Skip to main content

Home/ Diigo In Education/ Group items matching "rating" in title, tags, annotations or url

Group items matching
in title, tags, annotations or url

Sort By: Relevance | Date Filter: All | Bookmarks | Topics Simple Middle
Martin Burrett

Can AI improve the way we test literacy rates? - 2 views

ukedchat.com/...ai-literacy

literacy test

shared by Martin Burrett on 28 Feb 19 - No Cached
  • Martin Burrett on 28 Feb 19
     
    "Imagine being a child who's given a school note to take home and realising all your friends can read it, but you can't. Or being asked to complete an assignment in class that has been written on the whiteboard but having no idea what it says. Or opening up a book and seeing all the letters jump around. For the one in 10 children in the UK who are dyslexic, this may well simply be part of their everyday life."
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.
meghankelly492

Mental skills for musicians: Managing music performance anxiety and enhancing performance. - 1 views

psycnet.apa.org/...2011-20583-001.pdf

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • In asurvey of 2,212 classical musicians, 40% re-ported that anxiety interfered with their perfor-mances (Kirchner, Bloom, & Skutnick–Henley,
  • , see Kenny (2005) andMcGinnis and Milling (2005
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)
  • ...30 more annotations...
  • did notreturn any recent studies investigating the effec-tiveness of a purely cognitive intervention in thetreatment of MPA; consequently, research inthis particular area is needed
  • Past re-search has focused on combined interventions;however, often these programs run for over 6weeks and it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)
  • State–Trait Anxiety Inventory (STAI).The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale(Kenny, 2006).
  • The PAI (Nagel, Himle, & Papsdorf, 1981) isbased on the STAI and is a music inventoryassessing the three-systems model of anxiety
  • heart rate at 10 min, 5
  • Signs of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating.
  • Nagel et al.reported that the average preintervention scorewas 55 and the average postintervention scorewas 38, with a score of 39 or less indicating a
  • person has few problems with performance anx-iety
  • Researchers have found that MPA af-fects instrumentalists and vocalists of all agesand abilities, including students, professionals,amateurs, and children (Brotons, 1994; Kenny,2006; Liston, Frost, & Mohr, 2003)
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987)
  • Few studies have investigated whether a cog-nitive intervention can reduce anxiety and en-hance performance in musicians (Lehrer, 1987;Steptoe & Fidler, 1987
  • The cognitive intervention had no significanteffect on anxiety levels. Sweeney and Horan’s(1982) study indicated that a cognitive restruc-turing program may be helpful in the treatmentof MPA; their program, featuring cognitive re-structuring, significantly reduced anxiety.
  • d it is unknown which aspects of theintervention are most effective (e.g., Nagel,Himle, & Papsdorf, 1989)
  • The STAI is widely used in anxiety researchand is considered to be a valid and reliable scale
  • Performance Anxiety Inventory (PAI)
  • cognitive, behavioral, and physiological fac
  • and has beenwidely used in treatment outcome research
  • Behavioral Anxiety Index (BAI)
  • igns of anxiety included trem-bling knees, lifting shoulders, stiff back and/orneck, trembling hands, stiff arms, face deadpan,shaking head, moistening and/or biting lips, dis-tressed facial expressions, and sweating
  • Participants were then taught howthoughts, behaviors, and feelings interact andinfluence performance
  • practical exercise, how people waste their en-ergy trying to control uncontrollable factors,thereby impairing performance
  • This exercise wasdesigned to demonstrate how thoughts cansometimes be irrational and can be changed inlight of new evidence
  • how to use self-talk effectively and how touse cues
  • Participants practiced how to identify negativethoughts, stop the thoughts, and use cues to helpthem overcome the negative thoughts.
  • Imagery is a mentalexercise that can help athletes maintain concen-tration, decrease anxiety, and improve confi-dence; thus, it may also be helpful for somemusicians (Gregg & Clark, 2007).
  • Participants in the wait-list controlgroup waited 3 weeks until their second perfor-mance, which was on the same night as theirfirst worksho
  • MPA is a pervasive problem affecting musi-cians of all ages and abilities. As compared withthe research on mental skills training in athletes,relatively little is known about the assessment,treatment, and theoretical underpinnings ofMPA
  • Kenny (2006) suggested that improving perfor-mance quality will have a positive, self-reinforcing effect on the musician and enhanceconfidence in future performances.
  • We predicted that anxiety levels would de-crease in the treatment group from pre- to post-test. This hypothesis was partially supported.Specifically, there was a significant reductionon the PAI in the treatment group. Although theparticipants improved after the intervention,they were still not within the optimal rangeaccording to Nagel et al. (1981
  • Although the decrease in anxiety was notas large in our study, our participants droppedfrom the high performance anxiety category tothe moderate performance anxiety category
meghankelly492

Music for anxiety? Meta-analysis of anxiety reduction in non-clinical samples - Yulia Panteleeva, Grazia Ceschi, Donald Glowinski, Delphine S. Courvoisier, Didier Grandjean, 2018 - 2 views

journals.sagepub.com/...0305735617712424

world Music

shared by meghankelly492 on 01 Sep 19 - No Cached
  • Panteleeva, Y., Ceschi, G., Glowinski, D., Courvoisier, D. S., & Grandjean, D. (2018). Music for anxiety? Meta-analysis of anxiety reduction in non-clinical samples. Psychology of Music, 46(4), 473–487. https://doi.org/10.1177/0305735617712424
  • Anxiety affects up to 28.8% of the population in Western countries
  • nxiety disorders are the most prevalent mental illnesses worldwide
  • ...1 more annotation...
  • Moreover, in the last decade, there has been a growing interest in an evidence-based approach to studying the impact of music listening on anxiety, as measured by self-report measures (subjective reactions toward a stressful situation) or psychophysiological markers (objective indicators of anxiety, such as increasing heart rate).
meghankelly492

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

www.researchgate.net/..._for_Music_Performance_Anxiety

world Music

shared by meghankelly492 on 15 Sep 19 - No Cached
  • 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.
  • ...24 more annotations...
  • 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

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

www.tandfonline.com/...10632913.2015.1064051

world Music

shared by meghankelly492 on 11 Aug 19 - No Cached
  • 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
  • ...11 more annotations...
  • 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—
Mrs. Lail2

Transcript for Don't Lecture Me - 83 views

americanradioworks.publicradio.org/...transcript.html

Educaction lecture transcript

shared by Mrs. Lail2 on 31 Jan 12 - No Cached
  • Mazur believes the purpose of education is changing. It used to be about mastering a certain amount of knowledge. But knowledge is growing and changing at such a rapid rate that it's impossible to learn it all. The key now is to find and use information, not remember and repeat it. And Mazur says the goal of educators should be to help students develop the skills to understand all the new information that will be coming at them throughout their lives. In other words, the purpose of education now should be to learn how to learn.
rbatie19

Chronic Absenteeism Can Devastate K-12 Learning (Opinion) - 7 views

www.edweek.org/...10

chronic absenteeism absent learning

shared by rbatie19 on 10 May 22 - No Cached
  • in a study of California students for Attendance Works, the organization that Hedy Chang oversees, only 17 percent of the students who were chronically absent in both kindergarten and 1st grade were reading proficiently by 3rd grade, compared with 64 percent of those with good attendance in the early years. Weak reading skills in the 3rd grade translate into academic trouble ahead: Students who aren’t reading well by that point are four times more likely to drop out of high school, according to a 2012 study released by the Annie E. Casey Foundation.
  • Chronic absence in middle school is another red flag that a student will drop out of high school. By high school, attendance is a better dropout indicator than test scores.
  • A recent report, “Absences Add Up,” also from Attendance Works, documents what many know from common sense: At every age, in every demographic, and in every state and city tested, students with poor attendance scored significantly lower on standardized tests. In our schools, this translates into weaker reading skills, failing grades, and higher dropout rates. Rather than looking at attendance as an administrative chore, schools can use the same data as a warning sign to change the trajectory.
  • ...3 more annotations...
  • The results were significant. Students with mentors gained nine school days—almost two weeks—during the year. They were more likely to remain in school and maintain their grade point averages than similar students without mentors. The program worked at every K-12 level: elementary, middle, and high school, with the greatest impact on students struggling with poverty and homelessness.
  • The mentors had several simple but straightforward responsibilities. They greeted the students every day to let them know they were glad to see them at school. They called home if students were sick to find out what was happening. They connected the students and their families to resources to help address attendance barriers. Mentors participated in school-based teams that analyzed data and shared insights about students. And they also supported schoolwide activities, including assemblies, incentives, and contests, to encourage better attendance for all students.
  • Elementary schools set up attendance teams to identify and monitor the students with the worst attendance. Part-time social workers, hired with philanthropic and state dollars, connected with families. Principals and teachers promoted attendance at back-to-school nights, at parent-teacher conferences, and through regular calls home. This work led to a significant drop in absenteeism in all elementary grades, particularly in kindergarten. The percentage of chronically absent kindergartners fell from 30 percent in the 2011-12 school year to 13 percent in 2013-14. And reading scores began to climb.
« First ‹ Previous 161 - 168 of 168
Showing 20▼ items per page