Group items tagged

Many reform efforts, from reducing class size to improving reading instruction, have devolved into fads or been implemented with weak fidelity to their core intent. The 21st century skills movement faces the same risk.

some of the rhetoric we have heard surrounding this movement suggests that with so much new knowledge being created, content no longer matters; that ways of knowing information are now much more important than information itself. Such notions contradict what we know about teaching and learning and raise concerns that the 21st century skills movement will end up being a weak intervention for the very students—low-income students and students of color—who most need powerful schools as a matter of social equity.

First, educators and policymakers must ensure that the instructional program is complete and that content is not shortchanged for an ephemeral pursuit of skills

Second, states, school districts, and schools need to revamp how they think about human capital in education—in particular how teachers are trained

inally, we need new assessments that can accurately measure richer learning and more complex tasks

Skills and knowledge are not separate, however, but intertwined.

In some cases, knowledge helps us recognize the underlying structure of a problem.

At other times, we know that we have a particular thinking skill, but domain knowledge is necessary if we are to use it.

if skills are independent of content, we could reasonably conclude that we can develop these skills through the use of any content. For example, if students can learn how to think critically about science in the context of any scientific material, a teacher should select content that will engage students (for instance, the chemistry of candy), even if that content is not central to the field. But all content is not equally important to mathematics, or to science, or to literature. To think critically, students need the knowledge that is central to the domain.

The importance of content in the development of thinking creates several challenges

first is the temptation to emphasize advanced, conceptual thinking too early in training

Another curricular challenge is that we don't yet know how to teach self-direction, collaboration, creativity, and innovation the way we know how to teach long division.

But experience is not the same thing as practice. Experience means only that you use a skill; practice means that you try to improve by noticing what you are doing wrong and formulating strategies to do better. Practice also requires feedback, usually from someone more skilled than you are.

We must plan to teach skills in the context of particular content knowledge and to treat both as equally important.

education leaders must be realistic about which skills are teachable. If we deem that such skills as collaboration and self-direction are essential, we should launch a concerted effort to study how they can be taught effectively rather than blithely assume that mandating their teaching will result in students learning them.

teachers don't use them.

Even when class sizes are reduced, teachers do not change their teaching strategies or use these student-centered method

these methods pose classroom management problems for teachers.

These methods also demand that teachers be knowledgeable about a broad range of topics and are prepared to make in-the-moment decisions as the lesson plan progresses.

constant juggling act

greater collaboration among teachers.

But where will schools find the release time for such collaboration?

professional development is a massive undertaking.

Unfortunately, there is a widespread belief that teachers already know how to do this if only we could unleash them from today's stifling standards and accountability metrics. This notion romanticizes student-centered methods, underestimates the challenge of implementing such methods, and ignores the lack of capacity in the field today.

The first challenge is the cost.

measures that encourage greater creativity, show how students arrived at answers, and even allow for collaboration.

Fluid intelligence

Crystallized intelligence

ReadTheWords.com been created to cater to these students.

ReadtheWords.com is an AMAZING SERIVCE for young students.

ReadTheWords.com allows me to create listening material for some learners that struggle a little bit. It allows my students to read along with the Virtual Avatar Reader. This saves a lot of time so I can focus on certain children without slowing down the rest of the class.

We create links to audio files that read our upcoming events, and we use it to help visually impaired patrons read anything - articles, letters they have received, emails that can be copy/pasted from their email account...the possibilities are endless! On a personal level, I have been using ReadTheWords toolbar plug in.

service with my university students who are learning English

brings the text to life, and stimulates my second language learners in a dynamic way. I would recommend this program to all foreign language teachers,

I have been assisting students to create audio files of study review materials. This greatly helps them decode and analyze the material for comprehension. I have seen a great improvement on test scores

Students listen to a piece of their own writing, so they can hear if what they wrote sounds correct. It helps students with comprehension, spelling, grammar and structuring sentences.

This service is godsend for many students, especially auditory learners. I cannot even begin to imagine how many people this will help in the future. We just received approval to offer this service to our entire school. (Email webmaster@readthewords.com to get a special deal like we did.

Even if it were true that today visual communication overwhelms written communication, the problem is not to oppose written to visual communication. The problem is how to improve both.

read-aloud

Poetry

Themes of racial or ethnic identity and pride are incorporated in the plot.

Friends

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.

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."

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

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

Less clear, though, is whether COPPA covers information such as IP (internet protocol) address, device identification number, the type of browser being used, or other so-called metadata that can often be used to identify users.

some school lawyers have taken the FTC’s previous guidance to mean that their districts must get consent from every single parent, for every single product that collects information online from young children.

First, according to the FTC, schools can grant consent on behalf of parents only when the operator of the website, online service, or app in question is providing a service that is “solely for the benefit of students and the school system” and is specific to “the educational context.”

How are schools supposed to determine if a website or app is strictly educational?

will any information collected from children under 13 be used or shared for commercial purposes unrelated to education? Are schools allowed to review the information collected on students? Can schools request that student info be deleted? If the answers to that second group of questions are, respectively, yes, no, or no, schools are not allowed to grant consent on behalf of parents, according to the FTC.

Many vendors also allow third-party trackers (usually related to analytics or advertising) to be embedded into their sites and services.

How do schools notify parents and get their consent under COPPA?

Often through an Acceptable Use Policy or similar document that is sent home to parents at the beginning of the school year, said Fitzgerald of Common Sense Media.

Even better, Fitzgerald said, is when schools provide a detailed list of exactly what websites/online services/apps students will be using, and what the information practices of each are.

responsibility for deciding “whether a particular site’s or service’s information practices are appropriate” not be delegated to teachers.

Many districts do in fact have that kind of review-and-approval process.

By 2021, schools must offer diplomas based students reaching proficiency in the four core academic subject areas: English, math, science and social studies. By 2025, four additional subject areas will be included: a second language, the arts, health and physical education.

proficiency-based idea has also created headaches at some schools for teachers trying to monitor students’ individual progress.

Students have more flexibility to learn at their own pace and teachers get time to provide extra help for students who need it

It wasn’t for lack of trying,” Bowen said. “It was a systems design problem.”

offer students clarity about what they have to learn and how they are expected to demonstrate they’ve learned it.

Deciding to believe that all students are capable of learning all of the standards, she said, “was scary.”

We inherited a structure for schooling that was based on time and on philosophical beliefs that learning would be distributed across a bell curve,

get crystal clear about what we want students to know and be able to do and then how to measure it.”

From a parent's perspective (and sometimes from the child's), this can seem like we are "de-gifted" the child.

The most important thing is that you have the "data" that shows what the student needs and that you are matching this with an appropriate service.

Be very explicit with what the differentiation is and how it is addressing the needs

A major shift with RTI is that there is less emphasis on the "label" and more on the provision of appropriate service.

When a child has met all the expected benchmarks

independent reading

reading log

small group for discussions using similar questions.

long-term solutions might include forming a seminar group using a

program like "Junior Great Books."

Ideas for differentiating reading for young children can also be found at: http://www.k8accesscenter.org/training_resources/readingdifferentiation.asp http://www.appomattox.k12.va.us/acps/attachments/6_6_12_dan_mulligan_handout.pdf

enrich potential

to plan appropriate instruction, based on data that show the learners' needs.

additional enrichment and challenge in their area(s) strength.

Tiers 2 or 3

As the intensity of the needs increase, the intensity of the services also increases.

our ability to nurture potential in students prior to formal identification

appropriately scaffolded activities through Tier 2 support.

, with high-end differentiation and expectations, we are able to support the development of potential in all students.

This body-of-evidence can be used to support the nomination process and formal identification when appropriate.

likely to be of particular benefit for culturally and linguistically diverse, economically disadvantaged, and twice exceptional youngsters who are currently underrepresented within gifted education.

Tier 1 include:

Tier 2 include:

Tier 3 include:

universal screening

Aspergers

gifted children with learning disabilities?

If we provide enrichment activities for our advanced students, won't that just increase the acheivement gap?

Educational opportunities are not a “zero sum” game where some students gain and others lose.

the needs of all learners.

One is focusing on remediation, however the second approach focuses on the nurturing of potential through creating expectations for excellence that permeate Tier 1 with extended opportunities for enrichment for all children who need them at Tier 2. With the focus on excellence, the rising tide will help all students reach their potential. This is the goal of education.

make sure that the screener is directly related to the curriculum that you are using and that it has a high enough ceiling to allow advance learners to show what they know.

recognizing that students who are above grade level, or advanced in their academics, also need support to thrive

all students deserve to attend a school where their learning needs are met

seek out ways to build the knowledge and skills of teachers to address the range of needs

This includes learning about differentiated instruction within Tier 1and creating additional opportunities for enhancements and enrichments within Tier 2.

first

This often means that the district views the school as a “high-needs” school and does feel that many children would qualify for gifted education services (thus no teacher allocation is warranted). If this is the case, then this is a problematic view as it perpetuates the myth that some groups of children are not likely to be “gifted”.

These five differentiation strategies are as follows: Curriculum Compacting (pre-assessment of learners to see what they know)  The use of Tiered Assignments that address: Mastery, Enrichment, and Challenge  Tiered Learning Centers that allow children to further explore skills and concepts  Independent and Small group learning contracts that allow students to follow area of interest  Questioning for Higher Level thinking to stretch the minds of each child.

RTI was,

first proposed as a way to help us better identify students who continue to need additional support in spite of having appropriate instructional opportunities to learn.

The primary issue is the need for measures of potential as well as performance.

an IQ measure

portfolio

that sometimes occur outside of school

children with complex sets of strengths and needs require a comprehensive evaluation that includes multiple types, sources, and time periods to create the most accurate and complete understanding of their educational needs.

a "diamond" shaped RTI model

confusing

use the same icon to represent how we address the increasing intensity of academic and behavioral needs for all learners.

English Language Learners?

Differentiated instruction is part of a strength-based approach to Tier 1, providing enriched and challenging learning opportunities for all students. However, a comprehensive RTI approach for gifted learners will also need strong Tier 2 and 3 supports and services.

Tracking, or the fixed stratification of children into learning levels based on limited data (placing children in fixed learning groups based on a single reading score), is the opposite of RTI.

off grade level trajectories

this may includ

assess the slope and speed of learning and plot the target from there.

content acceleration and content enrichment.

independent or small group project of their choice.

renzullilearning.com.

additional learning opportunities that both challenge the learner and address high interest learning topics.

What you’re not doing is inspiring your team to level up. What you’re not doing is inventing a new game. Instead, you’re playing someone else’s game.

There are two traps

First, it’s easier than ever to do A/B testing

Second, it’s easier to stay busy.

Leadership is the art of doing things you’re not sure of, and doing them with enrollment instead of authority.

On the other hand, leadership is voluntary. Those who follow you must be enrolled in your journey and persuaded to follow (and contribute to) your vision.

Digital charisma doesn’t feel like management, and it requires alternative channels. Human channels. Channels that involve actually showing up, not hiding behind a system.

how can you possibly listen back?

We can learn quite a bit from how the modern cultural leaders of Instagram and Facebook use their platform, despite so many of their habits we’d prefer to avoid.