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RHYTHM KIDS™ was created and developed
by musician, composer and percussionist, Tom Foote with more than ten
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many children stop taking music classes between the ages of 5-9 because
they aged out of "Mommy & Me" classes and they weren't quite ready
for private instruction. Rhythm Kids is designed to help children
integrate and assimilate rhythm into their lives.
With this in mind, RHYTHM KIDS™ began to offer a
program that would combine musical concepts in a way that would keep
children engaged, and actively participating in music, for as long as
possible. The drums were chosen because of their accessibility (ease of
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Rhythm Kids™ Vision :
- National standards for music education
- Activities that allow children to create and express themselves through music and movement
- Traditional, global rhythms, and patterns based on cultural music
- Songs from around the
- Music methods that
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- Music-based games to develop coordination
- Activities that reinforce social skills (listening, cooperation, respect, doing their best, etc)
- Most importantly, it had to be FUN!
Rhythm Kids™ Four Guiding Principles :
- Rhythm is a primal understanding that we carry
within us (heartbeat, language, walking, etc.)
- Rhythm is a basic, fundamental skill that all
children can learn, develop & strengthen
- Rhythm is foundational to other disciplines;
instrument lessons, singing, dancing and playing sports
- Creating a culture of "play" that connects the
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Although we bring
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our main focus being to develop rhythm using: the voice, the body and
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child's natural sense of rhythm while they have FUN!
RHYTHM KIDS™ is a three year curriculum and the rhythm patterns are adapted
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classes will bring music and happiness to your child, to your family and
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WHAT ARE RHYTHM KIDS™CLASSES LIKE?
TYPES OF RHYTHM KIDS CLASSES OFFERED
LEARN MORE ABOUT RHYTHM KIDS™ FOUNDER!
PARENT NOTEBOOK ARTICLE ON THE BENEFITS OF RHYTHM KIDS™!
CHECK OUT MUSIC FROM RHYTHM KIDS MUSIC COLLECTION!
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Education & Training
At its core, an individual’s formal education focuses on acquiring knowledge and skills that will assist them in the future, particularly as it relates to future employment. Being more vocational in nature, training can take place outside or within the workplace and is based on gaining experience and improving skills for a job which is currently held.
Comprising early childhood learning through to the completion of high school, school in Australia is conducted in public schools, as well as privately operated and religious or faith-based schools. All Australian schools are guided by a curriculum, setting out learning outcomes for each student. A key difference is that public schools are directed by state departments of education, while schools that are not as reliant on public funding and support, and are less bound by state Government for their teaching programs. School is a child’s introduction to education. Aside from any exposure to educational toys, games, crafts and other resources, it is the foundation for becoming literate and numerate, as well as shaping their brains through a variety of classroom discussion and activities.
Also known as higher or secondary education, tertiary education typically follows immediately from graduation from high school, but can be entered at any time as a mature-age student. Taking place within a university or tertiary education college, accredited higher education includes undergraduate and postgraduate studies in a wide variety of professions and subjects, culminating in certificates, diplomas or academic degrees.
Training and development is commonly concerned with the procurement of educational experience or qualifications for a specific purpose, such as career progression or immigration and citizenship. Australia has a number of specialist training, business, and language colleges, which equip students for a career in multiple areas, such as hospitality, business, and community services. Further education can also be undertaken at TAFE (Technical And Further Education), a federal government-owned network of community-based colleges, offering a range of certificates, diplomas and associate degrees. Less occupational-based courses are also offered at TAFE, including humanities, basic I.T, and broad arts subjects.
Ready to learn more? The Yellow Pages has a comprehensive list of Australian schools, universities, colleges and TAFE campuses in your area.


On the non-random distribution of educational deprivation of children in India
AbstractThe emphasis on education assumes importance given the recent recognition of human capital, human rights and human development perspectives of development. Hence educational deprivation is recognised as the primary agent of human deprivation and all necessary measuresare required to ensure minimum education for every child. Such auniversal recognition emanates from the given magnitude of educationally deprived children all around the world. On this premise,this is an attempt at examining the levels and inequities associated withthe phenomenon of educational deprivation of children during 1990's in India. This exercise provides a detailed exposition of the household characteristics of the deprived children based on information obtained in National Sample Survey Organisation (NSSO). The persistence of educational deprivation among children in India is due to socio-economic deprivation in general; however, it remains debatable but whether the remedy lies in making the schooling provision universal. This paper argues that the provision may be necessary but not a sufficient condition to accomplish the dream goal of universal elementary education. Alternatively it argues for a greater role of the state to ensure the enabling conditions in the household domain; in otherwords, the state has the responsibility of ensuring the well-being of all children on an equal footing. The state's responsibility is of equal importance of that of the parents.
Download InfoIf you experience problems downloading a file, check if you have the proper application to view it first. In case of further problems read the IDEAS help page. Note that these files are not on the IDEAS site. Please be patient as the files may be large.
Bibliographic InfoPaper provided by Centre for Development Studies, Trivendrum, India in its series Centre for Development Studies, Trivendrum Working Papers with number 372.
Length: 51 pages
Date of creation: Jul 2005
Date of revision:
India; Deprivation; Educationally Deprived Children; Child Labour; Educational Inequalities; Group Inequalities;
Find related papers by JEL classification:
- I2 - Health, Education, and Welfare - - Education
- I20 - Health, Education, and Welfare - - Education - - - General
- I28 - Health, Education, and Welfare - - Education - - - Government Policy
- R12 - Urban, Rural, Regional, Real Estate, and Transportation Economics - - General Regional Economics - - - Size and Spatial Distributions of Regional Economic Activity; Interregional Trade (economic geography)
- J21 - Labor and Demographic Economics - - Demand and Supply of Labor - - - Labor Force and Employment, Size, and Structure
- J23 - Labor and Demographic Economics - - Demand and Supply of Labor - - - Labor Demand
This paper has been announced in the following NEP Reports:
- NEP-ALL-2005-10-04 (All new papers)
- NEP-CWA-2005-10-04 (Central & Western Asia)
- NEP-DEV-2005-10-04 (Development)
- NEP-EDU-2005-10-04 (Education)
Please report citation or reference errors to , or , if you are the registered author of the cited work, log in to your RePEc Author Service profile, click on "citations" and make appropriate adjustments.:
- Sonia Bhalotra & Christopher Heady, 2003.
"Child Farm Labor: The Wealth Paradox,"
Bristol Economics Discussion Papers
03/553, Department of Economics, University of Bristol, UK.
- Canagarajah, Sudharshan & Coulombe, Harold, 1997. "Child labor and schooling in Ghana," Policy Research Working Paper Series 1844, The World Bank.
- Folbre, Nancy, 1994. "Children as Public Goods," American Economic Review, American Economic Association, vol. 84(2), pages 86-90, May.
- Chaganti, Ravi & Motkuri, Venkatanarayana, 2007. "Inclusive Growth and Employment, Poverty, and Inequality : With Reference to SC and STs in India," MPRA Paper 48505, University Library of Munich, Germany.
For technical questions regarding this item, or to correct its authors, title, abstract, bibliographic or download information, contact: (Shamprasad M. Pujar).
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Exam boards: Edexcel, AQA, OCR, WJECL
This workbook has been specifically written to improve theory comprehension among students requiring a basic knowledge of the subject.
Starting with the fundamentals of pitch and rhythm, this workbook steadily progresses to a range of applications including key signatures, scales, chords and modulation.
There are a number of tasks in each chapter, including practical aural and written exercises based on rock, pop, jazz and classical music. Many of the exercises can also be explored using music technology software.
This workbook is aimed at students wanting a firm grounding in music theory to GCSE level, and also candidates preparing for early grade exams in music theory.
Rebecca Berkley is a freelance writer and musician, and is a music education consultant. She has taught percussion to students of all ages, both as a private teacher and as a workshop leader, and published percussion music. She is also a choral conductor, running several choirs and directing music festivals with her husband. After starting her career as a music teacher in secondary schools, she became a lecturer in music education at the University of Southampton and the Institute of Education, University of London. Her PhD thesis focused on how GCSE students learn to compose, and how best to teach them. She is the co-author of Rhinegold’s Edexcel GCSE Music Listening Tests (Book 3) and contributes as a freelance writer to Classroom Music Magazine.


Primary education - wikipedia, the free encyclopedia, Primary education or elementary education often in primary school or elementary school is typically the first stage of compulsory education, coming between early
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In academic standards - indiana department of education | idoe, Contact. south tower, suite 600 115 w. washington street indianapolis, in 46204 email@example.com
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how to Grade 12 September 2013 English First Additional Language P1 tutorial


Declaring your major as music, whether it is in education, performance, or technology can be an exciting decision to make. People choose to major in music for many different reasons, but the primary motivation seems to be a passion for making music in some capacity. Inspiring people through performance and teaching can be a life-changing experience for all involved. The majority of students who choose to major in music are typically the ones that were heavily involved in their high school choir, orchestra, and band programs. These students were often found in the band or choir room before and after school and participated in many musical activities on and off campus. In short, they played and sang a lot! Choosing music as your major in college brings new challenges as you prepare for a professional career. One of the most shocking realizations for the college music major at any institution is the fact that they will be taking academic style music courses and not simply just singing or playing their instrument. As with any discipline studied, the student must take core classes that help them gain knowledge and skills they will need to develop a successful professional career after graduation. For the music major, these courses include music theory, music history, class piano, and other fundamental classes. In addition to these studies, the music major will also take general education classes such as college algebra and literature courses. The student will be expected to develop a practice routine and also juggle class assignments and ensemble requirements. Fundamental to the academic mission at West Liberty University, we we hope to produce professional musicians across a multitude of musical disciplines that are prepared to achieve success and happiness in their professional lives.
The following are recommendations from the National Association for Music Education for successful completion of a music major program. You can read more of their articles and information on their website at www.nafme.org.
1. Clarify your reasons for becoming a music major. What do you want to do with your music study? Do you want to teach or be an international recitalist? Do you want to go to graduate school or professional school?
2. Request the assignment of an adviser from the music faculty. This adviser can guide you through course selection and audition preparation. Ask about the proper sequence of courses and their content. If you need remedial work, it is best to discover this early on. At West Liberty, a music advisor will be provided for you.
3. Keep a portfolio of your progress throughout your undergraduate studies. Theory tests (with high marks), programs of ensemble work and student recitals, notes from master classes, and other professionally related experiences will confirm your determination to succeed.
4. Manage your time carefully. You must allow time for core courses, music major courses, studio practice time, ensemble rehearsal, and ensemble performance dates. From an organizational standpoint, this is often the true test of whether you can “make it.” This is also the true training ground for becoming a teacher. Time management and organization will always be critical.
5. Prepare for your proficiency tests with great care. Juries and recitals with your major instrument are the cornerstone for your musicianship. Work closely and diligently with your applied teacher. Plan appropriately for secondary instrumental requirements. This could mean lessons and performance opportunity in a less-threatening environment. Prepare for your piano proficiencies with the appropriate faculty member. While the approving faculty member may be responsible for testing, he or she may not always be the most suitable person for planning an instructional strategy to satisfy the test. You might consider asking the applied piano teacher for a referral.
6. Academic habits that are predictors of success in school-punctuality, reliability, preparedness, industriousness, and effort-are also indispensable for success in the music profession. Declaring a music major is more complicated than singing or playing for pleasure. With careful planning and dedication, however, the curriculum can be one of the most rewarding in the liberal arts.


One size does not fit all : Responsive practices in providing services to families
Broughton, Beverley, Cartmel, Jennifer Leigh, & Hall, Jenny (2005) One size does not fit all : Responsive practices in providing services to families. In Bailey, C. & Barnett, K. (Eds.) Social Change in the 21st Century, October, 2005, Carseldine, Brisbane.
Among a wide range of services to the community, libraries have been involved in promoting family literacy practices through a range of activities and initiatives.
Family literacy is variously defined as the interrelated practices of parents, children and others in the home and as a particular type of educational program for parents, to enable them to promote the literacy understandings of their children in the context of home experiences (Nutbrown and Hannon, 2003). The intent is to change the subsequent school outcomes for the children. Often family literacy programs attract and engage those parents who already informed about, and skilled in supporting, the literacy development of their children. Other families may be intimidated by or alienated from such programs.
Researchers (e.g. in Australia: Makin & Spedding, 2001; Cairney & Munsie, 1995) have highlighted the importance of designing family literacy initiatives that build positive partnerships with parents by being responsive to the characteristics of the families; and acknowledge and build on the positive practices that parents use. In 2003, Logan library implemented an outreach initiative to make links with and promote literacy practices in families who were not engaged with the library. These included families receiving social support, teenage parents and families who had connections within their own ethnic community, but not with the library. This presentation highlights some of the factors, identified in this project that should be considered in devising programs to provide services to diverse families.
Impact and interest:
Citation countsare sourced monthly fromand citation databases.
These databases contain citations from different subsets of available publications and different time periods and thus the citation count from each is usually different. Some works are not in either database and no count is displayed. Scopus includes citations from articles published in 1996 onwards, and Web of Science® generally from 1980 onwards.
Citations counts from theindexing service can be viewed at the linked Google Scholar™ search.
Full-text downloadsdisplays the total number of times this work’s files (e.g., a PDF) have been downloaded from QUT ePrints as well as the number of downloads in the previous 365 days. The count includes downloads for all files if a work has more than one.
|Item Type:||Conference Paper|
|Keywords:||family literacy, hard, to, reach parents, libraries, community outreach|
|Divisions:||Current > QUT Faculties and Divisions > Faculty of Education|
Current > Schools > School of Early Childhood
|Copyright Owner:||Copyright 2005 (The authors)|
|Deposited On:||25 Aug 2006|
|Last Modified:||09 Jun 2010 22:34|
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About the Authors
Section I: Student Motivation, Engagement, and Achievement
What Can Literacy Leaders Do When Low Expectations Have a Negative Impact on Student Motivation and Achievement?
What Can Literacy Leaders Do When Data Show That Most Students Do Not Read or Write on Grade Level?
What Can Literacy Leaders Do to Close the Literacy Achievement Gap Among Groups of Students Within a School?
How Can Literacy Leaders Capture and Enhance Student Interest in Technology to Prepared Them to Use Multiple Literacies?
Section II: Integrating Literacy and Learning
When Literacy Leaders Observe in Content Area Classrooms, What Kinds of Literacy Support Should They See?
How Can Literacy Leaders Improve Content Area Writing Instruction and Increase the Amount of Quality Student Writing in all Content Areas?
What Can Literacy Leaders Do When Instructional Strategies Are Disconnected From Learning Goals, Content Objectives, or Student Needs?
How Can Literacy Leaders Set Up Effective Language and Literacy Development for Adolescents who Are English-Language Learners?
What Can Literacy Leaders Do to Provide a Smooth and Positive Transition for New Students to Ensure That Students Experience Ongoing Literacy Development?
Section III: Sustaining Literacy Development
What Can Literacy Leaders Do to Get Widespread, Active Support for a Schoolwide Literacy Improvement Effort?
How Can Literacy Leaders Create a Schedule That Provides Time for Teacher Collaboration and Planning as Well as Adequate Time for Students to Read, Write, and Learn?
How Can Literacy Leaders Best Develop Teachers as Potential Leaders and Mentors to Their Colleagues?
How Can Literacy Leaders Help the School Library Media Specialist Support and Improve Content Area Literacy Instruction?
How Can Literacy Leaders Better Understand, Value, and Build Upon the Contributions That Families and Communities Make to Students' Literacy Development?
How Can Literacy Leaders Sustain a Schoolwide Literacy Improvement Effort Despite Transition of School and District Leaders or High Teacher Turnover?
Vignettes of Literacy-Rich Classrooms
Reproducible Tools/Forms for Literacy Leaders


What's new in pedagogy research?
The program consisted of two ten-week classes, one for two- and three-year-olds, and one for four- and five-year-olds. The parents also attended all the classes. The forty-five-minute sessions were divided into alternating segments of free play and guided group activities. Two researchers alternated their roles as participant/teacher and observer/note taker. Additional graduate music students also observed and took notes on the activities of the various children.
After the notes were transcribed and analyzed, three types of notable free play emerged: unfinished play, extinguishing play and enhancing play. In unfinished play, the free musical play of the children was interrupted or inhibited, and it was indicated by the children either bringing items back to the group when free play time ended, participating in the group activities from the periphery or ignoring the group activities. "Evidence of unfinished play suggests that the children needed play episodes beyond the time limits of the four main sections of each session of this program." (2) Two categories of interactions seemed to result in the extinguishing of play: physical proximity and corrections or suggestions. An adult's close, unexpected presence sometimes halted the child's play until the person left; and when an adult corrected, criticized or instructed the child on the musical activity, play sometimes was extinguished. Adult participation in a child-directed activity, with the adult valuing and encouraging the activity in a positive way, sometimes served to enhance the free play.
The researchers concluded that:
Evidence of unfinished musical play suggests that children desired play episodes beyond the contained time frames of/tree play with class sessions. We identified adult flexibility as necessary for children to finish their musical activity at their own pace. We recommend that educators occasionally abandon direct instruction, thereby removing emphasis on the musical product. We suggest that educators supplement specific skill acquisition and performance objectives with open-ended instruction. Open-ended instructional strategies using questions and suggestions may guide children to discover musical elements, thereby laying the groundwork for later skill acquisition.... We believe that, when provided with appropriate tools, a child's skill acquisition is more powerful because learning results from personal discovery rather than adult instruction of imposed traditional perceptions. (3)
Berger and Cooper then recommended that music teachers of preschool children should be "continually aligning and adjusting teaching actions to the process; consistently assessing current curriculum, classroom environment and student needs; and providing ample and appropriate opportunities for free musical play." (4)
This research may encourage us to ask ourselves some very basic and probing questions such as, "Why am I teaching very young children, and what are my goals for them? Are my goals appropriate for the preschool child, or am I just teaching a 'watered down' version of what I expect from my school-aged children? Am I process or product oriented, and how does that influence how I conduct my preschool classes? Does this research have any implications for my private instrumental lessons with very young children?" Many times the concept of free play can be confused with the negative image of "just messing around, wasting time" rather than being viewed as a valid and necessary learning approach for young children.
The teacher of young children needs not only to embrace this concept of the importance of free and experimental play, but also impart this information to the parents of the group. As this research indicated, much free play can be extinguished by well-meaning teachers and parents constantly intervening with corrections and advice. Perhaps it would be helpful for the teacher and parent to establish from the very beginning the belief that the outcomes of successful preschool classes often cannot be completely measured by tangible products or performances, and that greater benefits may be realized by the process of development, which will become more apparent as the child ages and matures.
(1.) Berger, A. A., and S. Cooper. "Musical Play: A Case Study of Preschool Children and Parents." Journal of Research in Music Education, 51(2003): 151-164.
(2.) Ibid., 157.
(3.) Ibid., 162-3.
(4.) Ibid., 163.
Rebecca Grooms Johnson is the director of keyboard pedagogy at Capital University in Columbus, Ohio. She is an experienced independent piano teacher and a past president of the Ohio MTA. Johnson holds a Ph.D. in piano pedagogy.
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|Title Annotation:||Professional Resources|
|Author:||Johnson, Rebecca Grooms|
|Publication:||American Music Teacher|
|Date:||Feb 1, 2004|
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Changing Technologies, Changing Minds: Taking account of music technologies in the curriculum1
Brown, Andrew R. (1997) Changing Technologies, Changing Minds: Taking account of music technologies in the curriculum1. In Gifford, E, Brown, A.R., & Thomas, A (Eds.) Australian Society for Music Education XI National Conference.
Our music education history is littered with changing technologies and the future horizon seems equally full of new technological developments. As a part of maintaining quality and relevance in our music curriculums this paper seeks to reveal the way technological change interacts with the music curriculum to change the minds of our students through their musical understanding. Such change can best arise through growth and development in the student through making and reflecting with a variety of technological resources, from paper and pencil to instruments and computer. Although sound recording technologies have been the biggest technological change effecting music education this century, digital technologies, in the form of computers and synthesizers, are the most visible technological change with which we are currently engaged. In order to understand how these changes can best serve music education we need to be clear about the ways in which technologies interact with thinking. The technological environment in which the student can developed is established by the teacher and the curriculum, so choosing engaging activities and appropriate technologies is vital.
Impact and interest:
Citation countsare sourced monthly fromand citation databases.
These databases contain citations from different subsets of available publications and different time periods and thus the citation count from each is usually different. Some works are not in either database and no count is displayed. Scopus includes citations from articles published in 1996 onwards, and Web of Science® generally from 1980 onwards.
Citations counts from theindexing service can be viewed at the linked Google Scholar™ search.
Full-text downloadsdisplays the total number of times this work’s files (e.g., a PDF) have been downloaded from QUT ePrints as well as the number of downloads in the previous 365 days. The count includes downloads for all files if a work has more than one.
|Item Type:||Conference Paper|
|Keywords:||music, sound, education, technology, computer|
|Subjects:||Australian and New Zealand Standard Research Classification > STUDIES IN CREATIVE ARTS AND WRITING (190000) > PERFORMING ARTS AND CREATIVE WRITING (190400) > Musicology and Ethnomusicology (190409)|
|Divisions:||Current > QUT Faculties and Divisions > Creative Industries Faculty|
|Copyright Owner:||Copyright 1997 Andrew R. Brown|
|Deposited On:||14 Feb 2007|
|Last Modified:||09 Jun 2010 22:37|
Repository Staff Only: item control page


This week's history is a preview, or review, depending on when you read it, of my program on Monday at the library on the important role of bands and music in Sandusky's history. And it will be a brief teaser for a video presentation that will premier at the library on November 1. Musical groups not only entertain the people, but they tend to reflect the culture and interest of the people participating, both as entertainers and the entertained.
It is safe to say that music has existed in some form as long as human culture has existed, but music as a profession and a public resource is still relatively new (only a few centuries or so). Sandusky's public music culture arrived in the mid-nineteenth century, brought here most prominently by the wave of German immigrants who began settling in the region mostly after 1848. The first known organized band in Sandusky was the Jaegerband, formed in 1851. As one can guess from its name, the band included German immigrants, and we can guess that the music they played was of German origin.
Several other bands began performing in Sandusky around the same time, and many, if not most, were German-influenced. Some that we know a little about include Professor Himmel's Band (founded 1854), the Sandusky City Band (1859), and the Germania Reed Band (1871). But the most popular band of the era was the Great Western Band. Founded in 1867, the band performed at many functions around Sandusky, as well as in many other places throughout the midwest. From its beginning until it disbanded around 1890, the Great Western Band was often the primary musical entertainment at most public events. Images in the library's collections show the band performing at Sandusky's celebrations of the national centennial in 1876; programs describe their concerts at many public halls and events. The Great Western Band, one of the earliest performing bands at Cedar Point, broke up around 1890, with many of its members reorganizing as the Ackley Band.
Eugene B. Ackley was among the most popular musicians of his day in Sandusky. He arrived in the city as a young man and promptly became the leader of arguably the most popular band in Sandusky through much of the twentieth century. Ackley's Band often served as house band at Cedar Point. The Ackley Orchestra, another of his many musical groups, also played frequently at Cedar Point. Additionally, Ackley eventually led the Cedar Point Orchestra, which played for vaudeville shows and dances at the park's coliseum and ballroom. This would be enough for most people, but Ackley also contributed significantly to the music education program at Sandusky High School, directing the school orchestra on several occasions and contributing a library of music.
Cedar Point faced brief local competition in the 1890s when the Johnson's Island Pleasure Resort was in business. Of course, this competition included the Johnson's Island Band, organized in 1893. After this resort closed just a few years later, it appears that band members reorganized as the William Scouton Concert Band.
Music in twentieth century Sandusky became even more popular and diverse, particularly with the advent of the Jazz Age. The Fox Sisters Orchestra, founded 1906, may have been the first all-woman band in Sandusky. (That needs to be investigated.) The Harmonettes followed in their footsteps twenty years later. In 1933, the Harlemetts, led by Paul Alexander, became the first known African American orchestra in Sandusky. The Boys and Girls Band, under the sponsorship of George Boeckling of Cedar Point fame, gave children opportunity to become musical performers. And of course, locally-performed music continues today, with large ensembles such as the Firelands Symphony Orchestra, and many smaller bands playing clubs and parties.
#1 - The Jaegerband is considered Sandusky's first organized band.
#2 - The Great Western Band was probably Sandusky's most popular band in the late nineteenth century.
#3 - Ackley's Band was a reuglar fixture at Cedar Point; its leader, E.B. Ackley, was Sandusky's foremost musician for much of the twentieth century.
#4 - An all-woman band, The Fox Sisters Orchestra, was founded in 1906.


The Institute for Multi-Sensory Education offers an Orton-Gillingham based reading instructional program, "Sensational Strategies for Teaching the Beginning Readers" for parent's to use with their children (pre K true the third grade) This is the same research based Orton-Gillingham used by Special Education reading teachers and the major tutorial centers. Orton-Gillingham is currently being introduced into the general classroom. Our program meets the national core standards and is designed to be used preschool in the homeschool.
"Sensational Strategies for Teaching the Beginning Reader"
Orton-Gillingham is basically multi-sensory, kinesthetic, phonics. Studies, at the National Institute of Health, have shown that at least 95% of even the poorest readers can learn to read at grade level, if they are given early and proper phonics instruction. By providing early intervention with phonemic awareness, IMSE hopes to reduce the number of children struggling with reading, writing, and spelling.
The Orton-Gillingham parent's product contains an instructional DVD software, a parent's teaching manual, as well as the necessary supplies to begin using Orton-Gillingham right out of the box. Parents can give their children the phonemic awareness they will need to be successful learning reading in the general education classroom.
The Institute for Multi-Sensory Education has a comprehensive Catalog of Orton Gillingham products, materials and supplies.


Study First to Detail the Costs of Comprehensive Music Education
—A first-of-its-kind study outlines the actual costs of a comprehensive k-12 music education program. The research funded by the National Association of Music Merchants (NAMM) Foundation’s Sounds of Learning research initiative, calculates a cost for music education averaging $187 per student annually in the sample school district.
Mark L. Fermanich of the Center for Education Policy Analysis in the School of Public Affairs, now part of the Buechner Institute for Governance in the School of Public Affairs, at the University of Colorado Denver conducted the in-depth case study of spending for music programs in a large school district. The study, first published in Journal of Education Finance, is the first to examine financial resources for music education beyond staffing levels. Research such as this can inform budget and policy debates over support for music and the arts, while districts weigh the costs and benefits of cutting funding.
To investigate this issue further, Fermanich’s study focused on a school district, which served over 70,000 students during the 2009-2010 school year. The district includes urban, suburban and rural schools with a total district budget of $853 million. From that $13.9 million was allocated to music education representing 1.6% percent of total district expenditures. The sample school district is moderately diverse with 25% minority students and 25% of the student population designated eligible for Title 1 funds available for low-income families. Participation in elective music programs in the district’s middle and high school levels mirror the district’s demographics, with minorities equally as likely as whites to participate.
“This study sheds light on the true costs of a comprehensive music education,” said Fermanich, a Research Associate at the University of Colorado Denver. “It also asks school districts to carefully assess the effects of ‘cutting’ music education programs as they seek to reduce expenditures or re-allocate funds away from the arts to tested subjects that are measured for accountability purposes.”
Based on total enrollment, the study reveals that the music education costs average $187 per student annually. Costs averaged $195 per student at the elementary level (grades 1-5) where general music, a 45-minute music class per three-day cycle, is mandatory. Per student spending in middle school averaged $189 and $143 in high school, as music instruction is elective at the secondary level.
The school district examined in this study is committed to a robust music program with general music and instrumental music offerings for all grades. The principals and teachers surveyed in the study placed a high value on music’s benefits to their students and their schools. In addition to universal elementary music participation, the study found that over 50 percent of students in middle school and high school participate in elective band, choir and orchestra offerings. The study also found that these core education funds gave these schools better access to quality music instruction. Additionally, participation in school music programs correlated to lowered drop out rates and higher school engagement.1
“School districts are facing tough choices as state and local education funding is strained. NAMM encourages school districts to consider the many benefits of music education in comparison to the relatively low cost within the overall budget as revealed by this study,” said Joe Lamond, president and CEO of NAMM. “We cannot sell a child’s education short for what are pennies on the dollar. Music education is among the best investments we can make in our schools and for our children.”
The combined forces of national high stakes accountability with the passage of the federal No Child Left Behind (NCLB) law (20 U.S.C. §6301, 2001) and the ongoing budget crisis have led school districts to reduce funding for subjects that are not assessed for state accountability purposes. But research suggests involvement in music programs may keep kids in school and boost success in other academic subjects, particularly in math (Deasy 2002; Fiske 1999; Helmrich 2010). The public also supports arts education with 93% of Americans responding that the arts are essential for providing students with a well-rounded education.2
“This study represents only a first step,” said Fermanich. “Much more can be learned through more complete research into financing and resource uses of music and other arts programs.”
 Results from the Fall 2011 Journal of Education Finance study.
2 2005 Harris Poll commissioned by Americans for the Arts
Director of Public Relations & Social Media | Phone: 760.438.8007


Popular education in those days was at the lowest possible ebb. In 1837 there were in all the private and public schools of the provinces only one-fifteenth of the total population. In Lower Canada not one-tenth could write. The children of the habitants repeated the Catechism by rote, and yet could not read as a rule. In Upper Canada things were no better. Dr. Thomas Rolph tells us that, so late as 1833, Americans or other anti-British adventurers carried on the greater proportion of the common schools, where the youth were taught sentiments “hostile to the parent state” from books used in the United States—a practice stopped by statute in 1846.
Adequate provision, however, was made for the higher education of youth in all the provinces. “I know of no people,” wrote Lord Durham of Lower Canada, “among whom a larger provision exists for the higher kinds of elementary education.” The piety and benevolence of the early possessors of the country founded seminaries and colleges, which gave an education resembling the kind given in the English public schools, though more varied. In Upper Canada, so early as 1807, grammar schools were established by the government. By 1837 Upper Canada College—an institution still flourishing—offered special advantages to youths whose parents had some money. In Nova Scotia King’s College—the oldest university in Canada—had its beginning as an academy as early as 1788, and educated many eminent men during its palmy days. Pictou Academy was established by the Reverend Dr. McCulloch as a remonstrance against the sectarianism of King’s; and the political history of the province was long disturbed by the struggle of its promoters against the narrowness of the Anglicans, who dominated the legislative council, and frequently rejected the grant made by the assembly. Dalhousie College was founded in 1820 by Lord Dalhousie, then governor of Nova Scotia, to afford that higher education to all denominations which old King’s denied. Acadia College was founded by the Baptists at Wolfville, on a gently rising ground overlooking the fertile meadows of Grand Pre. The foundations of the University of New Brunswick were laid in 1800. McGill University, founded by one of those generous Montreal merchants who have always been its benefactors, received a charter in 1821, but it was not opened until 1829. The Methodists laid the foundation of Victoria College at Cobourg in 1834, but it did not commence its work until after the Union; and the same was the case with King’s College, the beginning of the University of Toronto.


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Thanks for sharing those wonderful quotes about art from your kids. I will
be sharing them with with students here at UF. We do a book-making
activity in the art methods class which is similar in theme. Students are
asked to brainstrom ways to complete the statement "Art is. . ." (up to 10
times...although many generate more ideas). Depending on the format
(origami, accordian, etc.,) of the book and the number of pages (usually
8-10) they are then asked to create an illustrated book of their "favorite"
statements (using any materials available, construction paper, markers,
magazines, glitter....). We get some wonderful "artist books" about art as
We have also alternated the "Art is..." theme with "I am an artist when I. . ."
The idea behind this assignment is not only to get students to consider
what "art is" or what it means to "think like an artist" to them
personally, but also to suggest an idea for a book-making activity these
preparing teachers can do with kids.
CRAIG ROLAND. Associate Professor-Art Education.
Department of Art, University of Florida, Gainesville Florida.
32611-5801. (352) 392-9165 - Art Ed Office (352) 392-8453 - Fax


ERIC Number: ED228377
Record Type: RIE
Publication Date: 1979-Jan
Reference Count: 0
Cultural Values and School Improvement: A Report on the San Andreas Cultural Continuity Project on Urban Education. Documentation and Technical Assistance in Urban Schools.
Smith, David M.
Inner City children have been known to experience difficulty in school with their academic programs because they are taught in an environment that is culturally different from the home and community that a child comes from. Thus, an inner city child may be stigmatized as educationally deficient, consequently depriving him of the opportunities to fully realize his potentials or utilize his skills. The expectations, attitudes, and values that exist in the school setting sometimes conflict with those of the children and the community that it is supposed to serve and may affect the attitude of the children towards learning. This paper describes the background, philosophy, strategies and problems of the Cultural Continuity Project (CCP) in Urban Education, one of the nine programs undertaken by the Documentation and Technical Assistance in Urban School project. CCP was designed to resolve cultural conflicts and improve interaction between the school, the community members and other individuals concerned with the education of inner city children by using a psychosocial model approach to problem solving. The model seeks to change the attitudes of teachers, administrators, and parents by providing increased access to expert information on areas of mutual concern to all. (Author/AOS)
Descriptors: Black Culture, Case Studies, Cultural Differences, Cultural Influences, Desegregation Effects, Elementary Education, Information Dissemination, Inner City, Organizational Change, Parent Participation, Parent School Relationship, Problem Solving, School Community Relationship, Staff Development, Teacher Attitudes, Teaching Skills, Urban Education, Urban Schools
Publication Type: Reports - Descriptive
Education Level: N/A
Sponsor: National Inst. of Education (DHEW), Washington, DC. School Capacity for Problem Solving Group.
Authoring Institution: Center for New Schools, Inc., Chicago, IL.
Identifiers: Documentation and Technical Assistance Project


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Some ssuggested reading on Multiculturalism and the Curriculum:
"Changing Multiculturalism" by Joe Kincheloe and Shirley Steinberg
"Multicultural Approaches to Racial Inequality in the United States" by
"Multicultural Education" by Christine E. Sleeter and Carl A. Grant
"Education that is Multiculturalist and Social Reconstructionist"by
Christine E. Sleeter and Carl A. Grant
"A Revolution of Values: The Promise of Multicultural Change"by bell hooks
"Embracing Change: Teaching in a Multicultural World"by bell hooks
"Dysconscious Racism: Ideology, Identity, and the Miseducation of Teachers"
by Joyce E. King
Some suggested reading on Multiculturalism and the Art Education Curriculum:
"Discipline-Based Art Education (DBAE) and Cultural Literacy Art Education
(CLAE)" by Nancy Johnson
"The Reality Construction of Technocratic-Rationality Through DBAE" by
"Cultural Literacy as Social Empowerment" by Laurie Hicks
"DBAE and CLAE: Relevance for Minority and Multicultural Students" by
"Pluralism and the Content of the Art Curriculum"by Graeme Chalmers
"Designing and Implementing a Curriculum for Multicultural Art Education"
by Graeme Chalmers,
"Social Reconstructionist Multicultural Art Curriculum Design: Using the
Powwow as an Example" by Patricia L. Stuhr
"Teaching Students the Way They Learn" by Amalia Mesa-Bains
"The Texture of Memory: Historical Process and Contemporary Art" by Rayna Green
"American Identity" by Carmen Bardeguez and Zoya Kocur
Hope these help. Let me know if you need to reference the original source
of any of the above essays/articles.


WEE Learn Curriculum
Used in HCCA's Infant II through Toddlers classrooms for ages 12 months to 2½ years, the Weekday Early Education (WEE) Learn curriculum helps children develop foundational skills that are appropriate to, but also challenging to their age group, in a variety of communication disciplines like pre-reading, pre-writing, and language.
WEE Learn Foundational Skills. Utilizing a wide range of age-appropriate concepts, WEE Learn children engage in relationship-oriented activities that embrace physical, mental, social, emotional, and spiritual development. WEE Learn also uses Christian themes such as God, Jesus, Bible, church, family, self, others, community, and the world, to encourage childhood learning by exploring the environment.
Now therefore, listen to me, my children, for blessed are those who keep my ways. Hear instruction and be wise, and do not disdain it. Proverbs 8:32-33
An example of a WEE Learn concept is "God made eyes to see, and ears to hear. I can learn by seeing things around me. I can learn by hearing sounds."


You always thought music education was important...Now you know!
A rising tide of research has linked music lessons to childhood brain development.
Childhood music lessons actually enlarge the brain. German researchers have found that the brain area used to analyze music pitch is an average of 25% larger in musicians. The younger the musical training, the larger the area. Nature, April 23, 1998.
Substance abuse is lowest in music students - A Texas Commission of Drug & Alcohol Abuse report showed that "secondary students who participated in music reported the lowest lifetime and current use of all all substances." Houston Chronicle, January 11, 1998.
College-bound seniors who had school music experience scored 52 points higher on the verbal portion of their SATs and 37 points high in math. (89 points combined) Music improves math and fraction comprehension along with spatial-temporal testing.
70 percent of the nation's major universities have state that high school credit and achievement in the arts are significant considerations for admission to their institutions.
Music teaches cooperative and leadership skills.
Music students have better attendance & are more often on honor rolls. WHY?
Music is MATHEMATICAL! It is rhythmically based on the divisions and subdivisions of time into fractions which must be done instantaneously, not worked out on paper.
Music is a PHYSICAL EDUCATION! It requires fantastic coordination of fingers,hands, arms lips, cheeks, and facial muscles, in addition to extraordinary control of the diaphragm, back stomach, and chest muscles, which respond instantly to the sound the ear hears and the mind interprets.
Music is a FOREIGN LANGUAGE! Most of the terms are in Italian, German, or
French; and the notation, is certainly not English - but a highly developed kind of shorthand that uses symbols to represent ideas. The semantics of music is the most complete and universal language.
Music is a SCIENCE! It is exact, specific; and it demands exact acoustics. A
conductor's full score is a chart, a graph which indicates frequencies, intensities,
volume changes, melody and harmony all at once and with the most exact control of time.
Music is HISTORY! Music usually reflects the environments and times of its
creation, often even the country and/or racial feeling.
MUSIC IS ALL THESE THINGS, BUT MOST OF ALL MUSIC IS ART!
It allows a human beings to take all these dry, technically boring (but difficult) techniques and use them to create emotion. That is one thing that science cannot duplicate.
Music may achieve the highest of all missions:
She may be a bond between nations, races, and states
Who are strangers to one another in many ways;
She may unite what is disunited,And bring peace to what is hostile. ...Dr. Max Bendiner


Keyword(s):Classification of Sound , Music Education , Visual Representation , Waveform , Causal Listening , Composed Space , Listening Strategy , Source Recognition , Audio-vision
This CD-ROM contains 10 educational games for young listeners:
- Image and sound synchronisation: identify the causal relationship between various sounds and images.
- Sound sources moving: identify spatial movements of sound.
- Localisation of a sound source: identify a spatial position (front, back, right, left).
- Acoustic spaces: classify sounds from three types of space (normal, bathroom, concert hall).
- Sound morphing: reconstitute the trajectory from one sound to another sound.
- Musical themes morphing: reconstitute the trajectory from one musical theme to another musical theme.
- Musical puzzle: reconstitute three musical pieces from their fragments (classical, rock and soundscape).
- Sound classification: classify sounds in two categories (percussion and other).
- Graphical representation of sound: associate sounds to sonograms and waveforms.
- Identification of sound events: source recognition.
IRCAM-Hyptique, (1999). Dix jeux d'écoute


March 5, 1887; his father was Raul Villa-Lobos and his mother was Noemia Umbelina Villa-Lobos.
Rio de Janeiro
November 17, 1959 in Rio de Janeiro
Also Known As:
Heitor Villa-Lobos was a prolific Brazilian composer, conductor, music educator and advocate of Brazilian music. His works reflected Brazilian music flavor fused with influences from composers such as Stravinsky
and the music of Eastern Europe. He founded the Brazilian Academy of Music and the Conservatório Nacional de Canto Orfeónico. Villa-Lobos traveled throughout Brazil to research and gather information on folk music. He was married to Lucilia Guimarães Villa-Lobos in 1912 but they separated in 1936.
Type of Compositions:
He wrote choral
and chamber music
, instrumental and orchestral pieces, vocal works and piano music. Also popular to this day are his etudes and preludes for the guitar.
Villa-Lobos received early instructions on the cello from his father, Raul Villa-Lobos, who was an amateur cellist. He studied composition and harmony inconsistently under Angelo França. He was largely self-taught; learning how to play different instruments on his own. His mother, Noemia Umbelina Villa-Lobos, originally wanted him to pursue a career in medicine which Villa-Lobos didn't follow. Instead, after his father died in 1899, he earned a living by playing in street bands and cafes. He briefly studied at the National Music Institute and was influenced by other composers such as Stravinsky and Bach
Villa-Lobos created more than 2,000 compositions, among them are "Bachianas Brasilieras" (inspired by Bach), "Yerma" (opera written by García Lorca), "Izaht" (opera), "Cello Concerto no. 2" (1953), his "Chôros" including "Alma Brasileira" (No. 5 for piano - 1926), "Rasga o Coraçao" (No. 10 for chorus & orchestra - 1925), "A Prole do Bebê Nos. 1 and 2" (The Baby's Family) and "Concerto for Guitar" (1951).
Villa-Lobos' concert on November 13, 1915 was well-received; by 1923 he was in Paris after receiving a government grant. He returned to Brazil in 1930 and was appointed director of music education. He traveled to the US in 1944, conducting his music and was involved in other projects such as composing the music score for the film "The Green Mansions." The classical guitarist Andrés Segovia and Villa-Lobos were good friends. Artur Rubinstein was also one of his patrons.


12-20-13 CO Teacher Writes Childrens Book discussing the Importance of “Water: sources – use – conservation”…
Posted by Brian Allmer on December 20, 2013
(BARN Media – Briggsdale, CO) December 20th, 2013 – Joining the Colorado Ag News Network inside the BARN is Nancy Carlson, a retired elememtary & special education teacher from Hotchkiss, Colorado and she is also the Education Chairperson for the Colorado Cattle Womens. Carlson recently wrote a book titled, “Water: sources, use, conservation” , in which the book introduces 3rd – 5th grade students to the one resource we cannot live without, but often take for granted.
“Water”, explains, in an engaging student friendly manner, the Hydrologic Cycle, showing how water moves from one physical state to another and how each of these states affects agriculture. It introduces students to watersheds, river basin, and wetlands; explains why irrigation is an important component of good water stewardship.
“Water” is written to fit the CORE Standards; with an emphasis on science it integrates nicely with STEM standards. It’s also written in accordance with the new Pillars of Ag Literacy standards introduced by the American Farm Bureau Foundation for Agriculture in July 2012.
To listen to the interview, please click on the link below…
Nancy Carlson’s Biography:
Carlson has a BA in Elementary Education and an MA in Special Education as well. For the past 30 years she has been a classroom teacher, a K-12 teacher for Ag-in-the-Classroom, and an adjunct instructor at a number of colleges in Colorado. She has developed and provided curriculum for grades K-12 in Math, English, Science and Social Studies. Carlson, a cattle rancher, also serves as the education chairperson for the Colorado Cattle Women’s for which she travels the state; teaching about beef cattle to elementary school students and presenting at special events.
To order copies of the book, “Water: Sources – Use – Conservation” – CLICK HERE


THE language of Latin could be resurrected as a mainstream subject at primary schools throughout Oxfordshire.
Latin courses are taking place at schools across the county as part of the curriculum thanks to the Iris Project, a Classics outreach programme run by Oxford University graduate Dr Lorna Robinson.
Children are taking part in activity-based Latin lessons for one or two hours a week, aimed at developing literacy.
Dr Robinson hopes the year-long pilot project could culminate in Latin having a permanent place on the primary school curriculum.
She said: "If the courses continue to go well in the schools we think this is a realistic target.
"If we have evidence of how Latin is helping to improve children's literacy, and helping them to pick up other languages, then it has to be the first step towards Latin moving on to the curriculum full-time.
"Primary schools will soon be required to teach foreign languages, and Latin certainly helps youngsters pick up other languages."
She said the Latin courses involved a series of activity-based lessons in which children learn about language, how it is put together, how it evolves and how different languages connect. There is also a myth and storytelling aspect to each lesson.
She said: "The children absolutely love it. It is something new and fresh and quite unusual, which they like. They enjoy unlocking bits of the English language and discovering where words come from. They also love the weird and wonderful nature of the myths."
Primary schools that have so far run the mixed ability group lessons include East Oxford, Pegasus and St Joseph's in Oxford and St Thomas More in Kidlington.
For information about the Iris Project, see www.irismagazine.org. To arrange a workshop at a school, email Dr Robinson on lornarobinson @irismagazine.org


Tracing back the visual language of comics
UCSD Psychologist and comics enthusiast Neil Cohn believes cartoons have a sophisticated language all their own and a heritage that goes back to cave art.
The drive to tell stories with pictures certainly has deep roots. Stone age paintings in places such as the Chauvet cave in France seem to show scenes of galloping horses and pouncing lions, using techniques that would be familiar to graphic artists today. More advanced picture narratives appeared in works such as the Bayeux tapestry and Paupers’ Bibles. In some indigenous Australian cultures, sand drawings are used as a regular part of discourse; in fact, drawing is so entwined with speech in the language of these cultures that you can’t be considered fluent if you don’t know the appropriate pictures.
Cohn carefully dismantles the language of comics in his new book The Visual Language of Comics. He is passionate about the way his ideas about visual language could influence art education. He points out that children naturally absorb language through imitation and mimicry. But that’s not how we are taught art, where individuality is championed. “Our culture is suppressing the biological desires for imitation.” The result is that we never learn a fluent visual vocabulary, except a few simple symbols, such as stick men.
A better approach, he says, would be to tap into children’s innate language instinct by actively encouraging them to mimic others’ drawing. He speaks from experience: from the age of eight, he obsessively copied figures from Disney until he was fluent in every aspect of Mickey Mouse’s world. “I was obsessed,” he says. “By third grade I was teaching my class to draw them.”
How the visual language of comics could have its roots in the ice age →


Van Gogh Sunflowers: Free Lesson Plan Download
Level: K-2 Art Education Lesson Plan
Art Elements: Texture
Art Skills: Fine motor, Tearing, Gluing
Art History: Van Gogh
* Get more free lessons like this, on our Lessons Page
This lesson is one of my favorites for many reasons. Each piece of artwork turns out very different, even with the same directions. Students have so much fun adding real textures like sunflower seeds and tissue paper to the artwork. This lesson also addresses so many important fine motor skills such as cutting, gluing, tearing, and writing. You won’t be disappointed trying this lesson! There are so many versions of Van Gogh Sunflower lessons out there, but with this unique take, you will feel like it’s the first time you’ve seen or done this lesson or one like it.


How can I help my first grader who isn't learning to read on his own?
Your son may need specialized help. If his teacher hasn't already alerted you to the problem, get in touch with her as soon as possible so she can evaluate your child and get him the extra help he may need.
The missing piece of the puzzle for children who are failing to learn to read on their own, is often their inability to hear and manipulate sounds (phonological process or phonemic awareness
). If your child has this deficit, the sooner he receives specialized help in this area the better. Just putting him in a remedial reading program at school might not do the trick. Especially if the program relies on teaching phonics and whole language
(a philosophy of reading instruction based on the belief that all children will learn to read naturally by being exposed to good books). Neither of those apporaches will help a child who has trouble hearing and making certain sounds. If his deficits are really severe, and you can find that out by having him tested at school, he'll need 40 to 80 hours of intensive one-on-one help during the school year to learn how to hear and manipulate the sounds letters make. But the good news is that once diagnosed and given the proper attention, your son will learn to read independently.
You may wonder if you should stop reading aloud to him now to encourage him to do it on his own, but that's not helpful. Your son needs you to read to him now more than ever. Until he develops the ability to decode letters and words on his own, you're his source of information from the printed page.
Research shows conclusively that being read to boosts a child's performance immensely when he does learn to read. It also improves spoken vocabulary; helps a child understand the purpose of books and reading; and gives a child lots of knowledge he wouldn't have otherwise acquired.
I'm going to agree and disagree with some of the suggestions here. The inability to hear & manipulate sounds can often be easily remediated with more focused phonics instruction. If there is a hearing problem, then of course that needs to be evaluated and addressed, but that would be rare. First grade is the time to look for assistance if your child is having difficulties, but I always recommend that my parents (unless there is an obvious & severe deficit) wait until after Christmas of the Kindergarten year to worry about issues. There seems to be some magic that takes place around this time, and I'm not sure why. Absolutely, you should be reading to your child daily - from birth until they tell you they don't want you to anymore (and I would still do it then!) I disagree that it requires 40-80 hours of intensive one-on-one help to remediate a problem, especially at a young age. That will depend on the method, the instructor, the child. I would recommend talking with your child's teacher about what programs are available in your area, and going to as many local workshops on reading/parenting as you can. I would also recommend visiting ed.gov/pubs for several books on reading and helping your child become a better reader. We offer occasional reading workshops in the Nashville area in order to promote parent involvement with children's reading development. You cannot help your child if you do not know how! Our next workshop (It's free) is in March. beaconliteracy.com for more information.
a BabyCenter Member
We find that many times a student is not reading well because they are not confident with reading sight words. Sight words are 80% of words that a student reads. If a student doesn't read sight words fluently/quickly/easily - they will fail at reading 80% of the time! A student who struggles doesn't want to read and this compounds the problem. At Sight and Sound Reading -we help the student learn the sight words and feel confident about reading. We start with the words the student knows -and builds on those words one word at a time. We have really helped struggling readers (FOR FREE!).
a BabyCenter Member
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Ministers said that a new curriculum “goes further” than previous documents drawn up under Labour by requiring schools to place imperial units at the heart of maths lessons.
Under new plans, a draft primary school syllabus requires pupils to understand and use the "basic equivalencies" between metric and common imperial systems.
The document also makes greater reference to miles to make sure children are fully aware of the standard measurement of speed and distance on British roads, it was revealed.
It represents a partial return to the mid-70s when state schools were first required to prioritise the metric system over imperial.
The move – outlined in a Parliamentary answer – comes despite calls from Lord Howe, the former Conservative chancellor, to ditch imperial measurements altogether to end the “deeply confusing shambles” of using two systems side-by-side.
Andrew Percy, the Tory MP for Brigg and Goole, who obtained the latest information, said: “Of course children should learn metric, but I’m concerned there isn’t enough focus on the prominence of imperial given that it is the lawful measurement of almost everything we do in this country.
“The fact is, it is illegal to use anything but imperial measures on the roads. When you get into your car, you measure petrol in miles per gallon, speed in miles per hour, road exits are in yards and the height of bridges is in feet and inches.
“Beyond that, we buy our beer and milk in pints and measure our height in feet and inches, so it is vital that we properly teach our children about imperial measurements.”
The current National Curriculum in primary schools, which was published under the last Government, only makes passing reference to imperial measurements.
It tells schools to recognise the need for “standard units of length, mass and capacity” and teach children to convert “one metric unit to another”. It adds that pupils should know the “rough metric equivalents of imperial units still in daily use”.
On Tuesday, the Department for Education insisted that metric units would still be used "as standard" in its new curriculum.
But responding to a Parliamentary question from Mr Percy, Elizabeth Truss, the Education Minister, said the Government intended to “include imperial units within the new programmes of study for mathematics”.
She added: “The draft goes further than the current National Curriculum in terms of what pupils are expected to learn in relation to imperial units, including explicit reference to miles.”
A new primary school curriculum – published in draft form last year – says pupils should “understand and use basic equivalencies between metric and common imperial units and express them in approximate terms”.
Pupils are also told to convert “measurements of length, mass, volume and time from a smaller unit of measure to a larger unit, and vice-versa, including between miles and kilometres”. The current curriculum makes no mention of miles.
It adds that children should be introduced to “compound units for speed such as miles per hour and apply their knowledge in science”.
But a DfE spokesman said: “No significant change is planned. Imperial units are in the current curriculum and will be in the new curriculum. Both the mathematics and science curriculum, however, will continue to teach metric measures as standard.”


The people who thought up this brilliant plan didn't understand that kids have to know the sounds of letters, blends, etc. in order to decode words. Short, long vowel sounds. What sound does "CH" make?
What happens if you put an "E" on the end of HOT? We, who had phonics instruction and were taught spelling rules, know that an "E"added to the end of a CVC (consonant, vowel, consonant) word, gives the vowel "O" a long sound. If kids don't know the CVC rules, how are they going to master spelling at a young age? What about two vowels together? We learned "When two vowels, going walking, the first does the talking". Isn't this true of the word BOAT? What vowel do you hear? Right! "O". Any child that isn't taught the "rule" might have no idea of how to pronounce it.
One year, when I was teaching fifth grade, a boy pronounced "boat" as "BO- AT". It really didn't shock me because I knew that he had little or no phonics instruction up to fifth grade. That's a perfect example of why we need to stress spelling and pronunciations of words.
Another year, I was giving a "Back to School" presentation and told the parents that even though we weren't "allowed" to teach phonics, I teach it. I got a HUGE round of applause! One parent told me that she had been frustrated because it wasn't being taught, and she was teaching her daughter, phonics and spelling rules at home, the best she could.
That's a long story about why I created this "How to Spell Plural Nouns chart and activity! Why is it free? I'm hoping that MANY teachers download it and use it with their students, then hopefully, future generations will know how to spell!


Herman & Joan Suit Librarian of the Fine Arts Library
Civilizing Young Minds and Bodies: Picture Study and the Schoolroom Decoration Movement
American educators were deeply concerned about the affect of modern urbanization, industrialization, and popular visual culture on children, families and society at the end of the nineteenth century. Introducing the study of art masterpieces into elementary school curriculum, they believed, would produce young men and women who were mentally, morally and physically fit to contribute to a harmonious society. The Schoolroom Decoration Movement was launched in Massachusetts in 1892 and rapidly spread throughout the rest of the nation. Supporters of schoolroom decoration emphasized the connection between art appreciation and good citizenship, based on assumptions about gender norms and race. The principle underlying the movement was the belief that if a person is surrounded by beautiful pictures, they would be influenced towards leading a beautiful life. The movement relied on a set of beliefs about the relationship between mind and body, and the conviction that the mind could control the body. This paper will describe and analyze the philosophy and methodology of picture study during the 1890s, and the movement’s systematic efforts to introduce art appreciation into the public school curriculum. Art education leaders created model lesson plans for picture study for specific age groups. Exercises were purposely designed that involved posing and play-acting to emulate figures and stories in a painting, with a goal of instructing children to conform to ideals of physical behavior and deportment, as well as spiritual health and beauty. In my presentation I will be showing a variety of photographs taken during the period, including classroom interiors and children engaged in picture study activities, as well as showing examples of preferred artwork. I will discuss the movement in the context of popular visual culture of the period, to demonstrate what the movement’s leaders thought they were working against.
Click here to return to the main conference webpage.


A new study, released by Tom Loveless of the Brookings Institute, says that most eighth graders pushed to do Algebra I shouldn't be in that class. The bottom 10% of students taking the math NAEP are students taking Algebra I, Geometry or Algebra II, all traditionally considered high school courses.
The problem is that students didn't have the foundational skills to build upon successfully. They hadn't completely learned basic skills such as multiplication and computation. In order for students to excel in middle school mathematics courses, they need to have mastered 3rd thru 5th grade math. Middle school math develops higher order thinking skills in students: a requirement to excel in high-level math courses such as trigonometry and calculus.
I recently learned that the Jeffco School District, as one of its Accreditation Indicators for public schools, is measuring how many eighth grades are enrolled in Algebra I or higher. This immediately raises two important questions:
1. How will the district pay for students taking additional math courses in high school? About four years ago the district considered increasing the high school graduation requirements for math from 3 to 4, to match CCHE college entrance requirements, and decided they couldn't afford the estimated $7 million price tag for additional teachers and classrooms.
2. Will high schools adjust their math graduation requirements if a students is advanced a year? There isn't any incentive for students to advance a year if they don't "save" a year as Seniors. This is another example of where "seat time" often supercedes "subject mastery." Related to this is the question of whether the content of these high school math courses are considered essential content. Why is Calculus important for graduating seniors to know?
As the CCHE college entrance requirements increase for students graduating high school in 2010 or beyond, to four years of math, it'll be interesting to see if the graduation rate is affected and how school districts respond to this since the graduation rate is one of the Accreditation Indicators and closely monitored by policy makers.


Science, Technology and Math Issues for K-12 Students with Disabilities
Cunningham, Carmela, Information Technology and Disabilities
Children who do not get a solid foundation in science and mathematics during Kindergarten through 12th grade will not be properly pr epared to study science, math, engineering or technology (SMET) successfully in college. Too often students with disabilities fall into this group. There are several basic issues facing students with disabilities.
First, there is an attitude among teachers, administrators, and sometimes even parents, that students with disabilities can't "do" math or science.
Second, students with disabilities are often waived out of math and science course work in K-12, which means that they don't develop the basic foundational skills in these fields. This also makes it impossible for many students with disabilities to meet national standards in science and math.
Third, students with disabilities are not getting adequate training on adaptive computing technology that would allow them to work in the technical fields.
Fourth, students with disabilities often require extra help in making the transition from one level of education to the other and from the educational setting to the workplace.
Fifth, students with disabilities and their parents must learn to be advocates to lobby for the appropriate technology and other accommodations necessary for students with disabilities to succeed in ed ucation and the workplace.
NEGATIVE ATTITUDES AND AWARENESS
The negative attitudes that K-12 students with disabilities face parallel those that adults with disabilities face. A 1989 study by the National Science Foundation (Changing America, 1989) reported that the single most significant barrier faced by individuals with disabilities is negative attitudes on the part of faculty and employers. This is particularly harmful, because not only does it deny or limit some students' entrance into the fields of science, engineering and math, but it almost ensures that those individuals will never be able to enter science, engineering or mathematics careers when they enter the work force.
Parents, teachers and service providers can do a great deal to help students face and debunk these negative attitudes. Often, all it takes to get teachers, administrators and parents to believe that students with disabilities can do math and science is to show them the tools and accommodations available.
LOWERED EXPECTATIONS AND WAIVED REQUIREMENTS
The perception that students with disabilities are not capable of doing work in science and math is often reinforced by teachers and parents. Too often students with disabilities are not held responsible for the work that is being done by their peers, and teacher s from preschool on will often have lower expectations for students with disabilities. All too often teachers in the early grades a re pleased that a student with a disability can do any of the class work. "She is just amazing," is the attitude. And "We don't want to make her work harder than her friends" is the justification for lowering expectations and waiving requirements for students with disabilities. Unfortunately, parents often buy into this argument as well.
Later, after students have been cheated out of a full K-12 education because of these lowered expectations, no one understands why college classes or expectations in the work place are too demanding for them. This mind set that creates lowered expectations and waived requirements is often a greater disability than is the physical disability.
Some schools have been experimenting with extending the time that elementary and secondary schools provide for students with disabilities to learn basic skills. This can include doing one year's worth of work in two year's time. However, some parents and teachers have raised the issues of the importance of having students move ahead with their social groups and of the perception that retention is only for students who "are dumb. …


How to Find a Confidence Interval: Overview
When we talk about confidence intervals, we’re dealing with data. For example, let’s say the manager for that job you applied for told you he would get back with you in a “couple of days.” A couple of days could mean two. Or three. Or there might be a paperwork backlog and it could be a week. It definitely doesn’t mean in an hour. So your confidence interval would probably be between 2 and 4 days.
Perhaps the trickiest part of confidence intervals is recognizing the various parts needed for the formula, like z a/2. This article breaks everything down into simple steps and shows you how to find the most common confidence intervals for populations.
How to Find a Confidence Interval: Steps
Sample question: 510 people applied to the Bachelor’s in Elementary Education program at Florida State College. Of those applicants, 57 were men. Find the 90% confidence interval of the true proportion of men who applied to the program.
Step 1: Read the question carefully and figure out the following variables:
- α : subtract the given confidence interval from 1.
- z α/2: divide α by 2, then look up that area in the z-table. Not sure how to read a z table? See this article, area to the right of a z-score for an explanation on how to read the z-table.
.1/2=.0500. The closest z-value to an area of .0500 is 0.13
- : Divide the proportion given (i.e. the smaller number)by the sample size.
- : Subtract from 1.
1-0.112 = 0.888
Step 2: Multiply by .
0.112 x 0.888 = 0.099456
Step 3: Divide step 2 by the sample size.
0.099456 / 510 = 0.000195011765
Step 4:Take the square root of step 3:
sqrt(0.000195011765) = 0.0139646613
Step 5: Multiply step 4 by z a/2:
0.0139646613 x 0.13 = 0.0182
Step 6:: For the lower percentage, subtract step 5 from .
0.112-0.0182 = 0.0938 = 9.38%
Step 7:For the upper percentage, add step 5 to .
0.112 + 0.0182 = 0.1302 = 13.02%
That’s how to find a confidence interval!
Check out our Youtube channel for more statistics help and tips.


What is a Pediatric Occupational Therapist?
This therapist, simply known as an OTR, works with a child individually to prevent, improve, develop, or restore that child’s abilities and functions. The occupational therapist is trained to direct the child’s response to a specific activity or play to promote the development of individual skills. These skills can either be not previously learned or developed, resulting in learning and developing through habilitation; or they can be lost skills, and the child has to redevelop and relearn this skills through rehabilitation.
Here are some of the disorders in infants, toddlers and children that an OTR is trained to treat:
Treatment is rendered through:
Comprehensive evaluation of:
- Gross and fine motor skills
- Visual motor and visual perceptual skills associated with handwriting
- Independent living skills / play & leisure skills
Individualized intervention designed to facilitate:
- Fine & gross motor skill development.
- Integration of visual motor skills
- Skills associated with independence in activities of daily living
- Normal development of play through sensorimotor experiences
Occupational Therapist Pin-pointed Training:
Sensory Integration/Neuro-Developmental Treatment: Facilitating the child's ability to organize and process sensory input during meaningful activities. [balance, body scheme, self image, eye-hand coordination, and motor planning]
Oral-Motor Feeding/Swallowing: First, sensory awareness or tolerance, then followed up with biting, chewing and swallowing.
Fine Motor Skills: Assessment and treatment of hand strengths, grasp patterns, hands strengths, dexterities and the ability to use tools such as scissors and crayons, and computer keyboards. Also deals with feeding, toileting and dressing.
Visual Processing/Perception: Remediation of children with weak visual coordination, focus and processing.
Occupational therapists use a variety of treatments to help children reach their full potential. Some typical treatments include:
How Do I Know If My Child Needs Occupational Therapy?
Here are a few potential signs that indicate that your child may need occupational therapy services:
Please feel free to contact us to like to discuss if occupational therapy is appropriate for your child.


~by Barbara Cobb
When I was starting my work on Shakespeare in the schools, I asked a cognitive psychologist with whom I collaborate, “at what age do children have the greatest facility with different dialects, like Shakespeare’s early modern English?” Her response surprised me just a little: “around the age of 9,” she said, “and this facility declines fairly rapidly as they turn into adolescents and young adults.”
We are doing our students a disservice when we withhold Shakespeare and early modern English from them until our students are in high school. Out here in western Kentucky, teachers, teacher education students, and university professors are working together to bring Shakespeare to kids in grades 3-12 – to keep Shakespeare in our students’ mouths and brains all through their formative years.
We have a group of students who have done two-week Shakespeare units in 3rd, 4th, and 6th grades, and we are planning units for their 7th and 8th grade years as well. Our theory is that, when these students encounter Shakespeare as part of their high school core curriculum, they will be Shakespeare Beasts — and their teachers will be thrilled!
Barbara is an Associate Professor of English at Murray State University and Associate Chair and Education Coordinator for the Murray Shakespeare Festival. The Festival’s Shakespeare in the Schools outreach initiatives, combined with its week-long event each February, bring Shakespeare to over 1500 students grades 3-12 each year. Barbara earned a Ph.D. from Rutgers University, and is the author of “Playing With Poetry’s Rhythm: Taking the Intimidation out of Scansion,” English Journal 96.1 (2006), among other publications.
Barbara is also one of the Folger’s presenters for the 2011 Elementary Education Conference – open to any teacher of elementary students. More information and registration is available in the link above.


These are the I can posters for First Grade English Language Arts only. Update: I added the math posters to this pack.
This super hero theme represents the I can. phrase.
This zip file includes the following 3 documents:
1- PDF document with I Can posters (89 pages)
2- Power Point document to edit blank posters incase you prefer to change the wording to a poster. (includes 6 blank posters-- one for each color-coded category)
3- PDF checklist with a column for date. You can make a copy of the checklist for each student's data folder. Then, simply write the date mastered for each objective. This documentation of student progress will come in handy during parent conferences, report cards and referrals for student academic needs.
-Print these posters on card stock and laminate for durability. Post in your classroom according what you will be teaching on any given day or week.
Each section is color coded and is represented by a different super hero graphic.
Reading Literature posters are purple.
Reading Informational text posters are green.
Reading Foundational Skills are pink.
Writing posters are blue.
Speaking and Listening posters are yellow.
Language posters are orange.
This book also includes a checklist of the strands for each category.
Thanks for stopping by,
Lidia R. Barbosa
You can find me at:
Kinder Alphabet (previously known as Kids Reading Activities.
Or visit me on my FACEBOOK page.
See you there!
Public License credit for use of the Common Core Standards in my posters:
© Copyright 2010. National Governors Association Center for Best Practices and Council of Chief State School Officers. All rights reserved.


No previous study is required to access any of our GCSE courses, but they do require basic literacy and numeracy skills.
GCSE courses are available in a variety of subjects and they are by far the most common qualification taken by students wanting to gain a firm understanding of a topic. Virtually all candidates take GCSEs in English, Mathematics and Science. In addition, many careers also require that students take English literature and at least one modern foreign language, while also favouring students to have at least one social science.
Often surprising, German is Europe’s most widely spoken first language. Germany is a significant player in the culture, economy and political landscape of Europe, particularly in emerging markets of Central and Eastern Europe. Important in trade markets, many leading German companies are becoming household names
Develop a foundation level understanding of spoken and written forms of German, and learn to communicate these in general everyday situations, using role play and practical examples. You’ll also gain insight and awareness of German culture and customs
To complete this course it will take in the region of 100 study hours which can be spread over a 12 month period to suit the student.
Support and Benefits
o Flexible terms times
o Stepped learning approach
o Access to a dedicated ICS tutor to mentor and motivate you throughout
o Access to the ICS online Student Community, allowing you to interact with other students and browse our resource library
o My World
o Holiday, Time & Travel
o Work & Lifestyle
o The Young Person in Society
Further Reading and Book List
You will be provided with advice and a list of titles if required once you purchase your course.
At the end of the GCSE course, each student receives a grade for each subject. The pass grades, from highest to lowest, are:
o A*, A, B, C, D, E, F, G
GCSEs are part of the National Qualifications Framework. A GCSE at grades D–G is a Level 1 qualification, while a GCSE at grades A*–C is a Level 2 qualification. Those who fail a course are given a U (unclassified). Students can also receive an X grade which signifies that they have only completed part of the course or key elements such as coursework are missing and so an appropriate mark cannot be given.
In many subjects, there are two different 'tiers' of examination offered:
Higher, where students can achieve grades A*–D
Foundation, where they can achieve grades C–G
If a candidate fails to obtain a G on the foundation tier or a D on the higher tier they will fail the course and receive a U (though there is a safety net allowing those who narrowly miss a D on the higher tier to receive an E). In non-tiered subjects, the examination paper allows candidates to achieve any grade. Coursework also always allows candidates to achieve any grade.
Students receive the results of their GCSEs in the fourth week of August (the week after A Level results). CCEA publish their results on the Tuesday and the other examination boards publish theirs on the Thursday. Normally, students have to go to their school to collect their results, although Edexcel allow for the option of an online results service whereby results are posted online.


Local artist makes impression on Salisbury Academy students
SALISBURY - Salisbury Academy students recently learned about Impressionism directly from the source week, a lesson that will tie into other areas of study according to the school's Core Knowledge curriculum, and philosophy of experiential learning.
With examples and demonstrations, local artist Phyllis Steimel, delivered an informative presentation to the Academy's seventh- and eighth-grade students.
Steimel graduated from Syracuse University with a Bachelor of Fine Arts degree having majored in Art Education. A retired swimming coach, she has a heart for education, but dedicated herself to painting for the last 18 years.
Steimel's presentation on Impressionism addressed the elements of color, lighting and style.
"This is one of the most recognized and loved styles of art," said Katy Temple, Salisbury Academy art teacher.
To illustrate the principals she was teaching, she painted a portrait of her cat, Phoebe. Steimel explained that Impressionism is not meant to be literal, giving the example of how she would paint the brick behind the cat in the photograph.
"I'm not a brick counter. I'm giving you the Impression of bricks," she said.
The students are studying the art world of France in the late 1800s and early 1900s, while also studying the politics of that same time period. "It helps the students understand a more global perspective," said Joe Hartsell, who teaches social studies to the fifth, seventh, and eighth-grade students.
Core Knowledge is based on the philosophy that skills should be taught through the systematic framework of solid, academic content.
"Our curriculum also invites experiential learning and discovery," said Heather Coulter, middle school division head. "This type of guest presentation ties into Salisbury Academy's teaching philosophy."
At Salisbury Academy, even elementary students learn about topics like Impressionism. "
They get that base knowledge of these time periods in the elementary grades," said Hartsell. "So when they reach middle school they are building on that base of knowledge. "Our enhancement classes strengthen and broaden that core knowledge, creating cultural understanding."


A Co-publication of the National Council of Teachers of English and Routledge.
How can teachers make sound pedagogical decisions and advocate for educational policies that best serve the needs of students in today's diverse classrooms? What is the pedagogical value of providing culturally and linguistically diverse students greater access to their own language and cultural orientations?
This landmark volume responds to the call to attend to the unfinished pedagogical business of the NCTE Conference on College Composition and Communication 1974 Students???????? Right to Their Own Language resolution. Chronicling the interplay between legislated/litigated education policies and language and literacy teaching in diverse classrooms, it presents exemplary research-based practices that maximize students' learning by utilizing their home-based cultural, language, and literacy practices to help them meet school expectations.
Pre-service teachers, practicing teachers, and teacher educators need both resources and knowledge, including global perspectives, about language variation in PreK-12 classrooms and hands-on strategies that enable teachers to promote students' use of their own language in the classroom while also addressing mandated content and performance standards. This book meets that need.
Visit http://www.ncte.org for more information about NCTE books, membership, and other services.
Cross-currents in language policies and pedagogical practices / Jerrie Cobb Scott, Dolores Y. Straker, and Laurie Katz -- Perspectives on language policies and pedagogical practices. Interview 1. Issues in global and local language policies / Joel Spring -- Interview 2. An insider's view of African American language policies and pedagogies / Geneva Smitherman -- Interview 3. The law of language in the United States / Christina M. Rodriguez -- Interview 4. What teachers need to know to educate English language learners / Mary Carol Combs -- The hidden linguistic legacies of Brown v. Board and No Child Left Behind / John Baugh and Aaron Welborn -- Portraits, counterportraits, and the lives of children : language, culture, and possibilities / Rick Meyer -- Restore my language and treat me justly : indigenous students' rights to their tribal languages / Dorothy Aguilera and Margaret D. LeCompte -- Power, politics, and pedagogies : re-imagining students' right to their own language through democratic engagement / Valerie Kinloch -- Exploring attitudes toward language differences : implications for teacher education programs / Laurie Katz, Jerrie Cobb Scott, and Xenia Hadjioannou -- Positionality : using self-discovery to enhance pre-service teachers' understanding of language differences / Nancy Rankie Shelton -- Beyond the silence : instructional approaches and students' attitudes / David E. Kirkland and Austin Jackson -- "We have our own language as well as the languages we bring" : constructing opportunities for learning through a language of the classroom / Beth V. Yeager and Judith L. Green -- "Taylor cat is black" : code-switch to add standard English to students' linguistic repertoires / Rebecca S. Wheeler -- There's no "1" way to tell a story / Laurie Katz and Tempii Champion -- Culturally responsive read-alouds in first grade : drawing upon children's languages and cultures to facilitate literary and social understandings / Jeane Copenhaver-Johnson, Joy Bowman, and Angela Johnson Rietschlin -- Developing culturally responsive teacher practitioners through multicultural literature / Tamara L. Jetton, Emma Savage-Davis, and Marianne Baker -- Educating the whole child : English language learners in a middle school / Mari Haneda -- New Chinese immigrant students' literacy development : from heritage language to bilingualism / Danling Fu -- High stakes testing and the social languages of literature and literate achievement in urban classrooms / Dorothea Anagnostopoulos -- Possibilities for non-standard dialects in American classrooms : lessons from a Greek Cypriot class / Xenia Hadjioannou -- The writing on the wall : graffiti and other community school practices in Brazil / Ana Christina Dasilva Iddings -- The social construction of literacy in a Mexican community : coming soon to your school? / Patrick H. Smith, Luz A. Murillo, and Robert T. Jim??nez -- Multilingualism in classrooms : the paritetic school system of the Ladin Valleys in South Tyrol (Italy) / Gerda Videsott -- Educational policies and practices in post-apartheid South Africa : the case for indigenous African languages / Nkonko M. Kamwangamalu -- Meaningful early literacy learning experiences : lessons from South Africa / Carole Bloch -- India's multilingualism : paradigm and paradox / Zarina Manawwar Hock -- Afterword: Reflections on language policies and pedagogical practices / Jacqueline Jones Royster, Jerrie Cobb Scott, and Dolores Y. Straker.
Number Of Pages: 424
Published: 3rd November 2008


Education Transfer Compacts
The statewide Early Childhood Education Compact (.PDF) and Elementary Education Compact (.PDF) were established to strengthen teacher education throughout the public higher education system, increase the diversity of the teacher workforce, and broaden career opportunities in teaching for community college students. Each compact was developed by a working group of arts and sciences faculty, education faculty, college administrators, and Board of Higher Education staff. Both compacts were signed by the presidents of all public higher education institutions.
The working group for the Early Childhood Education Compact also included representatives from the Office of Child Care Services (now the Department of Early Education and Care) and incorporates the requirements for lead teachers at regulated programs.
Search for Approved Education Transfer Compacts