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meghankelly492

The relationship between flow and music performance anxiety amongst professional classical orchestral musicians - Susanna Cohen, Ehud Bodner, 2019 - 1 views

journals.sagepub.com/...0305735618754689

world Music

shared by meghankelly492 on 21 Aug 19 - No Cached
  • Cohen, S., & Bodner, E. (2019). The relationship between flow and music performance anxiety amongst professional classical orchestral musicians. Psychology of Music, 47(3), 420–435. https://doi.org/10.1177/0305735618754689
  • In conclusion, the current study provides evidence that professional classical orchestral musicians experience flow and that there is a significant negative relationship between flow and MPA amongst professional classical orchestral musicians, thereby supporting the suggestion that developing techniques for facilitating flow may provide a useful tool for helping to reduce MPA.
meghankelly492

Music performance skills: A two-pronged approach - facilitating optimal music performance and reducing music performance anxiety - Susanna Cohen, Ehud Bodner, 2019 - 1 views

journals.sagepub.com/...0305735618765349

anxiety Music

shared by meghankelly492 on 21 Aug 19 - No Cached
  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
  • ...19 more annotations...
  • The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
  • Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
  • There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners
  • Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
  • “when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
  • Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin & Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
  • This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark & Williamon, 2011; Hoffman & Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
  • Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
  • The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
  • Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
  • “Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
  • Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
  • Cohen, S., & Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
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."
Siri Anderson

Xperitas Mission, Vision & History | Xperitas - 10 views

www.xperitas.org/...mission-history

Leslie_Gale Carleton international_education travel

shared by Siri Anderson on 13 Jun 19 - No Cached
  • Siri Anderson on 13 Jun 19
     
    Lovely non-profit that facilitates genuine intercultural experiences for students/teachers. Less bells and whistles than the for-profit competition, but better experiences overall. Worth checking out.
Martin Burrett

How students recognise 'fake news' in digital literacy tasks - 18 views

ukedchat.com/...students-recognise-fakenews

research fake news

shared by Martin Burrett on 03 Jun 19 - No Cached
  • Martin Burrett on 03 Jun 19
     
    "A recent study revealed students at an international school in Finland significantly outperformed U.S. students on tasks which measure digital literacy in social media and online news. The researchers suggest this may be due to the Finnish and International Baccalaureate curricula's different way of facilitating students' critical thinking skills compared to the US system and curriculum. The results of this study were published in the Journal of Research in International Education in April. Critical thinking is a 21st century skill considered essential for today's students to navigate the Information Age and for their future work life."
meghankelly492

"Can't We Just Change the Words?": EBSCOhost - 1 views

web.b.ebscohost.com/...detail

Music Theory Test Review UFMUE

shared by meghankelly492 on 24 May 19 - No Cached
  • 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.
  • ...10 more annotations...
  • 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.
icemanmelb

FAQ - Diigo help - 44 views

help.diigo.com/...faq

shared by icemanmelb on 11 Jan 10 - Cached
sabirshakir liked it
  • effectively utilize the vast array of information that resides on the internet and who are capable of processing the information collaboratively
  • superior to traditional classroom teaching alone
    • tariqy
      tariqy on 11 Dec 11
       
      Important quote
  • skills
    • Sheri Stahler
      Sheri Stahler on 19 Jan 11
       
      How to write comments directly on web pages and how to use easyblogs
    • toni holmberg
      toni holmberg on 23 Feb 11
       
      Is there a way to disallow students from joining other groups. My students are young and I would rather have them just interacting with me and each other.
    • Vicki Davis
      Vicki Davis on 29 Dec 11
       
      Toni, you should set them up in the teacher console without a full profile.
  • ...6 more annotations...
  • finding,
  • organizing
  • synthesizing
  • presenting information
  • facilitate online conversations within the context of the materials themselves. 
  • Teacher can setup separate accounts - one is for their professional / personal usage, and one to be used for instruction with their students.  That way, there is less concern of mingling these.
  • Carole Redline on 03 Aug 10
     
    The more I work with this tool the more I love it. This tells you how to set up student accounts even if your students don't have email.
  • Kim Collazo on 17 Jul 11
     
    Diigo's page for using it in education.
  • icemanmelb on 09 Oct 18
     
    Sounds like a requirement
Nigel Coutts

How might we develop self-regulated learners? - The Learner's Way - 17 views

thelearnersway.net/...evelop-self-regulated-learners

learners education technology collaboration teaching learning

shared by Nigel Coutts on 07 Oct 18 - No Cached
  • Nigel Coutts on 07 Oct 18
     
    A common question is how do we facilitate the development of independent, self-regulating learners. With an increased focus on the development of dispositional models for learning where the skills and mindset of the learner are crucial, how do we ensure that our learners move from requiring external regulation to a model of internal regulation?  
Nigel Coutts

Engaged, Disengaged and Overengaged - The consequences of engagement on learning - The Learner's Way - 16 views

thelearnersway.net/...nces-of-engagement-on-learning

engaged engagement learning education teaching

shared by Nigel Coutts on 29 Jul 18 - No Cached
  • Nigel Coutts on 29 Jul 18
     
    If you consider the day to day life of many of our students today, you see that they have very little time that is free from some form of programmed activity. Indeed, it is increasingly the norm for families to fill their children's time with the maximum number of learning, sporting and co-curricular activities. Schools naturally are happy to facilitate this and many see the breadth of programmes that they offer as a measure of success. But is there a consequence to all this activity and constant state of engagement?
Nigel Coutts

Exploring the Changing Social Contexts of Learning - The Learner's Way - 5 views

thelearnersway.net/...ng-social-contexts-of-learning

social education teaching

shared by Nigel Coutts on 03 Dec 17 - No Cached
  • Nigel Coutts on 03 Dec 17
     
    Understanding how mobile, global and virtual social networks influence our interpretation of socio-cultural theories of learning might allow us to better understand the interplay of settings and contexts within which learning occurs and in doing so better understand how learning may be facilitated.
Nigel Coutts

Finding a new paradise for education in times of chaos - The Learner's Way - 12 views

thelearnersway.net/...or-education-in-times-of-chaos

education chaos learner technology teaching creativity

shared by Nigel Coutts on 19 Nov 17 - No Cached
  • Nigel Coutts on 19 Nov 17
     
    Through any lens schools are complex places. A melting pot of human, social, political, economic, technological, physical and philosophical tensions. At once the stronghold of our cultural traditions and facilitators of our future wellbeing, schools serve as pillars of stability constructed at the event horizon between our now and our tomorrow. Perhaps at this point in time more than ever is this tension between the role that schools play in indoctrinating our youth into the ways of society at odds with the imperative to prepare them for their futures.
Mark Morton

(26) C&R Videos - YouTube - 8 views

www.youtube.com/...CourageRenewal

shared by Mark Morton on 08 Jun 17 - No Cached
  • Mark Morton on 08 Jun 17
     
    The Center for Courage & Renewal helps you discover the clarity and courage to bring your true self to your life's work. We are a nonprofit organization and a collaboration of facilitators offering retreats, programs, events, and consulting. Our Circle of Trust® approach reaches teachers, clergy, health care workers, nonprofit leaders, and anyone who wants to reconnect "soul and role."
anonymous

Purposeful Professional Learning (Professional Learning That Shifts Practice- Part 1) - Katie Martin - 10 views

katielmartin.com/...ctice-series-part-1-purposeful

shared by anonymous on 25 Apr 17 - No Cached
  • allow learners to solve relevant issues that matter to them
    • anonymous
      anonymous on 25 Apr 17
       
      If it doesn't seem to matter to the learners, it will be wasted time for them. Sometimes teachers are only in a PD session for the hours. In such cases, it is the responsibility of the facilitator to make sure there is at least one nugget of info that matters to them.
  • the team determined a specific goal that they wanted to accomplish by the end of the day
    • anonymous
      anonymous on 25 Apr 17
       
      Good practice to ask what individuals hope to gain but also should ask what hope to gain via collaborative efforts. Maybe should ask them to share their top three strengths to give us a place for building upon.
  • To guide the work time, we observed some classrooms and discussed what we noticed. Based on our goals, we set clear targets and some time boundaries to check in on progress.
    • anonymous
      anonymous on 25 Apr 17
       
      We do this with teachers as we begin work with them. Maybe we need to be more transparent and have this in writing as well for them to reference- menu.
  • ...4 more annotations...
  • each teacher shared what they had learned, what they had created, and their actionable next steps.
    • anonymous
      anonymous on 25 Apr 17
       
      Probably the most important step of the day!
  • The more you empower learners, the more they will be invested in the work.
    • anonymous
      anonymous on 25 Apr 17
       
      Profound statement!
  • society evolves and schools work to meet the needs of learners
    • anonymous
      anonymous on 26 Apr 17
       
      I think one of the keys here is to acknowledge that society is evolving and we need to evolve to meet the needs of society - for example, just because research shows that, for some things, handwriting helps people remember something better or reading a hard copy is easier for comprehension than a digital copy - just because research at this point confirms these concepts, that doesn't mean we don't need to provide opportunities for practice and teach learners to recall digitally written info or comprehend digital text. If that is the trend the world is moving toward, we have to move in that direction as well - or be left behind.
  • purposeful
    • anonymous
      anonymous on 26 Apr 17
       
      We know that when learning is purposeful, students are more engaged and grasp more. So, why wouldn't we want professional learning to be the same?
Siri Anderson

DigitalYouthSeattleThinkTank2016.pdf - 13 views

dystt.ischool.uw.edu/...lYouthSeattleThinkTank2016.pdf

digital_youth digital_literacy teens educational_change

shared by Siri Anderson on 09 Feb 17 - No Cached
  • Siri Anderson on 09 Feb 17
     
    Finland is getting rid of their subject areas in K-12...it seems that tapping into the way in which youth already use technology to facilitate their own learning goals would be a good first step for teachers. Any schools using competency based assessments for fully personalized learning absent of subject matter classes?
Martin Burrett

UKEdMag: Facilitating Effective STEM Learning by @smwordlaw - 14 views

ukedchat.com/...ive-stem-learning-by-smwordlaw

projects project based learning STEM

shared by Martin Burrett on 08 Nov 16 - No Cached
  • Martin Burrett on 08 Nov 16
     
    "English…done! Reading…done! Assembly…go, go, go! Packed primary timetables can sometimes feel like you're racing through an army drill. It can be difficult to stop, and allow children time for deeper thought and study. Integrating meaningful STEM into the week can often feel like a bit of a headache. Project Based Learning as a method of teaching STEM, could be the solution to this. Science, Technology, Engineering and Maths are the four disciplines many schools are hoping to focus on this academic year, looking at an applied and integrated approach."
anonymous

What are the Disadvantages of Online Schooling for Higher Education? - 18 views

study.com/...ling_for_Higher_Education.html

online disadvantages

shared by anonymous on 23 Oct 16 - No Cached
  • anonymous on 23 Oct 16
     
    "hat Are the Disadvantages of Online Schooling for Higher Education? Today, online schooling for higher education is prevalent across many fields. While there are several benefits to online schooling, such as flexibility and convenience, there are also real and perceived disadvantages. Explore some of the potential drawbacks of online learning. View 10 Popular Schools » Online Schooling In 2012, about a quarter of undergraduate college students were enrolled in distance education courses as part -- if not all -- of their studies, according to a 2014 report from the National Center for Education Statistics. That same data found that 29.8% of graduate students in this country are enrolled in some or all distance learning classes as well. A 2013 report from Babson Survey Research Group and Quahog Research Group, LLC, pointed out that approximately 86.5% of higher education institutions offer distance learning classes. Clearly, online schooling is commonplace. Disadvantages: Student Perspective Despite advantages, online schooling is not the right fit for every student. Taking online courses is generally believed to require more self-discipline than completing a degree on campus, a belief that is supported by SCHEV -- the State Council of Higher Education for Virginia. Because online schooling options often allow students to complete much of the coursework at their own pace, students must be motivated to stay on schedule and manage their time accordingly. Other potential disadvantages from a student's viewpoint may include the following: Less Instructional Support Although instructors are available to students via e-mail, telephone, Web discussion boards and other online means, some students may see the lack of face-to-face interaction and one-on-one instruction as a challenge. A lack of communication or miscommunication between instructors and students may frustrate students who are struggling with course materials. That could be exacerbated by the casual nature
Maureen Greenbaum

How Clear Expectations Can Inhibit Genuine Thinking in Students | MindShift | KQED News - 45 views

ww2.kqed.org/...t-genuine-thinking-in-students

teaching learning grit

shared by Maureen Greenbaum on 15 Oct 16 - No Cached
  • to understand better how expectations operate as a cultural force in learning groups, we have to make a distinction between two types of expectations: directives and beliefs.
  • very clear standards for students about points, grades, and keeping score, one sees a belief that school is about work and that students must be coerced or bribed into learning through the use of grades
  • one sees the belief that learning algebra is primarily about acquiring knowledge of procedures rather than developing understanding, and that memorization and practice are the most effective tools for that job. This theory of action, “One learns through memorization and practice,” made it hard for Karen to bring out and facilitate students’ thinking. Instead, thinking existed as an add-on to the regular rhythm of the class, something she did as an “extra” to the regular work of the class. Through her strong focus on grades and passing the course, even if one is “no good at mathematics,” Karen sent the message that our abilities are largely fixed and that “getting by” was all that some could hope to accomplish. One might not understand algebra, but with effort one could at least pass the course. Finally, in her efforts to promote order and control, certainly worthwhile and important goals in any classroom, Karen tilted the balance toward students’ becoming passive learners who were dependent on her.
  • ...1 more annotation...
  • five belief sets are as follows: • Focusing students on the learning vs. the work • Teaching for understanding vs. knowledge • Encouraging deep vs. surface learning strategies • Promoting independence vs. dependence • Developing a growth vs. a fixed mindset
  • Maureen Greenbaum on 15 Oct 16
     
    Share
Cath Horan

IMF Country Information Page - 35 views

www.imf.org/...index.htm

teaching_ibecon

shared by Cath Horan on 27 Feb 14 - Cached
    • Cath Horan
      Cath Horan on 27 Feb 14
       
      interesting
  • he International Monetary Fund (IMF) is an organization of 188 countries, working to foster global monetary cooperation, secure financial stability, facilitate international trade, promote high employment and sustainable economic growth, and reduce poverty around the world.
Sharin Tebo

Education in the United States and Finland: What is and what can be | CTQ - 36 views

www.teachingquality.org/...d-finland-what-and-what-can-be

Global education philosophy SDW Finland United united states

shared by Sharin Tebo on 22 Oct 15 - No Cached
  • The simple answer is this: Finland’s cultural values and priorities are manifested in its system of education: “to guarantee all people…equal opportunities and rights to culture, free quality education, and prerequisites for full citizenship.”
  • Finland aims to uplift everyone in society; in Finland’s case, this vision can be achieved by providing equitable access to education and other social benefits. 
  • Finnish students do not begin their formalized education until the age of 7, standardized testing is unheard of in the formative years, and autonomy and play are encouraged throughout the curriculum.
  • ...13 more annotations...
  • At the foundation of Finnish educational success are two core values: trust and equity. 
  • Finland’s educational system had become more decentralized and decision-making occurred at the local level.
  • local autonomy
  • Constraints on control and standardization facilitated greater flexibility, freedom, and the teaching profession became more supported, trusted, and respected.
  • Love of Learning
  • growth
  • relationships
  • personalized learning
  • n such a climate, adult stakeholders ostensibly trust one another, causing classroom environments to be less controlling and more collaborative in nature. 
  • With trust and equity as twin pillars of the educational system, it is unsurprising that Finland is able to focus on learning processes for civic engagement and development rather than on expending unnecessary energy for checklists, data, and oversight. 
  • Too many of our communities, schools, and students remain constrained and marginalized by poverty, lack of access, and limited opportunities.  Too many of us are focused on extrinsic motivators that inevitably lead to competition, compliance, expediency, sanctions, disengagement, and a diminished love of learning. 
  • “we’re measuring a lot of things in education today,” and wondered, “how are we measuring care?” 
  • perhaps we should be focusing less on Finnish education and more on the cultural values and conditions that make it possible.
Lisa C. Hurst

Inside the School Silicon Valley Thinks Will Save Education | WIRED - 9 views

www.wired.com/altschool

shared by Lisa C. Hurst on 05 May 15 - No Cached
  • Lisa C. Hurst on 05 May 15
     
    "AUTHOR: ISSIE LAPOWSKY. ISSIE LAPOWSKY DATE OF PUBLICATION: 05.04.15. 05.04.15 TIME OF PUBLICATION: 7:00 AM. 7:00 AM INSIDE THE SCHOOL SILICON VALLEY THINKS WILL SAVE EDUCATION Click to Open Overlay Gallery Students in the youngest class at the Fort Mason AltSchool help their teacher, Jennifer Aguilar, compile a list of what they know and what they want to know about butterflies. CHRISTIE HEMM KLOK/WIRED SO YOU'RE A parent, thinking about sending your 7-year-old to this rogue startup of a school you heard about from your friend's neighbor's sister. It's prospective parent information day, and you make the trek to San Francisco's South of Market neighborhood. You walk up to the second floor of the school, file into a glass-walled conference room overlooking a classroom, and take a seat alongside dozens of other parents who, like you, feel that public schools-with their endless bubble-filled tests, 38-kid classrooms, and antiquated approach to learning-just aren't cutting it. At the same time, you're thinking: this school is kind of weird. On one side of the glass is a cheery little scene, with two teachers leading two different middle school lessons on opposite ends of the room. But on the other side is something altogether unusual: an airy and open office with vaulted ceilings, sunlight streaming onto low-slung couches, and rows of hoodie-wearing employees typing away on their computers while munching on free snacks from the kitchen. And while you can't quite be sure, you think that might be a robot on wheels roaming about. Then there's the guy who's standing at the front of the conference room, the school's founder. Dressed in the San Francisco standard issue t-shirt and jeans, he's unlike any school administrator you've ever met. But the more he talks about how this school uses technology to enhance and individualize education, the more you start to like what he has to say. And so, if you are truly fed up with the school stat
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