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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."
Chema Falcó

How good are you at multitasking? - 13 views

mylearningnetwork.com/w-good-are-you-at-multitasking

Multitasking aprendizaje multitarea

shared by Chema Falcó on 25 May 19 - No Cached
  • Chema Falcó on 25 May 19
     
    Multitasking is a myth
Martin Burrett

Gender myths dispelled by major new maths study - 6 views

ukedchat.com/...gender-myths-dispelled-maths

gender maths math

shared by Martin Burrett on 04 Nov 18 - No Cached
  • Martin Burrett on 04 Nov 18
     
    "A major study into maths attainment has found that boys and girls perform equally in the subject, dispelling long-held myths around gender and education. The first UK-wide research of its kind for 13 years was carried out by Keith Topping, Professor of Educational and Social Research at the University of Dundee, and education assessment company Renaissance found differences in maths attainment between girls and boys to be almost negligible. The study also found that regular and high-quality maths practice improves outcomes across the board and that primary pupils outperformed secondary students, with better attainment scores."
Martin Burrett

Busting the myths of AI in education - 10 views

ukedchat.com/...busting-myths-ai-edu

AI myths education

shared by Martin Burrett on 09 Oct 18 - No Cached
  • Martin Burrett on 09 Oct 18
     
    "When you mention Artificial Intelligence (AI), you're likely to get a variety of responses ranging from the fear that robots will take over our jobs - and our lives - to the conviction that it will transform our future for the better. Now that AI is becoming an integral part of organisations such as NASA, the NHS and even your local council, is it time for education to embrace the power of AI? I believe that it is. While algorithms will never be a substitute for a good teacher, there are some exciting new ways that AI can help schools to spot patterns of progress, or identify pupils who are having difficulties with their learning."
Dallas McPheeters

Are 'Learning Styles' Real? - The Atlantic - 34 views

www.theatlantic.com/...557687

shared by Dallas McPheeters on 08 May 18 - No Cached
  • Really, Willingham says, people have different abilities, not styles. Some people read better than others; some people hear worse than others. But most of the tasks we encounter are only really suited to one type of learning. You can’t visualize a perfect French accent, for example.
    • Dallas McPheeters
      Dallas McPheeters on 08 May 18
       
      Learning Abilities not Learning Styles
Martin Burrett

Promise yourself more 'me' time in 3 simple steps - UKEdChat.com - 10 views

ukedchat.com/...more-time-steps

work-life balance wellbeing well-being

shared by Martin Burrett on 29 Sep 17 - No Cached
  • Martin Burrett on 29 Sep 17
     
    "Teaching and leading within an educational setting can demand a copious amount of time, and many educators struggle to maintain a healthy work/life balance. In fact, previous research has shown that striving for a positive work/life balance is an unobtainable myth, and with constant mobile notifications, e-mails, along with the never-ending pile of marking and planning that needs doing, how can you stop working when you're off the clock?"
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.
Juan José López

Tales of the Undead… Learning Theories: The Learning Pyramid | ACRLog - 42 views

acrlog.org/...-theories-the-learning-pyramid

Selección_profesores Metodología English

shared by Juan José López on 07 Jul 14 - No Cached
  • Juan José López on 15 Apr 17
     
    Some educational myths just can't be killed. Case in point: the learning pyramid.
Jeff Andersen

[Podcast] Ep. 24: The Secrets of Great Teamwork | SUCCESS - 26 views

www.success.com/...-of-the-most-productive-people

success habits personal development

shared by Jeff Andersen on 19 Aug 16 - No Cached
  • Jeff Andersen on 19 Aug 16
     
    Ever wonder how your co-worker gets so much done in so little time? They know how to put their time to best use. In this episode Josh and Shelby talk with productivity expert Laura Vanderkam about the weekend habits of highly productive people. Learn how being mindful about your 48-hour weekend can make it feel longer and more productive. Vanderkam shares ways to take advantage of your weekends and why tracking your time can be a difference maker. Plus Josh and Shelby discuss the three myths that are killing your productivity, and what you can do to overcome your limited time.
aaxtell

The concept of different "learning styles" is one of the greatest neuroscience myths - 102 views

qz.com/...he-greatest-neuroscience-myths

neuroscience learning learning styles education neuromyths

shared by aaxtell on 03 Jan 16 - No Cached
Xiaojing Kou liked it
  • aaxtell on 03 Jan 16
     
    The notion that people have different "learning styles" -- e.g., visual, auditory, kinesthetic -- is a myth with no evidence to support it. It is a widely-held belief that is harmful to students as it sends the message that are only capable of certain types of learning.
C CC

Anti-minotaur: The myth of student progress by @mistershankly75 - UKEdChat.com - 12 views

ukedchat.com/...nt-progress-by-mistershankly75

assessment UKEdChat

shared by C CC on 01 Jan 16 - No Cached
  • C CC on 01 Jan 16
     
    This term I have mostly been getting myself in a pickle about measuring student progress. I want to do it with integrity, reliability and validity but I wonder whether all three of these are possible. When considering student progress, I have been i…
kgrill

How to Teach in an Age of Distraction - The Chronicle of Higher Education - 99 views

chronicle.com/...233515

teach distraction education

shared by kgrill on 04 Oct 15 - No Cached
  • Where we put our attention is not only how we decide what we will learn, it is how we show what we value.
  • Distraction is contagious.
  • he myth of the moment is that multitasking is a good idea.
  • ...10 more annotations...
  • The path forward is to learn more about our vulnerabilities and design around them. To do that, we have to clarify our purpose. In education, learning is the focus, and we know that multitasking is not helpful. So it’s up to us to actively choose unitasking.
  • A moment of boredom is an opportunity for new thinking.
  • Research shows that when people watch online educational videos, they watch for six minutes,
  • ake class notes by hand.
  • he saw that students taking notes with computers suffered from more than inattention.
  • "They were trying to establish transcripts of the class."
  • tudents in online classes do better when they include face-to-face encounters.
  • f you ask people where their love for learning comes from, they usually talk about an inspiring teacher. The most powerful learning takes place in relationship.
  • But for all its flaws, the lecture has a lot going for it. It is a place where students come together, on good days and bad, and form a small community. As in any live performance, anything can happen.
  • They learn from speaking and from listening.
carmelladoty

The absurd and unfounded myth of the digital native - Enrique Dans - Medium - 59 views

medium.com/...he-digital-native-45d1ff397785

digital natives

shared by carmelladoty on 04 Aug 15 - No Cached
  • carmelladoty on 04 Aug 15
     
    This article is a MUST read for educators. The author states that digital natives do not know the power of the Internet beyond social media. The article contains studies and other information to back up the statement. The author states "Simply being born into the internet age does not endow one with special powers. Learning how to use technology properly requires learning and training."
Jørgen Mortensen

DSLR Lighting Techniques from Eve Hazelton - YouTube - 27 views

www.youtube.com/watch

dslr lighting techniques

shared by Jørgen Mortensen on 02 May 15 - No Cached
  • Terry Howells on 02 May 15
     
    How is DSLR lighting any different from any film or video lighting? Is this the start of another urban myth? or should I say DSLR myth - second hand info done by someone who needs to got back to basics.
oregonjon

The High Cost of Neuromyths in Education | Edutopia - 50 views

www.edutopia.org/...myths-in-education-judy-willis

education edutopia neuroscience brain research pli personalized learning differentiation critical thinking myths

shared by oregonjon on 04 Feb 15 - No Cached
  • oregonjon on 04 Feb 15
     
    Learning Styles, Left Brain/Right Brain, and 10% are myths that we need to stop using to guide our teaching. They don't help, and they probably waste money and effort that could be used on things that actually help. You know, like good teaching (pre-assessment, goal-setting, differentiation, and keeping learners in their ZPD).
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