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The site also links to a YouTube video of Bif Naked singing a cover version of the Twisted Sister song "We're Not Gonna Take It."[4]

The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).

In other words, authenticity lies within the perceptions of the individual.

Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.

Google Classroom page

Google Classroom page

CLICK HERE!

Deep-listening experiences, wrapped in a pedagogy of music listening, take students far beyond the surface of their barely noticeable surround-sound environment and into the nature of music and its workings.

Attentive-listening experiences occur when teachers point out specified points of focus, put questions or challenges to the listeners, or merge graphics or visuals with the sound experience itself. Graphs or maps of particular musical features can be helpful, since visual cues may enhance listening. Teachers can provide diagrams of the contours of the melody or depict rhythmic components of a piece through iconic symbols-staff notation, splotches of color, or geometric shapes, for example. Instruments, real or illustrated, can focus student attention on their entrance or continuing presence in the music.

Engaged listening invites listeners to enter into the groove or the flow of the music, pick a part to contribute, and consequently feel more involved in the music. A phenomenon of "participatory consciousness"[ 5] unfolds as engaged listeners find their place in the music, find something in the music to hang on to (a melody, a pulse, an ostinato, a groove), and select a contribution to make back to the music. In this way, they connect with the music, joining the recorded musicians and their live participant-colleagues in a musical team.

First, we think research, broadly defined, is a valuable part of an undergraduate education. Even at a rudimentary level, engaging in research implicates students in the creation of knowledge. They need to understand that knowledge isn’t an inert substance they passively receive, but is continually created, debated, and reformulated—and they have a role to play in that process.

we recognize that research is situated in disciplinary frameworks and needs to be addressed in terms of distinct research traditions.

research is a complex and recursive process involving not just finding information but framing and refining a question, perhaps gathering primary data through field or lab work, choosing and evaluating appropriate evidence, negotiating different viewpoints, and composing some kind of response, all activities that are not linear but intertwined.

This originally started off with me bringing a large, empty jar to one of their weekly staff meetings and labeling it "Gripe Jam". I put a few pads of sticky notes on tables and played a rock anthem like "We're Not Gonna Take It". They had until the end of the song to write down any and all issues they are facing in their classrooms. I took these sticky notes, went home and created a Google Doc / Spreadsheet showing how as many of these challenges as possible could be addressed by digital learning tools/strategies/sites/etc. When I returned the next week, I shared this spreadsheet. The teachers then voted for or select one strategy they'd like to learn more about. This is how we decided where we began our exploring of digital learning.

Acknowledging that many teachers respond better to new ideas when we first listen to their current issues makes them feel heard and respected.

But these cases — typical ones, according to writing tutors and officials responsible for discipline at the three schools who described the plagiarism — suggest that many students simply do not grasp that using words they did not write is a serious misdeed.

Digital technology makes copying and pasting easy, of course. But that is the least of it. The Internet may also be redefining how students — who came of age with music file-sharing, Wikipedia and Web-linking — understand the concept of authorship and the singularity of any text or image.

“When you’re sitting at your computer, it’s the same machine you’ve downloaded music with, possibly illegally, the same machine you streamed videos for free that showed on HBO last night.”

In an IBM poll of over 1,500 CEOs, creativity was ranked the #1 leadership competency for successful companies of tomorrow. Other countries in the EU and China have already taken note and are experimenting with school programs to prioritize creative skills. Meanwhile the American education system has renewed its focus on more rigorous curriculum standards and national testing in an effort to improve our global competitiveness. In doing so, are we missing something essential?

With children older than 8 spending over 10 hours a day using media outside school, we must meet children where they are in order to convert couch time at home, and seat time at school, into creative learning time.

we as a society give limited property rights to creators to encourage them to produce culture; at the same time, we give other creators the chance to use that same copyrighted material, without permission or payment

Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than that of the original, or did it just repeat the work for the same intent and value as the original? • Was the material taken appropriate in kind and amount, considering the nature of the copyrighted work and of the use?