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meghankelly492

The rise of creative youth development: Arts Education Policy Review: Vol 118, No 1 - 3 views

  • The article describes creative youth development in the larger contexts of arts education and of education reform.
  • Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.
  • Yet these two worlds largely exist apart, failing to address the reality that youth learn and grow—or fail to reach their potential—through influences and experiences in all spheres of their lives, including home, school, and the settings where they spend time outside of schoo
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  • attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking
  • such as heightened confidence and sense of agency
  • Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth
  • Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.
  • The creative process at the center of CYD programs contributes to profound personal growth for youth participants
  • And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”
  • community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat
  • hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.
  • impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities
  • She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (
  • Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - 7 views

  • 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
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  • 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

Eastern Africa - New World Encyclopedia - 1 views

  • worldwide fame for their heavy concentrations of what is often termed the "big five": the elephant, water buffalo, lion, leopard, and rhinoceros.
  • African scholars have attempted to classify the peoples of Eastern Africa. The population is fragmented into many subdivisions based upon lineage—patrilineal in some areas, matrilineal in others—language, religion, subsistence and habitat among others. Despite such fragmentation and differences, the various groups tend to share much of their culture in common
meghankelly492

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

  • 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.
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  • 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.
Martin Burrett

Break times shortened in England schools - 0 views

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    "Research undertaken by University College in London has found that school break times in England have shortened, with infants receiving 45 minutes less per week, with their secondary peers losing 65 minutes over the same period. Researchers analysed questionnaires completed at 993 primaries and 199 secondaries in 2017 along with separate pupil surveys at 37 schools. These were compared with surveys in similar schools in 2006 and 1995. The report claims their results gave the impression that breaks were being kept as "tightly managed and as short as possible" and this meant pupils could be missing out on social development and highlighted how "school is increasingly the main, and in some cases the only, context where young people get to socialise"."
farrell40

https://www.nytimes.com/2019/04/17/technology/pinterest-ipo-stock.html?emc=edit_th_190418&nl=todaysheadlines&nlid=482594680418 - 17 views

  • The price valued the digital pin board company, which lets people save images and links from around the web, at $12.7 billion. That is a little above its last private fund-raising round, which had pegged the company at $12 billion.By selling at $19 a share, Pinterest raised $1.6 billion from big investors
  • In its I.P.O. prospectus, Pinterest emphasized its differences from some of those services. Pinterest is not a social media app for hanging out with celebrities or broadcasting one’s life, the company said. It is meant to be personal. The company’s 250 million monthly active users, called “pinners,” come to the site to plan their lives, including home projects, weddings and meals.
  •  
    Pinterest
Martin Burrett

Helping Troubled Pupils - 8 views

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    "We all hide things. From our friends and even from ourselves. Because of this, the pupils showing clear signs of distress and of need of social and/or emotional support are probably only a fraction of the real need at any one time. We also all experience difficulties at times, yet the object of our distress is often fleeting, or in hindsight trivial in the grand scheme of things. However, many of the young people we teach have chronically stressful situations to deal with on a daily basis, both at home and at school. This can exhibit in the classroom as anxiety, poor concentration or disruptive behaviour."
Martin Burrett

Being bored by @sheep2763 - 7 views

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    "I am of an age where if, as a child, you said you were bored the answer was likely to be, "Only boring people are bored," and be left to find something to do. There was always something to do, go outside and throw a tennis ball against a wall, go out on your bike, do some colouring, play with the Lego, do a jigsaw OR if you really got bored do your homework or tidy your bedroom! Nowadays it seems that the majority of children do not often seem to say that they are bored. They don't often have to find their own entertainment, use their imagination or even have several hours at a time that are not pre-filled with activities. Parents (normally) want to do their best for their children. Charlie wants to do football - that's 5:30 on Wednesday, Sammie wants to do ballet - that's 4:00 on Thursday, extra maths, Judo, trampolining, swimming, cubs… the list goes on, frequently only limited by the time to fit the activities for 2/3/4 children into a week."
Martin Burrett

Building Students Thoughts by @ApraRalli - 3 views

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    "When we set out to create and encourage critical thinkers and problem solvers. We need to look at various aspects. How people will respond and adapt to the change. We need to further establish what our students need, do they need constant attention or space? Decoding a teenage brain, is it really difficult to understand teenagers?  I took workshops this year to enhance my understanding and sharing my know how with others.  I have realised that I always look for what's going to push the student, egg them on to ask questions, to look at themselves as stakeholders in their learning process and something that adds value to their existing experience of learning. "
Dallas McPheeters

This 1 sentence summarizes the entire Millennial generation | Ladders - 9 views

  • This one sentence summarizes the entire Millennial generation:“I want to be the one who comes up with the idea, not the person who executes on it.”That’s the problemThe world doesn’t need more ideas. Ideas are easy. Ideas are as abundant as air itself.What the world needs is more hands on deck, more doers, more builders — more people who know the value of patience, and who can take something that sounds great in theory and work to bring it to life.Because let me tell you: The way an idea starts is never the way the idea ends.
    • Dallas McPheeters
       
      Lead your millennial classroom to take action... here's why...
Martin Burrett

Connecting, Imagining And Empathising Through "Writing In-Role" by @NBentleyTweets - 5 views

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    "In a world where political divisions seem more entrenched than ever, and a school system which has yet to crack the problem of bullying, an opportunity to engage young people with different voices, narratives and ideas seems urgently necessary. I would suggest that the strategy of "writing in-role" holds the potential to do just this. "
Martin Burrett

Strategies for Reading - 17 views

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    "Many people know the benefits of reading, as whole new worlds, opportunities and adventures can open up to help enhance knowledge of the world around us, but getting some young people to read quality can be like extracting teeth!"
Martin Burrett

Encouraging innovation…by @MaximJKelly - 7 views

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    "If there is one thing I have come to realise in headship it is that you can't do it all by yourself. Surrounding yourself with the very best people is a start - but getting the very best from the very best requires an atmosphere and culture of trust to develop. As the new calendar year dawned and the Spring Term commenced I gathered the staff together from both of my schools to introduce my Innovation Recognition Scheme which I intended to roll out across the federation."
C CC

Activity Passport Bookmark - UKEdChat - 9 views

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    A free download activity passport bookmark, encouraging young people to undertake activities whilst they are still children/teenagers.
Nigel Coutts

Why we fear data and how our perception can change. - The Learner's Way - 4 views

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    Data occupies a somewhat curious place within education. Mention it to teachers and you tend to get one of two responses. One group will roll their eyes and with great sarcasm how data is "so exciting". The other group responds with something akin to "actually I quite like data" indicating that experience has shown them that they are members of a small group. The question is why do some people find data to be a useful and fascinating tool while others see it as a good method for inducing sleep? 
Martin Burrett

Improving Writing - 11 views

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    "Writing is vital to most examples of learning. It is how civilisation conveys information from generation to generation, it is how parents often communicate their needs and fears for their children as notes to the teacher, and it is how little Johnny/Jane tells you about what their cat and/or dog did at the weekend. Some people love writing, while others struggle with it, but everyone has to write to some degree in their daily lives, and all of this stems from their experiences in the classroom."
Martin Burrett

3 percent of children hit daily activity target - 4 views

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    "Only one in 30 children does the recommended amount of daily physical activity, new research suggests. Guidelines from the Chief Medical Officer say people aged five to 18 should do at least 60 minutes of "moderate-to-vigorous intensity physical activity" every day. Previous research has often used less than seven days of data on children's activity and created an average based on that."
Siri Anderson

MEN - Scene on Radio - 4 views

  •  
    Share with anyone who might want to learn something new before this next election cycle has come to a close. Great content for teachers in many disciplines to understand and teach around the historical and present constructions of gender in varied fields and by many different people across time. Stories of women who have accomplished many things you likely haven't heard previously.
dgesler

World Population Clock: 7.7 Billion People (2018) - Worldometers - 7 views

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    real time world statistics..very nice, compact site for population figures.
Nigel Coutts

Schools are made of People - The Learner's Way - 8 views

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    Schools are made of people. Schools are all about people. Schools are made from the connections between people. Schools exist to serve people and make the lives of all people better.
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