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Frances Brisentine

neccunplugged - home - 26 views

www.isteunplugged.com

technology pedagogy virtual computer distance learning. ISTE

shared by Frances Brisentine on 18 Jun 10 - Cached
  • Frances Brisentine on 18 Jun 10
     
    I plan on Attending this ISTE unlpugged session but first I think I'll check out that list of 50 ways to tell a story.  I have my first totally virtual class next year and I don't want to try to teach physics through lecture.  11:30 am - 12:00pm [Concurrent Session 6] Title: Beyond Lectures: How to Re-Invent Your Online Content Delivery in Face to Face, Hybrid and Fully Online Courses Description:Good pedagogy delivers content multiple ways to engage students and address different learning styles. Online learning, however, resides comfortably in lectures and discussion. This needn't be the case: learn to add free and easy tools to online content delivery that will appeal to all students and address the needs of multi modal learners. Inspired by Alan Levine's "50 Web 2.0 Ways to Tell a Story," this session will explore a variety of current tools that transform lecture delivery into an interactive multimedia activity that will engage myriad learning styles. Presenter: Pamela Kachka, MA.Ed.
meghankelly492

(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views

www.researchgate.net/..._for_Music_Performance_Anxiety

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
  • ...24 more annotations...
  • 59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
  • A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
  • However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
  • A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
  • However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
  • Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
  • These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
  • with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
  • For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
  • Brodsky (1996) and Nube´(1991) were most useful.
  • The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
  • In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
  • Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
  • A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
  • Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
  • Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
  • The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
  • Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
  • Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
  • The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
  • A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
  • Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
  • None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
  • In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
Peter Olm

Thought Control. - 1 views

peterolm.globalteacher.org.au

education literacy thinking middle-years australia teaching teacher primary school reading writing speaking listening oral language ICT multi-literacies multiliteracies multimodal multi-modal metacognition meta-cognition blog blogging Victoria Melbourne V

shared by Peter Olm on 28 Jan 09 - Cached
Peter Olm liked it
  • Peter Olm on 28 Jan 09
     
    Thinking, literacy and education in the middle years of schooling
Fiona Boughey

Think You're An Auditory Or Visual Learner? Scientists Say It's Unlikely : Shots - Heal... - 119 views

www.npr.org/...er-scientists-say-its-unlikely

shared by Fiona Boughey on 29 Aug 11 - No Cached
  • Jess Hazlewood on 29 Aug 11
     
    Fascinating view on learning styles that goes against much of what is being suggested to instructors and students.  Suggests variety rather than different learning styles is what makes multi-modal teaching successful.  Curious to see if there is more out there on this viewpoint.
  • David Hochheiser on 30 Aug 11
     
    I've never really bought into the one student-one style approach, especially when I hear junk like "I'm a visual learner, so I really don't write many of my essays" or "I'm not assigning writing to him; he processes kinesthetically." To me, MI has always been a prompt to include different things across a unit.
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