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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

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."
Martin Burrett

Nova Elements - 15 views

ukedchat.com/...nova-elements

chemistry elements science

shared by Martin Burrett on 21 May 19 - No Cached
  • Martin Burrett on 21 May 19
     
    "A great chemistry app for PC, Mac and iPad which lets you explore the molecular composition of everyday objects."
Martin Burrett

Ableton Learning Music - 21 views

ukedchat.com/...ableton-learning-music

music music theory virtual instruments

shared by Martin Burrett on 26 May 17 - No Cached
  • Martin Burrett on 26 May 17
     
    "A wonderfully designed site with lessons and tools to create digital music and teach music theory. Lessons start at a very basic level and build to advanced compositions."
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?
Diana Irene Saldana

Noteflight - Online Music Notation Software - 31 views

www.noteflight.com/login

Music Scores

shared by Diana Irene Saldana on 29 Mar 15 - No Cached
  • Diana Irene Saldana on 29 Mar 15
     
    Create music notation right in your browser and be part of the world's best music composition community.
Doug Henry

EarSketch - 45 views

earsketch.gatech.edu

programming music digital

shared by Doug Henry on 10 Jan 15 - No Cached
  • Doug Henry on 10 Jan 15
     
    EarSketch teaches computer science through music composition and remixing! No prior knowledge of either computer science or music is needed. See "More About EarSketch" below to learn more about the software. I'm a student, how do I get started? Access the latest version of EarSketch here.
Margaret FalerSweany

Bedford Bits: Ideas for Teaching Composition » Blog Archive » A Revision Plan Assignment - 31 views

blogs.bedfordstmartins.com/...tgardner

writing revision composition revision plan

shared by Margaret FalerSweany on 21 May 14 - No Cached
  • I asked students to compose revision plans, rather than actually rewriting their work.
  • most students did a great job of going beyond responding to the things I had noted in end comments on their papers.
  • it was simple to read through their responses and see how well their plans fit the expectations for the assignment.
  • ...1 more annotation...
  • Most of the revision plans showed better engagement and thinking about writing than any of the rewrites I received in the past.
  • Margaret FalerSweany on 21 May 14
     
    Rather than having students revise, author suggests having students write a revision plan.
Jac Londe

OCDE - Direction des Statistiques - Organisation de coopération et de développement économiques - 4 views

www.oecd.org/...elocdefrequemmentdemandees.htm

OCDE Direction Statistiques Organisation coopération développement économiques

shared by Jac Londe on 07 Feb 14 - No Cached
  • Statistiques de l'OCDE fréquemment demandées
  • A : Aide Aide Publique au Developpement (APD) Agrégats monétaires - Monnaie au sens étroit et au sens large B : Balance des paiements C : Chômage Commerce de détail Commerce internationa Conjoncture en bref (données mensuelles/ trimestrielles, % de variation : PIB, indicateurs avancés, prix...) Construction - Logements mis en chantier et permis de construire Cours des actions Coût unitaire de la main d'oeuvre Croissance D : Définitions Dépenses sociales Distribution des revenus E : Education Emploi Enfants F : Famille G : Gains horaires Ginis I : Indicateurs composites avancés Indicateurs de confiance des industriels et des ménages Indices des prix à la consommation Indices des prix à la production Inégalités Inflation M : Mères Méthodologie Migrations N : PPA - Niveau de prix comparés basés sur les PPA O : L'OCDE en chiffres Offres d'emploi P : Parités de pouvoir d'achat (PPA) PPA - Niveau de prix comparés basés sur les PPA Pauvreté Pensions Perspectives économiques de l'OCDE PISA Population Population étrangère Prestations et salaires Prix - Indices des prix à la consommation - Indices des prix à la production - PPA - Niveau de prix comparés basés sur les PPA   Production industrielle Productivité Produit intérieur brut (PIB) S : Santé Social Sources et définitions T : Taux de chômage harmonisés Taux d'intérêt (long terme et court terme) Taux de change V : Voitures de tourisme - immatriculations
  • Jac Londe on 07 Feb 14
     
    Des statistiques qui aident à comprendre nos sociétés et leurs interactions.
Elizabeth Resnick

Microsoft Research Image Composite Editor (ICE) - 22 views

research.microsoft.com/...ICE

panorama stitch microsoft

shared by Elizabeth Resnick on 17 Jan 14 - No Cached
  • Elizabeth Resnick on 17 Jan 14
     
    Windows only.  Advanced panoramic image stitcher.
Steve Ransom

The Impact of Digital Tools on Student Writing and How Writing is Taught in Schools | Pew Research Center's Internet & American Life Project - 82 views

www.pewinternet.org/...rs-technology-and-writing.aspx

writing digital report study research kids students technology

shared by Steve Ransom on 17 Jul 13 - No Cached
  • Steve Ransom on 17 Jul 13
     
    Asked to assess their students' performance on nine specific writing skills, teachers tended to rate their students "good" or "fair" as opposed to "excellent" or "very good." Students received the best ratings on their ability to "effectively organize and structure writing assignments" and their ability to "understand and consider multiple viewpoints on a particular topic or issue." Teachers gave students the lowest ratings when it comes to "navigating issues of fair use and copyright in composition" and "reading and digesting long or complicated texts."
Martin Burrett

MuseScore - 47 views

musescore.com

music composition

shared by Martin Burrett on 24 May 13 - No Cached
  • Martin Burrett on 24 May 13
     
    Find and share music scores online. Search a huge bank of sheet music uploaded from the community. Found via https://twitter.com/eslweb http://ictmagic.wikispaces.com/Music%2C+Sound+%26+Podcasts
Kris Cody

The Reading Brain in the Digital Age: The Science of Paper versus Screens: Scientific American - 103 views

www.scientificamerican.com/article.cfm

education reading research ebooks epub books

shared by Kris Cody on 10 May 13 - No Cached
  • prevented them from zooming out to see a neighborhood, state or country
    • Monica Williams-Mitchell
      Monica Williams-Mitchell on 10 May 13
       
      This explains, in real terms, why I've had so much struggle with online reading! Very interesting article.
  • Because of these preferences—and because getting away from multipurpose screens improves concentration—people consistently say that when they really want to dive into a text, they read it on paper
    • Kris Cody
      Kris Cody on 11 May 13
       
      This is backed up by a recent article: Faris, Michael J., and Stuart A. Selber. "E-Book Issues In Composition: A Partial Assessment And Perspective For Teachers." Composition Forum 24.(2011): ERIC. Web. 31 Mar. 2013.
  • Surveys and consumer reports also suggest that the sensory experiences typically associated with reading—especially tactile experiences—matter to people more than one might assume.
  • ...14 more annotations...
  • When reading a paper book, one can feel the paper and ink and smooth or fold a page with one's fingers; the pages make a distinctive sound when turned; and underlining or highlighting a sentence with ink permanently alters the paper's chemistry.
  • discernible size, shape and weight.
  • Although many old and recent studies conclude that people understand what they read on paper more thoroughly than what they read on screens, the differences are often small. Some experiments, however, suggest that researchers should look not just at immediate reading comprehension, but also at long-term memory.
  • When taking the quiz, volunteers who had read study material on a monitor relied much more on remembering than on knowing, whereas students who read on paper depended equally on remembering and knowing.
  • E-ink is easy on the eyes because it reflects ambient light just like a paper book, but computer screens, smartphones and tablets like the iPad shine light directly into people's faces.
  • the American Optometric Association officially recognizes computer vision syndrome.
  • People who took the test on a computer scored lower and reported higher levels of stress and tiredness than people who completed it on paper.
  • Although people in both groups performed equally well on the READ test, those who had to scroll through the continuous text did not do as well on the attention and working-memory tests.
  • Subconsciously, many people may think of reading on a computer or tablet as a less serious affair than reading on paper. Based on a detailed 2005 survey of 113 people in northern California, Ziming Liu of San Jose State University concluded that people reading on screens take a lot of shortcuts—they spend more time browsing, scanning and hunting for keywords compared with people reading on paper, and are more likely to read a document once, and only once.
  • When reading on screens, people seem less inclined to engage in what psychologists call metacognitive learning regulation—strategies such as setting specific goals, rereading difficult sections and checking how much one has understood along the way
  • Perhaps she and her peers will grow up without the subtle bias against screens that seems to lurk in the minds of older generations.
  • They think of using an e-book, not owning an e-book,"
  • Participants in her studies say that when they really like an electronic book, they go out and get the paper version.
  • When it comes to intensively reading long pieces of plain text, paper and ink may still have the advantage. But text is not the only way to read.
  • Monica Williams-Mitchell on 10 May 13
     
    it is difficult to see any one passage in the context of the entire text.
  • Kris Cody on 11 May 13
     
    it is difficult to see any one passage in the context of the entire text.
Matt Renwick

Educational Leadership:Faces of Poverty:Boosting Achievement by Pursuing Diversity - 19 views

www.ascd.org/...ent-by-Pursuing-Diversity.aspx

poverty

shared by Matt Renwick on 02 May 13 - No Cached
    • Matt Renwick
      Matt Renwick on 02 May 13
       
      This is a critical point. Allowing middle class families to pick and choose where there kids should go without valid reasons (i.e. work) can hurt high poverty schools.
    • Matt Renwick
      Matt Renwick on 02 May 13
       
      Have we?
  • Residential poverty tends to be concentrated, and successful school integration requires either a district with enough socioeconomic diversity within its boundaries or a group of neighboring districts which, when combined, have enough diversity to facilitate an interdistrict integration plan.
  • ...15 more annotations...
  • A weighted lottery is the simplest way for schools to ensure that they enroll a diverse student body while still relying on choice-based enrollment.
    • Matt Renwick
      Matt Renwick on 02 May 13
       
      A possible solution?
  • ndividual success stories and a review of research suggest that it is possible, by offering all students a single challenging curriculum, to reduce the achievement gap without harming the highest achievers (Burris, Wiley, Welner, & Murphy, 2008; Rui, 2009).
  • In the middle grades, students at City Neighbors start their day with half an hour of highly specialized, small-group instruction called intensive. Intensive provides an opportunity for extra support or enrichment in different subjects, allowing teachers to meet different students' needs while still teaching most of the academic time in mixed-ability classrooms.
    • Matt Renwick
      Matt Renwick on 02 May 13
       
      Sounds like an intervention block, something many buildings have or are looking at.
  • small but growing number of schools are attempting to boost the achievement of low-income students by shifting enrollment to place more low-income students in mixed-income schools. Socioeconomic integration is an effective way to tap into the academic benefits of having high-achieving peers, an engaged community of parents, and high-quality teachers.
  • A 2010 meta-analysis found that students of all socioeconomic statuses, races, ethnicities, and grade levels were likely to have higher mathematics performance if they attended socioeconomically and racially integrated schools (Mickelson & Bottia, 2010).
  • Research supporting socioeconomic integration goes back to the famous Coleman Report, which found that the strongest school-related predictor of student achievement was the socioeconomic composition of the student body (Coleman et al., 1966).
  • nd results of the 2011 National Assessment of Educational Progress in mathematics show steady increases in low-income 4th graders' average scores as the percentage of poor students in their school decreases (U.S. Department of Education, 2011).
  • a number of studies have found that the relationship between student outcomes and the socioeconomic composition of schools is strong even after controlling for some of these factors, using more nuanced measures of socioeconomic status, or comparing outcomes for students randomly assigned to schools (Reid, 2012; Schwartz, 2012).
  • Rumberger and Palardy (2005) found that the socioeconomic composition of the school was as strong a predictor of student outcomes as students' own socioeconomic status.
  • Socioeconomic integration is a win-win situation: Low-income students' performance rises; all students receive the cognitive benefits of a diverse learning environment (Antonio et al., 2004; Phillips, Rodosky, Muñoz, & Larsen, 2009); and middle-class students' performance seems to be unaffected up to a certain level of integration.
  • A recent meta-analysis found "growing but still inconclusive evidence" that the achievement of more advantaged students was not harmed by desegregation policies (Harris, 2008, p. 563).
  • he findings suggested that, more than a precise threshold, what mattered in these schools was maintaining a critical mass of middle-class families, which promoted a culture of high expectations, safety, and community support.
  • istricts have chosen to let school boundaries reflect or even amplify residential segregation.
Dimitris Tzouris

Question Cloud - Continuous Education Assessment for Differentiated Instruction - 119 views

questioncloud.com

assessment tool education teaching

shared by Dimitris Tzouris on 17 Feb 13 - No Cached
  • Mark Johnstone on 19 Feb 13
     
    A very interesting assessment tool for English grammar and composition using knowledge analytics / artificial intelligence to plot skill development over time. Start up company looking for users to provide data.
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