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Nigel Coutts

PZ Sydney Network becomes PZ Australia - The Learner's Way - 4 views

thelearnersway.net/...y-network-becomes-pz-australia

thinking education learning research network

shared by Nigel Coutts on 11 Oct 20 - No Cached
  • Nigel Coutts on 11 Oct 20
     
    The PZ Sydney Network has achieved many of its goals in the past five years. Most importantly the network has been able to provide high-quality professional development to many educators through free events large and small and both face-to-face and online. The PZ Sydney Network has been able to expand its reach and in recognition of this is transforming to become the PZ Australia Network.
Nigel Coutts

From Good to Great: Writing well by Thinking like Authors - The Learner's Way - 15 views

thelearnersway.net/...-well-by-thinking-like-authors

writing literacy education teaching communication learning

shared by Nigel Coutts on 05 Apr 20 - No Cached
  • Nigel Coutts on 05 Apr 20
     
    A common challenge for students and teachers is how to develop a great idea for a piece of writing. Too often students struggle with the process of finding inspiration for their writing. They have a vague idea for the story they hope to tell, but all too quickly it transforms into a list of events with little or no detail. The goal here is to provide our students with a process to use during the planning process. The hope is that by identifying the type of thinking required during the early phases of ideation and to focus their attention on details, that the stories our students subsequently compose will be more enjoyable to read. Hopefully, this process helps.
Nigel Coutts

Teaching and Learning as Dialogue with the World - The Learner's Way - 13 views

thelearnersway.net/...ing-as-dialogue-with-the-world

teaching learning world dialogue learner education collaboration

shared by Nigel Coutts on 01 Dec 19 - No Cached
  • Nigel Coutts on 01 Dec 19
     
    Learning should always be an active process and a two-way partnership between teaching and learning. In essence, learning and its counterpart exist as a vibrant dialogue between individuals whose role in the relationship is continually transformative. I'd like to explore this thinking further.
meghankelly492

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

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

world Music

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

Thinking and learning in the postnormal era - The Learner's Way - 8 views

thelearnersway.net/...learning-in-the-postnormal-era

thinking learning postnormal post truth education teaching

shared by Nigel Coutts on 01 Sep 19 - No Cached
  • Nigel Coutts on 01 Sep 19
     
    We live in a time of chaos, complexity and contradiction. (Sardar, 2010 [1]) Where rapid changes and transformations through technology, politics, globalisation and the climate, conspire against normality (Friedman, 2016 [2]) These times demand a fresh approach to education, one that provides learners with the thinking dispositions they need to turn challenges into opportunities, to connect their learning to their passions and emerge from their years of formal education as self-navigating life-long learners. 
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - 7 views

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • 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
  • ...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."
Nigel Coutts

Four perspectives on truth, normality and education in times of rapid change - The Learner's Way - 9 views

thelearnersway.net/...ation-in-times-of-rapid-change

perspectives truth education rapid change post-normal post-truth

shared by Nigel Coutts on 02 Jun 19 - No Cached
  • Nigel Coutts on 02 Jun 19
     
    We are living in interesting, frightening and rapidly changing times. Where rapid changes and transformations through technology, politics, globalisation and the climate, conspire against normality. These times demand a fresh approach to education, one that provides learners with the thinking dispositions they need to turn challenges into opportunities.  "All that was 'normal' has now evaporated; we have entered postnormal times, the in-between period where old orthodoxies are dying, new ones have not yet emerged, and nothing really makes sense." But what thinking might guide us through this time of volatility, uncertainty, complexity and ambiguity?
spdrmn7

Untitled Site - 3 views

sites.google.com/...edit

music education translations singers voice

shared by spdrmn7 on 03 Mar 19 - No Cached
  • This step is to be done independently!
  • This step is to be done independently!
  • In your groups, compare which instruments you all chose to explore and learn. 
  • ...4 more annotations...
  • 
  • In your groups, compare which instruments you all chose to explore and learn.
  • In your groups, compare which instruments you all chose to explore and learn
  • instruments
Caroline Kuhn

From Internet to Gutenberg 1996 - 30 views

www.umbertoeco.com/...nternet-to-gutenberg-1996.html

Gutenberg Humberto Ecco

shared by Caroline Kuhn on 10 Jun 15 - Cached
  • remember books. Books challenge and improve memory
  • (The book will kill the cathedral, alphabet will kill images).
  • During the sixties, Marshall McLuhan wrote his The Gutenberg Galaxy, where he announced that the linear way of thinking instaured by the invention of the press, was on the verge of being substituted by a more global way of perceiving and understanding through the TV images or other kinds of electronic device
  • ...8 more annotations...
  • the computer has become, first of all, an alphabetic instrument
  • These same teen-agers, if by chance they want to program their own home computer, must know, or learn, logical procedures and algorithms, and must type words and numbers on a keyboard, at a great speed. In this sense one can say that the computer made us to return to a Gutenberg Galaxy.
  • Today the concept of literacy comprises many media. An enlightened policy of literacy must take into account the possibilities of all of these media. Educational preoccupation must be extended to the whole of media.
  • Images have, so to speak, a sort of Platonic power: they transform individuals into general idea
  • who will receive pre-fabricated images and therefore prefabricated definitions of the world, without any power to critically choose the kind of information they receive, and those who know how to deal with the computer, who will be able to select and to elaborate information.
  • This will re-establish the cultural division which existed at the time of Claude Frollo, between those who were able to read manuscripts, and therefore to critically deal with religious, scientifical or philosophical matters, and those who were only educated by the images of the cathedral, selected and produced by their masters, the literate few.
  • With a hypertext, instead, I can navigate through the whole encyclopedia. I can connect an event registered at the beginning with a series of similar events disseminated all along the text, I can compare the beginning with the end, I can ask for the list of all the words beginning by A, I can ask for all the cases in which the name of Napoleon is linked with the one of Kant, I can compare the dates of their birth and death - in short, I can do my job in few seconds or few minutes.
  • Even if it were true that today visual communication overwhelms written communication, the problem is not to oppose written to visual communication. The problem is how to improve both.
  • Caroline Kuhn on 10 Jun 15
     
    Or the Elements of Euclid.
Jeff Andersen

Five Predictions for the Future of Education in 2019 | Emerging Education Technologies - 38 views

www.emergingedtech.com/...he-future-of-education-in-2019

predictions future education

shared by Jeff Andersen on 24 Jan 19 - No Cached
  • Jeff Andersen on 24 Jan 19
     
    Online education and digital learning tools-whether as a supplement to an on-campus experience, or as a full distance-learning program-have transformed the practice of education in recent years. Even more significantly, it's become clear that this trend is accelerating. What's in store for this year? Here are 5 trends in Education Technology to watch in 2019.
Fernando Escobar

Neuroteach Global Research Base - Neuroteach Global - 3 views

neuroteach.us/euroteach-global-research-base

Educacion aprendizaje articulos libros investigación

shared by Fernando Escobar on 16 Nov 18 - No Cached
  • Fernando Escobar on 16 Nov 18
     
    Relación de artículos (con enlace para verlos) y libros que trabajan sobre formas de enriquecer el aprendizaje; todos estos estudios basados en investigación.  Empiezo a verlos pero parece ser material interesante. Hay cierto vínculo con neurociencias, pero justo a partir de quitar los mitos al respecto.   Es parte de ... The Center for Transformative Teaching & Learning.
Martin Burrett

Busting the myths of AI in education - 10 views

ukedchat.com/...busting-myths-ai-edu

AI myths education

shared by Martin Burrett on 09 Oct 18 - No Cached
  • Martin Burrett on 09 Oct 18
     
    "When you mention Artificial Intelligence (AI), you're likely to get a variety of responses ranging from the fear that robots will take over our jobs - and our lives - to the conviction that it will transform our future for the better. Now that AI is becoming an integral part of organisations such as NASA, the NHS and even your local council, is it time for education to embrace the power of AI? I believe that it is. While algorithms will never be a substitute for a good teacher, there are some exciting new ways that AI can help schools to spot patterns of progress, or identify pupils who are having difficulties with their learning."
Clint Heitz

Do we read differently on paper than on a screen? - 9 views

phys.org/...-differently-paper-screen.html

reading digital resources

shared by Clint Heitz on 21 Mar 18 - No Cached
  • In total, there are more than 180 researchers from 33 different countries participating in the COST-initiated research network E-READ, reading in an age of digital transformation. This network examines the effects and consequences of digital developments in terms of reading.
  • It is not a case of "one size fits all," but patterns are beginning to emerge from empirical research into the subject. The length of the text seems to be the most critical factor. If the text is long, needs to be read carefully and perhaps involves making notes, then studies show that many people, including young people such as students, still often prefer a printed book, even if it is available as both an e-book and in electronic formats with options for making notes, enabling the user to search for and highlight the text digitally. This is not the case when it comes to shorter texts.
  • When reading long, linear, continuous texts over multiple pages that require a certain amount of concentration, referred to as "Deep Reading," the reader often experiences better concentration and a greater overview when reading from a printed medium compared to a screen. When we are reading from a screen, only one section can be seen at a time and the available reading surface area is limited. If you read a printed medium such as a book, several text areas are available simultaneously and it feels easier to form an overview and make notes in the margins.
  • ...5 more annotations...
  • However, an interesting finding in some of the empirical studies is that we tend to overestimate our own reading comprehension when we read on screen compared to on paper.
  • it has been found that we tend to read faster on screen and consequently understand less compared to when reading from paper. This is a very new research topic and there are studies that have not found any differences in this area.
  • such findings do highlight something very important, namely that we may have a different mental attitude to what we read on a screen. This has very significant implications, including in the context of education.
  • For example, reading literature has proven to have a stimulating effect on the imagination and encourage the development of empathy. Reading has an effect on our ability to concentrate and for abstract thinking. We want to discover if such processes are influenced by the reading medium.
  • There is a need for more empirical research on reading comprehension in terms of screen reading and also on the subjective reading experience.
joserosa1

Welcome to Discovery Education | Digital textbooks and standards-aligned educational resources - 56 views

www.discoveryeducation.com

shared by joserosa1 on 14 Oct 12 - Cached
  • anonymous on 14 Oct 12
     
    Ivan - Do you have any idea how much it costs to subscribe to this? Thx -
  • joserosa1 on 10 Oct 17
     
    Discovery Education transforms classrooms and inspires teachers with engaging interactive content and services that measure and improve student achievement.
Annette Yono

Transform Your Classroom: Digital Resources You Can Use Tomorrow | Professional Development | Video | PBS LearningMedia - 34 views

dptv.pbslearningmedia.org/...resources-you-can-use-tomorrow

Lessons Workshops

shared by Annette Yono on 23 Jun 17 - No Cached
  • Annette Yono on 23 Jun 17
     
    PBS Media has free professional development
Nigel Coutts

Transforming Homework to Home Learning - The Learner's Way - 40 views

thelearnersway.net/...ming-homework-to-home-learning

homework education teaching learning

shared by Nigel Coutts on 07 May 17 - No Cached
  • Nigel Coutts on 07 May 17
     
    A recent strategy to alter the negative image that homework has built is to re-brand it as "home learning". But is this enough and if we are going to "get it right" what do we need to change besides the name?
Jeff Andersen

12 Social Media Marketing Predictions for 2017 From the Pros : Social Media Examiner - 15 views

www.socialmediaexaminer.com/predictions-for-2017-from-pros

Social media predictions

shared by Jeff Andersen on 15 Feb 17 - No Cached
  • Jeff Andersen on 15 Feb 17
     
    Are you wondering how marketing on top social media platforms will change this year? Social media is constantly evolving to reflect the needs and preferences of customers and marketers alike. To find out how marketing on Pinterest, Twitter, LinkedIn, and Snapchat will transform in the coming year, we reached out to expert social media professionals to get their thoughts.
Nigel Coutts

Change, culture and Cultural Change in Education - The Learner's Way - 22 views

thelearnersway.net/...d-cultural-change-in-education

change culture education teaching learning

shared by Nigel Coutts on 09 Oct 16 - No Cached
  • Nigel Coutts on 09 Oct 16
     
     Embedded in the very weave of the organisation, culture is the most difficult aspect of an organisation to change and the hardest form of change to sustain 'That's because transforming a culture requires influencing people's deepest beliefs and most habitual behaviours' (Rogers, Meehan & Tanne 2006 p5). Rogers et al indicate that as little as 10% of all organisations that set out to develop a high performing culture achieve their goal.
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