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Tara Heath

Know Your Rights | Students' Rights | American Civil Liberties Union - 2 views

  • Do I have First Amendment rights in school? You have the right to speak out, hand out flyers and petitions, and wear expressive clothing in school — as long as you don’t disrupt the functioning of the school or violate school policies that don’t hinge on the message expressed. What counts as “disruptive” will vary by context, but a school disagreeing with your position or thinking your speech is controversial or in “bad taste” is not enough to qualify. Courts have upheld students’ rights to wear things like an anti-war armband, an armband opposing the right to get an abortion, and a shirt supporting the LGBTQ community. Schools can have rules that have nothing to do with the message expressed, like dress codes. So, for example, a school can prohibit you from wearing hats — because that rule is not based on what the hats say — but it can’t prohibit you from wearing only pink pussycat hats or pro-NRA hats. Outside of school, you enjoy essentially the same rights to protest and speak out as anyone else. This means you’re likely to be most protected if you organize, protest, and advocate for your views off campus and outside of school hours. You have the right to speak your mind on social media, and your school cannot punish you for content you post off campus and outside of school hours that does not relate to school.
  • Can my school tell me what I can and cannot wear based on my gender? Public schools can have dress codes, but under federal law dress codes can’t treat students differently based on their gender, force students to conform to sex stereotypes, or censor particular viewpoints. Schools can’t create a dress code based on the stereotype that only girls can wear some types of clothes and only boys can wear other types of clothes. For example, your school can require that skirts must be a certain length, but it cannot require that some students wear skirts and prohibit others from doing so based on the students’ sex or gender expression. That also applies to pants, ties, or any other clothing associated with traditional gender roles. Dress codes also must be enforced equally. For example, rules against “revealing” clothing, such as bans on tank tops or leggings, shouldn’t be enforced only or disproportionately against girls. All students should be allowed to wear clothing consistent with their gender identity and expression, whether they identify as transgender or cisgender. This also applies to homecoming, prom, graduation, and other special school events. Schools shouldn’t require different types of clothing for special events based on students’ sex or gender identity — for example, requiring tuxedos for boys and prom dresses for girls.
  • Can my school discipline me for participating in a walkout? Because the law in most places requires students to go to school, schools can discipline you for missing class. But schools cannot discipline you more harshly because of the message or the political nature of your action. The punishment you could face will vary by your state, school district, and school. If you’re planning to miss a class or two, look up the policy for unexcused absences for your school and school district. If you’re considering missing several days, read about truancy. Also take a look at the policy for suspensions. If you are facing a suspension of 10 days or more, you have a right to a formal process and can be represented by a lawyer. Some states and school districts require a formal process for fewer days. You should be given the same right to make up work just as any other student who missed classes.
Tara Heath

Hate Speech and Hate Crime | Advocacy, Legislation & Issues - 3 views

  • There is no legal definition of "hate speech" under U.S. law, just as there is no legal definition for evil ideas, rudeness, unpatriotic speech, or any other kind of speech that people might condemn. Generally, however, hate speech is any form of expression through which speakers intend to vilify, humiliate, or incite hatred against a group or a class of persons on the basis of race, religion, skin color sexual identity, gender identity, ethnicity, disability, or national origin. 1 In the United States, hate speech is protected by the First Amendment. Courts extend this protection on the grounds that the First Amendment requires the government to strictly protect robust debate on matters of public concern even when such debate devolves into distasteful, offensive, or hateful speech that causes others to feel grief, anger, or fear. (The Supreme Court's decision in Snyder v. Phelps provides an example of this legal reasoning.) Under current First Amendment jurisprudence, hate speech can only be criminalized when it directly incites imminent criminal activity or consists of specific threats of violence targeted against a person or group. Hate Crime For the purposes of collecting statistics, the FBI has defined a hate crime as a “criminal offense against a person or property motivated in whole or in part by an offender’s bias against a race, religion, disability, sexual orientation, ethnicity, gender, or gender identity,” including skin color and national origin.  Hate crimes are overt acts that can include acts of violence against persons or property, violation or deprivation of civil rights, certain "true threats," or acts of intimidation, or conspiracy to commit these crimes. The Supreme Court has upheld laws that either criminalize these acts or impose a harsher punishment when it can be proven that the defendant targeted the victim because of the victim's race, ethnicity, identity, or beliefs.  A hate crime is more than than offensive speech or conduct; it is specific criminal behavior that ranges from property crimes like vandalism and arson to acts of intimidation, assault, and murder.  Victims of hate crimes can include institutions, religious organizations and government entities as well as individuals.
  •  
    "Hate Speech There is no legal definition of "hate speech" under U.S. law, just as there is no legal definition for evil ideas, rudeness, unpatriotic speech, or any other kind of speech that people might condemn. Generally, however, hate speech is any form of expression through which speakers intend to vilify, humiliate, or incite hatred against a group or a class of persons on the basis of race, religion, skin color sexual identity, gender identity, ethnicity, disability, or national origin. 1 In the United States, hate speech is protected by the First Amendment. Courts extend this protection on the grounds that the First Amendment requires the government to strictly protect robust debate on matters of public concern even when such debate devolves into distasteful, offensive, or hateful speech that causes others to feel grief, anger, or fear. (The Supreme Court's decision in Snyder v. Phelps provides an example of this legal reasoning.) Under current First Amendment jurisprudence, hate speech can only be criminalized when it directly incites imminent criminal activity or consists of specific threats of violence targeted against a person or group. Hate Crime For the purposes of collecting statistics, the FBI has defined a hate crime as a "criminal offense against a person or property motivated in whole or in part by an offender's bias against a race, religion, disability, sexual orientation, ethnicity, gender, or gender identity," including skin color and national origin.  Hate crimes are overt acts that can include acts of violence against persons or property, violation or deprivation of civil rights, certain "true threats," or acts of intimidation, or conspiracy to commit these crimes. The Supreme Court has upheld laws that either criminalize these acts or impose a harsher punishment when it can be proven that the defendant targeted the victim because of the victim's race, ethnicity, identity, or beliefs.  A hate crime is more than than offensive speech
Kay Bradley

Social contract - Wikipedia - 20 views

    • Carolyn Eccleston
       
      What does this mean?
  • Locke believed
  • Rousseau believed
  • ...6 more annotations...
  • Grotius posited that individual human beings had natural rights; Hobbes asserted that humans consent to abdicate their rights in favor of the absolute authority of government
    • Carolyn Eccleston
       
      What is the difference between the two beliefs?
  • The Lockean concept of the social contract was invoked in the United States Declaration of Independence.
    • Carolyn Eccleston
       
      What Lockean concepts appear in the US Declaration of Independence?
    • Kay Bradley
       
      The idea that citizens give up some individual freedoms in order to realize greater benefits from living in society.
  • Social contract arguments typically posit that individuals have consented, either explicitly or tacitly, to surrender some of their freedoms and submit to the authority of the ruler or magistrate
    • Carolyn Eccleston
       
      What does it mean to submit tacitly? Does the US Declaration of Independence require tacit submission?
    • Carolyn Eccleston
       
      I don't know. What do you think?
    • Kay Bradley
       
      Not the Declaration of Independence because that did not establish a social contract, but yes the Constitution and the system of law, The submission is tacit because each generation does not revise the social contract that is spelled out in the Constitution and the corpus of laws. Therefore, each generation that wants to live in the US must accept the existing social contract.
    • Robert Vigliotti
       
      According to Hobbes, whenever we benefit from the conditions of security and the goods that are only possible through the social contract, we have consented to the social contract, which includes obedience to the sovereign, even though we did not give explicit consent.
  • legitimacy of the authority of the state over the individual
Jeff Andersen

Technology Teaching Resources with Brittany Washburn: Sub Plans for the Elementary Computer Lab - 6 views

  •  
    Whether you're out sick or have a planned day out of the computer lab, writing sub plans is time consuming and often stressful. Technology teachers have a unique set of challenges to consider when deciding what to leave for a sub. This blog post will hopefully give you some solid ideas and peace of mind for the next time you need to be out. I have this other blog post about Technology Tools for Sub Plans with ideas and tools to help your sub be more comfortable using technology. Today's post is going to assume you have a substitute who is not comfortable using or teaching technology. You can skip right to idea #3 if your substitute cannot use any technology. All of the images are linked to the resource if you're interested. Just click or tap to learn more.
Martin Leicht

Distracted Minds: 3 Ways to Get Their Attention in Class - 11 views

  • Attention is reciprocal.
  • The more distracted I am in my interactions with you, the less likely you are to give me your full attention.
  • importance of having students share their strengths and values with you at the beginning of a semester
    • Martin Leicht
       
      NOTE - Everyone is their own individual and bring a lot to your class. The more you know about them, the better chance you can find out how to motivate them.
  • ...13 more annotations...
  • Recognize their individuality
  • The researchers also asked students whether it mattered to them that the instructors knew their names, and more than 85 percent of them said it did
  • because making good use of the full physical space of a classroom is one of the most straightforward ways to keep both professor and students attentive.
    • Martin Leicht
       
      NOTE - I taught from the back. We showed a lot of videos and did demonstrations. So, it was easy to "teach" from the back. ON ZOOM - how do you teach from the back of the class?
  • One advantage of the Zoom classes that many of us are teaching right now is that the names are all right there on the screen
  • Speak to all corners of the room
  • They bring their unique life stories and experiences, which can help provide new perspectives on familiar questions and challenges.
  • Tell you about an important value
    • Martin Leicht
       
      NOTE - Maybe it doesn't need to be all writing? Maybe it can be images and audio or video recordings to accompany them.
  • Tell you about a unique perspective or life experience
  • Describe their greatest academic strength
  • The obvious solution here is to break that barrier
  • Use their names regularly.
    • Martin Leicht
       
      NOTE - Notoriety means power or maybe at least the power to capture their attention.
  • She encourages children first to recognize and write their own names and then to compare the letters and syllables in their own names with those of the other names on the grid
    • Martin Leicht
       
      NOTE - Author's previous post about CLOSE READING. Really spend some time on the name.
  • What is most deserving of our attention in the classroom, of course, are the other human beings in our presence
Mr Agraz

The Macroeconomics of Trade War - 4 views

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    Impact of tariffs and other protectionist measures
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
  •  
    "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."
meghankelly492

Ms. Kelly's Music Class - 1 views

  • Google Classroom page
  • Google Classroom page
  • CLICK HERE!
  • ...9 more annotations...
  • March 30-April 3
  • For example (to the tune of Bohemian Rhapsody)Is this the real life?Maybe just allergies?Caught in a lockdownNo escape from the familyDon't touch your eyes, Just hand sanitize quickly!
  • Is this the real life?Maybe just allergies?Caught in a lockdownNo escape from the familyDon't touch your eyes, Just hand sanitize quickly!
  • For example (to the tune of Bohemian Rhapsody)
  • Each week I will post a fun activity to try if you would like.  Anyone in the school can complete the task! Send your final product to Ms. Kelly: meghan.kelly@springsschool.org and a winner will be chosen and featured on my website!YOUR TASK: Create a "Parody" of a song that describes what is happening right now in the world. Take a song and re-write the words to talk about social-distancing/ staying at home/however you are feeling. Make a video of you singing, dancing, and send the words and video to Ms. Kelly. One winner will be chosen. Good luck!
  • No escape from th
  • family
  • Maybe just allergies?
  • aught in a lockdown
Jeff Andersen

Distance Learning: How Accessible are Online Educational Tools | American Foundation for the Blind - 5 views

  •  
    More and more schools, colleges and universities are using online educational tools that students are required to use to obtain course syllabi, access lectures and associated material, participate in class discussions, read course material, and receive grades and feedback from instructors. These popular tools, such as Blackboard, can frequently pose significant barriers to students with vision loss because they do not work well, if at all, with computer programs commonly used by students who are blind or visually impaired to access content displayed on the computer screen. For example, screen reading software reads the contents of the screen aloud. Screen magnification software enlarges text and graphics displayed on the computer screen in a customized way.
Nigel Coutts

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

  •  
    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.
meghankelly492

Legislation and Common Law Impacting Assessment Practices in Music Education - Oxford Handbooks - 1 views

  • Russell and Austin (2010) have claimed that in music education, a system of benign neglect in assessment practices has been allowed to endure, even though there has (p. 4) been a long-term, consistent call for reform, for more meaningful assessments, and for policymakers to adapt to laws as they are enacted and court rulings as they are handed down.
  • ead to the growing body of scholarship in educational law, the evolving and more active role courts are taking in impacting educational practices,
  • chapter is to inform music teachers about contemporary court cases that have resulted in rulings on assessment issues in educational settings, and how these rulings impact assessment in the music classroom.
  • ...13 more annotations...
  • in teacher preparation programs and in professional development activities so that students and in-service music educators will better be able to negotiate the increasingly litigious educational world
  • egal issues facing music educators remain one of the least important topics of conversation for preservice music educators.
  • how active they have been willing in inserting their decisions in school-based assessment policy.
  • Historically, courts have been somewhat deferential to school leaders and have not been willing to hear too many cases dealing with educational law and assessment.
  • Based on this decision, courts would be more likely to defer to school leaders in making their final rulings.
  • distinguish issues are purely academic from those that are purely disciplinary.
  • s. Three basic factors must exist for constitutional due process to exist: a student must have proper notice, a student must be given the chance to be heard, and the hearing should be conducted in a fair manner
  • The court decided that denying a student of education, regardless of the amount of time, could not be considered an inconsequential thing and claimed that a person’s right to education was equitable to the rights to liberty and property. In the majority decisions, the Supreme Court justices argued:
  • The US Supreme Court’s decision in Goss created the opportunity for students, parents, and their representatives to challenge not only disciplinary suspensions and expulsions but also other decisions by school officials that may affect liberty or property rights, including grades and grading policies.
  • that of courts taking a more active role and deferring less often to school leaders.
  • Because of these high stakes (real or imagined),
  • little more than attendance and participation, others feel that grades must represent academic achievement and that “allowing non-academic factors to affect academic grades distorts the truth about students’
  • however, because music is addressed minimally in these laws, their enactment has had minimal direct impact on music educators’ assessment practices.
Anthony Giannini

Discipline - 15 views

  •      ClassPeriodSectionDaysRoomSemester Computer Information & Technology 1 1A,B167S1, S2 Computer and Information Technology 2 1B314S1, S2 Computer and Information Technology 3 2B314S1, S2 Computer Applications 4 1A,B314S1, S2 to
  • 12345
  • ClassesSearchCampusReportsActionsMissing StudentsMessagesMy Home Welcome, Anthony Giannini, today is Friday, December 6, 2019 #pnlExpand, #pnlCollapse{ padding-top: 5px; padding-bottom: 10px; } Show Cycle Day Information Hide Cycle Day Information Cycle day B in Emanuel Axelrod Education Center - John A. Flannery High School and John A. Flannery Middle School Cycle day B in Regional Education Center At Arden Hill - Marguerite A. Flood Middle School, Marguerite A. Flood High School, Academy at Arden Hill High School and Academy at Arden Hill Middle School Cycle day B in Chester School District Satellite - Chester Academy Satellite MS CurrentTodayAll Take attendance at: 01 02 03 04 05 06 07 08 09 10 11 12 : 00 01 02 03 04 05</opti
csandovaldurazo

Using Diigo in the Classroom - Student Learning with Diigo - 66 views

  • Save important websites and access them on any computer. Categorize websites by titles, notes, keyword tags, lists and groups. Search through bookmarks to quickly find desired information. Save a screenshot of a website and see how it has changed over time. Annotate websites with highlighting or virtual "sticky notes." View any annotations made by others on any website visited. Share websites with g
  • Extended Learning
  • Bookmark Lists
  • ...4 more annotations...
  • Personal Student Bookmarks
  • Diigo can provide a way to enrich or extend learning about a topic.
  • Beyond extended student learning, Diigo can be used as a form of professional development.
  • Research&nbsp; Teaching students to research is a common standard across all grade levels, elementary, middle school, high school, and beyond. Diigo excels as a research tool: Students can save relevant websites to lists in their Diigo student accounts. Each saved bookmark captures the URL and a screenshot, and can be searched later. Students can highlight important information right on the website, using Diigo. Later, when students return to the website, they find the reason they saved the bookmark in the first place. Students can use virtual sticky notes to summarize the important points of information from the website. This activity will mimic the time-tested procedure of using note cards to summarize and organize research projects. Students working on similar topics can create and join groups in order to collaborate. Later, when students need to document their sources, Diigo can be used to recall website URLs for citing sources.
    • mdause
       
      How in the WORLD do I do the social part of it?? This seems useful, but I'm still trying to figure out how to let the kids collaborate on Outliners and then share the Outliners with me easily. I bet there's something huge that I'm missing here...
Martin Leicht

Opinion | Steve Jobs Was Right: Smartphones and Tablets Killed the P.C. - The New York Times - 6 views

    • Martin Leicht
       
      Would like to know more about "productivity dream machines."
  • they’re productivity dream machines
  • keyboard is better and more durable
  • ...5 more annotations...
  • Among other things, I now research and write just about every column using an iPad (I still compose many first drafts by speaking into my headphones, but I’m an odd duck).
    • Martin Leicht
       
      Speaking a draft into the headphones, wow, talk about visualization of things? Can you see the draft in your head?
  • Jobs declared the iPad to be the future of computing. “PCs are going to be like trucks,”
  • Like a phone, in most scenarios I find the iPad to be faster, more portable and easier to use and maintain than any traditional P.C. I’ve ever owned.
  • The iPad still can’t do everything a laptop can, and I still have to log in to a “real” computer sometimes.
  • the iPad doesn’t work with antiquated work flows that are built for PCs
Nigel Coutts

What if questions are the way to the solution - The Learner's Way - 13 views

  •  
    Adults love to ask "What if...?" questions too. It is a model that can be a catalyst for change when used in the right way and when combined with some other questions. 
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)&nbsp;how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • 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."
Martin Burrett

Research for @OfstedNews finds that a quarter of teachers have seen off-rolling happen in their schools - 0 views

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    "Teachers want to see more support for parents to help them resist the practice of 'off-rolling'. New research for Ofsted finds that a quarter of teachers have seen off-rolling - when a child is removed from the school roll for the school's benefit, rather than in the child's best interests - happen in their schools. Two-thirds of these teachers believe the practice is on the rise. The study, based on survey responses from over 1000 teachers, paints a concerning picture of the extent of off-rolling in England's schools. Teachers believe that parents with less understanding of the education system and their rights are most likely to be pressured into taking their child out of school."
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