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These digital activities should not be the sole measure of tenure, but they should be counted in the tenure formula. The irony today is that if the open activity is analog (e.g., participation on a committee), it likely counts toward tenure, but if the open activity is digital (e.g., writing an academic blog), it probably does not.

They will push at (and leak out of) the boundaries of whatever learning management system (or other enterprise systems) the institution wants them to use. This is not because they are uncooperative; it's simply that these enterprise systems tend to be locked down, allowing only employees and students to share within these environments

For me, an interesting side effect of sharing on the open web is that I've learned to be more careful about what I say and write.

Looking for indicators of open digital faculty is easier than coming up with a strict definition. The presence of several of the following characteristics should be taken as an indication of open digital faculty: Writing a public blog or maintaining a public wiki to share academic interests Freely sharing what might otherwise be guarded intellectual property (e.g., textbooks, research-in-progress, computer programs, course materials, artwork) Participating in a learning community in a social networking platform (e.g., Twitter or LinkedIn discussion groups) Participating in a social network that includes students, both current and past (e.g., Facebook) Encouraging students to participate in class-related projects that employ web-based media (e.g., student blogs, group wikis) Creating or participating in open courses Sharing video or audio content created for a course (e.g., podcasts) Sharing information and ideas from conference talks on the web (e.g., recordings, tweets, presentation links)

they would instead reflect the perspective or world view of some organizer telling them what their objectives should be, what they should learn, what counts as success.

Participants, for example, could experience the course as a series of lectures, and some did, but many skipped the experience. Others treated the course as project-based, creating artifacts and tangible products. Others viewed the course as conversation and community, focused on interaction with other participants.

We were, for example, criticized for offering lectures, because it did not follow good constructivist pedagogy; our response was that connectivism is not constructivism,

and that it was up to those who preferred to learn through constructivist methods to do so, but not appropriate that they would require that all other participants learn in the same way.

Openness also applies to the content of the course, and here the idea is that we want to encourage participants not only to share content they received from the course with each other (and outside the course), but also to bring into the course content they obtained from elsewhere.

Learning requires perception, not only of the thing, but also of its opposite.

In a connectivist course, for example, lurkers are seen as playing as equally important and valuable role as active participants

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

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