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Siri Anderson

(1) The Race - YouTube - 6 views

www.youtube.com/...featured

news synopsis social_studies

shared by Siri Anderson on 26 Jan 21 - No Cached
  • Siri Anderson on 26 Jan 21
     
    The Race is a 30-minute weekly newscast meant to give Americans the information they need. Short topic specific information.
Mr Agraz

The Macroeconomics of Trade War - 4 views

www.nytimes.com/...croeconomics-of-trade-war.html

international economics tariffs

shared by Mr Agraz on 15 Nov 20 - No Cached
  • Mr Agraz on 15 Nov 20
     
    Impact of tariffs and other protectionist measures
Martin Leicht

Opinion | Steve Jobs Was Right: Smartphones and Tablets Killed the P.C. - The New York Times - 6 views

www.nytimes.com/...apple-macbook-pro-ipad.html

Apple Steve Jobs tablet iPad laptop smartphones tablets

shared by Martin Leicht on 14 Nov 19 - No Cached
    • Martin Leicht
      Martin Leicht on 14 Nov 19
       
      Would like to know more about "productivity dream machines."
  • they’re productivity dream machines
  • keyboard is better and more durable
  • ...5 more annotations...
  • Among other things, I now research and write just about every column using an iPad (I still compose many first drafts by speaking into my headphones, but I’m an odd duck).
    • Martin Leicht
      Martin Leicht on 14 Nov 19
       
      Speaking a draft into the headphones, wow, talk about visualization of things? Can you see the draft in your head?
  • Jobs declared the iPad to be the future of computing. “Pcs are going to be like trucks,”
  • Like a phone, in most scenarios I find the iPad to be faster, more portable and easier to use and maintain than any traditional P.c. I’ve ever owned.
  • The iPad still can’t do everything a laptop can, and I still have to log in to a “real” computer sometimes.
  • the iPad doesn’t work with antiquated work flows that are built for PCs
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

Music That Represents culture: Selecting Music with Integrity: EBScOhost - 4 views

web.a.ebscohost.com/...detail

world Music

shared by meghankelly492 on 24 May 19 - No Cached
  • The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).
  • In other words, authenticity lies within the perceptions of the individual.
  • Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.
  • ...7 more annotations...
  • Ethnomusicologist Bruno Nettl explains that "societies differ, however, in their attitude toward musical stability; to some it is important that a song remain stable and unchanged, while in others individual singers are encouraged to have their personal versions."
  • but he believes educators must determine at what point that musical experience is no longer acceptable as representative of that culture.
  • Having clear visions of educational goals and the broad curriculum is vital to making these determinations.
  • Bennett Reimer states, "Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, 'knowing about' becomes an essential ingredient of artistry and of listening."[ 15] For example, children might not fully understand the meaning of "Take Me Out to the Ball Game" unless they understand what baseball is or realize that the song is traditionally sung at baseball games.
  • text in an unfamiliar language should include a translation so students understand the meaning of the words.
  • However, a culturally valid work is not necessarily bias free; and conversely, bias-free music is not necessarily culturally valid.
  • Selecting the best music to represent a culture in an unbiased manner is a process of discovery. You will first need to educate yourself before you can educate others.
Martin Burrett

On the stretching of brighter history pupils by @historylecturer - 2 views

ukedchat.com/...stretching-history-pupils

history

shared by Martin Burrett on 05 Mar 19 - No Cached
  • Martin Burrett on 05 Mar 19
     
    "The education twitter-sphere has been all a-buzz today with stuff about helping (or failing) bright pupils. I am not at all qualified to contribute directly to the debate; I can only recount my own experiences, and anecdotal evidence is not very valuable in such a case. Because of my work as an examiner, I meet history teachers from scores of other schools every summer, and I do not think my approaches were in any way unusual. Yes, I taught at an independent school, so it was selective in terms of ability to pay fees. It was not very selective in terms of ability; plenty of our pupils did well to get c passes at GcSE with a couple of Bs thrown in."
Mark Morton

(26) C&R Videos - YouTube - 8 views

www.youtube.com/...CourageRenewal

shared by Mark Morton on 08 Jun 17 - No Cached
  • Mark Morton on 08 Jun 17
     
    The Center for Courage & Renewal helps you disCover the Clarity and Courage to bring your true self to your life's work. We are a nonprofit organization and a Collaboration of faCilitators offering retreats, programs, events, and Consulting. Our CirCle of Trust® approaCh reaChes teaChers, Clergy, health Care workers, nonprofit leaders, and anyone who wants to reConneCt "soul and role."
Mac Jackson

Digital Is - 21 views

digitalis.nwp.org/5056

literacy ecomp6106su15 21st Century Jackson

shared by Mac Jackson on 16 Nov 16 - No Cached
  • Mac Jackson on 16 Nov 16
     
    What qualifies as "text" is shifting every bit as much as our ever-changing definition of literacy. This resource expands our definition of texts, relying on John Greene's central principals that stories are: a). about communication, b). acts of empathy, c). opportunities to think critically and thoughtfully, thereby connecting us with each other, and d). springboards to learn more about others, our world around us, and ultimately, ourselves.
Michael Mitchell

Education Week - 11 views

mobile.edweek.org/c.jsp

shared by Michael Mitchell on 16 Aug 16 - No Cached
Nigel Coutts

Making Compassion the Fifth C of Learning - The Learner's Way - 26 views

thelearnersway.net/...compassionthefifthc

compassion learning education

shared by Nigel Coutts on 14 Aug 16 - No Cached
  • Nigel Coutts on 14 Aug 16
     
    The question of what learning matters most to our students is one that I return to regularly. A fascinating range of models are available each with similar elements but presented in a slightly different manner. Most could be summarised by the 'Four c's' model outlined in 'Most Likely to Succeed' by Tony Wagner and Ted Dintersmith. critical thinking, communication, collaboration, and creativity are vital and each plays an important role in allowing us to manage the complexity of modern day life. Beyond being relevant to success in the classroom the Four c's are the foundations of life-long learning but I question if alone they are enough. I believe we must include a fifth; compassion.
Martin Burrett

SoloLearn - 53 views

ukedchat.com/...sololearn

coding Apple app Android App app Windows Phone App

shared by Martin Burrett on 17 Apr 16 - No Cached
  • Martin Burrett on 17 Apr 16
     
    A breathtaking array of 'learn to code' Apple, Android and Windows phone apps. Learn c++, Python c#, HTML, SQL, JavaScript, Java, cSS, php and Swift via the site or apps. These are 'must try' tools for anyone starting out with coding. The site even has a 'code Playground' to experiment with your code.
smilex3md

10 Signs You're in Trouble at College - US News - 24 views

www.usnews.com/...ns-youre-in-trouble-at-college

signs trouble college news article usnews

shared by smilex3md on 21 Dec 15 - No Cached
  • 1. Your average is below C or you're getting D's in some of your Courses.
  • 2. You're constantly asking for (and even getting) extensions and incompletes.
  • 3. You can't follow what the professor says in lecture—ever.
  • ...7 more annotations...
  • 4. You're spending every waking moment of the day doing the reading or the homework.
  • 5. You're living off your credit cards.
  • 6. You can't get through the basic requirements.
  • 7. You're going home every weekend or on the cellphone with your parents five times a day.
  • 8. You can't get through the day without some medication.
  • 9. You spend every waking moment on some medium.
  • 10. You feel overwhelmed, all of the time.
  • smilex3md on 21 Dec 15
     
    I will share this with my undergraduates next semester.
Martí Vilà Valls

Cànon de PaChelbel - Viquipèdia, l'enCiClopèdia lliure - 4 views

ca.wikipedia.org/...C%C3%A0non_de_Pachelbel

canon pachelbel

shared by Martí Vilà Valls on 06 Nov 15 - No Cached
  • la peça més coneguda de Pachelbel
  • La seva popularitat es fonamenta en part en la seva progressió
  • d'acords, una successió harmònica que també trobem en la música popular.
aaxtell

Don't Crush Reading Motivation - EduCation Week - 48 views

www.edweek.org/...-crush-reading-motivation.html

motivation reading motivation self-selected texts education reading

shared by aaxtell on 23 Oct 15 - No Cached
Fran Hughes liked it
  • aaxtell on 23 Oct 15
     
    Teachers should embrace the idea of students choosing their own books, even if they are too hard, Barbara c. Wheatley says.
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