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Frederick Eberhardt

Powerful Learning: Studies Show Deep Understanding Derives from Collaborative Methods | Edutopia - 85 views

www.edutopia.org/uiry-project-learning-research

Collaborative Learning Powerful Student as Researcher

shared by Frederick Eberhardt on 03 Oct 09 - Cached
  • In essence, students must learn how to learn, while responding to endlessly changing technologies and social, economic, and global conditions.
  • students learn more deeply if they have engaged in activities that require applying classroom-gathered knowledge to real-world problems.
  • developing inquiring minds
  • ...10 more annotations...
  • Studies of problem-based learning suggest that it is comparable, though not always superior, to more traditional instruction in teaching facts and information. However, this approach has been found to be better in supporting flexible problem solving, reasoning skills, and generating accurate hypotheses and coherent explanations.
  • design challenges need to be carefully planned, and they emphasized the importance of dynamic feedback.
  • When students have no prior experience with inquiry learning, they can have difficulty generating meaningful driving questions and logical arguments and may lack background knowledge to make sense of the inquiry.
    • Adrienne Michetti
      Adrienne Michetti on 03 Oct 09
       
      Absolutely true. I discovered this when I used inquiry-based methods with my students in Qatar who were used to rote learning. They truly did not know where to start. They first needed to learn *how* to be inquisitive.
  • Requiring students to track and defend their thinking focused them on learning and connecting concepts in their design work
  • All the research arrives at the same conclusion: There are significant benefits for students who work together on learning activities.
  • groups outperform individuals on learning tasks and that individuals who work in groups do better on later individual assessments.
  • In successful group learning, teachers pay careful attention to the work process and interaction among students.
  • "It is not enough to simply tell students to work together. They must have a reason to take one another's achievement seriously.
  • She and her colleagues developed Complex Instruction, one of the best-known approaches, which uses carefully designed activities requiring diverse talents and interdependence among group members.
    • Adrienne Michetti
      Adrienne Michetti on 03 Oct 09
       
      Interesting... worth checking out.
  • They require changes in curriculum, instruction, and assessment practices -- changes that are often new for teachers and students.
  • Adrienne Michetti on 03 Oct 09
     
    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
  • Adrienne Michetti on 03 Oct 09
     
    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
  • Frederick Eberhardt on 06 Oct 11
     
    Vocational Education meets Research in the dynamic classroom of Linda Darling-Hammond, 2008. The students are doing the research, teaching and learning. They control their own destiny and they are taking the world by storm! They are not waiting to be taught, they are teaching each other and themselves as teams of researchers. Darling-Hammond, L. (2008). Powerful learning: what we know about teaching for understanding. San Francisco, CA: Jossey-Bass.
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - 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."
Thieme Hennis

Lifelong Kindergarten :: MIT Media Lab - 4 views

llk.media.mit.edu/projects.php

technology robotics learning mit programming education kids sensors creativity open-source tools toolkit

shared by Thieme Hennis on 19 Feb 13 - Cached
  • Thieme Hennis on 19 Feb 13
     
    "Crickets are small programmable devices that can make things spin, light up, and play music. You can plug lights, motors, and sensors into a Cricket, then write computer programs to tell them how to react and behave. With Crickets, you can create musical sculptures, interactive jewelry, dancing creatures, and other artistic inventions -- and learn important math, science, and engineering ideas in the process. Crickets are based on more than a decade of NSF-funded educational research. Lifelong Kindergarten researchers collaborated with the LEGO company to create the first "programmable bricks," squeezing computational power into LEGO bricks. This research led to the LEGO MindStorms robotics kits, now used by millions of people around the world. While LEGO MindStorms is designed especially for making robots, Crickets are designed especially for making artistic creations. Crickets were refined in collaboration with the Playful Invention and Exploration (PIE) museum network, and are now sold as a product through the Playful Invention Company (PICO)."
Martin Leicht

Treehouse teaching and laundry art: Educators find creative ways to reach kids - 5 views

www.washingtonpost.com/...b-bc68-96af0daae728_story.html

learning zoom online teaching laundry

shared by Martin Leicht on 11 Jan 21 - No Cached
  • was also concerned about her students’ lack of engagement — so few were completing the assignments she emailed to parents
  • Playing with her family’s laundry marked the first time Maliah seemed happy — actually happy — since the start of the pandemic.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - happy - happy is good. Happy kids want to learn or are more likely to learn.
  • Nobody should ever be penalized or put at a disadvantage for the supplies they don’t have,” Dillingham thought to herself. “But everyone’s got laundry!”
  • ...19 more annotations...
  • Clark started an online fundraiser to pay for bikes. He raised more than $10,000, and neighbors donated dozens of bikes and helmets for the rides.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - a little digital citizenship too mixed in with online fund raising.
  • She couldn’t be sure whether her kids were uninterested or whether they lacked the necessary pens, paper and crayons at home.
  • He decided he would take his students on socially distanced bike rides across the city. “It was a leap of faith. I got extremely nervous. I was trying to find a way to connect with kids,” Clark said.
  • her young students are musical detectives, in search of learning. She teaches most grade levels and the school chorus.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - musical detectives searching for music.
  • t he’s found other ways to keep his students engaged and cycling the city. He invited students to a weekly entrepreneurship class for which they rode their bikes uptown from Dunbar to the gym where Clark works, Sweat DC. The students met with the owner of the gym and the owners of a nearby bar, Hook Hall, and the bagel shop Call Your Mother Deli to learn what it takes to run a business.
  • She wanted them to create their own composition, their own snowy-day song.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - used flipgrid for this
  • When Clark wanted to teach them about resilience, he took them through the hilly streets of Georgetown.
  • In lessons for older students, some days there were makeshift drums involved or recorders that students had taken home.
  • she was able to use the treehouse as a key part of her lessons.
  • She lugged a bookshelf, desk and heater into the 5-by-7-foot space, and ran an Ethernet cable from the house so she’d have Internet.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - properly set up
  • before climbing into what passes for her classroom in 2020: her daughters’ decade-old treehouse.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - different locals - maybe something with changing backgrounds.
  • So as one class studied architecture this fall, Daney, 54, encouraged them to walk in their neighborhood to take photos of houses of different styles: ranch, colonial, Victorian.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - use what you have around you.
  • nd he stuck with his usual method of helping students learn about the design process, asking them to prepare a meal. They started with ideas and research, made a plan, carried it out and evaluated it. The result: soups and pastas and pastries.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - edTech class on engineering and design
  • Kids need connection, he said. “I think they’re starving for conversation,” including with adults.
  • In fifth grade, students are expected to learn how to add, subtract, multiply and divide with whole numbers, decimals and fractions. Through a computer application the students have, they can program the robot to move a certain distance, stop, maybe even turn.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - use a robot or technology to achieve the same result.
  • With learning all-virtual, he packs a big Ziploc bag — for each student, each quarter — with things like fishing line, foam board, pipecleaners, magnets, Popsicle sticks and rubber bands. Whatever they will need for their projects.
  • And a lot of the math is a little sneaky. They think they are trying to get the robot to move, when they are actually measuring the angles to get it to move.”  
  • Others complete their math problems directly on the computer, which can lead to some troubles as they try to show their work.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - will share screen be viable.
  • When Kristin Gavaza interviewed for the music teacher position at Dorothy I. Height Elementary in the summer, she told the principal she had some ideas for how to create a festive concert while students were scattered and learning from home.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - picture references a complete teacher set up of a large screen and standing desk. Sure, she's video editing yet the concept carries to teaching class too.
  • Martin Leicht on 11 Jan 21
     
    Numerous creative examples to how educators promoted learning on line and worked to build engagement.
Melissa Ebeling

Google For Educators - 14 views

www.google.com/...index.html

google education resources teaching technology teachers

shared by Melissa Ebeling on 14 Jul 09 - Cached
  • 7/9/2009Google Apps Tips, Tricks and Even Lesson PlansWant to learn the best ways to use Google Apps in your classroom?  Visit our new Education Community Site, where you can learn tips and tricks on using Gmail, Calendar, Docs and Sites, join our education forum and read news all about Google Apps.  Or check out standardized lesson plans at the new Google Apps Resource Center - for classroom use of our tools across K-12.
  • 7/9/2009Sites for TeachersCheck out the new Sites for Teachers page to see how teachers, students and administrators are using Google Sites to create their class sites, organize school trips, and run school projects. 7/9/2009Books, Books, BooksGoogle has reached an agreement with authors and publishers that will make millions of books more accessible in the U.S.  You can view full pages from and purchase complete access to millions of in-copyright, out-of-print books  or your school can purchase institutional subscriptions to offer your students and teachers complete access to millions of  books.
  • At Google, we support teachers in their efforts to empower students and expand the frontiers of human knowledge. That’s why we’ve assembled the information and tools you’ll find on this
  • Deborah Thonus on 14 Jul 09
     
    Homepage for Google for Educators. Here are links to many of the tools and applications availbable for educational use.
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