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How to teach quality commenting Kathleen teaches commenting skills through: Modelling and composing comments together with students on the interactive whiteboard. Teaching students about the “letter” format and editing process during writing lessons. Giving examples of a poor/high quality comments and having students vote whether the comment should be accepted or rejected. Example of a Sorting blog comments activity devised for our students here. Having students read and comment on a post on our blog as part of a literacy rotation on the computer each week. Taking students to the ICT room once a week to work on composing a quality comment with a partner. Emailing parents and encouraging them to write comments on the blog with their child.

Activities for developing student commenting skills

own or facilitate a collaborative discussion with students to create together (you could include this video as part of the process). Develop a quality comment evaluation guide.  Refer to Linda Yollis’s Learning how to comment. Write a blog post about commenting and what you define as a quality comment. Have your students practise leaving a “quality” comment on the post.

Create a commenting guideline poster (see poster example below) – develop your

“quality” comment on the post.

Create a commenting guideline for your blog.  Here’s an example.

how does each author use authenticity as a strategy for making or justifying decisions in music education?

authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation

since the original loses some of its essential qualities in a simplification.5

His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions

Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).

Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"

Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.

Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.

Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.

"World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.

local autonomy

Love of Learning

growth

relationships

personalized learning