Group items tagged

independent practice

the research on what produces effective learning supports this

This desire is evident when we expect our learners to be scientists, historians, geographers, researchers and problem solvers/finders.

We teach the skills of inquiry, problem solving and experimentation and then provide opportunities for independent practice.

we have previously instructed them in

The gradual release of responsibility model of instruction suggests that cognitive work should shift slowly and intentionally from teacher modeling, to joint responsibility between teachers and students, to independent practice and application by the learner

It is not always the case that learning is best served when the process begins with direct instruction.

Schools provide a rich environment within which such learning may occur

best model can be to begin with an independent exploration of new content even when this produces failure

schools maximise their impact on the learning that occurs

constructivism urges teachers to ensure that the learner is at least as involved in the process as their teachers are

Recognize their individuality

The researchers also asked students whether it mattered to them that the instructors knew their names, and more than 85 percent of them said it did

because making good use of the full physical space of a classroom is one of the most straightforward ways to keep both professor and students attentive.

One advantage of the Zoom classes that many of us are teaching right now is that the names are all right there on the screen

Speak to all corners of the room

They bring their unique life stories and experiences, which can help provide new perspectives on familiar questions and challenges.

The obvious solution here is to break that barrier

Use their names regularly.

She encourages children first to recognize and write their own names and then to compare the letters and syllables in their own names with those of the other names on the grid

What is most deserving of our attention in the classroom, of course, are the other human beings in our presence

attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking

such as heightened confidence and sense of agency

Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth

Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.

The creative process at the center of CYD programs contributes to profound personal growth for youth participants

And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”

community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat

hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.

impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities

She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (

Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—

The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.

Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.

Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.