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Breen O'Reilly

Sound Design in Looper - 28 views

www.npr.org/...rld-of-musical-clicks-and-pops

shared by Breen O'Reilly on 07 Feb 13 - No Cached
  • Breen O'Reilly on 07 Feb 13
     
    Innovative sound design explained
Iain Williamson

Coursera.org - 60 views

www.coursera.org/wesleyan

Hollywood Storytelling Sound Color Colour

shared by Iain Williamson on 24 Feb 13 - No Cached
  • Iain Williamson on 24 Feb 13
     
    Useful online film course in storytelling, sound and color
Amy Burns

Coffitivity - 57 views

www.coffitivity.com

tools Sound ambient

shared by Amy Burns on 05 Jan 15 - No Cached
  • Amy Burns on 05 Jan 15
     
    Use this site to create the ambient sounds of a coffee shop. Boost creativity with sound!
Maureen Greenbaum

The Future of College? - The Atlantic - 29 views

www.theatlantic.com/...375071

future college education pedagogy

shared by Maureen Greenbaum on 16 Aug 14 - No Cached
  • proprietary online platform developed to apply pedagogical practices that have been studied and vetted by one of the world’s foremost psychologists, a former Harvard dean named Stephen M. Kosslyn, who joined Minerva in 2012.
  • inductive reasoning
  • Minerva class extended no refuge for the timid, nor privilege for the garrulous. Within seconds, every student had to provide an answer, and Bonabeau displayed our choices so that we could be called upon to defend them.
  • ...45 more annotations...
  • subjecting us to pop quizzes, cold calls, and pedagogical tactics that during an in-the-flesh seminar would have taken precious minutes of class time to arrange.
  • felt decidedly unlike a normal classroom. For one thing, it was exhausting: a continuous period of forced engagement, with no relief in the form of time when my attention could flag
  • One educational psychologist, Ludy Benjamin, likens lectures to Velveeta cheese—something lots of people consume but no one considers either delicious or nourishing.)
  • because I had to answer a quiz question or articulate a position. I was forced, in effect, to learn
  • adically remake one of the most sclerotic sectors of the U.S. economy, one so shielded from the need for improvement that its biggest innovation in the past 30 years has been to double its costs and hire more administrators at higher salaries.
  • past half millennium, the technology of learning has hardly budge
  • fellow edu-nauts
  • Lectures are banned
  • attending class on Apple laptops
  • Lectures, Kosslyn says, are cost-effective but pedagogically unsound. “A great way to teach, but a terrible way to learn.”
  • Minerva boast is that it will strip the university experience down to the aspects that are shown to contribute directly to student learning. Lectures, gone. Tenure, gone. Gothic architecture, football, ivy crawling up the walls—gone, gone, gone.
  • “Your cash cow is the lecture, and the lecture is over,” he told a gathering of deans. “The lecture model ... will be obliterated.”
  • One imagines tumbleweeds rolling through abandoned quads and wrecking balls smashing through the windows of classrooms left empty by students who have plugged into new online platforms.
  • when you have a noncurated academic experience, you effectively don’t get educated.
  • Liberal-arts education is about developing the intellectual capacity of the individual, and learning to be a productive member of society. And you cannot do that without a curriculum.”
  • “The freshman year [as taught at traditional schools] should not exist,” Nelson says, suggesting that MOOCs can teach the basics. “Do your freshman year at home.”) Instead, Minerva’s first-year classes are designed to inculcate what Nelson calls “habits of mind” and “foundational concepts,” which are the basis for all sound systematic thought. In a science class, for example, students should develop a deep understanding of the need for controlled experiments. In a humanities class, they need to learn the classical techniques of rhetoric and develop basic persuasive skills. The curriculum then builds from that foundation.
  • What, he asks, does it mean to be educated?
  • methods will be tested against scientifically determined best practices
  • Subsidies, Nelson says, encourage universities to enroll even students who aren’t likely to thrive, and to raise tuition, since federal money is pegged to costs.
  • We have numerous sound, reproducible experiments that tell us how people learn, and what teachers can do to improve learning.” Some of the studies are ancient, by the standards of scientific research—and yet their lessons are almost wholly ignored.
  • memory of material is enhanced by “deep” cognitive tasks
  • he found the man’s view of education, in a word, faith-based
  • ask a student to explain a concept she has been studying, the very act of articulating it seems to lodge it in her memory. Forcing students to guess the answer to a problem, and to discuss their answers in small groups, seems to make them understand the problem better—even if they guess wrong.
  • e traditional concept of “cognitive styles”—visual versus aural learners, those who learn by doing versus those who learn by studying—is muddled and wrong.
  • pedagogical best practices Kosslyn has identified have been programmed into the Minerva platform so that they are easy for professors to apply. They are not only easy, in fact, but also compulsory, and professors will be trained intensively in how to use the platform.
  • Professors are able to sort students instantly, and by many metrics, for small-group work—
  • a pop quiz at the beginning of a class and (if the students are warned in advance) another one at a random moment later in the class greatly increases the durability of what is learned.
  • he could have alerted colleagues to best practices, but they most likely would have ignored them. “The classroom time is theirs, and it is sacrosanct,
  • Lectures, Kosslyn says, are pedagogically unsound,
  • I couldn’t wait for Minerva’s wrecking ball to demolish the ivory tower.
  • The MOOCs will eventually make lectures obsolete.”
  • Minerva’s model, Nelson says, will flourish in part because it will exploit free online content, rather than trying to compete with it, as traditional universities do.
  • The MOOCs will eventually make lectures obsolete.”
  • certain functions of universities have simply become less relevant as information has become more ubiquitous
  • Minerva challenges the field to return to first principles.
  • MOOCs will continue to get better, until eventually no one will pay Duke or Johns Hopkins for the possibility of a good lecture, when Coursera offers a reliably great one, with hundreds of thousands of five-star ratings, for free.
  • It took deep concentration,” he said. “It’s not some lecture class where you can just click ‘record’ on your tape.”
  • part of the process of education happens not just through good pedagogy but by having students in places where they see the scholars working and plying their trades.”
  • “hydraulic metaphor” of education—the idea that the main task of education is to increase the flow of knowledge into the student—an “old fallacy.”
  • I remembered what I was like as a teenager headed off to college, so ignorant of what college was and what it could be, and so reliant on the college itself to provide what I’d need in order to get a good education.
  • it is designed to convey not just information, as most MOOCs seem to, but whole mental tool kits that help students become morethoughtful citizens.
  • for all the high-minded talk of liberal education— of lighting fires and raising thoughtful citizens—is really just a credential, or an entry point to an old-boys network that gets you your first job and your first lunch with the machers at your alumni club.
  • Its seminar platform will challenge professors to stop thinking they’re using technology just because they lecture with PowerPoint.
  • professors and students increasingly separated geographically, mediated through technology that alters the nature of the student-teacher relationship
  • The idea that college will in two decades look exactly as it does today increasingly sounds like the forlorn, fingers-crossed hope of a higher-education dinosaur that retirement comes before extinction.
anorred79

Speaker Lab - 29 views

cse.ssl.berkeley.edu/...speakerlab.html

lab speaker science physical

shared by anorred79 on 06 Oct 14 - No Cached
  • A speaker is a device that converts an electronic signal into sound. The speaker you will build (see figure 1) consists of a Styrofoam or paper cup, a coil of wire, a permanent magnet, and a signal source. The electronic signal goes through the coil and creates a varying electromagnet. The attraction and repulsion between the electromagnet and the permanent magnet cause the cup to vibrate and produce sound.
    • anorred79
      anorred79 on 06 Oct 14
       
      Student should work in groups of 2 to 3.
Martin Burrett

Soundation Studio - Mix your own music tracks - 73 views

www.soundation.com/studio

music audio sound editor music maker music mixer

shared by Martin Burrett on 03 Jun 10 - Cached
  • Martin Burrett on 27 Jun 11
     
    Mix your own tracks by inserting beats and instruments into the timeline of this wonderful musical website. http://ictmagic.wikispaces.com/Music,+Sound+&+Podcasts
Mark Trerotola

Biodiversity Resources - University of Puget Sound - 36 views

www.pugetsound.edu/...biodiversity-resources

biodiversity science resources

shared by Mark Trerotola on 09 Aug 10 - Cached
  • Mark Trerotola on 09 Aug 10
     
    University of Puget Sound website containing information of biodiversity resources.
Kristine Goldhawk

Best Sites to Find Public Domain Images and Sounds for Student Projects | audio public-... - 0 views

mrssmoke.onsugar.com/3152550

publicdomain photos cc

shared by Kristine Goldhawk on 17 May 09 - Cached
  • Library of Congress Photo Archives
  • NOAA Public Image Library
  • NOAA Public Image Library
  • ...1 more annotation...
  • Library of Congress Photo Archives is a site every teacher should bookmark.  With over 1.2 millions images in this database, your students can certainly gather a wide variety of images for their history projects.  Each image has different licensing, so look closely.  Supporting units: famous Americans, presidents, civil rights, wars, inventors, authors, and just about any historical American event
  • Kristine Goldhawk on 17 May 09
     
    Find public domain images and sounds for projects. Some lesson plans included in the links.
Melissa Enderle

Monkey Machine - online drum machine - 129 views

www.rinki.net/monkey

drums audio Percussion interactive music music education sound effects

shared by Melissa Enderle on 11 Jan 11 - Cached
  • Melissa Enderle on 11 Jan 11
     
    Free web-based program that allows students to experiment with drum set sounds and rhythms. Can customize the selection of drums and cymbals in their virtual drum set, vary tempo and frequency, percussive instrument. Can download as MIDI file.
Martin Burrett

Dragontape - Digistal Mixtapes - 21 views

www.dragontape.com/home

mix video music YouTube sound audio

shared by Martin Burrett on 07 Aug 11 - No Cached
  • Martin Burrett on 07 Aug 11
     
    A site that boasts that it makes mix tapes for a digital age using music and video from sites like YouTube. http://ictmagic.wikispaces.com/Music,+Sound+&+Podcasts
Martin Burrett

SongZilla - Search and stream online music - 63 views

www.songzilla.co.uk

music streaming search engine

shared by Martin Burrett on 02 Aug 11 - No Cached
  • Martin Burrett on 02 Aug 11
     
    A great simple music search engine that streams free music from Grooveshark on an uncluttered page. Search by title, artist or album. http://ictmagic.wikispaces.com/Music,+Sound+&+Podcasts
Carol Mortensen

Audio Expert - free online audio editor, converter and recorder - 3 views

www.audioexpert.com

audio converter tools editor recorder free web expert ringtones

shared by Carol Mortensen on 10 Aug 11 - Cached
  • WELCOME AudioExpert is a free and simple online audio editor, file converter and sound recorder. All the standard functionality of an audio editor provides you with an easy way to create a ringtone for your cell phone. You will find AudioExpert useful also as a powerful audio file converter which will allow you to modify the file format of your files, their bit rate, frequency, etc. If your computer is equipped with a camera and microphone, you can use AudioExpert to record your sounds. Main Features: Make use of it to analyse audio files and extract detailed information about the format. Cut or crop audio files in just a few clicks. Merge multiple files into a single audio track. Convert files between all of the popular audio formats (WAV, MP3, OGG, M4A, AAC, FLAC, AU, AMR, WMA, MKA). Record audio off a microphone or another sound device and save it directly to WAV, MP3, WMA, OGG, etc. Convert multiple files at once by means of batch processing.
  • Carol Mortensen on 10 Aug 11
     
    Convert, Edit (make ringtones), and merge audio files easily and quickly.
  • Carol Mortensen on 10 Aug 11
     
    Create free ringtone!
Martin Burrett

Grooveshark - Listen to Music Online - 76 views

grooveshark.com

music streaming radio

shared by Martin Burrett on 16 Jul 11 - No Cached
Ann Lusch liked it
  • Martin Burrett on 16 Jul 11
     
    Grooveshark is a superb music streaming resource with an insanely large library of songs from previous decades right up to the latest chart topper. You can listen to Internet radio as well. No sign in required to search and stream, but you can sign up for free to save your playlists. A must have resource for any teacher... even if it is just to unwind after a hard day. http://ictmagic.wikispaces.com/Music,+Sound+&+Podcasts
  • Ann Lusch on 17 Jul 11
     
    Grooveshark is great.
Martin Burrett

AudioTool - 20 views

ukedchat.com/...audiotool

sound sound editing sound effects music

shared by Martin Burrett on 22 Nov 18 - No Cached
  • Martin Burrett on 22 Nov 18
     
    "Creating music tracks used to be time consuming and expensive. But with sites like this, anyone can make their own synthesised tracks using virtual mixing desk. Click on launch to start the app. Choose your equipment or use the default desk to get you going. You can listen and even remix tracks from other members on the site."
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."
Monica Lawrence

Foundation Stage Record Keeping (EYFS) for iPhone, iPod touch and iPad on the iTunes Ap... - 57 views

itunes.apple.com/...id496828735

apps earlychildhood portfolio

shared by Monica Lawrence on 13 Oct 12 - No Cached
  • Monica Lawrence on 13 Oct 12
     
    sounds great and its free
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