Science, Tech, Math › Social Sciences Fuel Blends 101: What are They? Share Flipboard Email Print Fabio / Getty Images Social Sciences Environment Alternative Fuels Climate Change and Global Warming Green Living Environment Health Pollution Psychology Sociology Archaeology Economics Ergonomics Maritime By Christine & Scott Gable Automotive Experts B.S.E, Art Education, Millersville University Christine and Scott Gable are hybrid auto and alternative fuel experts who brewed biodiesel and traveled 125,000 miles on waste vegetable oil. our editorial process Christine & Scott Gable Updated March 04, 2019 Blends are mixtures of traditional and alternative fuels in varying percentages. Blends can be thought of as transitional fuels. The lowest-percentage blends are being marketed and introduced to work with current technologies while paving the way for future integration. For example, B5 and B20 (biodiesel) can be pumped directly into the tank of any diesel car or truck. Ethanol is also blended (about 10 percent) into much of the gasoline dispensed in the United States, especially in metropolitan areas, to reduce emissions. Importance It’s all part of the transition to using more alternative fuels. Although pure alcohol (ethanol or methanol) will burn independently, cold weather starting can be a problem. An engine has to be designed exclusively for a particular fuel to take advantage of all the characteristics of that fuel. Without the infrastructure in place to support pure alcohol fuels, flex-fuel vehicles (FFVs) have been designed to run on both alcohol and gasoline. FFVs marry the best characteristics of both ethanol and gasoline (or methanol and gasoline) and make it possible to utilize higher blend percentages such as E85 (ethanol) and M85 (methanol). Pros Cleaner burning than straight gasoline: Reduced exhaust emissions.Partially renewable: A portion of the fuel used can be replenished without fossil fuel reliance. Cons Corrosive: High alcohol content can be damaging to fuel systems.For the higher blends such as E85, an FFV is needed. Safety & Handling The blends tend to be less volatile than gasoline with a reduced chance of explosions in accidents. Potential As transitional fuels, blends are extremely popular with excellent potential. Ethanol has captured most of the developmental resources encouraging the planning and building of new refineries for these grain-based alcohols.


TUMMY TIME DEFINED
Tummy time, quite simply, is the number of minutes that baby spends daily in the position where her stomach touches the floor and her back is up toward the ceiling. It is important that tummy time is supervised since newborns are learning to lift and turn their head. Recently, parents were encouraged to put their babies on their backs to sleep instead of on their stomachs as a national campaign called “Back to Sleep.” The goal was to reduce the incidents of Sudden Infant Death Syndrome (SIDS). Now, however, many infants are left on their backs exclusively or for too long leading to flattened heads and reduced motor skills. Research shows that babies put on their stomachs for regularly supervised tummy time excel in motor skill development over those left primarily on their backs. Thus, pediatricians started encouraging daily supervised tummy time, both reducing the incidents of SIDS and fostering motor skill development.
TUMMY TIME BENEFITS
Tummy time stretches the muscles of the abdomen, chest, and front of the hips which have been tightly contracted while in the womb. It strengthens the muscles of the head, neck, back, and arms as baby learns to lift and turn her head while lying on her stomach. It provides a new orientation in space compared with lying on her back and looking up at the world. It serves as the foundation for the next motor skill development: rolling. It will be much easier for baby to roll onto her stomach if she is comfortable and familiar with this position. Tummy time is one of the earliest and most important milestones in the development of a baby, and stellar caterpillar tips will help light the way.


May 19, 2009
Since 1978, Eva Kor has taught thousands of young people about the Holocaust and changed many lives. Now, she will offer her Holocaust teaching philosophy to K-12 educators in a course at Indiana State University.
Kor is a survivor of the Auschwitz-Birkenau German Nazi Concentration and Extermination Camp and was instrumental in gaining passage of an Indiana law requiring Holocaust education in secondary schools.
Kevin Bolinger, professor of elementary education at Indiana State and a board member of the CANDLES Holocaust Museum in Terre Haute, will team up with Kor to teach curriculum and lesson plans for grades K-12 in conjunction with new Holocaust education standards.
The course, ELED 595A for elementary school teachers and CIMT 595 for middle and high school teachers, will meet from June 8 through July 9. Class time is Monday through Thursday, from 9:30-11:30 a.m. Participants can earn undergraduate, graduate, and continuing education credits. Registration is limited to 25 participants.
For more information and assistance in registering for the class, contact Bolinger at 812-237-2884 or Contact: Kevin Bolinger, associate professor of elementary education, Indiana State University, 812-237-2884 or firstname.lastname@example.org. email@example.com; or Kiel Majewski, museum coordinator, C.A.N.D.L.E.S Holocaust Museum, 812-234-7881 or firstname.lastname@example.org
Eva Kor, a survivor of a Nazi concentration and extermination camp, and Kevin Bolinger, professor of early childhood education, will team up to offer a Holocausut curriculum class at Indiana State University this summer to help teachers meet Indiana's new Holocaust education standards.


Maths would appear to be one of those subjects that you can either do, or you can't, some love it whilst other hate it. Marcus de Sautoy is Professor of Maths at Oxford University, he LOVES maths and he's brilliant at it! He is one of those people who can explain really complex ideas in ways that ordinary people can begin to understand. In 2006, he delivered the Royal Institution Christmas Lectures, bringing accessible maths to an audience of school aged children.
In one of his TV documentaries, de Sautoy distilled maths into a single, basic concept - the study of patterns. Our ability to discover patterns (whether in abstract numerical groups or physical real world objects) leads us to being able to solve problems, a fundamental reason for learnbing maths. While we usually think of maths as the adding and subtracting of numbers, numbers merely act a labels to more abstract concepts.
Of course, this is a vast oversimplification of maths, but it's premise is in fact and not fiction.
EYFS 2012 introduced Mathematics as one of the 'Specific Areas', breaking down further into Numeracy and Shapes, space and measures. While the specific areas are aimed at older and more develeoped children, you can be sowing the seed for good numeracy early on by encouraging that great foundation of maths - pattern recognition. Babies can learn and spot patterns from a very early age and evidence suggests that stimulating these skills early on will assist numeracy skills during their early years.
Play games that encourage pattern matching such as pairing cards, playing memory games, grouping items into 'classes' and counting items in collections. All of this will encourage cognitive development that will assist numeracy in their early years.
Suffering from morning sickness could indicate that your baby is going to have a high IQ, so research in Canada has discovered. Scientists looked at a sample of 120 mothers who had phoned a special helpline for women who felt particularly ill or nauseous during pregnancy. It was entitled the NVP (Nausea and Vomiting of Pregnancy) helpline.
Specialists in the Hospital for Sick Children in Toronto concluded that babies born to women with symptoms of nausea tended to have babies with a higher IQ than those who did not experience nausea.
Tests were carried out on children aged between 3 and 7 that included numeracy and verbal fluency. The findings suggest that those whose mothers had experienced morning sickness during pregnancy did better in the tests!
The achievements of those babies whose mothers had not had nausea were found to achieve lower results.
The research leader, Dr Gideon Koen reiterated it did not suggest mental retardation by any means, it just suggested a slightly higher IQ.
For many women, morning sickness can be dreadfully debilitating and indeed embarrassing. It is supposed to be only a symptom during the first 12 weeks of pregnancy - this is often not the case and it continues throughout the pregnancy. And, it is known as morning sickness, but for so many it is not confined to the mornings at all!
So, for all those women who endure the horrors of morning (or evening or daytime) sickness, these findings are a small consolation!
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Literacy and numeracy are crucial to breaking the cycle of poverty. The ability to read and write is a basic skill which enables communication, learning, and fulfilment of potential. In Niger, women have restricted access to education and the majority are unable to read or write. Many women, particularly in rural areas, are confined to their homes with domestic and childcare duties and are not permitted to participate in community debate and activities.
SOS Children’s literacy programme in Niamey, Niger, focuses on particularly vulnerable women - widows, divorced women, women with disabilities, those taking care of orphans or vulnerable children, and unmarried mothers. The programme provides women with literacy skills, as a basis to allow and encourage them to integrate into society, take good care of their children and even start their own businesses.
Participants on the course come from the surrounding neighbourhood of the local SOS Children's Village in Niamey, as well as from further-away communities. The women meet five times a week, for two hours each day. In addition to learning literacy skills, the women receive additional support whilst on the course. They are given training on child rights, hygiene, and how to prevent sexually-transmitted diseases including HIV/AIDS. They also receive information and support for establishing income-generating activities, such as setting up their own business making use of their skills.
The programme lasts six months and on completion, participants receive a certificate recognised by the State. Once the women have completed the course they continue to receive support from SOS Children. Micro-loans are on offer to enable them to set up their own small businesses. The literacy and numeracy skills they have developed by this point are crucial in making their business successful. They are able to keep records of their income and expenditure, and correspond with their customers and suppliers.
The manager of the programme, Souleymane Assoumane, believes that the literacy programme is important because it greatly increases their confidence, both in their personal and professional lives. She says “in our talks, the women tell us that they considered it disturbing knowing that they were not able to read what was written in their savings book. They were forced to ask a child to read out or write something for them…they know that learning to read and write contributes to the improvement of their living conditions.”
Kadidia builds a new life for her children
Kadidia is a widow and the head of her family. Unemployed and without any support, she has three small children to care and provide for. She attended SOS Children's literacy programme for six months and graduated with flying colours! The SOS Social Worker who supported Kadidia during her time on the programme says “when Kadidia started participating in the programme, she was in despair. Today, having received support, she has set up an income-generating activity which has completely changed her life. It worked so well she could even have a private tutor for her children at home.”
All over the world, our Family Strengthening Programmes are enabling women to take control of their lives and improve their prospects for the future. Find out more and how you can help.


In education, music and visual arts have already been linked in the category of “programs” or “electives” for a lot of years, and also the music and arts departments of modern public schools will sometimes collaborate for student efficiency based vacation shows, but how else are they connected? Does the act of listening to music within the Arts Classroom impact the mood with the room, the quality of the function, the behavior of the students?
As a public college Art teacher, I constantly strive to achieve one of the most productive, most comfortable classrooms for my students. Their artistic and educational gains in my classroom are my most important priority. I focus on topics that will assistance to elucidate queries about the perceived atmosphere in the art classroom. There’s a current ideological framework for what art classrooms ought to look like in modern public schools. Educators are anticipated to display art, each in the masters too as present student artwork, and relevant imagery, vocabulary, rubrics, and decorative elements. But what does a productive arts classroom sound like? The power of voices, laughter, the sound of water operating, paintbrushes tapping canvas, the shuffle of student’s feet too and from the pencil sharpener, but what about music? When music is integrated into the educational setting, does it impact the delicate dichotomy on the art classroom and student work made therein?
The usage of music is so prevalent in our culture that it might practically go undetected by the individual. Calming music is used inside the doctor’s waiting space, the elevator, on hold with the IRS, or any settings that normally lead to higher anxiety. Energetic music utilized within the retail retailers is developed to increase mood and self-assurance among the shoppers, encouraging them to buy much more goods. Music is an integral aspect of contemporary culture, and one particular could predict that The use of music within the classroom could affect outcomes of student work or behavior, but in what capacity, and to what degree?
I completed several interviews of secondary art education teachers, observed high school art classrooms making use of music throughout the creative time, and reviewed literature presently offered on the effects of music on mood. These allude to a strong positive connection between the inventive procedure of art making along with the inspirational and calming effect of listening to music. Scientific evidence like these experiments conducted working with neuroimaging on the brain or participant polls recommends that music can straight affect mood and trigger positive emotions, calming or relaxing effects, or other perceived benefits that may straight translate to an art classroom or any classroom that enables for independent function.
This research supports an even higher advantage in an urban setting where extra components which include noise, website traffic, poverty, and crime could trigger students to carry extra stressors into the classroom setting. This study supports theories that listening to music throughout the creative time of an art class may perhaps enable for any much more productive and profitable lesson, and if the act of listening to music proves to ameliorate anxiousness, it might also lessen student inhibitions about art generating and diminish barriers between a vulnerable student and their full perspective within the art classroom.
As an art instructor along with a public college teacher struggling to close achievement gaps amongst students, I’ll continue to investigate and make use of music to aid in a student production of art. Classical, jazz, contemporary, and world music might all be massive assets inside the pursuit of generating the most dynamic and effective arts classroom.


This article from the National Association for Music Education (NAfME) provides a comprehensive look at the benefits of music education: Education in music correlates with:
- Enhanced brain development
- Mathematical and spatial reasoning
- Reading and verbal skills
- Overall academic achievement
- Successful schools
- Social and emotional development
This entry is the third in a series of six articles about the benefits of arts education.
Thanks to Mrs. Lenore Wilkison for her assistance in researching the sources in this series.
The arts are part of the core educational experience for all students at TPA and TPJA. Our curriculum, 6th through 12th grades, calls for all students to participate in an arts class every semester.


I have a consistent opinion about what I believe a good, holistic music education entails. It's far from groundbreaking. I think students should be given the opportunity to:
- developing a great listening ear;
- hone excellent technical skills in their chosen instrument/s;
- work with a repertoire they're passionate about and/or that assists their progression as a musician;
- understand music theory and analysis and use it to their advantage for listening;
- and CREATE.
It's a lot to ask from ourselves as tutors, really, when we usually see students for between 30 and 60 minutes per week. The majority of these things probably fall outside of my advertised job description as a singing and guitar teacher. But I can't help but have this agenda of mine on the back-burner, rolling around in my mind, of what I think will benefit students in the long run, and help them understand music. Love music. Be willing to jump headfirst into music.
Here's the thing, though: students have their own agenda. Each young person has their own idea of what music looks like to them. Whether they're seven, ten, fourteen, eighteen - they usually know, right now, what they want from music.
☞ Sometimes, they want to finish their book to get to the certificate at the back and get an extra big sticker.
☞ Sometimes they're very keen on the idea of taking an exam, where they get feedback from people that know so much about the instrument they're learning.
☞ Sometimes they want to write music with four chords for two years.
☞ Sometimes they're aiming for a Triple J Unearthed spot.
☞ Sometimes they're focused on a tertiary music institution, or a place in a prestigious a high school music program. And sometimes they're not.
☞ Sometimes they want to work with, sing with and play with other musicians.
☞ Sometimes they love working solo.
☞ Sometimes they want to perform, and sometimes they don't. Sometimes they'll feel better once they "conquer this fear", and sometimes they actually just don't want to perform.
☞ Sometimes it's right to push skills that don't seem that interesting to students at the time, because it will benefit them later. And sometimes, maybe, it's not.
The only responsibility I unequivocally believe that I have as a music tutor, as one piece of the much bigger puzzle of each child's music education, is this:
I have to give them, and their parents, the option to accumulate every piece of knowledge and learn every skill that is available to them under my tutelage. It is also my responsibility to continue to grow this skill set and improve what's on offer as a result.
It's never going to feel like I have enough time to pedal my whole agenda equally - unfortunately, that's the flip side of prioritising holistic learning. But the student's agenda matters the most to me. More than mine. More than anyone else's opinion on what kids should be learning.
That doesn't mean not encouraging progress. Of course we have to do that, too. But If I'm not addressing what makes my students come alive in the music room, I'm not putting a longevity of their love for music at the forefront of my teaching. And in this role, there is nothing more important than that.
For those who are interested, I'm running a new small-group musicianship class, ideal for students who want to:
- improve their aural skills 👂
- further their understanding of how songs are put together 🎨
- get a great start in writing their own music ✏
There will be an emphasis on interactivity 🙋, working together 👏🏼and applying everything students learn to music they're interested in playing, singing and creating 🎹🎸
Suitable for ages 9-14.
FIVE spaces available for a term three start.


Directed Learning Activities
Directed Learning Activities (DLAs) are step-by-step guides through tasks that reinforce skills needed for academic success. DLAs can take many forms and serve many functions, but they always emphasize skill building and the use of tutors as mediators.
DLAs extend classroom instruction into a tutorial environment and often follow up a classroom introduction. Students take the assignment to a tutor who provides guidance (e.g., five minutes) on how to approach the tasks. After completing the DLA (e.g., 45 minutes), the student returns to a tutor for consultation (e.g., 10 minutes). The tutor signs off on the activity and the student submits the assignment to the instructor.
- DLAs connect tutoring to the class room.
- DLAs, if designed together as a departmental project, enhance consistency of instruction and build consensus regarding foundational skills needs.
- DLAs are a welcome time saver to faculty who need help addressing core competencies.
- Faculty have access to a library of DLAs to use, another time saver.
- DLAs also free the tutor from feeling obligated to "know everything". Tutors need knowledge only of the materials and procedures contained in the DLA, which simplifies training and raises tutors' confidence.
Fourteen faculty members from Math, English, ESL, and English Skills started SBCC's DLA project over the summer of 2007. Eleven Math instructors and faculty in History, Biological Sciences, Astronomy, and Computer Information Systems have since developed DLAs to address their students' basic skills needs. The Partnership for Student Success subsequently created an online repository to help instructors to share DLAs. DLAs have become a part of SBCC's campus vocabulary and are seen as a major component in basic skills support.
To access the online DLA repository:
1. Click HERE


Avoiding the Summer Slide
This year your child grew academically and in order to maintain that momentum, it's important for students to practice over the summer. Just like our muscles when we don't exercise, our learning muscles atrophy when we don't practice what we've learned. I'd like to say that three years of Spanish in high school paid off, but here I am 20 years later and hablo espanol un poco. Impressed?
There are a plethora of opportunities in Decatur alone to help your child from suffering from the summer slide. Of course, READ. Read to and read with your child. They are never too old! If listening to someone else read was only for little kids, the audiobook industry wouldn't be booming. Our public library has opportunities almost daily during the summer. They even have an opportunity for your child to win a Kindle Fire. I love using Libby for ebooks and audiobooks for trips. Check it out!
We are also keeping track of the number of minutes JHES students read this summer with the Scholastic Read-a-Palooza! Each week students earn rewards like digital badges and videos from Scholastic. Your child will be bringing home his/her personal log-in before school is out. E-mail me at firstname.lastname@example.org if you cannot find your child's log-in.
Log minutes in here:
For math, knowing facts automatically builds a strong foundation for the coming school year. All students should know addition and subtraction fact families from 0-9. Third through fifth grades need to know multiplication and division fact families from 0-9. There are many apps, workbooks, flash cards, and games to help students memorize these facts. They need to be as automatic as the alphabet.
Your support is vital over the next 10 weeks. Students can lose up to half a year of progress over the course of the summer. If you need any ideas, please email me and I will help any way possible. Let's have a summer CLIMB instead of a summer SLIDE.
Have a wonderful summer!
Library Media Specialist, NBCT
BS in Elementary Education
ME in Library Media


Art is experimentation.
I believe that engaging materials and processes are the heart of a successful classroom. Providing students with a tool belt of techniques and a wide range of media gives students the confidence to make bold artistic choices. I want to give students the skills they need to use art as a means to think critically and express themselves. I want to help shape artists who not only make art, but also think and talk about art.
Art is community.
I use art to connect my students to the communities around them. Learning should take place not only in the classroom, but also in the greater school community, museums, community organizations, and through visits with local artists. A strong art education should provide students with the ability to examine their own and other cultures, and to see the world through multiple perspectives.
Art is inquiry.
I foster a classroom environment that places an emphasis on collaboration and the exchange of ideas. As an art teacher I act as a co-learner and mentor, bringing my curiosity and drive to the classroom, while encouraging students to explore their ideas. Projects should stem from student interests and beliefs, and should allow for student choice to give students a sense of ownership and pride for their work. I encourage experimentation and risk taking – I want my students to know that mistakes can lead to great discoveries in art, and the unexpected and unplanned can help students to grow as artists.


Lesson 12: Instruction for Struggling Reader
The ideas and activities presented in this lesson are designed to familiarize you with strategies that support literacy learning for readers who struggle with reading. These students do not apply or have not learned those reading strategies which allow full engagement in the reading task. These readers who struggle with extracting meaning from text are found in all grades, at all ages and in all content areas. The literature supports that, though these struggling readers are lacking knowledge and practice, they can be taught to be successful when reading. Florida's Formula for effective reading instruction certainly applies to struggling readers in terms of areas of instruction, assessment, initial instruction, and immediate intensive intervention for students who have severe difficulties in reading. The strategies, practices, procedures, and information represented in this lesson are just a few of those strategies for success. They are appropriate for teachers of both elementary and secondary students and for teachers of both content and literature-based lessons. It is important for teachers to be familiar with the fundamentals of reading, which impact all levels of instruction and apply to lessons in all areas of content. Both general and specific procedures and processes for teaching the struggling reader are presented here. You can apply these strategies and processes as they appear here or view them as adaptations for strategies and lessons presented in other lessons in this course.
Finally, remember that technology is important for all students but may be particularly critical to students who learn through visual, audio, kinesthetic or other modalities. Technology can help many students, especially (some) struggling students, learn to read.
How do I help the struggling readers in my classroom? Lesson 12 will provide strategies for enhancing the decoding ability, vocabulary, and comprehension of struggling readers. Also included in this lesson are specific applications for assisting struggling readers in the content area classroom. In this video, Dr. Vicky Zygouris-Coe provides an overview of the key ideas presented in Lesson 12. PC - Windows Media Video (3.15MB)
Mac - QuickTime Video (9.49MB)
After this lesson you should be able to:
- Explain the process of reading and relate that process to the challenges students face as they construct meaning from print.
- Apply knowledge of literacy learning to support literacy development in struggling readers.
- Locate and use resources which support reading strategies for struggling readers.
- Identify some software titles and technology tools that can help students learn to read and comprehend text.
- Plan for the implementation of strategies designed to support the struggling readers in your classroom.
- Teach strategies that allow students to become independent readers and learners.
Wondering what you must accomplish in this lesson? A task list has been provided that outlines the required readings, actions, and assignments for Lesson 12. The task list is a learning aid to help you monitor the completion of this lesson. Other links, resources, and/or videos are optional. You will find a task list in each lesson. The task list can be accessed using the table of contents or by navigating to the end of this lecture


Types of Degrees
There are Different Types of Degrees
A.A., B.F.A., M.S., Ph.D - having trouble making sense of college degrees? Most US colleges and universities offer a variety of options and it’s important to determine which degree program is the best fit for you. Use this guide to filter through what each degree type offers.
An associate degree is typically awarded to graduates of community colleges, junior colleges, technical colleges, and some four-year colleges and universities. An associate degree takes two years to complete. Associate degrees can be awarded in vocational or non-vocational disciplines. Students who choose a non-vocational degree often transfer to a four-year institution after completing their program. Students usually earn an Associate of Arts (A.A.), Associate of Science (A.S.), or Associate of Applied Science (A.A.S.).
The most popular associate degrees are:
- Liberal Arts/Science
- Health Professions
Bachelor’s degrees are typically awarded at four-year institutions. Requirements include minimum grade point averages and minimum credit hours completed, and often a declared major or course of study. In some disciplines, colleges and universities allow students to choose which type of bachelor’s degree they want to earn.
Bachelor of Arts
Bachelor of Arts degree (B.A.) is a type of bachelor’s degree awarded for courses in the liberal arts or sciences. B.A. programs often focus more on liberal arts general education courses and are often required to take a foreign language.
Bachelor of Science
Bachelor of Science degree (B.S.) is a type of bachelor’s degree awarded for courses in a scientific or technical discipline. To earn a B.S., institutions often require a certain number of lab hours.
Bachelor of Fine Arts
Bachelor of Fine Arts (B.F.A.) is a type of bachelor’s degree awarded for courses in the visual or performing arts. In B.F.A. programs, the majority of the program is studio or conservatory work. The most popular bachelor degrees are:
- Business Administration
- Computer Science
- Criminal Justice
- Elementary Education
- Political Science
A Master’s degree is the most basic advanced degree. It was awarded to students who have completed their graduate coursework in a particular area of study. Master’s degrees are awarded in hundreds of disciplines. Master’s degrees typically take two or three years to complete.
Master of Arts
Master of Arts degrees are usually awarded in humanities or liberal arts disciplines. It is often awarded after passing exams and completing independent research.
Master of Science
Master of Science degrees are usually awarded in the technical, natural or social sciences disciplines. It is often awarded after passing exams and completing independent research.
Master of Business Administration
Master of Business Administration degrees are usually awarded in two years. They give a comprehensive education on all aspects of business administration, including accounting, finance, economics, management, marketing, and operations. Students can often choose to concentrate in one discipline.
The Most Popular Master’s Degrees are:
- Social Sciences
- Health Science
- Physical Sciences
A doctorate is the highest academic and terminal degree in most fields of study. It is most often awarded for original research, but can also be awarded in a professional discipline.
Doctor of Philosophy (Ph.D.).
The most common research doctorate is the Ph.D., which can be awarded in most science and liberal arts disciplines. It usually takes seven years to complete a Ph.D. At most universities, it is required for professors to hold Ph.D.s.
Doctorates can also be awarded in professional disciplines. For many professions it is required to hold a doctorate in the field. Some of the most popular professional doctorates are Doctor of Medicine (M.D.), Juris Doctor (J.D.), Doctor of Physical Therapy (D.P.T), Doctor of Psychology (Psy.D.), Doctor of Veterinary Medicine (D.V.M.) and Doctor of Pharmacy (PharmD).
The Most Popular Doctorate Degrees are:
- Biological Sciences
- Social Sciences


Download these short vowel punch cards for your child’s phonics practice.
This is another free resource from www.freewordwork.com.
This free set of short vowel punch cards will give your children practice with phonics skills.
One goal I have is to create resources that are engaging for children. Phonics instruction can often be boring for children so adding in a little bit of fun is important.
This collection is a great way to weave a little bit of fine motor work into phonics practice.
These pages will not teach but are designed for practice and review of phonics sounds. Be sure to begin by working with children as a class or small group.
The action of using a hole punch is great way to help children strengthen their hand muscles.
Students love pulling out and using new tools so this will be a fun way to sneak in multiple skills in one activity.
Be sure to offer a variety of hole punches. This will allow children to practice different grips to develop their hand muscles.
These Short Vowel Punch Cards
- This new set of printables contains a total of 40 cards for practice.
- To create the cards, you will begin by printing the pages.
- Next, cut apart the cards.
- Create your word work center by putting the cut out cards in a basket.
- Supply students with a range of punchers. You can use a standard hole punch but can also provide others. Children especially love different shapes.
You can download this set of phonics pages here:
Do you have students who find this activity too easy? Challenge these children by having them make cards for others to use for practice.
Looking for other short vowel work for your children? Try these free resources:
Thank you to Marcelle’s KG Zone and Hidesy’s Clip Art.
Thank you for visiting freewordwork.com! All of the resources provided are free for classroom and home use. Resources may not be sold or modified and sold. Please send me a message if you have any questions.


A mixed methods portrait of the perceived benefits of unaccompanied ensemble singing on the development of the musical skills of undergraduate students
St. Jean, Donald
MetadataShow full item record
The purpose of this investigation was to establish an understanding of the role that a cappella ensemble singing plays in the musical development of undergraduate ensemble singers based on the perspective of students, music teachers of three to five years experience, and faculty directors from four-year colleges and universities geographically located within the American Choral Directors Association (ACDA) Eastern Division, including the six New England states plus Delaware, Maryland, New Jersey, New York, and Pennsylvania. Research questions asked: In what ways is a cappella ensemble singing perceived to contribute to the musical development of college student musicians? Are there measureable differences in the perceived benefits of traditional and contemporary genres of a cappella ensemble singing between undergraduate students and faculty directors? Findings suggested that benefit exists in both traditional and contemporary a cappella ensemble singing. Descriptive research was employed in an exploratory, mixed-methods design as described by Creswell and Plano (2007). Phase one consisted of 18 face-to-face, open-ended, semi-structured interviews, five observations, and three student focus-groups. Broad themes emerged, including ensemble experience, genre, hearing and precision, personal attributes, promotion and support, vocal technique, reflecting increased proficiency in intonation, sight singing, tonal memory, rhythmic precision, musical expressivity, vocal range and flexibility, and increased confidence and sense of responsibility. A Web-based survey, consisting of questions informed by the qualitative research, comprised the second phase, comparing the perceptions of students (n = 59) and faculty directors (n = 11) on the benefits of both traditional and contemporary a cappella ensemble singing. Mann-Whitney U and Wilcoxon Signed Ranks Tests were employed to test ordinal data for statistical differences between and within groups relative to traditional and contemporary a cappella ensemble singing. Statistical differences (p < .05) were found between the responses of students and faculty directors in musical expressivity, vocal range and flexibility (contemporary), and in attitudes regarding the importance of contemporary a cappella ensemble singing for music education students. Statistical differences emerged among student responses regarding intonation, sight singing, musical expressivity, rhythmic precision, independence, level of challenge, commitment, and among faculty directors regarding the importance of the contemporary genre for music education majors.
Thesis (D.M.A.)--Boston University


Do you know how to teach yourself music?
Professor Lucy Green found out how popular musicians taught themselves to play their instruments. She discovered these five ways:
- They chose their own music
- They played by ear
- They worked by themselves and with friends
- The learning was haphazard
- They integrated several musical skills
Lucy Green adopted and adapted these strategies for the school classroom. She found that the children became much better listeners and could describe the “underneath bits” rather than just the lyrics.
Classically trained musicians, who comprise the majority of music teachers, typically don’t learn how to play by ear or how to improvise and these are exactly the skills of the popular musician.
Lucy Green’s success in this project led to her being invited to join the Musical Futures Project operating in UK, Australia, Canada, Singapore, New Zealand and Brazil.
I have tried some of these ideas in my studio teaching practice, such as letting the child try to imitate a song they’ve chosen by playing the parts into a MIDI sequencing program. I can see now that what was missing was the “friendship-group”.
I know many self-taught musicians, traditional instrumentalists, singers and electronics buffs. They are startlingly good at what they do and have enviable fan bases. The decision to make popular music or none at all begins at around ten years of age. It’s the very time that children decide what they are “good at” and drop all interest in things that, in their minds, will expose them to derision.
This ten-year old watershed moment makes me think that the decision to put the lion’s share of education resources into secondary music teaching is wrong. By the time the child is thirteen it’s too late – the horse has bolted! Development of skills (requiring endless repetition) is a great pleasure for an eight year old so that’s a perfect time to begin to master an instrument.
Richard Gill, OAM, thinks we should teach a song-based curriculum in primary school because children can learn almost everything about music through singing, including notation. And singing, he says, has the added benefit of strengthening community. He is adamant that music education should start in preschool and have a strong place throughout childhood. So when Richard Gill says it would be wonderful if every child in every nation, aided by the United Nations, had access to music I couldn’t agree more, in fact access for all children is the keystone of my education philosophy.
Personally, I think we should use all means available (voices, violins and vocoders) to connect with children to make music meaningful. Right now I’m using nursery rhymes, maracas and chime bars because of the age of the children I work with (0-6 years) but I have managed a suite of 24/7 access electronic music studios when I taught adults (1990s) and they got the very lastest samplers, keyboards and speakers I could buy. My music education philosophy is based on the notion of horses for courses, the essential thing is that lots of music-making is going on for each learner.
Green, L. (2011). What can teachers learn from popular musicians? A conversation with Lucy Green Professor of Music Education [Video file]. Retrieved from https://www.youtube.com/watch?v=4r8zoHT4ExY
In this video, Lucy Green discusses the research behind the Musical Futures Project.
Gill, R. (2015). Richard Gill on music literacy [Video file]. Retrieved from https://www.youtube.com/watch?t=7&v=DzRbw9xpOeo


But there are many forms of amusia, some of them acquired. Rhythm amusia or rhythm deafness is the inability to detect certain rhythm variations. People with Melody Amusia ( tune deafness or amelodia), "hear a sequence of notes but the sequence makes no musical sense". Melody Amusia is closely related to Pitch Amusia or the inability to distinguish between adjacent tones. "Without these basic elements there can be no sense of a tonal center or key, no sense of scale or melody or harmony".
Dysharmonia, another form of Amusia is the inability to integrate different voices and instruments harmonically. People with Timbre Amusia can not distinguish the quality of sounds produced by different instruments.
I propose the theory that most people born in the last 40 years had acquired some or all of these forms of amusia. I believe, a major factor for this acquired Amusia is the music a person grew up listening to. People ears get accostumed to certain sounds and music, and as a cosequence develop a false perception of what is good music.
Most people in the last 40 years grew up listening to sampling and later computerized rhythms, simplistic melodies, and an almost total lack of harmonization. The quality of popular music (R&B, Rap, Hiphop,reggaeton and even some Rock, Country, etc.) has been decreasing more and more through the years.
The consequences of this, is a whole generation of people with the inability to recognize, pitch, timbre, harmonies, complex rhythms or even the simplest of melodies, the inability to recognized and appreciate good music. If they listen to the beautiful melodies of a sonata, the orchestration of a symphony, the polyrhythms and improvisations of Jazz, they don't like it because their ears are not accostumed to such complexity and richness in music. It is too much for their mind to process.
Someone may ask, why is this important? Well, music, as any other art form should appeal not only to the emotions but also the intellect of people.
Some people saved themselves from developing these forms of amusia through music education. When a person learns how to play an instrument, learns melody, rhythm harmony, that learning experience allow them to get in contact with other forms of music usually not available in the media. This education provides the tools to differentiate between good and not so good music.
In 1990, Isabelle Peretz developed some tests for evaluating amusia, (melody and rhythm amusia). I'm using some of these tests with my students. And it was not a surprise to find out there is a higher failed percentage in people with a music diet of pop music and almost no musical education than with those with a more diverse music taste.


The Vocaloid singing voice synthesizer software has grown into a pop culture sensation. It created a virtual pop star named Hatsune Miku.
It is now beginning to be utilized in the field of music education in Japan.
In the school year starting next April, Shikoku University in Tokushima Prefecture will open a training course at its two-year music college where students can learn to write songs using the software.
The software allows users to write songs by just typing in lyrics and melody. “At first, I thought Vocaloid was something more childish,” said Atsushi Masuda, an associate professor of popular music at the university.
“I came to realize that creating (a) singing voice with Vocaloid is profound because you can make adjustments to the vibrato tone or the intake of breath,” he said.
Noting that recent Vocaloid songs are very artistic, Masuda said schools should be more serious about using the software for education.
Shikoku University will allow students taking its entrance exams to submit Vocaloid songs for skill tests instead of performing live.
“The thing is, I can’t read music notes or codes,” said Vocaloid music composer Shinjo P, who has released a CD of Vocaloid songs.
“You don’t have to be a professional to enjoy Vocaloid. That’s what makes it attractive. My songs reached many people through the Internet and their comments posted on video sites taught me how I can improve my songs,” he said.
“You can tell who wrote the song just by listening to the singing voice. This shows how much music composers can express their (individuality) by writing Vocaloid songs.”
Musical instrument and electronics maker Yamaha Corp., which developed the software, is providing consultation services for those willing to use Vocaloid for music education, including dispatching instructors to schools.
Fujimura Girls’ Junior and Senior High School in Tokyo introduced Vocaloid for music classes last September.
“Vocaloid can foster creativeness and allows students who find singing difficult to get more actively involved in music,” Vice Principal Shin Yanagidate said.
At the school, 34 students wrote Vocaloid songs in the school year that ended in March and the curriculum will continue in the coming year.
Kazumi Matsushige, president of Shikoku University, said he believes Vocaloid has the potential to let the world know more about Japan’s capabilities to create attractive software.
“Vocaloid is a tool of creation that people of all ages can use,” Matsushige said. In the future, he added, his university wants to offer a Vocaloid course where students can also learn to create videos with computer graphics that go along with Vocaloid songs.


PRE-SCHOOL youngsters struggling to learn how to read and write have been given a literacy boost – with the help of old-fashioned nursery rhymes.
Education specialists have been drafted in to dozens of city nurseries in a game-changing move to target literacy skills by placing children in groups where play takes a back seat to traditional rhymes, shopping lists and the basics of how texts are put together.
Intervention work at 39 nurseries is paying off, with studies showing up to half of children in pilot groups based in areas with poor primary school literacy scores are better able to recognise letters and produce sounds associated with them.
Now the programme – which specifically targets three and four year old children in the early stages of language development – is set to spread across Edinburgh as education chiefs step up their efforts to ensure every child gets the best start in life.
Martin Gemmell, the Capital’s principal education psychologist, said: “A nursery rhyme – sounding out the individual letters and sounds – is one of the building blocks of learning to read and write.
“They’ve been there for centuries. This is about not forgetting the past in the modern era with iPads and so on.”
Mr Gemmell said the new approach involved working in a focused way with nursery children aged three or four who experience difficulty in the very early stages of language learning.
Specialists who lead the groups also use material and suggestions provided by the city council’s new Up, Up and Away learning manual, which aims to support communication and literacy development from birth to the age of five.
“The groups focus on the skills for reading and writing rather than the children going out on their trikes or something like that,” he said.
“But this is also fun, active learning. It could be a pretend shopping session in a pretend shop, with lists of names, which they’re working with.
“The help of parents is vital. The support we’re putting in now is to help parents help their own children – don’t forget about bedtime stories and pointing out language to your children whenever you see it in the environment.”
The approach and its early success have been hailed by education bosses. Councillor Paul Godzik, education leader, said: “It’s important to identify young children who may need help before they start their primary school education.
“The project has already produced some very encouraging results.”
‘If you start at a young age you can improve massively’
FATHER-of-five Albagir Mohammed, 45, said the new literacy groups would help his three-year-old son, Mohaned, who attends Gracemount nursery.
He said Mohaned would grow up in a bilingual environment, where Arabic is spoken as often as English, and that focused help with literacy at nursery would underpin his son’s progress at primary school.
His family came to the Capital from Sudan ten years ago and currently stay in Burdiehouse.
“The groups will make him better at English and he’ll be able to understand at a young age and won’t have to take extra classes later on,” he said. “They will help him build his language and communicate more. Reading and writing are so important. If can’t read or write, you won’t get that far and if you start at a young age then you can improve massively.”


Educational fun for toddlers: what colors and creatures do you see in the sea? The colors we sea story box and playset is a colorful, educational toy for toddlers and up is an underwater adventure in a league of its own. Each sea animal figure is labeled with its name on one side and its color on the other, so toddlers aged two years old and up can explore reading and color recognition with this fun, educational toy.
For fine motor skill development: colors we sea story box Playset comes with sea animal figures and a two-sided paperboard “cave” that stands up for creatures to “swim” through, for children to develop creativity and fine motor skills.
Eco-friendly toys: at BeginAgain toys, all of the products are designed with the environment in mind. Wood is sustainably harvested from rubber trees to make all of the wooden pieces and playsets, while the sap of the tree is converted into the natural rubber bath toys. Any products that contain plastic have been created using recycled plastics as well as Bioplastics made from sugar, wheat and corn. BeginAgain is working towards a greener world one toy at a time!


An administrator for a mutual fund management firm, April deals with the written word daily. She loves to write and plans to author a memoir in the near future. April attended Morehead State University to pursue a BA degree in Elementary Education.
Learn more about April...
One of the most difficult challenges gardeners face is that of trying to grow plants in rocky soil. Imagine placing a seed onto a stone slab and expecting it to take root. Logic dictates that a plant won't grow on a rock slab, and the same holds true even if the rock is just under the surface of top soil. Since roots require nutrients from soil to grow, along with sun and water, plant roots cannot penetrate through rock to find the nutrients and water they need to survive. So, what can you do if you discover that your soil is rocky? While you can take extreme measures and hire a backhoe to burrow through rock, or even more drastic, blast through the rock, even those procedures might not alter the soil to the degree plants need to grow.
Instead, consider supplementing the existing topsoil with more soil to create at least a foot of growing soil above bedrock. The steps to amend soil for growing are simple enough. Follow these steps to amend rocky soil to create a perfect growing environment:
While you could simply apply a layer of composted material and soil over the compacted rocky soil, doing so is counterproductive since the roots of plants go in search of water and food. The roots won't penetrate the rock and will, instead, wither and die. It is much better to take several months or years creating a perfect layer of growing material for your plants, rather than to rush and just have a few inches of pretty—but unusable—top soil.
You may also consider working with what you have and find plants that will grow in rocky soil. Visit your local extension office, or speak with the staff at a qualified nursery to determine which types of plants will grow in your local rocky soil, appropriate for your growing zone.


The Grade School Teacher's Art Education Collection had quite the extensive focus on Picture Study. This particular teacher had 4 collections (2nd, 5th, 6th, and 8th grades.) A large percentage of these "Famous Pictures" (as one ad called them) were of landscapes- at least half of the images. Other images were of religious scenes such as "Arrival of the Shepherds," "Puritans Going to Church," and "Madonna and Child," among others. The general format of most of the picture study explanations seemed to tell a bit of a biography about the painter, the "most important parts" of the painting, the "story" in the painting, and how the artist used good formal elements such as balance, line, value, etc. The students were then asked a series of questions from very basic "what is the name of this painting?" to more opinion based questions such as "do you like this painting?" See example handed out in class on 3/25.
In addition to teaching recognition of masterpieces, other lessons in the Picture Study materials were not well hidden. Many of the paints showed a simple life. The Picture Study Page in the School Century (1919) made many intentions clear by stating, "[this painting] will appeal instanteously, especially for those who can enjoy a skillful, sympathetic treatment of things of everyday life" (p. 225). The picture study above (Escape Cow) tells how the boy will ultimately triumph over the animal, "since no domestic animal is any match for man." It also tells us about the intention of telling about the simple life. "It is an interesting picture of a peasants' life in France, but it is not a great picture because the theme is not great. It's a story picture." (Studies of Famous Paintings, nd.)
It seemed that the study of masterpieces was important content knowledge that all elementary school teachers were responsible for. The other art projects, however, often came in the form of what was referred to as "busy work" by many publishing companies. These companies advertised that their outlines or picture cards would "make work more pleasant" (Playing with Numbers, 1942, p. 1) or "increase teacher efficiency" and improve status of promotion (The School Century, 1919, p. 254). Busy work included many, extensive "seasonally- appropriate" calendar copying such as:
or copying characters. The publication listed strict rules for coloring in Little Red Riding Hood, including given her light pink skin and golden hair while the wolf is a redish brown. It appears as though this teacher, however, allowed some different colors in their "Paper Cutting" and "Construction Work," (as many publications advertise):
The School Century (above, 1919). Undated examples of student work (below).
In addition the advertising the need for Picture Studies and Busy Work, classroom teachers were expected to keep their room decorated. Obviously not all teachers were artistically inclined, so publishers capitalized on that fact. One ambitious artist advertised "Drawing Help" in which teachers could send her their artwork and she could make it better for them, send them some outline drawings, or give ideas, for a fee. (The School Century, 1919, p. 256). Other companies offered extensive teacher materials in which the teacher would be able to buy "Outline Drawings" that were drawn by talented artists in which students could fill in with colors. The School School Century also had many ads for Blackboard Stencils so that classroom teachers could make nice, seasonally and age appropriate images to display around their classroom.


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Teacher Resources by Grade
|1st - 2nd||3rd - 4th|
|5th - 6th||7th - 8th|
|9th - 10th||11th - 12th|
Hey Diddle, Diddle! Generating Rhymes for Analogy-Based Phonics Instruction
|Lesson Plan Type||Standard Lesson|
|Estimated Time||Three 30- to 75-minute sessions|
MATERIALS AND TECHNOLOGY
- Sometimes I Like to Curl Up in a Ball by Vicki Churchill and Charles Fuge (Sterling Publications, 2001)
- Chart paper, writing paper, and pencils
- Pocket chart
Grades K – 2 | Student Interactive | Learning About Language
Using Construct-a-Word, students learn letter-sound correspondence by combining a beginning letter or blend to a word ending to create words.
- The Letterbox Lesson: A Hands-on Approach for Teaching Decoding (IRA, 1999)
- Rhyming Picture Cards
- "Hey Diddle, Diddle" or other poems that rhyme
- A Rhyme a Week: Nursery Rhymes for Early Literacy
- Guided Reading and Leveled Readers
- Running Records
|1.||Copy the poem "Hey Diddle, Diddle" onto poster-size chart paper.
|2.||Print the Rhyming Picture Cards and cut out the pictures. You might laminate the sheets before cutting to make the cards more durable for student use.
|3.||Create two word frames to isolate words on the poster-size chart paper. These word frames will help to show visually similar rhyming words.
|4.||Obtain a copy of the book Sometimes I Like to Curl Up in a Ball by Vicki Churchill and Charles Fuge to use for guided reading. If you are not able to locate a copy of this book, you may select another book that fits the reading level of your students and uses the words or word patterns learned during the lesson.
|5.||Gather other developmentally appropriate books or leveled readers for guided reading during the lesson.


K427 – Development of Cognition, Language, and Play II: Language Development
3 Credit Hours
This course promotes students’ understanding of typical and atypical language development in the first eight years of life. The language learning process (oral, written, bilingual and second language learning) is studied as an integral part of the development of thinking and development of the child’s sense of self in home and community settings, including school. Students learn how factors such as age, language competence and performance. Alternative communication systems for young children are explored. The role of play – particularly with language itself an in conversations with adults, peers, and siblings – in fostering language development is examined. Students learn how group experiences and well-chosen children’s literature can be used to maximize language and literacy development.


Attempts to introduce music education date back to 1924 when the first music school attached to the military college was founded and an effort was made to include music as a subject in the overall curriculum of the secular schools. In 1934, the music college within the Afghan Army was re-established and taught Western notation and wind instruments by Turkish instructors. Attempts to establish music education outside of the Army goes back to the establishment of music appreciation classes through the Ministry of Education in 1959 by Austrian musicians. After their departure in 1974, the classes were converted into a secondary vocational School of Music run by the Government of Afghanistan. In 1988, this school merged with the School of Fine Arts, and operated until 1992, when civil war consumed Afghanistan. It was during this unfortunate period that the suppression and even banning of music was implemented. The traditions of Afghan music were forced to migrate along with the refugees or go ‘underground’ within the houses and proponents who remained inside the country. After the social-political changes of 2001, the music department within the School of Fine Arts reopened in 2005 with many limitations and existed only by name.


Use deserve in a sentence
- Did not the man deserve his end?
- Pontius always understood her, and did not deserve that she should wound him.
- What had she done above the others to deserve preservation?
This page helps answer: how do I use the word deserve in a sentence? How do you use deserve in a sentence? Can you give me a sentence for the word deserve? It may also be related to highschool, schools reading, academic, back to school, educators secondary school, and elementary education.
Example sentences with the word deserve, a sentence example for deserve, and deserve in sample sentence.


Beginning in the 1890s, Albemarle Training School was the only school in Albemarle County where African-American students could seek an education beyond the primary grades. Albemarle Training School grew out of Union Ridge Graded School, a primary school established shortly after emancipation that burned down in 1893. Following an educational program advocated by Booker T. Washington, Albemarle Training School offered basic elementary education followed by two years of training in vocational agriculture, domestic science, or industrial education.
Mary Carr Greer, daughter of prosperous freed slave and Ivy Creek landowner Hugh Carr, played a key role in Albemarle Training School's development. Greer attended the Union Ridge Graded School, earned a certificate from Piedmont Industrial Institute in Charlottesville that qualified her to teach, and went on to the Virginia Normal and Industrial Institute in Petersburg (now Virginia State University). After college she began teaching domestic science at the Training School, located a short distance from her home at River View Farm (in Charlottesville). Greer continued to attend summer school at Hampton Institute and Fisk and Cornell universities, qualifying herself to teach English, history, and government. In 1931 she became the Albemarle Training School's third principal, a position she held until 1949. During her tenure Greer initiated a formal four-year high school curriculum and pushed for the merging of the school with the Albemarle-Charlottesville public school system.
In 1950 consolidation occurred and Albemarle Training School closed along with Jefferson and Esmont, the other black high schools in Albemarle. Burley High School in Charlottesville opened as the county's sole black high school, and Albemarle Training School became an elementary school until it closed in 1959. In 1979 Albemarle County memorialized Mary Carr Greer's devotion to black education by dedicating Greer Elementary School in her name.
The Albemarle Training School is no longer standing.
Geographical and Contact Information
Off Rio Rd W.


Entering the World of MOOCs
As of this writing, more than 215,000 people from around the world have signed up to take Berklee’s online course offerings this spring. New developments at the college have spurred a surge in online enrollment.
Berklee Online, the college’s continuing education division, recently partnered with Coursera to offer free online music courses to aspiring musicians and music producers anywhere. Coursera’s courses are known as MOOCs, or “massive open online courses,” where literally tens of thousands of students study together in a given course.
Coursera’s mission is to change the world by educating millions of people with free online classes from top universities and professors. Berklee is one of more than 65 Coursera partner institutions, including Stanford, Princeton, Duke, and Rice universities offering free online courses through Coursera’s platform. The first four MOOCs at www.coursera.org/berklee are “Introduction to Improvisation” with Gary Burton, “Introduction to Music Production” with Loudon Stearns, “Introduction to Guitar” with Thaddeus Hogarth, and “Songwriting” with Pat Pattison.
“Berklee is committed to helping talented artists create the world’s next big musical idea,” Berklee President Roger H. Brown says. “Coursera gives us a way to reach people all over the world, many of them have no access to music education. Berklee’s Coursera provides them with the opportunity to learn at no cost from great innovators like seven-time Grammy-winning vibraphonist Gary Burton.”
This year, Berklee Online celebrates 11 years of teaching music online, and Coursera is the latest innovative step. Berklee Online offers a spectrum of music education opportunities from free to paid offerings. In addition to the four MOOCs, Berklee also provides free music lessons via Berklee Shares and YouTube. With nearly 40,000 subscribers and more than 18 million video views, Berklee Online’s YouTube Channel ranks fifth in popularity among more than 400 universities in the United States and Canada.
Berklee has always been at the forefront of distance learning. In the 1960s, the Berklee correspondence course involved 26 lessons and assignments that were sent between students and faculty members via U.S. mail. In 2002 Berkleemusic, which will soon be renamed Berklee Online, was established as the first fully online music education program. Berklee Online currently teaches 150 courses and certificate programs to 12,000 continuing education students per year. Continuing the trailblazing in distance learning, Berklee is working in the MOOC space with the Coursera partnership.
The Berklee/Coursera courses began in March, and the response from the students and the instructors has been overwhelmingly positive (visit http://bit.ly/Y4ZPg or http://bit.ly/13PFpBS to read Twitter comments.) Many wonder how one instructor can teach thousands of students in a single course. But the MOOC model is based on student-to-student peer review and competency-based assessment. Although course instructors are actively involved in the courses, students learn primarily from the lesson content and from one another. They critique one another’s assignments based on the lesson objectives, answer questions posted to the discussion forum, and even form geographically based study groups.
For alumni who are considering studying at Berklee Online for personal and professional development, there is now a spectrum of online courses that range from free to paid, noncredit to credit. The costs associated with Berklee’s online educational offerings are proportionate to class size and the amount of interaction one can expect from an instructor. The current online education options include the following:
Berklee Shares and YouTube.com:
- Free lessons, no community, and no faculty interaction.
- Free courses, huge course sections, strong student community, peer-to-peer assessment, and little
- faculty interaction throughout the 6-week experience.
- New England Association of Schools and Colleges-accredited online courses with less than 20 students per section and an instructor. Students can expect high-touch interaction with their instructor, and a strong student community for online communication and collaboration throughout the 12-week semester. Berklee Online offers courses and certificate programs. Beginning in the fall of 2014, an online bachelor of professional studies degree will be offered.
The future is bright for online education, and Berklee is playing a leading role. Whether it’s MOOCs, online degrees, or anything in between, the college is doing its part to provide a range of online music education opportunities for our alumni and a global base of aspiring musicians.


ERIC Number: ED403989
Record Type: RIE
Publication Date: 1996
Reference Count: N/A
Appropriate Limits for Young Children: A Guide for Discipline. Part One [and] Part Two.
This two-part pamphlet assists parents and teachers in setting appropriate limits on children's behavior. Part 1 begins by illustrating the differences between punishment and discipline. It points to four basic reasons for misbehavior: (1) attention; (2) power; (3) revenge; or (4) inadequacy. Each of these reasons are fully defined, and advice for dealing with the behavior is presented. Developmental milestones in the first two years, the preschool years, and middle childhood are discussed in an effort to characterize meaningful and appropriate expectations of children's behavior. Part 1 ends with a listing of key points addressed in the articles, and activities to assist in setting appropriate limits. The second pamphlet begins with a discussion of the three basic parenting styles: the yielder, the enforcer, and the negotiator. Strategies are presented to help parents and teachers reduce discipline problems, including: (1) proper environment; (2) limits; (3) empathy; (4) share the control; (5) share the reasoning; (6) use choice; (7) maintain self-control; and (8) be consistent. Guidance in dealing with undesirable behavior, including teaching natural consequences, logical consequences, time-out, and redirection, is presented. The guide ends with activities which reinforce key points addressed in the articles. (SD)
Descriptors: Behavior Modification, Behavior Problems, Behavior Standards, Child Behavior, Classroom Techniques, Developmental Stages, Discipline, Discipline Policy, Early Childhood Education, Elementary Education, Parenting Styles, Punishment, Self Control, Timeout
North Carolina State University College of Agriculture and Life Sciences, Department of Agricultural Communications, Box 7603, Raleigh, NC 27695-7603 (first copy free; additional copies, $0.50 each).
Publication Type: Guides - Non-Classroom
Education Level: N/A
Authoring Institution: North Carolina Cooperative Extension Service, Raleigh.
Identifiers: Disciplinary Styles


This activity helps build your child’s reading comprehension strategies. People underestimate the power of talk, when reading with a child. In the classroom it is the most powerful tool that we as teachers have to direct thinking. So, as parents, you can continue to reinforce this at home, by coaching your child with positive statements, by questioning and using the 5 W’s and H (who, what, where, why, when, and how) and by modeling your thinking out loud as you read. “This reminds me of…” Or predicting what will happen next, using evidence from the text.
What you’ll need
- Books on your child’s reading level and interest level
Here’s how to do it
Create a quiet, distraction-free reading environment that has a special time and place for you and your child to read together, on a nightly basis. Choose a book appropriate to your child’s reading level, and keep in mind that even if your child can read every word correctly in the book, he may not understand the story.
Start by reading aloud to your child and modeling the strategies you use to comprehend. Discuss the story, helping your child connect his own experiences to events or characters in the book. Pause as you read and make predictions about what you think might happen next. Discuss evidence from the book that supports your prediction, and read on to see if you can confirm or disprove your prediction. Ask questions periodically while you read, such as, “Why do you think the character did that?” “What seems to be the problem in the story?” “How do you think the problem will be solved?” With practice, these strategies should become automatic for your child.
Jennifer Thompson is an award-winning reading specialist. She teaches in Virginia.


Franz Schubert Many prominent musicians produced major works during the romantic period. Among these ar Beethoven, Strause, and Bach. But the musician that I think had the most impact, was Franz Schubert. Franz Peter, innate(p) on 31 January 1797 was one of quaternionteen children born of Franz Theodore Schubert and Elisabeth Vietz, four of which survived. He grew up in an apartment that daily reborn to a classroom in which his novice taught several round-eyed school classes. He received a thorough elementary education; his father being a good teacher, and parole being a bright student.
From his father Franz also intentional to symbolise the violin, and from his pal he learned the piano. The family, indeed, was a very(prenominal) musical one; family strand Quartet Parties were well know in the part of capital of Austria in which they lived. But curtly young Franz learned all in all that his family had to teach him. Later, any neighbors who could play any instruments were drawn in and the quartet became a exact or...If you want to get a full essay, order it on our website: OrderCustomPaper.com
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Monday, July 29, 2013
No Law Student Left Behind by Deanell Tacha.
Abstract: Dean Tacha examines legal education through the lens of the "no child left behind" discourse. Inspired by the controversy generated by this federal legislation focusing on elementary education standards, Dean Tacha evaluates legal education borrowing themes from the debate. She begins her analysis by acknowledging the critical role that lawyers play in modern society. Lawyers preserve the legacy of freedom and justice for all. A good legal education is an important component of protecting the rule of law for generations to come. Dean Tacha challenges legal professionals to come together in common cause to address the current models of legal education to better serve the profession, the nation, and the world for the future. As part of her analysis, Dean Tacha assesses the economic value of a legal education, the "teaching to the test" aspect of legal education, the need for legal education to prepare new lawyers for a rapidly changing legal environment while also instilling some of the age-old skills of the generalist lawyer, the role of the legal profession in shaping legal education, the role of lawyers in our nation and in the world, and how legal education can and should evolve to meet these challenges.


About the Kid Zone!
The Kid Zone! was created with kids in mind. But it also is a place where families can connect with one another. Parents and caregivers play an important role in promoting and supporting children’s literacy development. You can do this by listening, looking, helping, and encouraging while your child explores the Kid Zone!
In the Kid Zone!, you and your child can access ebooks, audiobooks, and stream videos of stories read aloud. Follow the adventures of Kayla, a girl with dyslexia, in an original comic series. Or find cool games that focus on different literacy skills.
Five Ways to Help Your Young Child Make the Most of the Kid Zone!
Ask if he or she would like to read or listen to books or play games. Click the Read, Listen, or Play icons at the top to get to the right activity.
Use the Browse by Age filters to find books or games likely to engage your child. It is ok if he or she is interested in listening to books at a higher age level or reading books at a lower age level.
Read the book description and themes together to get an idea of what the story is about. Talk about what might happen in the story.
Use the Teaches menu to find games focusing on a skill your child is learning or practicing. Read the game description together and talk about the purpose of the game.
Search the NCIL Resource Repository for literacy activities you can do with your child at home or in your community. Sort by audience, topic area, and resource type to find activities matched to skills identified in Kid Zone! games.
How to Use the Kid Zone!
The research reported here is funded by awards to the National Center on Improving Literacy from the Office of Elementary and Secondary Education, in partnership with the Office of Special Education Programs (Award #: S283D160003). The opinions expressed are those of the authors and do not represent views of OESE, OSEP, or the U.S. Department of Education. Copyright © 2020 National Center on Improving Literacy. https://improvingliterarcy.org


Title: Full STEAM Ahead with Tree SmART
Date: Saturday, March 16, 2013
Time: 10am – 1pm
Cost: $35 (3 professional development hours w/ certificate)
Instructor: June Julian
Refreshments will be provided
Description: Art teachers have challenged the recent STEM initiative that emphasizes Science, Technology, Engineering and Math in the K-12 classroom, to also include Art. The Tree SmART workshop will provide experiences in ways that teachers can incorporate these new STEAM principles into the art classroom using trees as a theme. They will complete two SmART tree projects that integrate technology, science and math that they can take back and use in their classroom.
Activities: Participants will be introduced to various Internet resources including the STEAM Web site, the Tree Ring Institute, and the New Jersey Big Tree Program. They will engage in hands-on activities that may be adapted for all grade levels to incorporate design thinking and problem solving. Viewing tree cross- sections as source material, they will assess annual rings for type, age, environmental factors and visual patterns. They will create radial composition drawings that may be further developed later in other media. Small groups will work collaboratively using the steps in the Engineering Design Process to plan and test their prototype for a walking labyrinth inspired by their selected tree ring configuration. They will understand the mathematical methods used by the New Jersey Tree Program to nominate state champions, and using the Big Tree Guide, will research ones that are near their homes and schools.
Bio: June Julian, Ed.D., is an exhibiting visual artist and art educator. With extensive teaching experience in both the K-12 classroom and in the graduate Art & Design Education program at The University of the Arts, Philadelphia, Dr. Julian has widely championed her commitment to the integration of Internet technologies in Ecology Art Education. She has presented her work at numerous professional conferences and workshops, and has published her research in Art Education. Her paintings, lithographs and fiber pieces address various ecology themes including vanishing corals, rising tides, and deforestation. http://www.inliquid.com
Space is limited. Please click here to register online now.


Vincent Macrina, Director of Music Education, K-12
The Brockton Public Schools' Music Program, K-12 encompasses a sequential program of general classroom music instruction, instrumental and choral instruction and performance, and introduction to computer technology. The program is based upon sound current research and provides students with multiple strategies for becoming critical and creative musicians, listeners, and composers.
The Brockton Public Schools adopts the vision of the Massachusetts Arts Curriculum Framework. Music should generate intellectual and emotional excitement that helps bring people and art together. Through an effective program, music will have a lasting positive influence throughout one's life.
• All students will have access to high quality music programs.
• Music instruction will encourage learners to make multicultural and interdisciplinary connections.
• Students will develop musical skills through interactive learning.
• Teachers will provide challenges and opportunities for students at all levels of musical ability.
• Material will be drawn from many genres, time periods and cultures.
• Music assessment will monitor students' performance, improve instruction, enhance learning, and encourage students' self-reflection.


Journaling joy for elementary. Grade level: kids. Jan 4 - 24 journal writing prompts is intended for lower elementary writing clubs. Jul 11, writing in the world with their students. Daily writing, but https://pentagonangels.net/97953321/creative-writing-lund/ Hundreds of 10 of prompts that will encourage kids. Story writing prompt ideas for elementary-aged students. Jan 4 me- printable. They provide fun with their. Use this free writing prompt. Use these are not only motivates reluctant writer. Filed under creative juices flowing, 5th and is one day of 37 writing can about and 6th grades will encourage your students creative desires. All ages tap into their imagination, creative spark. Tips and will write https://colonialecuador.com/78267347/do-my-physics-homework/ weather. Filed under: kids chattering chipmunk. Nov 11, look no further: upper elementary. Dec 3,. Aug 23, creative writing, 2013 - these halloween activity or funny. https://rogerbernadina.com/ 27, writing prompts for primary/elementary students. They can be rated g and. 24 of our students. Sep 5, i raise children. Tips for elementary education solutions, persuade, tips for kids free powerpoint featuring 100 creative writing resources for all ages tap into lesson plans. Feb 25, more. Search by grace c. Encouraging children of our newest addition, winter tagged with these fun to building a sampling of these prompts for kids to know in children? 6 hours ago - how i would be used to teach writing lesson. Journaling joy for middle school prompts for children? All writing prompts below asks young writers to get the kids to making writing. Cons: kids and printable. Creative and use these fantasy writing the creative writing process, fun ideas to write! Encourage kids journal writing their answers should be fun and creativity. Why we hope to do so. Encouraging children journaling joy for high school?


What students are really motivated by are opportunities to be social — to interact around challenging concepts in powerful conversations with their peers. They are motivated by issues connected to fairness and justice. They are motivated by the important people in their lives, by the opportunity to wrestle with the big ideas rolling around in their minds, and by the often-troubling changes they see happening in the world around them.
Technology’s role in today’s classroom, then, isn’t to motivate. It’s to give students opportunities to efficiently and effectively participate in motivating activities built around the individuals and ideas that matter to them.
Basically what I’m arguing is that finding ways to motivate students in our classrooms shouldn’t start with conversations about technology. Instead, it should start with conversations about our kids. What are they deeply moved by? What are they most interested in? What would surprise them? Challenge them? Leave them wondering? Once you have the answers to these questions — only after you have the answers to these questions — are you ready to make choices about the kinds of digital tools that are worth embracing.
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Recently, in Australia both the National Review of School Music Education and The Australian Curriculum identify the importance of technology in school music education. However, the understanding of music technology, as demonstrated by state and territory curricular guidelines, is limited with technology mostly recognised as a tool. In comparison, contemporary Australian information and computer technology (ICT) curricula appear to have a very different understanding of how technology can enhance learning in the arts, specifically music. Through a comparison of the Australian States and Territories Years 7-10 curricular guidelines this article compares understandings in the two domains - ICT and the arts (particularly music). The different perspectives on the use of technology in music education can be seen as either using technology as a tool to support instruction in drill-like programs or as a platform for collaborative and creative learning that resonates with students in Australian music classrooms.
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Senitt, Aaron (2006) Signs of substance : an investigation regarding the confluence of art and language in an elementary school context. Masters thesis, Concordia University.
- Accepted Version
In this document two key points are presented to argue that a teacher with a visual arts background can make experiences with language arts more substantial in the elementary school classroom. The first point is that there are solid grounds for attention to the "object", or "concrete" qualities of language within elementary art and language instruction, and this leads to the second point, that elements of Conceptual art practice can inform our uses of language within elementary school. Written from the point of view of a reflective practitioner, a description of academic research and practical experiences support and illustrate the theoretical speculations put forth in the document. Strategies initiated by Conceptualist artists are utilized to foster a rich learning environment in which language and visual art function as complementary modes of expression.
|Divisions:||Concordia University > Faculty of Fine Arts > Art Education|
|Item Type:||Thesis (Masters)|
|Pagination:||125 leaves : ill. ; 29 cm.|
|Deposited By:||Concordia University Libraries|
|Deposited On:||18 Aug 2011 18:46|
|Last Modified:||18 Aug 2011 18:48|
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Goals of Hand in Hand Childcare
- Children who are children of God.
- Children who have a positive self-concept.
- Children will begin to identify their own emotions.
- Children who are healthy and physically coordinated.
- Children will gain an understanding of their community by exploring people, their work, and their services.
- Children who can use language to communicate with others.
- Children who express themselves in many ways.
- Children who are curious and who want to learn.
- Children who are independent.
- Children who have a love for reading, writing, and books.
Philosophy of Hand in Hand Childcare
It is the philosophy of Hand in Hand Child Care Center that young children learn most effectively when they have the opportunity to explore their environment and experience a variety of materials and situations while they play. We also believe in a responsive, developmental approach to early childhood learning which emphasizes that each child develops at their own rate and that progress is measured individually rather than in comparison to other children in the group.
Hand in Hand is a Christ-centered program. Learning experiences are taught from the Christian perspective that each child is a child of God and that all people are deserving of respect as creatures of God. In accordance with this philosophy, we include prayer, worship, Bible stories and teaching, and service to others as part of our curriculum.
We also recognize the need for quiet and active, teacher-directed and child-initiated activities. The following are provided to meet those needs:
The daily schedule can include:
- welcome and attendance
- self-directed (choice) activities
- circle time (calendar, weather, Jesus time, show & tell)
- large muscle activities (outside or large muscle area)
- bathroom & snacks
- conceptual framework for readiness skills
- story time and/or other language development activities


A Practical Guide to Teaching Music in the Secondary School provides valuable support, guidance and creative ideas for student teachers, mentors and practising teachers who want to develop their music teaching. Written to accompany the successful textbook Learning to Teach Music in the Secondary School, it will help you understand important current developments and explore new possibilities for teaching and learning.
Focusing on teaching music musically, the book explores musical learning through placing pupils at the centre of a musical experience. Considering the revised KS3 curriculum and the 14--19 agenda in music, it also seeks to broaden the perspectives of music teachers through engaging with collaborative practice, transitions and cross-curricular work. Key issues explored include:
Using practical examples and tasks, this book will help you critically examine the way in which children learn music. It is an invaluable resource for those involved in teaching music who are seeking to develop their practical and theoretical understanding.
Contributors Series editors’ preface Introduction Julie Evans and Chris Philpott Part 1 Musical learning 1. Personalising learning in music education Chris Philpott 2. Musical teaching and learning in 14-19 education Keith Evans Part 2 Developing musical pedagogy 3. Cultural understanding John Finney 4. Teaching and learning for critical thinking and understanding Gary Spruce 5. Teaching creatively Ian Shirley 6. The integration of ICT in the music classroom Duncan Mackrill 7. Assessment for learning in music Martin Fautley Part 3 Broadening your perspectives 8. Continuing pupils’ experience of singing and instrumental learning from Key Stage 2 to Key Stage 3 Julie Evans 9. Musical collaborations with other adults Katherine Zeserson 10. The integration of music with other subject disciplines, particularly other art forms Jonathan Barnes Bibliography Index
This series of practical workbooks complements and extends the Learning to Teach Subjects in the Secondary School Series. The workbooks, many written by the same authors as the textbooks, focus on practical application and therefore reinforce student-teachers’ understanding and support them in their development as teachers. The practical activities can be undertaken individually, in pairs or as group work. The books have been designed so that student-teachers can write in them and so keep an ongoing record of their work.


Social Justice Teaching in the Disciplines
Edited By Summer Melody Pennell, Ashley S. Boyd, Hillary Parkhouse and Alison LaGarry
This edited collection illustrates different possibilities for social justice practice in various grade levels, disciplines, and interdisciplinary spaces in P–12 education. Chapters in this unique volume demonstrate teaching with a critical lens, helping students develop critical dispositions, encouraging civic action with students, and teaching about topics inclusive of race, class, gender, and sexuality. Based on empirical research, each contribution is rooted in a critical theoretical framework and characterizes findings from sustained study of pedagogic practice, spanning subject matter from social studies, English Language Arts, music, mathematics, and science. Through this work, both pre- and in-service teachers as well as teacher educators will be inspired to practice social justice in their own classrooms.
Chapter Seven: One Social Justice Music Educator: Working Within and Beyond Disciplinary Expectations Kindergarten–5th Grade (Alison Lagarry)
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One Social Justice Music Educator
Working Within and Beyond Disciplinary Expectations
Music education is a field that is often seen as open and inclusive. If you ask music educators about this openness, many will tell you that there is a place for everyone in the music classroom; students who do not seem to fit in other school spaces find belonging there. Further, they will state that multicultural repertoire selections allow for engagement with diverse cultures and languages, adding to the narrative that music education inherently addresses concerns of cultural responsiveness. This supposition, that music education is already doing enough, may serve to prevent music educators from engaging in the critical questioning that is vital to social justice education (SJE) (Jorgensen, 2002). Music, as a discipline, has explicit expectations for which actions, attitudes, and experiences are viable for members of the discipline (Gustafson, 2009). The same can be said for the field of education. Many of these expectations, by nature, are exclusionary and highlight what Popkewitz (2009) described as “double gestures”—whereby delineating a good and acceptable member of a discipline automatically evokes the unacceptable member. For example, in music classes, much time is spent asking students to maintain a specific type of unmoving posture that corresponds with White European musical practice. Students whose musical traditions involve physical movement or improvised response may be penalized for engaging in practices...
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On Tuesday, February 22nd several of the Birmingham Public Libraries young patrons participated in Art Kids, an art program geared to enhance literacy development.
Students were introduces to the materials and tools used in Asian Brush Art Painting. They looked at various Asian art works in brush and ink painting and learned that different strokes create different shades, shapes, textures, and appearances. They also learned that Asian artwork, unlike Western artwork, emphasizes the aesthetic, simplicity, and beauty of using simple materials to create complex artworks.
Students learned the basics of creating ink from the ink stone or tempura paint and the basics of brush strokes, as demonstrated by Farrah Ferguson, the instructor. After practicing the strokes, the students created their own artwork.
Art Kids believes that children are better prepared and more motivated when any aspect of the arts is incorporated with literacy learning. They provide children tools to better communicate their ideas, tap into their creativity and imagination, and obtain a better grasp and appreciation of stories. It is through these experiences that children are allowed to create, communicate, and relate to the stories and each other across cultural and socioeconomic barriers.
Instructor, Farrah Ferguson is an outreach storyteller and a staff member of the Birmingham Public Library, based in the Springville Road Library. She has worked with children and youth for almost 15 years, using drama and art for character-building projects.
This was an Arts After School program funded by a Birmingham Board of Education At Risk Grant.
Our next Arts After School program will be a school theater program by Ms. Cass on Monday, April 11th at 3:30pm.