Group items matching

in title, tags, annotations or url

in a study of California students for Attendance Works, the organization that Hedy Chang oversees, only 17 percent of the students who were chronically absent in both kindergarten and 1st grade were reading proficiently by 3rd grade, compared with 64 percent of those with good attendance in the early years. Weak reading skills in the 3rd grade translate into academic trouble ahead: Students who aren’t reading well by that point are four times more likely to drop out of high school, according to a 2012 study released by the Annie E. Casey Foundation.

Connections to Future Learning: Does the app’s content build users’ literacy or numeracy skills so they are more prepared to engage future content area learning and are on track to become “college and career” ready?

Routine is a great deadener of attention.

When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.

same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.

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.

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!”

But others, like this question from the same exam, required logic:

A science test isn’t something that can be mastered just by learning rules. It requires making connections using logic

“We can’t compare this technology to real human students and their ability to reason,”

a shift from its founding philosophy of “organizing the world’s information,” to one that is far more active in deciding how that information should appear.

Google keeps blacklists to remove certain sites or prevent others from surfacing in certain types of results. These moves are separate from those that block sites as required by U.S. or foreign law,

Far from being autonomous computer programs oblivious to outside pressure, Google’s algorithms are subject to regular tinkering from executives and engineers who are trying to deliver relevant search results, while also pleasing a wide variety of powerful interests and driving its parent company’s more than $30 billion in annual profit.

A/B testing is a trap because it insulates us from A/J testing. A/B testing is an asymptotic stroll toward a local maximum.

And busyness is a trap because it allows us to believe that we’ve actually created value.

FitWithFriends (FWF) should help students attending UVA achieve their fitness goals by motivating prospective gym goers through connecting them with potential workout buddies. FWF will provide guidance to new users in creating a profile and matching with another person through simple instructions. It will provide a service in which users can input information, such as fitness goals and availability. FWF will also provide a database that will educate users on how to use different equipment as well as supply different workouts. Next, users can match with a single user or a group, and if it is mutual, FWF should be able to connect them within a day of the match to plan workouts. FWF will handle various physical activities from running or weightlifting to rock climbing depending on user interests. FWF can also offer rewards to students who continue to complete workouts. FWF will work to build deeper connections between students through a medium other than academics.

System concept statement

The article describes creative youth development in the larger contexts of arts education and of education reform.

Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.

Yet these two worlds largely exist apart, failing to address the reality that youth learn and grow—or fail to reach their potential—through influences and experiences in all spheres of their lives, including home, school, and the settings where they spend time outside of schoo

Deep-listening experiences, wrapped in a pedagogy of music listening, take students far beyond the surface of their barely noticeable surround-sound environment and into the nature of music and its workings.

Attentive-listening experiences occur when teachers point out specified points of focus, put questions or challenges to the listeners, or merge graphics or visuals with the sound experience itself. Graphs or maps of particular musical features can be helpful, since visual cues may enhance listening. Teachers can provide diagrams of the contours of the melody or depict rhythmic components of a piece through iconic symbols-staff notation, splotches of color, or geometric shapes, for example. Instruments, real or illustrated, can focus student attention on their entrance or continuing presence in the music.

Engaged listening invites listeners to enter into the groove or the flow of the music, pick a part to contribute, and consequently feel more involved in the music. A phenomenon of "participatory consciousness"[ 5] unfolds as engaged listeners find their place in the music, find something in the music to hang on to (a melody, a pulse, an ostinato, a groove), and select a contribution to make back to the music. In this way, they connect with the music, joining the recorded musicians and their live participant-colleagues in a musical team.

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.