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Jeff Andersen

Diversity & Inclusion Syllabus Statements | Sheridan Center | Brown University - 7 views

www.brown.edu/...statements

syllabus diversity inclusion

shared by Jeff Andersen on 13 Jul 21 - No Cached
  • Jeff Andersen on 13 Jul 21
     
    Sample for course syllabi
Jeff Andersen

Ten Steps Toward Universal Design of Online Courses - Disability Resource Center - 10 views

ualr.edu/...online-education

Universial Design

shared by Jeff Andersen on 29 Mar 20 - No Cached
  • Jeff Andersen on 29 Mar 20
     
    Ten Steps Toward Universal Design of Online Courses Implementing the principles of universal design in online learning means anticipating the diversity of students that may enroll in your course and planning accordingly. Designing a course with principles of universal design in mind is an ongoing and creative process. One does not achieve the level of usability aspired to with a simple checklist, but with an open mind and a commitment to making design and inclusion a priority. There are a few elements, though, that if taken into consideration, can enhance access and usability greatly. Knowing and incorporating these elements on the front end of the design process can save hours down the line.
meghankelly492

(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views

www.researchgate.net/..._for_Music_Performance_Anxiety

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
  • ...24 more annotations...
  • 59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
  • A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
  • However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
  • A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
  • However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
  • Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
  • These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
  • with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
  • For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
  • Brodsky (1996) and Nube´(1991) were most useful.
  • The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
  • In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
  • Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
  • A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
  • Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
  • Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
  • The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
  • Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
  • Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
  • The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
  • A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
  • Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
  • None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
  • In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
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."
meghankelly492

Exploring the Cultures of East Africa - Jenman African Safaris - 0 views

www.jenmansafaris.com/exploring-cultures-east-africa

world Music

shared by meghankelly492 on 03 Jun 19 - No Cached
  • As much as these different East African countries have in common, there are also distinct differences as a result of the over a hundred different cultures, dozens of different languages and diverse opinions relating to national identity.
  • Tanzania has two official languages – English and Swahili
  • Over the last ten years, the art of cartoons and comics has really taken off in Tanzania and begun to develop a more outspokenly political edge
Albert B Fernandez

Professor who wrote op-ed urging greater viewpoint diversity finds himself the target of vandalism, anonymous accusations - 18 views

www.thefire.org/andalism-anonymous-accusations

hooligans civility activism HxA

shared by Albert B Fernandez on 12 Dec 18 - No Cached
  • To get to the truth we have to have disagreement, and we’re not doing that now. The role of education is to elevate us, not necessarily to have solutions but to know how to think, to know how to have discourse, and to know how to debate. That’s why I’m so preoccupied with making sure students get a rounded experience.
  • Think Professors Are Liberal? Try School Administrators.”
  • liberal staff members outnumber their conservative counterparts by the astonishing ratio of 12-to-one.” He also related his concern that on his own campus, the Office of Student Affairs “was organizing many overtly progressive events . . . without offering any programming that offered a meaningful ideological alternative.”
  • ...2 more annotations...
    • Albert B Fernandez
      Albert B Fernandez on 12 Dec 18
       
      CF SC black Dean of Students endorsing BLM
  • his door had been plastered with signs saying things like “QUIT” and “Go teach somewhere else you racist asshat (maybe Charlottesville?).” Personal items that Abrams had posted on his door, including a photo of his newborn son, had been stolen.
  • Albert B Fernandez on 12 Dec 18
     
    "To get to the truth we have to have disagreement, and we're not doing that now. The role of education is to elevate us, not necessarily to have solutions but to know how to think, to know how to have discourse, and to know how to debate. That's why I'm so preoccupied with making sure students get a rounded experience."
clbrink

7 Key Considerations for Online and Blended Learning Programs -- THE Journal - 19 views

thejournal.com/...blended-learning-programs.aspx

tie tieclass flipped blended online learning blended learning

shared by clbrink on 01 Jun 18 - No Cached
  • Online courses provide students with a level of flexibility and choice
    • clbrink
      clbrink on 01 Jun 18
       
      This is true....choice and voice are important 
  • Infuse digital literacy and citizenship into your online strategy. "
  • Find a good partner to work with
  • ...8 more annotations...
  • Reach out when students appear to be struggling.
  • Use online learning to reach a more diverse group of learners.
  • Put a spotlight on interpersonal communications.
  • strong collaboration between students, teachers and parents.
  • . The discussions are asynchronous, so students can share their input when it best suits them.
  • Outline the virtual school's objectives and goals early in the game.
  • discipline, commitment, and organization are key traits for any successful student,
  • four- to five-day orientation course
    • clbrink
      clbrink on 01 Jun 18
       
      Should we be doing this in CAA?
Nigel Coutts

Getting creative with our learning spaces - The Learner's Way - 20 views

thelearnersway.net/...ative-with-our-learning-spaces

spaces Education teaching resources

shared by Nigel Coutts on 18 Feb 18 - No Cached
  • Nigel Coutts on 18 Feb 18
     
    Unfortunately, we are not all blessed with expansive classrooms which can readily accommodate a diversity of learning zones. The challenge becomes one of creatively using the space and furnishings you have to create flexible spaces.
Martin Burrett

School climate and diversity may affect students' delinquent behaviours - 8 views

ukedchat.com/...school-climate-and-diversity

behaviour diversity

shared by Martin Burrett on 16 Jan 18 - No Cached
  • Martin Burrett on 16 Jan 18
     
    "In a Journal of School Health study, race, sex, perceived peer inclusion, and teacher discrimination were predictors of students' delinquent behaviours."
Nigel Coutts

Educational Disadvantage - Socio-economic Status & Education Pt 1 - The Learner's Way - 3 views

thelearnersway.net/...economic-status-education-pt-1

status education learner learning resources equity

shared by Nigel Coutts on 22 Oct 17 - No Cached
  • Nigel Coutts on 22 Oct 17
     
    The role that education plays in issues of social equity and justice cannot be undervalued. It is acknowledged by the United Nations as a human right, 'Everyone has the right to education' (United Nations, 1948) and as outlined in the Melbourne Declaration on the Educational Goals for Young Australians 'As a nation Australia values the central role of education in building a democratic, equitable and just society- a society that is prosperous, cohesive and culturally diverse, and that values Australia's Indigenous cultures as a key part of the nation's history, present and future.' (Barr et al, 2008). Such lofty assertions of the importance of education as a right and national value should be sufficient to ensure that all Australians have access to an education of the highest standard with equitable outcomes for all, the reality is that this is not the case.
Marti Pike

RTI Talks | RTI for Gifted Students - 9 views

rtinetwork.org/...24

shared by Marti Pike on 02 Aug 17 - No Cached
  • learning contracts with the student focused on work that takes the students interests in to account may be helpful.
    • Marti Pike
      Marti Pike on 02 Aug 17
       
      Genius Hour
  • "Up from Underachievement" by Diane Heacox
  • Gifted learners are rarely "globally gifted
  • ...59 more annotations...
  • From a parent's perspective (and sometimes from the child's), this can seem like we are "de-gifted" the child.
  • The most important thing is that you have the "data" that shows what the student needs and that you are matching this with an appropriate service.
  • Be very explicit with what the differentiation is and how it is addressing the needs
  • A major shift with RTI is that there is less emphasis on the "label" and more on the provision of appropriate service.
  • When a child has met all the expected benchmarks
  • independent reading
  • reading log
  • small group for discussions using similar questions.
  • long-term solutions might include forming a seminar group using a
  • program like "Junior Great Books."
  • Ideas for differentiating reading for young children can also be found at: http://www.k8accesscenter.org/training_resources/readingdifferentiation.asp http://www.appomattox.k12.va.us/acps/attachments/6_6_12_dan_mulligan_handout.pdf
  • enrich potential
  • to plan appropriate instruction, based on data that show the learners' needs.
  • additional enrichment and challenge in their area(s) strength.
  • Tiers 2 or 3
  • As the intensity of the needs increase, the intensity of the services also increases.
  • our ability to nurture potential in students prior to formal identification
  • appropriately scaffolded activities through Tier 2 support.
  • , with high-end differentiation and expectations, we are able to support the development of potential in all students.
  • This body-of-evidence can be used to support the nomination process and formal identification when appropriate.
  • likely to be of particular benefit for culturally and linguistically diverse, economically disadvantaged, and twice exceptional youngsters who are currently underrepresented within gifted education.
  • Tier 1 include:
  • Tier 2 include:
  • Tier 3 include:
  • universal screening
  • Aspergers
  • gifted children with learning disabilities?
  • If we provide enrichment activities for our advanced students, won't that just increase the acheivement gap?
    • Marti Pike
      Marti Pike on 02 Aug 17
       
      Grrrrrrrrr
  • Educational opportunities are not a “zero sum” game where some students gain and others lose.
  • the needs of all learners.
  • One is focusing on remediation, however the second approach focuses on the nurturing of potential through creating expectations for excellence that permeate Tier 1 with extended opportunities for enrichment for all children who need them at Tier 2. With the focus on excellence, the rising tide will help all students reach their potential. This is the goal of education.
  • make sure that the screener is directly related to the curriculum that you are using and that it has a high enough ceiling to allow advance learners to show what they know.
  • recognizing that students who are above grade level, or advanced in their academics, also need support to thrive
  • all students deserve to attend a school where their learning needs are met
  • seek out ways to build the knowledge and skills of teachers to address the range of needs
  • This includes learning about differentiated instruction within Tier 1and creating additional opportunities for enhancements and enrichments within Tier 2.
  • first
  • This often means that the district views the school as a “high-needs” school and does feel that many children would qualify for gifted education services (thus no teacher allocation is warranted). If this is the case, then this is a problematic view as it perpetuates the myth that some groups of children are not likely to be “gifted”.
  • These five differentiation strategies are as follows: Curriculum Compacting (pre-assessment of learners to see what they know)  The use of Tiered Assignments that address: Mastery, Enrichment, and Challenge  Tiered Learning Centers that allow children to further explore skills and concepts  Independent and Small group learning contracts that allow students to follow area of interest  Questioning for Higher Level thinking to stretch the minds of each child.
  • RTI was,
  • first proposed as a way to help us better identify students who continue to need additional support in spite of having appropriate instructional opportunities to learn.
  • The primary issue is the need for measures of potential as well as performance.
  • an IQ measure
  • portfolio
  • that sometimes occur outside of school
  • children with complex sets of strengths and needs require a comprehensive evaluation that includes multiple types, sources, and time periods to create the most accurate and complete understanding of their educational needs.
  • a "diamond" shaped RTI model
  • confusing
  • use the same icon to represent how we address the increasing intensity of academic and behavioral needs for all learners.
  • English Language Learners?
  • Differentiated instruction is part of a strength-based approach to Tier 1, providing enriched and challenging learning opportunities for all students. However, a comprehensive RTI approach for gifted learners will also need strong Tier 2 and 3 supports and services.
  • Tracking, or the fixed stratification of children into learning levels based on limited data (placing children in fixed learning groups based on a single reading score), is the opposite of RTI.
  • off grade level trajectories
  • this may includ
  • assess the slope and speed of learning and plot the target from there.
  • content acceleration and content enrichment.
  • independent or small group project of their choice.
  • renzullilearning.com.
  • additional learning opportunities that both challenge the learner and address high interest learning topics.
Martin Burrett

Boys secure in their racial identity seek more diverse friendships - 17 views

ukedchat.com/...boys-secure-racial-identity

boys education

shared by Martin Burrett on 22 Mar 17 - No Cached
  • Martin Burrett on 22 Mar 17
     
    "Children often seek answers from parents, friends and media to better understand their racial identity. Middle school boys who feel secure about their race during this ongoing information gathering will likely befriend diverse people, according to a new University of Michigan study."
kmluedke2017

ISTE | 27 tools for diverse learners - 64 views

www.iste.org/...articleDetail

diverse tools technology

shared by kmluedke2017 on 16 Mar 17 - No Cached
  • kmluedke2017 on 16 Mar 17
     
    27 tools for diverse learners, lots of great links to tool for a variety of purposes.
tedmastin

Organisational Learning - The Learner's Way - 2 views

thelearnersway.net/...organisational-learning

Teaching collaboration learning organization

shared by tedmastin on 25 Sep 16 - No Cached
  • Certain conditions are critical for the establishment and success of a learning organisation and there are parallels here to the practices of effective pedagogy in an inquiry based learning environment. If our goal is to have every member of an organisation contribute to the learning that occurs then we must establish a culture that allows this to occur. Feelings of safety, acceptance of diversity and risk taking must become parts of the culture. In our classes we establish the conditions where our students feel safe sharing their ideas even when they do not conform with the majority. We establish a belief that there are often multiple correct answers and in doing so foster creativity. The same conditions are required in our learning organisations.  Nurturing a learning organisation is a little like nurturing a garden and Tim Brown echoes this sentiment ""It's about nurturing the conditions in which creativity is most likely to happen, That's really about culture, environment, rituals—the sorts of things that give people permission to explore, that encourage open-mindedness, collaboration, experimentation, and risk taking."
  • Nigel Coutts on 25 Sep 16
     
    For schools the concept of a learning organisation should make perfect sense, after all learning is our core business, or it should be. Perhaps that almost three decades after Peter Senge identified the importance of learning within organisations the idea is only now gaining traction in schools tells us something about the approach taken to learning and teaching within schools. With an increased focus on the development of professional learning communities as a response to the complex challenges that emerge from a rapidly changing society, it is worth looking at what a learning organisation requires for success.
Xiaojing Kou

How Listening and Sharing Help Shape Collaborative Learning Experiences | MindShift | KQED News - 30 views

ww2.kqed.org/...aborative-learning-experiences

language-pedagogy Language-Learning-English collaboration

shared by Xiaojing Kou on 12 Sep 16 - No Cached
  • 1. How Listening and Sharing Works
  • In school, getting people to share can be difficult. Learners may be diffident, or they may not have good strategies for sharing. Children often do not know how to offer constructive criticism or build on an idea. It can be helpful to give templates for sharing, such as two likes and a wish, where the “wish” is a constructive criticism or a building idea.
  • But more often than not, it is because one or more of five ingredients is missing: joint attention, listening, sharing, coordinating, and perspective taking.
  • ...7 more annotations...
  • Using a common visual anchor (e.g., a common diagram) can help people maintain joint visual attention.
  • Sharing operates on two levels: sharing common goals and sharing ideas.
  • Many college students dislike group projects. Some of this is naïve egoism and an unwillingness to compromise
  • Collaboration requires a great deal of turn-taking coordination.
  • It can be useful to establish collaborative structures and rules.
  • primary reason for collaborating is that people bring different ideas to the table. The first four ingredients—joint attention, listening, sharing, and coordinating—support the exchange of information. The fifth ingredient is understanding why people are offering the information they do. This often goes beyond what speakers can possibly show and say (see Chapter S). People need to understand the point of view behind what others are saying, so they can interpret it more fully. This requires perspective taking. This is where important learning takes place, because learners can gain a new way to think about matters. It can also help differentiate and clarify one’s own ideas. A conflict of opinions can enhance learning (Johnson & Johnson, 2009).
  • An interesting study on perspective taking (Kulkarni, Cambre, Kotturi, Bernstein, & Klemmer, 2015) occurred in a massive open online course (MOOC) with global participation. In their online discussions, learners were encouraged to review lecture content by relating it to their local context. The researchers placed people into low- or high-diversity groups based on the spread of geographic regions among participants. Students in the most geographically diverse discussion groups saw the highest learning gains, presumably because they had the opportunity to consider more different perspectives than geographically uniform groups did
Nigel Coutts

Delivering on the promise of STEAM - The Learner's Way - 41 views

thelearnersway.net/...vering-on-the-promise-of-steam

STEAM learner education collaboration science technology

shared by Nigel Coutts on 28 Aug 16 - No Cached
  • Nigel Coutts on 28 Aug 16
     
    The challenge is to ensure that students within a STEAM programme are better prepared than they might be if they studied the disciplines in isolation and that in seeking to integrate diverse fields we do not weaken the efficacy of one for the inclusion of another.
cphuber

General OneFile - Document - Science education and ESL students - 12 views

go.galegroup.com.pearl.stkate.edu/ps/i.do?p=ITOF&u=clic_stkate&id=GALE|A271054015&v=2.1&it=r&sid=summon&userGroup=clic_stkate

science education esl

shared by cphuber on 20 Mar 16 - No Cached
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