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Martin Leicht

Distracted Minds: 3 Ways to Get Their Attention in Class - 11 views

www.chronicle.com/...o-get-their-attention-in-class

shared by Martin Leicht on 12 Jan 21 - No Cached
  • Attention is reciprocal.
  • The more distracted I am in my interactions with you, the less likely you are to give me your full attention.
  • importance of having students share their strengths and values with you at the beginning of a semester
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      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.
  • ...13 more annotations...
  • Recognize their individuality
  • 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
  • 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.
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      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?
  • 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
  • Speak to all corners of the room
  • They bring their unique life stories and experiences, which can help provide new perspectives on familiar questions and challenges.
  • Tell you about an important value
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Maybe it doesn't need to be all writing? Maybe it can be images and audio or video recordings to accompany them.
  • Tell you about a unique perspective or life experience
  • Describe their greatest academic strength
  • The obvious solution here is to break that barrier
  • Use their names regularly.
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Notoriety means power or maybe at least the power to capture their attention.
  • 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
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Author's previous post about CLOSE READING. Really spend some time on the name.
  • What is most deserving of our attention in the classroom, of course, are the other human beings in our presence
Nigel Coutts

Reimagining Education for Uncertain Times with David Perkins - The Learner's Way - 11 views

thelearnersway.net/...rtain-times-with-david-perkins

education thinking lifeworthy future wise

shared by Nigel Coutts on 23 Aug 20 - No Cached
  • Nigel Coutts on 23 Aug 20
     
    These two powerful questions framed a recent webinar presented by Professor David Perkins of Harvard Graduate School of Education's Project Zero. Answering these questions and helping teachers find meaningful and contextually relevant answers to these questions has been a focus of Perkins' work, especially in recent times. His book "Future Wise: Educating Our Children for a Changing World" introduced us to the notion of lifeworthy learning or that which is "likely to matter in the lives our learners are likely to live". This is a powerful notion and one that has the potential to change not only what we teach but also how we go about teaching what we do.
Katie Akers

COPPA and Schools: The (Other) Federal Student Privacy Law, Explained - Education Week - 4 views

www.edweek.org/...index.html

shared by Katie Akers on 24 Apr 20 - No Cached
  • In a nutshell, COPPA requires operators of commercial websites, online services, and mobile apps to notify parents and obtain their consent before collecting any personal information on children under the age of 13. The aim is to give parents more control over what information is collected from their children online.
  • This law directly regulates companies, not schools. But as the digital revolution has moved into the classroom, schools have increasingly been put in the middle of the relationship between vendors and parents.
  • In some cases, companies may try to shift some of the burden of COPPA compliance away from themselves and onto schools
  • ...15 more annotations...
  • “That is not without risk, and COPPA has a whole lot of gray area that gives school attorneys pause.”
  • Less clear, though, is whether COPPA covers information such as IP (internet protocol) address, device identification number, the type of browser being used, or other so-called metadata that can often be used to identify users.
  • some school lawyers have taken the FTC’s previous guidance to mean that their districts must get consent from every single parent, for every single product that collects information online from young children.
  • First, according to the FTC, schools can grant consent on behalf of parents only when the operator of the website, online service, or app in question is providing a service that is “solely for the benefit of students and the school system” and is specific to “the educational context.”
  • How are schools supposed to determine if a website or app is strictly educational?
  • will any information collected from children under 13 be used or shared for commercial purposes unrelated to education? Are schools allowed to review the information collected on students? Can schools request that student info be deleted? If the answers to that second group of questions are, respectively, yes, no, or no, schools are not allowed to grant consent on behalf of parents, according to the FTC.
  • Many vendors also allow third-party trackers (usually related to analytics or advertising) to be embedded into their sites and services.
  • How do schools notify parents and get their consent under COPPA?
  • Often through an Acceptable Use Policy or similar document that is sent home to parents at the beginning of the school year, said Fitzgerald of Common Sense Media.
  • Even better, Fitzgerald said, is when schools provide a detailed list of exactly what websites/online services/apps students will be using, and what the information practices of each are.
  • some privacy experts say that a one-time, blanket sign-off at the beginning of the school year may not be considered valid notification and consent under COPPA, especially if it doesn’t list the specific online services that children will be using.
  • responsibility for deciding “whether a particular site’s or service’s information practices are appropriate” not be delegated to teachers.
  • Many districts do in fact have that kind of review-and-approval process.
  • One is “click-wrap agreements.” Often, these are the kinds of agreements that almost all of us are guilty of just clicking through without actually reading
  • Herold, Benjamin. (2017, July 28). The Children’s Online Privacy Protection Act. Education Week. Retrieved Month Day, Year from http://www.edweek.org/ew/issues/Childrens-online-privacy-protection-act-coppa/
Nigel Coutts

Slow Looking at Home or Doing More with Less - The Learner's Way - 16 views

thelearnersway.net/...t-home-or-doing-more-with-less

shared by Nigel Coutts on 19 Apr 20 - No Cached
  • Nigel Coutts on 19 Apr 20
     
    It seems that thanks to COVID19, educators, parents and students are in a rush. It seems the rush started moments after the decision was made to promote social distancing by offering remote learning. From quality learning in classrooms focused on deep learning we shifted into top gear. Packets of work were prepared, online tools rapidly expanded, new options for content delivery were examined and quickly deployed. We wanted to make sure that our students would be kept busy. Parents wanted their children to be busy. - Maybe slow looking is the solution?
Martin Burrett

Books: Time to…by Penny Tassoni, via @BloomsburyEd - 3 views

ukedchat.com/...time-to-books

life skills book review

shared by Martin Burrett on 12 Nov 19 - No Cached
  • Martin Burrett on 12 Nov 19
     
    "The series uses simple, positive language and gorgeous full-colour illustrations to teach children aged 0-5 important personal and social skills. From making friends and sharing, to eating and tidying up, this series will help explore positive behaviour with children in a fun and friendly way."
Nigel Coutts

Six key messages for successful learning - The Learner's Way - 11 views

thelearnersway.net/...ssages-for-successful-learning

key messages learning thinking education teaching

shared by Nigel Coutts on 10 Nov 19 - No Cached
  • Nigel Coutts on 10 Nov 19
     
    I recently had the opportunity to speak with a group of parents whose children are transitioning into a new phase of their learning. I used this as an opportunity to share some key messages for successful learning and thought I would briefly unpack these here.
meghankelly492

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

psycnet.apa.org/...2011-20583-001.pdf

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • In asurvey of 2,212 classical musicians, 40% re-ported that anxiety interfered with their perfor-mances (Kirchner, Bloom, & Skutnick–Henley,
  • , see Kenny (2005) andMcGinnis and Milling (2005
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)
  • ...30 more annotations...
  • did notreturn any recent studies investigating the effec-tiveness of a purely cognitive intervention in thetreatment of MPA; consequently, research inthis particular area is needed
  • Past re-search has focused on combined interventions;however, often these programs run for over 6weeks and it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)
  • State–Trait Anxiety Inventory (STAI).The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale(Kenny, 2006).
  • The PAI (Nagel, Himle, & Papsdorf, 1981) isbased on the STAI and is a music inventoryassessing the three-systems model of anxiety
  • heart rate at 10 min, 5
  • Signs of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating.
  • Nagel et al.reported that the average preintervention scorewas 55 and the average postintervention scorewas 38, with a score of 39 or less indicating a
  • person has few problems with performance anx-iety
  • Researchers have found that MPA af-fects instrumentalists and vocalists of all agesand abilities, including students, professionals,amateurs, and children (Brotons, 1994; Kenny,2006; Liston, Frost, & Mohr, 2003)
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987
  • The cognitive intervention had no significanteffect on anxiety levels. Sweeney and Horan’s(1982) study indicated that a cognitive restruc-turing program may be helpful in the treatmentof MPA; their program, featuring cognitive re-structuring, significantly reduced anxiety.
  • d it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)
  • The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale
  • Performance Anxiety Inventory (PAI)
  • cognitive, behavioral, and physiological fac
  • and has beenwidely used in treatment outcome research
  • Behavioral Anxiety Index (BAI)
  • igns of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating
  • Participants were then taught howthoughts, behaviors, and feelings interact andinfluence performance
  • practical exercise, how people waste their en-ergy trying to control uncontrollable factors,thereby impairing performance
  • This exercise wasdesigned to demonstrate how thoughts cansometimes be irrational and can be changed inlight of new evidence
  • how to use self-talk effectively and how touse cues
  • Participants practiced how to identify negativethoughts, stop the thoughts, and use cues to helpthem overcome the negative thoughts.
  • Imagery is a mentalexercise that can help athletes maintain concen-tration, decrease anxiety, and improve confi-dence; thus, it may also be helpful for somemusicians (Gregg & Clark, 2007).
  • Participants in the wait-list controlgroup waited 3 weeks until their second perfor-mance, which was on the same night as theirfirst worksho
  • MPA is a pervasive problem affecting musi-cians of all ages and abilities. As compared withthe research on mental skills training in athletes,relatively little is known about the assessment,treatment, and theoretical underpinnings ofMPA
  • Kenny (2006) suggested that improving perfor-mance quality will have a positive, self-reinforcing effect on the musician and enhanceconfidence in future performances.
  • We predicted that anxiety levels would de-crease in the treatment group from pre- to post-test. This hypothesis was partially supported.Specifically, there was a significant reductionon the PAI in the treatment group. Although theparticipants improved after the intervention,they were still not within the optimal rangeaccording to Nagel et al. (1981
  • Although the decrease in anxiety was notas large in our study, our participants droppedfrom the high performance anxiety category tothe moderate performance anxiety category
Martin Burrett

The intervention programme that claims to lessen the achievement gap - 4 views

ukedchat.com/...intervention-achievement

research

shared by Martin Burrett on 02 Sep 19 - No Cached
  • Martin Burrett on 02 Sep 19
     
    "A multi-national European study, looking at over 5,500 students, has found that a novel school intervention programme can not only improve the mathematics scores of primary school children from disadvantaged areas, but can also lessen the achievement gap caused by socioeconomic status. Known as the Dynamic Approach to School Improvement (DASI), the programme is based on the latest findings in educational research. Rather than a one-size-fits-all, top-down approach, DASI works by first assessing a school to identify the specific teaching areas that could be improved and then implementing targeted measures to improve them. This process involves all members of the school community, including teachers, pupils and parents, with support from a specialized Advisory and Research Team."
meghankelly492

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

journals.sagepub.com/...0255761415597151

world Music

shared by meghankelly492 on 30 Aug 19 - No Cached
  • Music inexperience, changed pattern of practice and performance anxiety are associated with playing-related problems in child instrumentalists and are therefore important issues for music education.
  • Research on adult musicians has adopted these models and identified individual intrinsic factors such as age and gender, music performance anxiety and enjoyment, extrinsic factors such as music practice habits and type of instrument played and intrinsic–extrinsic interaction factors such as playing posture, technique and student–teacher interaction which influence the development of PRMP.
  • The aim of this study was to describe the music practice of child instrumentalists and determine their associations with playing-related musculoskeletal problems (PRMP), accounting for gender and age
  • ...4 more annotations...
  • Symptoms of performance anxiety are generally categorized into cognitive (e.g. catastrophic thoughts), behavioral (e.g. avoidance of performance/auditions) and physiological (e.g. dry mouth, shaking arms/hands, increased heart rate) (Plaut, 1990; Salmon, 1990).
  • Shoup (1995) reported performance anxiety negatively affected performance in 55% (234/425) junior high and high school instrumentalists.
  • Over a third of students (36%, 263) reported they experienced the feeling of butterflies most times to always when playing in a concert or competition (Table 1).
  • There was a significant association between gender and the experience of butterflies (χ2 = 32.32, df (4), p < .001) with more females reporting the experience of butterflies than males. There was a significant association between age and reported experience of the feeling of butterflies (F = 9.012, df (3), p < .001), with older children reporting the experience of butterflies more than younger children.
Martin Burrett

Children from disadvantaged backgrounds do less vigorous physical activity - 2 views

ukedchat.com/...children-physical-activity

sports PE

shared by Martin Burrett on 01 Jul 19 - No Cached
  • Martin Burrett on 01 Jul 19
     
    "Children from disadvantaged backgrounds and certain ethnic minority backgrounds, including from Pakistani and Bangladeshi backgrounds, have lower levels of vigorous physical activity, according to researchers at the University of Cambridge. The patterns mirror inequalities seen in levels of childhood obesity, suggesting a need for a greater focus on the promotion of vigorous physical activity, particularly for those Children from more disadvantaged backgrounds."
Martin Burrett

Researchers claim that educational success among children of similar cognitive ability depends on their background - 8 views

ukedchat.com/...educational-success-background

research

shared by Martin Burrett on 27 Jun 19 - No Cached
  • Martin Burrett on 27 Jun 19
     
    "Children of similar cognitive ability have very different chances of educational success; it still depends on their parents' economic, socio-cultural and educational resources. This contradicts a commonly held view that these days that our education system has developed enough to give everyone a fighting chance. The researchers, led by Dr. Erzsébet Bukodi from Oxford's Department of Social Policy and Intervention, looked at data from cohorts of Children born in three decades: 1950s, 1970s and 1990s. They found significant evidence of a wastage of talent. Individuals with high levels of cognitive ability but who are disadvantaged in their social origins are persistently unable to translate their ability into educational attainment to the same extent as their more advantaged counterparts."
Nigel Coutts

How might we prepare our students for an unknown future? - The Learner's Way - 10 views

thelearnersway.net/...students-for-an-unknown-future

students unknown future learner education technology

shared by Nigel Coutts on 23 Jun 19 - No Cached
  • Nigel Coutts on 23 Jun 19
     
    How might we prepare our students for an unknown future? If we accept that we are living in times of rapid change and that the world our children will inhabit is likely to be very different from the world of today, or perhaps more importantly, different from the work our current education system was designed to serve, what should we do to ensure our children are able to thrive?
Martin Burrett

Children who walk to school less likely to be overweight or obese, study suggests - 1 views

ukedchat.com/...children-walk-to-school

health well-being wellbeing

shared by Martin Burrett on 18 Jun 19 - No Cached
  • Martin Burrett on 18 Jun 19
     
    "Children who regularly walk or cycle to school are less likely to be overweight or obese than those who travel by car or public transport, a new study suggests. Based on results from more than 2000 primary-age schoolChildren from across London, the researchers found that walking or cycling to school is a strong predictor of obesity levels, a result which was consistent across neighbourhoods, ethnicities and socioeconomic backgrounds. The results are reported in the journal BMC Public Health."
meghankelly492

Children's Natural and Necessary Musical Play: Global Contexts, Local Appli...: EBSCOhost - 4 views

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

world Music

shared by meghankelly492 on 08 Jun 19 - No Cached
  • Young children living around the world are singing, moving, and playing. It is part of their home cultures, neighborhood cultures, and regional and national cultures.
Martin Burrett

Study finds bullying among adolescents hurts both the victims and the perpetrators - 5 views

ukedchat.com/...bullying-hurts

bullying

shared by Martin Burrett on 03 Jun 19 - No Cached
  • Martin Burrett on 03 Jun 19
     
    "Name-calling, hair pulling or cyberbullying: About a tenth of adolescents across the globe have been the victim of psychological or physical violence from classmates at least once in their lives. A new study carried out by researchers at Martin Luther University Halle-Wittenberg (MLU) has shown that victims and their perpetrators both suffer as a result of these attacks: They are more inclined to consume alcohol and tobacco, are more likely to complain of psychosomatic problems and their chances of having problems with their social environment increase, too. In the scientific journal "Children and Youth Services Review", the researchers plead for prevention programmes to place more emphasis on cohesion within the classroom."
solisg58

Favorite 2nd grade books - 4 views

www.greatschools.org/...orite-books-for-second-graders

Favorite books for 2nd graders

shared by solisg58 on 04 Jun 19 - No Cached
  • llows children to imagine the things they would do if they co
  • uld. This is a story everyone can relate to, no matter his or her background
  • climb into a tree and read” summer days.
  • ...4 more annotations...
  • read-aloud
  • Poetry
  • Themes of racial or ethnic identity and pride are incorporated in the plot.
  • Friends
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.
meghankelly492

"Can't We Just Change the Words?": EBSCOhost - 1 views

web.b.ebscohost.com/...detail

Music Theory Test Review UFMUE

shared by meghankelly492 on 24 May 19 - No Cached
  • The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.
  • However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity
  • The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.
  • ...10 more annotations...
  • how does each author use authenticity as a strategy for making or justifying decisions in music education?
  • authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
  • since the original loses some of its essential qualities in a simplification.5
  • His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions
  • Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).
  • Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
  • Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
  • Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.
  • Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.
  • "World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.
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