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Jessica Hallonqvist

Greta Thunberg Arrives in New York After Sailing Across Atlantic | Time - 3 views

meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - 7 views

  • 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
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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.
  • 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."
Nigel Coutts

Learning about change from a home cooked meal. - The Learner's Way - 7 views

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    Last week I decided that a good home cooked meal was in order. Lacking inspiration it turned to a recipe book I had been gifted the previous Christmas and found what appeared to be a tasty and nutritious option. I read on with enthusiasm and was soon imaging myself dining on this wholesome meal. If the end result looked half as good as the glossy picture that accompanied the recipe, I would be in luck.
Nigel Coutts

Why we don't cook frogs slowly and other thoughts on change - The Learner's Way - 13 views

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    The frog in the pot of boiling water in An Inconvenient Truth is a cinematic moment that has the desired effect. It is one of the moments from the film that the audience remembers long after the credits roll. I have often thought about how this metaphor applies to change and particularly the way that change operates in schools.
Martin Burrett

Early cooking skills strongly predict future nutritional well-being - 18 views

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    "Evidence suggests that developing cooking and food preparation skills is important for health and nutrition, yet the practice of home cooking is declining and now rarely taught in school. A new study published in the Journal of Nutrition Education and Behavior found that developing cooking skills as a young adult may have long-term benefits for health and nutrition."
Nigel Coutts

Home Delivered vs Home Cooked Learning - Who's in the driver's seat? - The Learner's Way - 9 views

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    Do you like your learning 'home delivered' or do you prefer it to be 'home cooked'? Is learning something that you are the driver of or is learning something that happens to you? 
Martin Burrett

Study suggests an answer to young people's persistent sleep problems - 45 views

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    "A collaborative research project involving James Cook University and the University of Queensland indicates high rates of sleep problems continuing through teenage years and into early adulthood - but also suggests a natural remedy."
mspayton68

Chinese Culture: Customs & Traditions of China - 7 views

  • Culture includes religion, food, style, language, marriage, music, morals and many other things that make up how a group acts and interacts.
  • Currently, there are only five official religions. Any religion other than Buddhism, Taoism, Islam, Catholicism and Protestantism are illegal, even though the Chinese constitution states that people are allowed freedom of religion.
  • There are seven major groups of dialects of the Chinese language, which each have their own variations,
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  • Among the main styles of Chinese cooking are Cantonese, which features stir-fried dishes, and Szechuan, which relies heavily on use of peanuts, sesame paste and ginger and is known for its spiciness.
  • depict spiritual figures of Buddhism,
  • Many musical instruments are integral to Chinese culture,
  • Eastern-style martial arts were also developed in China, and it is the birthplace of kung fu. This fighting technique is based on animal movements and was created in the mid-1600s, according to Black Belt Magazine.
  • The largest festival — also called the Spring Festival — marks the beginning of the Lunar New Year. It falls between mid-January and mid-February and is a time to honor ancestors. During the 15-day celebration, the Chinese do something every day to welcome the new year, such as eat rice congee and mustard greens to cleanse the body, according to the 
Martin Burrett

UKEdMag: Get their hands dirty! by @MissNina1983 - 8 views

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    It is essential that children in today's 'technology focused world' get real, hands-on experiences. The only things that some of my children have in their hands, once at home, are games console controls! By making learning fun and interactive we can engage children in finding out about the world around them and their past, instilling a love of learning and giving them some practical skills to use in the real world...
Dennis Thomas

Does Spelling Count? | Edutopia - 40 views

  • These children have been taught from a very young age that their "grades" matter more than the actual purpose of the assignment -- just like "subjects" trump true learning.
  • In nursery school, math is called cooking, building or drawing. Science is called gardening, exploring or playing on the yard (finding bugs and figuring out what they do is a specialty).
Bob Rowan

Cookie Caster: Customize your own Cookie cutter in a minute - 32 views

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    Design your own cookie cutters and print them on a 3D printer. You can draw your own or start with an existing image. Suggested by Corey Kilbane, 12/12/2013
Caroline Dutton

Health - 0 views

  • The World Health Organization (WHO) estimates that exposure to smoke from the simple act of cooking is the fifth worst risk factor for disease in developing countries, and causes almost two million premature deaths per year – exceeding deaths attributable to malaria or tuberculosis.
  • Women in developing countries are also at risk of head and spinal injuries, pregnancy complications, and maternal mortality from the strenuous task of carrying heavy loads of firewood or other fuels. Frequent exposure to cookstove smoke can also cause disabling health impacts like cataracts, which affect women more than men, and is the leading cause of blindness in developing countries.
  • Rudimentary wood-fired cookstoves and open fires emit fine particles, carbon monoxide, and other pollutants at levels up to 100 times higher than the recommended limits set by WHO
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  • A randomized-control study in Guatemala led by the University of California, Berkeley, found that halving exposure to indoor air pollution with a chimney stove brought about a reduction in severe pneumonia, and that larger reductions in exposure had more pronounced effects. A systematic review of all available studies on the link between solid fuel use and child pneumonia has found an almost doubling of risk for those exposed.
  • Burns from open fires and unsafe cookstoves are another insidious risk faced by poor households dependent on kerosene, open fires, and unstable metal or clay cookstoves, contributing to a substantial percentage of the estimated 300,000 burn deaths that occur annually
  • While the link between exposure to cookstove smoke and a wide range of health problems such as pneumonia, chronic obstructive pulmonary disease, and lung cancer is well established, the current body of evidence linking cookstoves with other potentially important health effects is compelling but less documented
  • Nearly all of the existing evidence is based on observational studies that compare groups using open fires and traditional cookstoves with those using cleaner fuels, with very little being directly obtained from studies that directly measure the effects of interventions.
  • More evidence is needed to demonstrate that the levels of exposure reduction delivered by clean cookstove and fuels will result in declines in related illnesses and deaths.
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    This is the Global alliance for Clean Cookstoves website. They offer much information about the issues surrounding the topic and their action plan for affecting change!
Kate Pok

OWS's Beef: Wall Street Isn't Winning It's Cheating | Matt Taibbi | Rolling Stone - 0 views

  • Just recently, the French and Belgian authorities cooked up a massive bailout of the French bank Dexia, whose biggest trading partners included, surprise, surprise, Goldman, Sachs and Morgan Stanley. Here's how the New York Times explained the bailout: To limit damage from Dexia’s collapse, the bailout fashioned by the French and Belgian governments may make these banks and other creditors whole — that is, paid in full for potentially tens of billions of euros they are owed. This would enable Dexia’s creditors and trading partners to avoid losses they might otherwise suffer... When was the last time the government stepped into help you "avoid losses you might otherwise suffer?" But that's the reality we live in. When Joe Homeowner bought too much house, essentially betting that home prices would go up, and losing his bet when they dropped, he was an irresponsible putz who shouldn’t whine about being put on the street. But when banks bet billions on a firm like AIG that was heavily invested in mortgages, they were making the same bet that Joe Homeowner made, leaving themselves hugely exposed to a sudden drop in home prices. But instead of being asked to "suck it in and cope" when that bet failed, the banks instead went straight to Washington for a bailout -- and got it.
Derrick Grose

New Resources from "Reading and Remembrance" - 1 views

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    Angie Littlefield and Mary Cook describe new resources for building literacy and teaching history using themes of remembrance.
Todd Campion

Great Expectations - Wikipedia, the free encyclopedia - 0 views

  • Miss Havisham and her family Miss Havisham, wealthy spinster who takes Pip on as a companion and whom Pip suspects is his benefactor. Miss Havisham does not discourage this as it fits into her own spiteful plans. She later apologizes to him as she's overtaken by guilt. He accepts her apology and she is badly burnt when her dress catches aflame from a spark which leapt from the fire. Pip saves her, but she later dies from her injuries. Estella (Havisham), Miss Havisham's adopted daughter, whom Pip pursues romantically throughout the novel. She is secretly the daughter of Molly, Jaggers' housekeeper, and Abel Magwitch, Pip's convict, but was given up to Miss Havisham after a murder trial. Estella represents the life of wealth and culture for which Pip strives. Since her ability to love has been ruined by Miss Havisham, she is unable to return Pip's passion. She warns Pip of this repeatedly, but he is unwilling or unable to believe her. At one point, Estella is walking up some iron stairs representing how she is of a higher class than Pip when in fact she is of the same class. Arthur (Havisham), Miss Havisham's half-brother, who felt he was shortchanged in his inheritance by their father's preference for his daughter. He joined with Compeyson in the scheme to cheat Miss Havisham of large sums of money by gaining Miss Havisham's trust through promise of marriage to Compeyson. Arthur is haunted by the memory of the scheme and sickens and dies in a delirium, imagining that the still-living Miss Havisham is in his room, coming to kill him. Arthur has died before the beginning of the novel and gambled heavily, being drunk quite often. Matthew Pocket, a cousin of Miss Havisham's. He is the patriarch of the Pocket family, but unlike others of her relatives he is not greedy for Havisham's wealth. Matthew Pocket has a family of nine children, two nurses, a housekeeper, a cook, and a pretty but useless wife (named Belinda). He also tutors young gentlemen, such as Bentley Drummle, Startop, Pip, and his own son Herbert, who live on his estate. Herbert Pocket, a member of the Pocket family, Miss Havisham's presumed heirs, whom Pip first meets as a "pale young gentleman" who challenges Pip to a fist fight at Miss Havisham's house when both are children. He is the son of Matthew Pocket, Pip's tutor in the "gentlemanly" arts, and shares his apartment with Pip in London, becoming Pip's fast friend who is there to share Pip's happiness as well as his troubles. He is in love with a girl called Clara. Herbert keeps it secret because he knows his mother would say she is below his "station". Camilla, an ageing, talkative relative of Miss Havisham who does not care much for Miss Havisham and only wants her money. She is one of the many relatives who hang around Miss Havisham "like flies" for her wealth. Cousin Raymond, another ageing relative of Miss Havisham who is only interested in her money. He is married to Camilla. Georgiana, an ageing relative of Miss Havisham who is only interested in her money. Sarah Pocket, "a dry, brown corrugated old woman, with a small face that might have been made out of walnut shells, and a large mouth like a cat's without the whiskers." Another ageing relative of Miss Havisham who is only interested in her money
  • Characters from Pip's youth The Convict, an escapee from a prison ship, whom Pip treats kindly, and who turns out to be his benefactor, at which time his real name is revealed to be Abel Magwitch, but who is also known as Provis and Mr. Campbell in parts of the story to protect his identity. Pip also covers him as his uncle in order that no one recognizes him as a convict sent to Australia years before. Abel Magwitch, the convict's given name, who is also Pip's benefactor. Provis, a name that Abel Magwitch uses when he returns to London, to conceal his identity. Pip also says that "Provis" is his uncle visiting from out of town. Mr. Campbell, a name that Abel Magwitch uses after he is discovered in London by his enemy. Mr. and Mrs. Hubble, simple folk who think they are more important than they really are. They live in Pip's village. Mr. Wopsle, the clerk of the church in Pip's village. He later gives up the church work and moves to London to pursue his ambition to be an actor, even though he is not very good. Mr. Waldengarver, the stage name that Mr. Wopsle adopts as an actor in London. Biddy, Mr. Wopsle's second cousin; she runs an evening school from her home in Pip's village and becomes Pip's teacher. A kind and intelligent but poor young woman, she is, like Pip and Estella, an orphan. She is the opposite of Estella. Pip ignores her obvious love for him as he fruitlessly pursues Estella. After he realizes the error of his life choices, he returns to claim Biddy as his bride, only to find out she has married Joe Gargery. Biddy and Joe later have two children, one named after Pip whom Estella mistakes as Pip's child in the original ending. Orlick was attracted to her, but his affection was unreciprocated
Martin Burrett

They Draw & Cook - 91 views

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    A visually stunning site with thousands of user generated and searchable illustrated recipes for you to try in your school cookery session. Some more a piece of art than a recipe, these can be printed to add some colour to your school kitchen or used as an example of instructional writing in English. http://ictmagic.wikispaces.com/Food+&+cookery
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