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Siri Anderson

An Education In For-Profit Education: Infographic - 111 views

www.huffingtonpost.com/...ion-in-forprofit_n_847042.html

higher-ed

shared by Siri Anderson on 11 Apr 11 - No Cached
  • Siri Anderson on 11 Apr 11
     
    A balance sheet between some for-profits and non-profits.
Mary Beth Messner

Creating a Sense of Time in Online Courses | Faculty Focus - 62 views

www.facultyfocus.com/...ense-of-time-in-online-courses

Teaching Tips TeachingOnline Content Time Elearning Updating Discussions

shared by Mary Beth Messner on 25 Apr 11 - No Cached
  • While we all agree that the five-year-old unnarrated PowerPoint is a dangerous and ineffective piece of content in an online course, we would also all agree that we can’t redo each narrated piece of content each semester. How do we strike a balance between creating content that is fresh (more on that in a moment) and being able to reuse content that is valuable?
    • Amy Cohen
      Amy Cohen on 25 Apr 11
       
      Addressing issues in reusing online course content
  • For teachers it makes them participate in the content, revisit the content they created in the past, and make it delivered in a “present” time for the students. For students it tells them that the teacher “was just here,” and that this stuff is happening now. It makes the content seem more relevant, and helps build a sense of community in the course.
  • By creating content that has elements of real time associated with it, instructors can generate a sense of presence and freshness that are often missing in online courses.
  • ...2 more annotations...
  • Lastly, keep the flowers fresh.
  • A sense of time is created in discussion boards because they have only that week to complete the work and there is an understanding that the conversations happen in time. But often asynchronous discussions have wide gaps of time between student interactions. One way to bring time closer to the students is to allow them to subscribe to forum threads they are involved in. You can do this in most LMS solutions. Students get an email alerting them to activity in the thread they are active in and it brings them closer “in real time” to the events happening in the class. While this can be overwhelming in larger courses, in a class of 20 or 30 students it usually does not amount to an unreasonable amount of email notifications. One of the most effective ways to bring timeliness to an online course is do a quick recap of previous week, as well as provide a preview of what is expected for the current week. Using screen capture software to go through the course and set expectations is a great way to not only share a bit of yourself with students, but it is a pre-emptive way to answer questions students commonly ask.
Josh Flores

12 Most Common Themes in Literature - Life123 - 121 views

www.life123.com/...mon-themes-in-literature.shtml

tools resources real world common theme

shared by Josh Flores on 06 May 11 - Cached
    • Josh Flores
      Josh Flores on 06 May 11
       
      First, begin with a wall poster stating the difference between Theme, Topic, and Plot
    • Josh Flores
      Josh Flores on 06 May 11
       
      Narrow it down to 3-6 examples of a Theme Poster for a classroom resource.
  • Most Common Themes in Literature
  • ...18 more annotations...
  • What Is a Theme?
  • differs from the plot
  • plot is what the characters do
  • a message
  • theme is the lesson or moral
  • describes an opinion about life, human nature or elements of society
  • Man Struggles Against Nature
  • Man Struggles Against Societal Pressure
  • Crime
  • Does Not Pay
  • Overcoming Adversity
  • The Importance of Family
  • balance
  • Human Beings All Have the Same Needs
  • Death
  • Sacrifices
  • Love is
    • Josh Flores
      Josh Flores on 06 May 11
       
      Love: Use Romeo & Juliet movie poster? http://skyview.vansd.org/bquestad/rjhomepg.jpg
anonymous

University Presses Are Urged to Work Together to Survive - Publishing - The Chronicle of Higher Education - 7 views

chronicle.com/...126633

shared by anonymous on 08 Jul 11 - No Cached
    • anonymous
      anonymous on 08 Jul 11
       
      I'm struck by the fact that this article is quick to warn that social networking voting models are likely to be "gamed" by interested parties. The report itself notes that "monographs remain largely static objects ... instead of being vibrant hubs for discussion and engagement" (3). If this is going to be a success as we move forward, I think a balance will need to be found between those two poles.
Cath Horan

RBA: Speech-The Economic Outlook - 8 views

www.rba.gov.au/...sp-gov-260314.html

outlook

shared by Cath Horan on 26 Mar 14 - No Cached
  • world economy has continued its expansion
  • 2014 economic global growth is thought likely by major forecasters to be a bit higher than in 2013
  • growth is coming from the advanced countries
  • ...16 more annotations...
  • United States continues its recovery led by private demand and over the second half of last year the economy expanded at an annualised rate of just over 3 per cent.
  • The euro area has resumed growth, albeit in a somewhat hesitant fashion and with noticeable differences in performance by country.
  • A few emerging economies have lately come under pressure,
  • In fact were the Bank of Japan (BoJ) to step up its current program of quantitative and qualitative easing, it would soon be adding more cash to the global financial system, in absolute terms, than the Federal Reserve.
  • China's economy grew close to, and in fact a little faster than, the government's target last year. Strong and about equal contributions to growth were made by household consumption and investment. Consumer price inflation continues to be stable.
  • Recent indicators have shown possible signs of slower growth in the early part of 2014: growth of industrial production slowed; retail sales and passenger vehicle sales moderated; and fixed asse
  • Australia certainly weathered the financial crisis well, and with a real GDP some 13 per cent larger than it was at the beginning of 2009, compares well with many other advanced countries. It is the case, though, that growth while positive, has been running at a pace a bit below its trend pace for about 18 months now. The rate of unemployment has increased by something like a percentage point over the same period.
  • strong conditions in the natural resources sector.
  • n the rest of the economy, households have spent most of the past five years behaving more conservatively, or rather more normally, than they did over a long period up to the mid 2000s when they had been in a very expansive mood. Both consumption and residential construction have been soft for a while.
  • esources sector's capital spending continues to fall, it
  • It is unlikely, though, that a pick-up in resources exports, as important as that will be, will be enough to keep overall growth on the right trac
  • Recent data shows stronger household consumption over the summer. The latest surve
  • bundant signs of confidence in the housing market
  • Measures of business confidence have improved over the past six months. Businesses seem, so far, to be taking a cautious approach to investment,
  • is important to stress that this outlook is, obviously, a balance between the large negative force of declining mining investment and, working the other way, the likely pick up in some other areas of demand helped by very low interest rates, improved confidence and so on, as well as higher resource shipments. The lower exchange rate since last April and the improved economic conditions overseas also help.
  • On inflation, our view is that it will be a little higher than we thought three months ago
Meredith Johnson

Testing Talk - 29 views

testingtalk.org

assessment collaboration PARCC Smarter Balance

shared by Meredith Johnson on 31 Mar 14 - No Cached
  • Meredith Johnson on 31 Mar 14
     
    Talking About This Year's Common Core Tests
Ian Woods

AJET 26(3) Drexler (2010) - The networked student model for construction of personal learning environments: Balancing teacher control and student autonomy - 77 views

www.ascilite.org.au/...drexler.html

shared by Ian Woods on 26 Sep 10 - Cached
  • Web application(networked studentcomponent) Tool usedin test case Student activitylevel of structure Social bookmarking (RSS) Delicioushttp://delicious.com/ Set up the account Subscribe to each others accounts Bookmark and read 10 reliable websites that reflect the content of chosen topic Add and read at least 3 additional sites each week. News and blog alert (RSS) Google Alerthttp://www.google.com/alerts Create a Google Alert of keywords associated with selected topic Read news and blogs on that topic that are delivered via email daily Subscribe to appropriate blogs in reader News and blog reader (RSS) Google Readerhttp://reader.google.com Search for blogs devoted to chosen topic Subscribe to blogs to keep track of updates Personal blog (RSS) Bloggerhttp://www.blogger.com Create a personal blog Post a personal reflection each day of the content found and experiences related to the use of personal learning environment Students subscribe to each others blogs in reader Internet search (information management, contacts, and synchronous communication) Google Scholarhttp://scholar.google.com/ Conduct searches in Google Scholar and library databases for scholarly works. Bookmark appropriate sites Consider making contact with expert for video conference Podcasts (RSS) iTunesUhttp://www.apple.com/itunes/whatson/itunesu.html Search iTunesU for podcasts related to topic Subscribe to at least 2 podcasts if possible Video conferencing (contacts and synchronous communication) Skypehttp://www.skype.com Identify at least one subject matter expert to invite to Skype with the class. Content gathering/ digital notebook Evernotehttp://evernote.com/ Set up account Use Evernote to take notes on all content collected via other tools Content synthesis Wikispaceshttp://www.wikispaces.com Post final project on personal page of class wiki The process and tools are overwhelming to students if presented all at once. As with any instructional design, the teacher determines the pace at which the students best assimilate each new learning tool. For this particular project, a new tool was introduced each day over two weeks. Once the construction process was complete, there were a number of personal web page aggregators that could have been selected to bring everything together in one place. Options at the time included iGoogle, PageFlakes, NetVibes, and Symbaloo. These sites offer a means to compile or pull together content from a variety of web applications. A web widget or gadget is a bit of code that is executed within the personal web page to pull up external content from other sites. The students in this case designed the personal web page using the gadgets needed in the format that best met their learning goals. Figure 3 is an instructor example of a personal webpage that includes the reader, email, personal blog, note taking program, and social bookmarks on one page. The personal learning environment can take the place of a traditional textbook, though does not preclude the student from using a textbook or accessing one or more numerous open source texts that may be available for the research topic. The goal is to access content from many sources to effectively meet the learning objectives. The next challenge is to determine whether those objectives have been met. Figure 3: Personal web page compiles learning tools
  • Table 2: Personal learning environment toolset Web application (networked student component) Tool used in test case Student activity level of structure Social bookmarking (RSS) Delicious http://delicious.com/ Set up the account Subscribe to each others accounts Bookmark and read 10 reliable websites that reflect the content of chosen topic Add and read at least 3 additional sites each week. News and blog alert (RSS) Google Alert http://www.google.com/alerts Create a Google Alert of keywords associated with selected topic Read news and blogs on that topic that are delivered via email daily Subscribe to appropriate blogs in reader News and blog reader (RSS) Google Reader http://reader.google.com Search for blogs devoted to chosen topic Subscribe to blogs to keep track of updates Personal blog (RSS) Blogger http://www.blogger.com Create a personal blog Post a personal reflection each day of the content found and experiences related to the use of personal learning environment Students subscribe to each others blogs in reader Internet search (information management, contacts, and synchronous communication) Google Scholar http://scholar.google.com/ Conduct searches in Google Scholar and library databases for scholarly works. Bookmark appropriate sites Consider making contact with expert for video conference Podcasts (RSS) iTunesU http://www.apple.com/itunes/ whatson/itunesu.html Search iTunesU for podcasts related to topic Subscribe to at least 2 podcasts if possible Video conferencing (contacts and synchronous communication) Skype http://www.skype.com Identify at least one subject matter expert to invite to Skype with the class. Content gathering/ digital notebook Evernote http://evernote.com/ Set up account Use Evernote to take notes on all content collected via other tools Content synthesis Wikispaces http://www.wikispaces.com Post final project on personal page of class wiki The process and tools are overwhelming to students if presented all at once. As with any instructional design, the teacher determines the pace at which the students best assimilate each new learning tool. For this particular project, a new tool was introduced each day over two weeks. Once the construction process was complete, there were a number of personal web page aggregators that could have been selected to bring everything together in one place. Options at the time included iGoogle, PageFlakes, NetVibes, and Symbaloo. These sites offer a means to compile or pull together content from a variety of web applications. A web widget or gadget is a bit of code that is executed within the personal web page to pull up external content from other sites. The students in this case designed the personal web page using the gadgets needed in the format that best met their learning goals. Figure 3 is an instructor example of a personal webpage that includes the reader, email, personal blog, note taking program, and social bookmarks on one page.
  • The personal learning environment can take the place of a traditional textbook, though does not preclude the student from using a textbook or accessing one or more numerous open source texts that may be available for the research topic. The goal is to access content from many sources to effectively meet the learning objectives. The next challenge is to determine whether those objectives have been met.
  • ...1 more annotation...
  • AssessmentThere were four components of the assessment process for this test case of the Networked Student Model: (1) Ongoing performance assessment in the form of weekly assignments to facilitate the construction and maintenance of the personal learning environment, (2) rubric-based assessment of the personal learning environment at the end of the project, (3) written essay, and (4) multimedia synthesis of topic content. Points were earned for meeting the following requirements: Identify ten reliable resources and post to social bookmarking account. At least three new resources should be added each week. Subscribe and respond to at least 3 new blogs each week. Follow these blogs and news alerts using the reader. Subscribe to and listen to at least two podcasts (if available). Respectfully contact and request a video conference from a subject matter expert recognised in the field. Maintain daily notes and highlight resources as needed in digital notebook. Post at least a one-paragraph reflection in personal blog each day. At the end of the project, the personal learning environment was assessed with a rubric that encompassed each of the items listed above. The student's ability to synthesise the research was further evaluated with a reflective essay. Writing shapes thinking (Langer & Applebee, 1987), and the essay requirement was one more avenue through which the students demonstrated higher order learning. The personal blog provided an opportunity for regular reflection during the course of the project. The essay was the culmination of the reflections along with a thoughtful synthesis of the learning experience. Students were instructed to articulate what was learned about the selected topic and why others should care or be concerned. The essay provided an overview of everything learned about the contemporary issue. It was well organised, detailed, and long enough to serve as a resource for others who wished to learn from the work. As part of a final exam, the students were required to access the final projects of their classmates and reflect on what they learned from this exposure. The purpose of this activity was to give the students an additional opportunity to share and learn from each other. Creativity is considered a key 21st century skill (Partnership for 21st Century Skills, 2009). A number of emerging web applications support the academic creative process. Students in this project used web tools to combine text, video, audio, and photographs to teach the research topics to others. The final multimedia project was posted or embedded on the student's personal wiki page. Analysis and assessment of student work was facilitated by the very technologies in use by the students. In order to follow their progress, the teacher simply subscribed to student social bookmarking accounts, readers, and blogs. Clicking through daily contributions was relatively quick and efficient.
  • Carole Redline on 27 Sep 10
     
    Scholarly and important but also practical. Scroll down for an incredible chart of ideas that challenges older students to take charge of their own learning.
D. S. Koelling

A Perfect Storm in Undergraduate Education, Part I - Advice - The Chronicle of Higher Education - 40 views

chronicle.com/...126451

shared by D. S. Koelling on 28 Feb 11 - No Cached
  • at least 45 percent of undergraduates demonstrated "no improvement in critical thinking, complex reasoning, and writing skills in the first two years of college, and 36 percent showed no progress in four years."
  • What good does it do to increase the number of students in college if the ones who are already there are not learning much? Would it not make more sense to improve the quality of education before we increase the quantity of students?
  • students in math, science, humanities, and social sciences—rather than those in more directly career-oriented fields—tend to show the most growth in the areas measured by the Collegiate Learning Assessment, the primary tool used in their study. Also, students learn more from professors with high expectations who interact with them outside of the classroom. If you do more reading, writing, and thinking, you tend to get better at those things, particularly if you have a lot of support from your teachers.
  • ...10 more annotations...
  • Increasingly, undergraduates are not prepared adequately in any academic area but often arrive with strong convictions about their abilities.
  • It has become difficult to give students honest feedback.
  • As the college-age population declines, many tuition-driven institutions struggle to find enough paying customers to balance their budgets. That makes it necessary to recruit even more unprepared students, who then must be retained, shifting the burden for academic success away from the student and on to the teacher.
  • Although a lot of emphasis is placed on research on the tenure track, most faculty members are not on that track and are retained on the basis of what students think of them.
  • Students gravitate to lenient professors and to courses that are reputedly easy, particularly in general education.
  • It is impossible to maintain high expectations for long unless everyone holds the line in all comparable courses—and we face strong incentives not to do that.
  • Formerly, full-time, tenured faculty members with terminal degrees and long-term ties to the institution did most of the teaching. Such faculty members not only were free to grade honestly and teach with conviction but also had a deep understanding of the curriculum, their colleagues, and the institutional mission. Now undergraduate teaching relies primarily on graduate students and transient, part-time instructors on short-term contracts who teach at multiple institutions and whose performance is judged almost entirely by student-satisfaction surveys.
  • Contingent faculty members, who are paid so little, routinely teach course loads that are impossible to sustain without cutting a lot of corners.
  • Many colleges are now so packed with transient teachers, and multitasking faculty-administrators, that it is impossible to maintain some kind of logical development in the sequencing of courses.
  • Students may be enjoying high self-esteem, but college teachers seem to be suffering from a lack of self-confidence.
  • Steve Ransom on 28 Feb 11
     
    So many issues here to deal with. Good read.
Serene Pleasant

Five-Minute Film Festival: Flipped Classrooms | Edutopia - 78 views

www.edutopia.org/...ilm-festival-flipped-classroom

Flippedclassroom edtech flipped_classroom classroom

shared by Serene Pleasant on 29 Oct 13 - No Cached
    • Serene Pleasant
      Serene Pleasant on 29 Oct 13
       
      Mary Beth Hertz's excellent blog: differentiating instruction with video in the flipped classroom
    • Serene Pleasant
      Serene Pleasant on 29 Oct 13
       
      Mary Beth Hertz's  blog:"The Flipped Classroom". . . video use to differentiate in the classroom
  • Mary Beth Hertz's excellent blog published earlier this week, "The Flipped Classroom: Pro and Con" (1) -- one of the most concise and balanced views I've read on the buzz-wordy concept of flipping the classroom. Advocates say that "flipped classrooms"
Martin Burrett

Seven Ways To Reduce Teacher Workload by @guruteaching - 9 views

ukedchat.com/...seven-ways-workload

wordload work-life balance

shared by Martin Burrett on 27 May 18 - No Cached
  • Martin Burrett on 27 May 18
     
    ""Reduce teacher workload!" can be heard up and down the country, in staffrooms and online. The truth is it's one of the simplest things that schools can do to help retain staff and maintain their wellbeing. That being said, however, some schools aren't doing all they can to remove unnecessary burdens. Those who have done so, enjoy rave reviews on Twitter and elsewhere, which of course doesn't do them any harm when it comes to recruiting and retaining excellent staff. The best staff know their worth and will inevitably leave the school earlier than they would've done if they feel that another school would trust them and let them just get on with the real job of teaching. Even the Department for Education has begun to take note of the issue, identifying some key areas where schools can reduce teacher workload."
Wendy Arch

ollie-afe-2019: Educational Leadership: The Quest for Quality--article - 2 views

moodlesw.aealearningonline.org/...view.php

shared by Wendy Arch on 26 Mar 19 - No Cached
  • t also helps them assign the appropriate balance of points in relation to the importance of each target as well as the number of items for each assessed target.
    • Wendy Arch
      Wendy Arch on 26 Mar 19
       
      At first when looking at this test plan, I questioned how an English teacher who gives very few "tests" in favor of application essays would create a test plan. However, then I realized that each of the learning targets is really just a criterion on a rubric. Instead of having a certain number of questions, each category is worth a different weight. That makes the test plan idea make much more sense in my mind.
  • minimizing any bias that might distort estimates of student learning.
  • Will the users of the results understand them and see the connection to learning?
  • ...1 more annotation...
  • From a formative point of view, decision makers at the classroom assessment level need evidence of where students are on the learning continuum toward each standard
Don Robinson

Formative and Summative Assessment in the Classroom - 5 views

www.nmsa.org/...Default.aspx

assessment formative summative education

shared by Don Robinson on 11 Mar 09 - Cached
  • anonymous on 11 Mar 09
     
    When a comprehensive assessment program at the classroom level balances student achievement information derived from both summative and formative assessment sources, a fuller picture of where a student is relative to established learning targets and standards emerges."> This is a cached version of http://www.nmsa.org/Publications/WebExclusive/Assessment/tabid/1120/Default.aspx. Diigo.com has no relation to the site.position:absolute;right:20px;top:5px;color
Martin Burrett

12 things teachers can do to help reduce stress - 73 views

ukedchat.com/...-reduce-stress-in-the-new-year

stress work_life balance mindfulness

shared by Martin Burrett on 02 Jan 17 - No Cached
  • Martin Burrett on 02 Jan 17
     
    Yay, another new year! Where does the time go? Being a teacher is a stressful job, but one of the most rewarding vocations available. Sometimes, it is possible to lose sight of the important things in life, as the stress of the job takes over your life. We all make resolutions with good intentions, but reducing work stress is critical for ensuring that the job doesn't absorb every waking moment in your life. Below are 12 suggestions on how teachers (and school leaders) can reduce stress, for themselves, for colleagues, and for pupils. Some of the suggestions might seem obvious, but it's nice to be reminded, and to allow you to reflect on opportunities you have to reduce some of the stress in your life.
Martin Burrett

Simple Strategies for Reducing Stress - A guide for Educators by @digicoled - 23 views

ukedchat.com/...ple-strategies-reducing-stress

stress work-life balance workload

shared by Martin Burrett on 19 May 18 - No Cached
  • Martin Burrett on 19 May 18
     
    "There are many components that make teaching stressful, such as teaching for tests and hoping the pupils will perform well, marking and giving meaningful feedback quickly. Also, there are 'Pinch points' in the year where lots seem to come at once! Even when confronted with a group of students, when you get one of those classes where none of them cares or see the point no matter how hard you try to convince them otherwise. Ultimately, teaching is a massively important role in society, so there's a lot riding on the profession which equates to a lot of pressure/stress. It's just fortunate that most of the time the wins outweigh the rest."
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."
meghankelly492

Music performance skills: A two-pronged approach - facilitating optimal music performance and reducing music performance anxiety - Susanna Cohen, Ehud Bodner, 2019 - 1 views

journals.sagepub.com/...0305735618765349

anxiety Music

shared by meghankelly492 on 21 Aug 19 - No Cached
  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
  • ...19 more annotations...
  • The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
  • Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
  • There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners
  • Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
  • “when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
  • Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin & Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
  • This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark & Williamon, 2011; Hoffman & Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
  • Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
  • The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
  • Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
  • “Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
  • Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
  • Cohen, S., & Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
Maureen Greenbaum

How Clear Expectations Can Inhibit Genuine Thinking in Students | MindShift | KQED News - 45 views

ww2.kqed.org/...t-genuine-thinking-in-students

teaching learning grit

shared by Maureen Greenbaum on 15 Oct 16 - No Cached
  • to understand better how expectations operate as a cultural force in learning groups, we have to make a distinction between two types of expectations: directives and beliefs.
  • very clear standards for students about points, grades, and keeping score, one sees a belief that school is about work and that students must be coerced or bribed into learning through the use of grades
  • one sees the belief that learning algebra is primarily about acquiring knowledge of procedures rather than developing understanding, and that memorization and practice are the most effective tools for that job. This theory of action, “One learns through memorization and practice,” made it hard for Karen to bring out and facilitate students’ thinking. Instead, thinking existed as an add-on to the regular rhythm of the class, something she did as an “extra” to the regular work of the class. Through her strong focus on grades and passing the course, even if one is “no good at mathematics,” Karen sent the message that our abilities are largely fixed and that “getting by” was all that some could hope to accomplish. One might not understand algebra, but with effort one could at least pass the course. Finally, in her efforts to promote order and control, certainly worthwhile and important goals in any classroom, Karen tilted the balance toward students’ becoming passive learners who were dependent on her.
  • ...1 more annotation...
  • five belief sets are as follows: • Focusing students on the learning vs. the work • Teaching for understanding vs. knowledge • Encouraging deep vs. surface learning strategies • Promoting independence vs. dependence • Developing a growth vs. a fixed mindset
  • Maureen Greenbaum on 15 Oct 16
     
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anonymous

Dime dónde vives y te diré qué produce tu provincia (y dónde lo vende) | Economía | EL PAÍS - 2 views

elpais.com/...1474647052_933091.html

industria economía comercio intercambios producción

shared by anonymous on 16 Nov 17 - No Cached
    • anonymous
      anonymous on 16 Nov 17
       
      Partindo dos datos rexistrados en 2016, pois o exercicio de 2017 aínda non se pechou e non hai datos cos que poder facer balance.
jnet0124

Can Mary Shelley's Frankenstein be read as an early research ethics text? | Medical Humanities - 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
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  • 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).
meghankelly492

"Can't We Just Change the Words?": EBSCOhost - 1 views

web.b.ebscohost.com/...detail

Music Theory Test Review UFMUE

shared by meghankelly492 on 24 May 19 - No Cached
  • The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.
  • However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity
  • The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.
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  • how does each author use authenticity as a strategy for making or justifying decisions in music education?
  • authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
  • since the original loses some of its essential qualities in a simplification.5
  • His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions
  • Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).
  • Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
  • Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
  • Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.
  • Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.
  • "World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.
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