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anonymous

Taylor & Francis Online :: Supervision and scholarly writing: writing to learn-learning... - 0 views

www.tandfonline.com/...14623940500300491

shared by anonymous on 12 Nov 12 - No Cached
  • students’ difficulties with the academic genre should be considered to be the norm, rather than the exception.
    • anonymous
      anonymous on 12 Nov 12
       
      Step away from problematising writing and toward it being normal to seek help
  • mechanical errors r
  • errors in the microstructure of writing
  • ...77 more annotations...
  • inconsistencies in writin
  • macrostructure of writing
  • quality and clarity of purpose
  • substantive general writing errors
  • publication, authorship, training and fairness
  • plagiarism
  • formal writing courses and reading lists, writing activities, and peer writing groups
  • Ideally, the supervisor provides a writing role mode
  • fallacious to assume that supervisors are necessarily scholarly writers
    • anonymous
      anonymous on 12 Nov 12
       
      relying on spvrs to be writing mentors does not always work, may have own issues with writing/lack of confidence
  • apprenticeship model can be ineffective
  • a passive role in improving their writing
  • tudents and supervisors need to master a range of writing task
  • benefit of naming what will be attended to and framing its context accrues through the process of planning, action and reflection
  • implicit contractual relationship between my students and me
  • supervisor
  • provide feedback
  • conceptu
  • methodological
  • I conceived postgraduate students’ writing as similar to that of an academic co‐author.
    • anonymous
      anonymous on 12 Nov 12
       
      assumed they were more developed as writers than they actually were
  • initially corrected all errors
  • ttle emphasis to these errors in subsequent interactions
  • explored whether these were careless errors or whether the students had difficulty with particular aspects of writin
  • students assumed some responsibility for proofreading
  • cholarly writing in a thesis involves much more than a set of discrete writing tasks
  • heightened awareness of individual differences in students as writers
  • dependent writer
  • ‘writer’s block’ that could be overcome by breaking writing down into subtasks
  • copious notes
  • detailed note‐taking limited her interaction
  • brief summary of the key points on my written response to her drafts
  • action plan
  • writing block initially posed a major ethical dilemma for me because the ethical guidelines of authorship restrict the writing that should be undertaken by a superviso
  • not writing per se that underpinned Denise’s writing block but a lack of knowledge about the content and organization of a particular writing task.
    • anonymous
      anonymous on 12 Nov 12
       
      Writers block can come from lack of knowledge/confidence in the writing process, rather than lack of subject knowledge
  • confident writer
  • published during his doctoral studies
  • nadvertently engaged in unethical writing behaviour by including me as a co‐author without my permission
  • difficulties with all aspects of the macrostructur
  • epeat sections of writing from earlier chapters
  • replace repeated text with concise summaries or use cross‐referencing
  • tendency to rush through corrections, which often resulted in many issues identified on a previous draft remaining unresolved
  • writing was often submitted and returned electronically using the ‘comments’ and ‘track changes’ tools in Microsoft Word.
    • anonymous
      anonymous on 12 Nov 12
       
      use of technology to produce tracked drafts/version control
  • resistant writer
  • acknowledged herself to be a poor write
  • writing supp
  • oral and written feedback
  • email guidance, sessions where writing was modeled and her writing scaffolded, and handouts on writing style.
  • specialist assistance
  • r lack of commitment to improving the quality of subsequent drafts
  • argumentative stance towards writing feedback
  • my colleague and I decided that we were no longer prepared to supervise Rita.
  • imited writing progress
  • , Rita had failed to adequately demonstrate her writing capability as a doctoral candidat
  • sporadic writer
  • repeatedly failed to meet negotiated deadlines
  • supervisor, it was difficult to maintain interest in and respond to Sherry’s work because of the time lag between each piece of writing
  • enlisted an experienced supervisor to act as my mentor
  • forewarned
  • Sherry’s approach to writing was likely to result in a lengthy completion time and she needed to accept the responsibility for managing her writing tasks.
  • emotional excitement of writing up a thesis and the ensuing motivation
  • lacked
  • This trail of documentation
  • importance of
  • highlighted student‐centred writing issues
  • dentified broader issues that also needed to be accommodated in supervision
  • confidence in writing does not necessarily equate with capability.
  • uture directions
  • upport students
  • ncouraging them to participate in activities designed to support scholarly writing,
  • community of support for each othe
    • anonymous
      anonymous on 12 Nov 12
       
      rationale for peer support groups
  • Technology
  • virtual community of student writers
  • Ethical writing
  • cant attention in postgraduate training to ethical practices in writing
  • explore the ethical standards that are in operation in our local academic community.
  • underpinned by a performance‐orientation
  • ssues of concern related to students’ scholarly writing were identified.
  • eper understanding of the breadth of issues related to the supervision of postgraduate writing
J Yates

A Few Questions - View Annotations filter - 62 views

Just to answer my own question, I've just found that a moderator has the ability to delete individual comments on a page if viewing them from the expand button on the bookmark in the groups page (a...

annotation filter

started by J Yates on 08 Oct 08 6 follow-ups, last by J Yates on 15 Nov 08
Daryl Bambic

How a Radical New Teaching Method Could Unleash a Generation of Geniuses | Wired Busine... - 28 views

www.wired.com/...free-thinkers

education teaching learning pedagogy alternative

shared by Daryl Bambic on 24 Oct 13 - No Cached
  • To them, knowledge isn’t a commodity that’s delivered from teacher to student but something that emerges from the students’ own curiosity-fueled exploration.
  • eachers provide prompts
  • they step aside so students can teach themselves and one another.
  • ...8 more annotations...
  • Potential.”
  • “So,” Juárez Correa said, “what do you want to learn?”
  • “If you put a computer in front of children and remove all other adult restrictions, they will self-organize around it,” Mitra says, “like bees around a flower.”
  • There will be no teachers, curriculum, or separation into age groups—just six or so computers and a woman to look after the kids’ safety. His defining principle: “The children are completely in charge.”
  • Theorists from Johann Heinrich Pestalozzi to Jean Piaget and Maria Montessori have argued that students should learn by playing and following their curiosity.
  • Google founders Larry Page and Sergey Brin similarly claim that their Montessori schooling imbued them with a spirit of independence and creativity.
  • The study found that when the subjects controlled their own observations, they exhibited more coordination between the hippocampus and other parts of the brain involved in learning and posted a 23 percent improvement in their ability to remember objects.
  • if you’re not the one who’s controlling your learning, you’re not going to learn as well
Jennie Snyder

Implementing Common Core: What are we waiting for? - 106 views

www.google.com/...mon%20Core%20State%20Standards

ccss

shared by Jennie Snyder on 13 Jul 12 - No Cached
  • Roger Sevilla on 13 Jul 12
     
    This seems to be restricted access... Anyone able to see this resource?
  • Charlotte Sherman on 13 Jul 12
     
    No it is not available!
Robert Appino

gladwell dot com - something borrowed - 86 views

www.gladwell.com/...2004_11_25_a_borrowed.html

gladwell copyright CoETaIL CoETaIL2 ssischool

shared by Robert Appino on 12 Feb 12 - Cached
  • Under copyright law, what matters is not that you copied someone else's work. What matters is what you copied, and how much you copied. Intellectual-property doctrine isn't a straightforward application of the ethical principle "Thou shalt not steal." At its core is the notion that there are certain situations where you can steal. The protections of copyright, for instance, are time-limited; once something passes into the public domain, anyone can copy it without restriction.
    • Robert Appino
      Robert Appino on 12 Feb 12
       
      This is the key to copyright according to Gladwell.
  • initial monopoly on your creation because we want to provide economic incentives for people to invent things like cancer drugs. But everyone gets to steal your breast-cancer cure—after a decent interval—because it is also in society's interest to let as many people as possible copy your invention; only then can others learn from it, and build on it, and come up with better and cheaper alternatives. This balance between the protecting and the limiting of intellectual property
  • Constitution: "Congress shall have the power to promote the Progress of Science and useful Arts, by securing for limited"—note that specification, limited—"Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries."
  • ...7 more annotations...
  • In ordinary language, to call a copyright a "property" right is a bit misleading, for the property of copyright is an odd kind of property. . . . I understand what I am taking when I take the picnic table you put in your backyard. I am taking a thing, the picnic table, and after I take it, you don't have it. But what am I taking when I take the good idea you had to put a picnic table in the backyard—by, for example, going to Sears, buying a table, and putting it in my backyard? What is the thing that I am taking then? The point is not just about the thingness of picnic tables versus ideas, though that is an important difference. The point instead is that in the ordinary case—indeed, in practically every case except for a narrow range of exceptions—ideas released to the world are free. I don't take anything from you when I copy the way you dress—though I might seem weird if I do it every day. . . . Instead, as Thomas Jefferson said (and this is especially true when I copy the way someone dresses), "He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me."
  • arguments that Lessig has with the hard-core proponents of intellectual property are almost all arguments about where and when the line should be drawn between the right to copy and the right to protection from copying, not whether a line should be drawn.
  • when it comes to literature, we have somehow decided that copying is never acceptable.
  • A successful music executive has to understand the distinction between borrowing that is transformative and borrowing that is merely derivative, and that distinction, I realized, was what was missing from the discussion of Bryony Lavery's borrowings.
  • problem with plagiarism. It is not merely extremist. It has also become disconnected from the broader question of what does and does not inhibit creativity.
  • But the truth is that Lavery has every right to create an affair for Agnetha, because Agnetha is not Dorothy Lewis. She is a fictional character, drawn from Lewis's life but endowed with a completely imaginary set of circumstances and actions.
  • dred and seventy-five rather ordinary words could bring the walls tumbling down.
Kate Pok

Southern Hospitality? Not for Immigrants - NYTimes.com - 43 views

www.nytimes.com/...tality-not-for-immigrants.html

race racism Teaching culture immigration immigrants race & ethnicity

shared by Kate Pok on 20 Nov 11 - No Cached
  • Kate Pok on 20 Nov 11
     
    Good article illustrating the fluid definitions of race.
  • ...2 more comments...
  • Elaine Snow on 21 Nov 11
     
    Except that those ridiculous portions of the law, including the transport part, are now in the process of being repealed. As embarrassing as this all is, one should still do her homework.
  • Kate Pok on 21 Nov 11
     
    Many thanks for your comments. As far as I can tell, there's been a lot of debate about rescinding parts of the bill and there's certainly been support to change parts of it, but I haven't found anything that says that's definitely happening. At any rate, I was planning to use the article as an example of how racial categories tend to change based on circumstances rather than set in stone. Again, thanks for reminding me to double check details.
  • Elaine Snow on 21 Nov 11
     
    You are right, racial categories do tend to change based on the times as history shows us, but I'll point you to two articles in The Birmingham News which show a little more than just debate about rescinding parts of that bill. http://blog.al.com/breaking/2011/09/federal_judge_throws_out_xxxx.html http://blog.al.com/spotnews/2011/11/immigration_law_amendments_in.html The fringe parts of this law are embarrassing to me as a native of Alabama, so I'd love to have our lawmakers' second thoughts on this seen as part of what's going on with this law.....Thanks, not meaning to nit-pick!
  • Kate Pok on 21 Nov 11
     
    @Elaine, for some reason your message hasn't shown up and I wanted to make sure I responded. I absolutely agree with you that the there are plenty of wonderful Alabamans who are embarrassed by the fringe parts of the law and I certainly don't mean any disrespect by posting this article. In fact, I think this article actually points to the generosity of spirit and kindness I remember most about growing up in the south. I'm also glad to see that there's quite a bit of protest about the worst parts of this law and agree that the protests should also be part of the conversation so I'm including the links you sent me here: http://blog.al.com/breaking/2011/09/federal_judge_throws_out_xxxx.html and http://blog.al.com/spotnews/2011/11/immigration_law_amendments_in.html The articles do report that quite a few legislators and many immigrant rights activists are advocating revisions to the law and I look forward to seeing the repeals. That said, the articles also note that the bulk "of the new law is in effect despite a federal court challenge to it brought by the U.S. Justice Department, church groups and state and national civil liberties groups " and a "federal judge [Blackburn] this afternoon again upheld most sections of Alabama's tough new immigration law." In short, the fight for repeals is just beginning. Once more, I stress that I do NOT mean to offend anyone; rather, I think it's important to discuss the circumstances under which such a restrictive law could be passed as well as the reactions that have mobilized in response to it. I think it's a wonderful "teaching moment" about politics, economics, civic engagement, global economy, etc. Sincerest regards.
Kenuvis Romero

Public Photograpy Is Not a Crime - 0 views

pencanada.ca/...lic-photography-is-not-a-crime

shared by Kenuvis Romero on 23 Jun 13 - No Cached
  • it is not a criminal offence for individuals to photograph or film police officers as they go about their duties, and that police officers are not allowed to confiscate a person’s camera or recording equipment (including phones), force them to delete images, or otherwise prevent them from taking photographs or filming in public places.
  • Subject to certain very limited constraints, it is not a crime in Canada for anyone to do any of the following things, and it is a violation of their Charter rights to prevent anyone from doing so: photographing or filming in any public place, or in any private place to which the public is admitted, and publishing those pictures and films, taking pictures of or filming in any government site other than “restricted access areas”* photographing or filming police officers in public, as long as the photographer/filmmaker does not obstruct or interfere with the execution of police duties. While everyone has a reasonable expectation of privacy in certain circumstances, police officers have no reasonable expectation of privacy as they go about their duties.
Randolph Hollingsworth

The Code of Best Practices in Fair Use for Media Literacy Education - 60 views

www.centerforsocialmedia.org/...r-use-media-literacy-education

copyright fair use media educational technology

shared by Randolph Hollingsworth on 25 Oct 10 - Cached
  • when they occur within a restricted-access network, do enjoy certain copyright advantages
  • we as a society give limited property rights to creators to encourage them to produce culture; at the same time, we give other creators the chance to use that same copyrighted material, without permission or payment
  • Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than that of the original, or did it just repeat the work for the same intent and value as the original? • Was the material taken appropriate in kind and amount, considering the nature of the copyrighted work and of the use?
  • ...21 more annotations...
  • If the answers to these two questions are "yes," a court is likely to find a use fair
  • whether the use will cause excessive economic harm to the copyright owner
  • the purpose of copyright—to promote the advancement of knowledge through balancing the rights of owners and users.
  • In some cases, this will mean using a clip or excerpt; in other cases, the whole work is needed. Whenever possible, educators should provide proper attribution and model citation practices that are appropriate to the form and context of use.
  • educators should provide reasonable protection against third-party access and downloads
  • educators using concepts and techniques of media literacy should be free to enable learners to incorporate, modify, and re-present existing media objects in their own classroom work
  • Students’ use of copyrighted material should not be a substitute for creative effort
  • Students should be able to understand and demonstrate, in a manner appropriate to their developmental level, how their use of a copyrighted work repurposes or transforms the original.
  • but cannot rely on fair use when their goal is simply to establish a mood or convey an emotional tone, or when they employ popular songs simply to exploit their appeal and popularity
  • material that is incorporated under fair use should be properly attributed wherever possible
  • attribution, in itself, does not convert an infringing use into a fair one.
  • If student work that incorporates, modifies, and re-presents existing media content meets the transformativeness standard, it can be distributed to wide audiences under the doctrine of fair use.
  • When sharing is confined to a delimited network, such uses are more likely to receive special consideration under the fair use doctrine
  • there are no cut-and-dried rules (such as 10 percent of the work being quoted, or 400 words of text, or two bars of music, or 10 seconds of video).
  • Transformativeness, a key value in fair use law, can involve modifying material or putting material in a new context, or both
  • Copyright Act itself makes it clear that educational uses will often be considered fair because they add important pedagogical value to referenced media objects.
  • If educators or learners want to share their work only with a class (or another defined, closed group) they are in a favorable position
  • if work is going to be shared widely, it is good to be able to rely on transformativeness
  • courts have found that asking permission and then being rejected has actually enhanced fair use claims.
  • We don’t know of any lawsuit actually brought by an American media company against an educator over the use of media in the educational process
  • Lack of clarity reduces learning and limits the ability to use digital tools. Some educators close their classroom doors and hide what they fear is infringement; others hyper-comply with imagined rules that are far stricter than the law requires, limiting the effectiveness of their teaching and their students’ learning.
  • Randolph Hollingsworth on 08 Jun 12
     
    Good place to look for guidelines about use of media
Andy Whiteway

Building an Internet Culture - 0 views

polaris.gseis.ucla.edu/...internet-culture.html

shared by Andy Whiteway on 24 Mar 09 - Cached
  • ten conclusions that might guide a country's development of a culturally appropriate Internet policy
  • Do not spend vast sums of money to buy machinery that you are going to set down on top of existing dysfunctional institutions. The Internet, for example, will not fix your schools. Perhaps the Internet can be part of a much larger and more complicated plan for fixing your schools, but simply installing an Internet connection will almost surely be a waste of money.
  • Learning how to use the Internet is primarily a matter of institutional arrangements, not technical skills
  • ...5 more annotations...
  • Build Internet civil society. Find those people in every sector of society that want to use the Internet for positive social purposes, introduce them to one another, and connect them to their counterparts in other countries around the world. Numerous organizations in other countries can help with this.
  • Machinery does not reform society, repair institutions, build social networks, or produce a democratic culture. People must do those things, and the Internet is simply one tool among many. Find talented people and give them the tools they need. When they do great things, contribute to your society's Internet culture by publicizing their ideas.
  • For children, practical experience in organizing complicated social events, for example theater productions, is more important than computer skills. The Internet can be a powerful tool for education if it is integrated into a coherent pedagogy. But someone who has experience with the social skills of organizing will immediately comprehend the purpose of the Internet, and will readily acquire the technical skills when the time comes
  • Conduct extensive, structured analysis of the technical and cultural environment. Include the people whose work will actually be affected. A shared analytical process will help envision how the technology will fit into the whole way of life around it, and the technology will have a greater chance of actually being used.
  • Don't distribute the technology randomly. Electronic mail is useless unless the people you want to communicate with are also online, and people will not read their e-mail unless they want to. Therefore, you should focus your effort on particular communities, starting with the communities that have a strong sense of identity, a good record of sharing information, and a collective motivation to get online.
    • Andy Whiteway
      Andy Whiteway on 24 Mar 09
       
      This community could so easily be the students - but how often do schools seem to be obsessed with givgin staff lots of access to technology and email but block/restrict students' use of it?
Sheri Stahler

Should College Gossip Websites be Banned? « OPPapers Blog - 15 views

www.oppapers.com/...lege-gossip-websites-be-banned

Dennis Lynch collegeacb.com juicycampus.com collegeacb

shared by Sheri Stahler on 03 Feb 11 - No Cached
  • Should College Gossip Websites be Banned?
  • The Chronicle on Higher Education reports on College ACB: Millsaps blocked access to the site a month ago after student leaders suggested a review of the site contents, said Brit Katz, vice president for student life and dean of students, in an e-mail to The Chronicle. Millsaps had also banned JuicyCampus. Dawn Watkins, vice president for student affairs and dean of students at Washington and Lee University, said administrators there pulled the plug late last year after their numerous requests to Mr. Frank to remove most content mentioning the university were denied. Ms. Watkins said a number of reported cases of cyberbullying among first-year female students prompted those requests. When asked whether restricting access to the site was a freedom-of-speech issue, Ms. Watkins and Mr. Katz both said their primary responsibilities were to prevent anonymous postings that name individuals
  • Sheri Stahler on 03 Feb 11
     
    Review Chronicle article - some schools are banning collegeacb
Kelly Sereno

SIRS: Making Students Literate in Digital Age - 70 views

sks.sirs.com/...hst-article-display

shared by Kelly Sereno on 13 Oct 11 - No Cached
Jason Keown liked it
    • Kelly Sereno
      Kelly Sereno on 13 Oct 11
       
      Pro - Argument #1
  • The American Library Association encourages schools and libraries to think twice before keeping kids off social media, saying such prohibition "does not teach safe behavior and leaves youth without the necessary knowledge and skills to protect their privacy or engage in responsible speech." Their policy statement on the topic says that instead of restricting access, librarians and teachers "should educate minors to participate responsibly, ethically and safely."
  • Perhaps the biggest objection to widespread use of social sites is the likelihood that kids will encounter irrelevant or even offensive material--a fear that many teachers say is overblown. While the Web can seem like "a sea of pornography and idiots," says James Lerman, the author of several books on educational technology, schools must help students figure out how to navigate it so they "can get to the good stuff" that's applicable to school.
  • ...1 more annotation...
  • The American Library Association encourages schools and libraries to think twice before keeping kids off social media, saying such prohibition "does not teach safe behavior and leaves youth without the necessary knowledge and skills to protect their privacy or engage in responsible speech.
Dimitris Tzouris

Collaborative annotation of images | speakingimage - 177 views

www.speakingimage.org

image annotation interactive tool

shared by Dimitris Tzouris on 07 Mar 11 - No Cached
  • Andrew Williamson on 07 Mar 11
     
    This is a fantastic web 2.0 tool. Upload images and annotate. You can other embed media inside the annotations. Annotations pop up as you click or hover over the objects you add. You can embed the annotated image into webpage or blog. This could be a useful tool for teachers and students. Lots of scope for creativity with layers etc. You can share to a group and set editing permissions for public or restricted people/groups for collaboration purposes. 
Nathan Dybvig

BBC Two - The Classroom Experiment - Episode guide - 63 views

www.bbc.co.uk/...guide

shared by Nathan Dybvig on 03 Mar 15 - No Cached
  • Nathan Dybvig on 03 Mar 15
     
    alternatives to hand raising
  • nadinebailey on 03 Mar 15
     
    Is this location restricted? Can't seem to access it in Singapore
koolteecha

Pieter Bruegel - 20 views

www.bouwman.com/...Landscape.html

shared by koolteecha on 06 Aug 14 - No Cached
    • koolteecha
      koolteecha on 06 Aug 14
       
      Look closely at Bruegel's poem.  Make notes about what you see - objects, geographical features, people, animals, etc.
  • Pieter Bruegel the Elder
  • Michelle Kassorla on 06 Aug 14
     
    You should try Poetry Genius for this. It is an amazing and growing app: http://genius.com/tags/poetry It's a place where you post your poem and your students can annotate in real-time. You can restrict it to just your class, or you can open it up to the community. They also have Literature Genius with some awesome pages (so far I have looked at Hawthorne and O'Connor--but there are a ton more http://lit.genius.com/.
Comrad Compadre

DOJ won't help FCC fight state laws that harm municipal broadband | Ars Technica - 1 views

arstechnica.com/...-that-harm-municipal-broadband

shared by Comrad Compadre on 10 Nov 15 - No Cached
  • DOJ attorney told a federal appeals court last week that "Respondent United States of America takes no position in these cases."
    • Comrad Compadre
      Comrad Compadre on 10 Nov 15
       
      Arguably one of the best lines to come out of the US DOJ
  • The DOJ's decision to stay out of the case was cheered by Randolph May, who was an FCC lawyer between 1978 and 1981. May opposes both the municipal broadband and net neutrality decisions and today runs a "free market-oriented think tank" called The Free State Foundation. He wrote that "the Department of Justice's curt statement advising the court that it takes no position in the appeal of the FCC's preemption of state laws restricting local government broadband networks is very curious. As someone who served as FCC Associate General Counsel, I can tell you this is a very rare occurrence."
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

(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views

www.researchgate.net/..._for_Music_Performance_Anxiety

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
  • ...24 more annotations...
  • 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.
Melanie Barkley

Maths Maps - A New Collaborative Project | edte.ch - 88 views

edte.ch/...ps-a-new-collaborative-project

math collaboration maps

shared by Melanie Barkley on 07 Feb 10 - Cached
  • Some background Four years ago I created Google Earth resources for the classroom and posted them to the GE Community Forum. Two of them were called Maths in Madrid and Maths in Las Vegas. These were based on the fact that there is maths all around us, every day, everywhere we look. Google Earth (and Maps) gives us a great perspective on it all. It also provides easy access for our students to see rich visual content that depicts everyday maths. I have always loved the idea of children seeing the maths they are working on. The only issue with Google Earth is that it is restrictive in two ways. It is not browser based and it is impossible for me to create a resource for others to collaborate on.
  • Anne McCormack on 07 Feb 10
     
    Combining math with Google Earth to create exciting classroom projects. This is a collaborative Google presentation.
  • Melanie Barkley on 02 Aug 11
     
    Math Maps Project Using Google Earth
Gregory Louie

Re-ordering bookmarks - 118 views

Hi Maggie, I would love to see both a user's personal rating system combined with a reader's rating system - kinda like editor's comments & reader's comments on Amazon. Creating lists could also ...

bookmarks

started by Mr Burks on 11 Nov 08 4 follow-ups, last by Gregory Louie on 28 May 09
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