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Dave Shaw

Kathy Schrock's Guide for Educators - Assessment Rubrics - Kathy Schrock's Guide for Educators - 116 views

school.discoveryeducation.com/...assess.html

rubrics assessment

shared by Dave Shaw on 26 Feb 10 - Cached
  • Peter Beens on 09 May 10
     
    ow that we are using the Internet in the classroom to support instruction, it is important the area of assessment be addressed. One usable method for teachers is to provide a rubric for student use and for both formative and summative assessment purposes. Another is to provide some type of graphic organizer. Below you will find a collection of assessment rubrics and graphic organizers that may be helpful to you as you design your own.
Amy Burns

Building A Better Mousetrap: The Rubric Debate - 126 views

faculty.ccp.edu/...rubrics1.htm

shared by Amy Burns on 04 Oct 11 - No Cached
  • If the rubric is primarily used for instruction and will be shared with your students, then it should be non-judgemental, free of educational jargon, and reflect the critical vocabulary that you use in your classroom.
    • Amy Burns
      Amy Burns on 04 Oct 11
       
      Important point! The vocabulary of the rubric must be easily understood by all of the student in the class.
  • While many educators make a compelling argument for sharing rubrics with students, others worry that doing so will encourage formulaic writing
    • Amy Burns
      Amy Burns on 04 Oct 11
       
      This is why I sometimes struggle with rubrics. A project might be technically correct, but lack originality and creativity. Creativity is hard to scale.
Mr. Loftus

Technology + mentoring helps failing schools achieve - 50 views

www.techlearning.com/...25282

academic programs technology

shared by Mr. Loftus on 07 Nov 09 - No Cached
  • Amid growing pressure on public school districts to improve performance of chronically struggling schools, two nationally recognized education organizations have formed a consortium to offer a research-based approach for transforming  these schools into successful learning environments without requiring mass dismissals of staff, school closures or turnover to charters or outside management organizations.
  • The new initiative, called SetPoint, pairs classroom technology with intensive coaching to build capacity for sustained change within the local district.
  • With the SetPoint process, most staff members remain in their positions and receive intensive coaching and modeling in best instructional practices from experienced principals and school leaders.
Katie Nettles

Interactive Whiteboards Enhance Classroom Instruction and Learning | NEA Member Benefits - 18 views

www.neamb.com/...of-interactive-whiteboards.htm

shared by Katie Nettles on 17 Dec 14 - No Cached
Jeff Rhodus liked it
  • A teacher can create engaging lessons that focus on one task such as a matching activity where students use either their fingers or a pen to match items. Another teacher might integrate multiple items into a lesson plan such as websites, photos, and music that students can interact with, respond to verbally or even write comments on the board itself.
    • Katie Nettles
      Katie Nettles on 17 Dec 14
       
      Key-words… ENGAGING and INTERACT!  It's more than just a projector! 
  • Interactive whiteboards facilitate multisensory learning
Tracy Tuten

A guide to online educational resources. - NYTimes.com - 90 views

www.nytimes.com/...18openbox-t.html

education NYTimes guide DE courses

shared by Tracy Tuten on 22 Apr 10 - Cached
  • Richard Ludlow started the nonprofit Academic Earth two years ago after M.I.T.'s OpenCourseWare helped him pass linear algebra as a Yale undergraduate. His site offers the courses of 10 elite universities — 130 full courses and more than 3,500 video lectures. Viewers can turn the tables on professors and grade courses. Other guidance includes "Editor's Picks" and "Playlists," lectures selected around a theme like "First Day of Freshman Year" and "You Are What You Eat."
  • Connexions, started at Rice University 10 years ago, debundles education for the D.I.Y. learner. Anyone can write a "module," the term for instructional material that can be a single sentence or 1,000 pages. Connexions hosts more than 16,000 modules that make up almost 1,000 "collections." A collection might be, say, an algebra textbook or statistics course.
  • Daniel Colman is a curator of sorts. He sifts through the vast amount of free courses, movies and books offered online to find what he considers the very best in content and production value. Then he features them on Open Culture, the Web site he founded in 2006. It's a task in keeping with his mission as associate dean and director of Stanford's continuing education program.
  • ...2 more annotations...
  • At last count, the site had 2,700 audio and video lectures from more than 25 universities; 268 audio books; and 105 e-books. Dr. Colman says he looks for lectures that "take ideas and make them come to life." And so you can learn 37 languages on Open Culture, or stream Jane Austen audio books, Hitchcock films and a John Hopkins biology lecture.
  • Why pay for test prep? M.I.T. OpenCourseWare has culled introductory courses in physics, calculus and biology, along with problem sets and labs, to help students prep for the Advanced Placement exams. (Not to miss an opportunity, there’s a link to the admissions office.)
  • Sydney Lacey on 22 Apr 10
     
    Thousands of pieces of free educational material - videos and podcasts of lectures, syllabuses, entire textbooks - have been posted in the name of the open courseware movement. But how to make sense of it all? Businesses, social entrepreneurs and "edupunks," envisioning a tuition-free world untethered by classrooms, have created Web sites to help navigate the mind-boggling volume of content. Some sites tweak traditional pedagogy; others aggregate, Hulu-style.
  • Tracy Tuten on 23 Apr 10
     
    Amazing online resources for education
Gerald Carey

Using Multimedia Tools to Help Students Learn Science - 83 views

www.cited.org/index.aspx

multimedia science tools learning

shared by Gerald Carey on 29 Apr 11 - Cached
  • This Research in Brief article describes some of the ways that classroom teachers can use multimedia technologies to enhance science instruction and develop students’ scientific inquiry skills.
Sharin Tebo

Educational Leadership:How Teachers Learn:Fostering Reflection - 27 views

www.ascd.org/...Fostering-Reflection.aspx

reflection observation walkthrough data SDW SDWWL

shared by Sharin Tebo on 14 Aug 14 - Cached
  • Expert teachers adjust their thinking to accommodate the level of reflection a situation calls for.
  • Another way to help teachers become better at reflection is to create study groups that introduce teachers to these four modes of thinking and explore which aspects of teaching call for each mode. Discussions and role-plays can help teachers see which routine decisions can be made through technological or situational thinking and which may require the deliberate or dialectical modes. I
  • Finally, to foster higher levels of reflection, encourage teachers to ask themselves questions about their classroom practice. Prompts like the following promote frequent reflection: What worked in this lesson? How do I know? What would I do the same or differently if I could reteach this lesson? Why? What root cause might be prompting or perpetuating this student behavior? What do I believe about how students learn? How does this belief influence my instruction? What data do I need to make an informed decision about this problem? Is this the most efficient way to accomplish this task?
Sharin Tebo

Making the Most Out of Teacher Collaboration | Edutopia - 42 views

www.edutopia.org/...oration-strategies-ben-johnson

SDW PLC teacher collaboration teachers teacher collaboration Professional Development professionallearning

shared by Sharin Tebo on 02 Jul 15 - No Cached
  • Collaboration
  • collaborate
  • effective teacher collaboration
  • ...8 more annotations...
  • the attitude of professional privacy is not conducive to professional development
  • Build relationships Observe the best Ask questions Share Come prepared
  • preparation sparks much deeper conversation, more complete answers and better solutions. For informal collaborations, before I attempted to try out any new idea, I would ask one of my esteemed colleagues what they thought of it. In terms of assessments, the easiest way to improve the validity of the assessment is to have a colleague or group of colleagues review it.
  • develop a list of "how to" and "why for" questions regarding student data, instruction, discipline, etc.
  • bring my list of questions pertinent to the agenda in order to pick the groups' collective brain for answers.
  • one of the reasons that schools do not improve as fast as we would like them to is that when teachers get together for a purpose, rarely has research been done by the teachers, neither have ideas been mapped out prior to the meeting.
  • teachers, when it comes to their performance in the classroom, tend to stick to themselves.
  • Personal Steps to Effective Collaboration
  • Sharin Tebo on 02 Jul 15
     
    Collaboration: Build relationships, observe the best, ask questions, share, come prepared
Delia DeCourcy

Diigo 101 - Student Learning with Diigo - 113 views

sites.google.com/...introduction-to-diigo

shared by Delia DeCourcy on 02 Feb 11 - Cached
  • Peg Dryden on 02 Feb 11
     
    "Three main navigation menus of Diigo are My Library, My Network, and My Group which are connected to the key principles of Diigo, explicitly, researching, sharing and collaborating. All information and items collected by users are entered into the My Library on the Diigo serve"
  • June Jones on 17 Aug 11
     
    We invite you to explore the various features of Diigo. Become educated and informed on the powerful use of Diigo for student learning. Learn how this research tool can enhance classroom instruction and promote higher levels of student collaboration. As you navigate through our site you will see examples of valuable lessons and resources, all displayed for your use.
Marti Pike

Should Personalization Be the Future of Learning? - Education Next : Education Next - 48 views

educationnext.org/ersonalization-future-learning

shared by Marti Pike on 28 Apr 15 - No Cached
  • Effective instruction requires understanding the varying cognitive abilities of students and finding ways to impart knowledge in light of that variation
    • Marti Pike
      Marti Pike on 13 Feb 16
       
      Baby/Bathwater...Use tech. to help differentiate speed.  Teacher stays in control with the help of feedback from learning programs. 
  • can be done in classrooms with students sitting in beanbags holding iPads and Chromebooks.
  • privacy
  • ...2 more annotations...
  • They can Google but lack the skills to find the information they need or to assess the relevance or truth of what they find.
  • children are more alike than different in how they think and learn,
  • justpawz on 29 Apr 15
     
    Personalisation in Education
icemanmelb

FAQ - Diigo help - 44 views

help.diigo.com/...faq

shared by icemanmelb on 11 Jan 10 - Cached
sabirshakir liked it
  • effectively utilize the vast array of information that resides on the internet and who are capable of processing the information collaboratively
  • superior to traditional classroom teaching alone
    • tariqy
      tariqy on 11 Dec 11
       
      Important quote
  • skills
    • Sheri Stahler
      Sheri Stahler on 19 Jan 11
       
      How to write comments directly on web pages and how to use easyblogs
    • toni holmberg
      toni holmberg on 23 Feb 11
       
      Is there a way to disallow students from joining other groups. My students are young and I would rather have them just interacting with me and each other.
    • Vicki Davis
      Vicki Davis on 29 Dec 11
       
      Toni, you should set them up in the teacher console without a full profile.
  • ...6 more annotations...
  • finding,
  • organizing
  • synthesizing
  • presenting information
  • facilitate online conversations within the context of the materials themselves. 
  • Teacher can setup separate accounts - one is for their professional / personal usage, and one to be used for instruction with their students.  That way, there is less concern of mingling these.
  • Carole Redline on 03 Aug 10
     
    The more I work with this tool the more I love it. This tells you how to set up student accounts even if your students don't have email.
  • Kim Collazo on 17 Jul 11
     
    Diigo's page for using it in education.
  • icemanmelb on 09 Oct 18
     
    Sounds like a requirement
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."
mgranger

Media and Technology Resources for Educators | Common Sense Media - 15 views

www.commonsensemedia.org/educators

InternetSafety digitalcitizenship cyberbullying Internet_safety cipa

shared by mgranger on 01 Apr 11 - Cached
  • gital driver's license
  • with complete confidence. Our online trainings show you how. More about parent professional development Research Credentials Check out our DNA. Our programs are built on respected digital ethics research. More about parent research credentials Turn wired students into great digital citizens Get all the tools you need with our FREE Digital Literacy and Citizenship Curriculum and Parent Media Education Program. The relevant, ready-to-use instruction helps you guide students to make safe, smart, and ethical decisions in the digital world where they live, study and play. Every day, your students are tested with each post, search, chat, text message, file download, and profile update. Will they connect with like minds or spill ... read more Get started Browse our classroom lessons and parent education resources by grade level or topical area. select gradeK123456789101112 select topicCell phones & digital communicationCyberbullying & online relationshipsDigital creation, plagiarism & piracyFamily media managementGaming & online worldsInternet safetyMedia's influence on kidsOnline privacy and securityOnline research & learningSocial networking & communityViolence in media Get Started Educator Updates Common Sense announces di gital driver's license Common Sense Media announced plans to create a digital driver’s license, an interactive online game that will teach kids the basics of how to be safe and responsible in a digital world. Read more about our plans for interactive curriculum modules
  • Marc Patton on 01 Apr 11
     
    Digital citizenship curriculum targets 4th, 5th graders
  • Susan Crowley on 03 Jul 11
     
    Lesson plans, articles, and tools to teach Digital Citizenship and Internet Safety
  • mgranger on 23 Aug 12
     
    Internet safety FREE curriculum and implementation guides. The site has admin, teacher, and student resources. Digital Passport is one of the Internet Safety programs available.
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.
  • ...10 more annotations...
  • 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.
Katt Blackwell-Starnes

using diigo with students - 568 views

I'm interested to see where this conversation goes next. There's some great information and pointers here. Thanks for the blog link, Andy. I'll be keeping up with what you're writing. In just ove...

diigo students bookmarking

started by Andy Whiteway on 16 Mar 09 8 follow-ups, last by Katt Blackwell-Starnes on 11 Oct 09
Jeff Ferrell liked it
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