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Jeff Andersen

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

www.brittanywashburn.com/...r-elementary-computer-lab.html

technology teaching teaching resources

shared by Jeff Andersen on 13 Jul 21 - No Cached
  • Jeff Andersen on 13 Jul 21
     
    Whether you're out sick or have a planned day out of the computer lab, writing sub plans is time consuming and often stressful. Technology teachers have a unique set of challenges to consider when deciding what to leave for a sub. This blog post will hopefully give you some solid ideas and peace of mind for the next time you need to be out. I have this other blog post about Technology Tools for Sub Plans with ideas and tools to help your sub be more comfortable using technology. Today's post is going to assume you have a substitute who is not comfortable using or teaching technology. You can skip right to idea #3 if your substitute cannot use any technology. All of the images are linked to the resource if you're interested. Just click or tap to learn more.
Martin Leicht

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

www.chronicle.com/...o-get-their-attention-in-class

shared by Martin Leicht on 12 Jan 21 - No Cached
  • Attention is reciprocal.
  • The more distracted I am in my interactions with you, the less likely you are to give me your full attention.
  • importance of having students share their strengths and values with you at the beginning of a semester
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Everyone is their own individual and bring a lot to your class. The more you know about them, the better chance you can find out how to motivate them.
  • ...13 more annotations...
  • Recognize their individuality
  • The researchers also asked students whether it mattered to them that the instructors knew their names, and more than 85 percent of them said it did
  • because making good use of the full physical space of a classroom is one of the most straightforward ways to keep both professor and students attentive.
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - I taught from the back. We showed a lot of videos and did demonstrations. So, it was easy to "teach" from the back. ON ZOOM - how do you teach from the back of the class?
  • One advantage of the Zoom classes that many of us are teaching right now is that the names are all right there on the screen
  • Speak to all corners of the room
  • They bring their unique life stories and experiences, which can help provide new perspectives on familiar questions and challenges.
  • Tell you about an important value
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Maybe it doesn't need to be all writing? Maybe it can be images and audio or video recordings to accompany them.
  • Tell you about a unique perspective or life experience
  • Describe their greatest academic strength
  • The obvious solution here is to break that barrier
  • Use their names regularly.
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Notoriety means power or maybe at least the power to capture their attention.
  • She encourages children first to recognize and write their own names and then to compare the letters and syllables in their own names with those of the other names on the grid
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Author's previous post about CLOSE READING. Really spend some time on the name.
  • What is most deserving of our attention in the classroom, of course, are the other human beings in our presence
Martin Leicht

Distracted Minds: Why You Should Teach Like a Poet - 4 views

www.chronicle.com/...y-you-should-teach-like-a-poet

education higher ed students engagement focus build zoom learning

shared by Martin Leicht on 11 Jan 21 - No Cached
  • 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
      Martin Leicht on 11 Jan 21
       
      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.
  • Martin Leicht on 11 Jan 21
     
    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
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.
meghankelly492

Ms. Kelly's Music Class - 1 views

sites.google.com/...edit

world Music

shared by meghankelly492 on 16 Mar 20 - No Cached
  • Google Classroom page
  • Google Classroom page
  • CLICK HERE!
  • ...9 more annotations...
  • March 30-April 3
  • For example (to the tune of Bohemian Rhapsody)Is this the real life?Maybe just allergies?Caught in a lockdownNo escape from the familyDon't touch your eyes, Just hand sanitize quickly!
  • Is this the real life?Maybe just allergies?Caught in a lockdownNo escape from the familyDon't touch your eyes, Just hand sanitize quickly!
  • For example (to the tune of Bohemian Rhapsody)
  • Each week I will post a fun activity to try if you would like.  Anyone in the school can complete the task! Send your final product to Ms. Kelly: meghan.kelly@springsschool.org and a winner will be chosen and featured on my website!YOUR TASK: Create a "Parody" of a song that describes what is happening right now in the world. Take a song and re-write the words to talk about social-distancing/ staying at home/however you are feeling. Make a video of you singing, dancing, and send the words and video to Ms. Kelly. One winner will be chosen. Good luck!
  • No escape from th
  • family
  • Maybe just allergies?
  • aught in a lockdown
Jeff Andersen

Screen Reader Demo - YouTube - 3 views

www.youtube.com/watch

screen reader demo

shared by Jeff Andersen on 29 Mar 20 - No Cached
  • Jeff Andersen on 29 Mar 20
     
    How do people who can't see a computer screen navigate a website? Colleen explains the basics of how she uses a screenreader and how to design for visually impaired users. Listen to the podcast episode that explains how to easily design website that is more accessible: http://www.blindinspirationcast.com/e... Write in to blindinspirationcast@gmail.com
Jeff Andersen

Tips on Writing Learning Outcomes - Staff Website - U of I Library - 19 views

www.library.illinois.edu/...learningoutcomes

writing learning outcomes tip

shared by Jeff Andersen on 23 Feb 20 - No Cached
  • Jeff Andersen on 23 Feb 20
     
    What is a learning outcome? Learning outcomes are statements of what students will learn in a class or in a class session. The statements are focused on student learning (What will students learn today?) rather than instructor teaching (What am I going to teach today?). These statements should include a verb phrase and an impact ("in order to") phrase - what students will do/be able to do and how they will apply that skill or knowledge.
meghankelly492

Technology Is Changing How Students Learn, Teachers Say - The New York Times - 13 views

www.nytimes.com/...udents-learn-teachers-say.html

world Music

shared by meghankelly492 on 21 Feb 20 - No Cached
  • hat the education system must adjust to better accommodate the way students learn, a point that some teachers brought up in focus groups themselves
  • roughly 75 percent of 2,462 teachers surveyed said that the Internet and search engines had a “mostly positive” impact on student research skills. And they said such tools had made students more self-sufficient researchers.
  • But nearly 90 percent said that digital technologies were creating “an easily distracted generation with short attention spans.”
  • ...2 more annotations...
  • 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.
Jeff Andersen

Learning Objectives Builder - TeachOnline - 24 views

teachonline.asu.edu/objectives-builder

Learning Objectives Builder

shared by Jeff Andersen on 16 Feb 20 - No Cached
  • Jeff Andersen on 16 Feb 20
     
    Use the ASU Online Objectives Builder tool below to write measurable course outcomes and learning objectives.
Anthony Giannini

Discipline - 15 views

schooltool.ouboces.org/schooltoolweb

interactive ELA Math online games fun reading

shared by Anthony Giannini on 06 Mar 19 - No Cached
  •      ClassPeriodSectionDaysRoomSemester Computer Information & Technology 1 1A,B167S1, S2 Computer and Information Technology 2 1B314S1, S2 Computer and Information Technology 3 2B314S1, S2 Computer Applications 4 1A,B314S1, S2 to
  • 12345
  • ClassesSearchCampusReportsActionsMissing StudentsMessagesMy Home Welcome, Anthony Giannini, today is Friday, December 6, 2019 #pnlExpand, #pnlCollapse{ padding-top: 5px; padding-bottom: 10px; } Show Cycle Day Information Hide Cycle Day Information Cycle day B in Emanuel Axelrod Education Center - John A. Flannery High School and John A. Flannery Middle School Cycle day B in Regional Education Center At Arden Hill - Marguerite A. Flood Middle School, Marguerite A. Flood High School, Academy at Arden Hill High School and Academy at Arden Hill Middle School Cycle day B in Chester School District Satellite - Chester Academy Satellite MS CurrentTodayAll Take attendance at: 01 02 03 04 05 06 07 08 09 10 11 12 : 00 01 02 03 04 05</opti
Martin Leicht

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

www.nytimes.com/...apple-macbook-pro-ipad.html

Apple Steve Jobs tablet iPad laptop smartphones tablets

shared by Martin Leicht on 14 Nov 19 - No Cached
    • Martin Leicht
      Martin Leicht on 14 Nov 19
       
      Would like to know more about "productivity dream machines."
  • they’re productivity dream machines
  • keyboard is better and more durable
  • ...5 more annotations...
  • Among other things, I now research and write just about every column using an iPad (I still compose many first drafts by speaking into my headphones, but I’m an odd duck).
    • Martin Leicht
      Martin Leicht on 14 Nov 19
       
      Speaking a draft into the headphones, wow, talk about visualization of things? Can you see the draft in your head?
  • Jobs declared the iPad to be the future of computing. “PCs are going to be like trucks,”
  • Like a phone, in most scenarios I find the iPad to be faster, more portable and easier to use and maintain than any traditional P.C. I’ve ever owned.
  • The iPad still can’t do everything a laptop can, and I still have to log in to a “real” computer sometimes.
  • the iPad doesn’t work with antiquated work flows that are built for PCs
Nigel Coutts

Reflecting on report writing time - How might we maximise the value? - The Learner's Way - 10 views

thelearnersway.net/...ow-might-we-maximise-the-value

report writing education learning assessment feedback

shared by Nigel Coutts on 13 Oct 19 - No Cached
  • Nigel Coutts on 13 Oct 19
     
    For schools in Australia and many parts of the world, we are heading towards the end of another school term and year. That means report writing season. For the next few weeks, teachers across the country will be huddled in front of computer screens, writing reflections on the progress their learners have made. Mark books will be opened, assessments consulted, work samples will be reviewed. All so that in the first week of the long Summer vacation students can sit and read their report and make plans for how they will enhance their learning in the coming year.
Martin Burrett

Using Images In Education - 17 views

ukedchat.com/...using-images-education

images

shared by Martin Burrett on 23 Sep 19 - No Cached
  • Martin Burrett on 23 Sep 19
     
    "Drawings, painting and photos have the ability to move us. From a masterpiece from yesteryear to the barely decipherable scribbled of your child's first portrait of you, an image can make the viewer laugh, cry, harden or change options, and even contribute to the way we vote. The use of images in our classroom needs to go beyond "now draw me a nice picture" when completing a piece of writing."
Nigel Coutts

Five reads for September - The Learner's Way - 7 views

thelearnersway.net/...five-reads-for-september

reads september learner education teaching learning

shared by Nigel Coutts on 15 Sep 19 - No Cached
  • Nigel Coutts on 15 Sep 19
     
    For teachers in Australia, the long Term Three is drawing rapidly to a close. Indeed as I write this just ten days remain before a two-week break. This is the perfect time to consider a holiday reading list. Just enough time to raid the school library or place an order with your favourite book store. Here is what's currently occupying space on my nightstand. 
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)&nbsp;how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Bob Maloy

Bookcase for Young Writers - 12 views

sites.google.com/...home

writing process creative expository

shared by Bob Maloy on 05 Jun 19 - No Cached
  • Bob Maloy on 05 Jun 19
     
    A Google site featuring ideas and strategies for inspiring young writers. This site has been developed to accompany a revised edition of Kids Have All the write Stuff by Sharon Edwards, Robert W. Maloy and Torrey Trust (University of Massachusetts Press, 2019)
  • Bob Maloy on 05 Jun 19
     
    A Google site featuring ideas and strategies for inspiring young writers. This site has been developed to accompany a revised edition of Kids Have All the write Stuff by Sharon Edwards, Robert W. Maloy and Torrey Trust (University of Massachusetts Press, 2019)
meghankelly492

"Can't We Just Change the Words?": EBSCOhost - 1 views

web.b.ebscohost.com/...detail

Music Theory Test Review UFMUE

shared by meghankelly492 on 24 May 19 - No Cached
  • The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.
  • However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity
  • The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.
  • ...10 more annotations...
  • 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.
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