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Martin Leicht

Treehouse teaching and laundry art: Educators find creative ways to reach kids - 5 views

www.washingtonpost.com/...b-bc68-96af0daae728_story.html

learning zoom online teaching laundry

shared by Martin Leicht on 11 Jan 21 - No Cached
  • was also concerned about her students’ lack of engagement — so few were completing the assignments she emailed to parents
  • Playing with her family’s laundry marked the first time Maliah seemed happy — actually happy — since the start of the pandemic.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - happy - happy is good. Happy kids want to learn or are more likely to learn.
  • Nobody should ever be penalized or put at a disadvantage for the supplies they don’t have,” Dillingham thought to herself. “But everyone’s got laundry!”
  • ...19 more annotations...
  • Clark started an online fundraiser to pay for bikes. He raised more than $10,000, and neighbors donated dozens of bikes and helmets for the rides.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - a little digital citizenship too mixed in with online fund raising.
  • She couldn’t be sure whether her kids were uninterested or whether they lacked the necessary pens, paper and crayons at home.
  • He decided he would take his students on socially distanced bike rides across the city. “It was a leap of faith. I got extremely nervous. I was trying to find a way to connect with kids,” Clark said.
  • her young students are musical detectives, in search of learning. She teaches most grade levels and the school chorus.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - musical detectives searching for music.
  • t he’s found other ways to keep his students engaged and cycling the city. He invited students to a weekly entrepreneurship class for which they rode their bikes uptown from Dunbar to the gym where Clark works, Sweat DC. The students met with the owner of the gym and the owners of a nearby bar, Hook Hall, and the bagel shop Call Your Mother Deli to learn what it takes to run a business.
  • She wanted them to create their own composition, their own snowy-day song.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - used flipgrid for this
  • When Clark wanted to teach them about resilience, he took them through the hilly streets of Georgetown.
  • In lessons for older students, some days there were makeshift drums involved or recorders that students had taken home.
  • she was able to use the treehouse as a key part of her lessons.
  • She lugged a bookshelf, desk and heater into the 5-by-7-foot space, and ran an Ethernet cable from the house so she’d have Internet.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - properly set up
  • before climbing into what passes for her classroom in 2020: her daughters’ decade-old treehouse.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - different locals - maybe something with changing backgrounds.
  • So as one class studied architecture this fall, Daney, 54, encouraged them to walk in their neighborhood to take photos of houses of different styles: ranch, colonial, Victorian.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - use what you have around you.
  • nd he stuck with his usual method of helping students learn about the design process, asking them to prepare a meal. They started with ideas and research, made a plan, carried it out and evaluated it. The result: soups and pastas and pastries.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - edTech class on engineering and design
  • Kids need connection, he said. “I think they’re starving for conversation,” including with adults.
  • In fifth grade, students are expected to learn how to add, subtract, multiply and divide with whole numbers, decimals and fractions. Through a computer application the students have, they can program the robot to move a certain distance, stop, maybe even turn.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - use a robot or technology to achieve the same result.
  • With learning all-virtual, he packs a big Ziploc bag — for each student, each quarter — with things like fishing line, foam board, pipecleaners, magnets, Popsicle sticks and rubber bands. Whatever they will need for their projects.
  • And a lot of the math is a little sneaky. They think they are trying to get the robot to move, when they are actually measuring the angles to get it to move.”  
  • Others complete their math problems directly on the computer, which can lead to some troubles as they try to show their work.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - will share screen be viable.
  • When Kristin Gavaza interviewed for the music teacher position at Dorothy I. Height Elementary in the summer, she told the principal she had some ideas for how to create a festive concert while students were scattered and learning from home.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - picture references a complete teacher set up of a large screen and standing desk. Sure, she's video editing yet the concept carries to teaching class too.
  • Martin Leicht on 11 Jan 21
     
    Numerous creative examples to how educators promoted learning on line and worked to build engagement.
meghankelly492

The rise of creative youth development: Arts Education Policy Review: Vol 118, No 1 - 3 views

www.tandfonline.com/...10632913.2015.1064051

world Music

shared by meghankelly492 on 11 Aug 19 - No Cached
  • The article describes creative youth development in the larger contexts of arts education and of education reform.
  • Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.
  • 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
  • ...11 more annotations...
  • attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking
  • such as heightened confidence and sense of agency
  • 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
  • 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.
  • The creative process at the center of CYD programs contributes to profound personal growth for youth participants
  • 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.”
  • 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
  • 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.
  • impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities
  • She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (
  • 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—
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

Exploring the Cultures of East Africa - Jenman African Safaris - 0 views

www.jenmansafaris.com/exploring-cultures-east-africa

world Music

shared by meghankelly492 on 03 Jun 19 - No Cached
  • As much as these different East African countries have in common, there are also distinct differences as a result of the over a hundred different cultures, dozens of different languages and diverse opinions relating to national identity.
  • Tanzania has two official languages – English and Swahili
  • Over the last ten years, the art of cartoons and comics has really taken off in Tanzania and begun to develop a more outspokenly political edge
spdrmn7

The LiederNet Archive: Texts and Translations to Lieder, mélodies, art songs, choral pieces, and other vocal music - 4 views

www.lieder.net

music education translations singers voice

shared by spdrmn7 on 15 Feb 19 - No Cached
  • spdrmn7 on 15 Feb 19
     
    In a crunch, this site is great for finding translations of popular vocal repertoire.
Martin Burrett

Outdoor Learning Opportunities - 10 views

ukedchat.com/...tdoor-learning-opportunities-2

outdoor learning learning outdoors

shared by Martin Burrett on 21 Jun 18 - No Cached
  • Martin Burrett on 21 Jun 18
     
    "No matter what the weather is trying to prove otherwise, it is summer in the UK and time to take the learning outside. Science, geography and art are often thought about when planning outside lessons as the 'resources' of mini-beasts, ow-bow lakes and scenic landscapes, on the whole, are found outside. But what benefits are there for doing DT outside (other than keeping your classroom mess-free) or music outside (other than annoying the teacher of 5B)?"
mspayton68

Hispanic Culture - Latin American Culture - Spanish Culture - 14 views

www.explore-hispanic-culture.com/hispanic-culture.html

shared by mspayton68 on 15 Nov 16 - No Cached
  • efer to the set of values, standards, beliefs, art, music, and practices shared by a particular group.
  • Thus, Mexico, Central and South America, and the Spanish-speaking Caribbean countries are referred to as Hispanic America.
  • Hispanic or Latino culture encompasses the traditions, language, idioms, religious beliefs and practices, legends, arts, music, literature, cuisine, history, social and family values of the Hispanic people.
  • ...2 more annotations...
  • The different "Hispanic cultures" share many things in common, including these religious observances.Navidad (Christmas)Like in many other cultures – Christmas is one of the most important religious celebrations among Hispanics. A unique characteristic of a "Latino" Christmas is the prominent role of the "nacimiento" (the nativity scene). La Semana Santa (Holy Week) This is another important and deeply religious Hispanic holiday. The Holy Week is the last week of Lent and the week before Easter. Not surprisingly, some of the most notable celebrations of the Holy Week occur in Latin American countries, including: Colombia, Guatemala, Mexico, and Perú.
  • May 1 - Día del Trabajo May 5 - Cinco de MayoMay - Día de las MadresSep 15 - Oct 15 - Hispanic Heritage Month
mspayton68

Chinese Culture: Customs & Traditions of China - 7 views

www.livescience.com/28823-chinese-culture.html

shared by mspayton68 on 15 Nov 16 - No Cached
  • Culture includes religion, food, style, language, marriage, music, morals and many other things that make up how a group acts and interacts.
  • Currently, there are only five official religions. Any religion other than Buddhism, Taoism, Islam, Catholicism and Protestantism are illegal, even though the Chinese constitution states that people are allowed freedom of religion.
  • There are seven major groups of dialects of the Chinese language, which each have their own variations,
  • ...5 more annotations...
  • Among the main styles of Chinese cooking are Cantonese, which features stir-fried dishes, and Szechuan, which relies heavily on use of peanuts, sesame paste and ginger and is known for its spiciness.
  • depict spiritual figures of Buddhism,
  • Many musical instruments are integral to Chinese culture,
  • Eastern-style martial arts were also developed in China, and it is the birthplace of kung fu. This fighting technique is based on animal movements and was created in the mid-1600s, according to Black Belt Magazine.
  • The largest festival — also called the Spring Festival — marks the beginning of the Lunar New Year. It falls between mid-January and mid-February and is a time to honor ancestors. During the 15-day celebration, the Chinese do something every day to welcome the new year, such as eat rice congee and mustard greens to cleanse the body, according to the 
anonymous

The beauty of unfinished work - The Learner's Way - 34 views

thelearnersway.net/...the-beauty-of-unfinished-work

shared by anonymous on 25 Jul 15 - No Cached
    • anonymous
      anonymous on 28 Jul 15
       
      I love this concept!  The focus is on the process of learning.  Doesn't that also help to identify the way we learn as well as the progress of the learning?
    • anonymous
      anonymous on 28 Jul 15
       
      The down side of this is that there also has to be some sort of focus on the importance of completing what is started.  Everything might not have to have an end product but some things certainly should have!
  • At times it has been deeply admonished and hidden from view. Individuals who failed were to be shunned or punished. At other times failure was to be avoided by setting the bar for success so low that failure was impossible. The result of this movement was that success became meaningless, achievable by all without risk and through little effort.
  • ...8 more annotations...
    • anonymous
      anonymous on 28 Jul 15
       
      The generation when who were deeply admonished and hidden is older and most are relieved that this is no longer the case.  The generation who were shunned or punished seem to still be a part of the mainstream but most have embraced that this is no longer the case.  The generation who were part of the low expectations with failure impossible seem to be the predominance of the population now and we are seeing that there is no concept of consequences, no motivation toward high achievement, and an attitude of entitlement.
    • anonymous
      anonymous on 28 Jul 15
       
      This seems like we are evolving but moving more in a cyclical fashion and thinking more like the early innovators in our country - Jefferson, Franklin, Ford, Bell - We see a need for something and strive to create it - marking our failures as a way of knowing, "well that won't work so lets find something that will."
  • A culture that accepts failure as a part of the learning process will need to take time to celebrate the steps taken towards learning as much as it celebrates the finished product.
  • A digital work of art, of music of writing is never truly finished, it grows and transforms over time. 
    • anonymous
      anonymous on 28 Jul 15
       
      Transformation from the mindset of this is done, this if finished, this is the final draft to here is where we are at this point but it may be revisited, revised, refined at a later time.
  • mistakes are a sign that the learning is not pitched at a level below the needs of the students; if the students are not making mistakes when they engage with new learning the expectation has been set too low.
  • What must be avoided is a belief that mistakes are to be accepted without an equal emphasis on identifying and understanding their causes.
    • anonymous
      anonymous on 28 Jul 15
       
      Identify and understand the causes of mistakes so that another attempt can be made at correcting them and progress is made!
  • Nigel Coutts on 25 Jul 15
     
    There is a danger in seeking finished perfection in all that we do. There is a risk that our students will focus solely on the attributes that define a finished piece and overlook the importance of the process that leads to it.
ashleecopper

KUSD Google Apps for Education - 41 views

www.diigo.com/...ee66ea21af3a216bee6fbebc7c165e

1st Grade 2nd Grade 3rd Grade 4th Grade Art Classroom ELA Enrichment Health Individual Kindergarten Math Music Remediation Science Social Studies STEM World Languages kestech

shared by ashleecopper on 24 Jun 15 - No Cached
    • ashleecopper
      ashleecopper on 24 Jun 15
       
      Check out this link (https://www.google.com/edu/products/productivity-tools/) and other Google Apps for Education links. What are some ideas for ways that you could use this in your classroom?
  • ashleecopper on 24 Jun 15
     
    Google Apps provides filtered email to individual students in grades 2 and higher (and to classrooms of kindergarten and 1st grade students). Collaboration and other tools that are available that can be used across all subject areas.
dabennett7

Homage or Theft? A Closer Look at the 'Blurred Lines' Verdict - Law Blog - WSJ - 18 views

blogs.wsj.com/...k-at-the-blurred-lines-verdict

shared by dabennett7 on 29 Mar 15 - Cached
  • A federal jury in Los Angeles on Tuesday ordered singers Robin Thicke and Pharrell Williams to pay about $7.4 million to the family of Marvin Gaye, after finding the duo’s 2013 hit song “Blurred Lines” copied parts of Mr. Gaye’s “Got to Give it Up.”
    • dabennett7
      dabennett7 on 29 Mar 15
       
      Attribution and intellectual property are a real concern for everyone. Remixing ideas is not a new practice, but in the 21st century it is easier than ever. How do we help prepare our students for careers in the 21st century?
  • only to compare “Blurred Lines” to the sheet music composition of “Got to Give it Up.” So the jury only heard a stripped down version of Mr. Gaye’s song, with his lyrics over a bass line and keyboards.
    • dabennett7
      dabennett7 on 29 Mar 15
       
      Attribution and intellectual property are a real concern for everyone. Remixing ideas is not a new practice, but in the 21st century it is easier than ever. How do we help prepare our students for careers in the 21st century?
  • substantial copying
    • dabennett7
      dabennett7 on 29 Mar 15
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
  • ...3 more annotations...
  • Use extreme caution when referencing your forebears in song (without first getting permission, of course)
    • dabennett7
      dabennett7 on 29 Mar 15
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
  • It will cause people who want to want to evoke the past to perhaps refrain from doing so
    • dabennett7
      dabennett7 on 29 Mar 15
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
  • a step backward
    • dabennett7
      dabennett7 on 29 Mar 15
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
dabennett7

Remix Culture : Center for Social Innovation (CSI) - 12 views

csi.gsb.stanford.edu/remix-culture

shared by dabennett7 on 29 Mar 15 - Cached
  • there’s a war raging over what some now are calling a new art form in the emerging Web 2.0 culture—remix
  • remix is collage, a recombination of existing, reference images or music and video clips from popular digital culture, elements of which are mashed up into something new.
    • dabennett7
      dabennett7 on 29 Mar 15
       
      Does this sound familiar? Common core and even the SBAC assessment are rooted in remix.
  • as long as the remix is significantly altered from the original—should remix be permitted by law
    • dabennett7
      dabennett7 on 29 Mar 15
       
      How will copryright laws evolve for the 21st century? What skills must our students gradate with to prepare them for a world of Remix vs. Copyrights?
  • ...7 more annotations...
  • Should remix be outlawed as a violation of an artist’s or photographer’s copyrigh
  • “Remix is literacy in the 21st century,” Lessig said. The chief of Stanford University’s Center for Internet and Society
    • dabennett7
      dabennett7 on 29 Mar 15
       
      If digital literacy includes remixing, then the skills of citation and attribution are more important than ever.
  • failing to legally protect remixes as original forms of art and expression “will make pirates of our children...We cannot kill this form of expression;
  • Johnson, author of The Invention of Air, a new book about the history of information flows in American and British society, said remix has “deep roots in the Age of Enlightenment and among America’s Founding Fathers.”
    • dabennett7
      dabennett7 on 29 Mar 15
       
      Remix is not new...  but it is easier and more accessible than ever.  A smartphone alone is a remix machine capable of remixing text, audio, video, images and more.  Then with a click you can publish your remix to the world from anywhere!
  • Where do we think innovation and creativity come from
  • Fairey rounded out the talk, citing remix as one of the early 21st century’s most popular forms of free political expression.
  • Remix is all about making references; references are how you establish a point of view in popular culture, and they are crucial to my work as an artist.”
    • dabennett7
      dabennett7 on 29 Mar 15
       
      This is what we as educators are all about... We challenge students to make connections, identify themes, clarify or argue a point of view.  We push them to remix everyday. Are we challenging them to respect the ideas they build their learning upon?
Roland Gesthuizen

Why Sing? | Mrs Fintelman Teaches - 6 views

mrsfintelmanteaches.global2.vic.edu.au/...why-sing

singing music arts teaching TeachingStrategy blog

shared by Roland Gesthuizen on 15 Mar 15 - No Cached
  • Roland Gesthuizen on 15 Mar 15
     
    At the start of the year I love to start off with a lot of singing. As in A LOT. We sing on the first day, first thing in the morning. We spend a good part of the morning singing. We sing in between activities, waiting in lines and just before we go home.
Steven Szalaj

Why taking choir kept me from being a Valedictorian: Austin Channell at TEDxColumbus - YouTube - 44 views

www.youtube.com/watch

Education AP academics extra-curricular GPA arts music

shared by Steven Szalaj on 31 Oct 13 - No Cached
  • Steven Szalaj on 31 Oct 13
     
    This is about more than just taking choir in high school - it is a fundamental problem in our educational system examined here by a high school senior. Only 12 minutes long.  When my sons were in HS (they graduated in the mid 1990's), I remember their discussions of just exactly this problem. He offers some solutions, but no quick fixes.
George Hess

Using Music to Close the Academic Gap - Lori Miller Kase - The Atlantic - 73 views

www.theatlantic.com/...280362

shared by George Hess on 13 Oct 13 - No Cached
  • George Hess on 13 Oct 13
     
    Why isn't music in the Common Core
  • Bob Calder on 14 Oct 13
     
    Research demonstrates that music doesn't help as such. The same effect can be got from any discipline where practice and persistence are important. The musical component can be duplicated with explicit phonemic instruction in a short time. You would be better off drawing because it is the only non-academic that has a direct academic relationship - with geometry. The evidence for that has to do with the above, plus junction recognition and visualization. The only thing I didn't touch on is openness to new experience which has a strong correlation to measured intelligence. That's a component of the arts in general.
  • George Hess on 15 Oct 13
     
    I'm aware of the studies and also of the garbage science like the "Mozart Effect." While they don't support the correlation, they are also not definitive. This appears to be a valid study and it is working. Whether the reasons are because they learn practice and persistence or something else is irrelevant, a correlation still exists. Maybe it's just that music is fun and the way we learn music--practice, reflect, refine, repeat--is a good model for learning in general. It's certainly better than standardized tests. Personally, I don't feel a need to justify music's existence by its value to other subjects. It represents some of humanity's greatest achievements. That should be enough.
Trevor Cunningham

Make Your Images Interactive - ThingLink - 163 views

www.thinglink.com

contentcuration interactive image

shared by Trevor Cunningham on 26 Jul 11 - No Cached
  • Marsha Ratzel on 27 Jul 11
     
    Thanks for the link....I wonder if my students couldn't use this on their class blog page to link images to resource pages.
  • ...3 more comments...
  • Laura Bowen on 28 Oct 12
     
    Make your images come alive with music, video, text, images, shops and more!
  • Kim Cline on 19 Nov 12
     
    another presentation tool for students to use....easy to learn
  • George Hess on 05 Feb 13
     
    Create interactive, embeddable images online. Very cool
  • Michael Ashley on 05 Feb 13
     
    Good for annotation art or photos
  • Trevor Cunningham on 04 Sep 13
     
    Very cool tool to turn images into interactive activities, webquests, etc. Link to Google Docs for collaborative interaction on the image!
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