Skip to main content

Home/ Diigo In Education/ Group items matching "stages" 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 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.
  • ...17 more annotations...
  • 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.
  •  
    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
Nigel Coutts

Fostering a dispositional perspective of curiosity - The Learner's Way - 10 views

  •  
    When we are young, we are naturally curious. We ask many, many questions. As we encounter the world, our consciousness is bombarded by a plethora of opportunities for curiosity. And at this early stage of exploring and discovering the world we inhabit, there is no filter between our sense of curiosity and our expression of our it. If we are curious, we will be asking questions and heaven help anyone close enough to be a potential source of answers. - At school, our relationship to both curiosity and inquiry changes.
Nigel Coutts

Questions to ask as we ponder the latest PISA results - The Learner's Way - 7 views

  •  
    I am wanting to take a slightly different approach to this weeks post. The past week has seen the latest round of PISA results and the media has had a field day. Headlines have routinely attacked students, educators and education systems in equal measure. The Canberra Times reported that "Australian school scores plummet on world stage", the Sydney Morning Herald led with "Alarm bells': Australian students record worst result in global tests" and The Weekend Australian went with "PISA global educational rankings: Schools fail on maths, science". 
meghankelly492

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

  • Four other studies (three of which are dissertations) assessed behavioral treatments forMPA on music students. Grishman (1989) and Mansberger (1988) used standard musclerelaxation techniques, Wardle (1969) compared insight/relaxation and systematic desensi-tisation techniques, and Deen (1999) used awareness and breathing techniques
  • A systematic review of all available treatment studies for music performance anxiety was undertaken.
  • reported that 24% of musicians frequently suffered stage fright, defined in this study as themost severe form of MPA, 13% experienced acute anxiety and 17% experienceddepression.
  • ...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

Music performance skills: A two-pronged approach - facilitating optimal music performance and reducing music performance anxiety - Susanna Cohen, Ehud Bodner, 2019 - 1 views

  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
  • ...19 more annotations...
  • The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
  • Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
  • There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners
  • Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
  • “when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
  • Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin & Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
  • This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark & Williamon, 2011; Hoffman & Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
  • Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
  • The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
  • Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
  • “Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
  • Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
  • Cohen, S., & Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
Martin Burrett

The Cool Initiatives #EdTech Education Challenge 2019 - 6 views

  •  
    "re you a bright spark with a brilliant educational technology idea that could change the way we teach and learn in schools and drive up educational outcomes? If so Cool Initiatives wants to hear from you! Cool Initiatives, premier early stage investor in education and edtech, has just launched The Cool Initiatives Education Challenge 2019 . It's giving away a total of £17,500 - no financial strings attached - to students, teachers or early stage start ups that offer an innovative edtech solution to change the face of education as we know it today."
Martin Burrett

Maths Webinar - Making Maths Magical - 6 views

  •  
    Hosted by Dr Junaid Mubeen and Fiona Goddard. This webinar reveals simple strategies for adding sparkle to your lessons to help engage and amaze Key Stage 1 and Key Stage 2 students with maths.
Martin Burrett

Online safeguarding: trends, tools and guidelines by @CaynsleyEsafety - 14 views

  •  
    "While every school knows the importance of safeguarding in our digital world, it's also important that they know and understand the most effective strategies to help safeguard their pupils online, both in and out of the classroom. The UK Council for Child Internet Safety (UKCCIS), have recently launched a framework which aims to highlight, across all key stages, the skills and knowledge children should have in order to feel safe, and act responsibly, online so that they are able to enjoy the online world."
Martin Burrett

Book: Uncharted Territories by @Hywel_Roberts & @DebraKidd - 5 views

  •  
    "In their new book, Debra Kidd and Hywel Roberts firmly place teachers, and ultimately their students, in a range of different locations, where the learning inhabits, offering a fantastically imagined context with prompts, ideas and illustrations helping exploration and discovery. In a fascinating resource book, which can be used in many subject areas, across most stages in schools, the authors break down each chapter destination (including a forest, castle, graveyard, ship, zoo, cave, theme park) into a story starter - introducing the location and providing provocative initial questions; key landmarks (either for primary or secondary aged students), a stopover - providing a more in-depth account of their learning journey; stepping stones - context based tasks provided to also prod your imagination, and; the bedrock - offering a debrief of the processes, helping teachers understand the justification of the processes undertaken."
Martin Burrett

UKEdMag: Joined at the strip by @mrlockyer - 7 views

  •  
    "Have you ever had a class who are ready to work, have fantastic ideas, know the basic structure of a paragraph or story, yet seem to falter when actually writing? How about those children that freeze at the sight of a blank page of lines to fill? You must have taught one or two children who start a story well, then drift off into a tangent even they can't pick themselves back from. Structure Strips can help to solve all of these regular challenges for teachers, at the crucial stage of children demonstrating what they know and demonstrating this on the page."
Martin Burrett

Good, Great, Fantastic… by @keeponteeping - 21 views

  •  
    "I was introduced to the Good/Great/Awesome techniques in some TEEP training in November last year. I immediately placed it in my "to-do right away" pile. As an intrinsically positive person, and teacher, who always strives to build students' self esteem and promote the growth mindset in all who pass through my classroom; I found the idea of offering 3 levels of positivity much more appealing that the previous wording. I implemented this strategy quickly and personally added in an overarching learning objective, so students could see each stage of G/G/F as building blocks. I coloured coded them, as is common, and occasionally colour coordinate to grades or tasks."
Martin Burrett

Aquation - 16 views

  •  
    Game teaching about water conservation and management where users choose water policy, research and inferstructure on a global stage.
Martin Burrett

The UKEd Podcast - Episode 01 - Getting ready for exams - 7 views

  •  
    "We've gone and launched the first episode of the UKEd Podcast, created by the UKEdChat team. The focus in this episode is all about helping pupils get ready for their exams, as this critical stage in the year is creeping upon us."
Martin Burrett

Video: Because of you, This is Me, by @jazampawfarr - 34 views

  •  
    "Jaz Ampaw-Farr shares her amazing, inspirational story from the TEDxNorwich stage of her journey through education, both as a pupil and as an educator and how hero teachers saved her life."
Martin Burrett

Answering Questions at Teaching Interviews by @guruteaching - 26 views

  •  
    "Does the thought of answering questions at teaching interviews fill you with dread? For many, the answer is a resounding yes. Not only is the application process extremely time-consuming, but if you are lucky to reach the interview stage, you will deal with on-the-spot pressures too. Most schools will observe a lesson you've prepared before moving to formal interviews. If you reach this stage you've done well. However, this is often the point at which candidates struggle the most. After all, you can prepare a lesson, knowing to some degree how it will go. But how can you predict what will be asked in an interview? Answering questions at teaching interviews is a skill you need to develop. Fortunately, there's a way."
Martin Burrett

Children gain confidence and social skills when schooled in local museum - 5 views

  •  
    "A new report, published today by King's College London, shows the findings of four projects that for the first time in the UK placed Nursery, Key Stage 1 and Key Stage 2 children in their local museum for extended residencies. The groups undertook many of their daily lessons and activities at their local museums for a period of between two weeks and up to a full term."
Martin Burrett

What the flip? Exploring technologies to support a flipped classroom by @katessoper - 54 views

  •  
    A flipped classroom is one where the lectures become the homework and the traditional homework tasks take place in the lesson time. This enables students to attend sessions with an understanding of the subject and to conceptualise and build upon it through doing exercises in class, with you, as the tutor, on hand to answer questions and explore the topic in more detail. This moves the tutor from the "sage on the stage, to the guide on the side" (King, 1993).
Glenn Hervieux

Flipped-Learning Toolkit: Overcoming Common Hurdles | Edutopia - 88 views

  •  
    "Flipping your classroom is a great way to move from "sage on the stage" to "guide on the side." But that shift can also bring about a number of other complications." Learn some great tips on how to flip learning in your classroom.
Kelly Riley

SLNSW: Sydney Harbour Bridge - S1 History - 6 views

  • Students explore, recognise and appreciate the history of their local area by examining remains of the past and considering why they should be preserved.
  • identify its main features
  • Examine Sources 2 and 3 which are designs for Sydney Harbour Bridge that did not win the competition. 
  • ...4 more annotations...
  • Compare
  •  Identify another famous symbol of Sydney
  • Explain why Sydney Harbour Bridge is important to our community
  • Students: identify an historical site or sites in the local community. Discuss their significance, why these sites have survived and the importance of preserving them identify a significant person, building, site or part of the natural environment in the local community and discuss what they reveal about the past and why they are considered important
  •  
    History tasks for Stage 1 (Year 2) students to do with place, using the resources of the State Library of NSW. This lesson looks at the history of the Sydney Harbour Bridge.
Rafael Morales_Gamboa

Should students be partners in curriculum design? | Times Higher Education (THE) - 35 views

  • We are pretty good at listening to students in terms of moans, groans and satisfaction,” says Healey. “We are not as good at going to the next stage, where partnership comes in, where we have students sitting at the table with us and making decisions
1 - 20 of 99 Next › Last »
Showing 20 items per page