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Dave Zhao

City of San Marcos, CA : Talent Show Winners - 0 views

www.san-marcos.net/index.aspx

Elise

shared by Dave Zhao on 26 Mar 11 - No Cached
    • Dave Zhao
      Dave Zhao on 26 Mar 11
       
      Elise琵琶独奏，合奏双获第一，wow
  • Dave Zhao on 26 Mar 11
     
    Instrumental Group 1st: Elise Zhao
Martin Burrett

Data Dreamer music - 37 views

www.datadreamer.com/...projecttwo.html

music interactive flash audio digital music

shared by Martin Burrett on 24 Jul 11 - Cached
  • Martin Burrett on 24 Jul 11
     
    A fun musical application using the position of 'instrument' dots to control musical sounds. http://ictmagic.wikispaces.com/Music,+Sound+&+Podcasts
Martin Burrett

Moodstream - 17 views

moodstream.gettyimages.com

music inspiration mood photography design photos

shared by Martin Burrett on 22 Oct 11 - Cached
  • Martin Burrett on 22 Oct 11
     
    I love this site and often listen to instrumentals with it while working. A great way to expand your music palette. http://ictmagic.wikispaces.com/Music%2C+Sound+%26+Podcasts
Martha Hickson

How Playing Music Benefits Your Brain More than Any Other Activity | Brain Pickings - 22 views

www.brainpickings.org/...music-brain-ted-ed

brain music

shared by Martha Hickson on 10 Feb 15 - No Cached
  • Martha Hickson on 10 Feb 15
     
    Playing music is the brain's equivalent of a full-body workout… Playing an instrument engages practically every area of the brain at once - especially the visual, auditory, and motor cortices.
victoria waddle

I've Got Research. Yes, I Do. I've Got Research. How About You? | Donalyn Miller - 53 views

bookwhisperer.com/...ive-got-research-how-about-you

reading independent reading SSR reading-research research-on-fiction research

shared by victoria waddle on 10 Sep 15 - No Cached
  • victoria waddle on 10 Sep 15
     
    I'm frequently asked to substantiate with research my opinions about independent reading. I don't mind. The research is ubiquitous and it doesn't take me much time to find it. While I am happy to provide websites, journal articles, and book recommendations for colleagues seeking more information about reading research, I often wonder why people ask for it. Does anyone go to the basketball coach and ask her to provide research to support why players are running plays and practicing shots? Does anyone go to the band director and ask him why musicians are playing their instruments during band class?
spdrmn7

Music Memory | Learning Games For Kids - 15 views

www.learninggamesforkids.com/...nd_art_games_music_memory.html

music educaiton ufmue learning

shared by spdrmn7 on 15 Feb 19 - No Cached
  • spdrmn7 on 15 Feb 19
     
    Great games for music learning and memorization of solfege, instruments, music notes and the like.
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

The association of music experience, pattern of practice and performance anxiety with playing-related musculoskeletal problems (PRMP) in children learning instrumental music - Sonia Ranelli, Anne Smith, Leon Straker, 2015 - 0 views

journals.sagepub.com/...0255761415597151

world Music

shared by meghankelly492 on 30 Aug 19 - No Cached
  • Music inexperience, changed pattern of practice and performance anxiety are associated with playing-related problems in child instrumentalists and are therefore important issues for music education.
  • Research on adult musicians has adopted these models and identified individual intrinsic factors such as age and gender, music performance anxiety and enjoyment, extrinsic factors such as music practice habits and type of instrument played and intrinsic–extrinsic interaction factors such as playing posture, technique and student–teacher interaction which influence the development of PRMP.
  • The aim of this study was to describe the music practice of child instrumentalists and determine their associations with playing-related musculoskeletal problems (PRMP), accounting for gender and age
  • ...4 more annotations...
  • Symptoms of performance anxiety are generally categorized into cognitive (e.g. catastrophic thoughts), behavioral (e.g. avoidance of performance/auditions) and physiological (e.g. dry mouth, shaking arms/hands, increased heart rate) (Plaut, 1990; Salmon, 1990).
  • Shoup (1995) reported performance anxiety negatively affected performance in 55% (234/425) junior high and high school instrumentalists.
  • Over a third of students (36%, 263) reported they experienced the feeling of butterflies most times to always when playing in a concert or competition (Table 1).
  • There was a significant association between gender and the experience of butterflies (χ2 = 32.32, df (4), p < .001) with more females reporting the experience of butterflies than males. There was a significant association between age and reported experience of the feeling of butterflies (F = 9.012, df (3), p < .001), with older children reporting the experience of butterflies more than younger children.
spdrmn7

IMSLP/Petrucci Music Library: Free Public Domain Sheet Music - 11 views

imslp.org

music education ufmue scores

shared by spdrmn7 on 15 Feb 19 - No Cached
  • spdrmn7 on 15 Feb 19
     
    Sheet music domain. Most music is free to print and easily accessible. Scores range from printed to handwritten and for several different instruments.
Cindy Edwards

JAM with Chrome - 90 views

www.jamwithchrome.com

music

shared by Cindy Edwards on 21 Nov 12 - No Cached
  • Martin Burrett on 21 Nov 12
     
    This is an amazing site which allow up to 4 people to collaboarate and play virtual instruments over the web in real time. Play a variety of guitars, drums and drum machines and keyboards. There is no sign up needed and you just invite other 'musicians' by sharing the link and begin jamming. Set to 'pro' mode to play using your computer keyboard. Requires Google Chrome. http://ictmagic.wikispaces.com/Music%2C+Sound+%26+Podcasts
  • Cindy Edwards on 24 Jun 13
     
    Let's jam!
mspayton68

Chinese Culture: Customs & Traditions of China - 7 views

www.livescience.com/28823-chinese-culture.html

shared by mspayton68 on 15 Nov 16 - No Cached
  • 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,
  • ...5 more annotations...
  • 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 
Has Slone

flagstaffacademyLMC - Medieval History - 71 views

flagstaffacademylmc.wikispaces.com/Medieval+History

Hygiene Guilds feudal system clothing names musical instruments

shared by Has Slone on 28 Mar 12 - No Cached
    • Has Slone
      Has Slone on 28 Mar 12
       
      THis wiki has lots of information. Dig in and see what you can find.
Sandy Dewey

Blogs and Online Social Networks as User Centric Service Tools in Academic Libraries: An Indian Library Experience - 0 views

crl.du.ac.in/...ical-83_162_349_1_RV.pdf

Academic Library services Web 2.0 Library 2.0 Blogs Online social networks

shared by Sandy Dewey on 15 Sep 12 - No Cached
  • Sandy Dewey on 15 Sep 12
     
    Abstract: Modern academic libraries cater the information needs of a more demanding and tech-savvy new generation user group that prefers to reside in an open, self-generated online environment largely supported by Web 2.0 technologies. To reach the users where they are, the libraries should revamp their service strategies by incorporating tools like blogs and online social networks. Blog is a handy technology for library professionals which can be reshaped as an information and publicity tool, as a feedback instrument, as an interactive and collaborative learning medium and as a facility for library promotion. Online social networks connect like minded people who share information, ideas and feelings. The unparalleled growth of user bases of these networks presents an opportunity before academic libraries that may be harnessed by making the library an active member of these communities. The experience of an academic library in India shows that reaching the user at their own time and space is more easy and productive when we adapt new web technologies.
Jac Londe

17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and sculptural works | LII / Legal Information Institute - 10 views

www.law.cornell.edu/...113

u s code scope exclusive graphic works information

shared by Jac Londe on 23 Jan 14 - No Cached
  • U.S. Code › Title 17 › Chapter 1 › § 113 17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and sculptural works
  • (a) Subject to the provisions of subsections (b) and (c) of this section, the exclusive right to reproduce a copyrighted pictorial, graphic, or sculptural work in copies under section 106 includes the right to reproduce the work in or on any kind of article, whether useful or otherwise.
  • (b) This title does not afford, to the owner of copyright in a work that portrays a useful article as such, any greater or lesser rights with respect to the making, distribution, or display of the useful article so portrayed than those afforded to such works under the law, whether title 17 or the common law or statutes of a State, in effect on December 31, 1977, as held applicable and construed by a court in an action brought under this title.
  • ...8 more annotations...
  • (c) In the case of a work lawfully reproduced in useful articles that have been offered for sale or other distribution to the public, copyright does not include any right to prevent the making, distribution, or display of pictures or photographs of such articles in connection with advertisements or commentaries related to the distribution or display of such articles, or in connection with news reports.
  • (d) (1) In a case in which— (A) a work of visual art has been incorporated in or made part of a building in such a way that removing the work from the building will cause the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), and
  • (B) the author consented to the installation of the work in the building either before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, or in a written instrument executed on or after such effective date that is signed by the owner of the building and the author and that specifies that installation of the work may subject the work to destruction, distortion, mutilation, or other modification, by reason of its removal,
  • then the rights conferred by paragraphs (2) and (3) of section 106A (a) shall not apply.
  • (2) If the owner of a building wishes to remove a work of visual art which is a part of such building and which can be removed from the building without the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), the author’s rights under paragraphs (2) and (3) of section 106A (a) shall apply unless—
  • (A) the owner has made a diligent, good faith attempt without success to notify the author of the owner’s intended action affecting the work of visual art, or (B) the owner did provide such notice in writing and the person so notified failed, within 90 days after receiving such notice, either to remove the work or to pay for its removal.
  • For purposes of subparagraph (A), an owner shall be presumed to have made a diligent, good faith attempt to send notice if the owner sent such notice by registered mail to the author at the most recent address of the author that was recorded with the Register of Copyrights pursuant to paragraph (3). If the work is removed at the expense of the author, title to that copy of the work shall be deemed to be in the author.
  • (3) The Register of Copyrights shall establish a system of records whereby any author of a work of visual art that has been incorporated in or made part of a building, may record his or her identity and address with the Copyright Office. The Register shall also establish procedures under which any such author may update the information so recorded, and procedures under which owners of buildings may record with the Copyright Office evidence of their efforts to comply with this subsection.
Tracy Tuten

How to Fix the Schools - NYTimes.com - 1 views

www.nytimes.com/...ra-how-to-fix-the-schools.html

how to nytimes schools education pedagogy higher ed

shared by Tracy Tuten on 20 Sep 12 - Cached
  • Teachers — many of them — will continue to resent efforts to use standardized tests to measure their ability to teach.
  • Tucker, 72, a former senior education official in Washington, is the president of the National Center on Education and the Economy, which he founded in 1988. Since then he has focused much of his research on comparing public education in the United States with that of places that have far better results than we do — places like Finland, Japan, Shanghai and Ontario, Canada. His essential conclusion is that the best education systems share common traits — almost none of which are embodied in either the current American system or in the reform ideas that have gained sway over the last decade or so.
  • His starting point is not the public schools themselves but the universities that educate teachers. Teacher education in America is vastly inferior to many other countries; we neither emphasize pedagogy — i.e., how to teach — nor demand mastery of the subject matter. Both are a given in the top-performing countries. (Indeed, it is striking how many nonprofit education programs in the U.S. are aimed at helping working teachers do a better job — because they’ve never learned the right techniques.)
  • ...2 more annotations...
  • Tucker believes that teachers should be paid more — though not exorbitantly. But making teacher education more rigorous — and imbuing the profession with more status — is just as important. “Other countries have raised their standards for getting into teachers’ colleges,” he told me. “We need to do the same.”
  • High-performing countries don’t abandon teacher standards. On the contrary. Teachers who feel part of a collaborative effort are far more willing to be evaluated for their job performance — just like any other professional. It should also be noted that none of the best-performing countries rely as heavily as the U.S. does on the blunt instrument of standardized tests. That is yet another lesson we have failed to learn.
  • Tracy Tuten on 20 Sep 12
     
    On what's wrong with our education system 
Martin Burrett

JamStudio.com - Create Music Beats - The online music factory - Jam, remix, chords, loops - 54 views

www.jamstudio.com/...index.htm

music audio accompaniment musical accompaniment instrument

shared by Martin Burrett on 26 Jun 11 - Cached
  • Martin Burrett on 26 Jun 11
     
    A superb site for making musical accompaniments for you to jam along with. http://ictmagic.wikispaces.com/Music,+Sound+&+Podcasts
Christophe Gigon

elearnspace. Connectivism: A Learning Theory for the Digital Age - 17 views

www.elearnspace.org/...connectivism.htm

connectivism MEMOIRE learning elearning theory collaboration technology community

shared by Christophe Gigon on 09 Dec 08 - Cached
  • Over the last twenty years, technology has reorganized how we live, how we communicate, and how we learn.
    • Rose Molter
      Rose Molter on 30 Aug 11
       
      I aggree that as teachers we need to realize that technology has changed instruction and the way that our students learn and the way that we learn and instruct.
    • Orlando Gonzalez
      Orlando Gonzalez on 13 Mar 12
       
      Technology has always changed the way we live. How did we respond to changes in the past? One thought is that some institutions, some businesses disappeared, while others, who took advantage of the new tech, appeared to replace the old. It will happen again and we as educators need to lead the way.
    • Maureen Curran
      Maureen Curran on 24 Mar 12
       
      With technology our students brains are wired differently and they can multi-task and learn in multiple virtual environments all at once. This should make us think about how we present lessons, structure learning and keep kids engaged.
    • Mike Burnett
      Mike Burnett on 18 Aug 14
       
      Rubbish. The idea that digital native are adept at multitasking is wrong. They may be doing many things but the quality and depth is reduced. There is a significant body of research to support this. Development of grit and determination are key attributes of successful people. Set and demand high standards. No one plays sport or an instrument because it is easy rather because they can clearly see a link between hard work and pleasure.
  • Information development was slow.
  • Many learners will move into a variety of different, possibly unrelated fields over the course of their lifetime.
  • ...41 more annotations...
  • Informal learning is a significant aspect of our learning experience.
  • Learning is a continual process, lasting for a lifetime.
  • Technology is altering (rewiring) our brains.
  • Connectivism is the integration of principles explored by chaos, network, and complexity and self-organization theories.
  • Principles of connectivism:
  • Learning and knowledge rests in diversity of opinions. Learning is a process of connecting specialized nodes or information sources. Learning may reside in non-human appliances. Capacity to know more is more critical than what is currently known Nurturing and maintaining connections is needed to facilitate continual learning. Ability to see connections between fields, ideas, and concepts is a core skill. Currency (accurate, up-to-date knowledge) is the intent of all connectivist learning activities. Decision-making is itself a learning process. Choosing what to learn and the meaning of incoming information is seen through the lens of a shifting reality. While there is a right answer now, it may be wrong tomorrow due to alterations in the information climate affecting the decision.
    • Rose Molter
      Rose Molter on 30 Aug 11
       
      I think it is important for us to realize the importance of connections.
  • The organization and the individual are both learning organisms.
  • Classrooms which emulate the “fuzziness”
    • Maureen Curran
      Maureen Curran on 24 Mar 12
       
      So what does this look like? I feel that when I attempt this, evaluators and administrators don't necessarily understand. They want a neat, quiet, well-managed, orderly classroom.
    • Maureen Curran
      Maureen Curran on 24 Mar 12
       
      If new learning approaches are required, then why are we still being evaluated in a linear way?
  • John Seely Brown presents an interesting notion that the internet leverages the small efforts of many with the large efforts of few.
  • The pipe is more important than the content within the pipe. Our ability to learn what we need for tomorrow is more important than what we know today.
  • Knowledge is growing exponentially
  • amount of knowledge
  • is doubling every 18 months
  • To combat the shrinking half-life of knowledge, organizations have been forced to develop new methods of deploying instruction.”
  • (the understanding of where to find knowledge needed).
  • know-where
  • learning
  • a persisting change in human performance or performance potential…[which] must come about as a result of the learner’s experience and interaction with the world”
  • Learning theories are concerned with the actual process of learning, not with the value of what is being learned.
  • The ability to synthesize and recognize connections and patterns is a valuable skill.
  • knowledge is no longer acquired in the linear manner
  • What is the impact of chaos as a complex pattern recognition process on learning
  • An entirely new approach is needed.
  • Chaos is the breakdown of predictability, evidenced in complicated arrangements that initially defy order.
  • Meaning-making and forming connections between specialized communities are important activities.
  • Chaos, as a science, recognizes the connection of everything to everything.
  • If the underlying conditions used to make decisions change, the decision itself is no longer as correct as it was at the time it was made.
  • principle that people, groups, systems, nodes, entities can be connected to create an integrated whole.
  • Connections between disparate ideas and fields can create new innovations.
  • Learning is a process that occurs within nebulous environments of shifting core elements – not entirely under the control of the individual
  • decisions are based on rapidly altering foundations
  • The ability to draw distinctions between important and unimportant information is vital.
  • Behaviorism, cognitivism, and constructivism do not attempt to address the challenges of organizational knowledge and transference.
  • The health of the learning ecology of the organization depends on effective nurturing of information flow.
  • This cycle of knowledge development (personal to network to organization) allows learners to remain current in their field through the connections they have formed.
  • This amplification of learning, knowledge and understanding through the extension of a personal network is the epitome of connectivism.
  • Diverse teams of varying viewpoints are a critical structure for completely exploring ideas
  • An organizations ability to foster, nurture, and synthesize the impacts of varying views of information is critical to knowledge economy surviva
  • As knowledge continues to grow and evolve, access to what is needed is more important than what the learner currently possesses.
    • BalancEd Tech
      BalancEd Tech on 25 Mar 12
       
      Access is not enough. Prior knowledge and understanding is needed. Processing is needed. Evaluation of processing and outputs is needed. Feeding that back into the "system" is needed.
  • learning is no longer an internal, individualistic activity
  • learning is no longer an internal, individualistic activity
Bill Genereux

Gates' latest mission: fixing America's schools - Business - Bloomberg Businessweek - msnbc.com - 65 views

www.msnbc.msn.com/...usiness-bloomberg_businessweek

education leadership billgates edreform testing incentives

shared by Bill Genereux on 18 Jul 10 - Cached
  • small schools are overrepresented among the country's highest achievers
  • were not as prescriptive about how they wanted their money spent.
  • want public education run more like a business
  • ...13 more annotations...
  • what we do know about is management and governance
  • We don't know anything about how to teach
  • Because the smaller a school, the more likely its overall performance can be skewed by a few good or bad students
  • Was Mozart a better musician than Babe Ruth was a hitter?
  • Giving several tests a year can sort out each teacher's contribution
  • if you do raise these issues, it's seen as making excuses or pulling back from commitments
  • The only way to tell a good teacher is to go into their classroom spontaneously
  • tying pay to performance is not at all important in retaining good teachers
  • significant portion of teachers do believe in merit pay
  • states' rights advocates have blocked federal efforts for a national curriculum
  • videotaping math, English, and biology lessons
  • Music instructors questioned the district's decision to evaluate them on their students' grasp of music theory instead of instrumental proficiency
  • Gates is paying $1,500 apiece to more than 600 Hillsborough teachers whose lessons are being videotaped.
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