  Here’s an example.

Recognize their individuality

The researchers also asked students whether it mattered to them that the instructors knew their names, and more than 85 percent of them said it did

because making good use of the full physical space of a classroom is one of the most straightforward ways to keep both professor and students attentive.

One advantage of the Zoom classes that many of us are teaching right now is that the names are all right there on the screen

Speak to all corners of the room

They bring their unique life stories and experiences, which can help provide new perspectives on familiar questions and challenges.

The obvious solution here is to break that barrier

Use their names regularly.

She encourages children first to recognize and write their own names and then to compare the letters and syllables in their own names with those of the other names on the grid

What is most deserving of our attention in the classroom, of course, are the other human beings in our presence

local autonomy

Love of Learning

growth

relationships

personalized learning

Represent similarities and differences in graphic or symbolic form

Sorting, classifying, using metaphors and analogies

Word processing tables (Word software)

Web-based/downloadable graphic organizers

Inspiration and Kidspiration software

Beginning, middle, end

Clarifying information

Teacher-prepared and student-prepared comments

Webbing

Cornell Note-taking Forms

Inspiration and Kidspiration software

NoteStar

Read•Write•Think Notetaker

Word processing notes (Word software

5.Nonlinguistic representations:

Creating graphic representations

Drawing pictures and pictographsEngaging in kinesthetic activityGenerating mental picturesMaking physical models

Digital camerasGraph Club softwareInspiration and Kidspiration softwareKid Pix software