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Martin Burrett

UKEdChat Conference: Certified Professional Development Course - 4 views

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    This online Certified Professional Development Course encourages delegates to engage, reflect and interact with (at least) 6 presentations during (or after) the conference, considering the impact the showcase could have on your own professional practice.
Martin Burrett

Cognitive Load Theory - UKEdChat - 6 views

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    We all get overloaded from time to time, especially toward the end of a term when your todo list turns from being measured by points to metres. We all have our own capacity to deal with the issues at hand, and the ideas behind Cognitive Load Theory (CLT) attempt to maximise our bandwidth while streamlining the signals. The origins of the theory go back to the 1980s when a plethora of digital innovations changed how presentations were done in the business world. This trickled down in the following decades into how teachers presented ideas, moving away from blackboard and Over-Head Projectors to digitalised PowerPoint presentations. As with any new innovation, form overcame function, and for a period in the early noughties, I swear it must have been the law to cram as many animations and sound effects into every PowerPoint, and reading every word from the screen aloud was mandatory.
Nigel Coutts

Reimagining Education for Uncertain Times with David Perkins - The Learner's Way - 11 views

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    These two powerful questions framed a recent webinar presented by Professor David Perkins of Harvard Graduate School of Education's Project Zero. Answering these questions and helping teachers find meaningful and contextually relevant answers to these questions has been a focus of Perkins' work, especially in recent times. His book "Future Wise: Educating Our Children for a Changing World" introduced us to the notion of lifeworthy learning or that which is "likely to matter in the lives our learners are likely to live". This is a powerful notion and one that has the potential to change not only what we teach but also how we go about teaching what we do.
Nigel Coutts

Collections - The Learner's Way - 4 views

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    This page makes it easy to find information and resources that are relevant to particular concepts, approaches and strategies. Each Collection is curated to serve a particular need and shares a set of resources pooled from The Learner's Way. In time this set of Collection will grow. In addition to articles from The Learner's Way you will be able to find resources designed to help you get started with the key concepts presented. The aim is to produce a set of resources which are readily accessible and of immediate benefit to classroom teachers and school leaders.
Philip Brown

Circumcision of the Heart in Leviticus and Deuteronomy: Divine Means for Resolving Curse and Bringing Blessing - Southern Equip - 0 views

  • These three uses of “uncircumcised” imply that the foreskin is an impediment or obstacle to hearing, speaking, and producing good fruit. That is, the state of being uncircumcised impedes something, which, if it did not have the foreskin, would otherwise be prepared for true function and vitality. But since it has the foreskin, it is impeded
    • Philip Brown
       
      Excellent assessment up to this point. The conclusion "and will die," however, has no clear basis in the evidence for uncircumcised ears, lips, or fruit.
  • There is a progression in Leviticus from “outward” holiness to “inward” holiness or better, from the holiness symbolized in sacrifice, cult, and purity laws to holiness exhibited in the obedience of a prepared and consecrated people which Leviticus 17-27 envisions.
  • The foreskin of their heart was the cause of their stubbornness in 24:10-23, which led to God’s curse coming upon them in exile. They became as the “foreskined fruit trees” in Leviticus 19:23 that were unable to yield fruit. Their hearts still had the foreskin, the impediment or obstacle which prevented them from vital covenant faithfulness and ensuing blessing
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  • Within this scheme, Leviticus presents the humbling of the foreskin of the heart as the resolution to the stubborn heart which brought the people into exile. Heart circumcision will bring the blessing of restoration.
  • It is in the context of the covenant curses that our reference to heart circumcision occurs in Leviticus 26:41, revealing that Israel had an internal heart problem which led them to curse God and therefore undergo his covenant curses.
  • Leviticus 26 describes the outworking of the blessing, curse-exile, and return from exile
  • Deuteronomy presents circumcision of the heart as important means for attaining the Deuteronomic vision of loyalty from a devoted heart.4
  • e root לוּמ ּto circumcise
BIBlinks

A Call to Conscience: The Landmark Speeches of Martin Luther King, Jr. | The Martin Luther King, Jr., Research and Education Institute - 4 views

    • BIBlinks
       
      Talerne er digitaliseret, og kan findes nederst på siden
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    "Dr. Martin Luther King, Jr., is known for being one of the greatest orators of the twentieth century, and perhaps in all of American history. In the 1950s and 1960s, his words led the Civil Rights Movement and helped change society. He is best known for helping achieve civil equality for African Americans, but these speeches--selected because they were each presented at a turning point in the Civil Rights Movement--show that his true goal was much larger than that: He hoped to achieve acceptance for all people, regardless of race or nationality. This companion volume to A Knock at Midnight features the landmark speeches of his career, including: "I Have a Dream"; his acceptance speech for the Nobel Peace Prize; his eulogy for the young victims of the Birmingham church bombing; and "I've Been to the Mountaintop," the last speech he gave before his death."
Martin Burrett

FREE - UKEdChat 2020 Online Conference - 3 views

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    "Following the success of our previous online conference, and in line with the frustrations around the COVID-19 virus, we are pleased to announce that we have moved our plans for the 2020 UKEdChat Online Conference forward to June 2020. The conference has proven a great platform for continuous professional development (CPD) and we are lining up some great video presentations based on: pedagogy, classroom management strategies, practical learning, assessments, improving subject knowledge and so on."
Jeff Andersen

How do I make multimedia accessible? | AccessComputing - 9 views

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    Multimedia presentations can enrich education and enhance learning for many students, but it can also pose barriers for others. Audio and video are inaccessible to people who are unable to hear, and video is inaccessible to people who are unable to see critical information that is presented visually. Other students are impacted by low bandwidth Internet connections. Multimedia players can pose barriers as well if the player controls require use of a mouse or if they are not labeled sufficiently to be usable by screen reader users.
Nigel Coutts

Questioning our Assumptions and Considering Multiple Viewpoints - The Learner's Way - 23 views

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    In "Factfulness", Hans Rosling shares a valuable insight into why we must question our assumptions. In times when we are bombarded with information, when false claims abound, having a disposition towards scepticism seems vital. Rosling urges us to not only question the facts we are presented with but the internal biases which influence how we interpret these facts.
Mark Glynn

(32) (PDF) Gamification in Education: A Systematic Mapping Study | Gennady Agre - Academia.edu - 11 views

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    "While gamification is gaining ground in business, marketing, corporate management, health insurance,ecology and wellness initiatives, its application in education is still an emerging trend. This article presents a study of the published empirical research on the application of gamification to education.The study is limited to papers that discuss explicitly the effects of use of game elements in specificeducational contexts. It employs a systematic mapping design. Accordingly, a categorical structure forclassifying the research results is proposed based on the extracted topics discussed in the reviewed papers. The categories include gamification design principles, game mechanics, context of applyinggamification, consisting of type of application, educational level, and academic subject,implementation and evaluation. By mapping the published work to the classification criteria andanalyzing them, the study highlights the directions of the currently conducted empirical research onapplying gamification to education. It also indicates some major obstacles and needs, such as the needfor a proper technological support, the need for controlled studies demonstrating reliable positive ornegative results of using specific game elements in particular educational contexts, etc. Although mostof the reviewed papers report promising results, more substantial empirical research is needed todetermine whether both extrinsic and intrinsic motivation of the learners can be influenced bygamification"
meghankelly492

(PDF) A Systematic Review of Treatments for Music Performance Anxiety - 2 views

  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
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  • 59% of musicians in symphony orchestras reported performance anxiety severe enough toimpair their professional and/or personal functioning.
  • A recent study indicated that MPA is not limited to orchestralmusicians, showing that opera chorus artists are also prone to high levels of performanceanxiety
  • However, since not allperformers suffer the same degree of MPA, or indeed report the same levels of occupationalstress, individual differences in a range of psychological characteristics are likely to accountfor variations in the degree to which musicians experience symptoms
  • A large number of treatment modalities (e.g., behavioral, cognitive, pharmacological andcomplementary) has been developed for music performance anxiety (MPA)
  • However, areview of this literature indicates that the field is still in its infancy with respect to theconceptual and theoretical formulations of the nature of MPA and its empiricalinvestigation.
  • Anxiety may be triggered by conscious,rational concerns or by cues that trigger, unconsciously, earlier anxiety producingexperiences or somatic sensations.
  • These findings suggest that multi-modal interventions are needed toaddress the multiple difficulties experienced by test anxious individuals.
  • with some focusing on behavioral change, some on cognitivechange, others on reduction of physiological symptoms through the use of pharmacotherapy,and some on idiosyncratic formulations
  • For drug studies, the keywords were beta-blocker [Beta blockers block the effect ofadrenaline (the hormone norepinephrine) on the body’s beta receptors. This slows downthe nerve impulses that travel through the heart. As a result, the resting heart rate is lower,the heart does not have to work as hard and requires less blood and oxygen
  • Brodsky (1996) and Nube´(1991) were most useful.
  • The interventionsassessed included systematic desensitization, progressive muscle relaxation, awareness andbreathing and behavioural rehearsal
  • In summary, behavioral treatments do appear to be at least minimally effective in thetreatment of MPA, although the heterogeneity of the treatment approaches employedmakes it difficult to isolate consistent evidence for the superiority of any one type ofbehavioral intervention
  • Two studies (see Tables II and IV) assessed the therapeutic effect of cognitive techniquesalone on MPA.
  • A dissertation by Patston (1996) reported a comparison of cognitive (e.g.positive self-talk, etc.) and physiological strategies in the treatment of MPA. No significantimprovements on vocal and visual manifestations of performance anxiety were found foreither treatment or control groups. However, the sample consisted of only 17 operastudents who were not specifically selected on the basis of their MPA severity, and theintervention was conducted by the author, a singer and teacher, who had no training inpsychology.
  • Three studies (see Table III) assessed the therapeutic effect of cognitive-behavioralstrategies on MPA. Harris (1987), Roland (1993), and Kendrick et al. (1982) all reportedthat standard CBT techniques were effective in the treatment of MPA in studentsspecifically selected for study because of the severity of their MPA.
  • Harris (1987) and Roland(1993) reported that CBT led to reductions in state anxiety as measured by the STAI,although Kendrick et al. (1982) failed to find a significant difference between treatment andcontrol groups on this measure.
  • The evidence for improvements in MPA following CBT is quite consistent, althoughfurther studies with larger samples are needed to confirm this evidence.
  • Beta-blockers have become increasingly popular among performers in recent years. Forexample, Lockwood (1989), in a survey of 2,122 orchestral musicians, found that 27% usedpropranolol to manage their anxiety prior to a performance; 19% of this group used thedrug on a daily basis.
  • Nube´ (1991) identified nine studies examining the effects of various beta-blockers(Atenolol, Metopolol, Nadolol, Oxprenolol, Propranolol, Pindolol) on MPA.
  • The findings regarding the effects of beta blockers on otheroutcome measures were less conclusive.
  • A rigorous definition of MPA is needed to advance treatment. However, defining MPA as asocial anxiety (social phobia) using criteria set out in DSM-IV-TR (APA, 2000) as theinclusion criteria may be too restrictive, particularly if the musician presenting for treatmentexperiences MPA as a focal anxiety (ie does not meet other criteria for social anxiety).
  • Few ofthe intervention studies reviewed acknowledged that performers need a certain amount ofarousal or anxiety to maximise their performance.
  • None of the studies could be pooled in a meta-analysis primarily because too fewprovided sufficient data to calculate effect sizes, use of diverse subject groups andtreatments, duration and intensity of treatment, and use of disparate outcome measures
  • In conclusion, the literature on treatment approaches for MPA is fragmented, incon-sistent, and methodologically weak. These limitations make it difficult to reach any firmconclusions about the effectiveness of the various treatment approaches reviewed. Forsignificant progress to be made, future research will require a clear definition of MPA,consistency and strength in methodology, and the development of robust and appropriateoutcome measures.
meghankelly492

Gale OneFile: Health and Medicine - Document - The effects of music-assisted coping systematic desensitization on music performance anxiety - 0 views

  • However, this investigation does present a promising music-assisted treatment approach.
  • Factors contributing to the lack of findings from the cognitive measures included small sample size and inconsequential performance conditions. The results of this pilot study found a non-statistically significant trend in reduced cognitive symptoms of anxiety.
  • . Though relaxation training home-practice was monitored informally (i.e., via review of relaxation record sheets), a more formal record of compliance data would have helped to determine the impact of treatment adherence on treatment outcome.
meghankelly492

Self Representations and Music Performance Anxiety: A Study With Professional and Amateur Musicians - 0 views

  • The present research focused on the relationship between self-representations and anxiety among a sample of Italian professional and amateur musicians.
Martin Burrett

Book: The Arts in Primary Education by @Gigske via @BloomsburyEd - 1 views

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    "The Arts in Primary Education shows how resources already present in schools, such as picture books or the outdoor environment, can be used to develop a creative culture. With a focus on long-term initiatives including partnerships with art institutions and the training and personal development of teachers, the book also presents clear and accessible explanations of the benefits of integrating the arts across a school. Backed by research and evidence and complete with images and descriptions of artworks, this guide is ideal for helping develop a whole-school arts curriculum to enrich learning and raise attainment in all subject areas."
Nigel Coutts

Powerful Provocations for Learning: Sparking curiosity and increasing engagement - The Learner's Way - 15 views

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    Powerful learning begins with the perfect provocation. Creating, refining and skilfully presenting the perfect provocation is an essential capability for teachers hoping to engage their class in rich dialogue. Claims that the percentage of students engaged by their learning declines from 75 percent in fifth grade to 32 percent by eleventh grade suggests a need for a more provocative environment. 
Martin Burrett

Book: Making every maths lesson count by @MccreaEmma via @CrownHousePub - 4 views

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    "Making Every Maths Lesson Count is underpinned by six pedagogical principles - challenge, explanation, modelling, practice, feedback and questioning - and presents 52 high-impact strategies designed to streamline teacher workload and ramp up the level of challenge in the maths classroom. Throughout this book, Emma McCrea (through extensive research and practice) explores how to manage mathematical misconceptions with practical ideas on many areas of the required curriculum. The six pedagogical principles mentioned above form the heart of the book, with metacognitive questioning given space in developing cognitive strategies with pupils. "
meghankelly492

Music That Represents Culture: Selecting Music with Integrity: EBSCOhost - 4 views

  • The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).
  • In other words, authenticity lies within the perceptions of the individual.
  • Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.
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  • Ethnomusicologist Bruno Nettl explains that "societies differ, however, in their attitude toward musical stability; to some it is important that a song remain stable and unchanged, while in others individual singers are encouraged to have their personal versions."
  • but he believes educators must determine at what point that musical experience is no longer acceptable as representative of that culture.
  • Having clear visions of educational goals and the broad curriculum is vital to making these determinations.
  • Bennett Reimer states, "Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, 'knowing about' becomes an essential ingredient of artistry and of listening."[ 15] For example, children might not fully understand the meaning of "Take Me Out to the Ball Game" unless they understand what baseball is or realize that the song is traditionally sung at baseball games.
  • text in an unfamiliar language should include a translation so students understand the meaning of the words.
  • However, a culturally valid work is not necessarily bias free; and conversely, bias-free music is not necessarily culturally valid.
  • Selecting the best music to represent a culture in an unbiased manner is a process of discovery. You will first need to educate yourself before you can educate others.
Martin Burrett

Teleprompt Me - 19 views

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    "A useful online teleprompt tool for presenting scripts for your pupils' drama productions and presentations, which listens using your device's microphone to move automatically."
Antoinette Siarabalos

bubbl.us | brainstorm and mind map online - 152 views

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    Very simple graphic builder and easy to use
  • ...2 more comments...
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    brainstorm and mind map online
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    Great for creating bubble charts for brainstorming, note-taking, or categorizing.
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    Concept mapping tool
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    Brainstorm online with bubbl.us. Easily create colorful mind maps to print or share with others. Almost no learning curve. Businesses, universities, and other schools are using bubbl.us worldwide to generate ideas, map out processes and create presentations.
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