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anorred79

Learn Genetics - 73 views

learn.genetics.utah.edu

genetics science biology interactive DNA education

shared by anorred79 on 08 Jan 10 - Cached
    • anorred79
      anorred79 on 07 Oct 14
       
      Cloning section has two great interactive sites for students - mouse cloning activity is the best!
    • anorred79
      anorred79 on 07 Oct 14
       
      Cloning section has two great interactive sites for students - mouse cloning activity is the best!
    • anorred79
      anorred79 on 07 Oct 14
       
      Genetics and the brain has a great lab on neurons.
  • Jim Birchfield on 08 Jan 10
     
    Very cool site with interactive animations that show very complex scientific concepts in an easy to understand format.
  • Donna Canuel on 15 Jan 12
     
    Great resources for genetics-Science of addiction lesson
Mr. Eason

Educational Leadership:Teaching for the 21st Century:21st Century Skills: The Challenge... - 119 views

www.ascd.org/...lls@-The-Challenges-Ahead.aspx

21stcenturyskills teaching

shared by Mr. Eason on 11 May 12 - Cached
  • the skills students need in the 21st century are not new.
  • Critical thinking and problem solving, for example, have been components of human progress throughout history
  • What's actually new is the extent to which changes in our economy and the world mean that collective and individual success depends on having such skills
  • ...27 more annotations...
  • Many reform efforts, from reducing class size to improving reading instruction, have devolved into fads or been implemented with weak fidelity to their core intent. The 21st century skills movement faces the same risk.
  • some of the rhetoric we have heard surrounding this movement suggests that with so much new knowledge being created, content no longer matters; that ways of knowing information are now much more important than information itself. Such notions contradict what we know about teaching and learning and raise concerns that the 21st century skills movement will end up being a weak intervention for the very students—low-income students and students of color—who most need powerful schools as a matter of social equity.
  • First, educators and policymakers must ensure that the instructional program is complete and that content is not shortchanged for an ephemeral pursuit of skills
  • Second, states, school districts, and schools need to revamp how they think about human capital in education—in particular how teachers are trained
  • inally, we need new assessments that can accurately measure richer learning and more complex tasks
  • Skills and knowledge are not separate, however, but intertwined.
  • In some cases, knowledge helps us recognize the underlying structure of a problem.
  • At other times, we know that we have a particular thinking skill, but domain knowledge is necessary if we are to use it.
  • if skills are independent of content, we could reasonably conclude that we can develop these skills through the use of any content. For example, if students can learn how to think critically about science in the context of any scientific material, a teacher should select content that will engage students (for instance, the chemistry of candy), even if that content is not central to the field. But all content is not equally important to mathematics, or to science, or to literature. To think critically, students need the knowledge that is central to the domain.
  • The importance of content in the development of thinking creates several challenges
  • first is the temptation to emphasize advanced, conceptual thinking too early in training
  • Another curricular challenge is that we don't yet know how to teach self-direction, collaboration, creativity, and innovation the way we know how to teach long division.
  • But experience is not the same thing as practice. Experience means only that you use a skill; practice means that you try to improve by noticing what you are doing wrong and formulating strategies to do better. Practice also requires feedback, usually from someone more skilled than you are.
  • We must plan to teach skills in the context of particular content knowledge and to treat both as equally important.
  • education leaders must be realistic about which skills are teachable. If we deem that such skills as collaboration and self-direction are essential, we should launch a concerted effort to study how they can be taught effectively rather than blithely assume that mandating their teaching will result in students learning them.
  • teachers don't use them.
  • Even when class sizes are reduced, teachers do not change their teaching strategies or use these student-centered method
  • these methods pose classroom management problems for teachers.
  • These methods also demand that teachers be knowledgeable about a broad range of topics and are prepared to make in-the-moment decisions as the lesson plan progresses.
  • constant juggling act
  • greater collaboration among teachers.
  • But where will schools find the release time for such collaboration?
  • professional development is a massive undertaking.
  • Unfortunately, there is a widespread belief that teachers already know how to do this if only we could unleash them from today's stifling standards and accountability metrics. This notion romanticizes student-centered methods, underestimates the challenge of implementing such methods, and ignores the lack of capacity in the field today.
  • The first challenge is the cost.
  • measures that encourage greater creativity, show how students arrived at answers, and even allow for collaboration.
  • When students first encounter new ideas, their knowledge is shallow and their understanding is bound to specific examples. They need exposure to varied examples before their understanding of a concept becomes more abstract and they can successfully apply that understanding to novel situations.
Roland Gesthuizen

Why A Badge Is Better Than an A+ - Getting Smart by Alison Anderson - badges, EdTech, I... - 61 views

gettingsmart.com/...hy-a-badge-is-better-than-an-a

badge assessment blog

shared by Roland Gesthuizen on 08 Nov 12 - No Cached
  • A traditional “A-F” report card doesn’t inspire that type of insight for the students or the people they need to share it with in order to get into high school or college or get a job. A collection of badges from classroombadges.com would be much more like sharing a personal “yearbook” of academic accomplishments. I love that idea.
  • Roland Gesthuizen on 08 Nov 12
     
    "I admit this title makes a pretty bold statement for a society that pretty much uses the first five letters of the alphabet to define every child from about age 5 until adulthood. But, I am hearing more and more about the use of badges in the classroom, especially in conversations about gamification and self motivation."
  • Erin Crisp on 08 Nov 12
     
    I have been trying out some grading apps and am intrigued by ActivGrade because instead of being focused on a letter grade A-F, I could see students being more concerned with mastering a goal. Their "grade" is a color toward mastery of a standard. Red means I have a lot of work to do to master this, yellow means I'm making progress toward mastery and green means I've mastered this goal at this point. One grading algorithm to choose from in the app is a calculation which puts a 75% weight on the student's most recent assignment for a given concept. This means that as I get better at a skill, my most recent attempt at showing my mastery over the skill is worth more for my grade than my prior attempts. This seems like smart grading practice to me.
tecno teach

Woodland, J. (2011) Psychology for the classroom: E-Learning. Oxon: Routledge - 4 views

www.routledge.com/...9780415590938

psychology e-learning book

shared by tecno teach on 12 Jan 13 - No Cached
    • tecno teach
      tecno teach on 12 Jan 13
       
      Chapter 4 - Pedagogy Motivation through the possible 'white heat of technology' - the newness. * Emotional engagement *Immediacy * Action Engagement * Cognitive Engagement - see the Hierarchy of Engagement on page 75. * Creative and Critical Thinking - Bono's Six Thinking Hats and Technology * Using VLEs * Social Interaction - Oliver and McLaughlin (1996) proposed five levels of teacher-learner interaction: social, procedural, expository, explanatory and cognitive. * Engagement * Assessment
    • tecno teach
      tecno teach on 12 Jan 13
       
      Chapter 2 - Theory: * Piaget's stages of cognitive development and technologies. * Skiiner's programmed learning theory - technology programmes that are task analysis, sequencing of learning and presentation of concepts through step by step positive reinforcement. * Wenger Communities of Practice * Gilly Salmon (2005) five-step model of levels of maturity in online environments: access and motivation/ online socialisation/ information exchange/ knowledge construction/ learner development. * GBL and Avatars discussed.
    • tecno teach
      tecno teach on 12 Jan 13
       
      Those against technology - Tanya Byron stating they technology is affecting children's minds.
    • tecno teach
      tecno teach on 12 Jan 13
       
      Changing attitudes whilst online - different identities - different ways some converse.
    • tecno teach
      tecno teach on 12 Jan 13
       
      * Motivation of learning - attention, confidence, satisfaction, appreciation and relevance
    • tecno teach
      tecno teach on 12 Jan 13
       
      Key aspects of book of relevance: * explains e-Learning - cybergogy (online pedagogy) * 3 modes of learning - expository, active and interactive * synchronous and asynchronous learning alongside cognitive and social natures of learning
  • cybergogy
  • current research,
  • ...5 more annotations...
  • s illustrative case studies
  • grounding in both theory and pedagogical application
  • behaviourism, cognitivism and constructivism in the context of e-learning.
  • social networking;
  • cybergogy and new learning domains
Nigel Coutts

Revealing our Lifelong Learning - 31 views

thelearnersway.net/...evealing-our-lifelong-learning

resources tools

shared by Nigel Coutts on 10 Jan 16 - No Cached
  • Nigel Coutts on 10 Jan 16
     
    Few would argue that life-long learning is a worthy goal with real benefits for our long term mental health and happiness. Engaging with new ideas, concepts and ways of doing things is the ideal strategy for a healthy mind and a disposition towards better understanding the world and challenging our entrenched beliefs.
Nigel Coutts

Revisiting Digital Natives, Digital Immigrants - 66 views

thelearnersway.net/...tal-natives-digital-immigrants

tools technology learning

shared by Nigel Coutts on 18 Oct 15 - No Cached
Evon Zundel liked it
  • Nigel Coutts on 18 Oct 15
     
    In 2001 Marc Prensky divided the world into two broad groups, Digital Natives and Digital Immigrants. His idea struck a chord with popular culture and has become a dominant paradigm in education. Given the core concept remains a feature of educational dialogues it is worth re-visiting and seeing how the idea might evolve to better serve our needs and understandings of how people born after the internet, learn with and think about, technology.
Clint Heitz

Screen Reading Worse for Grasping Big Picture, Researchers Find - Digital Education - E... - 27 views

blogs.edweek.org/...ing_worse_for_big_picture.html

reading digital resources

shared by Clint Heitz on 21 Mar 18 - No Cached
  • Among young adults who regularly use smartphones and tablets, just reading a story or performing a task on a screen instead of on paper led to greater focus on concrete details, but less ability to infer meaning or quickly get the gist of a problem,
  • The findings align with other emerging research on how students process information differently in print and digital forms. A 2014 series of experiments found that while taking more notes overall was better than taking fewer, students who typed notes on their laptops rather than writing them on paper tended to take down information verbatim rather than summarizing concepts, and the more students wrote verbatim, the less they remembered a week later. 
  • For example, she said, teachers should consider the format of information when designing different types of activities, to help students focus on details or overall themes. 
Caroline Kuhn

From Internet to Gutenberg 1996 - 30 views

www.umbertoeco.com/...nternet-to-gutenberg-1996.html

Gutenberg Humberto Ecco

shared by Caroline Kuhn on 10 Jun 15 - Cached
  • remember books. Books challenge and improve memory
  • (The book will kill the cathedral, alphabet will kill images).
  • During the sixties, Marshall McLuhan wrote his The Gutenberg Galaxy, where he announced that the linear way of thinking instaured by the invention of the press, was on the verge of being substituted by a more global way of perceiving and understanding through the TV images or other kinds of electronic device
  • ...8 more annotations...
  • the computer has become, first of all, an alphabetic instrument
  • These same teen-agers, if by chance they want to program their own home computer, must know, or learn, logical procedures and algorithms, and must type words and numbers on a keyboard, at a great speed. In this sense one can say that the computer made us to return to a Gutenberg Galaxy.
  • Today the concept of literacy comprises many media. An enlightened policy of literacy must take into account the possibilities of all of these media. Educational preoccupation must be extended to the whole of media.
  • Images have, so to speak, a sort of Platonic power: they transform individuals into general idea
  • who will receive pre-fabricated images and therefore prefabricated definitions of the world, without any power to critically choose the kind of information they receive, and those who know how to deal with the computer, who will be able to select and to elaborate information.
  • This will re-establish the cultural division which existed at the time of Claude Frollo, between those who were able to read manuscripts, and therefore to critically deal with religious, scientifical or philosophical matters, and those who were only educated by the images of the cathedral, selected and produced by their masters, the literate few.
  • With a hypertext, instead, I can navigate through the whole encyclopedia. I can connect an event registered at the beginning with a series of similar events disseminated all along the text, I can compare the beginning with the end, I can ask for the list of all the words beginning by A, I can ask for all the cases in which the name of Napoleon is linked with the one of Kant, I can compare the dates of their birth and death - in short, I can do my job in few seconds or few minutes.
  • Even if it were true that today visual communication overwhelms written communication, the problem is not to oppose written to visual communication. The problem is how to improve both.
  • Caroline Kuhn on 10 Jun 15
     
    Or the Elements of Euclid.
Jac Londe

Chrome Experiments - Experiments - 65 views

www.chromeexperiments.com/globe

Chrome Experiments globe data visualization geography web maps

shared by Jac Londe on 19 Mar 15 - No Cached
  • Jac Londe on 19 Mar 15
     
    Some times some brilliant peaple invents new manners to see the world and make us understand more easily abstracts concepts.
Frederick Eberhardt

Powerful Learning: Studies Show Deep Understanding Derives from Collaborative Methods |... - 85 views

www.edutopia.org/uiry-project-learning-research

Collaborative Learning Powerful Student as Researcher

shared by Frederick Eberhardt on 03 Oct 09 - Cached
  • In essence, students must learn how to learn, while responding to endlessly changing technologies and social, economic, and global conditions.
  • students learn more deeply if they have engaged in activities that require applying classroom-gathered knowledge to real-world problems.
  • developing inquiring minds
  • ...10 more annotations...
  • Studies of problem-based learning suggest that it is comparable, though not always superior, to more traditional instruction in teaching facts and information. However, this approach has been found to be better in supporting flexible problem solving, reasoning skills, and generating accurate hypotheses and coherent explanations.
  • design challenges need to be carefully planned, and they emphasized the importance of dynamic feedback.
  • When students have no prior experience with inquiry learning, they can have difficulty generating meaningful driving questions and logical arguments and may lack background knowledge to make sense of the inquiry.
    • Adrienne Michetti
      Adrienne Michetti on 03 Oct 09
       
      Absolutely true. I discovered this when I used inquiry-based methods with my students in Qatar who were used to rote learning. They truly did not know where to start. They first needed to learn *how* to be inquisitive.
  • Requiring students to track and defend their thinking focused them on learning and connecting concepts in their design work
  • All the research arrives at the same conclusion: There are significant benefits for students who work together on learning activities.
  • groups outperform individuals on learning tasks and that individuals who work in groups do better on later individual assessments.
  • In successful group learning, teachers pay careful attention to the work process and interaction among students.
  • "It is not enough to simply tell students to work together. They must have a reason to take one another's achievement seriously.
  • She and her colleagues developed Complex Instruction, one of the best-known approaches, which uses carefully designed activities requiring diverse talents and interdependence among group members.
    • Adrienne Michetti
      Adrienne Michetti on 03 Oct 09
       
      Interesting... worth checking out.
  • They require changes in curriculum, instruction, and assessment practices -- changes that are often new for teachers and students.
  • Adrienne Michetti on 03 Oct 09
     
    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
  • Adrienne Michetti on 03 Oct 09
     
    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
  • Frederick Eberhardt on 06 Oct 11
     
    Vocational Education meets Research in the dynamic classroom of Linda Darling-Hammond, 2008. The students are doing the research, teaching and learning. They control their own destiny and they are taking the world by storm! They are not waiting to be taught, they are teaching each other and themselves as teams of researchers. Darling-Hammond, L. (2008). Powerful learning: what we know about teaching for understanding. San Francisco, CA: Jossey-Bass.
eaalvarez553

SAMR and Bloom's Taxonomy: Assembling the Puzzle | Common Sense Education - 37 views

www.commonsense.org/...taxonomy-assembling-the-puzzle

blooms SAMR edtech EDUC6420 techframework

shared by eaalvarez553 on 21 Jun 17 - No Cached
  • Augmentation/Apply: Using a simple yet powerful tool for visualization like GeoGebra, students explore the concepts covered in the resources described in 1., and solve related standard problems. The scope and number of the problems is not governed by what is available in the “back of the book,” but rather driven by the evolution of student understanding, as measured by suitable formative assessment processes.
  • Substitution/Remember: Students use ebooks and other Open Education Resources to acquire basic knowledge about statistical tools and procedures. 2. Substitution/Understand: At the same time, they begin a process of gathering information online describing applications of these statistical tools to an area of interest to them, using simple bookmark aggregation services (e.g., Diigo, Delicious) to collect and tag these resources, relating them to the knowledge gained in 1.
Antoinette Siarabalos

bubbl.us | brainstorm and mind map online - 152 views

bubbl.us

mindmap mindmapping web2.0 brainstorming elearning

shared by Antoinette Siarabalos on 07 Mar 11 - No Cached
Lance Jilbert liked it
  • Randolph Hollingsworth on 07 Mar 11
     
    Very simple graphic builder and easy to use
  • ...2 more comments...
  • Marc Patton on 26 Jun 12
     
    brainstorm and mind map online
  • teacherboyle on 16 Aug 12
     
    Great for creating bubble charts for brainstorming, note-taking, or categorizing.
  • Kate Pederson on 12 Nov 12
     
    Concept mapping tool
  • kellidgegroup on 07 Feb 15
     
    Brainstorm online with bubbl.us. Easily create colorful mind maps to print or share with others. Almost no learning curve. Businesses, universities, and other schools are using bubbl.us worldwide to generate ideas, map out processes and create presentations.
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
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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."
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
Panagiotis Apostolellis

Team A - Phase 2 - 0 views

sites.google.com/...phase-2

shared by Panagiotis Apostolellis on 25 Sep 19 - No Cached
  • FitWithFriends (FWF) should help students attending UVA achieve their fitness goals by motivating prospective gym goers through connecting them with potential workout buddies. FWF will provide guidance to new users in creating a profile and matching with another person through simple instructions. It will provide a service in which users can input information, such as fitness goals and availability. FWF will also provide a database that will educate users on how to use different equipment as well as supply different workouts. Next, users can match with a single user or a group, and if it is mutual, FWF should be able to connect them within a day of the match to plan workouts. FWF will handle various physical activities from running or weightlifting to rock climbing depending on user interests. FWF can also offer rewards to students who continue to complete workouts. FWF will work to build deeper connections between students through a medium other than academics.
  • System concept statement
Dallas McPheeters

Book Summary - Good to Great: Why Some Companies Make the Leap…and Others Don't - 6 views

readingraphics.com/book-summary-good-to-great

shared by Dallas McPheeters on 09 Mar 19 - No Cached
    • Dallas McPheeters
      Dallas McPheeters on 09 Mar 19
       
      Excellent synopsis of the best seller, "From Good to Great" The Hedgehog concept is interesting. Had not heard of that before.
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