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How to Turn Pen Notations into Objects in ActivStudio In a previous post, I mentioned that ActivStudio (Promethean Software) does not allow pen and highlighter notations to be treated as objects. If you ever find it absolutely necessary to turn a pen notation into an object, you can do it using the following steps.

The biggest advantage bubbl.us has over other mind-mapping software is that you do not have to have an account to create and print a mind-map (also known as a concept map).  This means students can get online, map the concept they have been assigned, and print it out for you to grade. 

TIPS FOR YOU As you have your students work with bubbl, here are some tips to keep in mind. “FIT” centers the mind-map in the middle of the screen (useful for panicked students who think their whole project has been deleted) if students move a “parent” bubble, all the “child” bubbles will follow along

But I knew that bubbl was truly useful when one of my students reported she had used it to help her decide which college to attend.

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.

Deep-listening experiences, wrapped in a pedagogy of music listening, take students far beyond the surface of their barely noticeable surround-sound environment and into the nature of music and its workings.

Attentive-listening experiences occur when teachers point out specified points of focus, put questions or challenges to the listeners, or merge graphics or visuals with the sound experience itself. Graphs or maps of particular musical features can be helpful, since visual cues may enhance listening. Teachers can provide diagrams of the contours of the melody or depict rhythmic components of a piece through iconic symbols-staff notation, splotches of color, or geometric shapes, for example. Instruments, real or illustrated, can focus student attention on their entrance or continuing presence in the music.

Engaged listening invites listeners to enter into the groove or the flow of the music, pick a part to contribute, and consequently feel more involved in the music. A phenomenon of "participatory consciousness"[ 5] unfolds as engaged listeners find their place in the music, find something in the music to hang on to (a melody, a pulse, an ostinato, a groove), and select a contribution to make back to the music. In this way, they connect with the music, joining the recorded musicians and their live participant-colleagues in a musical team.

These annotations, rather than being on paper, can be collected with different web tools so that students can collaborate