Beyond the Bell
"ENSURING NO CHILD FALLS THROUGH THE GAP”
YMCA Beyond the Bell helps break the cycle of poverty by closing the achievement gap experienced by low-income children. This program takes a holistic approach to the well-being of every child. By working closely with teachers, the individual challenges of each child are identified, understood and a preventative plan of action is put in place.
YMCA staff leaders are positive role models helping each student to improve literacy and numeracy skills, build social skills, develop self-confidence and experience new opportunities. The program provides children with the tools and support they need to help close the achievement gap and develop a stronger and more successful future.
Key program areas:
- Realizing academic achievement
- Improving health and wellness
- Exploring culture and creativity
- Developing social skills
Beyond the Bell programs at the following schools:
- Wallaceburg (A.A. Wright Public School)
- Walpole Island (Bkejwanong Kinomaagewgamig)
- Chatham (St. Agnes Catholic School)
- Sarnia (P.E. McGibbon Public School)
We know that academic achievement has positive effects on students through increased school engagement, attitudinal and behavioural changes, increased motivation, higher attendance rates, better work habits, increased cognitive skills and better classroom behaviour. High literacy skills have shown to propel students beyond good grades by leading to higher education attainment, increased annual earnings, lower unemployment, delinquency and crime. Effective reading skills by grade 4 are one of the most potent predictors of successful adult adaptation (E. Werner, 1993).
Through close mentoring, children learn effective work habits and find reward in completing homework, one of their greatest areas of need. After one year at YMCA Beyond the Bell, the majority of children show an improvement in reading by at least one grade level and the overwhelming majority of parents report that their children understood their school lessons better and their confidence improved.
DONORS MAKE IT POSSIBLE
YMCA Beyond the Bell is made possible through the generosity of donors. Our donors share our vision of ensuring each child in our community has the opportunity to succeed. It is only through the generosity of many that we are able to provide YMCA Beyond the Bell to the children who need it the most at no cost to their families.
We are calling on the community to join us in furthering our vision to reach a greater number of children who will learn to believe anything is possible.


Maryland College and Career-Ready Standards
MD.RF. Standards for Reading Foundational Skills (RF)
Phonics and Word Recognition
3.RF3. Know and apply grade-level phonics and word analysis skills in decoding words.
3.RF3.c. Decode multisyllable words.
3.RF3.c.1. Identify and apply vowel pronunciation rules to read multisyllabic words.
3.RF3.c.2. Blend sounds and segmented syllables to read words.
3.RF3.c.3. Confirm decoding efforts through word meanings and word order.


Essential Questions: What do my students get out of this music? What is this standard really getting at?
Goals and the Music Ensemble
As musicians and music educators prepare for performances, they set goals related to the musical content in order to make the best use of their time. Private instructors give their students goals and benchmarks in preparation for a recital so that their students have a clear understanding of what they need to accomplish in their practice each week.
Musicians are great at setting (and accomplishing) goals! It’s a natural part of what it means to be a musician as we prepare for performance. So the question isn’t whether or not to use goals in the music ensemble, but how best to identify and implement goals as we plan for performances and meaningful rehearsals.
Goals and Content Standards
As the NCCAS continues to prepare the new Common Arts Standards, music educators are responding with a lot of ideas as to what the goals of our profession should be (Tim Purdum, a K-5 Music Educator from Waterloo, Iowa, has some great posts about these new standards). I had a great discussion last week at the weekly #musedchat on Twitter about the role and purpose of performance in a whole music education philosophy (especially @ramccready).
Now, I won’t get into my thoughts on the NCCAS standards in this post, but they do attempt to identify some of the larger overarching goals of music education and art education as a whole. They identify three artistic processes as a means to organize our thinking about what we want students to do: Creating, Performing, and Responding.
One of the ways that McTighe and Wiggins encourage teachers to identify the larger curricular goals for a class is to examine the standards they have been asked to teach. When teachers begin with these processes (and the standards that fall under them), they can identify some of the big ideas contained within the three processes (Which are, in fact, even bigger ideas!).
For ensemble directors, I’m not sure starting there is always the best idea. It is absolutely necessary to consider how to teach standards within the ensemble classroom, but beginning with those standards does not account for they ways in which ensemble teachers teach and reteach musical concepts and big ideas over and over again through the use of musical literature. The repertoire guides the scope and sequence as teachers design for musical learning and musical experiences. Therefore, it may be necessary to develop the larger goals for ensemble learning in conjunction with the repertoire being used.
The way to the goals is not as important as the process of identifying the goals and big ideas needed for a skilled, musical performance by the students.
Priorities: Where to Start?
UbD encourages teachers to organize their content standards, understandings, and skills into three groups to identify what big ideas students need to grasp by the end of an instructional unit.
Individual pieces of music, scales, and methods exercises are not necessary for students enduring understanding of music-making throughout their lives. Even the skills required to play an instrument or read music may not always be what students will take from our ensembles and remember 20 years down the line(Though I would certainly like them to!)
Here are a few goals and understandings that I’ve identified through my study of UbD. Keep in mind that goals should always relate both to the content standards you are working towards as well as the repertoire the ensemble is performing!
- How did we get our modern system of notation?
- What is music?
- Is music a “language?”
- Music as tool for social justice
- Breath and musical production
Feel free to suggest some more big ideas that you have found helpful in designing student learning!
Enduring Understanding: Identifying the big ideas that anchor the total design provides students with direction and cohesiveness in all learning experiences.
Note: The UbD and the Ensemble series is a sort of guided tour through the book Understanding by Design by Jay McTighe and Grant Wiggins. In this series, I attempt to connect the work they have done to vocal and instrumental ensembles and the challenges of designing rehearsals with student understanding in mind. Please comment with your own experience in teaching music for understanding!
- UbD and the Ensemble: Introduction (jamespatrickjensen.com)
- UbD and the Ensemble: Backwards is Better! (jamespatrickjensen.com)
- UbD and the Ensemble: Understanding – More than the method book! (jamespatrickjensen.com)


Music A-level students have halved in the last decade
13 August 2020, 14:01
47 percent fewer pupils are taking Music at A-level compared to a decade ago, today’s A-level results show.
Today’s A-level results show the number of pupils studying Music has fallen at an alarming rate over the last decade.
Since 2008, there has been a 47 percent decline in Music entries at A-level.
The results, published today by the Joint Council for Qualifications, show that 12 years ago, nearly 6,000 male and 4,000 female candidates studied Music at A-level across England, Wales and Northern Ireland.
Now, only approximately 2,700 male and 2,500 female pupils are taking the subject as far as sixth form.
Deborah Annetts, chief executive of the Incorporated Society of Musicians, said the results were “extremely concerning”, and pinned the plummeting rate on funding cuts to creative subjects in schools.
“Funding cuts and accountability measures, such as the English Baccalaureate (EBacc), are devastating music education and creative subjects, yet the Department for Education remains fixated on this highly flawed policy,” she said.
“It is vital that studying music does not become the preserve of the privileged few, which is why we urge the government to either extend the EBacc to include arts subjects, including music, or scrap it altogether.”
Music A-level gives pupils the chance to develop their performance and composition, as well as to learn about music history and theory across a variety of genres. But for some years, it has been at risk – markedly, within state education.
In 2018, it was warned that A-level music, French and German were in danger of being removed from state schools and colleges in England because of funding cuts.
In light of the plummeting numbers, Annetts urged the government to refresh the National Plan for Music Education. Published in 2011, the plan outlined how high quality and sustained music education in the school curriculum is the cornerstone of a child’s music education.
“In light of the continued decline in music education, and the ongoing challenges the sector faces caused by COVID-19, the National Plan for Music Education, which expires this year, must be refreshed as a matter of urgency,” Annetts said.
This year’s A-level results have all been awarded on predicted grades, after school pupils were unable to sit their final exams due to COVID-19.
In England, nearly 40 percent of A-level results were downgraded by Ofqual from teacher predictions. There has also been an outcry around fair grading across schools, with pupils at private schools seemingly advantaged by Ofqual’s final grades, while state sixth forms are losing out.


Effective communication is a core skill that nearly every health professional will need and use during their careers. Yet, few health professionals receive even basic training in how to design communications to be clear and successful. As “foundational skills,” the content in this course can be applied to both oral and written communication, within and beyond health. Learners will develop the skills to: analyze and tailor a communication effort for different audiences, develop clear messages, create logical and compelling stories, understand and apply important considerations with language as well as nonverbal communication. This course is valuable and appropriate for both beginning and experienced health professionals who need to communicate effectively with other professionals, patients, policymakers, or the broader public.. Content is relevant to public health professionals, clinicians of all types (medical, nursing, dentists, social work, etc.), health advocates, and scientists and researchers in any health domain..


Art at Shakespeare Infant School
Art is about:
At Shakespeare Infant school we are passionate about providing experiences that all children can access which develop skills, knowledge, appreciation and enjoyment of art. In line with the National Curriculum we believe that art education should ‘engage, inspire and challenge pupils, equipping them with the knowledge and skills to experiment, invent and create their own works of art, craft and design’.
Art at Shakespeare Infant School is experienced as part of our integrated curriculum. We believe that this approach captivates children’s creativity as the works they produce are related to something familiar that they have been learning about and become intrigued by.
Across the school we are proud to celebrate and display all of the children’s artwork. As well as creating a beautiful environment this also provides a platform for children to share different techniques and give each other feedback. We also invite families in for exhibitions of work allowing children to experience this element of being an artist. It is lovely to see children’s confidence flourish through this and their sense of accomplishment.
Art also helps children in our school develop learning behaviours which are also essential in other areas of the curriculum. One of our learning values which we support children in developing is creativity (represented by Chrissie Caterpillar). We also encourage children to think (Bertie Bee) critically through evaluating and analysing other artists works. This allows our learners to make informed judgments about aesthetic as well as practical decisions.
Year R Art Overview
Year 1 Art Overview
Year 2 Art Overview


(Photo Uncredited: Information Not Available)
I’ve had the privilege and joy of teaching Children’s Literature to undergraduate students, primarily elementary education majors, who are mostly early 20-somethings and from diverse racial backgrounds, this semester.
I showed the class the 2016 Tedx Talks video, “Missing Adventures: Diversity and Children’s Literature,” in which Brynn Welch argues that we need more diversity. She argues essentially what my cousin, Abby, an educator, recently stated to me, which is that “Books need to be both ‘windows and mirrors’ for kids, allowing them to understand someone else’s experience and to see their own as a valuable part of society.” Welch revealed that less than nine percent of children’s books with human characters contain protagonists of color, white still being the “default setting.” Most of my students were taken aback, understandably, by this statistic.
In the freewrite that followed, a couple of my Latinx students wrote that they had grown up with books containing white protagonists, never seeing themselves reflected in the writing, and equally as awful, never questioning it. It reminded me of growing up in the 70’s and 80’s with mainly male protagonists in children’s and young adult novels, many of which employed the generic “he,” and never questioning it. This is one way that we internalize that our voices don’t matter – whether as persons of color, as females, or as any other individuals who are not able to see their own reflections in the “mirrors” that are kids’ books. Another group that we discussed that day was Native Americans and lack of contemporary representation thereof. One student admitted, “I didn’t even know there still were Native Americans until I entered middle school. I thought they were all gone.”
At the end of the period, a student and I were the last two left the room. She’s the mother of two children, one bi-racial and the other, Mexican American. I, myself, am the mother of a mestiza who is half-white/non-Hispanic, half-white/Hispanic. We talked about how hard it is to find children’s books that reflect bi-racial or bi-ethnic identities, but how important it is for our kids to feel as though they belong. I said, “When Jianna was little, she looked dark next to my white friends’ kids and white next to her half-brother’s Latinx family.” She vigorously nodded.
Last week, I graded the students’ freewrites. For Part II, I had asked students what they thought was still missing, four years post-video, that they would like to see reflected more prominently in children’s literature. Our class wish list is as follows:
- Bi-racial families
- Family type diversity (not just Mom and Dad), including same-sex parents as a norm
- LGBTQ+ representation
- Social class discussion
- Work ethic focus
- Routes to success, in addition to college and military
- Mental health issue discussion
- Grief/death processing
- Puberty conversation
- People with physical disabilities
- Protagonists of color in which issues of race are not the focus
- Racism in a contemporary context
While I realize that strides in literature have been made over the past four years, we need to make certain that they continue, preferably at a faster pace, so as to be more reflective of contemporary society. In “Missing Adventures,” Brynn Welch reminds viewers that we show what we support, in part, through our spending. This year, if you can, please consider voting with your wallet by purchasing diverse children’s books as presents for the kiddos in your life — including white children — to help prevent raising kids who see the white race as “default”!
#diversechildrensbooks #childrensliterature #kidsbooks


The Niger State Universal Basic Education (NSUBEB) and the United Nations Children’s Fund (UNICEF) have introduced a modern lesson plan for teachers of primary schools in the state.
This was introduced during a four-day training for the state Teachers Development Team (TDTs) and Teachers Facilitator (TFs) organised by NSUBEB in conjunction with UNICEF.
The lesson plan was a modern Based Numeracy Skills Additional Term II that would be used by primary schools teachers to teach pupils in primary one to four.
Assistant Director Education, NSUBEB, Abubakar Yusuf, disclosed that participants were being trained on modern ways of planning lesson plan.
Lead Facilitator, Dr Chado Umaru, said that Niger state was adopting numeracy, a scheme of Educational Support Programme of Nigeria that would be used to teach pupils of primary school.
He noted that the participants were expected to step down the training to teachers in 677 UNICEF focal primary schools in nine local government areas.
“The teachers will also be trained on how to add the numeracy method into their lesson plan. The plan is already prepared, all the teachers need is to follow it in sequence term by term,” he said.
Another Facilitator, Dr Mohammed Baba, said the numeracy method was more activity based and child’s centered that allows pupils participate during the lesson.
One of the participants, Mr Mohammed Ndanusa from Gbako, said they were being trained on structure of lesson plan such as addition and substraction using numeracy.
Another participant, Ms Ladidi Maudu from Munya, said the training would make teaching of mathematics for teachers and understanding of it easier.
“All the teachers will needs to do is to use the already prepared materials to teach pupils and we as participants are to go back to these schools to step down what we have learned to the teachers,” she said.For information on Press Releases, Photos, Promotional Events and Adverts, Please Call or Send a Text to 09052129258, 08124662170 or send an email to: email@example.com


Humanities › Literature Somebody Loves You, Mr. Hatch Valentine's Day Picture Book Share Flipboard Email Print Somebody Loves You, Mr. Hatch, a Valentine's Day Picture Book. Paul Yalowitz/Eileen Spinelli/Simon and Schuster Literature Children's Books Children's Book Reviews Top Picks Authors & Illustrators Young Adult Books Best Sellers Classic Literature Plays & Drama Poetry Quotations Shakespeare Short Stories By Elizabeth Kennedy Education and Literature Expert M.S., Instructional Design and Technology, Emporia State University B.A., English Literature, Brown University Elizabeth Kennedy is an educator specializing in early childhood and elementary education who has written about children's literature for over a decade. our editorial process Elizabeth Kennedy Updated May 30, 2019 Summary of Somebody Loves You, Mr. Hatch Somebody Loves You, Mr. Hatch, a Valentine's Day picture book by Eileen Spinelli, wonderfully illustrates the power of love and friendship. It would make an excellent gift for a young child. The illustrations are by Paul Yalowitz whose whimsical, textured artwork adds greatly to the story of a lonely man whose life is changed by an anonymous gift, a change in attitude and the kindness of others. Somebody Loves You, Mr. Hatch is a book I recommend for parents to read aloud and talk about with their kids, ages 4-8. Mr. Hatch and His Lonely Life The main character in the picture book is a very lonely man, Mr. Hatch. The story begins with a description of Mr. Hatch's lonely daily life. He lives alone, barely knows or talks to anyone, works all day in a shoelace factory, buys a fresh turkey wing for supper each day, eats, takes a shower, and goes to bed. In his neighborhood and at work people say the same thing about Mr. Hatch, "He keeps to himself." Mr. Hatch's loneliness is illustrated with drab colors and by the way in which the artist depicts him: shoulders slumped, head down, manner subdued. A Big Change for Mr. Hatch All of this changes when the postman brings Mr. Hatch a huge, heart-shaped box of chocolates along with a card that says "somebody loves you." Mr. Hatch is so happy he does a little dance. Because he thinks he might meet his secret admirer, Mr. Hatch puts on a colorful tie and some old aftershave. He takes the box of chocolates to work to share. He even talks to Mr. Smith at his newspaper stand, notices he looks sick and offers to watch the newsstand while Mr. Smith goes to the doctor's office. Mr. Hatch continues to talk to others, to help those in need, and to share with his neighbors. In fact, Mr. Hatch bakes brownies and holds an impromptu picnic for his neighbors at which he plays his old harmonica for them. His neighbors enjoy being with Mr. Hatch and like him very much. The more Mr. Hatch is friendly and kind to his neighbors, the more they reciprocate. When the postman tells Mr. Hatch that the candy had been delivered to his house by mistake and that he doesn't have a secret admirer, Mr. Hatch becomes withdrawn again. The postman tells the neighbors what has happened. The neighbors get together and throw a big surprise party for Mr. Hatch, complete with candy, a new harmonica, and a big sign that said, "Everybody loves Mr. Hatch." My Recommendation This is a charming book with a powerful message. The importance of love and kindness comes through loud and clear. Even very young children will understand how good it is to feel loved and how important it is to help others feel loved. While this is an excellent Valentine's Day book, the story is one that children will enjoy year-round.(Simon & Schuster Books for Young Readers, 1996, Paperback. ISBN: 9780689718724) Other Good Books for Valentine's Day One of the children's books I particularly recommend is the special pop-up gift edition of Guess How Much I Love You, by Sam McBratney, with Anita Jeram's delightful illustrations and Corina Fletcher's well-designed paper engineering. You'll find more books on my annotated list of the Top Children's Books for Valentine's Day, which includes picture books, such as, Queen of Hearts Love, Splat and t, plus the beginning readers Too Many Valentines and Nate the Great and the Mushy Valentine.


Visual Arts Overview
The mission for the Visual Arts program is to provide a diverse and rigorous arts education for all students. At PS 222, we develop the foundation of an artistically educated child and inspire exploratory learning through artmaking. The vision for the Visual Arts program is to be the center for artistic creativity and collaboration within our school and the larger community.
Essential Beliefs 1. All students, K-5 are entitled to challenging and sequential curricula based on the New York Visual Arts Standards and Blueprints. 2. All students, K-5 are entitled to opportunities during the regular school year to develop their creative skills and artistic experiences. 3. An Art education provides students with unique opportunities for creative growth and social development, and increases student investment in school. 4. Through Art education, students engage in a precise study and develop high intellectual skills. 5. Art education, promotes cultural understanding and appreciation. 6. Through art education students create, present, respond and connect.
Supply Wish List
The art room is always looking for different supplies - new and old! Please see the list below of supplies we need for next year. Anything you can contribute is greatly appreciated.
Clear/deli plastic containers
New York State Standards for the Arts
Art Online Games for Children
KQED Art School


At Learning Ladder Nurseries in JLT, we follow a carefully structured program to gently help every child learn in a safe, friendly, and enjoyable environment. We follow the British Early Years Foundation Stage Curriculum (EYFS) which is a professional framework from the UK. We follow this framework as closely as possible keeping in mind the requirements of the UAE and KHDA.
The EYFS promotes teaching and learning to ensure children are ready for school, giving them the right foundation for good progress through school and life.
The diagram below shows the 7 areas of learning and development, which guide the teachers to tailor your child’s play and activities as they learn new skills and acquire knowledge. The focus is to
At Learning Ladder nursery, we try to focus on what matters most-each child reaches their development milestones in a safe environment with focus on their unique abilities and strengths.
How will my child be Learning
The EYFS Framework explains how and what your child will be learning to support their healthy development.
Your child will be learning skills, acquiring new knowledge, and demonstrating their understanding through 7 areas of learning and development.
Children typically develop the following 3 prime areas first:
- Communication and Language
- Physical Development
- Personal, social and emotional development
These prime areas are the most essential for your child’s healthy development and future learning. As children grow, the prime areas will help them to develop skills in 4 specific areas:
- Understanding the World
- Expressive arts and design
These 7 areas are used to plan your child’s learning and activities. Our teachers at Learning Ladder nurseries will make sure that the activities are suited to your child’s unique needs. It is similar to a primary school curriculum but has been adapted for younger children and is designed to be flexible so that staff can follow your child’s unique needs and interests.
Children in the EYFS learn by playing and exploring, being active, and through creative and critical thinking which takes place in our well equipped indoor and outdoor areas.
At Learning Ladder Nursery, we carry out regular observations of children’s development and progress. These observations lead to regular assessments for each age group which are then shared and discussed with the parents. For accurate assessments, we take into account the perspective of the teachers and the parents to help plan relevant and motivating learning experiences for each child.


Young toddlers are developing a strong sense of independence. Walking, running, talking, climbing, skills they love to practice over and over.
Our classroom gives them opportunities to explore at their level with activities that promote cognitive, fine motor, gross motor, and social skills.
Because toddlers are learning social skills daily, staff will model and teach appropriate behaviors, with gentle touches, lots of hugs.
Books are read, stories told, and songs sung frequently throughout the day to encourage literacy development. These are done in groups or with just 1 or 2 friends.
Toilet training often begins in this classroom, and we work with families to help each child learn this skill at their own pace, consistently reinforcing the parents’ plans for their big kids. Regular progress reports are filed, and semi-annual conferences are offered to families.
Ages: 16 months to 28 months
Child-teacher ratio: 6-1


Scott Joplin was born on November 24, 1868 into a musical African-American family of railway laborers in Texarkana, Arkansas. Studious and ambitious, he received most of his music education from Julius Weiss, a German-born American Jewish music professor who immigrated to Texas in the late 1860s and was employed as music tutor to a prominent local business family. Impressed by Joplin’s talent, and realizing his family’s dire straits, Weiss taught him from ages 11 to 16, pro bono. Weiss introduced him to folk and classical music, including opera, and helped his mother acquire a used piano. According to Weiss’ wife, Lottie, Joplin never forgot Weiss. In his later years, after achieving fame as a composer, Joplin sent his former teacher “…gifts of money when he was old and ill.”
While in Texarkana, Texas, Joplin formed a vocal quartet and taught mandolin and guitar. During the late 1880s he left his job as a railroad laborer and travelled the American South as an itinerant musician. He soon discovered that there were few opportunities for black pianists. Churches and brothels were among the few options for steady work.
He journeyed to Chicago for the World’s Fair of 1893, which played a major part in making ragtime a national craze.
Joplin moved to Sedalia, Missouri, in 1894 and earned a living there as a piano teacher. Two businessmen from New York published Joplin’s first two works, the songs “Please Say You Will”, and “A Picture of her Face” in 1895. On a visit to Temple, Texas in 1896, three of his pieces were published, including the “Great Crush Collision March”, which commemorated a planned train crash on the Missouri–Kansas–Texas Railroad on September 15 that he may have witnessed. The March was described as an “early essay in ragtime.”
Publication of his “Maple Leaf Rag” in 1899 made him well-known. This piece had a enormous influence on writers of ragtime, a unique style marked by syncopation. It also brought Joplin a steady income for life, though he did not reach this level of success again and frequently had financial problems.
In 1901 Joplin moved to St. Louis, where he continued to compose and regularly performed. He created an opera company of 30 people and produced his first opera, A Guest of Honor, for a national tour. It is not known how many productions were staged, or if this was an all-black production. During the tour, either in Springfield, Illinois, or Pittsburg, Kansas, someone associated with the company stole the box office receipts. Joplin could not meet the company’s payroll or pay for its lodgings at a boarding house.
In 1907, Joplin moved to New York City to find a producer for a new opera. His second opera, Treemonisha, was never fully staged during his lifetime. In 1911, unable to find a publisher, Joplin undertook the financial burden of publishing Treemonisha himself in piano-vocal format. In 1915, as a last-ditch effort to see it performed, he invited a small audience to hear it at a rehearsal hall in Harlem. Poorly staged and with only Joplin on piano as accompaniment, it was a dismal failure to a public expecting the grand opera popular at that time. The audience, including potential backers, walked out. Afterward, Joplin suffered a breakdown. He was bankrupt, discouraged, and exhausted. Treemonisha went unnoticed and unreviewed.
By 1916, Joplin was suffering from syphilis. In January 1917, he was admitted to Manhattan State Hospital, a mental institution. He died there on April 1 of syphilitic dementia at the age of 48 and was buried in a pauper’s grave that remained unmarked for 57 years.
Joplin’s death marked the end of ragtime per se; over the next several years, it evolved with other styles into jazz and swing.
Joplin first entered my notice when The Sting came out. The movie starred Robert Redford and Paul Newman, and featured Joplin’s rag, “The Entertainer.” His grave at Saint Michaels Cemetery in East Elmhurst was finally given a marker in 1974, the year The Sting won the Oscar for Best Picture.
In 1976, Joplin was posthumously awarded a Pulitzer Prize for his contributions to American music.
Scott Joplin earned the title of the King of Ragtime. During his brief career, he wrote over 100 original ragtime pieces, one ragtime ballet, and two operas.
Information for this article came from Wikipedia.


Download Curriculum PDF
Our Kerikeri Primary School Curriculum has been developed through consultation with whanau, students, teachers and the wider school community. At the heart of the Kerikeri Primary School Curriculum is improving and achieving success in learning for all our students.
- It is responsive to the priorities of the our school community and the people within this.
- It reflects the intentions of the New Zealand Curriculum. The vision, principles, values, key competencies and learning areas are incorporated into our curriculum in unique ways to meet the needs of our students and the community.
- It is an integral part of the learning partnership between the school and parents and whanau
- It is based on our students’ aspirations, interests, identities, languages, and cultures
The Kerikeri Primary School learning values are represented by the KORU acronym. By being a ‘KORU Kid’ and demonstrating these values, children are actively living the Key Competencies of the New Zealand Curriculum and promoting the character and learning qualities desired by our school community.


School science fairs often put students and parents on the hunt for project ideas. Of course, the point of these projects is for students, not parents, to learn how to plan and implement science! But, naturally, parents want to help their kids succeed. There are limitless resources available these days, especially with the help of the Internet.
One of the most beneficial things moms and dads can do is to help their children find resources that teach them how to conduct science. A great little book called "Plant Science Biology Projects" by David Hershey (Wiley Press) helps teach kids about the process of designing experiments. This includes how to pose questions (hypotheses) that are answerable, and what sorts of plant responses are measurable.
There also are many websites - so many as to boggle the mind! Here are a few that might warrant a closer look:
USDA-ARS Science for Kids
Click on the green "Science Projects" button. The site is filled with information to help kids understand the process of scientific experimentation and how to get started. It also contains project ideas from an array of disciplines, including botany, chemistry, environmental science, medicine and zoology. It's a great starting place for beginners as well as older students.
Internet Public Library for Kids: Science Fair Project Resource Guide
Internet Public Library2 has put together a useful resource for those who want to participate in or run a science fair. The site provides scientific methodology tips, project ideas, a section on writing and presenting results, and links to additional resources. A feature unique to this site allows students to ask the staff librarians questions.
Agriculture in the Classroom (sections for kids and teens)
This site has a lot of cool features you can search by grade level, content area and state, among others. There's a handy, interactive map of the U.S. where you can look up agricultural facts related to your state. Like the other sites, there are sections on how to choose topics and design experiments, but this one also has a nice section on how to write a bibliography. The site is so robust it can take some patience to find the content you're hunting for. Here are a couple of shortcuts that might help: www.agclassroom.org/kids/science.htm and www.agclassroom.org/teen/
Discovery Channel Science Fair Central
This site has a lot of resources and hints for selecting and implementing your ideas, including a student handbook and additional factsheets on astronomy, biology, botany, chemistry, earth science and physical science projects. There's a virtual lab where kids can practice designing and conducting a project.
A special note to helpful parents: Science projects are a great opportunity for parents to coach and facilitate, but remember, this is your kid's project! Check out the Discovery Channel section specifically designed to help parents get involved:


Welcome to our Free Resource Library!
Are you looking for free printables such as worksheets or flashcards to teach literacy and numeracy skills? Here are some absolutely free resources for you! These resources are suitable for children between 3 to 8 years old. They are designed to be engaging and in bite sizes - because learning should never be overwhelming!
As you can see, we are still working hard to grow our collection of free teaching resources for all. Please continue to visit this site in the near future or SUBSCRIBE to us for updates when new freebies are added.
In the meantime, we hope you'll still find something useful for your teaching needs here. :)


"What can kindergarten children write?" This question came from Doris, a middle school language arts teacher when she was told about Nancy's kindergarten classroom. Nancy had a regularly scheduled self selected journal writing time. The children were allowed to choose their messages and forms of writing. Children scribbled, drew, wrote nonphonetic letter strings, and demonstrated phonetic and conventional spelling. These are all forms of spelling exhibited by emerging writers according to Sulzby, Teale, and Kamberelis, 1989.
Bouas, M. J., Thompson, P., & Farlow, N. (1997). Self-Selected Journal Writing in the Kindergarten Classroom: Five Conditions that Foster Literacy Development. Reading Horizons: A Journal of Literacy and Language Arts, 38 (1). Retrieved from https://scholarworks.wmich.edu/reading_horizons/vol38/iss1/1


The cognitive styles of Field Independence/Dependence (FI/D) and the scores obtained from the Group Embedded Figure Test (GEFT) have been theoretically. A laboratory study was conducted to investigate overall performance and learning effect differences with the Group Embedded Figures Test (GEFT) administered. Abstract: Online group embedded figures test (OGEFT) is a new Web based testing tool to administer the group embedded figures test (GEFT) over long.
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Builds a report that interprets an individual’s GEFT scores. This article is an orphanas no other articles link to it. This page was last edited on 18 Decemberat FI persons, on the other hand, do not tend to consider gedt e. If you match a FI person with a FD person, they tend to rate each other negatively.
In addition, the online version parallels the use of a pencil through the required use of an external mouse for tracing the figures on the computer screen. The Group Gwft Figures Test GEFT was developed for research into cognitive functioning, but it has become a recognized tool for exploring analytical ability, social behavior, body concept, preferred defense mechanism and problem solving style as well as other areas.
As a result of working at Mind Tezt, I have taken several social behavior and social skills assessments and my scores reflected my sensitivity to others and ability to moderate conflicts. Minimum purchase of Orphaned articles from December All orphaned articles. This is a paper product – FedEx shipping costs apply. Likewise, I do not have all the social skills that socially-oriented people usually have, because of my FI tendencies.
If you have used the booklet version of the GEFTyou may feel hesitant to try our online version. FI people often do better gefr careers such as mathematics, engineering, carpentry, and farming.
I predicted that I would fall somewhere in the middle. To my great surprise, my result came back as this: Retrieved from ” https: Learning styles of students in a college of agriculture.
Group Embedded Figures Test Online
gedt If you are FI and driving, you are more likely to have an accident due to swerving in and out of traffic because you are constantly scanning gfft entire visual field. Psycholgishe Forschungen, 8, I went in thinking I was going to be somewhere around here: Retrieved 4 December California Q-Sort for Adults Arrange one hundred personality statements for easily quantifiable personality research. Group Embedded Figures Test: Or are you the kind of person who is good at problem solving and appreciates independent thinking?
And did you know that if you are FD and driving, you are more likely to have an accident due to following the preceding car too closely or not hest road signs? After learning about the differences in FD and FI individuals, I was very curious about my cognitive style. The ACL provides a convenient, standardized method for recording and generating meaning for personal attributes of an individual.
The GEFT contains 18 complex figures each in which the respondent must identify a simple form. Longitudinal study of development of the body concept. Transform will connect this report to the “Send To” email provided at checkout.
Group Embedded Figures Test: A measure of cognitive style – Mind Garden
The GEFT is a twenty-five item assessment which can be taken online or it may be purchased as a thirty-two page non-reusable booklet. Optionally, Individual Reports and Group Reports can be generated from the collected data – requires the purchase of report licenses. Establishing reliability and validity of the online Group Embedded Figures Test. Group Embedded Figures Test Manual.
Views Read Edit View history. Builds gsft report that calculates and summarizes average GEFT scores for a group of participants.
10 best GEFT images on Pinterest | Algebra and Counting
On the other hand, FD people accel with careers such as social work, elementary education, advertising, and sales. This is a paper product.
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Preschool Phonics and Learning to Read
A common stumbling block for children learning to read is difficulty understanding phonics, that is, letters and their corresponding sounds. One of the best ways to overcome this problem and prepare young children for reading is to engage them in pre-literacy activities, such as preschool phonics instruction.
Good phonics instruction helps kids learn, understand and make use of letters and their corresponding sounds in their reading and writing. Preschool phonics activities can start at home. Singing, playing, reading and talking with your child are all ways to help them build great pre-literacy skills. When speaking with your child, ask them to name the letter that certain conversational words begin with.
A wide range of preschool phonics games can be found online. Researchers have found that online phonics games can be successful in teaching children to read provided they form part of a larger systematic program of instruction that teaches five key literacy areas: phonemic awareness, phonics, fluency, vocabulary, and text comprehension.
ABC Reading Eggs offers a systematic suite of instructional lessons that comprehensively cover all five key literacy areas. ABC Reading Eggs lessons target phonics instruction by introducing individual letters and their corresponding sound to the child with highly interactive activities. These activities, which feature colourful visuals and animations, provide step by step instruction that reinforce letter-sound relationships. The ultimate goal is for beginner readers to understand the alphabetic principle – that every letter and letter combination has its own particular sound. With fun activities that are as enjoyable as they are educational, ABC Reading Eggs provides preschool phonics instruction that keeps children motivated to learn more.
I believe that Reading Eggs is an exciting, on-line reading program that engages students fully and ensures that they have fun while they are learning to read. It is simple to use, caters to all students and makes learning to read FUN. Well Done! Ann Forbes, Glenmore State School
I am amazed and how much my 3-year-old is learning with Reading Eggs! He can identify all of his letters and knows their sounds. At the rate he’s learning, he’ll be reading by Kindergarten. He LOVES to “play” it and views it as fun, not work. He had never used a computer before trying Reading Eggs, but it’s presented in a way that is intuitive for him, as he can work his way through it on his own. He was even using the mouse like a pro after the first day!” R. Martz


Hobbies Playing Music The Best Piano Method Books for Children Share PINTEREST Email Print Playing Music Music Education Basics Music History Music Lessons Music Theory Playing Guitar Playing Piano Home Recording By Live About Editors We’re a team of experienced writers and editors who obsessively scour the retail landscape (both online and off) to find the best products for your life. our editorial process Live About Editors Updated October 10, 2019 Our editors independently research, test, and recommend the best products; you can learn more about our review process here. We may receive commissions on purchases made from our chosen links. Our Top Picks Alfred's Basic Piano Library - Lesson Book Level 1A at Amazon"Suited for children 7 years old and above, it features fun tunes and brings a solid foundation."Bastien Piano Basics Primer Level - Piano at Allegro Music Online"Uses a multi-key approach in teaching children to play the piano."Hal Leonard Piano Method Book 1 - Piano Lessons at Music 44"Introduces finger numbers, the white and black keys and simple rhythm patterns."Music Tree - Time to Begin at Amazon"The book has drills, music theory, games and puzzles to reinforce the lessons."Piano Adventures Lesson Book - Primer Level at Amazon"There is emphasis on musicianship by teaching the proper way to sit, correct finger placement and the use of the pedal." Alfred's Basic Piano Library - Lesson Book Level 1A Courtesy of Amazon Buy on Amazon Suited for children 7 years old and above, the lesson starts by familiarizing the students with the white and black keys of the piano. The music pieces are presented in a simple manner and would be easily understood by young piano learners. It goes on to present space and line notes on both the bass and treble clef, introduction to the flat and sharp signs, intervals and reading the grand staff. The book features such fun tunes as Old Mac Donald and Jingle Bells. A solid foundation to start with. Bastien Piano Basics Primer Level - Piano Buy on Allegromusiconline.com The Bastien Piano Method uses a multi-key approach in teaching children to play the piano. The Piano Basics Primer is suitable for kids 7 and above. Original music pieces are studied in varying music styles such as pop and classical. All the books in the Bastien Piano Basics are correlated and presents lessons in Music Theory, Technic and Performance in a logical sequence. The pages are fully illustrated and colorful that will both attract and inspire young pianists. Hal Leonard Piano Method Book 1 - Piano Lessons Buy on Music44.com The book begins by introducing finger numbers, the white and black keys and simple rhythm patterns. After finger numbers, the child goes on to note names and moves on to intervals. Piano learners are introduced to the grand staff, the bass and treble clefs and reading by interval. The pages are fully illustrated and colorful, has guide illustrations for correct finger placement and large notes for easier reading. Music Tree - Time to Begin Buy on Amazon This is the primer book for children written by Frances Clark. The book has drills, music theory, games and puzzles to reinforce the lessons. The illustrations and lesson presentation are child-friendly. Pages are colorful and notes are large for easy reading. The Music Tree books helps develop creative and independent pianists. Piano Adventures Lesson Book - Primer Level Buy on Amazon Begins by introducing the keyboard, locating the Middle C, note values, note names and the grand staff. There is emphasis on musicianship by teaching the proper way to sit, correct finger placement and the use of the pedal.The lessons are presented in a sequential manner and has reviews for skills already learned.


Follow-Up: Making Magic in the Classroom With Tech
It has been posited that technology doesn't change teaching and learning but enhances it, and I completely agree. And oh, how it enhances it. Video "cloning" a teacher so there are five versions of her giving five interactive lessons at five varied levels simultaneously. Having a student create a screencast of his math problem-solving journey so a teacher can capture his math metacognition and assess progress. Videoconferencing a class from Chicago with an international school in Japan to discuss different views of Pearl Harbor Day. The same skills are being taught as with paper and pencil, and yet this does feel a bit like magic. However, with great magic comes great responsibility. A couple things to keep in mind as you wave your proverbial magic wands:
The tool is only as strong as the user. Although the digital devices may provide the opportunity to make magic, they in themselves are not fail-safe. If the user is not well-trained on the device's operationor worse, is apathetic about its potentialit will be at best useless. Ferriter mentions this in his post, and I think it goes back to my point regarding inspiration and professional development. Teachers first need to be inspired. They cannot be ambivalent about technology, have a class set of laptops hoisted on them, and then be expected to perform spells of instructional wonder. If teachers are first shown positive examples of technology use in classrooms to which they can relate, my experience has shown that they are often are more willing to try this themselves.
Once the teachers are inspired to work magic with technology, they need the training and resources to do so. The training must be on-going and respond to their needs as their needs change. Forums for professional discourse, problem solving, and content sharing should also be made available. In this way, teachers are given a goal, motivated to attain it, and given the tools to forge their path towards it.
Students are magicians, too. In the first year of introducing iPads into my 4th/5th grade classroom, I made it clear that I had no idea what I was doing. My students were given the opportunity to take the driver's seat and make choices about how the technology should be used. Students were able to find new ways to use apps, learn how to use them more effectively, and give suggestions about when to use them. They critiqued software, questioned pedagogical choices and even were able to Skype with an app developer to suggest a version update for his programwhich he agreed to and made happen. As a result, not only was the app improved, but my students' self-efficacy and confidence were as well.
Although many teachers find it hard to release control to their students, this is one arena in which it makes so much sense to do so. Our students live in a world of moving pictures and digital communication. They are motivated to problem solve using these devices and many are more adept at doing so than their adult counterparts. Allow your kids to wear the magician's hat and see what magic they can come up with.
Jennie Magiera is a 4th and 5th grade math teacher and a technology and mathematics curriculum coach in Chicago Public Schools.


Our play-based curriculum is responsive to the individual differences for children with and without special needs, and is aligned with the New York State Prekindergarten Foundation for the Common Core. Programming and curriculum incorporate each student’s goals, objectives and developmental levels. Learning Together provides carefully planned activities geared toward helping students develop foundational skills in language, communication and literacy, mathematical thinking and operations, scientific reasoning and exploration, as well as play, socialization, and problem solving.
Our child centered classrooms are well supplied with early childhood materials attractive to very young children for play and learning. With carefully selected toys, books and activities that are featured in various areas in the classrooms called “centers” the teachers promote the academic development of our children. Careful implementation of group activities which are cooperative in nature, as well as structuring of the classroom environment promote interaction between children. Activities and pre-academic tasks are constructive, open-ended, hands-on and collaborative. Students work within the cooperative learning model in learning centers and experience direct instruction in both full class and small group dynamics.
A strong emphasis is placed on social skill development, which is the developmental outcome most likely to lead to success in the early school years. The daily schedule includes activities that develop language and effective social skills, as well as small and large muscle motor tasks and self-help skills, which will be practiced each day. Our classrooms have a sensory diet embedded in the daily schedule to allow for an increased level of organization and help promote a greater “readiness” for students to be more successful when engaging in learning opportunities throughout the school day.
The children of Learning Together learn in a climate of respect, dignity, safety and concern for all. Students are given clear guidelines and expectations for appropriate behavior and opportunities to learn and practice the skills necessary to communicate, interact and resolve conflict in positive ways. The administration responds to all problem behavior in a fair, consistent manner with respect for individual rights and needs. Learning Together uses a positive approach to addressing social & behavioral issues.


By Dr. Keith Mason
The Habits of Mind framework, a set of 16 habits or dispositions, provides individuals strategies for life challenges, including subject area mastery. Two professors, Art L. Costa and Bena Kallick, developed the framework. This article focuses on applying these powerful and versatile habits to vocal and instrumental music students. Keep in mind that the habits can apply to various aspects of musical education such as musical theory, composition, lyric writing, performance and history of music. Also remember to broaden student horizons by helping them become knowledgeable about world music to encourage participation in a global music community.
Habits of Mind has been around for 25 years. Educators have published ways to apply the habits to several subjects. Consider the following that suggests ways to align all 16 habits to music education objectives.
How the 16 Habits of Mind Support Music Education
Persisting Remember that consistent vocal or instrumental practice will get results.
Managing Impulsivity Have discipline by scheduling regular practice for singing, playing and reading music.
Listening with Understanding and Empathy Auditory skills are an important part of mastering music, whether listening to your instructor, your classmates, recorded or live music, or self-monitoring your own musical performance.
Thinking Flexibly Consider alternate ways to use your voice or instrument to create music.
Thinking about Thinking (Metacognition) Be aware of the processes involved in making good music. What must you do to master a song vocally or instrumentally?
Striving for Accuracy As you practice singing or playing, envision making it through a song with precision. How do you feel when you have mastered a difficult set of musical bars or an entire song?
Questioning and Posing Problems Decide to ask your teacher about any parts of a song you are uncertain about. Ask questions about musical concepts to gain better understanding.
Applying Past Knowledge to New Situations When you learn a vocal or instrumental technique, how can you apply it to new songs?
Thinking and Communicating with Clarity and Precision Music is a universal form of communication. Your singing voice or instrumental playing communicates powerful messages. How can you perform music clearly and precisely?
Gathering Data through All the Senses Think about the different senses used to create music. How can you use sight, hearing, touch, smell, and taste to enhance your musical performances? Do you ever observe a sixth sense when working with music?
Creating, Imagining, Innovating Think about creating lyrics or a song melody. How does your imagination get involved in creating music? How can you create new music by adjusting your approach?
Responding with Wonderment and Awe Listen to a new song and notice the vocal delivery, the orchestrations, the instruments, the lyrics or the song’s main message. How does your close attention bring about wonder or awe?
Taking Responsible Risks How can you expand your approach to music once you have mastered basic concepts and techniques?
Finding Humor Learning music is an imperfect process. How do mistakes in your performance make you a better musician? How can laughing at yourself help you improve your musical abilities?
Thinking Interdependently Collaborate with classmates, family and your instructor when creating music and making well informed choices.
Remaining Open to Continuous Learning How can you become more proficient musically and expand your repertoire? What opportunities are available for you to learn music? Consider in person, online and materials for expanding your musical horizons.
The 16 Habits of Mind can be used to enhance mastery of music concepts, techniques and skills. Reach out to colleagues versed in the habits or refer to the resources below. Sharing the habits can result in a population of well-equipped music students who build upon basic skills that lead to proficient mastery of musical performance.
- Costa, Arthur L. and Bena Kallick. 2008. Learning and Leading with Habits of Mind: 16
- Essential Characteristics for Success. Alexandria: ASCD.
- Kallick, Bena and Allison Zmuda. 2017. Students at the Center: Personalized Learning with Habits of Mind. Alexandria: ASCD.
- Mason, Keith. 2017. Musicals Foster Habits of Mind. Teachers Matter Magazine 34,5 6-59.
- Website: The Institute for Habits of Mind www.habitsofmind.org
Keith Mason has been a world language educator and linguistics specialist for 37 years. He is based in New Jersey, U.S.A. Keith’s teaching and research areas include musicals in the curriculum, foreign language pedagogy, Romance linguistics and curriculum. He received eight Rising Star Awards from the Paper Mill Playhouse in New Jersey, U.S.A., for integrating musicals in the high school curriculum. He is currently writing a book, Musicals across the Curriculum.


The LOCHI study is a population-based longitudinal study that prospectively evaluates the development of a group of Australian children with hearing loss as they grow up. This study is unique in its inclusion of children whose hearing loss was diagnosed through either Universal Newborn Hearing Screening (UNHS), or standard care; and all of whom access the same post-diagnostic services provided by the national audiological service provider, Australian Hearing. This means that their results can be fairly compared, whenever and wherever their hearing loss was discovered.
This study addresses the following research questions:
Does Universal Newborn Hearing Screening (UNHS) and early intervention improve the outcomes of children with hearing loss at a population level?
What factors influence the outcomes of children with hearing loss?
Can early performance predict later outcomes of children with hearing loss?
This study is partly supported by the US National Institutes of Health and the HEARing CRC.
Approximately 460 children across QLD, VIC and NSW have been enrolled in the study. They are tested by our researchers at different times as they grow up. We collect information about the children’s speech and language skills, literacy and numeracy skills, academic achievement, psycho-social development, and cognition. At every test interval, we also collect demographic information about the child, the child’s family and the intervention that the child receives.
When LOCHI children were assessed at 5 years of age,
Children with hearing loss discovered via UNHS at birth and who received early intervention had better spoken language abilities than those whose hearing loss was discovered later than this. On average, children fitted with hearing aids before 6 months of age had higher language scores than those fitted later. For children with severe or profound hearing loss, those who received a cochlear implant before 12 months of age had significantly higher language scores than those who received a cochlear implant at an older age;
Many children had marked deficits in pre-reading skills compared to their normal-hearing peers.
We hope to continue following the development of the children as they grow up.


why choose music?
Music educates the whole child
Young musicians learn more than "how to play notes"
Like other subject areas, learning to play a musical instrument gives young people skills and experience they will use in other areas of academics and life. These are often referred to as "soft skills". They are not necessarily the ability to do a specific task, but more like good habits, attitudes, or traits that enable a person to tackle a variety of challenges and opportunities. Many parents choose to make music a part of their child's overall education so that they can learn some of the following skills.
a good work ethic
satisfaction in success as a result of effort
patience and perseverance
the ability to create and pursue long-term objectives
grit—the courage, resolve, and strength-of-character necessary to pursue far-off goals and overcome challenges along the way
sensitivity (to their environment and other people, self-awareness)
critical thinking and self-assessment
confidence that is well grounded in life-experiences
Music teachers are lifelong mentors
Regularly scheduled lessons with a private music teacher gives students the benefit of having a mentor that they can learn from and work with for much of their childhood and adolescence. Music teachers also rely on parents to help reinforce lessons and encourage students, so lessons can become a wonderful opportunity for parents to be actively involved in their child's learning experience. Over time, the music teacher-student-parent relationship creates a model for having a positive and productive relationship between children and teachers in general. Usually students will study with one teacher continuously over many years, up to the point that they graduate from high school. Imagine what your child can gain from spending time each week (possibly for years!) with a qualified and dedicated teacher who is wholly focused on his or her individual learning experience!
More and more research tells us that music education is really good for you
Want a "full body workout" for your brain? Learn to play a musical instrument!
Grit: the power of passion and perseverance
Articles about music education, child development...and brains in general!
What parents need to know about children's brains on music
If you learned how to play a recorder or ukelele in school, you may have built up brain functions that boosted your ability to do better in school, especially if you kept up with practice... Read on...
Music instruction improves cognitive, socio-emotional development in young children
Music instruction appears to accelerate brain development in young children, particularly in the areas of the brain that are responsible for processing sound, language development, speech perception and reading skills... Read on...
How Arts Training Improves Attention and Cognition
Sustained training in music, dance or other arts strengthens the brain’s attention system, which in turn may improve cognition more generally. Evidence for such cognitive “transfer” is accumulating... Read on
Why Music Makes Our Brain Sing
MUSIC is not tangible. You can’t eat it, drink it or mate with it. It doesn’t protect against the rain, wind or cold. It doesn’t vanquish predators or mend broken bones. And yet humans have always prized music — or well beyond prized, loved it... Read on
Why Science needs Art
Astrophysicist and Director of the Hayden Planetarium Neil deGrasse Tyson explains why art is crucial to science... Watch video


Our home, our land : contemporary Aboriginal music education kit / devised by Stephen Lalor.
ISBN for teacher's booklet: 0-909168-48-2
Teacher resource kit for the study of contemporary Aboriginal music. It is suitable for both junior and seniour students. Students will develop knowledge of intervals, chords, keys, rhythm patterns, improvisation and music notation. The units of work each deal with a separate song, covering activities in aural, performance, composition and notation/theory.
This education resource accompanies the digital audio album 'Our home, our land' released by the Central Australian Aboriginal Media Association. This album is available to purchase (for an additional cost) online here.
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José Nicolás Ballí, a secular Catholic priest, the oldest son of José María and Rosa María Hinojosa de Ballí, was born in Reynosa, Mexico, about 1770. His parents were both Spaniards. Padre Ballí was an original grantee of the Texas coastal island later named Padre Island in his honor. He led an active civic and religious life in South Texas and the state of Tamaulipas as a missionary, a rancher, a colonist, and an explorer. His parents, prominent settlers and landowners at Reynosa, Camargo, and Matamoros and in the lower Rio Grande valley, owned over a million acres of land in South Texas. His two brothers, Juan José and José María Ballí, were officers of the Militia of Provincial and Frontier Cavalry. Nicolás spent his childhood in the company of his two younger brothers in Reynosa and received his elementary education there. His parents sent him to the Conciliar Catholic Seminary in Monterrey to complete his secondary and ecclesiastical education. He was probably ordained in 1790 or 1791.
Ballí conducted religious services in all the villas and haciendas in the lower Rio Grande valley. He lived in Matamoros and was a secular priest in Nuestra Señora del Refugio Mission from 1804 to 1829. Around 1820 he began the construction of the present Church of Nuestra Señora del Refugio in Matamoros. Ballí became the official collector of building funds for the churches of the villas on the Rio Grande. He was well known in South Texas and officiated in more than 500 baptisms, marriages, and funerals between 1800 and 1829.
The properties that he owned in South Texas were the La Feria grant, the Las Castañas grant, part of the Llano Grande grant, the Guadalupe grant, and the Isla de Santiago grant, known as Padre Island. Padre Island had been granted to his grandfather, Nicolás Ballí, by King Carlos III of Spain in 1759, and Padre Ballí requested a clear title to the property in 1827. He was the first to have the island surveyed and was the first settler on the island who brought in families. He also built the first church on the island for the conversion of the Karankawa Indians and for the benefit of the settlers. Twenty-six miles north of the island's southern tip the priest founded El Rancho Santa Cruz de Buena Vista (later known as Lost City), where he kept cattle, horses, and mules.
Ballí died on April 16, 1829, and was buried near Matamoros. Title to the island was granted to him posthumously on December 15, 1829, issued jointly in the name of the padre and his nephew Juan José Ballí. The priest had requested that half of the island be given to his nephew, who had been helping him there. Juan José lived on the island from 1829 to his death in 1853.


“If I do not practice for one day, I know it; if I do not practice for two days, the critics know; if I do not practice for three days, the audience knows it!”
Ignacy Jan Padarewski, Polish Pianist and Composer
To master the piano your child will need to practice daily. Even after 32 years of playing piano, I am still learning and perfecting my skills. One of the biggest challenges the parents face, particularly if no one in the family has ever played an instrument before, is getting their children to practice regularly. Here are some tips that will help you and your child to build good practice habits from the outset.
I believe that successful practice is dependent on a child’s mood and environment. Children today live in a world full of distractions. It is important to create an environment that will allow your child to focus on their practice for a period of time without interruptions. Your piano should be located in a quiet area of your home.
Practice Time and Length
Consistency is the key to mastering the piano. Arrange your child’s schedule in such a way that they can practice every day for 15 to 40 minutes. The length of time will vary depending on the level your child has mastered and their age. Practicing every day at the same time will helps to develop good practice habits. Never set a specific amount of time for practice. The “30 Minutes Rule” never works. Instead, set specific goals for each practice session and allow your child to take a 5 minute break if they are having trouble concentrating.
Set goals on a daily, weekly and long term goals for your child. For example a goal for today’s practice can be to master the D Minor scale and arpeggio and to learn 4 measures of Sonatina with right fingering. I will give your child homework on a weekly basis. Ensure that time is allotted throughout the week to finish the homework before your child’s next lesson. I will mark any area of difficulty your child is having on the sheet music provided. Have your child work on these sections before their next lesson. It is important to master every section before moving on to another piece.
Quality practice time is better than hours of practice on end. It’s not about how long you practice, but about how well you practice. Stop practicing before it becomes a war of wills. Come back when your child is ready to continue.
When facing the challenge of getting your child to practice, remember that music education does wonders for your child’s brain and is worth the time and effort. Getting your child to practice is hard work, but once it becomes a regular routine it will get easier. When you look back you will be amazed at what your child has accomplished.


Essay on Right to Education
Read an essay on right to education in English in 300 words. Know more about right to eduction essay in English for students of class 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12. Write an essay on right to education act 2009.
Essay on Right to Education 300 Words
Education is crucial to one’s life as it enables the individual to realize his real potential and use it effectively for the growth of a nation. An educated man has the power to make the right decision based on the facts and figures related to the issue. His mind is a powerhouse of knowledge and he is considered the pride of his family and ultimately an honour to his nation. Therefore, it is important to realize the strength of education and make it compulsory for everyone so that each citizen can avail the benefits of being educated.
Hence, the government and the constitution of India incorporated the Right to Education Act (RTE) or The Right of Children to Free and Compulsory Education Act on August 4, 2009, which explains the significance of the free and compulsory education of children aged between 6 and 14 under the Article 21A of the constitution of India. However, this act became effective on April 1, 2010, after which India was among 135 countries that made the right to education as the fundamental right of every citizen of India.
The Right to Education Act states that it is the responsibility of the government to endow every child with free and compulsory education and it should also ensure their attendance and accomplishment of their elementary education.
It specifically explains that free education should be provided wherein no child should pay any kind of amount or fees to the school for acquiring elementary education. Parents of the child should not be charged for any kind of educational facilities provided to the children. Hence, it is the complete liability of the government to sustain all the expenditure incurred in the process of providing education to the children. It is not only the government schools but private schools are also supposed to reserve 25% of the seats for unprivileged children of the society.
In conclusion, even after so many years of the existence of RTE Act, I cannot see much difference in the education of the weaker sections of the society as many children are seen begging on roads and doing household chores for rich people which clearly exhibits the situation of education among the poor people.


Performing from Memory
Dynamic Performance through Expert Memorisation
Performing from Memory links the ways in which musicians memorise with spontaneity and expression in performance.
Concert soloists are expert memorists. They can recall thousands of notes in sequence to perform whole recitals from memory. These abilities are learned over many years of practice; rarely are musicians explicitly taught how to become expert memorists. Music teachers often find that memory differs widely from one student to the next and, as a result, leave each student to discover their own methods for memorising. Such approaches to memorisation can lead to anxiety and a fear of easily avoided memory lapses in performance.
Longitudinal case studies of professional musicians have shown that, during the learning process, experienced musicians constantly start, stop, back up, and repeat, making split-second decisions and regularly evaluating aspects of their technique, interpretation, expression, and performance. This behaviour has been used to develop and test psychological theories of expert memory, problem solving, and motor control, providing a new understanding of processes involved in performing from memory. Findings have shown that experienced performers practise to develop landmarks in their mental map of the piece (i.e. performance cues) that allow for both automaticity and cognitive control to work in parallel in memorised performances: a safety net for memory so that the musician can attend to the interpretation of their performance and leave room for spontaneity.
Performing from Memory is based on an understanding of how the memory of expert musicians develops during practice. Drawing on previous findings it explores: (1) how practice and memorisation strategies are connected to spontaneity in musical interpretation and (2) how previous findings on expert memorisation can lead to new and effective practice strategies for novices. The research involves a close collaboration between performers and psychologists, bringing together theoretical and practical knowledge to determine how performance cues can be taught and developed throughout a musician’s career, resulting in polished performances that allow spontaneity and expression to flourish.
Tania Lisboa, RCM (PI)
Roger Chaffin, University of Connecticut
Alexander Demos, University of Illinois
Jónasson P & Lisboa T (2019), Professional musicians as researchers: leading changes through a study on memorization, in D Bennett, JL Rowley, & PK Schmidt (eds.), Leadership of Pedagogy and Curriculum in Higher Music Education, Routledge.
Demos AP, Lisboa T, Begosh KT, Logan T, & Chaffin R (2018), A longitudinal study of the development of expressive timing, Psychology of Music [DOI].
Lisboa T, Demos AP, & Chaffin R (2018), Training thought and action for virtuoso performance, Musicae Scientiae, 22, 519-538 [DOI].
Demos AP, Lisboa T, & Chaffin R (2016), Flexibility of expressive timing in repeated musical performances, Frontiers in Psychology, 7 (1490), 1-9 [DOI].
Lisboa T, Chaffin R, & Demos AP (2015), Recording thoughts while memorizing music: a case study, Frontiers in Psychology, 5 (1561), 1-13 [DOI].
Lisboa T, Chaffin R, & Demos A (2012), Preparing memorised performance: the transition between childhood and expertise, in J Weller (ed.), Proceedings of the Nineteenth International Seminar of the Commission for the Education of the Professional Musician (pp. 74-79), International Society for Music Education.
Chaffin R, Lisboa T, Logan T, & Begosh K (2010), Preparing for memorized cello performance: the role of performance cues, Psychology of Music, 38, 3-30 [DOI].
Lisboa T, Chaffin R, & Begosh K (2010), Learning and memorizing in music performance: the role of performance cues, in M. Hannan (ed.), Proceedings of the Eighteenth International Seminar of the Commission for the Education of the Professional Musician (pp. 73-76), International Society for Music Education.
Lisboa T, Chaffin R, & Logan T (2009), How memory fades: very-long-term recall of Bach, in A Williamon, S Pretty, & R Buck (eds.), Proceedings of the International Symposium on Performance Science 2009 (pp. 315-320), European Association of Conservatoires.


The Impact of Music Education on Select Students' Self-Efficacy
Music education may hold the key to improving the self-efficacy of students classified as socioeconomically disadvantaged. Increasing self-efficacy for these students also potentially improves their chances of academic success. This study investigated the ways in which an El Sistema-inspired after-school orchestra program impacts socioeconomically disadvantaged students’ self-efficacy as well as the correlations that exist between students’ participation in the music program and their self-esteem, perseverance, motivation, and outlook on their personal future. Participants included fourth and fifth grade students enrolled in an orchestra program at a public elementary school in Southern California as well as their parents, teachers, and the school administration. The study was carried out through a mixed-methods approach, which consisted of student surveys, observations, and interviews with parents and school staff. Results revealed participation in the music program provided students with access to several sources of self-efficacy and produced strong correlations to measures of self-esteem and perseverance. Relationships between participation in the after-school orchestra and levels of motivation and outlook on personal future were also indicated but to a lesser degree. This study provides evidence music programs are valuable and can provide the right type of environment to reach children who are at-risk and give them the opportunities they need to succeed.


Resources › For Educators IEP Goals for Progress Monitoring Share Flipboard Email Print Measurable goals support success. Getty/Kidstock For Educators Special Education Individual Education Plans Applied Behavior Analysis Behavior Management Lesson Plans Math Strategies Reading & Writing Social Skills Inclusion Strategies Becoming A Teacher Assessments & Tests Elementary Education Secondary Education Teaching Homeschooling By Jerry Webster Special Education Expert M.Ed., Special Education, West Chester University B.A., Elementary Education, University of Pittsburgh Jerry Webster, M.Ed., has over twenty years of experience teaching in special education classrooms. He holds a post-baccalaureate certificate from Penn State's Educating Individuals with Autism program. our editorial process Jerry Webster Updated April 30, 2019 IEP Goals are the cornerstone of the IEP, and the IEP is the foundation of a child's special education program. The 2008 reauthorization of the IDEA has a strong emphasis on data collection-the part of IEP reporting also known as Progress Monitoring. Since IEP goals no longer need to be split into measurable objectives, the goal itself should: Clearly describe the condition under which the data is collectedDescribe what behavior you want the child to learn/increase/master.Be measurableDefine what level of performance is expected of the child for success.Delineate the frequency of data collection Regular data collection will be part of your weekly routine. Writing goals that clearly define what it is that the child will learn/do and how you will measure it will be essential. Describe the Condition Under Which the Data Is Collected Where do you want the behavior/skill to be exhibited? In most cases, that will be in the classroom. It can also be face to face with staff. Some skills need to be measured in more naturalistic settings, such as "when in the community," or "when at the grocery store" especially if the purpose is for the skill to be generalized to the community, and community-based instruction is part of the program. Describe What Behavior You Want the Child to Learn The kinds of goals you write for a child will depend on the level and kind of the child's disability. Children with serious behavior problems, children on the Autistic Spectrum, or children with severe cognitive difficulty will need goals to address some of the social or life skills that should appear as needs on the child's evaluation report ER. Be Measurable. Be sure you define the behavior or academic skill in a way that is measurable.Example of a poorly written definition: "John will improve his reading skills."Example of a well-written definition: "When reading a 100-word passage at Fountas Pinnell Level H, John will increase his reading accuracy to 90%." Define What Level of Performance is Expected of the Child If your goal is measurable, defining the level of performance should be easy and go hand in hand. If you are measuring reading accuracy, your level of performance will be the percentage of words read correctly. If you are measuring a replacement behavior, you need to define the frequency of the replacement behavior for success. Example: When transitioning between the classroom and lunch or specials, Mark will stand quietly in line 80% of weekly transitions, 3 of 4 consecutive weekly trials. Delineate the Frequency of Data Collection It is important to collect data for each goal on a regular, minimally weekly basis. Be sure that you don't over-commit. That's why I don't write "3 of 4 weekly trials." I write "3 of 4 consecutive trials" because some weeks you may not be able to collect data - if the flu goes through the class, or you have a field trip that takes a lot of time in preparation, away from instructional time. Examples Math SkillWhen given a worksheet with 10 addition problems with sums from 5 to 20, Jonathan will correctly answer 80 percent or 8 of 10 in three out of four consecutive trials (probes.)Literacy SkillWhen given a 100 plus word passage at reading level H (Fountas and Pinnell) Luanne will read with 92% accuracy in 3 of 4 consecutive trials.Life SkillsWhen given a mop, a bucket, and a ten-step task analysis, Robert will mop the hall floor independently (see Prompting) 3 out of 4 consecutive trials.


In partnership with SEAI, Lifetime Lab is offering free Teacher CPD workshops based on “Exploring our Energy”, a whole school programme for teaching energy in the primary school curriculum. This one hour workshop will give you all the tools you need to teach energy and sustainability in the SESE curriculum. We will explain the key features of the resources including interactive whiteboard use, inquiry based science approaches and the spiral nature of the programme. A set of resources to plan and teach a wide range of science lessons covering all four strands of the primary science curriculum at every level of primary school will also be provided. These workshops can count towards Croke Park hours, subject to school management approval in accordance with DES Circulars and are particularly relevant for schools applying for their Green Flag for Energy. Ideally schools should have a minimum of 10 teachers and a maximum of 20 to participate in the training. Smaller schools can join together and larger schools can be split into two groups.
You can book a primary teacher CPD workshop for your school online here
“I think that in a short space of time we got a good idea of what the general idea was” Lisa Hayes, Snr Infants Teacher, St. Brigids GNS, Killester, Dublin
“I really like the hands-on approach and the enthusiastic and well prepared facilitator" Mary Guest, Ballinamere NS, Tullamore, Co Offaly
A classroom activity pack and accompanying equipment will be provided to all participating primary schools. Schools who are unable to sign up to the workshop can access the resources here.


International Journal of Child, Youth, and Family Studies
In this paper we think with the specificities of paint to tell stories about entanglements of settler colonialism and paint and painting in early childhood art education. We see to become implicated (Razack, 1998) within settler colonialism in the context we now call Canada. We paint a messy non-linear picture of our work with children through a process of storytelling. Through complex pictures of how we are attempting (even if partially and imperfectly) to respond and stay with the trouble our stories bring forward, we gesture toward hope and decolonizing strategies. Our work takes inspiration from contemporary artists and from anti-racist and Indigenous scholars.


"Teaching Diverse Learners" was developed as part of the National Leadership Area for the 2000-2005 Northeast and Islands Regional Educational Laboratory (LAB), a program of The Education Alliance at Brown University. The goal of this site was to help teachers work effectively and equitably with English language learners (ELLs) by providing access to research-based information, strategies, and resources for addressing the concerns of ELLs in the classroom and beyond.
The Web site addresses educators of culturally and linguistically diverse learners, by inviting the perspectives of teachers and language minority learners, and providing research-based practices at both the classroom and systemic level to promote high achievement for linguistically diverse students.
Practices, strategies, and resources are highlighted for the areas of:
- Culturally Responsive Teaching (CRT)
- General Education Classrooms
- Bilingual/ESL Classrooms
- Special Education
In addition, the Web site provides access to publications, educational materials, and the work of national partners and experts in the field.
In 1998, the United States Department of Education asked The Education Alliance to develop a "...sustainable, customer-driven, distributed repository/database of information on best practices in teaching and learning." The resulting Knowledge Loom Web site was awarded 2001 Outstanding Product in the Category: Technology-Supported Professional Development Resources by the Association of Educational Publishers. Staff also developed an accompanying guidebook, Using The Knowledge Loom: Ideas and Tools for Collaborative Professional Development. Spotlight topics were developed on Adolescent Literacy in the Content Areas, Art Education, Culturally Responsive Teaching, and Professional Development, among others. The Knowledge Loom Web site was retired in 2013, but the content has been archived in pdf format and is available for free public use.


SEND Information Report
At St Joseph’s, we provide for all children, regardless of any Special Educational Need. The Code of Practice describes the four broad categories of need:
Communication and Interaction:
Children and young people with SEND may have difficulties in one or more of the areas of speech, language and communication. These children and young people need help to develop their linguistic competence in order to support their thinking, as well as their communication skills. Specific learning difficulties such as dyslexia or a physical or sensory impairment such as hearing loss may also lead to communication difficulties.
Cognition and Learning:
Children and young people with learning difficulties will learn at a slower pace than other children and may have greater difficulty than their peers in acquiring basic literacy or numeracy skills or in understanding concepts, even with appropriate differentiation. They may also have other difficulties such as speech and language delay, low self-esteem, low levels of concentration and under- developed social skills.
Social, Mental and Emotional Health:
For some children and young people, difficulties in their emotional and social development, can mean that they require additional and different provision in order for them to achieve. Children and young people who have difficulties with their emotional and social development may have immature social skills and find it difficult to make and sustain healthy relationships. These difficulties may be displayed through the child or young person becoming withdrawn or isolated, as well as through challenging, disruptive or disturbing behaviour.
Sensory and/or physical needs:
There is a wide range of sensory and physical difficulties that affect children and young people across the ability range. Many children and young people require minor adaptations to the curriculum, their study programme or the physical environment. Many such adaptations may be required as reasonable adjustments under the Equality Act 2010.


Focus on Sound is an exciting music education digital encyclopedia for Windows®, Apple®Mac®, tablets and smartphones. It develops students’ listening and composing skills as well as enhancing their general musical knowledge.
Focus on Sound contains two multimedia software products: Instruments and Sound Words. Developed for students aged 9 to 18, the Instruments section introduces around 200 musical instruments, voices and groups - in classical, jazz, rock, folk and world music.
Sound Words has more than 50 topic areas covering harmony, rhythm, structure, melody, instrumental techniques, technology, music reading and music theory. Written by music education software specialist Dr. Simon Foxall, an experienced music director and senior examiner.


Deaf and Hard of Hearing Department
Language and Communication
MSDB embraces a Total Communication approach to education of students who are deaf or hard of hearing.
The Total Communication philosophy means:
- Ever-expanding our own skills and resources in our toolboxes in educating students
- Meeting students at their level
- Giving students as many choices and options as possible for success
- Encouraging students to develop American Sign Language skills – viewed and expressed
- Encouraging students to develop English skills and abilities – reading and writing
- Encouraging students to use appropriate strategies and amplification technologies to develop lip-reading skills and/or listening and/or spoken language skills
- Using signed codes and signed systems of English to support learning as appropriate
“Every deaf or hard of hearing child deserves opportunities in spoken language-only environments AND opportunities in ASL-only environments to learn how language and communication work and to learn the tools and strategies that can be successful in a variety of communication situations and environments.”
~ Donna Sorensen, MSDB Superintendent
Our Uniqueness in Education
There are many reasons to consider MSDB as a placement option for education. MSDB offers smaller class sizes than public schools depending on the subject. Teachers and Paraeducators spend quality time instructing students in small groups or individually.
We also offer mainstreaming opportunities for students based on IEP Team recommendations. Our public school mainstreaming schools are Lewis and Clark Elementary and East Middle School, which are both located across the street. For high school students, classes can be taken at Great Falls High School (GFHS). Transportation to and from GFHS is provided by MSDB.
Our Uniqueness in Direct Instruction and Peer Interactions
Most of our staff, from the Business Office to Maintenance to the Visually Impaired Department, can communicate with every student on campus who is deaf or hard of hearing by using Sign Language. Staff, including Support Staff, in the Deaf and Hard of Hearing Department provide direct instruction to students to facilitate deeper understanding and learning. Students have direct academic and social interactions with their peers. Students have access to Deaf role models who are Administrators, Teachers, Paraeducators, and Deaf employees from other departments.
Our Uniqueness in Staff
Most of our teachers in the Deaf and Hard of Hearing Department are certified Teachers of the Deaf (TODs) who are specifically trained in working with students who are deaf or hard of hearing. We have Deaf Teachers and Deaf Paraeducators who serve as role models. Many of our staff members are former students and former graduates of MSDB, which shows the heart of our school. Many staff members have worked at MSDB for over 5, 10, and 15+ years, which shows the dedication our staff have to our students and to each other.
Our Uniqueness in Related Services
Our Support Staff provide instruction in foundational skills so students are able to access the curriculum. Related Service providers include our ASL Teacher, Occupational Therapist, Physical Therapist, Speech and Language Pathologist, School Counselor, School Psychologist, Behavioral Specialist, and Audiologist. See the Support Staff page for more information about these services.


Early Childhood Learning@100%: How we ensure all county residents can access early childhood learning
Special Edition: Excerpt from 100% Community by Katherine Ortega Courtney, PhD and Dominic Cappello
The book explores the benefits of early childhood learning programs, the consequences of not having access to such programs, and how county systems of early childhood learning can be increased to ensure that all children and parents benefit from early childhood learning programs in its many forms. Early Childhood Learning@100% details how county leaders can collaborate to ensure that a countywide system of early childhood learning programs is created from existing and new local programs to meet the need of all county residents
Excerpts from 100% Community Include:
Foreword: How Many of Our Children Should Endure Trauma?
Introduction: We’re Ready When You Are
Instructions: What Am I Holding in My Hand?
Chapter 47: Early Childhood Learning@100%
Full appendices, including the Resilient Community Experience Survey
A Groundbreaking Strategy: 100% Community guides the movement to ensure safe childhoods
100% Community is the nation’s first data-driven, cross-sector and county-focused strategy developed to end the epidemic of adverse childhood experiences, trauma and social adversity. It provides the insights, frameworks and concrete steps for change agents within governmental and nongovernmental systems to build the capacity to increase the health, safety and resilience of children, students and families.
Ending childhood trauma starts with you and the radically simple lessons of 100% Community.
– Authors Courtney, PhD and Cappello


Hoot Extension Activities
About the Book
This is an enjoyable story about a middle schooler named Roy, who is the new kid in a Florida town. He is riding the school bus one morning and is intrigued by a boy he spots, who is running shoeless in the opposite direction of the bus. He must find out who the boy is, why isn't he in school and why he doesn’t have any shoes. Maybe he needs help and Roy feels he is the man for the job. There are a few obstacles to overcome first. Dana Matherson is the bully on the bus who sets his sights on Roy, and Beatrice is the Amazon female soccer player who finds Roy an easy target for her teasing. In the end, Roy outsmarts both of them and helps save some valuable residents who would be doomed without him.
Set the Stage
Use some of these items to get the students ready to read.
- Discuss the cover and title. Allow students to predict what they think the book will be about.
- The setting takes place in a southern Florida town. Find out what the students know about Florida. (Climate, animals, plant life, etc.)
After reading the book, discuss the following:
- Why do you think Beatrice allowed Roy to find out about her brother, Mullet Fingers?
- Why didn’t Beatrice choose to do more to help Mullet Fingers find a better place to live?
- What would you do if you were Roy? Why?
- What would you do if you were Beatrice? Why?
- If Roy’s father believed Roy was right in trying to save the owls, why do you think he kept the file about Mother Paula’s from him?
- Do you think Mother Paula’s All-American Pancake Houses, Inc. had the right to build its restaurant on the property? Explain your answer.
- Officer Delinko wanted to get promoted at all cost. Why do you think he didn’t arrest Mullet Fingers in the end?
In this activity students will discover some fascinating facts about Burrowing Owls.
To extend students’ enjoyment of the book, try these:
- Standing Tall Against Bullies: Dana Matherson was a bad kid through and through from the way he looked, to the language he used, to the way he bullied everyone. Roy used his brains to eventually outwit Dana, although he was suspended from the bus and could have been seriously injured. Bullies are everywhere, even if they only a bully using words. They can be serious problems at school and shouldn’t be ignored. Have the class brainstorm ways to stop a bully like Dana. Have them look at the situation from different point of views such as the student who is being bullied, the ones who hang out with the bullies so they wonÃ’t be the one who is targeted and the others who stand back and don’t get involved because they are too scared. Invite your school guidance counselor or school law officer to be a part of the discussion.
- Helping Endangered Animals: The Burrowing owls are protected in this story. Mother’s Pancakes could not be built as proposed because these owls made the land their home. Ask the students to find out about animals in your area that are endangered or protected. Have them research and put together a project such as a poster or flyer that tells about the animal and why they are protected. These can be shared and then displayed for other students to see. Some organizations have ways to “adopt” endangered animals to help protect them. Your students may choose to raise money so they can help.
- Reporting the News: Ask the students to write a newspaper article for the Gazette about the groundbreaking fiasco of MotherÃ’s Pancakes. They should be sure to answer “who” “did what” “where” “when” “why” and “how.”
- Who’s Your Hero?: In the book, Roy is the hero. There are other characters that helped him, but in the end, he used his brains to save the owls. Ask the students to think of someone they consider a hero. It could be someone they know personally or read about. Assign them to write about their hero and give reasons why they consider this person to be a hero.
Lesson developed by Kelley Raybon
Kelley Raybon has been teaching elementary school for 20 years. She is currently a curriculum resource teacher at an elementary school. She earned a Bachelor’s and Master’s degree in Elementary Education from the University of Central Florida in Orlando.