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Roland Gesthuizen

AASA :: Feature: Quality and Equity in Finnish Schools (Sahlberg) - 1 views

www.aasa.org/content.aspx

equity Finland school education testing performance teachertraining

shared by Roland Gesthuizen on 03 Sep 12 - No Cached
  • teachers and administrators had designed a curriculum that suggests this school invests heavily in ensuring all students have access to effective instruction and individualized help
  • Finland invests 30 times more funds in the professional development of teachers and administrators than in evaluating the performance of students and schools, including testing. In testing-intensive education systems, this ratio is the opposite, with the majority of funding going to evaluation and standardized testing
  • Finnish schools use two strategies to enhance equity in schooling: (1) school-based curricula that give teachers and administrators the power to define values, purpose and overall educational goals for their school; and (2) emphasis on and access to professional development to help schools reach these goals.
  • ...3 more annotations...
  • all children, regardless of family background or personal conditions, have a good school in their community. Because Finnish educators and policymakers believe schools can change the course of children’s lives, these schools must address the health, nutrition, well-being and happiness of all children in a systematic and equitable manner
  • research demonstrates that investing as early as possible in high-quality education for all students and directing additional resources toward the most disadvantaged students as early as possible produces the greatest positive effect on overall academic performance
  • Standardized testing that compares individuals to statistical averages, competition that leaves weaker students behind and merit-based pay for teachers jeopardize schools’ efforts to enhance equity. None of these factors exists in Finland
  • Roland Gesthuizen on 03 Sep 12
     
    "A Finnish education ambassador shares how his country's school system ensures all students have access to quality instruction, sans constant testing"
Glenn Hervieux

STEM Curriculum Resources by Dr. Wesley Fryer - 107 views

stem.wesfryer.com/home

STEM technology science website

shared by Glenn Hervieux on 05 Jul 15 - No Cached
Judy Steel liked it
  • Glenn Hervieux on 05 Jul 15
     
    Excellent resources organized by Dr. Wesley Fryer (@wfryer). Definitely worth a look! Be sure to check out the Curiosity Links.
  • Keith Guernsey on 31 Jul 15
     
    GREAT stuff. Going to keep this page handy!
Marianne Hart

Welcome to sciTunes - Learner-Centered Multimedia Science Curriculum - 85 views

www.scitunes.com

stem elementary Science games multimedia

shared by Marianne Hart on 10 Feb 11 - No Cached
  • Marianne Hart on 10 Feb 11
     
    Free Download of the Digestive System - Check it out!
Michele Rosen

Home - www.TeachEngineering.org - 54 views

www.teachengineering.org/index.php

shared by Michele Rosen on 21 Sep 15 - No Cached
  • Deborah Baillesderr on 21 Sep 15
     
    "CURRICULUM FOR K-12 TEACHERS Standards-aligned engineering lessons and hands-on activities for use in science, engineering, and math classrooms"
Chema Falcó

4 Keys to Student Self-Assessment - Cooper on Curriculum - 18 views

rosscoops31.com/...selfassess

Self-Assessment autoevaluación retroalimentación aprendizaje

shared by Chema Falcó on 01 Dec 18 - No Cached
  • Chema Falcó on 01 Dec 18
     
    4 acciones para desarrollar la autoevaluación de cada estudiante
Jeff Andersen

OPEN Physical Education Curriculum - Online Physical Educators Network - 26 views

openphysed.org

Physical Education PE Activity Plans

shared by Jeff Andersen on 04 May 17 - No Cached
  • Jeff Andersen on 04 May 17
     
    Open source sited for PE Teachers and Activity Leaders
meghankelly492

Music That Represents Culture: Selecting Music with Integrity: EBSCOhost - 4 views

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

world Music

shared by meghankelly492 on 24 May 19 - No Cached
  • The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).
  • In other words, authenticity lies within the perceptions of the individual.
  • Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.
  • ...7 more annotations...
  • Ethnomusicologist Bruno Nettl explains that "societies differ, however, in their attitude toward musical stability; to some it is important that a song remain stable and unchanged, while in others individual singers are encouraged to have their personal versions."
  • but he believes educators must determine at what point that musical experience is no longer acceptable as representative of that culture.
  • Having clear visions of educational goals and the broad curriculum is vital to making these determinations.
  • Bennett Reimer states, "Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, 'knowing about' becomes an essential ingredient of artistry and of listening."[ 15] For example, children might not fully understand the meaning of "Take Me Out to the Ball Game" unless they understand what baseball is or realize that the song is traditionally sung at baseball games.
  • text in an unfamiliar language should include a translation so students understand the meaning of the words.
  • However, a culturally valid work is not necessarily bias free; and conversely, bias-free music is not necessarily culturally valid.
  • Selecting the best music to represent a culture in an unbiased manner is a process of discovery. You will first need to educate yourself before you can educate others.
anonymous

Teachers' Cafe - 3 views

www.theteacherscafe.com/...Elementary_Specialist.php

curriculum education games health lessons teacher physical.education music art smartboard resources

shared by anonymous on 09 Aug 12 - No Cached
  • anonymous on 09 Aug 12
     
    Elementary Specialist Ideas. PE, Music, Art. Lesson Plans.
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.
Chema Falcó

Ideas - The Learner's Way - 53 views

thelearnersway.net/ideas

evaluación_formativa

shared by Chema Falcó on 15 May 16 - No Cached
  • Nigel Coutts on 15 May 16
     
    Ask any teacher what they wish they had more of and the most common answer is likely to be time. Schools are inherently busy places and there is always much to be done. We all want to meet the needs of every student, add value to their education with breadth and depth, ensure adequate coverage of the curriculum and include aspects of play and discovery. Add up all that is done in a day over and above face-to-face teaching and you can only wonder at how we manage to fit it all into the time we have. So is there an answer to this dilemma, is there a secret method to finding more time in our schedules to achieve all that we want to?
Trevor Cunningham

60second Recap® Video Notes. Everything you need to wow your English teacher! - 111 views

www.60secondrecap.com

Library literature english reading

shared by Trevor Cunningham on 06 Nov 09 - Cached
  • Sue Keene on 06 Nov 09
     
    Be sure to diigo this site! You'll love it!! It recaps all your "favorite" novels!
  • ...3 more comments...
  • donnatmachado on 18 Oct 10
     
    60second Recap™ wants to make the great works of literature accessible, relevant, and, frankly, irresistible to today's teens. Through 60second Recap™ video albums, we seek to help teens engage with the best books out there ... not just to help them get better grades, but to help them build better lives.
  • Melanie Weser on 26 Jun 11
     
    Recaps many novels in a high school English curriculum
  • Michele Brown on 06 Jun 12
     
    Video generated study guide for some of the top literature reads.The 60second Recap™ makes literature accessible, relevant, and, frankly, irresistible to today's teens.
  • Marc Patton on 19 Jul 12
     
    Jenny goes beyond the books to help you excel in class. Tips on reading, writing, and more.
  • Trevor Cunningham on 04 Sep 12
     
    While it certainly satisfies a new low in apathy and lethargy, eclipsing the likes of Sparks and Cliff Notes, it does present an outstanding project idea for a literature class.
mstuehm76

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

www.eschoolnews.com/...-improve-literacy-school-heres

shared by mstuehm76 on 01 May 18 - No Cached
  • the district adopted the McGraw Hill curriculum for ELA.
    • mstuehm76
      mstuehm76 on 01 May 18
       
      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
      mstuehm76 on 01 May 18
       
      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.
Siri Anderson

Freedom Schools Curriculum - 15 views

www.educationanddemocracy.org/...C_CC1_Units1to6.htm

Critical_Pedagogy Leslie_Dunlap US_history Myles_Horton 1965 race hegemony what works

shared by Siri Anderson on 23 Jun 19 - No Cached
  • Siri Anderson on 23 Jun 19
     
    "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

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Don Doehla

Digital Citizenship - 80 views

www.digitalcitizenship.net/Home_Page.html

curriculum educational technology digitalcitizenship technology digital citizenship internet_safety citizenship resources digital

shared by Don Doehla on 04 May 10 - Cached
  • Sandy Munnell on 04 May 10
     
    "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. "
  • Don Doehla on 16 Jul 13
     
    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. 
Matt Renwick

Education Week Teacher: How to Make the Most of Your Professional Learning Community - 33 views

www.edweek.org/...tln_kriete_plc.html

plc

shared by Matt Renwick on 22 Feb 13 - No Cached
  • During our first meeting of the school year, we jotted down on sticky notes what each of us wanted to accomplish in our weekly meetings. Three main ideas rose to the top and have driven our work together ever since: support for each other, help with pacing an overwhelming curriculum, and detailed plans to implement with our students. Everything we do as a group addresses one or more of these three objectives.
  • Talking about the issues and pressures of teaching—always in a solutions-focused way, of course—is cathartic itself.
  • PLCs must find ways to share the workload, not increase it.
  • ...2 more annotations...
  • Effective PLCs must focus on student learning. It's no use becoming bogged down in issues or procedures that are out of our control as classroom teachers.
  • To keep ourselves on track, we examine our students' strengths and weaknesses, creating plans that maximize student success.
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