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Michèle Drechsler

Socialbookmarking with Diigo and Education. A survey that could interest you. - 77 views

Please note that this survey is usually taken in 20 minutes, but you can save your partial answers with the "Resume later" button: this would ask you a login and password to save your answers. Then...

socialbookmarking Diigo survey research

started by Michèle Drechsler on 08 Jul 09 4 follow-ups, last by Michèle Drechsler on 11 Jul 09
Mary Jo Egus

Launching Professional Learning Communities: Beginning Actions: Introduction - 1 views

www.sedl.org/...issues81

communities learning

shared by Mary Jo Egus on 26 Jan 09 - Cached
  • Mary Jo Egus on 26 Jan 09
     
    A Professional Learning Community (PLC) is defined as a school in which the professionals (administrators and teachers) continuously seek and share learning to increase their effectiveness for students, and act on what they learn (Hord, 1997).
Roland Gesthuizen

» the nurses desk: » nursing student expelled over placenta pic. - 51 views

www.impactednurse.com/?p=2510

nurse medical ethics privacy professional learning teaching facebook socialnetworking

shared by Roland Gesthuizen on 07 May 11 - No Cached
  • Roland Gesthuizen on 07 May 11
     
    "Your demeanor and lack of professional behavior surrounding this event was considered a disruption to the learning environment and did not exemplify the professional behavior that we expect in the nursing program" - compare the top and the bottom sections of this blog post. LIfe
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."
meghankelly492

Music performance skills: A two-pronged approach - facilitating optimal music performan... - 1 views

journals.sagepub.com/...0305735618765349

anxiety Music

shared by meghankelly492 on 21 Aug 19 - No Cached
  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
  • ...19 more annotations...
  • The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
  • Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
  • There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners
  • Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
  • “when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
  • Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin & Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
  • This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark & Williamon, 2011; Hoffman & Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
  • Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
  • The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
  • Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
  • “Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
  • Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
  • Cohen, S., & Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
Martin Burrett

UKEdChat Conference: Certified Professional Development Course - 4 views

uked.academy/...ukedconf21-cpdcourse

course

shared by Martin Burrett on 11 Feb 21 - No Cached
  • Martin Burrett on 11 Feb 21
     
    This online Certified Professional Development Course encourages delegates to engage, reflect and interact with (at least) 6 presentations during (or after) the conference, considering the impact the showcase could have on your own professional practice.
psmiley

New Paradigm for Professional Development - Part 2 | Teach Amazing! - 65 views

teachamazing.com/rofessional-development-part-2

paradigm professional professional development development

shared by psmiley on 27 May 13 - No Cached
  • psmiley on 27 May 13
     
    PD Part 2 blog Work Towards Curating
Roland Gesthuizen

Teacher-Led Professional Learning: The Latest Revolution In Education | Edudemic - 71 views

www.edudemic.com/...latest-revolution-in-education

PD teachertraining Twitter edcamp GoogleHangout TeachMeet

shared by Roland Gesthuizen on 16 Jun 13 - No Cached
  • Roland Gesthuizen on 16 Jun 13
     
    "It's refreshing and empowering to think about teachers taking control of their own professional learning. I'm thankful to this growing swell of educators for beginning a revolution that is truly transforming education as we know it. What exciting times we are living in!"
Marc Patton

CODE77 Rubrics - Beginning 2009 version - 3 views

www.doug-johnson.com/...cs-beginning-2009-version.html

Planning Teacher_Resources

shared by Marc Patton on 31 Dec 12 - Cached
  • Marc Patton on 31 Dec 12
     
    These rubrics primarily address professional productivity. They are the foundation on which more complex technology and technology-related professional skills are built.
Elizabeth Hobbs

Professional Development Programs for Teachers | Department of Physics - 15 views

www.physics.uni.edu/...-development-programs-teachers

professional professional development Physics

shared by Elizabeth Hobbs on 18 Apr 13 - No Cached
  • Elizabeth Hobbs on 18 Apr 13
     
    stipend uin volved
Marc Patton

http://getideas.org/ - 64 views

getideas.org

Teacher_Resources Teaching_Ideas Online_Learning_Environments

shared by Marc Patton on 24 Jan 13 - Cached
  • Marc Patton on 24 Jan 13
     
    GETideas.org is the incubator where education leaders can develop their professional learning networks. Think of this space as a professional idea generator - a place where education leaders can be inspired to make change happen in their school, district, or university. Our goal is to bring people together to exchange ideas toward solving education challenges.
Bright Ideas

Participate, engage, shine - Professional learning in 2013 | Bright Ideas - 38 views

slav.global2.vic.edu.au/...-professional-learning-in-2013

shared by Bright Ideas on 19 Feb 13 - No Cached
  • Bright Ideas on 19 Feb 13
     
    "Cindy Tschernitz, Executive Officer of the School Library Association of Victoria, explores the theme of professional learning events from SLAV in 2013 and introduces the first conference of the year."
Marc Patton

myInfinitec - 43 views

www.myinfinitec.org

Assistive_Technology

shared by Marc Patton on 29 May 12 - Cached
  • Marc Patton on 29 May 12
     
    Infinitec stands for infinite potential through technology. We aim to advance independence and promote inclusive opportunities for children and adults through technology. Within this website you will find on-demand professional development, curriculum supports and professional learning opportunities.
Deborah Lyman

Professional Learning Communities: Communities of Continuous Inquiry and Improvement - ... - 28 views

www.sedl.org/2.html

education professional learning communities PLC collaboration

shared by Deborah Lyman on 09 Sep 12 - Cached
  • Deborah Lyman on 09 Sep 12
     
    SEDL discusses some of the interpretations of PLC. Additionally, SEDL discusses the development and attributes of a functional PLC. SEDL also discusses the variety of configurations of professional learning communities.
Roland Gesthuizen

Twitter for Teachers - a professional development tool | learningblog.org - 145 views

learningblog.org/...-professional-development-tool

twitter pln teachers mlearning education edutech learning

shared by Roland Gesthuizen on 02 Dec 11 - Cached
  • Roland Gesthuizen on 02 Dec 11
     
    Twitter is one of the most powerful social media tools to help teachers with their professional development. The video below explains why.
Peggy Draver

Creative Educator - Articles - 34 views

creativeeducator.tech4learning.com/articles

constructivism learning educator K-12

shared by Peggy Draver on 24 Sep 14 - No Cached
  • Peggy Draver on 24 Sep 14
     
    Creative Educator articles focus on constructivism and creativity and share ideas about the power of technology as a learning tool when put in student hands.Topics include ideas, inspiration and strategies to help the educator grow professionally and design their classroom to meet the needs of your learners. Most articles focus on K-12 but they relate to any professional educator.
Matt Renwick

Should We Unconnect from Our PLNs Over Summer Break? - 16 views

plpnetwork.com/...mmer-break-time-unconnect-plns

disconnect technology connectedness plpnetwork

shared by Matt Renwick on 03 Jul 14 - No Cached
  • Matt Renwick on 03 Jul 14
     
    I think this is a dilemma that many professional educators face. Do we get away from all things school-related for the summer? Or should we stay connected to and continue to develop our personal learning networks and nurture our professional growth?
pjt111 taylor

Taking Yourself Seriously: Processes of Research and Engagement has been publ... - 3 views

thepumpingstation.org/...-engagement-has-been-published

processes research engagement

shared by pjt111 taylor on 03 Mar 12 - No Cached
  • pjt111 taylor on 03 Mar 12
     
    This is a "field-book of tools and processes to help readers in all fields develop as researchers, writers, and agents of change." For more details and how to purchase: http://bit.ly/TYS2012. (Printing and distribution in Australia and Europe begins end of March.) Comments on the influence of this book's approach "I was able to get engaged in a project that I was able to actually use in work, which was extremely satisfying. The whole process encouraged me, and I felt very empowered as a change agent, which could be an exhilarating feeling." a healthcare professional and story-teller "I really had not been used to thinking about my own thinking, so learning to do that also helped me to slow down and start to look away from the career path that I had been taking for granted." a biologist-turned-web designer "I found that the experience helped me to accept feedback from other professionals. I am more comfortable with listening to why my own ideas might not work or need further evaluation. This even happens to the point where I find reasons now to seek out this kind of feedback." a teacher "I had viewed research as a process of collecting information into a sort of database and reviewing it effectively. I have now revised my notions to include a more broad understanding of interconnectedness between people and ideas. An important part of research is to keep relationships going." an adult educator "One of the most useful ideas was the use of dialogue, which helps to slow down the procedures used by the company. There's a tension between management's need to make quick decisions and desire to have real dialogue around proposed changes-changes to the internal company operational procedures as well as to evaluating the quality of what the company is doing with its publications." a teacher, currently working in publishing "I was asked to pay attention to what I actually could do instead of what I could not. This enabled me to (1) step back and let go of a huge technic
Marc Patton

Intel Education - For K12 Education - 83 views

www.intel.com/...index.htm

Teacher_Resources Teaching_Ideas STEM Science Technology

shared by Marc Patton on 08 Dec 10 - Cached
  • Jim Tiffin Jr on 08 Dec 10
     
    Website put together by Intel that contains a vast amount of professional development resources (examples, theories, positive practice) for educators. Below is Intel's description of the page:\n\nIntel® Education enables 21st century teaching and learning through free professional development, tools, and resources that help K-12 teachers engage students with effective use of technology.
  • Gerald Carey on 08 Dec 10
     
    Impressive.
  • Marc Patton on 27 Jun 12
     
    Intel® Education enables 21st century teaching and learning through free professional development, tools, and resources that help K-12 teachers engage students with effective use of technology.
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