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Continuously upgrade educators' classroom technology skills as a pre-requisite of "highly effective" teaching

Home Advocacy Top Ten in '10: ISTE's Education Technology Priorities for 2010 Through a common focus on boosting student achievement and closing the achievement gap, policymakers and educators alike are now reiterating their commitment to the sorts of programs and instructional efforts that can have maximum effect on instruction and student outcomes. This commitment requires a keen understanding of both past accomplishment and strategies for future success. Regardless of the specific improvement paths a state or school district may chart, the use of technology in teaching and learning is non-negotiable if we are to make real and lasting change.  With growing anticipation for Race to the Top (RttT) and Investing in Innovation (i3) awards in 2010, states and school districts are seeing increased attention on educational improvement, backed by financial support through these grants. As we think about plans for the future, the International Society for Technology in Education (ISTE) has identified 10 priorities essential for making good on this commitment in 2010: 1. Establish technology in education as the backbone of school improvement . To truly improve our schools for the long term and ensure that all students are equipped with the knowledge and skills necessary to achieve in the 21st century, education technology must permeate every corner of the learning process. From years of research, we know that technology can serve as a primary driver for systemic school improvement, including school leadership, an improved learning culture and excellence in professional practice. We must ensure that technology is at the foundation of current education reform efforts, and is explicit and clear in its role, mission, and expected impact. 2. Leverage education technology as a gateway for college and career readiness . Last year, President Obama established a national goal of producing the highest percentage of college graduates in the world by the year 2020. To achieve this goal in the next 10 years, we must embrace new instructional approaches that both increase the college-going rates and the high school graduation rates. By effectively engaging learning through technology, teachers can demonstrate the relevance of 21st century education, keeping more children in the pipeline as they pursue a rigorous, interesting and pertinent PK-12 public education. 3. Ensure technology expertise is infused throughout our schools and classrooms.  In addition to providing all teachers with digital tools and content we must ensure technology experts are integrated throughout all schools, particularly as we increase focus and priority on STEM (science-technology-engineering-mathematics) instruction and expand distance and online learning opportunities for students. Just as we prioritize reading and math experts, so too must we place a premium on technology experts who can help the entire school maximize its resources and opportunities. To support these experts, as well as all educators who integrate technology into the overall curriculum, we must substantially increase our support for the federal Enhancing Education Through Technology (EETT) program.  EETT provides critical support for on-going professional development, implementation of data-driven decision-making, personalized learning opportunities, and increased parental involvement. EETT should be increased to $500 million in FY2011. 4. Continuously upgrade educators' classroom technology skills as a pre-requisite of "highly effective" teaching . As part of our nation's continued push to ensure every classroom is led by a qualified, highly effective teacher, we must commit that all P-12 educators have the skills to use modern information tools and digital content to support student learning in content areas and for student assessment. Effective teachers in the 21st Century should be, by definition, technologically savvy teachers. 5. Invest in pre-service education technology

59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.

A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety

However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms

A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)

However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.

Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.

These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.

with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations

For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen

Brodsky (1996) and Nube´(1991) were most useful.

The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal

In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention

Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.

A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.

Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.

Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.

The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.

Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.

Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.

The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.

A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).

Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.

None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures

In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.