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Nigel Coutts

The Language of Praise & Feedback - The Learner's Way - 7 views

thelearnersway.net/...anguage-of-praise-amp-feedback

praise growth mindset language learning education

shared by Nigel Coutts on 10 May 21 - No Cached
  • Nigel Coutts on 10 May 21
     
    Praise and Feedback occupy significant spaces in the lives of our learners. It should not be surprising then that the language we use to communicate praise and feedback can enhance or hinder our efforts.
Tonya Thomas

Podcasting Business Learning: Addressing the New Learning Styles for Generation Y - 1 views

businesscommunication.org/...03ABC07.pdf

new learning 21st century skills

shared by Tonya Thomas on 25 Sep 12 - No Cached
  • Tonya Thomas on 25 Sep 12
     
    by Stevina Evuleocha, Steve Ugbah California State University Abstract The quest for an ideal medium to deliver business content to Gen Y learners has led instructors to consider the Internet, since digital content that exists in databases can be manipulated by a range of programming services (Shim et al., 2006). Shim et al., have also asserted that web development has been hampered by bandwidth and difficulties of "back end integration," consequently, impacting the presentational aspects of data and user interfaces (Yang & Tang, 2005). Innovations in computer and software technologies appear to have ameliorated the technical difficulties, resulting in the emergence of new media such as podcasting, webcasting, videostreaming, blogging, and Synchronized Multimedia Integration Language (SMIL) technologies (Shim, 2002). These new media streams can be integrated into traditional lectures, thus enhancing the educational environment (McLaughlin, 2006), particularly for Gen Y learners. This paper discusses the efficacy of podcasting in business education, reviews the characteristics of Generation Y (Gen Y) learners, discusses learning styles and theories that support mobile learning, reviews learning styles of Gen Y learners, and discusses whether adaptations are necessary to address the updated needs of this new generation of learners in the business communication context.
Lee-Anne Patterson

Language Learning & Technology - 1 views

llt.msu.edu

language technology journal education learning

shared by Lee-Anne Patterson on 26 Apr 09 - Cached
  • Lee-Anne Patterson on 26 Apr 09
     
    A refereed journal for second and foreign language educators
Penny Roberts

VOCEDplus | VOCEDplus: the international tertiary education research database - 19 views

www.voced.edu.au/

research voced education database

shared by Penny Roberts on 03 Sep 14 - Cached
  • Penny Roberts on 03 Sep 14
     
    "VOCEDplus is a free research database for tertiary education, especially as it relates to workforce needs, skills development, and social inclusion. It encompasses vocational education and training (VET), higher education, adult and community education, informal learning, and VET in Schools. It is international in scope and contains over 55,000 English language records, many with links to full text documents."
Roland Gesthuizen

Pathfinders for Autism | Articles - 17 views

www.pathfindersforautism.org/...-for-autism-spectrum-disorders

autism education pedagogy teaching

shared by Roland Gesthuizen on 06 Nov 13 - No Cached
  • Roland Gesthuizen on 06 Nov 13
     
    "Autism can block, delay, or distort signals from any or all of the senses. It is difficult for people with autism to interact with other people through social activities and spoken communication. Pragmatic language skills, including gestures, facial expressions, body language, and other nonverbal communication, may also be impaired. Autism may also be associated with difficulties with learning, imagination, and reasoning. "
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."
Cindy Edwards

Electronic Journal for the Integration of Technology in Education - 60 views

ejite.isu.edu/...Stokes.html

learning_styles

shared by Cindy Edwards on 28 Apr 13 - Cached
  • Characters in alphabets began as pictures with meaning (West, 1997).
  • As history repeats itself, we may find that a great deal of information is better presented visually rather than verbally.
  • culture's
  • ...9 more annotations...
  • predominant mode of literacy depends on the technology and mass media it embraces (Sinatra, 1986).
  • Kellner (1998) proposes that multiple literacies are necessary to meet the challenges of today's society, literacies that include print literacy, visual literacy, aural literacy, media literacy, computer literacy, cultural literacy, social literacy, and ecoliteracy.
  • Learning through orderly, sequential, verbal-mathematical, left-hemisphere tasks is a pattern seen frequently in education (West, 1997). Those whose thought processes are predominantly in the right-hemisphere where visual-spatial and nonverbal cognition activities rule frequently may have difficulty capitalizing on a learning style that is not compatible with their abilities.
  • If visual literacy is regarded as a language, then there is a need to know how to communicate using this language, which includes being alert to visual messages and critically reading or viewing images as the language of the messages.
  • Technology, particularly the graphical user interface of the World Wide Web, requires skills for reading and writing visually in order to derive meaning from what is being communicated.
  • Because visual literacy precedes verbal literacy in human development,
  • learning evolves from the concrete to the abstract; visual symbols are nonverbal representations that precede verbal symbols (Sinatra, 1986).
  • West (1997) conveys an innovative mathematics approach whereby students “do” mathematics rather than “watch” mathematics. The technique emphasizes learning through interactive graphics without words. “The words go into an idea only after the idea has already settled in our mind”(West, p.
  • The literature suggests that using visual elements in teaching and learning yields positive results.
Don Doehla

Foreign Language Vocabulary, Grammar, and Readings - 5 views

www.languageguide.org

language learning vocabulary audio education fle langue française french français francophone

shared by Don Doehla on 05 Jun 12 - Cached
  • Martin Burrett on 05 Jun 12
     
    A wonderful project to build interactive resources with audio to help learn a range of languages from around the world. http://ictmagic.wikispaces.com/Languages%2C+Culture+%26+International+Projects
Ed Webb

Gove unveils Tory plan for return to 'traditional' school lessons - Times Online - 22 views

www.timesonline.co.uk/...article7052010.ece

education UK Tories policy reform conservatism

shared by Ed Webb on 06 Mar 10 - Cached
  • a committee of the “greatest minds in Britain” would decide what children were taught. The Prince of Wales’ Teaching Institute would also be involved in drawing up a new curriculum.
  • “I’m an unashamed traditionalist when it comes to the curriculum,” Mr Gove said. “Most parents would rather their children had a traditional education, with children sitting in rows, learning the kings and queens of England, the great works of literature, proper mental arithmetic, algebra by the age of 11, modern foreign languages. That’s the best training of the mind and that’s how children will be able to compete.”
    • Ed Webb
      Ed Webb on 06 Mar 10
       
      The best training of the mind?! Is he high?
  • “The invitation is there for all the great minds of our time to help reshape the national curriculum — both primary and secondary,” Mr Gove said. “We want to rewrite the whole thing and we are going to start as soon as we get in. We need the experts to tell us what is needed. The critical thing is to find people who want the intellectual life of the nation to be revived.”
    • Ed Webb
      Ed Webb on 06 Mar 10
       
      I have a pretty great mind, and I can explain - with diagrams, if necessary - why this idea is a catastrophe
  • ...5 more annotations...
  • He’s absolutely right in saying that what draws people into teaching is that they love history or physics, and they want to communicate that love. They don’t love abstract thinking skills; they love the thrill of discovery in their own special field.
    • Ed Webb
      Ed Webb on 06 Mar 10
       
      I love teaching. Come ask me.
  • “I was amazed to discover that science is not divided into physics, chemistry and biology. It has these hybrid headings about the chemical and material whatever and the Earth, the environment and this and that.”
    • Ed Webb
      Ed Webb on 06 Mar 10
       
      Because, you know, hybridity is evil - EVIL! Interdisciplinary, inquiry-driven education is clearly a plot to weaken the moral fibre of the nation. Any increase in actual learning or interest on the part of students that it may produce must be an aberration.
  • Lessons should celebrate rather than denigrate Britain’s role through the ages, including the Empire. “Guilt about Britain’s past is misplaced.”
    • Ed Webb
      Ed Webb on 06 Mar 10
       
      Has Mr Gove been reading Niall Ferguson? Or maybe taking lessons from recent French policy? Either way, bizarre and frightening.
  • I’ve been talking to the RSC about bringing Shakespeare into primary schools
    • Ed Webb
      Ed Webb on 06 Mar 10
       
      More state funding for Shakespeare in schools I could get behind
  • Modern languages will also be revived. “One of the biggest tragedies in state education over the last ten years has been this huge drop in French and German, Italian and Spanish,”
    • Ed Webb
      Ed Webb on 06 Mar 10
       
      More languages - good. But surely Chinese and Arabic should be high on the list? And Farsi, Urdu, Hindi, Russian...
Freddy R. Nunez

Interesting Things for ESL/EFL Students (Fun English Study) - 81 views

www.manythings.org

esl english vocabulary language education teaching

shared by Freddy R. Nunez on 23 Mar 11 - Cached
  • Lisa DuFur on 23 Mar 11
     
    This web site is for people studying English as a Second Language (ESL) or English as a Foreign Language (EFL). There are quizzes, word games, word puzzles, proverbs, slang expressions, anagrams, a random-sentence generator and other computer assisted language learning activities. Even though the primary focus is for ESL, native English speakers may also find some interesting things on this site. This site is non-commercial and has no advertising. TESL/TEFL teachers may want to recommend this site to their students.
anonymous

Is Real Educational Reform Possible? If So, How? | Psychology Today - 3 views

www.psychologytoday.com/...onal-reform-possible-if-so-how

education reform psychology

shared by anonymous on 21 Nov 11 - No Cached
  • Children come into the world intensely motivated to learn about the physical, social, and cultural world around them; but they need freedom in order to pursue that motive.  For their first four or five years of life we generally grant them that freedom. During those first few years, without any teaching, they learn a large portion of what any human being ever learns. They learn their entire native language, from scratch. They learn the basic practical principles of physics. They learn psychology to such a degree that they become experts in how to please, annoy, manipulate, and charm the other people in their environment.  They acquire a huge store of factual knowledge.  They learn how to operate the gadgets that they are allowed to operate, even those that seem extraordinarily complex to us adults.They do all this on their own initiative, with essentially no direction from adults.
  • anonymous on 21 Nov 11
     
    "Children come into the world intensely motivated to learn about the physical, social, and cultural world around them; but they need freedom in order to pursue that motive."
webExplorations

Disrupting College - 3 views

www.americanprogress.org/...disrupting_college.html

education ctl

shared by webExplorations on 25 Mar 11 - No Cached
  • Using online learning in a new business model focused exclusively on teaching and learning, not research—and focused on highly structured programs targeted at preparation for careers—has meanwhile given several organizations a significant cost advantage and allowed them to grow rapidly.
  • Using online learning in a new business model focused exclusively on teaching and learning, not research—and focused on highly structured programs targeted at preparation for careers—has meanwhile given several organizations a significant cost advantage and allowed them to grow rapidly.
  • Using online learning in a new business model focused exclusively on teaching and learning, not research—and focused on highly structured programs targeted at preparation for careers—has meanwhile given several organizations a significant cost advantage and allowed them to grow rapidly.
  • ...1 more annotation...
  • Recommendations for existing institutions of higher education also emerge from an understanding of disruptive innovation. These colleges and universities should: Apply the correct business model for the task. These institutions have conflated value propositions and business models, which creates significant, unsustainable overhead costs. Drive the disruptive innovation. Some institutions have this opportunity, but to do so, they need to set up an autonomous business model unencumbered by their existing processes and priorities. They can leverage their existing fixed resources in this autonomous model to give themselves a cost advantage over what to this point have been the low-cost disruptive innovators. Develop a strategy of focus. The historical strategy of trying to be great at everything and mimic institutions such as Harvard is not a viable strategy going forward. Frame online learning as a sustaining innovation. Institutions can use this new technology to disrupt the existing classroom model to extend convenience to many more students as well as provide a better learning experience.
  • webExplorations on 25 Mar 11
     
    An article showing how online learning is a disruptive technology. Shining [the challenges of today's higher ed] through the lens of these theories on innovation will provide some insights into how we can move forward and a language that allows people to come together to frame these challenges in ways that will create a much higher chance of success. This report assumes that everyone is adept at online learning. This is not the case and students will have to be trained on how to be effective online learners. Courses will also have to address multiple learning styles and not just the read/write that most online courses currently are programmed for. Despite this missing piece, this is a very important article that focuses on some very key issues of our current higher ed system. The recommendations at the end of the article for policy makers are very apt. Highly recommended reading!
  • Jason Finley on 26 Mar 11
     
    Are high schools preparing students for success in college and careers when what we do is so very different from what they will experience when they leave our little boxes?
Martin Burrett

Webinar: Supporting Special Needs Students with eBooks & Audiobooks - 2 views

ukedchat.com/...webinar-sen-ebooks-audiobooks

ebooks ebook audiobooks audio reading engagement

shared by Martin Burrett on 04 Jun 21 - No Cached
  • Martin Burrett on 04 Jun 21
     
    In this webinar, expert in eBooks Meredith Wemhoff discusses ways to engage and support learners with special needs using eBooks and audio. Using the case-study of an independent all-boys school located in Surrey, the school provides special needs students an opportunity to succeed and thrive. Many arrive to the 80-year-old institution with low self-confidence, often due to struggles they faced in traditional educational institutions caused by learning and language difficulties. This means providing a collection that meets the individual learning needs of the school's 470 students, who range in age from 8-18. ​​​​​​​ During this eye-opening webinar, Meredith will share the story of selecting, launching and promoting a digital library service that helps address learning challenges. Attendees will come away with best practices for bringing ebooks and audiobooks to their school and real-life examples of these practices in action. Don't miss out, register today!
Maureen Greenbaum

How diplomas based on skill acquisition, not credits earned, could change education - T... - 15 views

hechingerreport.org/-earned-could-change-education

based education competency skill testing

shared by Maureen Greenbaum on 24 Jun 17 - No Cached
  • a new teaching approach here called “proficiency-based education” that was inspired by a 2012 state law.
  • law requires that by 2021, students graduating from Maine high schools must show they have mastered specific skills to earn a high school diploma.
  • CompetencyWorks, a national organization t
  • ...11 more annotations...
  • By 2021, schools must offer diplomas based students reaching proficiency in the four core academic subject areas: English, math, science and social studies. By 2025, four additional subject areas will be included: a second language, the arts, health and physical education.
  • proficiency-based idea has also created headaches at some schools for teachers trying to monitor students’ individual progress.
  • Students have more flexibility to learn at their own pace and teachers get time to provide extra help for students who need it
  • It wasn’t for lack of trying,” Bowen said. “It was a systems design problem.”
  • offer students clarity about what they have to learn and how they are expected to demonstrate they’ve learned it.
  • at schools that have embraced the new system, teachers say they are finding that struggling students are seeing the biggest gains because teachers are given more time to re-teach skills and students better understand the parameters for earning a diploma.
  • Deciding to believe that all students are capable of learning all of the standards, she said, “was scary.”
  • Multiple-choice questions have virtually disappeared. Homework is checked, but not graded.
  • students get less than a proficient score, they must go back and study the skill they missed. They are then given a chance to retake the relevant portions of the test until they earn a satisfactory score.
  • We inherited a structure for schooling that was based on time and on philosophical beliefs that learning would be distributed across a bell curve,
  • get crystal clear about what we want students to know and be able to do and then how to measure it.”
Beth Panitz

Learning Games For Kids - 139 views

www.learninggamesforkids.com

learning games elementary interactive math science

shared by Beth Panitz on 27 Feb 11 - Cached
  • Jennifer Felke on 27 Feb 11
     
    Educational games are a great tool for building foundation math and language skills that today's elementary school curriculum requires. These online learning games and songs for kids are fun, teach important skills for preschool and elementary school kids and they're free. Want educational games that help build skills in math, language, science, social studies, and more? You've come to the right place!
  • Beth Panitz on 27 Feb 11
     
    All subjects areas. Fun learning games, songs, videos
anonymous

Rich Internet Applications from the Center for Language Education And Research (CLEAR) ... - 66 views

clear.msu.edu/ria

online_tool world_language esl audio generator worksheet

shared by anonymous on 13 Jan 11 - Cached
  • anonymous on 13 Jan 11
     
    A collection of online tools geared toward language learning. The Conversations tool enables you to record questions for students to submit oral responses to online.
Ton Koenraad

EU grants available for courses on integration of technology in (language) education. - 14 views

Those of you eligible for EU grants pls check TELLConsult's renewed offer of ErasmusPlus courses for teachers of Modern Languages and CLIL on a range of topics including: Digital video, Telecollab...

iwb tablet ipad language erasmusplus grant cpd webconferencing differentiation

started by Ton Koenraad on 17 Jan 17 no follow-up yet
Barbara Moose

Curriki - WebHome - 1 views

www.curriki.org/...Main

education curriculum wiki web2.0 resources learning tools

shared by Barbara Moose on 29 May 09 - Cached
  • Barbara Moose on 29 May 09
     
    Curriki, the online education community, is building the first website to offer free, open-source instructional materials for K-12. We have thousands of free worksheets, lesson plans, exams, project ideas and activities for English language arts, math, science, social studies, technology integration and other subjects. All of our educational material is contributed by teachers and partners and is free and open source.
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.
pjimison

Technology is Too Powerful | infuselearning - 38 views

www.infuselearning.com/?p=460

shared by pjimison on 25 Oct 13 - Cached
  • We want to: promote educational change through empowering teachers and bringing students to the center of the learning conversation through simple, easy to use technology.
  • Technology is too powerful to not allow teachers to provide unique and differentiated learning opportunities and effective questions to meet the variety of students in today’s classrooms.
  • Technology is too powerful to not provide accessibility features that fill in the gaps where a different learning style or special need or other exceptionality would typically or potentially impede learning.
  • ...3 more annotations...
  • Technology is too powerful to be confined to the walls of one classroom and not connect and reach a global audience and link learners across oceans and cultural differences and languages.
  • Technology is too powerful to continue in a failed system of bubble sheets and a single “right” answer; our kids deserve better systems of teaching and learning.
  • Technology is too powerful to not be leveraged for the benefit of our students.
  • pjimison on 25 Oct 13
     
    I love their vision - to promote educational change through empowering teachers and bringing students to the center of the learning conversation through simple, easy to use technology. Amen?!
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