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And access to tablets doubled between 2010 and 2011 – up to 26 percent for middle-schoolers and 21percent of high-schoolers.

When parents were asked what most concerns them about their children’s future almost three-quarters said they worry that their children won’t “get the right skills” to succeed in the future.

Uncertainty is an inherent part of new ideas, and it’s also something that most people would do almost anything to avoid. People’s partiality toward certainty biases them against creative ideas and can interfere with their ability to even recognize creative ideas.

Unfortunately, the place where our first creative ideas go to die is the place that should be most open to them—school. Studies show that teachers overwhelmingly discriminate against creative students, favoring their satisfier classmates who more readily follow directions and do what they’re told.

It’s ironic that even as children are taught the accomplishments of the world’s most innovative minds, their own creativity is being squelched.

All of this negativity isn’t easy to digest, and social rejection can be painful in some of the same ways physical pain hurts. But there is a glimmer of hope in all of this rejection. A Cornell study makes the case that social rejection is not actually bad for the creative process—and can even facilitate it.

Truly creative ideas take a very long time to be accepted. The better the idea, the longer it might take.

Most people agree that what distinguishes those who become famously creative is their resilience. While creativity at times is very rewarding, it is not about happiness. Staw says a successful creative person is someone “who can survive conformity pressures and be impervious to social pressure.”

To live creatively is a choice.

You have to let go of satisfying people, often even yourself.

They expect to see that you've thought about limits and objections to your claim.

We also know that whatever it is we think, it is never the entire truth. Our conclusions are partial, incomplete, and always subject to challenge. So we write in a way that allows others to test our reasoning: we present our best thinking as a series of claims, reasons, and responses to imagined challenges, so that readers can see not only what we think, but whether they ought to agree.

So your first step in writing an assigned paper occurs well before you begin writing: You must know what your instructor expects.

Start by looking carefully at the words of the assignment.

When most of your instructors ask what the point of your paper is, they have in mind something different. By "point" or "claim" (the words are virtually synonymous with thesis), they will more often mean the most important sentence that you wrote in your essay, a sentence that appears on the page, in black in white; words that you can point to, underline, send on a postcard; a sentence that sums up the most important thing you want to say as a result of your reading, thinking, research, and writing. In that sense, you might state the point of your paper as "Well, I want to show/prove/claim/argue/demonstrate (any of those words will serve to introduce the point) that "Though Falstaff seems to play the role of Hal's father, he is, in fact, acting more like a younger brother who . . . ."" If you include in your paper what appears after I want to prove that, then that's the point of your paper, its main claim that the rest of your paper supports.

The teachers saw that their lower-ability students, who normally would not have attempted problems, had now written partial solutions.

When reading a paper book, one can feel the paper and ink and smooth or fold a page with one's fingers; the pages make a distinctive sound when turned; and underlining or highlighting a sentence with ink permanently alters the paper's chemistry.

discernible size, shape and weight.

Although many old and recent studies conclude that people understand what they read on paper more thoroughly than what they read on screens, the differences are often small. Some experiments, however, suggest that researchers should look not just at immediate reading comprehension, but also at long-term memory.

When taking the quiz, volunteers who had read study material on a monitor relied much more on remembering than on knowing, whereas students who read on paper depended equally on remembering and knowing.

E-ink is easy on the eyes because it reflects ambient light just like a paper book, but computer screens, smartphones and tablets like the iPad shine light directly into people's faces.

the American Optometric Association officially recognizes computer vision syndrome.

People who took the test on a computer scored lower and reported higher levels of stress and tiredness than people who completed it on paper.

Although people in both groups performed equally well on the READ test, those who had to scroll through the continuous text did not do as well on the attention and working-memory tests.

Subconsciously, many people may think of reading on a computer or tablet as a less serious affair than reading on paper. Based on a detailed 2005 survey of 113 people in northern California, Ziming Liu of San Jose State University concluded that people reading on screens take a lot of shortcuts—they spend more time browsing, scanning and hunting for keywords compared with people reading on paper, and are more likely to read a document once, and only once.

When reading on screens, people seem less inclined to engage in what psychologists call metacognitive learning regulation—strategies such as setting specific goals, rereading difficult sections and checking how much one has understood along the way

Perhaps she and her peers will grow up without the subtle bias against screens that seems to lurk in the minds of older generations.

They think of using an e-book, not owning an e-book,"

Participants in her studies say that when they really like an electronic book, they go out and get the paper version.

When it comes to intensively reading long pieces of plain text, paper and ink may still have the advantage. But text is not the only way to read.

did notreturn any recent studies investigating the effec-tiveness of a purely cognitive intervention in thetreatment of MPA; consequently, research inthis particular area is needed

Past re-search has focused on combined interventions;however, often these programs run for over 6weeks and it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)

State–Trait Anxiety Inventory (STAI).The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale(Kenny, 2006).

The PAI (Nagel, Himle, & Papsdorf, 1981) isbased on the STAI and is a music inventoryassessing the three-systems model of anxiety

heart rate at 10 min, 5

Signs of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating.

Nagel et al.reported that the average preintervention scorewas 55 and the average postintervention scorewas 38, with a score of 39 or less indicating a

person has few problems with performance anx-iety

Researchers have found that MPA af-fects instrumentalists and vocalists of all agesand abilities, including students, professionals,amateurs, and children (Brotons, 1994; Kenny,2006; Liston, Frost, & Mohr, 2003)

Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)

Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987

The cognitive intervention had no significanteffect on anxiety levels. Sweeney and Horan’s(1982) study indicated that a cognitive restruc-turing program may be helpful in the treatmentof MPA; their program, featuring cognitive re-structuring, significantly reduced anxiety.

d it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)

The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale

Performance Anxiety Inventory (PAI)

cognitive, behavioral, and physiological fac

and has beenwidely used in treatment outcome research

Behavioral Anxiety Index (BAI)

igns of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating

Participants were then taught howthoughts, behaviors, and feelings interact andinfluence performance

practical exercise, how people waste their en-ergy trying to control uncontrollable factors,thereby impairing performance

This exercise wasdesigned to demonstrate how thoughts cansometimes be irrational and can be changed inlight of new evidence

how to use self-talk effectively and how touse cues

Participants practiced how to identify negativethoughts, stop the thoughts, and use cues to helpthem overcome the negative thoughts.

Imagery is a mentalexercise that can help athletes maintain concen-tration, decrease anxiety, and improve confi-dence; thus, it may also be helpful for somemusicians (Gregg & Clark, 2007).

Participants in the wait-list controlgroup waited 3 weeks until their second perfor-mance, which was on the same night as theirfirst worksho

MPA is a pervasive problem affecting musi-cians of all ages and abilities. As compared withthe research on mental skills training in athletes,relatively little is known about the assessment,treatment, and theoretical underpinnings ofMPA

Kenny (2006) suggested that improving perfor-mance quality will have a positive, self-reinforcing effect on the musician and enhanceconfidence in future performances.

We predicted that anxiety levels would de-crease in the treatment group from pre- to post-test. This hypothesis was partially supported.Specifically, there was a significant reductionon the PAI in the treatment group. Although theparticipants improved after the intervention,they were still not within the optimal rangeaccording to Nagel et al. (1981

Although the decrease in anxiety was notas large in our study, our participants droppedfrom the high performance anxiety category tothe moderate performance anxiety category

how does each author use authenticity as a strategy for making or justifying decisions in music education?

authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation

since the original loses some of its essential qualities in a simplification.5

His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions

Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).

Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"

Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.

Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.

Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.

"World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.