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Maintaining a focus on concrete representations of mathematical concepts during remote ... - 5 views
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In times when we taught face-to-face, some of these challenges would be overcome through the use of concrete materials, at least with younger students. Unfortunately, it is common for the use of concrete materials to decline as students grow older. Fortunately, this pattern, and the prejudiced beliefs on which it is founded, are today being questioned.
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TECHNOLOGY AS A THREAT TO PRIVACY: Ethical Challenges - 5 views
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The aim of this paper is to assess the impact of technology on the private lives of people. It is approached from a socio-ethical perspective with specific emphasis on the implication for the information profession. The issues discussed are the concept privacy, he influence of technology on the processing of personal and private information, the relevance of this influence for the information profession, and proposed solutions to these ethical issues for the information profession.
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Technology Teaching Resources with Brittany Washburn: Sub Plans for the Elementary Comp... - 6 views
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Whether you're out sick or have a planned day out of the computer lab, writing sub plans is time consuming and often stressful. Technology teachers have a unique set of challenges to consider when deciding what to leave for a sub. This blog post will hopefully give you some solid ideas and peace of mind for the next time you need to be out. I have this other blog post about Technology Tools for Sub Plans with ideas and tools to help your sub be more comfortable using technology. Today's post is going to assume you have a substitute who is not comfortable using or teaching technology. You can skip right to idea #3 if your substitute cannot use any technology. All of the images are linked to the resource if you're interested. Just click or tap to learn more.
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Webinar: Supporting Special Needs Students with eBooks & Audiobooks - 2 views
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In this webinar, expert in eBooks Meredith Wemhoff discusses ways to engage and support learners with special needs using eBooks and audio. Using the case-study of an independent all-boys school located in Surrey, the school provides special needs students an opportunity to succeed and thrive. Many arrive to the 80-year-old institution with low self-confidence, often due to struggles they faced in traditional educational institutions caused by learning and language difficulties. This means providing a collection that meets the individual learning needs of the school's 470 students, who range in age from 8-18. During this eye-opening webinar, Meredith will share the story of selecting, launching and promoting a digital library service that helps address learning challenges. Attendees will come away with best practices for bringing ebooks and audiobooks to their school and real-life examples of these practices in action. Don't miss out, register today!
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Distracted Minds: 3 Ways to Get Their Attention in Class - 11 views
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The more distracted I am in my interactions with you, the less likely you are to give me your full attention.
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importance of having students share their strengths and values with you at the beginning of a semester
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NOTE - Everyone is their own individual and bring a lot to your class. The more you know about them, the better chance you can find out how to motivate them.
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Recognize their individuality
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The researchers also asked students whether it mattered to them that the instructors knew their names, and more than 85 percent of them said it did
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because making good use of the full physical space of a classroom is one of the most straightforward ways to keep both professor and students attentive.
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NOTE - I taught from the back. We showed a lot of videos and did demonstrations. So, it was easy to "teach" from the back. ON ZOOM - how do you teach from the back of the class?
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One advantage of the Zoom classes that many of us are teaching right now is that the names are all right there on the screen
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Speak to all corners of the room
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They bring their unique life stories and experiences, which can help provide new perspectives on familiar questions and challenges.
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Tell you about an important value
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NOTE - Maybe it doesn't need to be all writing? Maybe it can be images and audio or video recordings to accompany them.
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Tell you about a unique perspective or life experience
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Describe their greatest academic strength
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The obvious solution here is to break that barrier
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Use their names regularly.
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NOTE - Notoriety means power or maybe at least the power to capture their attention.
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She encourages children first to recognize and write their own names and then to compare the letters and syllables in their own names with those of the other names on the grid
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NOTE - Author's previous post about CLOSE READING. Really spend some time on the name.
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What is most deserving of our attention in the classroom, of course, are the other human beings in our presence
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shared by Nigel Coutts on 05 Apr 20
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From Good to Great: Writing well by Thinking like Authors - The Learner's Way - 15 views
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shared by Nigel Coutts on 05 Apr 20
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A common challenge for students and teachers is how to develop a great idea for a piece of writing. Too often students struggle with the process of finding inspiration for their writing. They have a vague idea for the story they hope to tell, but all too quickly it transforms into a list of events with little or no detail. The goal here is to provide our students with a process to use during the planning process. The hope is that by identifying the type of thinking required during the early phases of ideation and to focus their attention on details, that the stories our students subsequently compose will be more enjoyable to read. Hopefully, this process helps.
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shared by Nigel Coutts on 15 Mar 20
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Desirable Patterns of Learning for Online Learning - The Learner's Way - 15 views
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shared by Nigel Coutts on 15 Mar 20
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With the emerging threat of COVID19 and the closure of schools, teachers are scrambling to move to online learning environments. This will bring with it a myriad of challenges the short time frame is not going to help the situation. While we are fortunate that there are many technological solutions for the provision of remote learning, the more significant challenges will revolve around how we interact with our learners.
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Legislation and Common Law Impacting Assessment Practices in Music Education - Oxford H... - 1 views
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Russell and Austin (2010) have claimed that in music education, a system of benign neglect in assessment practices has been allowed to endure, even though there has (p. 4) been a long-term, consistent call for reform, for more meaningful assessments, and for policymakers to adapt to laws as they are enacted and court rulings as they are handed down.
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ead to the growing body of scholarship in educational law, the evolving and more active role courts are taking in impacting educational practices,
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chapter is to inform music teachers about contemporary court cases that have resulted in rulings on assessment issues in educational settings, and how these rulings impact assessment in the music classroom.
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in teacher preparation programs and in professional development activities so that students and in-service music educators will better be able to negotiate the increasingly litigious educational world
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egal issues facing music educators remain one of the least important topics of conversation for preservice music educators.
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how active they have been willing in inserting their decisions in school-based assessment policy.
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Historically, courts have been somewhat deferential to school leaders and have not been willing to hear too many cases dealing with educational law and assessment.
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Based on this decision, courts would be more likely to defer to school leaders in making their final rulings.
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distinguish issues are purely academic from those that are purely disciplinary.
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s. Three basic factors must exist for constitutional due process to exist: a student must have proper notice, a student must be given the chance to be heard, and the hearing should be conducted in a fair manner
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The court decided that denying a student of education, regardless of the amount of time, could not be considered an inconsequential thing and claimed that a person’s right to education was equitable to the rights to liberty and property. In the majority decisions, the Supreme Court justices argued:
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The US Supreme Court’s decision in Goss created the opportunity for students, parents, and their representatives to challenge not only disciplinary suspensions and expulsions but also other decisions by school officials that may affect liberty or property rights, including grades and grading policies.
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that of courts taking a more active role and deferring less often to school leaders.
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Because of these high stakes (real or imagined),
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little more than attendance and participation, others feel that grades must represent academic achievement and that “allowing non-academic factors to affect academic grades distorts the truth about students’
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however, because music is addressed minimally in these laws, their enactment has had minimal direct impact on music educators’ assessment practices.
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shared by Nigel Coutts on 09 Feb 20
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The challenge of educating for unknown unknowns - The Learner's Way - 6 views
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learning 21stcenturylearning teaching education thinking creativity critical empathy reasoning
shared by Nigel Coutts on 09 Feb 20
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It is almost precisely eighteen years since Donald Rumsfeld uttered his now well-regarded commentary on the danger of "unknown unknowns". At the time his remarks brought more confusion than clarity and reinforced for many a belief that politicians use words to conceal the truth. Somehow though, Donald's words from 2002 seem to fit the world of today, and the challenges confronting educators all too well.
Harnessing the Wind STEM Challenge - Georgia Youth Science and Technology Centers (GYSTC) - 4 views
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Book: Just great teaching by @TeacherToolKit via @BloomsburyEd - 5 views
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"We often talk about the challenges of teacher recruitment and retention, about new initiatives and political landscapes, but day in, day out, teachers and schools are delivering exceptional teaching and most of it is invisible. Ross uncovers, celebrates, analyses and disseminates best practice in teaching. This is supported by case studies and research undertaken by Ross in ten primary and secondary schools across Great Britain, including a pupil referral unit and private, state and grammar schools, as well as explanations from influential educationalists as to why and how these ideas work. Ross explores the issues of marking and assessment, planning, teaching and learning, teacher wellbeing, student mental health, behaviour and exclusions, SEND, curriculum, research-led practice and CPD."
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shared by Nigel Coutts on 01 Sep 19
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Thinking and learning in the postnormal era - The Learner's Way - 8 views
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thinking learning postnormal post truth education teaching
shared by Nigel Coutts on 01 Sep 19
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We live in a time of chaos, complexity and contradiction. (Sardar, 2010 [1]) Where rapid changes and transformations through technology, politics, globalisation and the climate, conspire against normality (Friedman, 2016 [2]) These times demand a fresh approach to education, one that provides learners with the thinking dispositions they need to turn challenges into opportunities, to connect their learning to their passions and emerge from their years of formal education as self-navigating life-long learners.
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Precompetitive appraisal, performance anxiety and confidence in conservatorium musician... - 0 views
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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.
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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
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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
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Emotions that are too weak or intense and feel unpleasant lead to lower motivation, distracted attention, and reduced performance.
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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
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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 < .001) and pre-recital (MThreat = 4.45, SDThreat = 0.72; Mchallenge = 6.55, SDchallenge = 0.98; U = 2.50, z = -3.104, p < .001, Figure 2).
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Music performance skills: A two-pronged approach - facilitating optimal music performan... - 1 views
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music performance anxiety (MPA)
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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
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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
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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
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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, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners
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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
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“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 & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
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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 & Osorio, 2016).
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However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & 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
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Csikszentmihalyi’s nine dimensions of flow as follows
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Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .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.
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Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
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These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
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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.
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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 & Williamon, 2011; Hoffman & 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).
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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
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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
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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.
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“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).
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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.
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Cohen, S., & 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
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Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views
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n contrast to others who are not as prone to divulge their feelings about their creative process
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"Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
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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
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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.
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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
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Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
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raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
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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.
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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.
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I need . . . to become involved, to come into a state where I do something without knowing why I do i
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This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
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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
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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
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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
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Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
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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."
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as, as these examples show, dreams can also solve certain problems of the creative process.
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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.
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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.
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Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
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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.
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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.
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Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
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Furthermore, for some composers the musical influence can emerge from the development of computer technology.
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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.
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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.
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After all, the creative process is an elusive cultural activity with no recipes for making it happen.
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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
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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.
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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.
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After all, the quality of mystery is a common theme in nearly every composer's accoun
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Failing this, musical creativity remains a predictable academic exercise
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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
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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.
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Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
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n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
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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
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By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
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which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
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. 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.
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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
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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."
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Top 10 Perks of Teaching, according to the #UKEdChat community - 11 views
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"Despite many challenges and pressures facing the teaching profession, taking a moment to step back an appreciate some of the positives can make you appreciate the joys to behold within the classroom. As part of a #UKEdChat discussion, teachers from around the UK shared the best perks of the job, which we have summarised here to help other colleagues reflect upon. We're not really in it for the perks, are we?"
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Book: Making every maths lesson count by @MccreaEmma via @CrownHousePub - 4 views
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"Making Every Maths Lesson Count is underpinned by six pedagogical principles - challenge, explanation, modelling, practice, feedback and questioning - and presents 52 high-impact strategies designed to streamline teacher workload and ramp up the level of challenge in the maths classroom. Throughout this book, Emma McCrea (through extensive research and practice) explores how to manage mathematical misconceptions with practical ideas on many areas of the required curriculum. The six pedagogical principles mentioned above form the heart of the book, with metacognitive questioning given space in developing cognitive strategies with pupils. "
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shared by Nigel Coutts on 02 Jun 19
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Four perspectives on truth, normality and education in times of rapid change - The Lear... - 9 views
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perspectives truth education rapid change post-normal post-truth
shared by Nigel Coutts on 02 Jun 19
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We are living in interesting, frightening and rapidly changing times. Where rapid changes and transformations through technology, politics, globalisation and the climate, conspire against normality. These times demand a fresh approach to education, one that provides learners with the thinking dispositions they need to turn challenges into opportunities. "All that was 'normal' has now evaporated; we have entered postnormal times, the in-between period where old orthodoxies are dying, new ones have not yet emerged, and nothing really makes sense." But what thinking might guide us through this time of volatility, uncertainty, complexity and ambiguity?