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This in in response to Amanda Linn & elementary teacher training; what
would you teach general classroom teachers in 3 hrs ?!? Good challange!
Immediately I thought, teach them what you teach the kids. Don't we look
for nouns, verbs, adverbs & adjectives when we do art criticism? What about
math? repetition? same & different? (guess it depends on what grade level
teachers are involved.) I think as far as critical thinking skills go, you
cann't beat a good discussion based on a painting (including groundrules
it's okay to disagree & there's some basis for your opinion). And I've
found (I teach both elementary & HS) elementary students, especially the
younger grades, can really come up with some profound insights that
professional art critics would envy. (By the time kids are in HS, their
opinions tend to run in social cliques & honest, personal opinions are hard
to come by - at least out loud).
Let these teachers be the students. It's fun. And it demonstrates louder
than any argument just how helpful & unique art education can be.
Lets see if this works.
Gwen from Woodbury, TN


If most kids today don't like reading, culture is often blamed as if it were the sole causal factor contributing to the lack of interest in reading among them. Our culture, it is often said, is a culture that does not encourage people to read. It is an oral culture, not reading culture, as is generally known.
This generalization, however, is not entirely correct. In fact, it is quite hard to see the correlation of cultural aspects and one's interest in literacy.
Young kids are basically avid readers. They like reading, and in fact, much of their time reading. Many bookstores are crowded with young kids reading books. Public libraries and community libraries are now popular and are on the rise, meeting young people's need for access to books.
Recent studies in literacy development have revealed that children and adults take advantage of access to books they find enjoyable and interesting. They spend time reading to entertain themselves and not just to meet academic assignments.
If young people have developed a love for reading, we teachers and parents need to support them in a variety of ways.
Helping them gain access to books both at school and at home is one way. Another way includes parents and teachers serving as models, which is a necessary stimulus for children's literacy development.
Thus, a commonly held belief that Indonesia does not have a reading culture is a myth. However, it makes more sense to relate the "literacy crisis" not in terms of culture, but rather in terms of the teaching of literacy at school, access to books and poverty.
The teaching of reading at school does not really help improve reading skills. I once carried out research at a senior high school in Jakarta. Using a questionnaire and interviews as my data collection, I explored problems related to reading comprehension. The findings indicated that overall students had little interest in reading. The reasons for this varied. Among them are not knowing how to read effectively, not understanding the text due to complex grammar and vocabulary, and having no interest in the topic.
The result of an interview with their teacher confirmed these findings. However, they were unable to offer practical clues in arousing students' passion for reading and to encourage them to become good readers.
This finding implies that we are neither supportive nor facilitative in helping young people acquire literacy skills in a second language.
Access to books has also become one of the most serious barriers for promoting literacy in the country. Children hailing from low-income families suffer the most from the lack of access to reading materials. This limitation undoubtedly impedes students' literacy development in a significant way.
No access to the print environment results in both child and adult illiteracy. If it is believed that access to more books can lead to language and literacy development, there is no best way to help stimulate young children to read but to provide them with a print-rich environment.
Thanks to the government's commitment to eradicating illiteracy in the country, the number of illiterate people is decreasing. However, what the government has yet to focus on is providing better access to public libraries in remote regions.
It is clear that it is access to rich a print-environment and effective teaching strategies that matter to language and literacy development. It is these factors that need our serious attention in helping young people accelerate their literacy skills both in their first and second languages.
The writer used to teach English to young learners. She can be reached at evariestj@.yahoo.com.


Baby Powder Street Art: Free Lesson Plan Download
Level: MS/HS Art Education Lesson Plan
Art Elements: Positive/Negative Space, Repetition, Shape
Art Skills: Design, Pattern
* Get more free lessons like this, on our Lessons Page
The one lesson plan this year that received the most hits on our school’s website and the most pins on Pinterest was our baby powder stencil project. It was fun, easy and to my administration’s elation, temporary! Find out how you can quickly incorporate a street art lesson that won’t elicit a response from the police!
Here are some more hints to help this lesson go smoothly:
- When making the stencil, a helpful tip is to have students shade in the areas they will be cutting out. This makes the cutting go much smoother since it sometimes becomes difficult to differentiate between the two areas if it is not shaded in.
- Cutting takes the longest amount of time, especially if the student has a complicated stencil. We use x-acto blades to cut out our stencils however, scissors can work too. Make sure students use a cutting board to protect your tables.


Phonemic Chart British Council
CONTENT Be introduced to phonology and the English phonemic chart. Practise discriminating between different vowel sounds and diphthongs. Practise with the difficult consonant sounds (consonant clusters).
© The British Council, 2008 The United Kingdom’s international organisation for educational opportunities and cultural relations. ... Give participants a copy of the phonemic chart for reference. If they are not
Sam: What about the phonemic chart? Did you find that useful? Jo: Yes, although I found it really ….. 7….. to hear the difference in the sounds ... LearnEnglish Prof essionals MULTIPLE INTELLIGENCES AUDIOSCRIPT www. british council. org/prof es si on als. htm © The British Council, 2009 The ...
Jo : What about the phonemic chart? Did you find that useful? Sam : Yes, although I found it really _____ to hear the difference in the ... LearnEnglish Professionals LEARNING ENGLISH AUDIOSCRIPT www.britishcouncil.org/professionals.htm © The British Council, 2006 The United Kingdom's ...
Classroom issues - Try - Activities © BBC | British Council 2005 www.teachingenglish.org.uk Classroom issues - role cards 1. ... You like the pronunciation drills you do in the class and also think that the phonemic chart is very useful 18.
... Allow teacher to create samples for whole-class reading Math Diagrams and Charts Chart difficult ... Communicate patterns of English spelling to ELL students Support spelling, phonics and phonemic ... for Education, Division of Behavioral and Social Sciences and Education, National Research Council.)
Future historians are likely to chart the rise and rise of English worldwide from the mid-1940s, ... isto describe how academic English language proficiency testing in the UK moved from the British Council ... A test of phonemic discrimination (ability to distinguish between English phonemes).
... B.C. Principals and Vice-Principals Association Dean Goard University Presidents' Council ... Language Functions and Genres 122 • Literacy Development Chart 125 • Phonological and Phonemic Awareness in Context 127 ... Mission Statement The purpose of the British Columbia school system is to enable all learners ...
First Nations Special Education CONNECTIONS Do you work with First Nations students in British Columbia? ... A colorful chart or poster can be used to track two or three behaviors which the child needs to ... BC Literacy Council presents Dr. Barbara Walker (V.P., International Reading Association, professor ...
Website: www.nessy.com Swindon Borough Council Although aimed at children with Guidelines for teaching ... uk/schools/typing/ BBC Schools Games A whole host of searchable games to develop literacy and phonemic ... Supplier: LDA Website: www.ldalearning. com THRASS Picture chart This clusters groups of spelling ...
Other sites you could try:
Find videos related to Phonemic Chart British Council


Why, then, are Alberta school libraries consistently under-staffed and under-funded? The research has been out there for some time. Is it not important that the next generation are fully literate? How can we get this message to the decision-makers?
Via Scoop.it – Student Learning through School Libraries
Research has shown that more access to books results in more reading and more reading leads to better literacy development. A new study on the impact of libraries on reading achievement by Stephen Krashen and colleagues using NAEP reading scores and PIRLS (Progress in International Reading Literacy Study) data. Three multivariate analyses, all controlling for the effects of poverty, confirm the importance of the library.
The researchers conclude:
“In all of the multivariate studies considered here the library emerges as a consistent predictor of reading scores… Of course, providing access is only the first step: Even with access, some children (but surprisingly few) will not read. The research literature consistently indicates that rewards for reading are not effective (McQuillan, 1997; Krashen, 2003; 2004), but that read-alouds and conferencing do help. But in order for these approaches to work, the books need to be…
View original post 189 more words


Library incorporates science into summer program
This summer, Friday Memorial Library in New Richmond is injecting a little science into its programming for young people.
Over three days last week, the local public library offered "Blast Off Into Science" for students in fourth through sixth grade.
Tuesday's was called "Colorful Chemistry. " Wednesday's two-hour session was titled "Renewable Energy," and Thursday's session was "Bubble Extravaganza."
The St. Croix County 4-H program supplied Alyssa Ren, a VISTA worker, to teach the classes. She just completed her undergraduate work and is starting pharmacy school in a couple of weeks at the University of Minnesota.
According to Georgia Jones, youth services librarian, the program that focuses on science fits in with Friday Memorial Library's efforts to incorporate Science, Technology, Engineering and Math (STEM) into its programming.
The hope, Jones said, is that young people show a growing interest in those topics of study.
"Students in the U.S. score lower in STEM skill areas than students in other countries," she said. "Some children have opportunities in preschool settings but often parents feel unqualified to explore these areas at home. We are hoping to create some fun and interesting activities at the library that parents can replicate at home."
The effort to incorporate STEM concepts will go beyond last week's three-day series, Jones said. This fall, during the library's popular storytimes, science, technology, engineering and math concepts will be up front as well.
"We will provide opportunities to play -- and sneakily, learn -- in a no pressure environment," she said.
Library workers will use "App time", parachute play, block play, and vocabulary through books to help young people grasp these important areas of study.
The library is also introducing a "Whiz Bang Friday" program for ages 3-5 that is focused on STEM activities.
In addition, Jones said, the library will incorporate more art in their programming as well, known as STEAM (Science, Technology, Engineering, Art and Math in some eductor circles).
This year Early Out programs will involve fun with marbles, marshmallows, and magnets.
Even the teen events will have STEM elements woven into them.
"My hope is that through STEM/STEAM programs, the public library will be at the forefront of language and literacy development," Jones said. "In this digital world, we need to remind everyone of the learning that takes place outside of books. The learning that takes place in libraries, through these programs, keeps us relevant in an increasing digital world."


Posted on Nov 01, 2011 | Comments 0
A new report from the World Bank shows that women have made tremendous progress in educational attainment and in the employment sector throughout Latin America. The report, entitled Work and Family: Latin American and Caribbean Women in Search of a New Balance, was prepared by Laura Chioda of the World Bank, who previously was an assistant professor of economics at Princeton University.
The study found that there is almost universal enrollment for girls in elementary education in Latin America, which is not the case in many areas of the developing world. The study found that female enrollments outpace male enrollments in secondary education as well as in colleges and universities. The data shows that women in Latin America are more successful in completing college than men. Overall, women born after 1980 have an average of 0.25 more years or education than men in the same age group.
Yet despite educational advancement, the report documents that women in Latin America still face huge obstacles in their quest for equality.
Below is a video discussing the World Bank report.


The Rembrandt Teaching Project: Promoting Multiple Literacies in Teaching and Learning
Piro, Joseph M., Art Education
RIMPRANT, NOSTRAE AETATIS MIRACULUM
(Rembrandt, the miracle of our age).
Inscription written after the name of Rembrandt on a document compiled in 1664 by the scholar Gabriel Bucelinus, listing the names of "the most distinguished European painters."
The name Rembrandt conjures up the image of an art historical monument, a master who personified the height of creative and artistic powers. As with many human monuments, there is a tendency toward thinking of him and his works as remote, mysterious, even unapproachable. This article will outline how Rembrandt became an accessible, admired, and beloved figure to a group of educators and their students in a large urban school district in New York City. It will discuss the genesis of the The Rembrandt Teaching Project, describing how education generalists were drawn into the artistic world of 17th-century Europe, discovering how it could speak both to them and their students. It will also address multiple literacies (Eisner, 1998) that go beyond basic reading and writing as students learn to understand and decode an entire symbol system. A thorough mastery of this understanding process should include a spectrum of literacies, resulting in what Eisner calls " a vision of what our schools should seek to achieve." This mastery was the goal of the Rembrandt Teaching Project.
The impetus for the project came from an Arts Education Fellowship from the National Endowment for the Arts (NEA) and the Getty Center for Education in the Arts to design a discipline-based art education (DBAE) project (Dobbs, 1997). I proposed to study Rembrandt in the context of his culture, society, and historical time and produce a curriculum guide for teachers interested in teaching Rembrandt using the DBAE approach.
An important aspect of the NEA Fellowship required an on-site visit to the Netherlands to collect primary source material about Rembrandt. Included in this material were videos, books, maps, postcards, and art reproductions from such places as The Rijksmuseum and The Museum of the City of Amsterdam and the Mauritshuis in The Hague. I also visited Leiden, Rembrandt's birthplace. Much of this material was included in the curriculum guide that resulted. The blend of geography and art history in a slide presentation helped provide information about the life and times of Rembrandt for those teachers who became involved in the project
The project's first task was the formation of a curriculum-writing committee consisting of four classroom teachers and supervisors, either generalists or art specialists. After determining the format of the curriculum guide, the committee constructed a guide that presented a variety of teaching and learning activities about Rembrandt.
At the same time, they studied his art and life. They also learned about the four curriculum content areas of DBAE, including art history, art production, art criticism, and aesthetics and reviewed the curriculum sampler (Alexander & Day, 1991) that served as the guide's template.
For the first task of curriculum writing, the committee members used the resources of three museums in New York to extend and enrich their knowledge about Rembrandt. The three sites, the Metropolitan Museum of Art, the Frick Collection, and the Morgan library, all expressed a willingness to assist in the project. The Metropolitan Museum of Art is home to many great Rembrandt works including Man in Oriental Costume (1632), Aristotle with a Bust of Homer (1653), and Woman with a Pink (c. 1662-63). The curriculum team spent time at museum's library and studying the works with museum educator Rika Burnham. Additionally, they made multiple visits to the Frick Collection where they worked with Susan Galassi, Amy Herman, and Ashley Thomas. Using the additional resources of the Morgan Library, the committee acquired an indepth understanding of the works and life of the artist.
Equipped with basic knowledge of DBAE and Rembrandt, the curriculum committee began designing actual lessons for the guide now titled, From the Brush of Rembrandt: Discoveries Through Discipline-Based Art Education (1999). …


Malawi, 4 October 2010: Early childhood education centres make strides
By Shantha Bloemen
CHITETA, Malawi, 4 October 2010 – Every weekday morning, Leviticus, 5, wakes his mother early. He is eager to get to the community-based childcare centre, a red brick building in eastern Malawi’s Chiteta village and a 2 km walk from Leviticus’ home.
During the week, the hall is turned into a preschool for more than 100 three- to five-year-olds. The informal centre – which is operated entirely by community volunteers – offers early learning and provides many children with the only nutritious meal they’ll have for the day.
A game-changing difference
Chiteta’s community-based childcare centre offers what parents and education authorities hope will make a game-changing difference in Malawi’s educational goals. To date, the country’s education record has been grim. It is estimated that only about 36 per cent of children in the country of some 14.8 million people complete the primary school cycle.
Part of Malawi’s challenge is to cope with a high percentage of children who enter primary school with no educational preparation or basic foundation for learning.
“We know from global experience that the first few years of life are critical to a child’s physical, social, emotional and cognitive development,” explained UNICEF Malawi Communications Officer Kusali Kubwalo. An investment in early childhood care and development, she says, not only transforms a child’s future prospects but makes a significant difference in a country’s development.
Leviticus’ mother, Martha Bestec, is convinced that any investment makes a world of a difference.
“My biggest hope is that my children finish school and no longer have to survive on our small plot of land,” she said. “Leviticus is a clever child. I have seen him learn to play better with friends and be better socialized. If he wasn’t going [to the centre] he would just have been playing in the field and around the house.”
The community-based childcare centre in Chiteta is one of around 6,000 centres providing much-needed preparation for tens of thousands of children across Malawi. As approximately 1.1 million children under the age of 18 are orphaned across the country, support for early childhood learning is essential.
And strides are being made daily.
“There is still a big gap, but what we are seeing is that communities themselves are mobilizing,” said Chief of Child Protection at UNICEF Malawi Bruce Grant. “Each year hundreds of new centres are opening,” he added.
Blessing Gama, a 29-year-old cotton farmer, is one of the volunteers at the Chiteta centre. Though Mr. Gama has only a high school education, he believes the time he dedicates is making an important contribution.
“I come here because the children are our future leaders,” said Mr. Gama. “I want them to develop this village. I want this village to be a better place.”
Model centres, higher standards
The Government of Malawi has developed a policy framework that guides local district efforts to manage the childcare centres. But not all of the centres have the resources they need.
To confront this problem, UNICEF – with funding support from the Australian Government – is working with officials in Malawi to raise standards in early learning and to provide educational materials and training to all volunteers.
Additionally, the centres benefit from monthly visits from a local health worker, who weighs children and checks on their health and growth. Those who are not growing adequately or appear malnourished are referred to a health clinic where they can be given the right treatment.
The focus now is on creating model community-based care centres that can be easily replicated.
“The important thing for us is to make sure the centres are up to a certain standard,” said Ms. Kubwalo. “That means that the caregivers are given the right training and that the centres provide the environment they’re supposed to give.”
More stories from Malawi


Journal Articles in Education | Curriculum Materials Library
ERIC. 1966-. Scholarly and popular journal articles, book chapters, and reports from the field of education. Use ERIC to search abstracts of journal articles, book ...
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Journal of Curriculum and Instruction
This open topic issue of JoCI includes research studies, practitioner articles, and a book review that focus on various aspects of K-12 curriculum and instruction.
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We publish articles on topics such as curriculum and instruction, ... promote scholarly thought in the ... Current Issues in Education is also scheduled for an ...
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Selected Journals on Teaching and Learning. ... Arts and Humanities in Higher Education publishes articles, reviews and scholarly comment ... curriculum and pedagogy ...
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Find Journal Articles; Find Websites; ... Scholarly articles selected through blind ... A magazine for teachers that includes feature articles, notes on curriculum, ...
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Scholarly articles on writing across the curriculum
Scholarly articles on writing across the curriculum Review: Introducing Writing Across the Curriculum into China: Feasibility and. combining articles
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Creative Curriculum Development and Practice. Eisner, Elliot W. Journal of Curriculum and Supervision, v6 n1 p62-73 Fall 1990. The process of education is intended to ...
Theorizing about Curriculum: Conceptions and Definitions
INTERNATIONAL JOURNAL OF SCHOLARLY ACADEMIC INTELLECTUAL DIVERSITY VOLUME 13, NUMBER 1, 2011 1 Theorizing about Curriculum: Conceptions and Definitions


How do we interpret the narrative imagery of an Ancient Near Eastern sculptural relief? Why did the Spanish artist Salvador Dalí paint pictures in a dreamlike Surrealistic manner? These are examples of the types of questions art historians ask and try to answer by studying the visual arts of both the distant and more recent past. They seek to understand the cultural values expressed in a work of art, and to show how the latter fits into a larger context or tradition to which individual artists belong. The result is that a painting, statue, building, or piece of jewelry comes to life and gives us a fresh insight into mankind’s ever-changing experience and ways of seeing the world.
Students are taught to think critically and do research, learn theoretical aspects of this field, and express themselves effectively in written and oral form. Several of our courses contribute to interdisciplinary programs in Classical Studies, Medieval and Renaissance Studies, Latin American and Latino Studies, Women’s Studies, and Italian Studies. The major in Art History must be accompanied by a minor, which can be in any number of fields.
Points of Pride
- Art history is one of the majors housed in PAO Hall of Visual and Performing Arts, a state-of-the-art facility built specifically for the visual and performing arts at Purdue.
- The program provides students with a solid and comprehensive training through some 20 differentcourses that cover all major periods in the western sphere from ancient to modern, as well as non-western topics such as Asian, Islamic, Latin American, and African art.
- The program focuses on undergraduate education so there are many opportunities for undergraduate students to work and interact with faculty members.
- Every semester, the art history program organizes field trips to museums in the region, such as the Art Institute of Chicago, the Chicago Museum of Contemporary Art, the Indianapolis Museum of Art or the Cincinnati Museum of Art.
- The Art History Student Organization (AHSO) plans field trips, brings guest speakers, organizes professional development workshops, and facilitates networking amongst art history majors and minors.
- Museum education
- Art education
- Museum administration
- Museum development
- Historic preservation and restoration
- Art Administration
- Auction houses
- Art Galleries
- Art consulting
- Museum curating
- Teaching and Research
Plan of Study
This major MUST be accompanied by a Minor.
It is strongly recommended that students select a minor in one of the following fields: History, Literature, Political Science, Philosophy, or Anthropology.
It is also recommended that by the end of the senior year, a student majoring in Art History achieve a reading knowledge of both French and German.
A. A & D (take by the end of sophomore year) (12)
22600 History of Art to 1400
22700 History of Art since 1400
11300 Basic Drawing
32700 Art History Methodology
B. Electives: 21 hours from the following courses in Art History, with ONE course in EACH of the first three categories, and at least ONE additional course from one of those categories. (21)
1. Ancient and Medieval Periods
31100 Greek Art
31200 Roman Art
34800 History of Islamic Art
35900 Medieval European Art
2. Renaissance and Baroque Periods
38000 Baroque Art
45100 Italian Renaissance Art
45200 Northern Renaissance Art
3. Nineteenth and Twentieth Centuries
33900 Women Artists in the 20th Century
34400 Latin American Art in the 20th Century
38200 19th Century Art: A Global Perspective
38300 Modern Art
38400 Contemporary Art
45400 Modern Architecture
45500 Architecture Since 1945
4. Additional Courses
25100 History of Photography I
30701 History of Contemporary Photography
39100 History of Chinese Art
39600 Art Museum Practices
49200 Advanced Sem. in Art History
49300 Variable Topics in the History of Art I
49400 Variable Topics in the History of Art II


What is dyscalculia?
Dyscalculia is a condition that affects around 3-6% of the population. It is not simply an aversion or dislike of mathematics but “describes someone at the extreme end of the spectrum, who has ‘severe’ difficulties with maths”, says dyscalculia expert and author Steve Chinn.
Dyscalculia has often been described as dyslexia with numbers, but is in fact a completely different condition. It refers to a dysfunction in a person’s ability to understand or work with quantitative or spatial information. It can affect people in different ways, in specific areas, and is predominantly concerned with numbers and arithmetic rather than other elements such as geometry. Brian Butterworth, the leading expert on dyscalculia, explains that a person with dyscalculia may be “a good mathematician but still hopeless with simple calculations”. It's no wonder, then, that it often goes undiagnosed.
Symptoms of dyscalculia
There are different types of dyscalculia, ranging from moderate to severe. A child most likely will be performing below expectations and have specific difficulties in certain areas, such as understanding number values or directions.
Number operations such as addition and subtraction may cause difficulties, and children may struggle to distinguish between the symbols or even to understand that there is more than one way to carry out a sum. Translating the mathematical problem into concrete or physical examples can also prove challenging.
Children with dyscalculia may also have difficulties with:
- understanding sequences and instructions
- money – the fact that a coin may represent different values
- acquiring spatial orientation and navigational skills – distinguishing left from right and map directions
- understanding abstract concepts such as time – the fact that a clock represents time and that time can be past, present and future.
Struggling with these difficulties often results in low self-esteem, feelings of failure and much frustration, which in turn can lead to disruptive behaviour. A child will also begin to associate maths with negative feelings and become highly stressed or anxious about lessons.
Supporting a child with dyscalculia
A report from the Basic Skills Agency found that poor numeracy skills can be more of an obstacle to gaining and keeping a job than poor literacy skills. It is therefore vital to ensure that all children, whatever their abilities, have access to constructive mathematical teaching tailored to their specific learning needs.
Try these tips to help develop your child's maths skills:
- Provide real examples of when mathematical processes might be used, as these will be more memorable – shops are a great mathematical playground.
- Break up maths tasks into stages, ensuring that they understand each step before they continue.
- Ensure your child repeats and practises what they have learnt – encourage them to work independently on this.
- Ask your child plenty of questions about what they are doing, so they can explain mathematical processes in their own way.
- Give plenty of praise and positive feedback to your child – it will go a long way to giving them back their confidence with maths.
Dyscalculia expert Steve Chinn has produced a series of videos to help children and adults overcome maths difficulties, priced from £1.50 each. Go to Maths Explained for more information.


WELCOME: Professor Lucy Green and her team at the Institute of Education, University of London are embarking upon exciting research concerning ear playing. Her enquiry is funded by the Esmée Fairbairn Foundation. A better understanding of ear playing may benefit a wide variety of musical learners. Building upon her books, How Popular Musicians Learn, and Music, Informal Learning and the School, the current study looks at instrumental teaching.
The informal learning practices of popular musicians are simple, effective, flexible and enjoyable. Shared in different ways by folk, jazz and many other musicians, they can lead to high levels of skill-development, particularly in the realms of ear playing. Furthermore, many of the skills involved can be just as relevant to classical music as to any other musical style.
Young popular musicians usually:
The Ear Playing Project (EPP) approach, funded by the Esmée Fairbairn Foundation, is based on a distillation and adaption of popular musicians' learning practices, designed for instrumental settings at any level. In particular, it focuses on one of the central ways in which popular musicians first acquire their skills – that is, listening to a recording, picking out a part, and attempting to play it by ear, usually with little or no formal guidance. The approach builds on the highly successful classroom project lead by Lucy Green within Musical Futures.
The approach involves the pupil listening to a recording and attempting to play it by ear. In order to make the task as accessible and inclusive as possible for the instrumental tuition setting, in the first few sessions the audio materials are specially prepared. In the final few sessions, this aid is removed and the pupil is given free choice about what music to play. A variety of teaching strategies are involved, which guide and encourage, whilst avoiding giving the pupil so much information that they would cease to use their ears.
For participating teachers, a handbook and audio materials (in WMA and MP3 formats) were available from the 'Download documents and audio tracks' page. Please note that this has now closed. For further information, please contact one of the project team (see our contact page).
The instrumental teaching and learning strategies were tested in a pilot research project, and then a main research phase in private practice, primary and secondary schools.
Over the past year, the EPP received support from organisations such as: the European Piano Teachers’ Association (EPTA); the European String Teachers' Association (ESTA); the National Association of Music Education (NAME); the Incorporated Society of Musicians (ISM); and the Associated Board of the Royal School of Music (ABRSM). All of these organisations kindly placed advertisements on their websites or in newsletters. The research officers (David and Maria) also staffed recruitment stands at ABRSM conferences in London, Manchester and Birmingham. There were 10 inductions, including sessions for the Oxford Piano Teachers’ Group, the Royal National Institute of Blind People (RNIB) and Croydon Music and Arts. Instrumental teachers working with at least 325 students joined the project. Additionally, we were joined by like-minded music teachers working in Brazil and Cyprus. The main research phase concluded at the end of August 2012.
Participant teachers were invited to an end-of-project meeting. Click here for further information.
Please click here to download our final newsletter (September 2012).
Musical Futures, funded by the Paul Hamlyn Foundation, is a highly successful national project, which is transforming classroom music education in the UK. It is also being rolled out in Australia, and piloted in the USA, Canada, Brazil and other parts of the world. The informal learning strand, which was led and developed by Professor Green, forms the precursor to the current instrumental project.
The Institute of Education brings together one of the largest groupings of music education researchers in the world, as well as offering courses in music education at PGCE, MA, EdD and MPhil/PhD levels. All staff are also members of the research centre 'iMerc': The International Music Education Research Centre.
Click here to download our current newsletter (September 2012).
Speedshifter is a free application, which can be downloaded from the Associated Board of the Royal Schools of Music (ABRSM) website. It speeds up or slows recordings without pitch changes and can also raise or lower the pitch. It may be helpful for participants who are not using instruments tuned precisely to concert pitch. Please click here to download the application.
We wish to convey our gratitude to Kim Bloomfield and June Bonfield-Brown and her school for seeking parents' permission for lesson photographs to be used on this site.


Art helps children make connections with the world, teaching
them to better appreciate the experiences and points of view of
other people. Creative expression through the arts helps children
communicate their own observations and feelings, encouraging
sharing and self-expression.
Nurture the artist within your child by setting off to explore the
art treasures of Chicago. Take advantage of the amazing array of
free art classes, tours and more.
The Museum of Contemporary Art is host to Family Days, where every
second Saturday of the month, 11 a.m.-3 p.m., families can learn
about art through hands-on activities, scavenger hunts and more.
Admission is free for families with children 12 and under, and
activities are tailored for children of all ages. Upcoming themes
include I Heart Art on Feb. 13 and The Artist Studio on March 13.
Free daily tours are also offered Tuesdays at 1, 2 and 6 p.m.,
Wednesdays-Fridays at 1 p.m., and Saturdays and Sundays at noon, 1,
2 and 3 p.m. www.mcachicago.org.
Chicago's very own world-class art museum, The Art Institute of
Chicago, values and promotes art education for children through a
variety of free programs. The new Ryan Education Center, a
state-of-the-art facility, features five classrooms, three large
studios and a kid-friendly gift shop. Stop in to view a family
orientation video at the center to better guide your way throughout
Play with blocks and puzzles, play an interactive game,
participate in a drop-in art activity or storytelling hour or enjoy
quiet time with a book from the extensive children's library. Free
classes, from mini-master classes for the tot set (age 3-5) to teen
digital art studios, are sure to match the interests of the budding
young artists in your family. Check out the family programs
calendar at artic.edu for information on classes and family
Located within the University of Chicago's Hyde Park campus, the
Smart Museum of Art houses a permanent collection of more than
10,000 art objects, spanning five millennia of both Western and
Eastern civilizations. The Smart's small galleries and outdoor
sculpture garden are excellent spaces for children and adults to
explore art together. Check out the museum's Web site before you
go: Print gallery guides and play interactive games and activities,
including an art detective game and an interactive sketchbook. www/smartmuseum.uchicago.edu/education.
The National Museum of Mexican Art, located in Chicago's vibrant
Pilsen neighborhood, is the nation's largest Latino arts
institution. The museum presents the Mexican culture from ancient
times to the present, on both sides of the border, and offers great
family learning opportunities. Don't miss Kraft Family Sundays, a
free, year-round, hands-on program where you can create art with
Throughout the year, the museum's education department offers
Saturday morning or after-school art classes. Class themes may vary
by exhibition, medium or technique. In July, children will have an
opportunity to learn about diversity in the arts at the museum's
summer camp. nationalmuseumofmexicanart.org.
The Apple Store on North Michigan Avenue offers free computer arts
workshops on everything from composing a song in Garage Band to
building a photo album for families with kids (age 6-9 and 10-13).
Concordia University has just launched a new online program to
introduce first- through eighth-graders to art history. Ten online
lesson packets for each grade level focus on higher level thinking
and cover artists from Rousseau to da Vinci. www.uchicago.edu/artlessons.
Amy Bizzarri is a mom of two living in Logan Square. She also blogs at tiramisumom.com.
See more of Amy's stories here.
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Putting it into Practice
Developing Student Critical Thinking Skills in Teacher Education – the Models, Methods, Experiences and Results
Most teachers would agree that they teach reasoning skills in their classes. However, are they explicitly incorporating strategies that teach students to think critically? If so, how do they know these methods are effective? The purpose of this book is to summarize and share a variety of methods for developing students’ critical thinking skills. Each chapter focuses on a select teacher education class where the instructor implemented components of the Paul and Elder Model of Critical Thinking.
Written from the instructor’s point of view, each chapter details how each instructor utilized components of the Paul and Elder Model to support students in the development of their critical thinking skills. Importantly, each instructor's use of the model varied and those variations are shared in detail. Chapter authors found that utilizing components of the Paul and Elder Model resulted in more consistent use of critical thinking skills by students within their teacher education classes. In this practice-based book, interested teachers will be challenged to think through the methods they currently use in their own classes and will be provided new ideas or strategies to try.
Acknowledgment and Preface, Paula Jones and Debbie Haydon. Forward, Linda Elder and Richard Paul. 1: Learning to Think Critically, Paula Jones and Debbie Haydon. 2: Using the Elements of Reasoning to Teach Students to Think, Sue Mahanna-Boden. 3: ASL Students and Deaf Participants Learning to Think Critically, Nina S. Coyer. 4: Faculty “Thinking Through” Their Course, Debbie Haydon. 5: The Metamorphose of the SEE-I Critical Thinking Model into the I-SEEMS/Elements of Thought Model, Delinda Dent. 6: Critical Thinking Skills in an Elementary Social Studies Methods Class, Karen Larsen Maloley. 7: Developing Close Reading Skills through Critical Thinking, Diana L. Porter. 8: Methods and Resources to Teach Students to Think in Speech-Language Pathology, Tammy Cranfill. 9: Methods for Teaching Graduate Students How to Think Through Research in an Online Course, Paula Jones.
Web price: $39.09 (Reg. 45.99)
Web price: $73.09 (Reg. 85.99)
- EDU009000 - EDUCATION: Educational Psychology
- EDU008000 - EDUCATION: Decision-Making & Problem Solving
- EDU029000 - EDUCATION: TEACHING METHODS & MATERIALS: General
- Analyzing Influences Research on Decision Making and the Music Education Curriculum
- Contemporary Pioneers in Teaching and Learning
- Critical Views on Teaching and Learning English Around the Globe Qualitative Research Approaches
- Elements of Discussion
- Service‐Learning to Advance Social Justice in a Time of Radical Inequality
- Understanding Neoliberal Rule in Higher Education Educational Fronts for Local and Global Justice
- Understanding Neoliberal Rule in K-12 Schools Educational Fronts for Local and Global Justice


Alignment of Middle School Core TEKS with Visual Arts TEKS : Alignment of Middle School Core TEKS with Visual Arts TEKS Jennifer Hartman
http://teksalignment.blogspot.com/ Curriculum Integration : Curriculum Integration What is Integrated Curriculum?
“integration refers to the linking of all types of knowledge and experiences contained within the curriculum plan” (Ornstein, 2003, p. 243).
What is Arts Integration?
Motivations for Integrated Curriculum
200+ studies as well or better than conventional curriculum (Vars, 2001)
Motivations for Arts Integration
Engaged, well rounded, creative, socially aware Where I’m coming From… : Where I’m coming From… Humanist /Dewey-ian Philosophy
Critiquing the fragmented school day
James Beane – Democratic Education
Fair, just, higher level thinking for all
Heidi Hayes Jacobs
Practical implementation Research Questions : Research Questions What are the potential common learning activities, if any, between the visual art TEKS and the science TEKS, in grades 6, 7, and 8?
…English language arts and reading
…social studies Findings : Findings Science : Science Math : Math English Language Arts and Reading : English Language Arts and Reading Social Studies : Social Studies Summary of Data : Summary of Data What Can you do with it? : What Can you do with it? Make sure you are getting credit for the alignments you already have in your lessons
Add engaging content to existing lessons based on the TEKS
Use it to inspire new integrated lessons and units Example Lesson:What is Art? Designing a Personal Logo : Example Lesson:What is Art? Designing a Personal Logo “Every child is an artist. The problem is how to remain an artist once he grows up.” -Pablo Picasso Keith Haring : Keith Haring Born May 4, 1958
Grew up in Kutztown,Pennsylvania
After graduating art school he moved to New York where he was inspired by graffiti
He became famous from his chalk drawings in New York subways
Many of his works are on walls in public places.
He died in 1990 Are Logos Art? : Are Logos Art? Resources : Resources Beane, J. A. (1991). The middle school: The natural home of integrated curriculum. Educational Leadership, 49(2), 9-13.
Beane, J A. (1997). Curriculum integration: Designing the core of democratic education. New York: Teachers College Press.
Beane, J.A. (2005). A reason to teach: Creating classrooms of dignity and hope. Portsmouth, NH: Heinemann.
Dewey, J. (1932). Art as Experience. New York, NY: Penguin Putnam Inc.
Dewey, J. (1902). The child and the curriculum. Chicago, IL: University of Chicago.
Taylor, P.G., Carpenter II, S. B., Ballengee-Morris, C., & Sessions, B. (2006). Interdisciplinary approaches to teaching art in high school. Reston: VA. The National Art Education Association.
Fogarty, R. (1991). The mindful school: How to integrate the curricula. Arlington Heights, IL: Skylight Publishing, Inc.
Glatterhorn, A., & Jailall, J. (2009). The principal as curriculum leader: Shaping what is taught and tested (3rd Ed.). Thousand Oaks, CA: Corwin Press
Jacobs, H.H. (1989). Interdisciplinary curriculum design & implementation. Alexandria, VA: Association for Supervision and Curriculum Development
Jacobs, H. H. (1997). Mapping the big picture: Integrating curriculum and assessment K-12. Alexandria, VA: Association for Supervision and Curriculum Development.
Stewart, M., & Walker, S. (2007). Rethinking curriculum in art. Worcester, MA: Davis Publications.
Walker, S. (2001). Teaching meaning in art making. Worchester: MA. Davis Publications Inc. References : References Ornstein, A. C. (2003). Curriculum: Foundations, principles, and issues. Boston, MA: Allyn & Bacon.
Vars, G. (2001). Can curriculum integration survive in an era of high-stakes testing? Middle School Journal. 43(2), 7-17. Retrieved from: http://www.nmsa.org/Publications/Middle


This page contains the findings of systematic reviews undertaken by review groups linked to the EPPI-Centre
Use of ICT (opens a new page)
In low-income countries
- Effective teachers of literacy have a wide and varied repertoire of teaching practices and approaches (e.g. scaffolding, where support in learning is initially provided by the teacher and then gradually withdrawn as the pupil gains in confidence; integrating reading with writing; differentiated instruction; and excellent classroom management skills).
- They can intelligently and skilfully blend these approaches together in different combinations according to the needs of individual pupils.
- They are especially alert to children’s progress and can step in and utilise the appropriate method or practice to meet the child’s instructional needs.
- They use an eclectic collection of methods which represents a balance between the direct teaching of skills and more holistic approaches. This means that they balance direct skills teaching with more authentic, contextually-grounded literacy activities.
- They avoid partisan adherence to any one sure-fire approach or method.
- They promote pupil engagement, on-task behaviour and self-regulation.
- They build links with parents and the local community.
In low-income countries
In the multilingual contexts of developing countries, children with low proficiency in the school language are disadvantaged particularly because strong foundations in oral language are essential to enable fluent reading with understanding. Literacy-related assessment in the early grades has focused on symbol knowledge, and to a lesser extent phonological awareness, but not on the critical skills of vocabulary and grammar. Interventions targeting language skills are beneficial for literacy development and, if delivered early, can provide a scaffold for learning across the curriculum.
1. A systematic review of effective literacy teaching in the 4 to 14 age range of mainstream schooling (2003)
2. Literacy, foundation learning and assessment in developing countries (2014)


The "Learning by Copying" debate has gone on for generations in art education, and is unlikely to be resolved any day soon. My take on the situation is this: In the secondary schools, where studio classes prevail, there are the practical considerations of time, materials and access to ideas to confront. If you have experienced a reduction of contact time with your students, their opportunities to draw and paint from direct observation is likely compromised. Using reference photos or copying master works is an acceptable, albeit not perfect, substitute for direct observation art activities. In addition, keep in mind these are students, not professional artists. Studio classes should teach, in addition to the creative process, art skills-- something that universities sometimes forget in their fine art classes. One of those skills is increasing the student's ability to observe all of the visual clues a given subject presents, and the use of photos can
provide that type of information.
Keen observation skills are essential to the technical side of art--perspective, color mixing, brush techniques, use of shadow, etc. Very often, the fine artists among us would rather not deal with that aspect of the creative process, but ignoring it can be at your own and your student's peril. How your students deal with those skills is part of what makes them unique and creative, which you nurture as much as possible. However, if your kids don't know how to hold a brush, it is pretty difficult to paint effectively, and if you can't effectively perceive the world around you, it's equally as hard to interpret that world through art.


The Bunker Interpretive Center staff teaches families about the native plants and animals of west Michigan.
On a rainy afternoon in late October, more than 20 three-to-seven-year-olds and their caregivers arrived at the Bunker Interpretive Center for the second week of Critters and Company. Nancy McIntyre, a veteran nature center volunteer, who has worked with the Bunker staff since fall 2009, introduced the day’s subject: ants.
To discover what ants eat and whether or not they will brave the rain to find food, the class would conduct an experiment: They would carry a plate covered in shaved coconut, sugar and salt to the edge of the Ecosystem Preserve’s prairie and watch the results.
Becca Hibbler, an elementary education major who writes the lesson plans for Critters and Company, had prepared a few other ant-related activities for the class: reading a picture book about the life cycle of ants, role playing the life of an ant colony and crafting ant sculptures out of egg cartons.
Teaching and serendipity
Back inside, the kids drew a ten-legged creature on the white board, their approximation of what an ant looks like. Then McIntyre read them a picture book about the insect’s metamorphosis and daily habits, and when she had finished, she tested their knowledge: “Who can tell me how many legs an insect has?” A girl at the back of the room raised her hand. “Maddison?”
“I have an ant on my card,” Maddison said, holding up her name tag.
McIntyre called her up, and the other kids grabbed magnifying glasses from a nearby bin and took turns examining her find. McIntyre pointed out its six legs and three body segments, and the kids reconsidered their drawing.
Michigan by the season
Critters and Company focuses on teaching about nature through sight, touch and smell. The following week incorporated taste, as the staff brought in a spread of Michigan-grown apples for the class to sample. McIntyre believes that teaching through the senses helps children remember what they learn.
In order to help kids experience nature firsthand, Jeanette Henderson, program manager of the Ecosystem Preserve, tries to bring them out into the woods and prairie as much as she can, even if the weather is less than clement. This opens the door for unplanned lessons like the one learned that afternoon.
As the class tramped out to the prairie, Henderson stopped them. She had spotted a troop of Shaggy Manes Mushrooms that had popped up overnight. She picked one, and the kids crowded around to get a look at it. “What does it feel like, Lilly?” Henderson asked.
“Squishy,” she replied.
“What does it smell like?”
The winter and spring series are structured around the same principle—learning through experience. In the spring, attendees examine frogs, wildflowers and birds, and in the winter, trees, snowflakes and animal camouflage. For many of the young students, enduring the cold or rain appears to be a reasonable price to pay for being outside.
Parents and children
Before class began, Andrew, a preschooler sporting a pair of fire truck Wellies, was sorting through the contents of his “nature treasure bucket.” The two-gallon ice cream tub was filled with the twigs and seeds he had collected the week before.
According to his mother, Cathy, Andrew “spends all of his time outside, even during a blizzard,” making Critters and Company a good match for him. On top of that, Cathy said, “it’s a really reasonably priced class—it’s ridiculous. And it’s interesting.”
In the fall, winter and spring, Henderson runs up to three classes concurrently, depending on demand, and the program’s popularity is on the rise, she said: This season 45 kids and 29 parents attended Critters and Company, the highest number for the fall series yet.
The focus of the program, Henderson explained, is not simply education. “It’s not a school program,” she said. “We want to parents to learn with them.”
Henderson sees society becoming increasingly alienated from the natural world as technologies assume an ever larger even in the lives of children. By basing Critters and Company on a caregiver/child model, Henderson wants to encourage what she calls “a lifestyle of being outside, connecting to the world around us …, connecti[ng] with other families that care about God’s creation.”


This post was originally published in Nick Glass’ monthly column for Curriculum Connections, an e-newsletter published by School Library Journal in partnership with TeachingBooks.net. Subscribe to this free newsletter here.
At TeachingBooks.net we believe books belong in every K–12 classroom and we strive to support reading experiences by offering multimedia resources to enliven and expand on meaningful conversations about books in the curriculum.
In this post, you’ll find strategies and suggestions that highlight ways educators of all disciplines can incorporate online author interviews, lesson plans, and audio recordings to engage students in any subject area.
We want teachers to know how easy and powerful it can be to have the authors of assigned titles share insights into their work—online, anytime. For example, in this video students can watch and listen to Lois Lowry as she discusses how she came to create the setting for her Newbery winner The Giver (Houghton Mifflin 1993).
Introduce an assigned book with an audio performance such as Susan Adams and Selma Blair’s reading from Anne Frank: The Diary of a Young Girl (Recorded Books 1982).
Host award-winning authors and illustrators in the library each week starting with Patricia Polacco, author of Thank You, Mr. Falker (Philomel, 1998) and The Keeping Quilt (S & S 1988).
Assist student researchers in understanding the context of classic books by directing them to ready-to-use literature guides for assigned readings of titles such as Zora Neale Hurston’s Their Eyes Were Watching God (Lippincott 1937).
Support the literacy development of English Language Learners by sharing videos of authors such as Children’s Poet Laureate Mary Ann Hoberman discussing her collection of poems for two voices You Read to Me, I’ll Read to You: Very Short Stories to Read Together (Little Brown 2001).
Explore ethnic identity in contemporary literature with discussion questions for Sandra Cisneros’ The House on Mango Street (Arte Publico 1983).
Expand on the science concepts found in books for young children by playing amusing audio clips of authors such as Jon Scieszka introducing and reading from Science Verse (Penguin 2004).
Offer professional insights into content-area literacy programs by sharing four award-winning authors (Avi, Sharon Creech, Walter Dean Myers, and Sarah Weeks) as they perform and reflect on Reader’s Theater.
More suggestions for educators can be explored in the Curricular Uses area of TeachingBooks.net:
Posted by Nick Glass, Founder & Executive Director of TeachingBooks.net


The app developers who created this app (iMagine machine and artist,Hanoch Piven) have just released FaceWorld! FaceWorld allows digital artists to share work within the app and even collaborate to create new collages within the Faces iMake app. Once an artist is finished with his or her creation, there is an option to post the artwork to FaceWorld. Others can then view the artwork in the FaceWorld gallery and can even decide to use some of the new objects or images to make another collage. Learn more about the app developers and about FaceWorld here
I was thrilled to share Faces iMake and my students' digital collages at the National Art Education Association Convention in NYC this past March, but am even more excited about sharing the new possibilities that FaceWorld will bring.
As a teacher, I am required to infuse technology into my lessons and teach 21st century skills to best prepare my students for the future. Faces iMake teaches students how to pinch, zoom, resize, move, turn, flip, duplicate, send to back, bring to front, add, remove and delete on an iPad, all while making creative choices to compose digital works of art. In doing so, students meet these National Technology standards:
1. Creativity and Innovation
Students demonstrate creative thinking, construct
knowledge, and develop innovative products and
processes using technology.
a. Apply existing knowledge to generate new ideas,
products, or processes
b. Create original works as a means of personal
or group expression
Now, because of the sharing and collaborative features in FaceWorld, students will be able to meet even more of our National Technology standards:
2. Communication and Collaboration
Students use digital media and environments to
communicate and work collaboratively, including
at a distance, to support individual learning and
contribute to the learning of others.
a. Interact, collaborate, and publish with peers,
experts, or others employing a variety of digital
environments and media
b. Communicate information and ideas effectively
to multiple audiences using a variety of media
I've been communicating with these talented app developers and consider myself fortunate to have been invited to try FaceWorld as it was in its beginning stages. Needless to say, I am crazy about the app and am having a lot of fun making my own creations and posting them to FaceWorld. My digital collages under the name, "Tiedemania" are featured on the "Featured Artist" page in FaceWorld, which is also very exciting! I've posted my work at the top and bottom of this blog article, but what I am looking forward to most is seeing how my students will collaborate, create and share!
See how B.A. 1st graders used Faces iMake last year here:
If you already have the Faces iMake app, be sure to apply the latest update so that you can access FaceWorld! If yo don't have it yet, it is available in the iTunes Store.


Curriculum and Instruction
First Advisor's Name
First Advisor's Committee Title
Second Advisor's Name
Third Advisor's Name
Early Childhood, Environment, Development, Literacy, Early Literacy, Environmental Quality, Childcare Quality
Date of Defense
The purpose of this study was to examine the relation between classroom environmental quality and early literacy outcomes amongst a sample of Latino children from various Latin-American countries. Participants included 116 preschoolers that attended various childcare centers in Southeast Florida. Participant’s literacy knowledge was assessed using the Test of Preschool Early Literacy. Classrooms were assessed on environmental quality using the Early Childhood Environmental Rating Scale-Revised. A regression analysis revealed that classroom environmental quality did not account for Latino children’s early literacy outcomes. However, a multiple regression analysis was significant (R2= .15, F(5, 115) = 3.86, p< .05) indicating that quality has a varying impact on children’s early literacy skills based on children’s region of origin. Findings suggest that high classroom environmental quality does not necessarily mean better literacy development for Latino children. Additionally, Latino children should not be viewed as a homogeneous group, particularly in relation to their development of literacy skills in English.
Marin, Maria M., "The Effects of Classroom Environmental Quality on the Early Literacy Outcomes of a Regionally Heterogeneous Population of Latino Children" (2010). FIU Electronic Theses and Dissertations. Paper 162.


Teach yourself how to play piano with our easy piano lessons for beginners.
***Comes with online access to free piano videos and audio demonstrating all examples. See and hear how each one is played by a teacher, then play along with the backing band. Also includes music score and piano animation for easy music learning.***
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Progressive Beginner Piano contains all you need to know to start learning to be a great piano player - in one easy-to-follow, lesson-by-lesson piano tutorial. Suitable for all ages and all types of pianos including electric pianos, digital pianos and piano keyboards. No prior knowledge of how to read music or playing the piano is required to teach yourself to learn to play piano from this book.
• How to play piano chords for beginners and piano rhythms
• How to play piano notes and beginner piano scales used in piano melodies
• All the fundamental techniques of piano playing including playing chords and arpeggios with the left hand
• Piano theory for learning how to read piano music for beginners
• Piano tips and piano tricks that every player should know when learning piano
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Contains everything you need to know to learn to play the piano today.
• Progressive step-by-step easy piano lessons written by a professional piano teacher
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• Easy-to-read piano music for beginners and piano chords for beginners
• Piano chord chart containing formulas and chord diagrams for all important piano chords
• 45 piano exercises including piano chord progressions and popular easy piano music for beginners in rock piano, pop piano, country piano, folk piano, blues piano and classical piano styles
Beginner piano lessons have never been this easy for anyone who wants to learn how to play the piano, fast.
LearnToPlayMusic.com's piano lessons for beginners are used by students and piano teachers worldwide to learn how to play piano. For over 30 years, our team of professional authors, composers and musicians have crafted piano lesson books that are a cut above the rest. We offer a huge selection of music instruction books that cover many different instruments and styles in print, eBook and app formats. Awarded the 'Quality Excellence Design' (QED) seal of approval for eBook innovation, LearnToPlayMusic.com continues to set the standard for quality music education resources.


In the 21st century, teaching cursive writing is increasingly becoming more of the exception than the rule. With computers emerging as the primary source for writing, many administrators feel teaching cursive writing is not necessary and believe the time would be better spent teaching keyboard skills.
Many students and parents, however, believe that teaching cursive writing is still very relevant and should not be so quickly dismissed. Maggie Wells from Parenting Squad polled teachers to uncover reasons cursive should be taught in school:
Develops motor skills
Cursive writing requires a very different skill set from print writing. It involves using the hand muscles in a different way. Additionally, it activates a different part of the brain than regular writing does. At the age cursive is taught, around 7 or 8 years old, these skills can be very beneficial in furthering motor skill development.
In turn, many other skills will benefit. Some administrators argue that the time teaching cursive writing would be better spent teaching keyboard skills. In this case, students do not actually have to use their hands to create the letters, lowering retention rates and risking motor skills development altogether.
When students are taught the English language in only one form, print writing, they get only one chance to learn and memorize the letters. By having to learn cursive as well, students get another opportunity to fully comprehend the alphabet. Learning cursive also gives students a clearer understanding of how letters are formed, which will improve their print writing as well.
Working with legal documents
Being comfortable with cursive writing will guarantee students will be confident when writing and signing legal documentation. A cursive signature is most commonly required to endorse legal documents, accompanied by a printed version of their name too.
Writing and signing checks is another reason for learning cursive. Cursive writing has historically been the standard style when writing authorized checks for payment. Students risk being confident and successful when working with basic legal documents if they don’t learn cursive.
Helps students with disabilities
Students with learning disabilities, specifically dyslexia, can have a very hard time with writing in print because many of the letters look similar, particularly b and d. Cursive letters, however, look very different from print letters. This gives dyslexic students another option — an option that can decrease their dyslexic tendencies and make them more confident in their abilities.
Cursive is a lost art form
More and more school districts are cutting art from their budgets. This can be detrimental to the full development of students. However, cursive writing can be considered an art form all its own.
It is one more way for students to develop the side of their brain that is not developed by basic reading and writing skills. The more diverse a teaching curriculum is, the better.
Connects students to the past
Without being able to read cursive writing, students will undoubtedly be kept from many opportunities to read important documents. Many historical documents are written in cursive. While some of these documents are readily available online in print form, not all of them are.
Not only will students miss out on a part of history, they may very well miss out on reading important letters and cards from their grandparents or great-grandparents. The older generation still writes in cursive on a daily basis. Kids often rely on their parents to translate these letters and cards for them because they simply cannot read the cursive writing. Forty years from now, when these grandparents have passed on, kids may want to look back on these letters, and they should be able to read them.
So, should cursive be taught in school?
We think a resounding “Yes!” If teaching cursive writing is eliminated from schools, children will miss out on a lot. Though the world is becoming more and more technology dependent, there is something to be said for retaining a part of classic writing skills in the curriculum. Cursive reinforces the mantra that learning should simply be for learning — not just to pass a test.Learn More: Click to view related resources.
- Maggie Wells, "Teacher's Poll: Cursive Writing," Parenting Squad


Collaborative interactions among preschool children in a computer environment
Ahmad, Mohd Sharani and Adam Assim, Mohamad Ibrani Shahrimin (2003) Collaborative interactions among preschool children in a computer environment. Pertanika Journal of Social Sciences & Humanities, 11 (2). pp. 147-155. ISSN 0128-7702; ESSN: 2231-8534
Official URL: http://www.pertanika.upm.edu.my/view_archives.php?...
This paper reports on a study which investigated the collaborative interaction patterns exhibited by five-year-old pre-primary children in an educational computer environment. A case study method was used in one pre-primary centre in a metropolitan city, to examine the patterns of collaborative interaction among young children whilst engaged, in dyads, with the computer within a naturalistic classroom environment. A total of 243 interactions were identified and classified into 16 interaction patterns. Factors facilitating and inhibiting collaborative interaction were identified as: developmental appropriateness of the software; preexisting computer competency and attitude towards computer; mutual friendship between collaborators; children's social goals; appropriate structure of enjoyable learning environment; mutual understanding of the turn-taking system; and non-isolated physical settings. In effect, this study shows that early childhood educators will be in a better position to integrate the computer into their classroom and to promote positive prosocial interaction among children whilst engaged at the computer, if it were to be afforded the same status as other traditional early childhood learning materials and activities.
Repository Staff Only: Edit item detail


Media and digital literacies in secondary school
- Reijo Kupiainen.
- New York : P. Lang, c2013.
- Physical description
- xii, 160 p. : ill. ; 23 cm.
- New literacies and digital epistemologies v. 59.
Education Library (Cubberley)
LB1043 .K855 2013
- Unknown LB1043 .K855 2013
- Kupiainen, Reijo.
- Includes bibliographical references (p. -149) and index.
- Publisher's Summary
- "Media and Digital Literacies in Secondary School" examines young people's media practices and media literacies in school spaces where these practices mix in the school environment and learning in different ways. Young people bring their own media and literacy practices to the school as an important part of an identity, taste, and social life. These practices are changing school's media ecology, making school's physical boundaries more permeable, creating new, unofficial spaces in them, and transgressing the boundaries of private and public. This book highlights youth's media production practices, from photography and video making to fan fiction writing and online role-playing, which have different relations to the school, and shows how these practices make a dialog between informal and formal learning and that teachers have an important part in collaborative relationships with pupils when teachers encourage and motivate pupils and help them to understand media phenomena. The volume will be of particular interest to scholars and graduate students in the fields of education, new literacies, media and communication studies, media and art education, and youth studies.
(source: Nielsen Book Data)
- Publication date
- New literacies and digital epistemologies ; v. 59
- 9781433118418 (hbk. : alk. paper)
- 1433118416 (hbk. : alk. paper)
- 9781433118401 (pbk. : alk. paper)
- 9781453909430 (e-book)
- 1433118408 (pbk. : alk. paper)
- 1453909435 (e-book)


Music Archives and Repositories
Explore This Article
With native performers ranging from Johnny Mercer to Little Richard and musical styles ranging from Sacred Harp singing to hip-hop, Georgia boasts a proud popular-music past and a growing future. Many archives, museums, libraries, and historical societies in Georgia preserve the state's music and make it available to researchers.
The Albany Civil Rights Movement Museum, located at the historic Old Mt. Zion Church in Albany, features photographs and other materials on the civil rights movement in southwest Georgia, particularly relating to the Freedom Singers of the Student Nonviolent Coordinating Committee.
The Atlanta History Center provides a home for the Graham Washington Jackson Papers, as well as for Jackson's famous accordion, which he played during U.S. president Franklin D. Roosevelt's funeral procession. The center also houses the records of the Georgia Federation of Music Clubs from 1920 to 1949, in addition to numerous other manuscripts and books related to music.
The Auburn Avenue Research Library on African American Culture and History in Atlanta houses books, manuscripts, and jazz, blues, and gospel sound recordings. Other materials document African American entertainment in Atlanta and music halls in the state.
The Emory University Manuscript, Archives, and Rare Book Library (at the Robert W. Woodruff Library) in Atlanta houses a collection of Confederate sheet-music imprints, as well as information on African American music, including the James Weldon Johnson Collection. Johnson graduated from Atlanta University (later Clark Atlanta University) and taught briefly in the city of Hampton. Although better known today as a poet and writer, Johnson wrote the lyrics to more than 200 popular songs with his brother, J. Rosamond Johnson, and Athens songwriter Bob Cole. Emory's collection includes correspondence related to Johnson's compositions, sheet music, and song lyrics.
Emory's Marian K. Heilbrun Music and Media Library houses a substantial collection of nearly 40,000 sound recordings and a range of printed materials, including more than 23,000 scores and 30,000 books.
The Georgia Historical Society, located in Hodgson Hall in Savannah, holds Confederate sheet music as well as manuscripts related to Savannah-area music clubs and performances. The archives also include materials on Civil War (1861-65) musicians and music education.
The Georgia Music Hall of Fame in Macon operated as the state's official music museum from 1996 to 2011. The governor and U.S. senator Zell Miller, who was instrumental in founding the Hall of Fame. Funding shortfalls forced the closure of the museum in 2011, and its collections were returned to donors or sent to repositories around the state for storage.
The Special Collections and Archives Department at Georgia State University (GSU) in Atlanta houses the Johnny Mercer Collection, the largest collection of his personal papers. Mercer was a songwriter from Savannah who wrote the lyrics to some of the most recognizable tunes of the twentieth century, including "Hooray for Hollywood," "Blues in the Night," country music and of radio broadcasting in Atlanta, as well as numerous jazz and swing recordings.
Let Us Sing, Sacred Harp in Southeast Georgia is a permanent exhibition at the Okefenokee Heritage Center in Waycross. The exhibition resulted from a collaboration of the center, the South Georgia Folklife Project, and Sacred Harp singers in southeast Georgia. In addition to the items displayed in Waycross, the Folklife Project, housed at Valdosta State University in nearby Valdosta, features materials on bluegrass, African American gospel, Primitive Baptist hymnody, Sacred Harp, and fiddling from the region.
The Walter J. Brown Media Archives at the University of Georgia in Athens features such broadcast material as the Peabody Awards Collection and the Museum of Television and Radio Collection. Georgia musicians and storytellers are documented in the Allen E. MacLeod Collection and in the Georgia Folklore Collection, which includes more than 1,000 hours of field recordings made by Art Rosenbaum and the Georgia Folklore Society. The Athens Underground Sound Collection consists of audio recordings from Athens's pop-music heyday, including early recordings by R.E.M. The Media Archives also includes material on The Now Explosion, a 1970s Atlanta music video show.
The University of West Georgia in Carrollton is home to a collection of materials on shape-note hymnody and Sacred Harp singing. The area around Carrollton and Bremen is known for the traditional a cappella religious music that emphasizes participation rather than performance. The Sacred Harp Headquarters and Museum can also be found in Carrollton and includes recordings, songbooks, periodicals, scrapbooks, and other materials.
Media Gallery: Music Archives and Repositories


“What is rhetoric?” you may ask. There are many definitions available. As a scholar of rhetoric, I offer my current definition.
Rhetoric is the study and practice of communication that persuades, informs, inspires, or entertains target audiences in order to change or reinforce beliefs, values, habits or actions.
Rhetoric is basically the strategic use of communication to accomplish purposes with target audiences. It can be used for ethical and unethical purposes, but ought to be used for good ends and to enhance truthful and honest messages.
Rhetoric is defined by its function, not by a communication medium, topic, or social location.
- Rhetoric is not limited to writing and speech, but occurs through all media and genres. Rhetoric may be performed and appreciated in music and the arts, in greeting cards, Twitter posts, advertising, architecture, and elementary education.
- Rhetoric is not restricted to politics and public discourse, but is potentially an aspect of communication on every topic and every social situation. Therefore its strategies must also vary by situation and audience.
- Rhetoric need not have an external, human audience. One could even say we persuade ourselves through our internal decision-making processes. Spiritual practices often include divine persuasion and communion through prayer.
Rhetoric functions even where it is not announced or acknowledged, and is even used by those who deny it and defame it.
- Most people practice rhetoric all the time without consciously applying it or studying it, just as we can all think without having to study philosophy or psychology.
- Because “rhetoric” has often been portrayed as empty, false, argumentative, or manipulative, many people dismiss it, avoid it, or blame it for many ills in the world. However, rhetoric, like many other human arts, achieve its greatest purpose when used to communicate and enhance truth, mutual understanding and beauty.
- Sometimes communicators expressly deny that they are using rhetoric. However, the most powerful forms of rhetoric are those that hide their own strategies and intentions.
- Many people accuse others of using rhetoric as if using it is not ethical or appropriate. However, even the condemnation of someone else’s rhetoric is itself an act of rhetoric persuading you to agree with their judgment.
Rhetorical study not only brings deeper understanding of strategic communication, but guides our practical use of it. Rhetoric is an art through which people learn to improve their own communication and adapt it to specific audiences and purposes. It also helps us learn to discern the excellence and weakness of our own and others’ rhetoric. Rhetorical study & education occurs through several means:
- Individual, everyday practice and reflection on one’s own communication — We learn through painful trial and error and by reflecting on what we observe. We adjust our own rhetoric sometimes without even being aware of altering our strategies, and other times we use conscious effort.
- Rhetorical enculturation and popular rhetorical advice — We can find examples and advice about effective or ineffective rhetoric in self-help books, magazine articles, and churches, among other places. Our society continually teaches people how to communicate in certain situations or to achieve certain purposes.
- Formal study of rhetorical theory, criticism, history, and practice — This is usually facilitated through Rhetoric courses at an institution of higher education, or through a speaking or debate club or corporate workshop that incorporates the rhetorical tradition. University courses usually teach the “rhetorical tradition” represented by a canon of rhetorical theorists and famous orators/writers/leaders. They often engage students in applying rhetorical principles to their production of discourse in writing, speech, or other media.
Read more about rhetoric on Wikipedia’s Rhetoric Page.


Today, we have a special guest blogger, Philip Conrod! He is sharing with us an excerpt from their book for kids, Beginning Microsoft Small Basic by Philip Conrod and Lou Tylee. This section is available as part of Chapter 1 of "Beginning Microsoft Small Basic". You can find their books and other materials at the Computer Science For Kids web site. Thanks to Philip for sharing. Please enjoy!
We could very well just ask the question – Why Learn a Programming Language? A programming language is used to provide instructions to a computer to do specific tasks. There are several reasons for doing this. First, if you know how to program, you will have a better understanding of just how computers work. Second, writing programs is good exercise for your thinking skills – you must be a very logical thinker to write computer programs. You must also be something of a perfectionist – computers are not that smart and require exact, perfect instructions to do their jobs. Third, computer programmers are in demand and you can make a good living. And, last, writing computer programs is fun. It’s rewarding to see your ideas for a certain computer program come to life on the computer screen.
So, why learn Small Basic? One big reason is that it’s free from Microsoft. Another reason for learning Small Basic is that it is one of the easiest languages to learn. Small Basic is a simple language. There are many built-in elements that make your work simpler and the language itself is very simple – only 15 reserved keywords. But, just because it is a simple language doesn’t mean it lacks capabilities. You will see throughout these notes that you can build some fairly complex programs.
Because of its simplicity, you can learn to write Small Basic programs very quickly. But, just because you can write your first program quickly doesn’t mean you’ll learn everything there is to know about Small Basic. This course just introduces Small Basic. There’s still a lot to learn – there’s always a lot to learn. So, consider this course as a first step in a journey to becoming a proficient computer programmer.
And, once you’ve mastered Small Basic, you can graduate to its more capable big brother VisualBasic, another Microsoft product used to develop GUI (graphical user interface) based applications. These are applications with menus, toolbars, buttons, scroll bars, and other controls which depend on the computer mouse for input. Examples of GUI applications you may have used are word processors, spreadsheet programs and computer games.
Excerpt © Copyright 2012-2013 By Kidware Software LLC All Rights Reserved. Philip Conrod & Lou Tylee have co-authored dozens of books and tutorials for beginning Microsoft Basic, Small Basic, Visual Basic, and Visual C# developers of all ages for over 25 years.


Ask a student worker or librarian for the most interesting item in the Music Library, and any one of them is apt to pull out a facsimile of a 14th century manuscript. The “Squarcialupi Codex” is an assortment of handwritten pieces by Italian composers with gold leafed edges and full-color artwork at the beginning of each section. It is completely handwritten due to the fact the printing press hadn’t been invented yet.
“It’s visually stunning,” said Cheryl Taranto, head of the Music Library. “This had to take a lot of time to do. Written in medieval music notation, we don’t often see this kind of manuscript in the modern music world.”
The “Squarcialupi Codex” may be a cherished possession in the Music Library, but it’s just one manuscript in the branch’s facsimile editions and only part of the library’s vast collection, which includes print books, CDs, DVDs, scores and music reference. The library’s collection, as a whole, primarily supports teaching and research for the Music, Dance, and Theater Departments, The focus of the collection housed at the Music Library is predominantly related to classical music and jazz with a small amount of popular music to support the History of Rock ‘n’ Roll courses.
There are more than 35,000 print scores, 12,000 CDs and more than 3,000 DVDs in the collection. The facsimile editions, which include the “Squarcialupi Codex,” are easily the most fascinating, with copies of manuscripts by masters such as Mozart, Bach and Beethoven.“Students can look at them and see what the composer wrote with his own hand. You get a glimpse of their personalities and the way they went about composing their music,” Taranto said. Some are messy, with wine spilled on them, but that’s part of their charm. “The manuscripts are kind of special.”
Electronic resources for music recently welcomed two additions with Classical Music in Video, a database that includes streaming video of classical music performances, master classes, workshops, documentaries and interviews with composers and performers from around the world, and Dance in Video, containing dance performances, interviews, and documentaries. The collection was added to the Music Library in the spring based on faculty requests and the support it would give to the curriculum. “Both are completely relative to the curriculum,” Taranto said. “Classical Music in Video ranges from chamber music to solo vocalists to symphonies. Dance in Video is important for both dancers and musicians, and includes not only classical ballet, but also contemporary and ethnic dance. Both are accessible 24/7 to UNLV students and faculty.”
Other electronic databases include the Classical Scores Library, volumes 1 and 2; Grove Music Online, which is part of Oxford Music Online and contains the New Grove Dictionary of Music and Musicians, among others; and Opera in Video. With a Rebel Card activated through the UNLV Libraries and login information, students can access any of the materials from the Electronic Resources anytime from anywhere.
Another group of resources located in the Music Library is the Music Education Resource Center, which includes scores, etudes, method books and other reference materials to support everything from elementary general music, Orff, choir, band and orchestra pedagogy at all K-12 levels. Future music educators can use it to become familiar with materials available to them once they graduate and begin their teaching careers. “It contains materials future music educators need to be aware of,” Taranto added. “It also can align with pedagogy classes here on campus.”
Those interested in the Music Library’s collections can visit library.unlv.edu/music or call the branch at 702-895-2541.


Initial Samples Released January 31, 2013
We are proud to present the k-12 reading, writing, and communicating curriculum samples created by Colorado educators and teachers. Working with facilitators Tammy Yetter (Fort Morgan), Colleen Larson (Clear Creek), Krista Smith (Mesa County), Ron Marostica (Valley RE: 1), and Mary Jo Bode (Boulder Valley) this past fall, over 100 educators came together to translate the oral expression and listening, reading for all purposes, writing and composition, and research and reasoning sections of the Colorado Academic Standards (CAS) into curriculum. As resources for districts’ voluntary-use, these curriculum samples offer possible options for sequencing the concepts, skills, and content of the CAS across a course or year.
The template upon which all of the samples are based derived from research and was designed and refined by Colorado educators to highlight what students should understand, know and be able to do at the end of a given unit or plan of study (detailed description of the curriculum template components). There are some unique aspects to the reading, writing, and communicating samples at particular grade levels, which are documented in the bullet points below.
Together, these samples are intended to support districts’ transition to the CAS and the development of standards-based instructional practices. Please click here to share your thoughts regarding the curriculum overview samples.
Update February 15, 2013. In the original posting of the Reading, Writing, and Communicating samples, the completion of the sentence stem for the knowledge statements was somewhat confusing. To clarify this section, we have streamlined the knowledge statement to make the samples more accessible and user-friendly.
To learn more about the RWC curriculum samples watch the embedded presentations.
High School and Middle School Reading, Writing, and Communicating samples:
Unique components in middle and high school Reading, Writing, and Communicating samples:
- A graphic that provides a visual representation of the Common Core State Standards’ three aspects of Text Complexity to call attention to the Core’s Text Complexity recommendations from grades 2 to 12.
- 12th Grade (Word or PDF)
- 11th Grade (Word or PDF)
- 10th Grade (Word or PDF)
- 9th Grade (Word or PDF)
- 8th Grade (Word or PDF)
- 7th Grade (Word or PDF)
- 6th Grade (Word or PDF)
Elementary Reading, Writing, and Communicating samples:
Unique components in elementary Reading, Writing, and Communicating samples:
- The reading foundational standards of the Common Core has been highlighted in order to emphasize the critical role they play in underpinning literacy development. Whenever possible, the fundamental reading skills should be systematically addressed in conjunction with the applicable portions of the writing standards. In addition, all of the RWC standards are embedded in the curriculum samples.
- 5th Grade (Word or PDF)
- 4th Grade (Word or PDF)
- 3rd Grade (Word or PDF)
- 2nd Grade (Word or PDF)
- 1st Grade (Word or PDF)
- Kindergarten (Word or PDF)
We are indebted and incredibly thankful for the generosity of author Lois A. Lanning and Corwin Press, who provided us with early (pre-publication!) access to the invaluable text, Designing a Concept-Based Curriculum for English Language Arts: Meeting the Common Core with intellectual integrity k-12. This project and the educators involved benefited greatly from the insights, examples, guidance offered by this book.
Lanning, L. (2012). Designing a Concept-Based Curriculum for English Language Arts: Meeting the Common Core with intellectual integrity k-12. Thousand Oaks, CA: Corwin Press.
The Colorado Sample Curriculum was written by and for Colorado educators as a way to understand and translate the state standards into curriculum. Users of the samples should feel free to copy, distribute and transmit the samples and to adapt them to fit their needs. Please honor the work of the Colorado educators that created these samples by providing them attribution. These samples were not intended for commercial purposes.


Music is Movement: A Study into Aspects of Movement Representation of Musical Activities among Preschool Children in a Dutch Music Education Setting
Thesis or dissertation
University of Exeter
Musical activities are at the centre of Music on the Lap, a Dutch approach to early childhood music education. The present study takes an in-depth look at the role of movement in these musical activities and thereby focuses on the representation of musical elements through movement. This study has among its aims the raising of more awareness for the conscious use of movement in early childhood music education. Departing from an embodied approach within an interpretative design, the premise of the current study is that movement should be considered an important form of kinaesthetic representation through which preschool children can come to understand and learn different aspects of music. The musical movement responses of children aged 18 to 36 months in a regular Music on the Lap setting were investigated. The musical movement behaviour of the children, during specific musical activities, was captured on DVD and the individual responses of 27 children were analysed. Interviews with the participating teacher provided important additional information. Through microanalysis of the children’s movements, the study arrived at a theoretical interpretation: movement responses to music can be considered enactive symbols, creating direct and indirect representations of musical characteristics. To further musical learning the movements should be firmly based in a temporal framework of aural and verbal connotations in order to stimulate purposeful movement responses. This temporal framework should be structured by the teacher through a process of appropriate movement models and verbal guidance to arrive at meaningful movement actions, which can consequently generate implicit and explicit musical kinaesthetic and musical representational knowledge. In this process the children are actively participating to construct with body and mind their own musical knowledge.
Dutch Foundation Toddlers and Music
To view the accompanying DVD material please request a copy of the hardbound thesis from the Library's main catalogue.
PhD in Education
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