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Be astonished.

Pay attention.

Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.

We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.

Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.

Close — and I mean really close — reading.

asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before

Engagement with objects.

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.

At the heart of CTT is the notion that error is endemic to measurement.

By the beginning of the 20th century, the concept of (p. 462) measurement error was well recognized, and psychometricians focused their efforts on estimating and accounting for error.

In CTT, an observed measure or score (X) consists of two constituent parts—the true score (T) and measurement error (E):

. Measurement error, however, also will account for a certain portion of score variance.

According to CTT, measurement error arises because mental processes are idiosyncratic and in a state of change such that individuals are incapable of performing optimally on a single test or performance task.

random error and systematic error.

(SEM) represents the average of the total random error for all individuals

SEM represents the spread of observed scores for a single individual if that person were tested multiple times.

That score, however, is an imperfect measure of the student’s true ability.

For example, CTT provides in-depth analysis of item characteristics,

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

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.

About 60 percent said it hindered students’ ability to write and communicate face to face, and almost half said it hurt critical thinking and their ability to do homework.

Other teachers said technology was as much a solution as a problem.

medication in the treatment of music performance anxiety. I considered a range of prescribed substances, including beta-blockers,

Kenny, D.T. (2011). The Psychology of Music Performance Anxiety. Oxford: Oxford University Press

Three groups of therapies—behavioral, cognitive, and cognitive behavioral—are all based on the same principles, but use the available therapeutic techniques in different amounts.

These researchers identified six techniques/interventions that are unique to CBT when compared with the spectrum of psychodynamic-interpersonal psycho-therapies, as follows

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.

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

and substantially determines if performers will suffer emotion-related detriments or profit from emotion-related benefits

Emotions that are too weak or intense and feel unpleasant lead to lower motivation, distracted attention, and reduced performance.

On the other hand, appropriately intense emotions which feel pleasant and are expected to help future performance are more likely to lead to increased effort, better decision making, and hence enhanced performance

Mann-Whitney U tests of mean ranks showed that compared to students who viewed performance as a threat (MThreat = 7.00, SDThreat = 0.99), students who viewed performance as a challenge (MChallenge = 5.02, SDChallenge = 1.91); reported significantly less cognitive anxiety at pre-recital (U = 21.00, z = -2.167, p = .028) and significantly higher self-confidence both at the start of semester, (MThreat = 4.79, SDThreat = 0.90; MChallenge = 6.42, SDChallenge = 1.08; U = 29.50, z = -3.555, p < .001) and pre-recital (MThreat = 4.45, SDThreat = 0.72; MChallenge = 6.55, SDChallenge = 0.98; U = 2.50, z = -3.104, p < .001, Figure 2).

Symptoms of performance anxiety are generally categorized into cognitive (e.g. catastrophic thoughts), behavioral (e.g. avoidance of performance/auditions) and physiological (e.g. dry mouth, shaking arms/hands, increased heart rate) (Plaut, 1990; Salmon, 1990).

Shoup (1995) reported performance anxiety negatively affected performance in 55% (234/425) junior high and high school instrumentalists.

Over a third of students (36%, 263) reported they experienced the feeling of butterflies most times to always when playing in a concert or competition (Table 1).

There was a significant association between gender and the experience of butterflies (χ2 = 32.32, df (4), p < .001) with more females reporting the experience of butterflies than males. There was a significant association between age and reported experience of the feeling of butterflies (F = 9.012, df (3), p < .001), with older children reporting the experience of butterflies more than younger children.

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.

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."

Clothes are brightly colored and consist of simple wraps, covering either only the lower body or both the lower body and upper body. In Islamic regions, covering is more substantial, and daily wear includes a head wrap

The legacy of Islamic rule along the coast of East Africa remains strong, and the majority of those on the coast and in North-East Africa are practicing Muslims

East African music consists of simpler instrumentation than Central Africa or West Africa, with a heavy reliance on percussion and basic horns, and less in the way of complex bowing. Since the 1980s East Africa has produced a great deal of fusion music, incorporating elements from Western music to create mash-ups of traditional and modern. Many countries in North-East Africa draw on Arabic influence in their music as well, incorporating elements such as religious poetry into the songs.

The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.

Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.

Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.

how does each author use authenticity as a strategy for making or justifying decisions in music education?

authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation

since the original loses some of its essential qualities in a simplification.5

His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions

Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).

Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"

Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.

Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.

Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.

"World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.

“My contention is that status is on everybody’s mind all of the time, whether they’re conscious of it or not,”

“new journalism” combined the emotional impact of a novel, the analysis of the best essays, and the factual foundation of hard reporting. He mingled it all in an over-the-top style that made life itself seem like one spectacular headline.

pointed look at fund-raising for the Black Panther Party by Leonard Bernstein and other wealthy whites.

And no one more memorably captured the beauty-and-the-beast divide between the Beatles and the Rolling Stones: “The Beatles want to hold your hand,” he wrote, “but the Rolling Stones want to burn down your town!”

s a child, he did rewrites of the Authurian legends and penned biographies of his heroes.

unsuccessful pitching tryout with the New York Giants before

The Washington Post, where he won Washington Newspaper Guild awards in 1960 for his coverage of U.S.-Cuban affairs and a satiric account of that year’s Senate civil rights filibuster.

The next year, Wolfe was assigned to cover a “Hot Rod & Custom Car” show. He completed a story, the kind “any of the somnambulistic totem newspapers in America would have come up with.” But he knew there was a much richer, and longer story to tell, one about a thriving subculture that captured the post-World War II economic boom and the new freedom to “build monuments” to one’s own style. No newspaper could contain what Wolfe had in mind, so he turned to Esquire magazine, wrote up 49 pages and helped give birth to a new kind of reporter. “For the who-what-where-when-why of traditional journalism, he has substituted what he calls ‘the wowie!'” according to a 1965 Newsweek story.

“A Man in Full” turned Wolfe’s smirk to Atlanta society. His 2004 novel, “I Am Charlotte Simmons,” looked at life on a fictional elite college campus rife with drinking, status obsession and sex.

so long as the buyer has a purchase permit or a concealed-carry license.

I felt uneasy

He liked the rifle. I needed the cash. We shook hands, and off we went.

There is rarely a moment when I’m not within reach of a firearm.

We don’t touch the guns or draw them from their holsters. They are unseen and unspoken of, but always there.

Rarely do we mention what we carry

I didn’t know what I was doing, but I knew the rules: Always assume a firearm is loaded. Always keep the gun pointed in a safe direction. Know your target and what’s beyond it.

Guns were often a bridge between father and son.

or my family, guns had always been a means of putting food on the table. My father never owned a handgun. He kept nothing for home defense.

had a gun put to my head

I can remember that

steel

I can remember

In the end, what happened was swept under the rug. My parents said the school was probably trying to keep the story off the news.

surrounded myself with the people I did as a form of protection.

I dropped to the ground as gunfire rang from a car at a bonfire party.

I pushed friends behind the brick foundation of a house as a shootout erupted over pills. There were times when someone could have easily been shot and killed.

his service weapon pushed into the base of my skull.

I stood there trembling while they apologized.

Jackson County

I found a community that reminded me of my grandmother, where folks still kept big gardens and canned the vegetables they grew. They still filled the freezer with meat taken by rod and rifle — trout and turkey, dove and rabbit, deer, bear, anything in season.

hared passion for wilderness and time spent in the field with gun in hand.

Those types of things are rare now, even in places like Appalachia.

A few weeks later, the boy took that .30-30 lever action into the field and killed his first deer with it — the same as his uncle, his grandfather and great-grandfather.

centuries of experience gathered around the campfire each night

the .308 blew apart the morning.

There is a sadness that only hunters know, a moment when lament overshadows any desire for celebration

Life is sustained by death

the killing is not easy, nor should it be.

would feed me for a year

I asked if there was anything I could’ve done differently to make him more comfortable when he first approached the truck.

He smiled and told me: “But this is South Carolina. Most every car I pull over has a gun.”

As I headed toward the mountains, all I could think about was Philando Castile,

situation was re

All I could think about was how things might have been different if the

versed and that young black state trooper with braces had been behind the wheel, a white trooper cautiously approaching the car.

It was impossible not to recognize how gun culture reeks of privilege.

Ruger 10/22s and Marlin Model 60s, the .22LRs

There were always guns, but nothing like the assault weapons that line the shelves today.

firearms whose sole purpose would be to take human life if I were left with no other choice.

I’ve witnessed how quickly a moment can turn to a matter of life and death. I live in a region where 911 calls might not bring blue lights for an hour. Whether it’s preparation or paranoia, I plan for worst-case scenarios and trust no one but myself for my survival.

they joke about the minute hand of the doomsday clock inching closer to midnight.

as they wait for the end of the world.

they own them because they’re fun at the range and affordable to shoot. They use the rifles for punching paper, a few for shooting coyotes. E

step as close to Title II of the federal Gun Control Act as legally possible without the red tape and paperwork. They fire bullets into Tannerite targets that blow pumpkins into the sky.

None of them see a connection between the weapons they own and the shootings at Sandy Hook, San Bernardino, Aurora, Orlando, Las Vegas, Parkland. They see mug shots of James Holmes, Omar Mateen, Stephen Paddock, Nikolas Cruz — “crazier than a shithouse rat,” they say. “If it hadn’t been that rifle, he’d have done it with something else.”

They fear that what starts as an assault-weapons ban will snowball into an attack on everything in the safe.

I understand what’s at stake

I think about that boy picking up that AR in Cabela’s, and I’m torn between the culture I grew up with and how that culture has devolved.

changes I know must come, changes to what types of firearms line the shelves and to the background checks and ownership requirements needed to carry one out the door.

an unrelenting fear of what could be lost

a subsistence culture already threatened by the loss of public land, rising costs and a widening rural-urban divide; the right of individuals to protect their own lives and the lives of their families.

He cut a look in my direction as if I’d absolutely lost my mind.

I’d be fine with an assault-weapons ban

question is irrelevant, that the reason doesn’t supersede the right.

Despite everything we have in common, despite the fact that he’s my best friend and we were going squirrel hunting in a few days, the two of us fundamentally disagree

As sad as it is to say, the silence is easier

there were kids on the television in the background, high school survivors who were willing to say what we are not, and I was ashamed.

ne of those pretty, late-winter days with bluebird skies when the trees are still naked on the mountains and you can see every shadow and contour of the landscape.

The muzzle was pointed in our direction. Ashley was terrified.

The truth is, there are guns I feel justified in owning and guns I feel belong on battlefields.

I know that part of what they’re missing or refusing to acknowledge is how fear ushered in this shift in gun culture over the past two decades.

Fear is the factor no one wants to address — fear of criminals, fear of terrorists, fear of the government’s turning tyrannical and, perhaps more than anything else, fear of one another.

I recognize this, because I recognize my own and I recognize that despite all I know and believe I can’t seem to overcome it.

I don’t buy into that only-way-to-stop-a-bad-guy-with-a-gun-is-a-good-guy-with-a-gun bravado.

I have no visions of being a hero. Instead, I find myself looking for where I’d run, asking myself what I would get behind. The gun is the last resort. It’s the final option when all else is exhausted.

we walked, I could feel the pistol holstered on my side, the weight of my gun tugging at my belt. The fear was lessened by knowing that there was a round chambered, that all it would take is the downward push of a safety and the short pull of a trigger for that bullet to breathe. I felt safer knowing that gun was there.

always evolving

We have to keep developing our capabilities and avoid falling behind.

no matter how well prepared people are in their formative years, few can achieve and maintain their best performance on their own.

outside ears, and eyes, are important

For decades, research has confirmed that the big factor in determining how much students learn is not class size or the extent of standardized testing but the quality of their teachers.

California researchers in the early nineteen-eighties conducted a five-year study of teacher-skill development in eighty schools, and noticed something interesting. Workshops led teachers to use new skills in the classroom only ten per cent of the time. Even when a practice session with demonstrations and personal feedback was added, fewer than twenty per cent made the change. But when coaching was introduced—when a colleague watched them try the new skills in their own classroom and provided suggestions—adoption rates passed ninety per cent. A spate of small randomized trials confirmed the effect. Coached teachers were more effective, and their students did better on tests.

they did not necessarily have any special expertise in a content area, like math or science.

The coaches let the teachers choose the direction for coaching. They usually know better than anyone what their difficulties are.

teaches coaches to observe a few specifics: whether the teacher has an effective plan for instruction; how many students are engaged in the material; whether they interact respectfully; whether they engage in high-level conversations; whether they understand how they are progressing, or failing to progress.

must engage in “deliberate practice”—sustained, mindful efforts to develop the full range of abilities that success requires. You have to work at what you’re not good at.

most people do not know where to start or how to proceed. Expertise, as the formula goes, requires going from unconscious incompetence to conscious incompetence to conscious competence and finally to unconscious competence.

The coach provides the outside eyes and ears, and makes you aware of where you’re falling short.

So coaches use a variety of approaches—showing what other, respected colleagues do, for instance, or reviewing videos of the subject’s performance. The most common, however, is just conversation.

“What worked?”

“How could you help her?”

“What else did you notice?”

something to try.

three colleagues on a lunch break

Good coaches, he said, speak with credibility, make a personal connection, and focus little on themselves.

“listened more than they talked,” Knight said. “They were one hundred per cent present in the conversation.”

coaching has definitely changed how satisfying teaching is

trying to get residents to think—to think like surgeons—and his questions exposed how much we had to learn.

a whole list of observations like this.

one twenty-minute discussion gave me more to consider and work on than I’d had in the past five years.

watch other colleagues operate in order to gather ideas about what I could do.

routine, high-quality video recordings of operations could enable us to figure out why some patients fare better than others.

I know that I’m learning again.

It’s teaching with a trendier name. Coaching aimed at improving the performance of people who are already professionals is less usual.

modern society increasingly depends on ordinary people taking responsibility for doing extraordinary things

coaching may prove essential to the success of modern society.

We care about results in sports, and if we care half as much about results in schools and in hospitals we may reach the same conclusion.