n contrast to others who are not as prone to divulge their feelings about their creative process
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in title, tags, annotations or urlA Principal's Reflections: Shifting from Passive to Active Learning - 27 views
esheninger.blogspot.com.es/...assive-to-active-learning.html
TIC_Educación aprendizaje_activo active_learning
shared by Chema Falcó on 15 Apr 18
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My Digital Portfolio Project Planning. - 53 views
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Over the last year, I've been working on a committee in my school district to think about the role that digital portfolios can play in helping students to document their learning. I LOVE that our district is committed to the idea of portfolios simply because they promote more reflective learners and help our schools to move from a culture of grading to a culture of feedback.
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Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views
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"Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
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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.
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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
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Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
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raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
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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.
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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.
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I need . . . to become involved, to come into a state where I do something without knowing why I do i
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This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
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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
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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
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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
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Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
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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."
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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.
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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.
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Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
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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.
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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.
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Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
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Furthermore, for some composers the musical influence can emerge from the development of computer technology.
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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.
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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.
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After all, the creative process is an elusive cultural activity with no recipes for making it happen.
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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
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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.
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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.
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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
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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.
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Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
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n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
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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
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By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
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which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
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. 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.
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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
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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."
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Meaningful Problem Solving (Professional Learning that Shifts Practice Part 2) - Katie ... - 6 views
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creating experiences that provide opportunities to grapple with challenges that are meaningful to individuals in their context. In order for teachers to do this in their classrooms it is important that they have similar experiences in their own learning.
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Be curious and open to all ideas Seek to improve learning (students and educators) Expect growth, not perfection Focus reflection how to improve your work, not others Ground work in evidence of learning, not assumptions
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Math Teaching Resources for K-5 Classrooms - 121 views
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This site provides a range of resources, math games, and hands-on math activities aligned with the Common Core State Standards for Mathematics. Also available are Math Journal tasks for Kindergarten, 1st, 2nd, 3rd, 4th, and 5th Grade for teachers looking to use Math Journals as a means of providing students with opportunities to organize, clarify and reflect on their thinking while developing key mathematical skills and understandings.
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This site provides an extensive collection of free resources, math games, and hands-on math activities aligned with the Common Core State Standards.
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Distracted Minds: Why You Should Teach Like a Poet - 4 views
www.chronicle.com/...y-you-should-teach-like-a-poet
education higher ed students engagement focus build zoom learning
shared by Martin Leicht on 11 Jan 21
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When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
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same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
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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.
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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.
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Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
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in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
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asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
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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.
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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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Where Everybody Knows Your (Screen) Name: Online Games as "Third Places" - 52 views
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"bowling alone" hypothesis (Putnam, 2000), which suggests that media are displacing crucial civic and social institutions
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According to Putnam, time spent with relatively passive and disengaging media has come at the expense of time spent on vital community-building activities.
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A core problem on both sides of the debate is an underlying assumption that all Internet use is more or less equivalent
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It would be more plausible and empirically rigorous, then, to consider how specific forms of Internet activity impact civic and social engagement as a result of their particular underlying social architectures
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combining conclusions from two different lines of MMO research conducted from two different perspectives—one from a media effects approach, the other from a sociocultural perspective on cognition and learning.
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By providing spaces for social interaction and relationships beyond the workplace and home, MMOs have the capacity to function as one form of a new "third place" for informal sociability much like the pubs, coffee shops, and other hangouts of old.
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They are known for their peculiar combination of designed "escapist fantasy" and emergent "social realism"
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from two research projects: one an examination of the media effects of MMOs, the other an ethnographic study of cognition and culture in such contexts.
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the assumption that the most fruitful advances are sometimes made when congruent findings are discovered through disparate means
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as a way to tease out what happens in the virtual setting of the game and how the people involved consider their own activities, the activities of others, and the contexts in which those activities takes place
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a reasonable level of generalizability (random assignment to condition in the first study) and contextualization (ethnographic description of existing in-game social networks and practices in the second)
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brick-and-mortar "third places" in America where individuals can gather to socialize informally beyond the workplace and home
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virtual environments have the potential to function as new (albeit digitally mediated) third places similar to pubs, coffee shops, and other hangouts.
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the default assumption is that no one person is compelled to participate legally, financially, or otherwise.
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Unless one transforms the virtual world of the game into a workplace (e.g., by taking on gainful employment as a virtual currency "farmer" for example, Dibbell, 2006; Steinkuehler, 2006a) or enters into such agreement, no one person is obligated to log in
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Yee's (2006) interviews also reveal that individuals who game with romantic partners or family find that such joint engagement in the "other world" of MMOs allows them to redefine the nature and boundaries of their offline relationships, often in more equitable terms than what may be possible in day-to-day offline life
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the relationships that play-partners have with one another offline are often "leveled" within the online world
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appeal to people in part because they represent meritocracies otherwise unavailable in a world often filled with unfairness
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"In all such systems, linguistic interactions have been primary: users exchange messages that cement the social bonds between them, messages that reflect shared history and understandings (or misunderstandings) about the always evolving local norms for these interactions" (p. 22).
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such that "one may go alone at almost any time of the day or evening with assurance that acquaintances will be there"
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accessible directly from one's home, making them even more accommodating to individual schedules and preferences
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"What attracts a regular visitor to a third place is supplied not by management but by the fellow customer,"
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"It is the regulars who give the place its character and who assure that on any given visit some of the gang will be there"
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As one informant satirically commented in an interview, "You go for the experience [points], you stay for the enlightening conversation.
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Oldenburg argues that third places are characteristically homely, their d�cor defying tidiness and pretension whenever possible. MMOs do not fit this criterion in any literal sense
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In neither of our investigations did the degree of formality exhibited by players within the game bear any relation to the degree of visual ornamentation of the players' immediate vicinity.
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Thus, while the visual form of MMO environments does not fit Oldenburg's (1999) criterion of "low profile," the social function of those environments does.
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Oldenburg (1999) argues that seriousness is anathema to a vibrant third place; instead, frivolity, verbal word play, and wit are essential.
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The playful nature of MMOs is perhaps most apparent in what happens when individuals do bring gravity to the game.
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Participation becomes a regular part of daily life for players and, among regular gamemates such as guild members, exceptional absences (i.e., prolonged or unforeseen ones) are queried within the game or outside i
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create an atmosphere of mutual caring that, while avoiding entangling obligations per se, creates a sense of rootedness to the extent that regularities exist, irregularities are duly noted, and, when concerning the welfare of any one regular, checked into
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Anderson (1991), who suggests that geographic proximity itself is neither a necessary nor sufficient condition for the emergence and preservation of "community."
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Social capital (Coleman, 1988) works analogously to financial capital; it can be acquired and spent, but for social and personal gains rather than financial
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This form of social capital is marked by tentative relationships, yet what they lack in depth, they make up for in breadth.
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On the one hand, bridging social capital provides little in the way of emotional support; on the other hand, such relationships can broaden social horizons or worldviews, providing access to information and new resources.
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shows that bridging and bonding social capital are tied to different social contexts, given the network of relationships they enable.
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Virtual worlds appear to function best as bridging mechanisms rather than as bonding ones, although they do not entirely preclude social ties of the latter type.
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One could argue that, if the benchmark for bonding social capital is the ability to acquire emotional, practical, or substantive support, then MMOs are not well set up for the task:
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While deep affective relationships among players are possible, they are less likely to generate the same range of bonding benefits as real-world relationships because of players' geographic dispersion and the nature of third places themselves.
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Despite differences in theoretical grounding and methodologies, our conclusions were remarkably similar across complementary macro- and micro-levels.
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It is worth noting, however, that as gamers become more involved in long-term social networks such as guilds and their activities become more "hardcore" (e.g., marked by participation in large-scale collaborative problem-solving endeavors such as "raids" into difficult territories or castle sieges), the function of MMOs as "third places" begins to wane.
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It may be, then, that the structure and function of MMOs as third places is one part of the "life cycle" for some gamers in a given title.
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In such cases, MMOs appear to enable a different kind of sociability, one ostensibly recognizable as a "community" nonetheless.
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However, our research findings indicate that this conclusion is uninformed. To argue that MMO game play is isolated and passive media consumption in place of informal social engagement is to ignore the nature of what participants actually do behind the computer screen
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Perhaps it is not that contemporary media use has led to a decline in civic and social engagement, but rather that a decline in civic and social engagement has led to retribalization through contemporary media (McLuhan, 1964).
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Such a view, however, ignores important nuances of what "community" means by pronouncing a given social group/place as either wholly "good" or "bad" without first specifying which functions the online community ought to fulfill.
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Moreover, despite the semantics of the term, "weak" ties have been shown to be vital in communities, relationships, and opportunities.
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In light of Putnam's evidence of the decline of crucial civic and social institutions, it may well be that the classification "lacking bridging social capital" best characterizes the everyday American citizen. T
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Without bridging relationships, individuals remain sheltered from alternative viewpoints and cultures and largely ignorant of opportunities and information beyond their own closely bound social network.
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it seems ironic that, now of all times, we would ignore one possible solution to our increasingly vexed relationship with diversity.