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Nigel Coutts

Might curriculum overloading come from "Idea Creep" - The Learner's Way - 10 views

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    I would like to propose that one cause of curriculum overcrowding is a phenomenon I refer to as "Idea Creep".
Anthony Giannini

Discipline - 15 views

  •      ClassPeriodSectionDaysRoomSemester Computer Information & Technology 1 1A,B167S1, S2 Computer and Information Technology 2 1B314S1, S2 Computer and Information Technology 3 2B314S1, S2 Computer Applications 4 1A,B314S1, S2 to
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  • ClassesSearchCampusReportsActionsMissing StudentsMessagesMy Home Welcome, Anthony Giannini, today is Friday, December 6, 2019 #pnlExpand, #pnlCollapse{ padding-top: 5px; padding-bottom: 10px; } Show Cycle Day Information Hide Cycle Day Information Cycle day B in Emanuel Axelrod Education Center - John A. Flannery High School and John A. Flannery Middle School Cycle day B in Regional Education Center At Arden Hill - Marguerite A. Flood Middle School, Marguerite A. Flood High School, Academy at Arden Hill High School and Academy at Arden Hill Middle School Cycle day B in Chester School District Satellite - Chester Academy Satellite MS CurrentTodayAll Take attendance at: 01 02 03 04 05 06 07 08 09 10 11 12 : 00 01 02 03 04 05</opti
meghankelly492

Mental skills for musicians: Managing music performance anxiety and enhancing performance. - 1 views

  • In asurvey of 2,212 classical musicians, 40% re-ported that anxiety interfered with their perfor-mances (Kirchner, Bloom, &amp; Skutnick–Henley,
  • , see Kenny (2005) andMcGinnis and Milling (2005
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe &amp; Fidler, 1987)
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  • did notreturn any recent studies investigating the effec-tiveness of a purely cognitive intervention in thetreatment of MPA; consequently, research inthis particular area is needed
  • Past re-search has focused on combined interventions;however, often these programs run for over 6weeks and it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, &amp; Papsdorf, 1989)
  • State–Trait Anxiety Inventory (STAI).The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale(Kenny, 2006).
  • The PAI (Nagel, Himle, &amp; Papsdorf, 1981) isbased on the STAI and is a music inventoryassessing the three-systems model of anxiety
  • heart rate at 10 min, 5
  • Signs of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating.
  • Nagel et al.reported that the average preintervention scorewas 55 and the average postintervention scorewas 38, with a score of 39 or less indicating a
  • person has few problems with performance anx-iety
  • Researchers have found that MPA af-fects instrumentalists and vocalists of all agesand abilities, including students, professionals,amateurs, and children (Brotons, 1994; Kenny,2006; Liston, Frost, &amp; Mohr, 2003)
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe &amp; Fidler, 1987)
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe &amp; Fidler, 1987
  • The cognitive intervention had no significanteffect on anxiety levels. Sweeney and Horan’s(1982) study indicated that a cognitive restruc-turing program may be helpful in the treatmentof MPA; their program, featuring cognitive re-structuring, significantly reduced anxiety.
  • d it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, &amp; Papsdorf, 1989)
  • The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale
  • Performance Anxiety Inventory (PAI)
  • cognitive, behavioral, and physiological fac
  • and has beenwidely used in treatment outcome research
  • Behavioral Anxiety Index (BAI)
  • igns of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating
  • Participants were then taught howthoughts, behaviors, and feelings interact andinfluence performance
  • practical exercise, how people waste their en-ergy trying to control uncontrollable factors,thereby impairing performance
  • This exercise wasdesigned to demonstrate how thoughts cansometimes be irrational and can be changed inlight of new evidence
  • how to use self-talk effectively and how touse cues
  • Participants practiced how to identify negativethoughts, stop the thoughts, and use cues to helpthem overcome the negative thoughts.
  • Imagery is a mentalexercise that can help athletes maintain concen-tration, decrease anxiety, and improve confi-dence; thus, it may also be helpful for somemusicians (Gregg &amp; Clark, 2007).
  • Participants in the wait-list controlgroup waited 3 weeks until their second perfor-mance, which was on the same night as theirfirst worksho
  • MPA is a pervasive problem affecting musi-cians of all ages and abilities. As compared withthe research on mental skills training in athletes,relatively little is known about the assessment,treatment, and theoretical underpinnings ofMPA
  • Kenny (2006) suggested that improving perfor-mance quality will have a positive, self-reinforcing effect on the musician and enhanceconfidence in future performances.
  • We predicted that anxiety levels would de-crease in the treatment group from pre- to post-test. This hypothesis was partially supported.Specifically, there was a significant reductionon the PAI in the treatment group. Although theparticipants improved after the intervention,they were still not within the optimal rangeaccording to Nagel et al. (1981
  • Although the decrease in anxiety was notas large in our study, our participants droppedfrom the high performance anxiety category tothe moderate performance anxiety category
meghankelly492

Precompetitive appraisal, performance anxiety and confidence in conservatorium musicians: A case for coping - Margaret S. Osborne, Gary E. McPherson, 2019 - 0 views

  • Primary and secondary appraisals formed theoretically consistent and reliable evaluations of threat and challenge. Secondary appraisals were significantly lower for students who viewed the performance as a threat. Students who viewed the performance as a challenge reported significantly less cognitive anxiety and higher self-confidence. Findings indicate that the PAM is a brief and reliable measure of cognitive appraisals that trigger precompetitive emotions of anxiety and confidence which can be used to identify those performers who could benefit from pre-performance intervention strategies to manage performance stress.
  • Music performance anxiety (MPA) can be controlled when musicians cognitively restructure their own thoughts and feelings about their performance by anticipating symptoms of anxiety and turning them to constructive use
  • The cognitive interpretation, or appraisal, of an initial emotional response, such as fear, exerts a proximal influence on performance
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  • and substantially determines if performers will suffer emotion-related detriments or profit from emotion-related benefits
  • Emotions that are too weak or intense and feel unpleasant lead to lower motivation, distracted attention, and reduced performance.
  • On the other hand, appropriately intense emotions which feel pleasant and are expected to help future performance are more likely to lead to increased effort, better decision making, and hence enhanced performance
  • Mann-Whitney U tests of mean ranks showed that compared to students who viewed performance as a threat (MThreat = 7.00, SDThreat = 0.99), students who viewed performance as a challenge (MChallenge = 5.02, SDChallenge = 1.91); reported significantly less cognitive anxiety at pre-recital (U = 21.00, z = -2.167, p = .028) and significantly higher self-confidence both at the start of semester, (MThreat = 4.79, SDThreat = 0.90; MChallenge = 6.42, SDChallenge = 1.08; U = 29.50, z = -3.555, p &lt; .001) and pre-recital (MThreat = 4.45, SDThreat = 0.72; MChallenge = 6.55, SDChallenge = 0.98; U = 2.50, z = -3.104, p &lt; .001, Figure 2).
meghankelly492

The association of music experience, pattern of practice and performance anxiety with playing-related musculoskeletal problems (PRMP) in children learning instrumental music - Sonia Ranelli, Anne Smith, Leon Straker, 2015 - 0 views

  • Music inexperience, changed pattern of practice and performance anxiety are associated with playing-related problems in child instrumentalists and are therefore important issues for music education.
  • Research on adult musicians has adopted these models and identified individual intrinsic factors such as age and gender, music performance anxiety and enjoyment, extrinsic factors such as music practice habits and type of instrument played and intrinsic–extrinsic interaction factors such as playing posture, technique and student–teacher interaction which influence the development of PRMP.
  • The aim of this study was to describe the music practice of child instrumentalists and determine their associations with playing-related musculoskeletal problems (PRMP), accounting for gender and age
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  • Symptoms of performance anxiety are generally categorized into cognitive (e.g. catastrophic thoughts), behavioral (e.g. avoidance of performance/auditions) and physiological (e.g. dry mouth, shaking arms/hands, increased heart rate) (Plaut, 1990; Salmon, 1990).
  • Shoup (1995) reported performance anxiety negatively affected performance in 55% (234/425) junior high and high school instrumentalists.
  • Over a third of students (36%, 263) reported they experienced the feeling of butterflies most times to always when playing in a concert or competition (Table 1).
  • There was a significant association between gender and the experience of butterflies (χ2 = 32.32, df (4), p &lt; .001) with more females reporting the experience of butterflies than males. There was a significant association between age and reported experience of the feeling of butterflies (F = 9.012, df (3), p &lt; .001), with older children reporting the experience of butterflies more than younger children.
meghankelly492

Music performance skills: A two-pronged approach - facilitating optimal music performance and reducing music performance anxiety - Susanna Cohen, Ehud Bodner, 2019 - 1 views

  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
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  • The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
  • Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
  • There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, &amp; Ellis, 1988; Kenny, Driscoll, &amp; Ackerman, 2014) through to child beginners
  • Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
  • “when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen &amp; Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
  • Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin &amp; Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen &amp; Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p &gt; .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p &gt; .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
  • This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark &amp; Williamon, 2011; Hoffman &amp; Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
  • Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
  • The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
  • Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
  • “Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
  • Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
  • Cohen, S., &amp; Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
Martin Burrett

Being bored by @sheep2763 - 7 views

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    "I am of an age where if, as a child, you said you were bored the answer was likely to be, "Only boring people are bored," and be left to find something to do. There was always something to do, go outside and throw a tennis ball against a wall, go out on your bike, do some colouring, play with the Lego, do a jigsaw OR if you really got bored do your homework or tidy your bedroom! Nowadays it seems that the majority of children do not often seem to say that they are bored. They don't often have to find their own entertainment, use their imagination or even have several hours at a time that are not pre-filled with activities. Parents (normally) want to do their best for their children. Charlie wants to do football - that's 5:30 on Wednesday, Sammie wants to do ballet - that's 4:00 on Thursday, extra maths, Judo, trampolining, swimming, cubs… the list goes on, frequently only limited by the time to fit the activities for 2/3/4 children into a week."
Chema Falcó

Fundamentals of Creativity - 10 views

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    1 Creativity Takes More Than Originality 2 There Are Different Levels of Creativity 3 Context Matters 4 Creativity Comes at a Cost. Creativity requires work, effort, and risk 5 There's a Time and a Place for Creativity
maruxa77

TIC para innovar: Clase invertida (flipped classroom) ventajas y desventajas - 1 views

  • Clase invertida (flipped classroom) ventajas y desventajas &nbsp; La clase invertida propone que el aprendizaje de los estudiantes se suscite fuera de la clase. Este modelo pedagógico o estrategia didáctica ofrece una forma de aprendizaje semi presencial ya que los estudiantes pueden aprender desde sus casas mediante juegos, presentaciones, videos, podcast, ejercicios en línea, y tanto los docentes como estudiantes interactúan para resolver problemas. Esto denota un consumo menor de tiempo en el aula que se puede ocupar para otras actividades, sin más deseo compartirles las ventajas y desventajas de la Clase invertida: Ventajas: 1.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Adaptabilidad de la clase se adapta al ritmo del estudiante. 2.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Mejora significativamente el ambiente de trabajo en el aula. 3.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Incrementa la atención educativa a cada estudiantes 4.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Empata el estilo de aprendizaje de cada estudiante. 5.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Transforma la clase en un espacio de interactividad 6.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Incluye a todos los miembros de la comunidad educativa en el proceso de aprendizaje. 7.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Promueve la creatividad y el pensamiento crítico. 8.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Facilita la entrega de tareas y su revisión. 9.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Disminuye el riesgo del incumplimiento en clase. 10.&nbsp;&nbsp; Permite la reusabilidad del material propuesto. 11.&nbsp;&nbsp; Origina el ahorro de tiempo extra para el profesor. 12.&nbsp;&nbsp; Promueve la interacción social. 13.&nbsp;&nbsp; Incentiva a la resolución de problemas en clase. 14.&nbsp;&nbsp; Mejora la actitud de los estudiantes hacia la materia. 15.&nbsp;&nbsp; Incrementa el interés el interés y la motivación. 16.&nbsp;&nbsp; Genera la satisfacción de toda la comunidad educativa al estar inmersos en el proceso. 17.&nbsp;&nbsp; El feedback se genera de manera inmediata. 18.&nbsp;&nbsp; Acerca a los estudiantes al conocimiento de manera simple. 19.&nbsp;&nbsp; Evalúa no solo el resultado, si no, el proceso entero. 20.&nbsp;&nbsp; Los estudiantes son responsables de su propio aprendizaje. 21.&nbsp;&nbsp; Permite la regeneración de contenidos las veces necesarias. Desventajas 1.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Se debe estructura el plan en mejora de la metodología. 2.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Se enfoca en los recursos más que en la metodología en sí. 3.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; No toma en cuenta la brecha digital existente. 4.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Los vídeos en casa deben ser asistidos por algún representante, demandando tiempo. 5.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs
jnet0124

Can Mary Shelley's Frankenstein be read as an early research ethics text? | Medical Humanities - 7 views

shared by jnet0124 on 13 Nov 17 - No Cached
  • Can Mary Shelley’s Frankenstein be read as an early research ethics text?
    • jnet0124
       
      SEE HEAR
  • Frankenstein is an early and balanced text on the ethics of research upon human subjects and that it provides insights that are as valid today as when the novel was written.
  • Mary Shelley conceived the idea for and started writing Frankenstein in 1816 and it was first published in 1818.1 In its historical context, the earlier 17th and 18th centuries had seen the early signs of the rise of science and experimentation. Francis Bacon (1561–1626) had laid the theoretical foundations in his “Great Insauration”2 and scientists such as Boyle, Newton, and Hooke developed the experimental methods. Sir Robert Talbor, a 17th century apothecary and one of the key figures in developing the use of quinine to treat fevers, underlined this: “the most plausible reasons unless backed by some demonstrable experiments seem but suppositions or conjectures”.3
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  • The 18th century saw the continued construction of foundations upon which all subsequent medical experimentation has been built.
  • Lady Mary Montagu promoted smallpox vaccination; its proponents experimented on prisoners to study its efficacy, and James Jurin, the secretary of the Royal Society, developed mathematical proof of this in the face of ecclesiastical opposition.4 Many of the modern concepts of therapeutic trials were described although not widely accepted. Empirical observation through experimentation was starting to be recognised as the tool that allowed ascertainment of fact and truth. An account of Dr Bianchini’s experiments on “Le Medicin Electrique”, reported to the Royal Society explains that “The experiments were made by Dr Bianchini assisted by several curious and learned men … who not being able to separate what was true … determined to be guided by their own experiments and it was by this most troublesome though of all the others the most sure way, that they have learned to reject a great number of what have been published as facts.”5
  • Similarly, Henry Baker’s report to the Royal Society, describing Abbe Nollet’s experiments, outlined the need for comparative studies and that “treatment should not be condemned without a fair trial”6 and a Belgian doctor, Professor Lambergen, describing the use of deadly nightshade for the treatment of breast cancer wrote “Administration of this plant certainly merits the attention of the medical profession; and surely one may add entitles the medicine to future trials … nevertheless the most efficacious medicines are such if its efficacy by repeated trials be approved.”7 In the mid 18th century James Lind conducted the first controlled trial to establish a cure for scurvy and his Treatise on the Scurvy contains what could be seen in modern terminology as the first “review of the current literature” prior to a clinical trial.8
  • Her motives for writing Frankenstein are more difficult to define. In her introduction to the 1831 edition she writes that she wanted her work to … speak to the mysterious fears of our nature and awaken thrilling horror—one to make the reader dread to look round. If I did not accomplish these things, my ghost story would be unworthy of its name … (p 7, p 8)
  • The 1818 preface, written by Percy Bysshe Shelley, indicates a deeper purpose. He wrote that the story recommends itself as it “…affords a point of view on the imagination for the delineating of human passions more comprehensive and commanding than any which the ordinary relations of existing events can yield…” (p 11) and that “…I am by no means indifferent to the manner in which ... moral tendencies (that) exist in the sentiments of characters shall affect the reader…”(p 12).
Nigel Coutts

Educational Disadvantage - Socio-economic Status and Education Pt 3 - The Learner's Way - 11 views

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    Pedagogy and curriculum that engages students from low-socioeconomic backgrounds and is deemed personally relevant to the lives they live, are seen as important factors towards equality of outcome by Wrench, Hammond, McCallum and Price (2012). Their research involved designing a curriculum and pedagogy that would be highly engaging to students of low-socioeconomic status. 'The interventions involved curriculum redesigns that set meaningful, challenging learning task(s) (culminating in high quality learning products); strong connection to student life-worlds; and a performative expectation for student learning.' (Wrench et al 2012 p934)
lkoch79

Summer Camp Dates, Prices & Themes - 0 views

  • Week 1Jun 11 – Jun 17Super Heroes/Cartoons: DC or Marvel, Sponge Bob or Flintstones… Come dressed as your favorite super hero or animated star.Week 2Jun 18– Jun 24Disco Night: Friday Night Fever! Bell bottoms, tie dye and disco balls - GROOVY!Week 3Jun 25 – Jul 1Hawaiian Luau: Break out the grass skirt and flower shirt and get ready to limbo!Week 4Jul 2&nbsp;- Jul 8American Spirit: What better way to celebrate the 4th of July week. Come dressed as your favorite American hero. Great fireworks display over Marsh Lake highlights the week.Week 5Jul 9&nbsp;– Jul 1580s Night: Go back in time to whenneon, scrunchies, leg warmers and parachute pants were all the rage!Week 6Jul 16– Jul 22Sports Mania: Break out your favorite sport/team colors or come dressed as your all time favorite sports hero. Celebrate to the best “time-out” music we can find on a Jock Jams CD.Week 7Jul 23– Jul 29Christmas in July: July 25th is halfway to Christmas so why wait. Lets celebrate now!Week 8Jul 30– Aug 5Country Hoe Down: Pull out your cowboy boots for a foot stompin’ good time as we country line dance (or look like we’re trying anyway) and wear our 10-gallon hats!Week 9Aug 6&nbsp;– Aug 12Night at the Oscars: Dress up in your best formal wear, as your favorite big screen actor or as the paparazzi who follow them!
  • CartoonsWeek 2June 26 – June 30Wild Wild WestWeek 3July 3 – July 7American SpiritWeek 4July 10 – July 14Sports ManiaWeek 5July 17 – July 21Tecumseh-saurusWeek 6July 24 – July 28Pirates of TecumsehWeek 7July 31 – Aug 4Superheroes
  •  
    Stealing Theme Ideas
Nigel Coutts

Understanding understanding and its implications - The Learner's Way - 25 views

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    There are terms within education that we use with reckless abandon and as a result cause great levels of confusion. Understanding is one such word and its usage and our 'understanding' of it can have a significant effect on the learning we plan, deliver and assess. With multiple definitions and its broad usage in curriculum documents, philosophies of teaching and learning and as an indicator of the quality or depth of student learning it is a word we should better understand. 
arianelfv

DOF - Diario Oficial de la Federación - 4 views

  • Cobertura (tasa bruta de escolarización) en Educación media superior y superior1 (1990-2012) Ciclo escolar Media superior (15 a 17 años) Superior (18 a 23 años) Superior (18 a 22 años) &nbsp; &nbsp; &nbsp; Incluye posgrado No incluye posgrado Total Hombres Mujeres Total Hombres Mujeres Total Hombres Mujeres 1990-1991 34.1 34.7 color
    • arianelfv
       
      Evidencia: cruzarla con aumento de uso de plataformas virtuales para mostrar que la cobertura se eleva en función del uso de las plataformas
Della Gordon

argumentintherealworld - home - 25 views

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    Resources for Argument in the Real World Kristen Hawley Turner and Troy Hicks Published by Heinemann, November 2016 Welcome to the companion wiki for our upcoming Heinemann book, Argument in the Real World. You will find here links to resources that are mentioned in the book, as well as additional tools to help you and your students develop their argument skills. We also hope that you will connect with us on Twitter @teachKHT and @hickstro). ~ Kristen and Troy Chapter 1: The Nature of Argument in a Digital World Chapter 2: Analyzing Arguments that are Born Digital Chapter 3: The Moves of Argument in Web-based Text Chapter 4: The Moves of Argument in Infographics Chapter 5: The Moves of Argument in Video Chapter 6: The Moves of Argument in Social Media Chapter 7: Coaching Students' Work with Digital Arguments
serausch

Interactive Learning and Reading Activities for Students in Grades PreK-12 | Scholastic.com - 26 views

  • Story StartersGrades: PreK–K, 1–2, 3–5, 6–8This interactive tool creates quick writing prompts to help young students delve into creative writing.
  • Immigration: Stories of Yesterday and TodayGrades: PreK–K, 1–2, 3–5, 6–8Take a tour of Ellis Island, explore an interactive immigration timeline, and meet young immigrants in this online activity!
  • Science ExplorationsGrades: 3–5, 6–8, 9–12With the help of audio, text, photos, and video, students thoroughly explore six science topics, from the Galapagos Islands to giant squid.Read more &gt;
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    The Science Explorations link doesn't work.
brianarusso410

GoNoodle - 30 views

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    Great 3-5 minute long brain break activities!
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    GoNoodle is a wonderful tool for movement breaks in the classroom! It's fun and the kids LOVE it!!
jariza67

Letter_Birmingham_Jail(1).pdf - 21 views

shared by jariza67 on 03 Feb 16 - No Cached
  • Martin Luther King, Jr.
    • jariza67
       
      Martin Luther King Jr. is BOTH a Reverend (priest) AND a Doctor of Theology (study of religion) at this time in his life.
  • From the Birmingham jail, where he was imprisoned as a participant in nonviolent demonstrations against segregation, Dr. Martin Luther King, Jr., wrote in longhand the letter which follows.
    • jariza67
       
      QUESTION: Why was Dr. King sent to jail? What law(s) did he break?
  • Jr., wrote in longhand the letter which follows. It was his response to a public statement of concern and caution issued by eig
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  • It was his response to a public statement of concern and caution issued by eight white religious leaders of the South.
    • jariza67
       
      QUESTION: Why were the 8 religious leaders angry at Dr. King?
  • nwise and untimely
  • WHILE confined here in the Birmingham city jail, I came across your recent statement calling our present activities "unwise and untimely."
    • jariza67
       
      Dr. King starts off his letter by addressing his critics in the opening of his letter. QUESTION: WHY DOES KING ADDRESS HIS CRITICS IN THIS MANNER? ("My Dear Fellow Clergymen:")
  • "unwise and untimely."
    • jariza67
       
      QUESTION: Why do the 8 white priests think King's protests are "unwise and untimely?" QUESTION: Why does King refer to this in his letter?
  • unwise
  • unwise
  • unwise
  • unwise
  • ctive
  • I would like to answer your statement in what I hope will be patient and reasonable terms.
    • jariza67
       
      QUESTION: How has King set up his defense?
  • you are men of genuine good will
    • jariza67
       
      QUESTION: What are King's reasons for this remark?
  • "outsiders coming in."
    • jariza67
       
      QUESTION: Why is King considered an outsider?
  • I am here because I have basic organizational ties here.
    • jariza67
       
      DISCUSSION QUESTIONS (REVIEW Para. 1-2) 1. How does King begin the letter? 2. What is the impact of King's word choices? 3. HOW DO SPECIFIC WORDS AND PHRASES CONTRIBUTE TO THE IMPACT OF KING'S OPENING? 4. What are King's reasons for being in Birmingham?
  • carried
    • jariza67
       
      VOCABULARY: 5. consented (v.) - permitted, approved, or agreed.
    • jariza67
       
      VOCABULARY: sought (v.) - tried or attempted
    • jariza67
       
      VOCABULARY: 4. untimely (adj.) - happening too soon or too early.
    • jariza67
       
      "My Dear Fellow Clergymen:" (Mr. Ariza's note) Dr. King originally addresses his famous "Letter From A Birmingham Jail" to 8 Alabama clergymen (priests) who (in a local newspaper ad) criticized King's protests and demonstrations, while also labeling King as "a law-breaker." With no paper in his jail cell, King used the margins of this newspaper to write his Famous reply to their criticisms of him. KING'S LETTER (written in August 1963) is what brought the world's attention to our country's problems with segregation and racism.
    • jariza67
       
      VOCABULARY: 6. Seldom (adj.) on only a few occasions; rarely, not often.
    • jariza67
       
      VOCABULARY: 1: fellow (adj.) -belonging to the same class or group; united by the same occupation, interests, etc.).
    • jariza67
       
      VOCABULARY: 2. clergymen (n.) - religious leaders
    • jariza67
       
      VOCABULARY: 3. confined (adj.) - unable to leave a place because of illness, imprisonment, etc.
    • jariza67
       
      LINK FOR THE ORIGINAL LETTER WRITTEN TO KING BY THE 8 WHITE CLERGYMEN http://www.massresistance.org/docs/gen/09a/mlk_day/statement.html
    • jariza67
       
      VOCABULARY: Consented (v.) - permitted, approved, or agreed
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    Letter From a Birmingham Jail full text pdf w ANNOTATIONS Mr. Ariza/ Ms. Bozeman AUGUST MARTIN HS
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