Skip to main content

Home/ Diigo In Education/ Group items tagged steps process

Rss Feed Group items tagged

meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

  • 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."
pjt111 taylor

Taking Yourself Seriously: Processes of Research and Engagement has been publ... - 3 views

  •  
    This is a "field-book of tools and processes to help readers in all fields develop as researchers, writers, and agents of change." For more details and how to purchase: http://bit.ly/TYS2012. (Printing and distribution in Australia and Europe begins end of March.) Comments on the influence of this book's approach "I was able to get engaged in a project that I was able to actually use in work, which was extremely satisfying. The whole process encouraged me, and I felt very empowered as a change agent, which could be an exhilarating feeling." a healthcare professional and story-teller "I really had not been used to thinking about my own thinking, so learning to do that also helped me to slow down and start to look away from the career path that I had been taking for granted." a biologist-turned-web designer "I found that the experience helped me to accept feedback from other professionals. I am more comfortable with listening to why my own ideas might not work or need further evaluation. This even happens to the point where I find reasons now to seek out this kind of feedback." a teacher "I had viewed research as a process of collecting information into a sort of database and reviewing it effectively. I have now revised my notions to include a more broad understanding of interconnectedness between people and ideas. An important part of research is to keep relationships going." an adult educator "One of the most useful ideas was the use of dialogue, which helps to slow down the procedures used by the company. There's a tension between management's need to make quick decisions and desire to have real dialogue around proposed changes-changes to the internal company operational procedures as well as to evaluating the quality of what the company is doing with its publications." a teacher, currently working in publishing "I was asked to pay attention to what I actually could do instead of what I could not. This enabled me to (1) step back and let go of a huge technic
pjt111 taylor

Taking Yourself Seriously: Processes of Research and Engagement - 9 views

  •  
    Taking Yourself Seriously: Processes of Research and Engagement is the working title of a book by Peter Taylor and Jeremy Szteiter that assembles the tools and processes from research and writing courses taught in the Graduate Program in Critical and Creative Thinking. The most up to date version of the book can be viewed at http://cct.wikispaces.umb.edu/TYS (and associated links, including a link to a full pdf of the book). "For your research and writing to progress well, your questions and ideas need to be in alignment with your aspirations, your ability to take or influence action, and your relationships with other people. Shorten these items to head, heart, hands, and human connections. Your efforts to bring these 4H's into alignment is what we mean when we invite you to take yourself seriously." Some comments from former students looking back on the influence of the research courses out of which this book has arisen: Jane, a healthcare professional and story-teller: I learned is to 'hold my ideas loosely', which means accepting my own idea as a valid one but always leaving the space open to take in the counterarguments. I learned to give myself permission to be circular and come back to previous steps or thoughts, and I actually became more comfortable doing so. I was able to get engaged in a project that I was able to actually use in work, which was extremely satisfying. The whole process encouraged me, and I felt very empowered as a change agent, which could be an exhilarating feeling.
Jeff Andersen

Ten Steps Toward Universal Design of Online Courses - Disability Resource Center - 10 views

  •  
    Ten Steps Toward Universal Design of Online Courses Implementing the principles of universal design in online learning means anticipating the diversity of students that may enroll in your course and planning accordingly. Designing a course with principles of universal design in mind is an ongoing and creative process. One does not achieve the level of usability aspired to with a simple checklist, but with an open mind and a commitment to making design and inclusion a priority. There are a few elements, though, that if taken into consideration, can enhance access and usability greatly. Knowing and incorporating these elements on the front end of the design process can save hours down the line.
Jennie Snyder

Blogging With Students | Edublogs Teacher Challenges - 79 views

  •  
    wonderful guidance from edublogger editor Sue Waters
  •  
    Clear, step by step process for starting a classroom blog.
Ruth Sinker

45 Simple Twitter Tips Everyone Should Know About | Edudemic - 3 views

  •  
    "an elegantly organized set of infographics detailing the step-by-step process of using Twitter and making it work for you."
Mark Gleeson

Maths Problem Solving Strategies - 4 views

  •  
    This site provides a multitude of examples of problem solving strategies using step by step processes to solve the provided problems. It showcases the problem solving approach to Maths education in Singapore, one of th higher ranked nations in Maths. A word of warning to mobile device users, most of the useful content is in swf format, not compatible with iOS and possibles other platforms. Use our computer. 
Mark Gleeson

Maths Problem Solving Strategies - 5 views

  •  
    This site provides a multitude of examples of problem solving strategies using step by step processes to solve the provided problems. It showcases the problem solving approach to Maths education in Singapore, one of th higher ranked nations in Maths. A word of warning to mobile device users, most of the useful content is in swf format, not compatible with iOS and possibles other platforms. Use our computer. 
Martha Hickson

Flocabulary - The Writing Process - 74 views

  •  
    This song gives students a mnemonic guideline, "POWER," to remember the steps to the writing process.
Keisa Williams

Inquiry-based Learning and the Web: An epaper - 103 views

  •  
    "In this epaper, we describe a structured approach to inquiry-based learning that uses the World Wide Web as a primary information resource. Specifically, we address an intuitive 8-step process that begins with an essential question and ends with a knowledge product produced by students, typically completed in a cooperative setting. We also discuss the skills required by both student and teacher to make inquiry-based learning and the Internet a successful endeavor. Finally, we discuss the components of a Project Page, an online document that facilitates the learning process and support the reader with Web links relating to inquiry-based learning."
Roland Gesthuizen

the five stages of grading | not that kind of doctor - 108 views

  •  
    "In coping with grading, it's important for graduate students and young professors to know that they are not alone and that this process takes time. Not everyone goes through every stage or processes the reality of grading in this order, but everyone experiences some version of at least two of these steps."
  •  
    This article lists the experience that most teachers go through over a weekend when they are faced with a huge marking task, clearly identifying the 5 different stages that they will probably go through.
Martin Burrett

Book: Uncharted Territories by @Hywel_Roberts & @DebraKidd - 5 views

  •  
    "In their new book, Debra Kidd and Hywel Roberts firmly place teachers, and ultimately their students, in a range of different locations, where the learning inhabits, offering a fantastically imagined context with prompts, ideas and illustrations helping exploration and discovery. In a fascinating resource book, which can be used in many subject areas, across most stages in schools, the authors break down each chapter destination (including a forest, castle, graveyard, ship, zoo, cave, theme park) into a story starter - introducing the location and providing provocative initial questions; key landmarks (either for primary or secondary aged students), a stopover - providing a more in-depth account of their learning journey; stepping stones - context based tasks provided to also prod your imagination, and; the bedrock - offering a debrief of the processes, helping teachers understand the justification of the processes undertaken."
A Gardner

How science works: The flowchart - 194 views

    • A Gardner
       
      Reminder that science is not linear in practice nor in gathering information. Work your way through the site to the lab/activities.
    • Brian Hamilton
       
      Excellent visual.
  • process of scientific inquiry
  • Most ideas take a circuitous path through the process
  •  
    A flowchart depicting the process of scientific inquiry (nature of science). Can trace the development of different ideas. Gives a visual representation that the "scientific method" is not a rigid, sequential process that goes automatically from one step to the next.
Jeff Woodcock

Why do so many oil spills happen? - CSMonitor.com - 0 views

    • Jeff Woodcock
       
      hard part
  •  
    "n brief, because there are a lot of tricky steps to get oil from inside the Earth to inside, say, your gas tank. Oil spills can be caused by the accidental or intentional release of any form of petroleum during any point in the oil production process, from drilling, refining, or storing to transporting. Oil can be spilled when a pipeline breaks, ships collide or are grounded (as happened earlier this month along the Great Barrier Reef), underground storage tanks leak, or in the current case, when an oil rig explodes or is damaged. IN PICTURES: Big Environmental Disasters Some oil was spilled when the Deepwater Horizon rig first burst into flames on April 20 in the Gulf, injuring crew members and sending a billowing plume of black smoke into the sky that could be seen by satellite. The oil rig, located about 51 miles (82 kilometers) southeast of Venice, La., then sank into the Gulf waters Thursday morning, creating concern that more oil could spill. Oil spills can also happen naturally: Oil is released into the ocean from natural oil seeps on the seafloor. The best known such seep is Coal Oil Point along the California coast where an estimated 2,000 to 3,000 gallons (7,570 to 11,400 liters) of crude oil is released each day."
Jennie Snyder

Take These Four Steps if You Want to Lead Big Change - Forbes - 83 views

  •  
    John Kotter wrote the books (literally) on how to lead change. He laid out six important areas for effecting change: creating a sense of urgency, creating a compelling vision, forming a guiding coalition, communicating widely to gain alignment, gaining short-term wins and momentum, and integrating the changes into the culture.  His advice is invaluable for understanding the process and leadership of change.
Nigel Coutts

The right conditions for creativity - The Learner's Way - 49 views

  •  
    Understanding and identifying the barriers to creativity and the conditions which are essential for it to thrive is an important step in the process of ensuring our students leave school with a capacity for creativity at least equal to that which they arrive with.
Nigel Coutts

The rewards of highly collaborative teams - The Learner's Way - 2 views

  •  
    Not that long ago I was a writer of interesting and engaging educational programmes. Fortunately, that is no longer the case. The programmes that I wrote and shared with a team of teachers were generally well accepted and the feedback offered was always politely positive. I enjoyed writing these programmes but in recent times I have enjoyed even more stepping away from this process and in doing so empowering the team of teachers that I learn with. The programmes that this team produces far exceed the quality I could ever have hoped to produce but more importantly the students are benefiting from their experience of highly engaged and thus engaging teachers.
Steven Engravalle

Educational Technology and Mobile Learning: The 13 MUST Know Professional Development W... - 51 views

  •  
    Professional Development is a life-long  learning process that  involves different activities including individual progress, continuing education, inservice education, peer collaboration, study groups, and peer coaching or mentoring. The importance of professional development lays in the fact that it is closely related to the overall quality of education and students achievements. Teachers who stop learning and suffice themselves with the curriculum content soon turn into hard working students only a step above their actual students.
1 - 20 of 50 Next › Last »
Showing 20 items per page