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"Many a Cause, Many a Conflict: The Texas Revolution" Introduction Volumes sufficient to fill multiple warehouses have been written about the Texas Revolution of 1836 in the century and a half since it culminated in the seventeen minute Battle of San Jacinto. Few topics have inspired such polarized feelings. Many blame Mexico's loss of her northernmost regions on a conscious premeditated conspiracy of Anglo-Americans in the United States to steal Texas by whatever means possible. This conspiracy, supported by the American government in Washington, D.C., first bore fruit in 1835-36 with the Texas Revolution and culminated ten years later with the Mexican War which resulted in the loss of the present-day states of New Mexico, Colorado, Nevada, Utah, Arizona, and California. At the other end of the continuum are those who blame the Mexican people for the misrule of Texas and the ruthless dictatorship of Santa Anna for provoking a fully justified rebellion by Anglo-Americans and Tejanos. While such extreme positions are far too simplistic to explain the events of 1835-36, they continue to be voiced today - a century and a half after the fact.

apply practices that comply with legal obligations regarding the ownership and use of digital products resources

identify and value the rights to identity, privacy and emotional safety for themselves and others when using ICT and apply generally accepted social protocols when using ICT to collaborate with local and global communities

select and use ICT to articulate ideas and concepts, and plan the development of complex solutions

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patchwork collection of online courses that's difficult for students to navigate.

they can improve their online-education efforts to help students find streamlined, affordable pathways to a degree.

Through regular classroom observation and targeted professional development activities, it is our hope that over time teachers will be able to effectively monitor their progress through a continuum of technology integration levels

In the 1950's Benjamin Bloom developed his taxonomy of cognitive objectives, Bloom's Taxonomy. This categorized and ordered thinking skills and objectives. His taxonomy follows the thinking process. You can not understand a concept if you do not first remember it, similarly you can not apply knowledge and concepts if you do not understand them. It is a continuum from Lower Order Thinking Skills (LOTS) to Higher Order Thinking Skills (HOTS). Bloom labels each category with a gerund.

In the 1990's, a former student of Bloom, Lorin Anderson, revised Bloom's Taxonomy and published this- Bloom's Revised Taxonomy in 2001.Key to this is the use of verbs rather than nouns for each of the categories and a rearrangement of the sequence within the taxonomy. They are arranged below in increasing order, from low to high.

Each of the categories or taxonomic elements has a number of key verbs associated with it Lower Order Thinking Skills (LOTS) Remembering - Recognising, listing, describing, identifying, retrieving, naming, locating, finding Understanding - Interpreting, Summarising, inferring, paraphrasing, classifying, comparing, explaining, exemplifying Applying - Implementing, carrying out, using, executing Analysing - Comparing, organising, deconstructing, Attributing, outlining, finding, structuring, integrating Evaluating - Checking, hypothesising, critiquing, Experimenting, judging, testing, Detecting, Monitoring Creating - designing, constructing, planning, producing, inventing, devising, making

it is more important to be able to learn than it is to be learned

If the young people of today are to thrive beyond the walls of the classroom they will need to be able to cope with a world characterised by volatility, uncertainty, complexity and ambiguity.

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.