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Josh Flores

Annotating the Model Content Frameworks for ELA/Literacy by PARCC - 9 views

    • Josh Flores
       
      Quarterly Modules - but could be adjusted for your school's purposes.
    • Josh Flores
       
      Ingredients!
  • shape the content within the modules in any way that suit their desired purposes
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  • re-order
  • order in which the four modules may be used is not critical
  • ocus and emphasis on the types of texts
  • What changes
  • is the
  • analytic reading
  • examining its meaning
  • read and reread deliberately.
  • understand the central ideas
  • supporting details
  • entails the careful gathering of observations
  • overall understanding and judgment
  • omparison and synthesis of ideas
  • drawing on relevant prior knowledge
  • suggests that educators select a minimum number of grade-level-appropriate short texts
  • as well as one extended text
  • in lower grades, chosen texts should include content from across the disciplines.
  • upper grades, content-area teachers are encouraged to consider how best to implement informational reading across the disciplines
    • Josh Flores
       
      The Nonfiction Split
    • Josh Flores
       
      Elementary and Secodnary
    • Josh Flores
       
      Selecting Multiple Texts
  • present their analyses in writing and speaking
    • Josh Flores
       
      Listening and Speaking Tip: Class presentations with a rubric; allow class to complete rubric of their peers too and use video or text-to-speech based web 2.0 animation programs for shy students
  • all students need access to a wide range of materials on a variety of topics and genres
    • Josh Flores
       
      INTERNETS: Open Resource Revolution!
  • students improve both their reading comprehension and their writing skills when writing in response to texts.
    • Josh Flores
       
      I knew it!
  • notes, summaries, learning logs, writing to learn tasks, or even a response to a short text selection or an open-ended question.[9]
    • Josh Flores
       
      Examples of Writing Practices
  • hese responses can vary in length based on the questions asked and tasks performed, from answering brief questions to crafting multiparagraph responses in upper grades.
  • narrative story and narrative description
    • Josh Flores
       
      TWO TYPES OF NARRATIVE Writing
  • creative fiction, as well as memoirs, anecdotes, biographies, and autobiographies
  • include writing under time constraints
  • writing over multiple drafts
  • generate writing pieces in response to teacher-provided prompts and to their own prompts
    • Josh Flores
       
      LEVEL Qs: Teach students to generate Academic Questions to explore
  • For reading and writing in each module
    • Josh Flores
       
      Essential READING & WRITING Skills
    • Josh Flores
       
      for ELA/Literacy
  • Understand and apply grammar:
  • Cite evidence and analyze content
  • Understand and apply vocabulary
  • Conduct discussions and report findings:
  • grades 3-5
  • two standards progression charts for each grade level
  • Writing
  • peaking and Listening
  • Graham, S., and M. A. Hebert. 2010. Writing to Read: Evidence for How Writing Can Improve Reading. A Carnegie Corporation Time to Act Report. Washington, D.C.: Alliance for Excellent Education.
  • suggests both the number and types
  • Students
  • offer one way of organizing the standards
  • quarterly modules
  • reflects the integrated nature
  • four sections
  • to express an opinion/make an argument or to inform/explain
  • write
  • citing evidence
  • analyzing
  • grammar
  • vocabulary
  • discussions
  • reporting
Lisa C. Hurst

Inside the School Silicon Valley Thinks Will Save Education | WIRED - 9 views

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    "AUTHOR: ISSIE LAPOWSKY. ISSIE LAPOWSKY DATE OF PUBLICATION: 05.04.15. 05.04.15 TIME OF PUBLICATION: 7:00 AM. 7:00 AM INSIDE THE SCHOOL SILICON VALLEY THINKS WILL SAVE EDUCATION Click to Open Overlay Gallery Students in the youngest class at the Fort Mason AltSchool help their teacher, Jennifer Aguilar, compile a list of what they know and what they want to know about butterflies. CHRISTIE HEMM KLOK/WIRED SO YOU'RE A parent, thinking about sending your 7-year-old to this rogue startup of a school you heard about from your friend's neighbor's sister. It's prospective parent information day, and you make the trek to San Francisco's South of Market neighborhood. You walk up to the second floor of the school, file into a glass-walled conference room overlooking a classroom, and take a seat alongside dozens of other parents who, like you, feel that public schools-with their endless bubble-filled tests, 38-kid classrooms, and antiquated approach to learning-just aren't cutting it. At the same time, you're thinking: this school is kind of weird. On one side of the glass is a cheery little scene, with two teachers leading two different middle school lessons on opposite ends of the room. But on the other side is something altogether unusual: an airy and open office with vaulted ceilings, sunlight streaming onto low-slung couches, and rows of hoodie-wearing employees typing away on their computers while munching on free snacks from the kitchen. And while you can't quite be sure, you think that might be a robot on wheels roaming about. Then there's the guy who's standing at the front of the conference room, the school's founder. Dressed in the San Francisco standard issue t-shirt and jeans, he's unlike any school administrator you've ever met. But the more he talks about how this school uses technology to enhance and individualize education, the more you start to like what he has to say. And so, if you are truly fed up with the school stat
Carol Mortensen

National Council of Teachers of English - 35 views

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    The National Council of Teachers of English is devoted to improving the teaching and learning of English and the language arts at all levels of education. This mission statement was adopted in 1990: "The Council promotes the development of literacy, the use of language to construct personal and public worlds and to achieve full participation in society, through the learning and teaching of English and the related arts and sciences of language."
Aelius Rusticus

Paris Review - The Art of Fiction No. 61, Stanley Elkin - 0 views

  • It’s a rare joke that is funny. Only situations are funny.
    • Aelius Rusticus
       
      I asked my cat why he didn't help me with the elaborate vegetable soup I was preparing. When he had no quick answer, I suggested it was because he had no stock in it. My wit, pedestrian in the grand scheme, nonetheless amused me in the moment. Funny situation or funny word-play? or neither?
  • “The point of life was the possibility it always held out for the exceptional.”
  • to do the kinds of things which people don’t really do in real life but which they do do in fiction—to follow their own irrational—but sane—obsessions which, achieved, would satisfy them. Alas, these guys never catch up with their obsessions.
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  • There isn’t a day that goes by that I don’t think, “Jesus Christ, how many more months do I have left?” or years, I hope. I am totally preoccupied with death. I mean my own death. Barth, for example, has said that he comes from very good stock and expects to live a long time. Bill Gass thinks that one of the reasons he takes so much time writing his novels—it took him ten years to write Omensetter’s Luck—is that he has an infinite amount of time left to him. I don’t believe that I have an infinite amount of time left to me. Probably I would be a healthier man if I did believe it.
  • making a scratch on a stone?
  • it’s not a question of making imaginary leaps or having a third eye. It’s a question of using the two eyes I have—and looking hard and close at things.
  • That kind of observation can be taught. I also try to teach them how to recognize a situation, what legitimately is a situation and what isn’t. Those are the only things that can be taught. I can’t teach a person style. I can’t teach him to write, in terms of language. But I can teach them that things look like other things.
  • Criers and Kibitzers, Kibitzers and Criers, a collection of short stories (1966)
  • junk jewelry’s meteorological condition—its Fall line and Spring.
  • I don’t believe that less is more. I believe that more is more. I believe that less is less, fat fat, thin thin and enough is enough.
  • particular existential writers?
  • the SELF takes precedence.
  • Camus
  • in the better restaurants.
  • Barth is wonderful, but the Barth I really admire is back there in the Golden Age of Barth.
  • Bellow I think is a magnificent writer—probably, with Gass, the best writer in America.
  • I think Gass is the best word-man in America.
  • There’s marvelous language in Pricksongs and Descants but it’s subsidiary to the experiment with structure. I tell you this for your own good, Bob. The reason I like Gass so much is that Gass is not fucking around with structure. He is fucking around with language. That to me is legitimate and acceptable, and the furthest out you can go is the best place to be. That’s what’s so magnificent about Shakespeare. Shakespeare wrote very conventional plays, but the language wasn’t conventional.
  • the great gift of fiction—is that it gives language an opportunity to happen.
  • palimpsest of metaphor right there on the page. One gets a notion of the conceit and one is inspired to work with it as a draftsman might work with some angle that he is interested in getting down correctly.
Marc Patton

Welcome to the Purdue University Online Writing Lab (OWL) - 6 views

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    Welcome to the Purdue OWL. We offer over 200 free resources including: Writing and Teaching Writing Research Grammar and Mechanics Style Guides ESL (English as a Second Language) Job Search and Professional Writing
Mary Beth  Messner

GPC Center for Teaching and Learning - Online Resources - 74 views

  • Online Resources   Here
  • a collection of Online Resources by Subject Area.  This list is NOT exhaustive, but is a great start for incorporating stimulating (online) exercises into your teaching
  • English
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  • ACCOUNTING
  • ECONOMICS
  • BUSINESS LAW
  • English as a Second Language/Foreign Languag
  • HISTORY
  • Humanitie
  • Best Practices in Teaching Writing
  • Nursing/Dental Hygiene
  • PSYCHOLOGY
  • Biology
  • Chemistry
  • Mathematics
  • Sign Language & Interpreting Related Links
  • Computers and Technology
Mark Gleeson

The Literacy Shed - A great new resource for Visual Text Literacy Teaching - 123 views

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    The site is organised into 24 different 'sheds", each providing a selection of quality visual texts (mainly 3D animations) accompanied by very useful teaching notes (Note to Grammar Gurus/Spelling "Nazis" -  ignore the occasional typo in the notes) outlining how you can use the clips in exploring themes, characterisation, narrative, plot, mood, use of audio, body language, inferences,deductions, predictions  - the notes cover just about everything. It's equally useful for reading comprehension and writing development. The use of the resources also go beyond just Literacy. Many of the resources are also useful for Humanities subjects as well and Smith points these links out in detail. What I especially enjoy is the number of foreign animations that expose students particularly in USA and Australia, my home, to different cultural and creative perspectives beyond Hollywood story telling.
D. S. Koelling

Teaching to the Text Message - NYTimes.com - 50 views

  • learning how to write concisely, to express one key detail succinctly and eloquently, is an incredibly useful skill, and more in tune with most students’ daily chatter, as well as the world’s conversation.
  • A lot can be said with a little — the mundane and the extraordinary. Philosophers like Confucius (“Learning without thought is labor lost. Thought without learning is perilous.”) and Nietzsche were kings of the aphorism.
  • I’m not suggesting that colleges eliminate long writing projects from English courses, but maybe we should save them for the second semester. Rewarding concision first will encourage students to be economical and innovative with language.
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    College English prof advocates teaching students to write concisely with text-like assignments.
Cynthia Sarver

CITE Journal - Language Arts - 94 views

  • Since it is through communication that we exercise our political, economic and social power, we risk contributing to the hegemonic perpetuation of class if we fail to demand equal access to newer technologies and adequately prepared teachers for all students
    • Cynthia Sarver
       
      What is being done??
  • They can benefit their students by developing and then teaching their students to develop expertise in evaluation of search engines and critical analysis of Web site credibility. Well-prepared teachers, with a deep and broad understanding of language, linguistics, literature, rhetoric, writing, speaking, and listening, can complement those talents by studying additional semiotic systems that don’t rely solely on alphabetic texts.
  • Not only will teachers need to understand “fair use” policies, they are likely to need to integrate units on ethics back into the curriculum to complement those units on rhetoric.
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  • Students should be counseled not only on the risks to their physical safety, but also on the ways that the texts they are composing today, and believe they have eliminated, often have lives beyond their computers, and may reappear in the future at a most inopportune time.
  • learn methods of critically analyzing the ways in which others are using multiple semiotic systems to convince them to participate, to buy, to believe, and to resist a wide range of appeals
  • It also implies the process of uncovering one’s own cultural, social, political and personal (e.g. age, gender) backgrounds and understanding how these backgrounds can and often do influence one’s own ways of communicating and interacting with others in virtual and face-to-face encounters.
  • nstances of anti-social behavior in online communication such as using hurtful language and discriminating among certain members of virtual communities have been reported.
  • allows their members to construct and act out identities that may not necessarily be their real selves and thus lose a sense of responsibility toward others
  • Professional development for teachers and teacher educators must be ongoing, stressing purposeful integration for the curriculum and content, rather than merely technical operation. It also needs to provide institutional and instructional support systems to enable teachers to learn and experiment with new technologies. Offering release time, coordinating student laptop initiative programs or providing wireless laptop carts for classroom use, locating computer labs in accessible places to each teacher, scheduling lab sessions acceptable for each teacher, and providing alternative scheduling for professional development sessions so that all teachers can attend, are a few examples of such systems. Finally, teachers and students must be provided with technical support as they work with technology. Such assistance must be reliable, on-demand, and timely for each teacher and student in each classroom.
  • educators must address plagiarism, ownership, and authorship in their classrooms.
  • strategies to assess the quality of information and writing on the Web
  • help students develop netiquette
  • Such netiquette is thus not only about courtesy; more importantly, it is about tolerance and acceptance of people with diverse languages, cultures, and worldviews.
  • Teachers and teacher educators must examine with students the social processes through which humans grow individually and socially, and they must expose the potentially negative consequences of one’s individual actions. In doing so, teachers and educators will be able to reinforce the concept of learning as a social process, involving negotiation, dialogue, and learning from each other, and as a thinking process, requiring self-directed learning as well as critical analysis and synthesis of information in the process of meaning-making and developing informed perceptions of the world.
bkrh4boys

The Power of Simple Words - YouTube - 84 views

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    Utilizing simple language to an effect excellent video for teaching writing. 
Kate Pok

Intersections: History and New Media: Wiki in the History Classroom - 5 views

  • Students did not agree on the merits of the wiki. Some were deeply offended when other students eliminated or modified their contributions. Others found the chance to pick apart other’s words and conclusions exhilarating. Regardless, most students seemed to grasp the important lesson I hoped to share: that history is the conversation we have about the past. History is about the authorial choices scholars make. History is about the evidence included and the evidence excluded. By asking students to participate in a joint-writing exercise, they were compelled to pay attention to the language others used, the phrasings and structure employed, the anecdotes emphasized, the facts obscured. I told them the story of an undergraduate English professor I had who spent an entire class session discussing why Shakespeare began Macbeth with the word “when”. Words matter. Words shape arguments. They determine meaning, and they form our view of the world around us, including our view of the history of the world around us. Students also came to appreciate that history was not a bag of facts we historians force them to memorize. Instead, as Appleby, Hunt, and Jacob suggest, history is the product of that collective effort of truth seeking.
  • I still caution students about using Wikipedia. But I think the wiki can help our students see themselves as part of that democratic conversation so important to our profession. Throwing their ideas into the ring for others to challenge forces students to defend their ideas, modify their conclusions, and reconsider their assumptions. The wiki, while not perfect, may help us change the way our students think about history. It may help them be more attentive to language and argument. Importantly, it may help them value civil discourse as a civic virtue. These are good lessons for history students and for their professors. —Kevin B. Sheets is associate professor of history at the State University of New York, College at Cortland and project director of the “American Dream Project,” a Teaching American History grant-based project in upstate New York. He regularly teaches courses in historical methods and American intellectual and cultural history.
  •  
    Great description of the merits of using a wiki in a classroom.
Tricia Hunt

How to Teach with Technology: Language Arts | Edutopia - 70 views

    • Tricia Hunt
       
      Never thought about letting kids "free blog" when they have a question!  Love that idea!
  • respond to a prompt on the blog for homework
    • Tricia Hunt
       
      I LOVE Photostory!  In the advent of Animoto and Voicethread I have COMPLETELY forgotten about how easy it is to use!
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  • VoiceThread is collaborative slide show software that allows users to contribute audio, images, and video.
    • Tricia Hunt
       
      Just used voice thread in my last online course and could totally see how commenting back and forth on the different images is AWESOME!
  • Doozla (13),
  • Comic Life
  •  
    Interesting perspectives and ideas about how to incorporate technology in the language arts classroom, but could easily extend beyond that
paul lowe

Anthropology Program at Kansas State University - Wesch - 0 views

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    Dubbed "the explainer" by Wired magazine, Michael Wesch is a cultural anthropologist exploring the impact of new media on society and culture. After two years studying the impact of writing on a remote indigenous culture in the rain forest of Papua New Guinea, he has turned his attention to the effects of social media and digital technology on global society. His videos on culture, technology, education, and information have been viewed by millions, translated in over ten languages, and are frequently featured at international film festivals and major academic conferences worldwide. Wesch has won several major awards for his work, including a Wired Magazine Rave Award, the John Culkin Award for Outstanding Praxis in Media Ecology, and he was recently named an Emerging Explorer by National Geographic. He has also won several teaching awards, including the 2008 CASE/Carnegie U.S. Professor of the Year for Doctoral and Research Universities.
tim stapley

Fair Use & Plagiarism - FREE Language Arts Presentations in PowerPoint format, Free Int... - 126 views

  • Free Presentations in PowerPoint formatWhat is plagiarism? (and why you should care)   Plagiarism - Don't Do It! Thou Shall Not Steal (hs) For Students: Plagiarism  For Teachers: Cybercheat, Plagiarism and the Internet Plagiarism (ppts and more, Redclay Schools)  Plagiarism   Quoting, Plagiarism, and Paraphrasing  Quoting, Paraphrasing, Plagiarism, Summarizing Avoiding Plagiarism   What is plagiarism?  Fair Use Copyright Infringement  See Also: Quotation Marks, Paraphrasing, Copyrights, Language Arts Index, Reading Index, Writing Index
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    clas activities to teach plagerism
Freddy R. Nunez

Do's & Don'ts For Teaching English Language Learners - 64 views

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    Larry Ferlazzo and Katie Hull Sypnieski teach at Luther Burbank High School in Sacramento, California. Their book, The ESL/ELL Teacher's Survival Guide, will be published this summer by Jossey-Bass; this article is an excerpt. Larry also writes a popular blog for teachers and has written several other books.
Steve Kelly

What would an exceptional middle and high school computer science curriculum include? -... - 48 views

  • What would an exceptional middle and high school computer science curriculum include?
  • This isn't a complete answer, but one thing the very first introductory classes should require is that the students turn off all their electronic computers and actually learn to walk through  algorithms with a computer that exists only on paper. (Or, I suppose, a whiteboard or a simulator.) This exercise would give the students a grounding in what is going on inside the computer as a very low level.My first computer programming class in my Freshman year of high school was completely on paper. Although it was done because the school didn't have much money, it turned out to be very beneficial.Another class I had in high school, that wouldn't normally be lumped into a Computer Science curriculum but has been a boon to my career, was good old Typing 101.
  • If you followed the CS Unplugged curriculum your students would know more about CS than most CS grads:http://csunplugged.orgIt's a really great intro to basic computer science concepts and very easy for students to understand.  Best of all you don't even need a computer per student if your school doesn't have the budget,
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  • For younger students, I think that the ability to make something professional-looking, like a real grown-up would, is paramount.  Sadly, I think this means that LOGO and BASIC aren't much use any more*.
  • So, we have a few choices.  You can try to write phone apps that look just like real phone apps, design interactive websites that look just like real interactive websites, or do something with embedded systems / robotics.  Avoid the temptation to make these things into group projects; the main thing every student needs to experience is the process of writing code, running it, debugging it, and watching the machine react to every command.
  • It is important to consider what an 11 to 18-year old is familiar with in terms of mathematics and logical thinking. An average 11-year old is probably learning about fractions, simple cartesian geometry, the concept of units, and mathematical expressions. By 15, the average student will be taking algebra, and hopefully will have the all-important concept of variables under his/her belt. So much in CS is dependent on solid understanding that symbols and tokens can represent abstract concepts, values, or algorithms. Without it, it's still possible to teach CS, but it must be done in a very different way (see Scratch).
  • At this point, concepts such as variables, parenthesis matching, and functions (of the mathematical variety) are within easy reach. Concepts like parameter passing, strings and collections, and program flow should be teachable. More advanced concepts such as recursion, references and pointers, certain data structures, and big-O may be very difficult to teach without first going through some more foundational math.
  • I tend to agree strongly with those that believe a foundational education should inspire interest and enforce concepts and critical thinking over teaching any specific language, framework, system, or dogma.
  • The key is that the concepts in CS aren't just there for the hell of it. Everything was motivated by a real problem, and few things are more satisfying than fixing something you really want to work with a cool technique or concept you just learned.
  •  
    Great resource for teachers (especially those of us not initially trained in Computer Science) about what should 'count' as Computer Science.  Worth the read!
mstuehm76

Want to improve literacy in your school? Here's how | eSchool News - 23 views

  • the district adopted the McGraw Hill curriculum for ELA.
    • mstuehm76
       
      We use Language for Learning
  • we teach students how to build an argument and develop critical-thinking skills using five steps: Claims, Evidence, Reasoning, Counterarguments, and Audience.
  • To evaluate the effectiveness of our school-wide initiative, we now administer quarterly writing assessments for each content area. We analyze student writing samples at the end of each quarter and include norming as a department, using the district writing rubric to determine strengths and areas requiring improvement.
    • mstuehm76
       
      Marzano Score 4 rubrics
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  • “I agree with what ___ said about ___, but disagree that ___.”
  • Much of what our students learn is told to them, so it is critical that they develop listening comprehension.
  • We started with a baseline assessment in September and will compare those results to a final writing sample at the end of the year.
Cindy Edwards

Electronic Journal for the Integration of Technology in Education - 60 views

  • Characters in alphabets began as pictures with meaning (West, 1997).
  • As history repeats itself, we may find that a great deal of information is better presented visually rather than verbally.
  • culture's
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  • predominant mode of literacy depends on the technology and mass media it embraces (Sinatra, 1986).
  • Kellner (1998) proposes that multiple literacies are necessary to meet the challenges of today's society, literacies that include print literacy, visual literacy, aural literacy, media literacy, computer literacy, cultural literacy, social literacy, and ecoliteracy.
  • Learning through orderly, sequential, verbal-mathematical, left-hemisphere tasks is a pattern seen frequently in education (West, 1997). Those whose thought processes are predominantly in the right-hemisphere where visual-spatial and nonverbal cognition activities rule frequently may have difficulty capitalizing on a learning style that is not compatible with their abilities.
  • If visual literacy is regarded as a language, then there is a need to know how to communicate using this language, which includes being alert to visual messages and critically reading or viewing images as the language of the messages.
  • Technology, particularly the graphical user interface of the World Wide Web, requires skills for reading and writing visually in order to derive meaning from what is being communicated.
  • Because visual literacy precedes verbal literacy in human development,
  • learning evolves from the concrete to the abstract; visual symbols are nonverbal representations that precede verbal symbols (Sinatra, 1986).
  • West (1997) conveys an innovative mathematics approach whereby students “do” mathematics rather than “watch” mathematics. The technique emphasizes learning through interactive graphics without words. “The words go into an idea only after the idea has already settled in our mind”(West, p.
  • The literature suggests that using visual elements in teaching and learning yields positive results.
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
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  • 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."
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Disrupting College - 3 views

  • Using online learning in a new business model focused exclusively on teaching and learning, not research—and focused on highly structured programs targeted at preparation for careers—has meanwhile given several organizations a significant cost advantage and allowed them to grow rapidly.
  • Using online learning in a new business model focused exclusively on teaching and learning, not research—and focused on highly structured programs targeted at preparation for careers—has meanwhile given several organizations a significant cost advantage and allowed them to grow rapidly.
  • Using online learning in a new business model focused exclusively on teaching and learning, not research—and focused on highly structured programs targeted at preparation for careers—has meanwhile given several organizations a significant cost advantage and allowed them to grow rapidly.
  • ...1 more annotation...
  • Recommendations for existing institutions of higher education also emerge from an understanding of disruptive innovation. These colleges and universities should: Apply the correct business model for the task. These institutions have conflated value propositions and business models, which creates significant, unsustainable overhead costs. Drive the disruptive innovation. Some institutions have this opportunity, but to do so, they need to set up an autonomous business model unencumbered by their existing processes and priorities. They can leverage their existing fixed resources in this autonomous model to give themselves a cost advantage over what to this point have been the low-cost disruptive innovators. Develop a strategy of focus. The historical strategy of trying to be great at everything and mimic institutions such as Harvard is not a viable strategy going forward. Frame online learning as a sustaining innovation. Institutions can use this new technology to disrupt the existing classroom model to extend convenience to many more students as well as provide a better learning experience.
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    An article showing how online learning is a disruptive technology. Shining [the challenges of today's higher ed] through the lens of these theories on innovation will provide some insights into how we can move forward and a language that allows people to come together to frame these challenges in ways that will create a much higher chance of success. This report assumes that everyone is adept at online learning. This is not the case and students will have to be trained on how to be effective online learners. Courses will also have to address multiple learning styles and not just the read/write that most online courses currently are programmed for. Despite this missing piece, this is a very important article that focuses on some very key issues of our current higher ed system. The recommendations at the end of the article for policy makers are very apt. Highly recommended reading!
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    Are high schools preparing students for success in college and careers when what we do is so very different from what they will experience when they leave our little boxes?
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