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Martin Burrett

Improving SPAG for All Ages - 18 views

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    "The teaching of grammar has changed completely in a generation. While formal teaching of spelling and punctuation have been a mainstay of the classroom, just a few decades ago there was very little teaching of grammar. Many pupils formally encountered grammar through the study of other languages. Now SPaG takes up a large part of the primary curriculum, but have secondary colleagues noticed a difference? In this session we are discussion how to improve SPaG skills and usage at all levels of schooling and beyond."
Martin Burrett

Book: How to be an Outstanding Primary School Teacher by @HeadTeachDunn - 9 views

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    "With so many expectations, requirements and scrutiny of primary school teachers, it is easy to become formulaic in your practice. This is a shame, as the initial enthusiasm for the job gets waned, and giving young students the opportunity to shine becomes less focused on whole-child development. However, to become an outstanding teacher demands consistency, focus and dedication. Outstanding teachers are always on the lookout for new ideas, but sometimes the tried-and-tested classroom activities and techniques can offer a strong system to help your pupils shine, despite curriculum restraints imposed."
Martin Burrett

Book: Dare to be different by @WillRyan3 - 13 views

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    "Let me introduce you to Brian. Brian is a (fictional) primary school head teacher in England, UK. Well, maybe not fictional, as many working in schools will relate to the story created by Will Ryan in his 'Dare to be Different' book. Following the internal dialogues, reflections and incidents that Brian is faced with on a daily basis, the story unfolds telling how an individual can strive to take back ownership of what happens in the classroom and build vibrant curriculum with which to hook the imaginations of pupils. How? Will has cleverly inserted over 100 tips based on exciting primary practice, along with nearly fifty significant ideas to strengthen leadership, and accompanied a similar number of inspiring quotations throughout the story that encourages head-teachers to be brave and follow their own rules for what is best for that school community."
mstuehm76

Want to improve literacy in your school? Here's how | eSchool News - 23 views

  • the district adopted the McGraw Hill curriculum for ELA.
    • mstuehm76
       
      We use Language for Learning
  • we teach students how to build an argument and develop critical-thinking skills using five steps: Claims, Evidence, Reasoning, Counterarguments, and Audience.
  • To evaluate the effectiveness of our school-wide initiative, we now administer quarterly writing assessments for each content area. We analyze student writing samples at the end of each quarter and include norming as a department, using the district writing rubric to determine strengths and areas requiring improvement.
    • mstuehm76
       
      Marzano Score 4 rubrics
  • ...3 more annotations...
  • “I agree with what ___ said about ___, but disagree that ___.”
  • Much of what our students learn is told to them, so it is critical that they develop listening comprehension.
  • We started with a baseline assessment in September and will compare those results to a final writing sample at the end of the year.
jmadera2

The information process | Curriculum - 44 views

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    information literacy framework
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    I enjoyed reading this post, concise and to the point. Thank you.
Martin Burrett

Personalised Learning - Is it achievable? - 14 views

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    "A fascinating discussion which looked at how it is possible to achieve personalised learning within classrooms at all levels. It was evident that the term 'Personalised Learning' had a different meaning to different people from different settings. Although 'official' definitions were offered, the ambiguity still remains. Is it really possible to personalise the curriculum for 30 individuals within a classroom envirnoment? Even more of a challenge to secondary colleagues who are faced with cohorts from different year groups within the same day - being faced with over 100 individual pupils within any day?"
Martin Burrett

How students recognise 'fake news' in digital literacy tasks - 18 views

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    "A recent study revealed students at an international school in Finland significantly outperformed U.S. students on tasks which measure digital literacy in social media and online news. The researchers suggest this may be due to the Finnish and International Baccalaureate curricula's different way of facilitating students' critical thinking skills compared to the US system and curriculum. The results of this study were published in the Journal of Research in International Education in April. Critical thinking is a 21st century skill considered essential for today's students to navigate the Information Age and for their future work life."
Martin Burrett

Ofsted's new inspection arrangements to focus on curriculum, behaviour and development - 2 views

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    "From September 2019, Ofsted will refocus inspections of schools in England, early years settings and further education and skills providers, to make sure that learners are receiving a high-quality education that puts them on a path to future success. Ofsted inspectors will spend less time looking at exam results and test data, and more time considering how a nursery, school, college or other education provider has achieved their results. That is, whether they are the outcome of a broad, rich curriculum and real learning, or of teaching to the test and exam cramming."
Siri Anderson

Freedom Schools Curriculum - 15 views

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    "The SECONDARY SET OF QUESTIONS is: 1. What does the majority culture have that we want? 2. What does the majority culture have that we don't want? 3. What do we have that we want to keep"
meghankelly492

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

  • 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."
Martin Burrett

Book: Making every maths lesson count by @MccreaEmma via @CrownHousePub - 4 views

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    "Making Every Maths Lesson Count is underpinned by six pedagogical principles - challenge, explanation, modelling, practice, feedback and questioning - and presents 52 high-impact strategies designed to streamline teacher workload and ramp up the level of challenge in the maths classroom. Throughout this book, Emma McCrea (through extensive research and practice) explores how to manage mathematical misconceptions with practical ideas on many areas of the required curriculum. The six pedagogical principles mentioned above form the heart of the book, with metacognitive questioning given space in developing cognitive strategies with pupils. "
Martin Burrett

Book: The Arts in Primary Education by @Gigske via @BloomsburyEd - 1 views

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    "The Arts in Primary Education shows how resources already present in schools, such as picture books or the outdoor environment, can be used to develop a creative culture. With a focus on long-term initiatives including partnerships with art institutions and the training and personal development of teachers, the book also presents clear and accessible explanations of the benefits of integrating the arts across a school. Backed by research and evidence and complete with images and descriptions of artworks, this guide is ideal for helping develop a whole-school arts curriculum to enrich learning and raise attainment in all subject areas."
Martin Burrett

Curriculum Clarity: Making Things Clear for Students by @RichardJARogers - 8 views

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    "Preparing resources for students can be a really massive job: especially when you have the responsibility of getting kids ready for external exams."
Martin Burrett

@ReachRobotics Launches Coding Education App - ReachEDU - 6 views

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    "Functioning with the quadruped MekaMon robot, Reach EDU will utlise MekaMon's sophisticated locomotion and personality to entertain, inspire and educate students from across the academic spectrum by bringing creative learning and advanced robotics together. Operating alongside the existing MekaMon gaming app, Reach EDU will launch with six guided missions to support the KS2 Computer Science curriculum with plans to formally expand into KS3 and 4 in the next academic year."
Don Doehla

Digital Citizenship - 80 views

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    "Digital Citizenship is a concept which helps teachers, technology leaders and parents to understand what students/children/technology users should know to use technology appropriately. Digital Citizenship is more than just a teaching tool; it is a way to prepare students/technology users for a society full of technology. Too often we are seeing students as well as adults misusing and abusing technology but not sure what to do. The issue is more than what the users do not know but what is considered appropriate technology usage. "
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    Digital Citizenship is a concept which helps teachers, technology leaders and parents to understand what students/children/technology users should know to use technology appropriately. Digital Citizenship is more than just a teaching tool; it is a way to prepare students/technology users for a society full of technology. Digital citizenship is the norms of appropriate, responsible technology use.  Too often we are seeing students as well as adults misusing and abusing technology but not sure what to do. The issue is more than what the users do not know but what is considered appropriate technology usage. 
Jennie Snyder

Digital Literacy and Citizenship Classroom Curriculum | Common Sense Media - 32 views

  • Common Sense Media offers this FREE Digital Literacy and Citizenship Curriculum to help educators empower their students and their school communities to be safe, responsible, and savvy as they navigate this fast-paced digital world. NO COST to your school.
    • Eric Arbetter
       
      I wonder how we could incorporate this into our current curriculum.  Would it help with CCSS?
    • E. Grysko
       
      As my school is implementing iPads into the classrooms this year, I will probably use some of these lesson plans to teach digital citizenship!
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    FREE Digital Literacy and Citizenship Curriculum.  
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    Free curriculum, aligned to NETS, for digital literacy and digital citizenship
Martin Burrett

Book: Just great teaching by @TeacherToolKit via @BloomsburyEd - 5 views

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    "We often talk about the challenges of teacher recruitment and retention, about new initiatives and political landscapes, but day in, day out, teachers and schools are delivering exceptional teaching and most of it is invisible. Ross uncovers, celebrates, analyses and disseminates best practice in teaching. This is supported by case studies and research undertaken by Ross in ten primary and secondary schools across Great Britain, including a pupil referral unit and private, state and grammar schools, as well as explanations from influential educationalists as to why and how these ideas work. Ross explores the issues of marking and assessment, planning, teaching and learning, teacher wellbeing, student mental health, behaviour and exclusions, SEND, curriculum, research-led practice and CPD."
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