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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

"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.
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
Clint Heitz

ASCD Express 13.16 - The Keys to Content-Area Writing: Short, Frequent, and Shared - 17 views

www.ascd.org/...1316-steineke.aspx

writing writing-content-area

shared by Clint Heitz on 09 May 18 - No Cached
  • Examine your students' background knowledge on a new topic of study by asking them to write about it. Pass out index cards and instruct students to fill only one side with their related thoughts and experiences. Provide a minute to write followed by a minute to discuss their ideas with a nearby partner. Collect the cards and set them aside until the end of the unit. Then, ask students to revisit their original notes and, on the backs of their cards, describe how their thinking has expanded or changed on this issue. The initial card writing gives you an insight into background knowledge, while the final card writing offers students insight into their thinking and learning.
  • If we continue to believe that we must collect and grade every piece of student writing, our exhaustion will result in students writing far less. Sure, if necessary, we can award points, checks, or stamps, but these should simply be records of whether the students gave a good-faith effort (full credit) or not (no credit), not grades that attempt to assess the writing (Vopat, 2009).
  • Offer students an intriguing content-area prompt. For example, if the topic was e-waste, you might ask students to write about the importance of e-devices in their own lives or you might project a photograph of a mountain of discarded, obsolete cell phones. Let students think and write for a minute or two. Then, working with a partner, have each student read aloud what they wrote and discuss their ideas. Another very social writing activity is written conversation. Starting in groups of three or four, students silently respond to a content-related prompt, writing for several minutes until most class members have about a third or half a page of writing. Then, within the group, students pass their papers to their right. Now, each student must read the previous writer's thoughts and expand the conversation by exploring ideas and asking questions. After a few minutes of writing, papers are passed again, and the conversation continues to blossom as more and more ideas and responses are added. When the paper returns to the owner after several passes, each student gets to read a very interesting conversation that began with their initial written response. Of course, this written conversation could continue as an out-loud discussion, as well.
  • ...1 more annotation...
  • If you want students to be better readers, writers, and thinkers in every content area, then writing every day in every class is key. Be sure to make that informal and spontaneous writing short, frequent, and shared.
  • Clint Heitz on 09 May 18
     
    "Examine your students' background knowledge on a new topic of study by asking them to write about it. Pass out index cards and instruct students to fill only one side with their related thoughts and experiences. Provide a minute to write followed by a minute to discuss their ideas with a nearby partner. Collect the cards and set them aside until the end of the unit. Then, ask students to revisit their original notes and, on the backs of their cards, describe how their thinking has expanded or changed on this issue. The initial card writing gives you an insight into background knowledge, while the final card writing offers students insight into their thinking and learning."
Jeff Andersen

Quality digital tools and services enhance the student experience, boost recruitment efforts | Education Dive - 9 views

www.educationdive.com/...513160

technology and student experiences

shared by Jeff Andersen on 15 Dec 17 - No Cached
  • Jeff Andersen on 15 Dec 17
     
    Dive Brief: Implementing new technologies can yield challenges for students, faculty and other campus users that are not accustomed to these tools, especially if instruction on their use is "nebulous and frustrating," writes Eric Stoller, a student affairs and technology blogger for Inside Higher Ed. Stoller suggests institutions provide quality customer service around digital services, and pressure "old-guard" technology companies to provide systems that meet or exceed users' expectations or aligning themselves with "solutions/providers with less built-in corporate rigidity." He also advises that institutions' marketing teams and communications offices make sure that digital services like campus mobile apps make sense for their students' preferred user experiences, so that the technologies enhance the overall student experience and boost branding and recruitment efforts.
Martin Burrett

Potion Instructional Writing - 20 views

ukedchat.com/...uctional-writing-ukedresources

instructional writing literacy English writing

shared by Martin Burrett on 12 Dec 17 - No Cached
  • Martin Burrett on 12 Dec 17
     
    "Editable example of instructional writing - Making a Learning Enhancing Potion"
globalwrobel

Digital Natives: Do They Really THINK Differently? - 41 views

www.marcprensky.com/...l%20Immigrants%20-%20Part2.pdf

digital_natives education technology prensky digital learner

shared by globalwrobel on 26 Jul 17 - No Cached
  • globalwrobel on 26 Jul 17
     
    by Marc Prensky Our children today are being socialized in a way that is vastly different from their parents. The numbers are overwhelming: over 10,000 hours playing videogames, over 200,000 emails and instant messages sent and received; over 10,000 hours talking on digital cell phones; over 20,000 hours watching TV (a high percentage fast speed MTV), over 500,000 commercials seen-all before the kids leave college. And, maybe, at the very most, 5,000 hours of book reading. These are today's ―Digital Native‖ students. 1 In Digital Natives, Digital Immigrants: Part I, I discussed how the differences between our Digital Native students and their Digital Immigrant teachers lie at the root of a great many of today's educational problems. I suggested that Digital Natives' brains are likely physically different as a result of the digital input they received growing up. And I submitted that learning via digital games is one good way to reach Digital Natives in their ―native language.‖ Here I present evidence for why I think this is so. It comes from neurobiology, social psychology, and from studies done on children using games for learning.
  • globalwrobel on 26 Jul 17
     
    by Marc Prensky Our children today are being socialized in a way that is vastly different from their parents. The numbers are overwhelming: over 10,000 hours playing videogames, over 200,000 emails and instant messages sent and received; over 10,000 hours talking on digital cell phones; over 20,000 hours watching TV (a high percentage fast speed MTV), over 500,000 commercials seen-all before the kids leave college. And, maybe, at the very most, 5,000 hours of book reading. These are today's ―Digital Native‖ students. 1 In Digital Natives, Digital Immigrants: Part I, I discussed how the differences between our Digital Native students and their Digital Immigrant teachers lie at the root of a great many of today's educational problems. I suggested that Digital Natives' brains are likely physically different as a result of the digital input they received growing up. And I submitted that learning via digital games is one good way to reach Digital Natives in their ―native language.‖ Here I present evidence for why I think this is so. It comes from neurobiology, social psychology, and from studies done on children using games for learning.
  • Beth Holland on 28 Jul 17
     
    Hi. I wrote a paper about digital natives as part of an anthropology assignment for a doctoral course. Researchers from around the world have empirically proven that Prensky's theories are false. Additionally, while neuroscience has shown that brains do change as a result of neuroplasticity, to argue that it is generational is also a false claim. Though cognitive theory shows that learners bring their prior experiences to the interpretation of new educational opportunities - impacting attention and interpretation - all generations have had this occur. There is merit to the point that we should take learner's prior experience into consideration when designing instruction; however, Prensky's digital native claims may have done more to create tension between students and teachers than to provide instructional support. If you would like any of the scholarly studies, I have a published reference list at http://brholland.com/reference-list. Beth
anonymous

What are the Disadvantages of Online Schooling for Higher Education? - 18 views

study.com/...ling_for_Higher_Education.html

online disadvantages

shared by anonymous on 23 Oct 16 - No Cached
  • anonymous on 23 Oct 16
     
    "hat Are the Disadvantages of Online Schooling for Higher Education? Today, online schooling for higher education is prevalent across many fields. While there are several benefits to online schooling, such as flexibility and convenience, there are also real and perceived disadvantages. Explore some of the potential drawbacks of online learning. View 10 Popular Schools » Online Schooling In 2012, about a quarter of undergraduate college students were enrolled in distance education courses as part -- if not all -- of their studies, according to a 2014 report from the National Center for Education Statistics. That same data found that 29.8% of graduate students in this country are enrolled in some or all distance learning classes as well. A 2013 report from Babson Survey Research Group and Quahog Research Group, LLC, pointed out that approximately 86.5% of higher education institutions offer distance learning classes. Clearly, online schooling is commonplace. Disadvantages: Student Perspective Despite advantages, online schooling is not the right fit for every student. Taking online courses is generally believed to require more self-discipline than completing a degree on campus, a belief that is supported by SCHEV -- the State Council of Higher Education for Virginia. Because online schooling options often allow students to complete much of the coursework at their own pace, students must be motivated to stay on schedule and manage their time accordingly. Other potential disadvantages from a student's viewpoint may include the following: Less Instructional Support Although instructors are available to students via e-mail, telephone, Web discussion boards and other online means, some students may see the lack of face-to-face interaction and one-on-one instruction as a challenge. A lack of communication or miscommunication between instructors and students may frustrate students who are struggling with course materials. That could be exacerbated by the casual nature
Clint Heitz

Edu Leadership:Tech-Rich Learning:The Basics of Blended Instruction - 38 views

www.ascd.org/...cs-of-Blended-Instruction.aspx

classroom blended learning technology blended_learning edtech

shared by Clint Heitz on 23 Nov 15 - No Cached
  • Blended learning, with its mix of technology and traditional face-to-face instruction, is a great approach. Blended learning combines classroom learning with online learning, in which students can, in part, control the time, pace, and place of their learning. I advocate a teacher-designed blended learning model, in which teachers determine the combination that's right for them and their students.
  • Tip 1: Think big, but start small.
  • Tip 2: Patience is a virtue when trying something new.
  • ...17 more annotations...
  • Tip 3: Technology shouldn't be just a frill.
  • Tip 4: Weaving media together makes them stronger.
  • Tip 5: Students need to know where they can get online.
  • Student-centered classrooms are the goal of my teacher-designed blended learning model. Giving students control over the learning process requires that they know how to communicate, collaborate, and solve problems in groups, pairs, and individually. This work can be messy, loud, and disorganized, but in the end, the learning is much more meaningful.
  • Then I found Collaborize Classroom, a free, dynamic discussion platform. I used it to replace many of my pen-and-paper homework assignments with vibrant online debates, discussions, writing assignments, and collaborative group work.
  • Remember that mistakes lead to learning. The best resources I've designed and the most effective strategies I've developed were all born from and refined through mistakes.
  • I anticipated that students might hit some bumps as they navigated their first TED-Ed lesson, so I set up a TodaysMeet back channel so students could ask questions, make comments, and access a support network while going through the online lesson. A back-channel tool makes it possible for people to have a real-time conversation online while a live presentation or real-time discussion is taking place.
  • I asked students to reference specific details to support their assertions, as did one student who commented on the town's poverty by noting that the local doctor often took potatoes as payment for his work. She also showed how the characters nevertheless reflected the country's "cautious optimism" about its future: That same doctor was still able to support himself, she pointed out, and he enjoyed his work. Students posted their responses, complimenting strong points made, asking questions, and offering alternative perspectives.
  • I asked students to analyze examples of strong discussion posts and revise weaker posts. I also realized that I needed to embed directions into our discussion topics to remind students to respond to the questions and engage with their peers. I started requiring them to thoughtfully reply to at least two classmates' posts, in addition to posting their own response to the topic.
  • It's crucial for students to see that the work they do in the online space drives the work they do in the classroom so they recognize the value of the online conversations.
  • For example, during the To Kill a Mockingbird unit, we researched and discussed the death penalty in preparation for writing an argument essay. The students debated online such issues as cost, morality, and racial inequality and then delved into these topics more deeply face-to-face in class.
  • In the classroom, the teacher might give small groups various topics to research. Then he or she could ask students to go online to research and discuss their topic on a shared Google Doc and create a presentation using Glogster, Prezi, or Google Presentation Maker.
  • When we read Romeo and Juliet, I use this strategy to encourage students to research such topics as the monarchy, entertainment, and gender roles in Elizabethan England so they have a better understanding of the historical context in which Shakespeare wrote. Back in the classroom, each group then presents its findings through an oral presentation.
  • Compared with traditional in-class group work, which typically yields a disappointing finished product, online work provides the time necessary for students to complete quality work together.
  • Some teachers think that incorporating online work means they have to be available 24 hours a day. This is not the case. When students are connected online, they have a network of peers they can reach out to for support, and they begin to see one another as valuable resources in their class community.
  • I've embedded a Google map in my website that has pins dropped in all the locations on our campus and in our community where there are computers with public access to the Internet.
  • I even wrote the local computer recycling center to request a computer for my class.
Lisa C. Hurst

Inside the School Silicon Valley Thinks Will Save Education | WIRED - 9 views

www.wired.com/altschool

shared by Lisa C. Hurst on 05 May 15 - No Cached
  • Lisa C. Hurst on 05 May 15
     
    "AUTHOR: ISSIE LAPOWSKY. ISSIE LAPOWSKY DATE OF PUBLICATION: 05.04.15. 05.04.15 TIME OF PUBLICATION: 7:00 AM. 7:00 AM INSIDE THE SCHOOL SILICON VALLEY THINKS WILL SAVE EDUCATION Click to Open Overlay Gallery Students in the youngest class at the Fort Mason AltSchool help their teacher, Jennifer Aguilar, compile a list of what they know and what they want to know about butterflies. CHRISTIE HEMM KLOK/WIRED SO YOU'RE A parent, thinking about sending your 7-year-old to this rogue startup of a school you heard about from your friend's neighbor's sister. It's prospective parent information day, and you make the trek to San Francisco's South of Market neighborhood. You walk up to the second floor of the school, file into a glass-walled conference room overlooking a classroom, and take a seat alongside dozens of other parents who, like you, feel that public schools-with their endless bubble-filled tests, 38-kid classrooms, and antiquated approach to learning-just aren't cutting it. At the same time, you're thinking: this school is kind of weird. On one side of the glass is a cheery little scene, with two teachers leading two different middle school lessons on opposite ends of the room. But on the other side is something altogether unusual: an airy and open office with vaulted ceilings, sunlight streaming onto low-slung couches, and rows of hoodie-wearing employees typing away on their computers while munching on free snacks from the kitchen. And while you can't quite be sure, you think that might be a robot on wheels roaming about. Then there's the guy who's standing at the front of the conference room, the school's founder. Dressed in the San Francisco standard issue t-shirt and jeans, he's unlike any school administrator you've ever met. But the more he talks about how this school uses technology to enhance and individualize education, the more you start to like what he has to say. And so, if you are truly fed up with the school stat
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
Matt Renwick

How and How Not to Prepare Students for the New Tests - Shanahan - 2014 - The Reading Teacher - Wiley Online Library - 51 views

onlinelibrary.wiley.com/...full

students tests reading teacher beliefs+practices

shared by Matt Renwick on 22 Nov 14 - No Cached
  • read extensively within instruction
  • read increasing amounts of text without guidance or support.
  • rich in content and sufficiently challenging
  • ...2 more annotations...
  • explain their answers and provide text evidence
  • writing about text, not just in replying to multiple-choice questions.
Sharin Tebo

4 Steps to Empower Student Voice | The Remind Blog - 39 views

blog.remind.com/empower-student-voice

voice student instructional personalizedlearning personalized

shared by Sharin Tebo on 05 Nov 14 - No Cached
  • The term “student voice” refers to the input and perspectives of students, and describes how their voices and actions affect what happens in the classroom. Through developing their own questions, seeking out their interests, and driving their own learning, students become more involved in their education. With this involvement comes empowerment, as students are able to use their knowledge to contribute to the greater community.
  • 1. Inclusion When students feel that they matter and are included in the classroom community, they are much more likely to open up and share their perspectives.
  • 2. Integration Begin to integrate student voice into your daily lessons by creating more opportunities for students to contribute. This can come in the form of whole classroom discussion, small group activities, input on writing activities, and more
  • ...3 more annotations...
  • At the transformational level, teachers can draw on student input to shape curricular goals for the class.
  • Student empowerment enables students to use their knowledge to contribute to the classroom and greater outside community. When students feel comfortable sharing their voices, they grow into positions of leadership.
  • Resources Encourage student voice in your classroom and school community with some of these helpful resources: Student Voice: Student Voice has toolkit filled with classroom resources, student voice stories, and more that will allow you to transform your classroom into one where students can thrive. Edutopia: Check out some of these great articles and resources for highlighting student voice in your classroom. Students at the Center: Motivation, engagement, and student voice activities. MindShift KQED: From student voices, learn what students say about being trusted partners in learning.
  • Sharin Tebo on 05 Nov 14
     
    Voice and Choice--Encouraging it in 4 steps to personalize the learning experience.
Jess Hazlewood

"Where's the Writer" TETYC March 2014 - 43 views

DIIGO_FILE_HOME/1dj8a/b5ju

shared by Jess Hazlewood on 03 Sep 14 - No Cached
  • “Responders Are Taught, Not Born”
  • We contend that student writers will see greater value in peer response if they develop tools that allow them to participate more actively in the feedback process. With teaching suggestions like those above, writers can learn how to re-flect on their experiences with peer response. They can also learn to identify their needs as writers and how to ask questions that will solicit the feedback they need.
  • We like to limit each mock session to no more than seven minutes of back and forth between respondent and writer.
  • ...33 more annotations...
  • class suggests that the writer’s question
  • This becomes a teachable moment. When the respondent asks for assistance from the class, this break in the session becomes an opportunity for the class to assist the writer and the respondent. The writer appears stuck, not knowing what to ask. And the respondent appears perplexed, too.
  • we follow Carl Anderson’s suggestion to teach students how to ask questions about their writing through role-playing.
  • dynamic list that students freely update throughout the semester on the class classro
  • organize the questions within categories such as tone, content, evidence-based support, style, and logistics
  • The end result is a robust list of questions for writers to ask of their respondents.
  • in-class discussion about effective and less effective questions for writers
  • raft three to five questions they have about the assignment to ask of their peers as they prepare to write or revise their assignment. When appropriate, we can direct our students to the course text, where there are
  • : pointing, summarizing, and reflecting
  • Students’ comments often point to their struggle to position themselves in peer response.
  • “What would it take for you to be in-vested as writers in peer response?” Students’ typical responses include the following:>“I need to know what to ask.” >“I don’t know what to ask about my writing, except for things like punctua-tion and grammar.”>“Does the person reading my work really know what the assignment is? Bet-ter than I do?”>“I’m not really sure if I’m supposed to talk or ask questions when someone is giving me feedback about my work, so I don’t really do anything. They write stuff on my paper. Sometimes I read it if I can, but I don’t really know what to do with it.”
  • it is important to offer activities to ensure that both respondents and writers are able to articulate a clear purpose of what they are trying to accomplish. These activities, guided by the pedagogies used to prepare writing center consultants
  • devote more attention to the respondent than to the writer, we may unwit-tingly be encouraging writers to be bystanders, rather than active participants, in the response process.
  • , “Feedback: What Works for You and How Do You Get It?”
  • highlight the value of both giving and getting feedback:In 56 pages near the end of this book, we’ve explained all the good methods we know for getting feedback from classmates on your writing. . . . The ability to give responses to your classmates’ writing and to get their responses to your own writing may be the most important thing you learn from this book. (B
  • we question whether textbooks provide emergent writers with enough tools or explicit models to engage actively in peer response conversations.
  • While such questions are helpful to emerging writers, who depend on modeling, they lack explanation about what makes them “helpful” questions. As a result, emerging writers may perceive them as a prescriptive set of questions that must be answered (or worse, a set of questions to be “given over” to a respondent), rather than what they are intended to be: questions that could advance the writer’s thoughts and agenda.
  • this information is limited to the instructor’s manual
  • llustrates the difference be-tween vague and helpful questions, pointing out that helpful questions
  • You will need to train students to ask good questions, which will help reviewers target their attention.Questions like “How can I make this draft better?” “What grade do you think this will get?” and “What did you think?” are not helpful, as they are vague and don’t reflect anything about the writer’s own thoughts. Questions like “Am I getting off topic in the introduction when I talk about walking my sister to the corner on her first day of school?” or “Does my tone on page 3 seem harsh? I’m trying to be fair to the people who disagree with the decision I’m describing” help readers understand the writer’s purpose and will set up good conversations. (Harrington 14, emphasis added
  • uestions” when soliciting feedback (like the advice we found in many textbooks), she also provides explicit examples for doing so
  • he most explicit advice for writers about ask-ing questions and, in effect, setting up good conversations is buried in an instruc-tor’s manual for The Allyn & Bacon Guide to Writing. In thi
  • “Getting Response” chapter later in the book, they will benefit from the textbook authors’ instructions that they should in fact use questions that will help them solicit their feedback
  • dependent on what parts of the textbook they choose to read
  • point writers to a specific set of questions that they should ask of their respondents. Such instructions take a notable step toward shifting the locus of control from the respondent to helping writers engage their peers in conversation.
  • there is no mention that writers might use them for purposes of soliciting feedback.
  • we see an opportunity for modeling that is not fully realized.
  • we argue that Faigley offers respondents specific examples that empower them to actively engage the process and give feedback. We contend that emergent writers need a similar level of instruction if they are to be agents in response.
  • textbook authors offer few examples for how to get specific feedback
  • Peter Elbow and Pat Belanoff ’s first edition of A Community of Writers published in 1995, in which eleven “Sharing and Responding” techniques, d
  • we worked to understand how textbooks highlight the writer’s role in peer response.
  • We wanted to know what books tell writers about asking questions
  • lthough we do not discount the importance of teaching respondents how to give feedback, we argue that writers must also be taught how to request the feedback they desire.
  • Jess Hazlewood on 03 Sep 14
     
    Writer's role in soliciting feedback during peer edit. Suggestions for modeling and training.
Allison Mimms

Differentiating Instruction with Technology - 111 views

www.iste.org/...DIFFK5-excerpt.pdf

differenciating with technology

shared by Allison Mimms on 17 Jun 14 - No Cached
  • instructionalstrategies
  • 1.Recognizing similarities and differences
  • Graphic organizers such as the Venn diagram and Comparison matrix
  • ...18 more annotations...
  • Represent similarities and differences in graphic or symbolic form
  • Sorting, classifying, using metaphors and analogies
  • Word processing tables (Word software)
  • Web-based/downloadable graphic organizers
  • Inspiration and Kidspiration software
  • Beginning, middle, end
  • Clarifying information
  • Teacher-prepared and student-prepared comments
  • Webbing
  • Cornell Note-taking Forms
  • Inspiration and Kidspiration software
  • NoteStar
  • Read•Write•Think Notetaker
  • Word processing notes (Word software
  • 5.Nonlinguistic representations:
  • Creating graphic representations
  • Drawing pictures and pictographsEngaging in kinesthetic activityGenerating mental picturesMaking physical models
  • Digital camerasGraph Club softwareInspiration and Kidspiration softwareKid Pix software
  • Allison Mimms on 17 Jun 14
     
    This is from a website that explains why differentiating instruction is important. It also includes ways to incorporate technology in the classroom to help differentiate lessons.
Marti Pike

Perspectives on RtI - 32 views

www.2enewsletter.com/...13_01_Perspectives_on_RtI.html

2E

shared by Marti Pike on 02 May 14 - No Cached
  • all students have the opportunity to do what the 2e student is doing
    • Marti Pike
      Marti Pike on 02 May 14
       
      What does this look like?
  • Avoid taking ove
  • Start with talent developmen
  • ...15 more annotations...
  • r their gift
  • enjoy success at school
  • Separate grades for writing content and spelling
  • Instruction at her gifted conceptual level,
  • Gifted enrichment options.
  • Gifted educational provisions can move primarily into regular education,
  • achieve in relationship to their potential
  • need conceptual complexity
  • Gifted education programs and professionals
  • short supply
  • Teacher training.
  • differentiate
  • Avoid
  • requiring them to qualify separately
  • Develop students’ strengths to remediate their weaknesses.
  • Marti Pike on 02 May 14
     
    2E
Sydney Lacey

Six Scaffolding Strategies to Use with Your Students | Edutopia - 13 views

www.edutopia.org/...s-six-strategies-rebecca-alber

scaffolding strategies

shared by Sydney Lacey on 07 Mar 14 - No Cached
  • Sydney Lacey on 07 Mar 14
     
    "Let's start by agreeing that scaffolding a lesson and differentiating instruction are two different things. Scaffolding is breaking up the learning into chunks and then providing a tool, or structure, with each chunk. When scaffolding reading, for example, you might preview the text and discuss key vocabulary, or chunk the text and read and discuss as you go. With differentiation, you may give a child an entirely different piece of text to read, you might shorten the text or alter it, and you may modify the writing assignment that follows."
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