Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
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(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views
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A systematic review of all available treatment studies for music performance anxiety was undertaken.
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reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
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59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
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A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
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However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
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A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
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However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
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Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
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These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
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with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
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For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
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Brodsky (1996) and Nube´(1991) were most useful.
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The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
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In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
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Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
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A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
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Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
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Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
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The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
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Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
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Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
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The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
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A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
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Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
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None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
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In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
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The rise of creative youth development: Arts Education Policy Review: Vol 118, No 1 - 3 views
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The article describes creative youth development in the larger contexts of arts education and of education reform.
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Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.
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Yet these two worlds largely exist apart, failing to address the reality that youth learn and grow—or fail to reach their potential—through influences and experiences in all spheres of their lives, including home, school, and the settings where they spend time outside of schoo
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attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking
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such as heightened confidence and sense of agency
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Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth
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Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.
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The creative process at the center of CYD programs contributes to profound personal growth for youth participants
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And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”
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community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat
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hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.
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impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities
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She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (
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Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—
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Using Diigo in the Classroom - Student Learning with Diigo - 66 views
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Save important websites and access them on any computer. Categorize websites by titles, notes, keyword tags, lists and groups. Search through bookmarks to quickly find desired information. Save a screenshot of a website and see how it has changed over time. Annotate websites with highlighting or virtual "sticky notes." View any annotations made by others on any website visited. Share websites with g
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Extended Learning
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Bookmark Lists
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Personal Student Bookmarks
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Diigo can provide a way to enrich or extend learning about a topic.
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Beyond extended student learning, Diigo can be used as a form of professional development.
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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.
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How in the WORLD do I do the social part of it?? This seems useful, but I'm still trying to figure out how to let the kids collaborate on Outliners and then share the Outliners with me easily. I bet there's something huge that I'm missing here...
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Separating Higher Ed resources from K-12? - 24 views
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shared by Randolph Hollingsworth on 24 Oct 10
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Mid-continent Research for Education and Learning - School Improvement Reform Report on... - 15 views
www.mcrel.org/...0887RR_Stupski_ped.pdf
professional development differentiated instruction role fluidity Stupski Foundation Education reform technology leadership
shared by Randolph Hollingsworth on 24 Oct 10
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Stupski Fndtn staff + McREL researchers ask 2 questions: (1) How can teachers adapt the principles of effective pedagogy to differentiate instruction and meet the needs of all learners in order to help Our Kids be challened, motivated, and successful? (2) How can teachers create structured, challenging, yet nurturing classroom environments to ensure that Our Kids are engaged and successful learners? KEY FINDINGS: adaptive and differentiated instruction (theory and methodologies) in culturally relevant classroom that allows for student "role fluidity" + teacher skill in finding gaps in knowledge/skills + motivating students through engaging projects and targeted instruction (academically rigorous and nurturing) PLUS fac devt must be supported by and inclusive of school leadership. a Design Collaborative might act on 5 options: (1) Support teachers to better utilize methods and theories of culturally relevant pedagogy and differentiated instruction, (2) Implement a pedagogical program based on the notion of "role fluidity" to give students a central voice in the classroom, (3) Use technology to engage students and enhance pedagogy, (4) Guide teachers in creating academically rigorous and positive classroom learning environments, (5) Implement pedagogical programs based on developing higher order thinking and subject-specific skills. Report by Kerry Englert, Helen Apthorp, Matthew Seebaum. Dated Oct 2009
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shared by Nadjib Aktouf on 08 May 09
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NZ Interface Magazine | Eight habits of highly effective 21st century teachers - 7 views
www.nz-interface.co.nz/articles.cfm
teaching 21stCentury habits 21stcenturylearning 21stcenturyteacher teachers 21stCenturyskills education
shared by Nadjib Aktouf on 08 May 09
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4. Taking risksThere’s so much to learn. How can you as an educator know all these things? You must take risks and sometimes surrender yourself to the students’ knowledge. Have a vision of what you want and what the technology can achieve, identify the goals and facilitate the learning. Use the strengths of the digital natives to understand and navigate new products, have them teach each other. Trust your students.
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I see this so much in those teachers who are afraid to miss a day of class if something doesn't work as planned. Years go by, and all those neat lessons they'd like to do, remain untried. Teachers end up disappointed they weren't able to update their teachings, and students are disappointed with the redundant, "safe" lessons. -
We all need to take little risks each day in how we teach. Reach out try something new, how else will we grow in our practice. Darren Kuropatwa says it best in his Awakening Posibilities Presentation: 5 Minutes to Make a Difference - http://lwictpln2009.wikispaces.com/Professional+Learning "No such thing as Best Practice, it's all Beta practice!" John Evans
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8 habits to pick up... #2 is probably the most difficult, and #4 reminds me of those teachers who just can't "seem to find the time" to take a chance and try something new.
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8 habits to pick up... #2 is probably the most difficult, and #4 reminds me of those teachers who just can't "seem to find the time" to take a chance and try something new.
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shared by Jennie Snyder on 27 Jan 13
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Lydia Dobyns: A '21st Century' Education Is SO Last Century - 34 views
www.huffingtonpost.com/...tury-education-_b_2441252.html
deeperlearning edleader21 change 21stcentury learning
shared by Jennie Snyder on 27 Jan 13
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We can't know what the classroom will look or feel like. We do know, however, that most school districts are organized to deliver education that inhibits rather than encourages innovation. That needs to change.
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like "Deeper Learning" as a way to convey both the acquisition of knowledge and the transference/application of knowledge along with developing skills employers find valuable -- collaboration, communications and critical thinking
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t's time to move on and work together to develop education systems that meet students where they live and provide a relevant education to develop cognitive and non-cognitive skills
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Of course, schools and classroom practices need to be current -- what teacher or district leader would say that we should continue to teach the way we did back in the "good ol' days?" Can you show me a successful organization or business that prides itself on keeping things exactly the way they were?
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We need to believe the adults delivering education services are capable of being innovative, adaptive and collaborative and welcome being accountable for student outcomes. Then we need to invest in this belief by providing both the professional development and the infrastructure to make this belief a reality for all students and all teachers.
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Ultimately, it is about delivering core education in today's world by today's standards of success.
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I believe this is the basic approach: Education needs to be more relevant and rigorous for students. Educational institutions need to be more engaging and empowering for teachers. A high school diploma needs to be more directly applicable and valued in the economy. These are attainable goals; all education investments should be measured against these objectives.
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Lydia Dobyns: A '21st Century' Education Is SO Last Century http://t.co/fieSUgnj #deeperlearning #edleader21
How to Write an Introduction for an Academic Book - Manuscript Works - 6 views