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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 Leicht

Distracted Minds: Why You Should Teach Like a Poet - 4 views

  • Routine is a great deadener of attention.
  • When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
  • same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
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  • Be astonished.
  • Pay attention.
  • Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.
  • We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.
  • Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
  • Close — and I mean really close — reading.
  • in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
  • Tell about it.
  • asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
    • Martin Leicht
       
      Metacognition exercise of sorts?
  • Engagement with objects.
  • pointed out anomalies and inconsistencies, and wondered
  • What? For the first step, students spend time just observing the object and taking notes.
  • So what? Students write down questions based on their observations and share them with one another.
  • Now what? The final stage shifts into more whole-class and teacher-centered discussion
  • Attention through assessments.
  • For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.
  • As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.
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    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
Nigel Coutts

Taking a Reflective Stance - The Learner's Way - 7 views

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    To ensure reflective practice is more than an activity added to our schedule, we need to take a reflective stance. Too often, reflection becomes the thing we do at the end of a task or the end of the day. We look back and contemplate what was, and with that in mind, we look forward to what we might do differently next time. It is in this way a very reactionary process. By all means, this form of reflection has its place, and it can be a powerful strategy to deploy as we seek to learn from experience. If we value reflective practice, we will be sure to set aside time for this form of reflection on a routine basis. By engaging in reflection habitually, we ensure that it is a routine part of our day. But adopting a reflective stance can make this more powerful.
Nigel Coutts

Does your mission and vision drive your actions - The Learner's Way - 2 views

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    Explore the website of any school, and you will undoubtedly find a page dedicated to their Mission and Vision. Here you will find carefully crafted statements of purpose couched in the vocabulary of educational excellence and reflecting the pinnacle of human possibility. A blend of educational philosophy and marketing speak designed to promote student achievement and enrolments. The question is, to what degree does the lived experience of the typical student align with the stated purposes? Does the product do what it says on the tin?
Nigel Coutts

Responding to COVID19: Now and in the long-term. - The Learner's Way - 1 views

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    At some point, we will need to pause. Lift our heads up and survey the scenery in this new world. Then, let us hope that we ask the right questions. Making time and space for a moment of pause and reflection will be crucial if it becomes clear that this is more than a brief fling with online learning.
Nigel Coutts

The folly of goal setting activities - The Learner's Way - 10 views

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    It is soon the start of a new school year for students in Australia. In other parts of the world, the year continues after a short break for Christmas while New Year festivities are just around the corner for those observing the lunar new year. The start of the year is considered an excellent time to reflect on key ideas that matter to our learning and potential for success. But does this equate with goal-setting?
Nigel Coutts

If we learn from reflecting on experience - The Learner's Way - 12 views

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    It is difficult to understate the importance of reflective practice for learning. Dewey states that "We do not learn from experience. . . we learn from reflecting on experience", and it is worth taking time to consider the implications of this. How might we maximise the benefits of reflective practise amidst the many competing pressures we confront?
Nigel Coutts

Reflecting on report writing time - How might we maximise the value? - The Learner's Way - 10 views

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    For schools in Australia and many parts of the world, we are heading towards the end of another school term and year. That means report writing season. For the next few weeks, teachers across the country will be huddled in front of computer screens, writing reflections on the progress their learners have made. Mark books will be opened, assessments consulted, work samples will be reviewed. All so that in the first week of the long Summer vacation students can sit and read their report and make plans for how they will enhance their learning in the coming year.
Nigel Coutts

Reflections from Mathematics: The Greatest Show - The Learner's Way - 4 views

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    I have just had the opportunity to spend the weekend learning alongside a large group of mathematics teachers. After a day and a half of talking and thinking about mathematics teaching, I am excited to get back to school and try out some new ideas. There were also some key takeaways for me that I share below. These are the questions or wonderings that my mind wandered to while listening to the numerous talented speakers over the past two days.
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."
Nigel Coutts

Reflections from The Future of Education Conference - The Learner's Way - 9 views

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    The Future of Education is a topic often discussed, and at the recent gathering of educators in Florence, it was the title and theme for the conference. Now in its ninth year, The Future of Education is an international conference that attracts educators from around the world and across all domains touched by education. The conference is an inspiring two days of discussion and sharing, with the city of Florence, the centre of the Renaissance, providing a constant reminder of what might be possible when creativity and critical thinking combine. Here are my key takeaways from this event.
Martin Burrett

Top 10 Perks of Teaching, according to the #UKEdChat community - 11 views

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    "Despite many challenges and pressures facing the teaching profession, taking a moment to step back an appreciate some of the positives can make you appreciate the joys to behold within the classroom. As part of a #UKEdChat discussion, teachers from around the UK shared the best perks of the job, which we have summarised here to help other colleagues reflect upon. We're not really in it for the perks, are we?"
Nigel Coutts

Becoming a reflective practitioner - The Learner's Way - 17 views

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    There are particular behaviours and a mindset that accompanies effective reflective practice. Understanding and applying these allows us to become reflective practitioners.
Nigel Coutts

Realising the benefits of reflective practice - The Learner's Way - 9 views

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    It is generally accepted that learning is enhanced by the inclusion of deliberate, reflective practice. Indeed the act of reflecting on the impact that our actions have towards the achievement of any goal (learning oriented or other) is shown to have a positive impact. Reflective practice is defined as the praxis (interdependent and integrated theory, practice, research, thought and action) of individuals or groups to move from 'better thinking to better action' as a result of reflection for, in and on learning (Harvey et al. 2010 p140). With this in mind, it is worth considering what reflective practice might look like and to consider it in a range of contemporary contexts. 
Martin Burrett

Book: MasterClass in Science Education by @DrKeithSTaber via @BloomsburyAcad - 5 views

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    "In his new book, Professor Keith Taber reassures practicing and training science teachers, as he explores a range of issues faced by secondary school educators and discusses strategies for teaching the nature of scientific knowledge, making practical work effective and challenging young scientists. Throughout the academic prose, Professor Taber reflects on the nature of scientific knowledge in science education encouraging creating narratives, challenging misconceptions, and exploring principles of constructive teaching. The book continues with exploring specific challenges, such as teaching electrical circuits to lower secondary school students, along with a chapter dedicated to supporting gifted students who excel at the subjects."
Martin Burrett

Reflective Teaching: Looking Back To Move Forward - 6 views

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    "Reflecting on what has been learnt (or not learnt) is vital for our pupils to know where to focus their efforts next. In the same way, reflecting upon one's teaching craft is vital to improvement. Yet too many of us feel we do not have time to reflect because we have to move onto the next lesson or admin task. How can we create the time to pick apart our lessons and what are the best methods to do so?"
Chema Falcó

5 estrategias para proporcionar una retroalimentación efectiva - 2 views

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    5 estrategias basadas en la investigación para proporcionar una retroalimentación efectiva
Martin Burrett

Under the Bridge Thinking by @_misseaston - 1 views

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    "It's the end of the first week of term and it has been so positive. I have tried to spend most of my day being the leader I want to be, engaging the 'spirit energy' (see Peter Drucker). I spent summer reflecting on my values and vision, and I'm fortunate to have been handed the reins for the Curriculum in my school. To realise the vision, I've employed the help of a team of subject leaders, and today I met with them for the first time. I knew this was probably our most important discussion; my opportunity to engage them in the future (see Steve Radcliffe, Future Engage Deliver), and so I spent the week prior to this discussing and reflecting with SLT to ensure I was ready."
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