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Be astonished.

Pay attention.

Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.

We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.

Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.

Close — and I mean really close — reading.

asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before

Engagement with objects.

What? For the first step, students spend time just observing the object and taking notes.

So what? Students write down questions based on their observations and share them with one another.

Now what? The final stage shifts into more whole-class and teacher-centered discussion

Attention through assessments.

For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.

As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.

medication in the treatment of music performance anxiety. I considered a range of prescribed substances, including beta-blockers,

Kenny, D.T. (2011). The Psychology of Music Performance Anxiety. Oxford: Oxford University Press

Three groups of therapies—behavioral, cognitive, and cognitive behavioral—are all based on the same principles, but use the available therapeutic techniques in different amounts.

These researchers identified six techniques/interventions that are unique to CBT when compared with the spectrum of psychodynamic-interpersonal psycho-therapies, as follows

Research  Teaching students to research is a common standard across all grade levels, elementary, middle school, high school, and beyond. Diigo excels as a research tool: Students can save relevant websites to lists in their Diigo student accounts. Each saved bookmark captures the URL and a screenshot, and can be searched later. Students can highlight important information right on the website, using Diigo. Later, when students return to the website, they find the reason they saved the bookmark in the first place. Students can use virtual sticky notes to summarize the important points of information from the website. This activity will mimic the time-tested procedure of using note cards to summarize and organize research projects. Students working on similar topics can create and join groups in order to collaborate. Later, when students need to document their sources, Diigo can be used to recall website URLs for citing sources.

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.

Developing students who are flexible and willing to continually learn is the best we can do to insure their future.

local autonomy

Love of Learning

growth

relationships

personalized learning

One facet of our reading instruction that cannot be overlooked is the importance of teacher readers in building a classroom reading community. According to Morrison, Jacobs, and Swinyard (1999), "perhaps the most influential teacher behavior to influence students' literacy development is personal reading, both in and out of school."

If we don't read, why should our students?

Share your reading life with your students. Show your students what reading adds to your life. If you are reading a nonfiction book at the moment, tell them what you are learning. Pass the children's books you are reading to them when you are done. Describe the funny, sad, or interesting moments in the books you read. When you read something challenging, talk with your students about how you work through difficult text. It will surprise them that you find reading hard at times, too, but choose to read, anyway.

Many students in today's world do not read books outside of school. When they do read, it is text-messages, web pages or homework assignments. For students who did not grow up in homes with books, with adults who read and who read to them, this time to read in school is both necessary and pleasurable. Many of my students need catch-up time when it comes to "hours-in" reading. The 10 minutes at the beginning of each period that I allow my juniors each day equals hours of reading across the months of the school year. My most dedicated readers begin books in the classroom, finish them at home, and return to the classroom/school library to check out new books.

there is an intrinsic trade-off between that kind of learning and the more wide-ranging learning that is so natural for young children. Knowing this, it's more important than ever to give children's remarkable, spontaneous learning abilities free rein. That means a rich, stable, and safe world, with affectionate and supportive grown-ups, and lots of opportunities for exploration and play. Not school for babies.