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Brianna Crowley

Response: Several Ways to Get the New Year Off to a Good Start -- Part One - Classroom ... - 60 views

blogs.edweek.org/..._a_good_start_--_part_one.html

firstday resources teaching

shared by Brianna Crowley on 16 Aug 12 - No Cached
Denise Olsen liked it
  • Every day that first week, even in the first meeting, teach something substantive in the curriculum. Make it something that is brand new, not something reviewed from the previous year. Students are hungry for intellectual engagement after a summer off, and they want to think great thoughts and do great works.
  • Mix academics with administrative and Get-to-Know-You activities. It should be about 50-50: half engagement with interesting academics, half focused on forms, announcements, or activities meant to build classroom community. Keep the ratio: students will grow impatient and disillusioned if too much time is spent on get-to-know-you activities. It sounds weird, but most students are not looking for continued summer camp experiences so much as they are seeking confidence and engagement.
  • choose poems related to growing up or modern culture, or read share the lyrics of powerful songs of any generation.
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  • Tell students what new opportunities and freedoms they now have instead of just listing rules and the consequences for breaking them.
Gloria Maristany

Motivating the Child with Attention Deficit Disorder - 3 views

www.ldonline.org/19975

Disorder motivating attention deficit

shared by Gloria Maristany on 15 Jul 11 - No Cached
  • live very much in the present. Therefore, long-term goals and rewards (e.g., grades and report cards) are often ineffective motivators.
    • Gloria Maristany
      Gloria Maristany on 15 Jul 11
       
      Reason for immediate rewards/consequences.
  • basically two time frames — now and not now.
  • This Now/Not Now worldview causes great frustration for the child, his teachers, and his parents, and must be seriously considered when designing activities and approaches for motivating the child with ADD.
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  • respond more positively to a curriculum that allows him choices and options. He will also be more likely to participate actively in tasks when there is a degree of creativity and novelty
  • the presentation should be creative, colorful, multimodal, and enjoyable.
  • pervasive and complex disorder that impacts nearly all of the child's activities and interactions.
  • The child's impulsivity ("Ready, fire, aim!") can present serious safety concerns; his distractibility makes it extraordinarily difficult for him to understand and follow instructions; his memory difficulties make even rote learning troublesome; his executive processing problems (ability to plan and prioritize) present great challenges when he attempts to plan simple daily activities; his organizational deficiencies cause him tremendous problems with homework, household tasks, and long-term projects.
  • two most important words when dealing with these special children: "support" and "challenge."
  • The adult should continually challenge the child by presenting him with activities designed to improve his behavior and his learning, while simultaneously providing him with the support that he requires to meet these goals. Support without challenge is meaningless. Challenge without support is equally ineffective.
  • Among the specific teaching strategies that may foster the child's motivation are:
  • Gloria Maristany on 15 Jul 11
     
    Good description of the limitations they have and how it affects them in school.
Nigel Coutts

Learning and Cognitive Load - An Introduction - 60 views

thelearnersway.net/...cognitive-load-an-introduction

learning thinking cognition

shared by Nigel Coutts on 02 Aug 15 - No Cached
  • Nigel Coutts on 02 Aug 15
     
    What does it mean to have learned something? What occurs within the individual as they are learning and what changes occur as a result of that learning? At some point in the teaching/learning cycle we need to ask this question and ponder our definition of learning and the consequences that follow from our conclusions.
Sharin Tebo

Building Attention Span - The New York Times - 75 views

www.nytimes.com/...s-building-attention-span.html

shared by Sharin Tebo on 16 Jul 15 - No Cached
  • ou toggle over to check your phone during even the smallest pause in real life. You feel those phantom vibrations even when no one is texting you. You have trouble concentrating for long periods.
    • Sharin Tebo
      Sharin Tebo on 16 Jul 15
       
      This is a connection for me to the technology and devices article we read today and did a quotation mingle around during our Disciplinary Literacy Institute. No kidding that we get a shot of dopamine or 'high' when our phone goes ding, or it vibrates. 
  • Online life is so delicious
  • You live in a state of perpetual anticipation because the next social encounter is just a second way.
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  • xpert online gamers have a great capacity for short-term memory, to process multiple objects simultaneously, to switch flexibly between tasks and to quickly process rapidly presented information.
  • Fluid intelligence
    • Sharin Tebo
      Sharin Tebo on 16 Jul 15
       
      I've never heard this before!
  • Research at the University of Oslo and elsewhere suggests that people read a printed page differently than they read off a screen. They are more linear, more intentional, less likely to multitask or browse for keywords.
  • Crystallized intelligence
    • Sharin Tebo
      Sharin Tebo on 16 Jul 15
       
      Something else i have never heard of.
  • Crystallized intelligence accumulates over the years and leads ultimately to understanding and wisdom.
    • Sharin Tebo
      Sharin Tebo on 16 Jul 15
       
      So maybe this kind of intelligence, then, is the "learning is a consequence of thinking"?
Clint Heitz

Department of Psychology | JMU - 10 views

www.psyc.jmu.edu/...etextbooks.html

reading digital resources review

shared by Clint Heitz on 21 Mar 18 - No Cached
  • If the new trend in textbooks is moving them to computer screens, the switch could have negative consequences as many suggest that people skim more, process more shallowly, and may retain less information when reading online, Daniel said.
  • he readers’ goals are different: Individuals reading an e-book for enjoyment aren’t required to pass a comprehension-based test afterward. While they found that learning is possible from both formats, learning from e-textbooks takes longer and requires more effort to reach the same level of understanding, even in a controlled lab environment. At home, students report taking even more time to read e-textbooks as well as higher rates of muti-tasking (e.g., Facebook, electronic chat, texting, email, etc.) than do their peers using printed textbooks.
  • In their preliminary findings, the scanning pattern produced when the student read a textbook showed consistent reading from line to line down the page. But the scanning pattern from reading on the screen was less intense.
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  • Daniel and Jakobsen argue that the information dense textbooks characteristic of natural and social science subjects are not a good fit for current e-textbooks, but there are exceptions for subjects like chemistry and math that include doing formulas and other activities. The liability, Daniel emphasizes, comes when math and chemistry teachers hope their students will learn the explanations, not just the formulas, “Students tend to skip the text and go straight to the formulas, especially if they are graded.”
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)
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  • 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
guimejia

El lenguaje se mueve para pensar: la forma del alumno - 1 views

thelearnersway.net/...language-moves-for-thinking

shared by guimejia on 09 Mar 21 - No Cached
  • Nigel Coutts on 09 Mar 21
     
    A good place to start in our efforts to shift the impact that our language choices have is with a focus on the language of thinking. If we believe that all learning is a consequence of thinking, it is natural to select language moves that encourage this from our learners.
meghankelly492

Deep Listening to the Musical World: EBSCOhost - 1 views

web.a.ebscohost.com/...detail

world Music

shared by meghankelly492 on 24 May 19 - No Cached
  • Deep-listening experiences, wrapped in a pedagogy of music listening, take students far beyond the surface of their barely noticeable surround-sound environment and into the nature of music and its workings.
  • Attentive-listening experiences occur when teachers point out specified points of focus, put questions or challenges to the listeners, or merge graphics or visuals with the sound experience itself. Graphs or maps of particular musical features can be helpful, since visual cues may enhance listening. Teachers can provide diagrams of the contours of the melody or depict rhythmic components of a piece through iconic symbols-staff notation, splotches of color, or geometric shapes, for example. Instruments, real or illustrated, can focus student attention on their entrance or continuing presence in the music.
  • Engaged listening invites listeners to enter into the groove or the flow of the music, pick a part to contribute, and consequently feel more involved in the music. A phenomenon of "participatory consciousness"[ 5] unfolds as engaged listeners find their place in the music, find something in the music to hang on to (a melody, a pulse, an ostinato, a groove), and select a contribution to make back to the music. In this way, they connect with the music, joining the recorded musicians and their live participant-colleagues in a musical team.
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  • The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.
  • Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.
  • Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.
Paul Beaufait

The purpose of aggregating bookmarks for the Diigo in Education group - 144 views

As somewhat of a Johnny-come-lately to this group, since hearing of new Diigo outline functionality AND planned deprecation of Diigo lists, I believed this group would focus on the transition in Di...

aggregations Diigo education groups purposes moderation noise-to-signal signal-to-noise tools

started by Paul Beaufait on 23 Mar 15 7 follow-ups, last by Paul Beaufait on 06 Apr 15
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