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Jason Underwood

Flashcard Machine - Create, Study and Share Online Flash Cards - 53 views

www.flashcardmachine.com

shared by Jason Underwood on 31 Dec 09 - Cached
  • Gretchen Schroeder on 07 Apr 10
     
    I am forwarding you a link for an online flashcard generator that I think may be useful. I like this one because you can:\n* Create your own cards \n* You can use the cards from the existing database\no The cards in the database are categorized by \n Age/grade\n subject\n* You can share cards with the database (and therefore your students)\n* You can practice your cards\no On the computer\no By printing them\no By creating an iPod file\n* You can add pictures\n* You can add audio files\nThere are many flashcard generators out there, but this one is free (for registration) and does everything I need plus, being able to review the cards on the ubiquitous iPod is nifty!\n
Martin Burrett

Girls at single-sex schools more likely to take advanced STEM subjects - 7 views

ukedchat.com/...girls-single-sex-schools-stem

STEM gender

shared by Martin Burrett on 02 Mar 18 - No Cached
  • Martin Burrett on 02 Mar 18
     
    "New research from Monash University has found that girls in single-sex schools are more likely to study chemistry, intermediate mathematics, advanced mathematics and physics in their senior years when compared to their co-ed counterparts."
  • khameelbm on 06 Mar 18
     
    Interesting. Would an analogous research conducted on boys shows a preference for disciplines predominantly associated with girls?
anonymous

Grove Art: Subject Guide in Oxford Art Online - 12 views

www.oxfordartonline.com/...renaissanceartandarchitecture

oxford renaissance Art History tieclass reference

shared by anonymous on 27 Jun 17 - No Cached
  • the Renaissance was a period when scholars and artists began to investigate what they believed to be a revival of classical learning, literature and art. For example, the followers of the 14th-century author Petrarch began to study texts from Greece and Rome for their moral content and literary style. Having its roots in the medieval university, this study called Humanism centered on rhetoric, literature, history and moral philosophy.
    • anonymous
      anonymous on 27 Jun 17
       
      This 'rebirth' of classical thought and investigation led to many advances in the areas of art, science, medicine, and literature.
    • anonymous
      anonymous on 27 Jun 17
       
      Make a list of three specific historical people from the article to share with the class.
Glenn Hervieux

Control Alt Achieve: Google Tour Builder for any Subject - 50 views

www.controlaltachieve.com/...tour-builder.html

Google Earth Google

shared by Glenn Hervieux on 02 May 18 - No Cached
  • Glenn Hervieux on 02 May 18
     
    Recorded webinar on Google Tour Builder and examples/resources by Eric Curts
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

Music performance anxiety and occupational stress amongst opera chorus artists and thei... - 3 views

www.sciencedirect.com/...S0887618503000689

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • There has been no study exploring the prevalence or characteristics of MPA among professional choral musicians, who may be considered a vocal analogue of orchestral musicians. There may be systematic differences among different types of musicians regarding the level of performance anxiety experienced.
  • Chorus artists were ideal subjects for the proposed study because they are a clear exemplar of a group of musicians with high performance demands and expectations who have heavy rehearsal and performance schedules.
  • While this study suggests that treatment efforts be directed at reducing MPA rather than occupational stress, further investigation of the relationship between occupational stress and trait anxiety is needed.
lacarp

Teacher to Teacher: Using Quizlet to Play Bingo - 48 views

quizlet.com/...er-using-quizlet-to-play-bingo

shared by lacarp on 16 Apr 17 - No Cached
bertafe liked it
  • Quizlet has become a great teaching tool that I have used for the past few years. I wrote this post a little while ago about easily adding images to Quizlet sets. For younger students, I have found a fun and easy way to use Quizlet flashcards plus a bingo tool for fun and effective review for all topics and subjects. This will even work for middle and high school students.
jnet0124

Can Mary Shelley's Frankenstein be read as an early research ethics text? | Medical Hum... - 7 views

mh.bmj.com/32

shared by jnet0124 on 13 Nov 17 - No Cached
  • Can Mary Shelley’s Frankenstein be read as an early research ethics text?
    • jnet0124
      jnet0124 on 13 Nov 17
       
      SEE HEAR
  • Frankenstein is an early and balanced text on the ethics of research upon human subjects and that it provides insights that are as valid today as when the novel was written.
  • Mary Shelley conceived the idea for and started writing Frankenstein in 1816 and it was first published in 1818.1 In its historical context, the earlier 17th and 18th centuries had seen the early signs of the rise of science and experimentation. Francis Bacon (1561–1626) had laid the theoretical foundations in his “Great Insauration”2 and scientists such as Boyle, Newton, and Hooke developed the experimental methods. Sir Robert Talbor, a 17th century apothecary and one of the key figures in developing the use of quinine to treat fevers, underlined this: “the most plausible reasons unless backed by some demonstrable experiments seem but suppositions or conjectures”.3
  • ...5 more annotations...
  • The 18th century saw the continued construction of foundations upon which all subsequent medical experimentation has been built.
  • Lady Mary Montagu promoted smallpox vaccination; its proponents experimented on prisoners to study its efficacy, and James Jurin, the secretary of the Royal Society, developed mathematical proof of this in the face of ecclesiastical opposition.4 Many of the modern concepts of therapeutic trials were described although not widely accepted. Empirical observation through experimentation was starting to be recognised as the tool that allowed ascertainment of fact and truth. An account of Dr Bianchini’s experiments on “Le Medicin Electrique”, reported to the Royal Society explains that “The experiments were made by Dr Bianchini assisted by several curious and learned men … who not being able to separate what was true … determined to be guided by their own experiments and it was by this most troublesome though of all the others the most sure way, that they have learned to reject a great number of what have been published as facts.”5
  • Similarly, Henry Baker’s report to the Royal Society, describing Abbe Nollet’s experiments, outlined the need for comparative studies and that “treatment should not be condemned without a fair trial”6 and a Belgian doctor, Professor Lambergen, describing the use of deadly nightshade for the treatment of breast cancer wrote “Administration of this plant certainly merits the attention of the medical profession; and surely one may add entitles the medicine to future trials … nevertheless the most efficacious medicines are such if its efficacy by repeated trials be approved.”7 In the mid 18th century James Lind conducted the first controlled trial to establish a cure for scurvy and his Treatise on the Scurvy contains what could be seen in modern terminology as the first “review of the current literature” prior to a clinical trial.8
  • Her motives for writing Frankenstein are more difficult to define. In her introduction to the 1831 edition she writes that she wanted her work to … speak to the mysterious fears of our nature and awaken thrilling horror—one to make the reader dread to look round. If I did not accomplish these things, my ghost story would be unworthy of its name … (p 7, p 8)
  • The 1818 preface, written by Percy Bysshe Shelley, indicates a deeper purpose. He wrote that the story recommends itself as it “…affords a point of view on the imagination for the delineating of human passions more comprehensive and commanding than any which the ordinary relations of existing events can yield…” (p 11) and that “…I am by no means indifferent to the manner in which ... moral tendencies (that) exist in the sentiments of characters shall affect the reader…”(p 12).
Elizabeth McCarthy

Diigo EDU School Account Admin Questions - 100 views

Yes, this would make sense to add to the Google Marketplace for third party apps for the education edition would be perfect.

started by Gil Anspacher on 25 Apr 11 6 follow-ups, last by Elizabeth McCarthy on 26 Apr 11
fcsdjc liked it
meghankelly492

Music for anxiety? Meta-analysis of anxiety reduction in non-clinical samples - Yulia P... - 2 views

journals.sagepub.com/...0305735617712424

world Music

shared by meghankelly492 on 01 Sep 19 - No Cached
  • Panteleeva, Y., Ceschi, G., Glowinski, D., Courvoisier, D. S., & Grandjean, D. (2018). Music for anxiety? Meta-analysis of anxiety reduction in non-clinical samples. Psychology of Music, 46(4), 473–487. https://doi.org/10.1177/0305735617712424
  • Anxiety affects up to 28.8% of the population in Western countries
  • nxiety disorders are the most prevalent mental illnesses worldwide
  • ...1 more annotation...
  • Moreover, in the last decade, there has been a growing interest in an evidence-based approach to studying the impact of music listening on anxiety, as measured by self-report measures (subjective reactions toward a stressful situation) or psychophysiological markers (objective indicators of anxiety, such as increasing heart rate).
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.
Martin Leicht

How Google Interferes With Its Search Algorithms and Changes Your Results - WSJ - 17 views

www.wsj.com/...anges-your-results-11573823753

google internet algorithms searching digital life online

shared by Martin Leicht on 15 Nov 19 - No Cached
  • a shift from its founding philosophy of “organizing the world’s information,” to one that is far more active in deciding how that information should appear.
  • Google keeps blacklists to remove certain sites or prevent others from surfacing in certain types of results. These moves are separate from those that block sites as required by U.S. or foreign law,
  • Far from being autonomous computer programs oblivious to outside pressure, Google’s algorithms are subject to regular tinkering from executives and engineers who are trying to deliver relevant search results, while also pleasing a wide variety of powerful interests and driving its parent company’s more than $30 billion in annual profit.
  • ...4 more annotations...
  • Google made more than 3,200 changes to its algorithms in 2018, up from more than 2,400 in 2017 and from about 500 in 2010
  • testing showed wide discrepancies in how Google handled auto-complete queries and some of what Google calls organic search results
    • Martin Leicht
      Martin Leicht on 15 Nov 19
       
      Alternatives - Microsoft's BING - DuckDuckGo and Yahoo. check them out when you get time
  • Google said 15% of queries today are for words, or combinations of words, that the company has never seen before, putting more demands on engineers to make sure the algorithms deliver useful results.
    • Martin Leicht
      Martin Leicht on 15 Nov 19
       
      How do you connect your post/content to future searches? Tagging only gets you so far. Thus, Google "tinkers" with the algorithm to product "the best" results. Interesting & concerning!
  • ALGORITHMS ARE effectively recipes in code form, providing step-by-step instructions for how computers should solve certain problems. They drive not just the internet, but the apps that populate phones and tablets.
    • Martin Leicht
      Martin Leicht on 15 Nov 19
       
      Yet, we never (almost never) eat the same thing (recipe) twice in a day. We indulge ourselves with comfort food, yes. And we seek out new taste sensations.
Wes Bolton

Serious reading takes a hit from online scanning and skimming, researchers say - The Wa... - 90 views

www.washingtonpost.com/...3-b899-20667de76985_story.html

education learning brain research psychology

shared by Wes Bolton on 09 Apr 14 - No Cached
  • Roland Gesthuizen on 09 Apr 14
     
    "To cognitive neuroscientists, Handscombe's experience is the subject of great fascination and growing alarm. Humans, they warn, seem to be developing digital brains with new circuits for skimming through the torrent of information online. This alternative way of reading is competing with traditional deep reading circuitry developed over several millennia."
  • Wes Bolton on 23 Apr 14
     
    Washington Post article on how the internet is impacting our ability to read and concentrate.
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