Selection and preparation in music education at Florida State University is based upon an important yet extremely simple premise--it is, that every person involved as a learner ought to have the best instruction possible.
This premise implies that every teacher ought to be committed to the subject of music and its use with people. The strength of this commitment is evidenced by the academic and social behaviors of the prospective teacher in life, both in and out of the university environment, and is characterized by diligence in the pursuit of musical and academic excellence and active dedication to the improvement of the quality of life.
For those who value knowledge, the learning process is perpetual throughout life's time. To be an effective music educator, one must develop:
Successful music educators evidence personal qualities of leadership, intellectual curiosity, and social commitment. They approach life, music, and the teaching profession in a positive, imaginative, and enthusiastic way.
The music teacher attempts to create a respect and desire for musical experiences, teaching people to react positively, listen responsively, and participate in a musically sensitive manner by providing a variety of musical experiences for those who will be consumers of music and those who will be music professionals.
Toward this goal, music educators are stimulated by current research in music to seek, evaluate, and appropriately implement current ideas and developments in teaching music. They promote positive relationships with students, colleagues, and others. They are empathetic with people of differing social and ethnic backgrounds, and demonstrate mature attitudes and values in the operation of the instructional program.
They consistently maximize student opportunities and accomplishments, and minimize self-aggrandizement and teacher dominance. Their public performances are part of instructional programs geared to helping students become sensitive to aesthetic elements in music.
Music specialists must be prepared and eager to teach music to every child: the poor, ethnic minorities, children of the inner cities, persons with disabilities, and the highly gifted.
In addition to personal competencies in music performance, improvisation, conducting, applied music, composing, arranging, analysis, history, repertoire, and other musical skills, they must have competencies in the teaching of music on all levels, nursery school through adult and continuing education programs. They must be exposed to techniques of teaching in the humanities, related arts, and general music areas, as well as, directing performance groups, studio teaching and group applied music lessons.
Musicians are most successful as teachers if they understand current structures, systems, and practices in education. Concurrently, the music educator in this age of educational change and accountability must be able to express knowledge of teaching and learning, through verbal communication (oral and written) and through overt, demonstrable music and teaching behaviors.
A general knowledge and understanding of history, science, art, philosophy, and communication serves to enhance one's ability to function effectively in contemporary society and facilitates greater understanding of the human condition. The final report of the Music Educators' National Conference on "Teacher Education in Music" states that general education should:
The task of structuring and managing a musical environment in which individuals, regardless of ability level, may positively experience, successfully achieve, and hence, come to value the art of music, demands a breadth of knowledge and skills, as well as high levels of perception and sensitivity on the part of the music educator.
The acquisition and development of these abilities requires an intellectual commitment that is realized in daily living and is maintained and strengthened during the years of training and throughout the professional career.
The music education faculty at the Florida State University College of Music is dedicated to the pursuit of these goals, both for themselves and for their students.


Christoph Wolff on Johann Sebastian Bach: The Learned Musician
Even Bach had to pay his dues early in his career.
Although he called himself a court musician, Johann Sebastian Bach was listed as "Lackey Bach" on official documents in 1702, the year before his career took off. In addition to being a musician, as a lackey he also had non-musical duties. Bach concealed his lackey status in later years, said Christoph Wolff, William Powell Mason Professor of Music at Harvard University.
"Launching a professional career is an important event in anyone's life," said Wolff, who spoke about his book, Johann Sebastian Bach - The Learned Musician, at the last TC BookTalk on March 27. "That's why I chose to focus more on this part of Bach's life in the book." His book is a biography offering a portrait of Bach the man, as well as Bach the cultural icon.
Before Wolff's presentation, TC doctoral students played two works representative of Bach's music. Professor Ruth Vinz, Chair of Arts and Humanities Department, read a fugue poem.
Professor of Music Education Harold F. Abeles introduced Wolff by quoting some of the glowing reviews that the book received. He also told how Wolff, born in Germany, studied organ and historical keyboard instruments, musicology and art history at the Universities of Berlin, Erlangen and Freiburg. Wolff noted that a lack of documentation and notes on Bach's life made writing this book a challenge. "I didn't make things up," he said with a distinct German accent, "but I had to infer things from different documents."
Since Bach lived a relatively unexciting life, it was difficult to find events that provided pointed highlights. Also, although it is known that he had a private secretary most of the time, Bach's life wasn't documented well. Few of his letters or notes have survived.
Although the composer was invited to write a biographical essay for a collection that was written while he was alive, he declined to write it. Wolff said that it may be because writing music was more important.
Abeles pointed out in his remarks that Bach was an important teacher, which Wolff amended by describing Bach as one of the most prolific teachers of any musicians in the 18th century. He had over 100 known students, but there could be more.
"Teaching was one of Bach's principle activities for the last 27 years of his life," said Wolff. "He was a composer and performer on the side."
Using the piano that was on the stage, Wolff demonstrated how Bach would teach his students. He said Bach wanted his students "to perform in a singing style and trained his students' hands to work independently so that polyphonic texture comes to the forefront."
Though few of Bach's letters have survived, Wolff said that many receipts, reports, recommendations, and citations were available but not enough to illustrate everyday life. Through these writings, Wolff was able to figure out Bach's teaching method.
The only well-documented part of Bach's life was during the 1730s to 1740s when the composer's nephew was his private secretary and tutor for his children. These documents have survived because his nephew took the books with him and preserved them when he left Leipzeig, Germany. Evidence that Bach kept copies of his letters exists in later documents, but the letters have not been found.
Wolff referred to two other biographical pieces: a notice of Bach's death in the mid-1700s and a biography published in 1802. The biography contained correspondence and reports from Bach's older sons who were still alive at that time.
One audience member asked about Bach's later years. Wolff responded that he found a manuscript in Kiev-in Bach's own hand-that is the last known sample of his handwriting. This piece was a significant find and was incorporated into the book at the last minute before publication.
He also found dictated letters with Bach's signature on them. These letters were different than other samples of Bach's handwriting. They were written after he suffered from a stroke and fever. At this point he was no longer writing documents or music. His signature on the letter showed "heavy leaning on the quill and lettering." Bach died soon after his stroke in 1750.
For more information on BookTalks, please call x3215.previous page


ERIC Number: EJ436449
Record Type: CIJE
Publication Date: 1991
Reference Count: 0
Japanese Elementary School Education.
Stevenson, Harold W.
Elementary School Journal, v92 n1 p109-20 Sep 1991
Discusses the development of Japanese elementary education in the context of three periods of its history. Considers salient characteristics of Japanese elementary schools and teaching procedures; these include curriculum; social and moral education; classroom environment; teachers; afterschool classes; college entrance examinations; the kyoiku mama, or "educational mother"; and academic achievement. (BB)
Descriptors: Academic Achievement, After School Education, Classroom Environment, College Entrance Examinations, Elementary Education, Elementary School Curriculum, Elementary School Students, Elementary School Teachers, Ethical Instruction, Foreign Countries, Mothers, Parent Aspiration, Program Descriptions, Teaching Methods
Publication Type: Journal Articles; Reports - Descriptive
Education Level: N/A
Authoring Institution: N/A
Identifiers: Historical Influences; Japan
Note: Special Issue: International Education


A well rounded education never sounded so good!
Let your students experience opera – the one genre that brings all the arts together for a magical experience: music, drama, dance, art, and more.
Launched in 1991 in collaboration with the School District of Philadelphia, Opera Philadelphia’s Sounds of Learning™ program addresses the growing gap in arts education and access in the Greater Philadelphia region. Now in its third decade, the program has reached nearly 150,000 students in ten counties through an intensive, in-school, literacy-based music education program that includes opportunities to see a live opera performance
Grades 5-12 Signature Program An inspiring lesson, a lifetime of inspiration
Opera is used as a vehicle to teach lessons across the curriculum. Designed for students in grades 5–12, the program introduces opera through lessons from music and language arts, to social studies, foreign languages, and more. The program culminates with students attending a free dress rehearsal at the Academy of Music.
Grades K-12 Classroom Program One lyrical lesson could change a student’s life
For a broader approach to opera education, an Opera Teaching Artist can visit your school and lead one of five interactive lessons which connect the opera to music, language arts, biology and anatomy, mathematics, creative writing, critical thinking and analysis, storytelling, and more! These free classroom programs are open to grades K-12 and last approximately 45 minutes.
Grades 9-12 Maestro Program Expert lessons from the City’s finest
Interested in bringing your chorus, orchestra, or band to see an opera in the Academy of Music? Opera Philadelphia offers the Maestro Program, a unique hands-on learning method to help students in performance-based high school classrooms to prepare to attend an opera in just one 45-minute classroom session.
Grades 3–8 Assembly Program A THRILLING LIVE OPERA LESSON AT YOUR SCHOOL
Have you ever wanted to share the thrill of opera with your students? Opera Philadelphia’s Assembly Program does that for you! Nothing can thrill and amaze like the sound of a live opera singer. We’ll bring opera to your school as a quartet of singers perform a recital of popular arias. Your students will learn about voice types, how to sing with a variety of emotions, while learning along the way. They’ll also have the opportunity to ask questions and engage with the artists, while being exposed to opera. This free program is approximately 45 minutes long.
grades 8-12 T-VOCE Creating community through the power of song
Interested in sharing your talents with other teens from Philadelphia? Join T-VOCE, our Teen Voices of the City Ensemble, where you’ll share your talents, meet other teens who love to sing, get the chance to perform throughout Philadelphia, and build a community of singers.


- Language Tips
His brush gives life to the orchids. His brush brings out the soul of spring. Where his brush fondles, the rain appears to kiss a lotus flower.
Painter Yan Keqin reveals a rhythmical and twinkling world of mountains and flowers with a flexible and mythical mixture of only ink and water.
"It's very difficult to paint all in ink. Nowadays many people don't even dare to try. In the pursuit of the highest realm of ink painting, he has bravely used black ink to portray a world of colors," comments Xing Shaochen, chief researcher with the China National Academy of Painting.
Based in Wuxi of Jiangsu province, home to a panel of master artists who've made up a tower of strength for Chinese art, Yan Keqin is continuously inspired by the city's cultural heritage and charming sceneries. He is never tired of rendering his reflections down on paper in the past decades.
But surprisingly, Yan has barely received professional training in painting. The head of Wuxi broadcasting corporation's recent ink painting exhibition at the National Art Museum of China wowed critics, who say he has outstripped professional level. More importantly, as many agree, he has manifested the spirit of Chinese literati painting.
The so-called literati painting originated in the middle of Tang Dynasty (AD 618-907) and reached its climax in Yuan (1271-1368), Ming (1368-1644) and Qing (1644-1911) dynasties.
It used to refer to art works created by literati or scholar-bureaucrats. That's how it got its name. But the definition has expanded as it becomes a more established genre of art. Literati painting, according to Peking University's professor of aesthetics Zhu Liangzhi, is now a reference to artworks that convey a "unique literary mood".
The subjects of literati painting are often natural images such as orchids, bamboos and mountains, from which Chinese poets of all times traditionally find a spiritual resonance. Unlike professionally-trained artisan-painters who paint for the market, literati paint to solely express their philosophical reflections about life. Led by their instantaneous inspirations rather than skills, they care more about how their paintings feel than how they look.
Therefore, their creations often appear as freehand brush stokes without necessarily looking exactly like the original objects they attempt to portray. Just like in Chinese calligraphy, the painter's mood, temperament and personality are reflected through the rhythm of the strokes that vary in strength, thickness and density.
This impressionistic and liberal style -- or xieyi in Chinese -- has been one of Chinese art's most important aesthetics traditions. But since the early 20th century, Chinese artists have been noticeably divided as to whether it's necessary to incorporate or even fully apply Western realistic painting skills during art education and creation.
The introduction of new materials, techniques and ideas has surely enriched Chinese painting, says China Artists Association's chairman Liu Dawei. He says he feels sad that xieyi is losing its charm and position. But he respects Yan, who has given xieyi a glimpse of hope as he persisted in inheriting the traditional values of Chinese ink brush painting.
Yan says simplicity is the core value of xieyi as it lies in the spiritually ethereal world of ancient literati, who believe that the whole world could be reflected in a single flower. He says nature is traditionally a source of inspiration for literati painters and thus a close contact with the nature is essential.
But Peking University's professor Zhu sees more in Yan's art creations.
"Yan's understanding of ancient Chinese philosophy and art is definitely one of the best among contemporary painters. He often impresses me with his knowledge on ancient art like calligraphy and gardening. This has surely contributed to his achievement in painting," Zhu adds.
Contact the writer at email@example.com.


Building Insider Knowledge: Teaching Students to Read, Write and Think Within ELA and across the Disciplines
This resource describes how to support ELA and other subject-area teachers as they think about why disciplinary literacy teaching is important and how to enact it in robust ways. The authors argue that it is critical for the improvement of students’ academic literacy development and overall learning that all teachers and literacy researchers attend to the teaching of disciplinary literacy in every subject area.
Access to this article has been provided by the National Council of Teachers of English, an NCLE Stakeholder Organization
|Building Insider Knowledge.pdf||900.12 KB|


From the website: (visit link
The Museum of Nature & Science is the result of a 2006 merging, unlike any in the nation, of three cultural institutions – the Dallas Museum of Natural History (est. 1936), The Science Place (est. 1946) and the Dallas Children’s Museum (est. 1995). The combination of the Dallas Museum of Natural History and the Science Place was completed in June of 2006. The Children’s Museum combination was completed the following October. These combinations have resulted in an exciting family destination, which is able to better serve the community and steward its investment in the institution. The Museum’s mission is to inspire minds through nature and science!
At present, the museum is proceeding with plans for a new state-of-the-art facility in the Victory Park area of downtown Dallas. Further details can be found in the Museum Expansion section of our Information page on our website.
Dallas Museum of Natural History was founded in 1936 as part of the Texas Centennial and was one of the first natural history museums in the region. It is now included in the National Register of Historic Places and is the only public collections-based, research driven, Natural History Museum in the region. It has contributed to major discoveries including the validation of the Monte Verde findings and the excavation and transport of Sauropod dinosaur fossils from Big Bend. DMNH earned Smithsonian Institution Affiliate Museum status in 1999.
The Science Place was founded in 1946 as the Dallas Health Museum and is one of the oldest science museums in the nation, accredited by both the Association of Science and Technology Centers (ASTC) and the American Association of Museums (AAM). It was the first museum in Dallas to receive AAM accreditation and is one of seven museums that founded ASTC. TSP celebrated its 60th anniversary in 2006.
Dallas Children's Museum was founded in 1995 and served as a hands-on early childhood learning destination.
The Museum occupies three landmark structures in Fair Park and owns an offsite warehouse for storage. In its "Nature Building" are housed more than 200,000 items in its collections comprised of artifacts, eco-facts, entomology, vertebrate and invertebrate paleontology, malacology, ichthyology, herpetology, ornithology, and mammal specimens. The collections cover approximately 1.7 billion years of Earth’s history and are illustrated through exhibitions focused on geology, earth sciences, biodiversity, a fossil prep lab and a live animal room. In the Science Building are more than 200 permanent hands-on exhibits on physics, astronomy, health, robotics, nature, and special young children’s venues. Over one-million dollars in notable additional exhibit/gallery launches were recently completed. This includes NetWorks! digital communications, The Dental Gallery, and The Little Urban Farm. This facility is also home to special exhibitions, galleries, an auditorium, the early childhood galleries and the TI Founders IMAX® Theatre. The IMAX® was opened in 1996 with a 323 seat auditorium that provides an immersion educational experience with a 79-foot domed screen and 12,000 watts of surround and overhead sound. The third building is the Planetarium, the only public one in the City, and through a generous grant from The Crystal Charity Ball, a new Digistar 3 System has been installed, offering a continual roster of programs about astronomy and space exploration.


JAMES JERVIS BLOMFIELD OSA
Listed Canadian Artist
Oil on Board
Signed by the Artist - ca. 1943
Titled Verso: “Quiet Waters in September”
h: 6 1/4 in. by w: 8 1/4 in.
BLOMFIELD, James Jerris OSA
James was born a deaf-mute in England in 1872 and was the son of British stained glass artist Henry Blomfield. He immigrated with his family to New Westminster, British Columbia in 1887.
James pursued his art education in England, Belgium, Chicago and at the Art Students’ League in New York City; and became Professor of Design at the Chicago Academy of Fine Art. In British Columbia James was commissioned to paint a series of murals for Government House in Victoria. It was this design that became the coat-of-arms for Vancouver.
He settled in Toronto in 1920 where he concentrated on Toronto’s streetscapes and U of T buildings. James was well known for his accuracy in architectural detail. He was a lover of brilliant colour and found many glowing spots to paint in the Toronto area.
James exhibited in all the major galleries in Toronto and Vancouver. A quote from the Toronto Star in 1933 “there are few more pleasant corners in Toronto than that where the Blomfield pictures shed light and warmth.”
James died in 1951 when struck by an automobile in Toronto.


Today's post is by Lori Woodward. Lori earned a bachelor's degree in Art Education from the University of Arizona. As a freelance writer for various art publications, she has written more than 60 published articles for American Artist, Watercolor, Workshop, and International Artist Magazines since 1996. Her paintings, along with instructional articles, have been featured in Watercolor Magazine since 2007, and in American Artist's Highlights Issue, Step by Step 2011, with the article: "Moving into Acrylics". Woodward has co-authored the book, "Watercolor Step by Step" a Walter Foster Publication, and authored a chapter for Calvin Goodman's "Art Marketing Handbook for the 21st Century". She has been a member of the Putney Painters since 2004, a small invitational group of painters who are mentored by Richard Schmid and Nancy Guzik.
All images are copyright the artist and are used here by permission of those artists.
Have you ever learned a new vocabulary word - at first, thinking you've never heard that word before - and then after learning its meaning, you hear it all the time? I studied art for decades before I realized that some advanced artists did not paint gray areas... gray.
That's the way it has been with me and subtle color temperature changes. I never noticed these tiny sparks of color in paintings until I learned the term, "confluent color" from artist/teacher Jack Beal. Yes, I previously understood that good color harmony means that colors are repeated throughout the composition, but now I have a higher understanding of how bits of color are repeated in all areas of the painting, but in the correct values.
Above: Details of two paintings by Daniel Keys - both these paintings use Confluent Color... where the white areas contain variety of color from pink to yellow to green to blue, but all with the correct value so that they still read as "white". I'll discuss color temperature and how the color of your light source creates harmony in a future blog post.
For those who are newbies to art... value is another word for the amount of lightness or darkness you see on an object. It's easier to see correct values when you squint at your subject, but values gets more complicated when taking them into consideration at the same time as color because there are many variables involved. For example, the tube color, cadmium red has a darker value than the color cadmium yellow because red is naturally a darker color than yellow. Likewise, ultramarine blue has a darker value than either red or yellow.
To make this concept even more complicated, where light hits an object, it changes the value and color of that object. A red apple looks much lighter where the light source hits the surface. The shadow under the apple is going to have a darker value than the lighted side of the apple. So even within one red object, we can have several values. Each of those values on that same apple will also have color temperature variations. But as I said earlier, I'll get into that at a later date.
Got that so far? This is getting pretty boring right? I know as an artist that descriptions without pictures don't communicate to me very well. I must see examples of what the writer is saying. So here we go.
Above is a painting and detail of that painting done by Kyle Stuckey when he was 17 years old (2004). At the time, I was his instructor, so while critiquing this painting, I advised him to make his lights and shadows using "identifiable" colors instead of just shades of gray (for his next painting). Shown Below is a painting he completed a few months later. Notice how each value has an identifiable color - not just white, gray or black.
Below are recent paintings of Stuckey's. Even though clothing may actually be white, an artist can enhance the painting by pushing the color he or she sees to a higher saturation point... meaning more colorful. It's OK if hair contains subtle greens and purples. In fact, as long as the value is correct, artists can get away with exaggerating most any color they like.
Color is a complicated subject... one that has taken me years to understand and implement. Below are a couple of watercolor paintings where I used confluent color. Notice how the lighter/whiter areas contain a variety of exaggerated color. Furthermore, each object of the painting contains colors from other objects in the painting - but using the correct value (lightness or darkness) so I can get away with exaggerating them.
Please don't hesitate to ask me questions. I, by no means, am saying this is the only way to paint. There are many valid approaches to art - some artists are tonalists, others are colorists; some are realists, and others are impressionists or abstract artists, and that's perfectly OK. I am here to present ideas to you - which you may take or leave as you like.


Blues People: Race, History and Music in the U.S.
This FYP approaches the issue of U.S. race relations through the prism of African/American music and history. We will explore the ways in which music has tended to draw African-Americans and whites together and how it has, at other times, been manipulated to reinforce separation between the races. Specific musical genres and musicians will help us to tell the story of how African-American history, black/white race relations, and music intersect, particularly with the rise of spirituals during slavery, the rise of blues during the Great Migration, the rise of rock ‘n’ roll during the 1950s, the rise of soul music during the Civil Rights era, concluding with the post-Civil Rights rise of hip-hop and rap. This FYP will not cover all genres, nor is it a history of American music. Rather this course will use music to discuss U.S. history and race relations. Students do not need any music education or performance background for this course.


Non-Member Price: $37.95
NCTE Member Price: $27.95
Author(s): Charlene Klassen-Endrizzi
Describes a three-phase plan for elementary-level teachers to develop literacy partnerships with children's families.
Stock No.: 02732
Becoming Teammates: Teachers and Families as Literacy Partners offers a bold new look at how teachers and families can work together to build family-school relationships that value and respect each other’s perspectives on literacy.
Featuring the voices of parents, teachers, graduate students, and preservice teachers, Charlene Klassen Endrizzi’s book explores how families and educators can combine their resources to become essential teammates and partners in children’s literacy development.
Endrizzi recognizes that family-school partnerships are a complex undertaking and offers suggestions for three phases of implementation.
- In Phase 1, teachers begin by extending to family members a variety of invitations to communicate—via surveys, ceremonies, and celebrations—thus building an awareness and understanding of the literacy learning that occurs both in school and at home.
- Phase 2 explores how teachers can initiate a two-way literacy conversation with families through dialogue journals, curricular newsletters, and literacy backpacks.
- The final stage has teachers forging partnerships with parents at Family Literacy Gatherings, during which they explain and demonstrate literacy beliefs and practices, discover and appreciate the families’ funds of knowledge, and acknowledge and nurture the emerging parent advocates.
Endrizzi challenges teachers to take an active role in developing partnerships by considering a myriad of ways to build bridges of understanding with their students’ first learning partners.
245 pp. 2008. Grades K–6. ISBN 978-0-8141-0273-2.
* Sample files are typically provided in PDF format and can be opened using the free Adobe®
Reader® program or a comparable viewer.
Click here to download and install the most recent version of Adobe Reader.


This research examines the presence and depictions of fathers in best-selling picture books in the U.S. using a hybrid semiotic approach. In 200 best-selling picture books for children, among those featuring only a father or only a mother, fathers are featured as prominent as a parent in fewer books (n = 4) than mothers (n = 10). The semiotic analysis of the images and text in two selected picture books reveals connotations related to the roles of fathers as masculine, protective, nurturing, and playful, and the conceptualization of children as naive, vulnerable, and playful. Further illuminations from the texts are of indexical signs and second-order symbols related to the father's association with night and in particular the moon.
Keywords: fatherhood, culture of fatherhood, American culture, children's literature, children's culture, hybrid semiotic analysis
The purpose of this research is to build on the "culture of fatherhood" line of inquiry, which examines how fathers are portrayed in a variety of contemporary media (Atkinson & Blackwelder, 1993; Coltrane & Allen 1994; Day & Mackey, 1986; Flannery Quinn, 2006; LaRossa, Gordon, Wilson, Bairan, & Jaret, 1991; LaRossa, Jaret, Gadgil & Wynn, 2000). The present study begins with a content analysis of contemporary best-selling children's literature in the U.S. market to determine how many books feature fathers as prominent parents, i.e., as the only parent, and having a prominent role. Then, two representative books are used for a semiotic analysis of the portrayal of fathers in the images and text.
The philosophical underpinning of this work is that fatherhood is a socially constructed gender role that is mediated by culture. The research is guided by a human ecological perspective, which conceptualizes children's literature as a cultural artifact that influences and mediates culture to young children and their families (Flannery Quinn, 2003, 2006). This research is important to scholarship in the broad field of family studies, with regard to how fathers are portrayed in media, and how these cultural messages may contribute to identity formation of father as a gender role for male parents.
Review of Literature
Within the broad field of family literacy studies (Dearing, Kreider, & Simpkins, 2006; McTavish, 2007; Morrow, Kuhn, & Schwanenflugel, 2007; VanKleeck, Gillam, & Hamilton, 1997), attention has been given to the role of fathers in the process of reading to children (Edwards, 1995; Genisio, 1996; Hill, 1998; Karther, 2002; Laminack, 1990; Ortiz, 1996; Ortiz, Stile, & Brown, 1999; Stile & Ortiz, 1999). Research that has examined the relationship between parental attachment and parent-child reading behaviors has found differences between mothers' and fathers' reading behaviors and attachment patterns (Bus, Belsky, & Ijzendoorn, 1997; Frosch, Cox, & Goldman, 2001). With regard to reading practices, Anderson, Anderson, and Lynch (2004) found that compared to mothers, fathers are more interactive when sharing texts with children. Specifically, when fathers and mothers were observed in reading activities with their four-year-old children, fathers were found to engage in more clarification and confirmation of statements than mothers, and in more interactions with children than mothers. Further, Ortiz et al. report that fathers in their studies expressed enjoyment and desire to engage in literacy activities with their children in order to help prepare their children for school.
From this body of scholarship we know that families are important in their children's literacy development and that fathers can play a crucial role. We also know that some fathers want to contribute to their children's literacy growth. Family literacy programs often encourage parents to read with their children by providing books and activities that the families can use. What is missing is that research and evaluation of these programs do not typically place an emphasis on how fathers might be portrayed or presented in the books that are suggested for families to read (for example, Genisio, 1996; Karther, 2002). …


April 24, 2014
Through research, teaching, and volunteer work, Professor of Education Ruth Shagoury promotes children’s literacy and language acquisition. Her research on young emergent bilingual children’s writing development will appear as a chapter in the forthcoming book Spotlight on Young Children: Exploring Language and Literacy. The book discusses child language and literacy development through age eight, with classroom examples and a professional development guide. In a week-long webinar following the book release, early childhood educators can give Shagoury their questions and comments.
Shagoury also studies teacher research, especially focused on issues of teaching and social justice. In “A Model Teacher-Researcher: An Interview with Ruth Shagoury,” for the journal Talking Points, Dick Koblitz interviewed Shagoury on teacher research in the past, present and future. “Using children’s literature, more global literature, to introduce and discuss worldwide issues,” Shagoury told Koblitz, “can have a strong impact on children’s attitudes.”
Much of Shagoury’s work focuses on language and literature acquisition with diverse student populations.To ground her research and teaching, she volunteers in classrooms from prekindergarten through high school. She is a leader in Choice Literacy, an organization that offers resources to K-12 teachers. Her twelve books on teacher research and children’s literacy include Raising Writers: Understanding and Nurturing Young Children’s Writing Development (Allyn & Bacon, 2009) and Starting with Comprehension: Reading Strategies with the Youngest Learners (Stenhouse, 2005).
Learn more about Ruth Shagoury.


Separating twins in kindergarten — a common practice in schools across the country — can be traumatic for children and is often against the wishes of both the children and their parents, according to a new study by California State University, Northridge education professor Lynn Melby Gordon.
Gordon’s study, “Twins and Kindergarten Separation: Divergent Beliefs of Principals, Teachers, Parents, and Twins,” was published last week in the journal Educational Policy and is the first to explore the separation of twins in kindergarten by directly comparing and examining the beliefs of elementary school principals, kindergarten teachers, parents and twins.
“To put it simply, my research does not support the mandatory school-separation policies for all twins that are so prevalent in school districts across the country,” said Gordon, a professor in CSUN’s Department of Elementary Education and parent of twins herself. “School leaders should know that when a pair of twins has a genuine preference to stay together in school, it does not necessarily indicate a pathological co-dependence, a lack of individuality or an inability to make friends with other children. It is, more likely, simply indicative of a healthy, supportive relationship.”
As part of her research, Gordon surveyed principals, kindergarten teachers and preschool- and kindergarten-age twins and their parents about separating twins when they begin their formal educational experience in kindergarten.
She found that principals are much more likely to believe that twins should be separated in kindergarten than the young twins themselves, their parents and even kindergarten teachers. While a majority, 71 percent, of the principals she surveyed said they felt twins should be separated in kindergarten, only 49 percent of the teachers, 38 percent of the parents and 19 percent of the preschool and kindergarten twins agreed.
“A troubling finding from the group of principals surveyed is that over half of separation-favoring principals believe that twins do better academically when they are placed in separate classes, and almost one quarter erroneously believe that twins do better academically when they are placed in separate classes,” Gordon said. “The presumptions are not supported by the existing body of twin research. Instead, studies tend to show either no difference in the academic achievement of twins placed together versus apart or that academic achievement tends to be better when the twins are placed together.”
She found that 81 percent of preschool and kindergarten twins want to stay together in kindergarten, but about 58 percent of twins are separated into different classes. Female identical twins are most likely to report wanting to stay together in the same class in kindergarten.
Gordon said that most parents favor joint placement of twins in kindergarten.
“Perhaps not surprisingly, 95 percent of parents believe they know their kids best, and believe that schools should try to honor their class placement requests for twins,” she said.
She noted that kindergarten teachers would not mind having a set of twins in their class.
Three percent of all twins who are placed in separate classes are very traumatized by kindergarten separation, and an additional 17 percent are somewhat traumatized, according to parents. In the meantime, 69 percent of principals believe that separation is probably a little traumatic, and six percent believe that separating twins is very traumatic.
Gordon said there are instances when twins are likely to benefit from class separation.
“For example, when twins display pronounced behavior problems with one another at home or in preschool, parents recognize this to be a clear and practical reason to separate those individuals at least for a few hours a day while they are in school,” she said. “But the study’s primary conclusion is that, unless there is a compelling reason to separate twins, it is often best to keep them together, at least in kindergarten.”


More than 20 University of Wisconsin Oshkosh students participated in a two-month teaching and advising project with students from Australia, India, New Zealand, Pakistan, Qatar and the United States — all without leaving the classroom.
The Net Generation Education Project, a global interactive research project, focuses on how new technology is being integrated into learning styles of the new generation of high school students.
“This project is about collaborating beyond the classroom,” said Eric Brunsell, UW Oshkosh assistant professor and expert adviser for the project. “It shows that emerging technology can be used to do things in education that haven’t been possible in the past.”
The project was based in part on the book “Grown Up Digital: How the Net Generation is Changing Your World” by Don Tapscott’s and the New Media Consortium’s 2009 Horizon Report.
Approximately 300 participating high school students were placed on 50 teams that researched one Net Generation “norm” and one emerging technology and then created more than 150 videos.
Each UW Oshkosh student in Brunsell’s instructional technology class acted as expert advisers for two teams of high school students from around the world, guiding their research.
“It was really cool to see that these students can create these videos,” said Sara Pelech, an elementary education major. “They were collaborating in a way that I had never seen before. It was really rewarding to see the students’ progress and encourage them along the way.”
The most popular trends students came up with include the freedom of choice when choosing how they are informed by the Internet, collaboration in working with other students and experts from around the world, and more specialized access to online information.
UW Oshkosh students and other experts around the world judged the videos based on design and technical quality, construction of ideas and creativeness.
“This really helps students broaden their perspective on issues that face the global world,” Brunsell said. “It really gives our students a sense about what is technologically possible in education.”
Flat Classroom, a grassroots group of educators who focus on collaborative technology projects in their classrooms, helped organized the project, along with ReactionGrid’s software, which allows interaction in a 3-D, virtual world.
Brunsell said that while new Web 2.0 tools are changing rapidly, the technological trend is that people are no longer just consumers of information.
“People don’t have to have a huge toolset to create and share their knowledge on the Web,” Brunsell said.
For more information, visit the NetGen Ed Project Wiki at http://netgened.wikispaces.com.
To view NetGen Ed Challenge Winning Videos visit, www.grownupdigital.com/index.php/2009/04/net-gen-education-challenge-winners.


Graduate Catalog 2015-2016
Home | Graduate Catalog 2015-2016 | Graduate Programs, Disciplines, and Course Offerings | Graduate Programs in Education | Graduate Education Courses | EDE - Childhood Education (Elementary Education) Courses | EDE 652 Children’s Literature
EDE 652 Children’s Literature
3 hours; 3 credits
Examinations of the place of reading in the child’s life. Use of reading techniques to acquire enjoyment, interest, information, and, especially, appreciation. Storytelling materials appropriate for children in nursery school and kindergarten. Interpretive and critical study of literature suitable for children of varied abilities and backgrounds in elementary grades. Introduction to promising practices of using children’s literature in various fields.
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Adding and Subtracting Large Numbers
Hmmmm…How can I make adding and subtracting large numbers fun? What do I love almost as much as new technology? Shopping of course! And my students loved it as well!READ MORE…
Blogging about Education, Education Blog, Elementary Education Blog, Lessons
The Bullying Teacher:Can the Damage They Cause Be Fixed?
Mystery Skype!:Connecting Our Classrooms One Skype at a Time!
Great post! It’s true that once you include a list. money , and a shopping, the youth get excited. Our discussion started with would you like your parnets to buy you gifts or just give you money? Most of my workshop participants said just give me the money. That’s when I explain that your parents will not give you the same value of that gift in funds. It will be be less. Once they realized that they could not get everything they wanted with the money, there eyes werenow open to money and budgets. http://www.dennardmitchell.com/programs.html
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A SHORT BIOGRAPHY OF EMILE-JACQUE DELCROZE
In some ways the life of Emile Jaques-Dalcroze was a paradox: he was born in Vienna, but is associated with Geneva, and his greatest popularity in his lifetime arose from his work in Hellerau, Germany; as a young man he worked as an actor and trained at the Comedie Francaise, but he is justifiably known as a composer and music teacher; and the name by which he is known was not the name given him at birth.
Dalcroze was born Emile Henri Jaques in Vienna on 6 July 1865. His father was a middle-class business man. Emile’s mother, Julie Jaques; had been a teacher in a Pestalozzi school. His mother’s work as a teacher provided a strong early influence on Emile’s ideas about teaching; his own teaching certainly agreed with Pestalozzi’s methods.
Johann Heinrich Pestalozzi (1746 – 1827) was a Swiss educational innovator in the late eighteenth and early nineteenth centuries. Pestalozzi believed a child’s education should consist of providing the child with opportunities to make discoveries. (Dalcroze particularly believed the experience should precede theory and conclusions.) Although Pestalozzi was not a musician (those close to him wrote that he couldn’t even hum well), he urged that schools feature a strong measure of music education to improve the general atmosphere of the school.
Emile’s introduction to music commenced with piano lessons at age six in 1871. The family moved to Geneva, Switzerland when he was ten. There he showed interest in composing as well, writing his first opera, "La Soubrette," at age sixteen in 1881.
Dalcroze possessed an active sense of humor throughout his life. He espoused the use of joy as a pedagogical tool. As a boy, he showed his flair for jokes and pranks. A circus and an Oriental monarch coincidentally visited Geneva at the same time when Emile was in his teens. Emile had no money for the circus. He obtained hotel stationary and wrote a note to the circus. They were to expect an imperial party tomorrow. The next day Emile and his friends appeared in improvised robes and costumes speaking pig Latin. The boys were ushered to the best seats in the house.
Throughout his youth, Emile displayed an active interest in theatre. In school, Emile joined the Belles-Lettres, a student society. He regularly appeared as an actor in the club’s plays. As a nineteen-year-old in the summer of 1884, Emile joined a touring stock company run by his cousin. He then traveled to Paris to study acting at the Comedie Francaise with tragedian Denis-Stanislaws Talbot, comedian Francois St. Germain, and Francois Jules Edmond Got. Also while in Paris, Emile attended lectures given by Dalsarte (whom, incidentally, seems to have been the uncle of Georges Bizet).
During this period, Emile also pursued music studies with composer and teacher Mathis Lussy. Lussy had studied and written at length on the subject of musical rhythm. Many of the concepts taught by Dalcroze found their basis in the work of Lussy.


Art education is part of a child’s (or even an adult’s) holistic learning process. Several studies have shown that children who were exposed to any artistic activity – dramatics, music or visual arts – were confident, articulate and more accepting of others. ‘re also more focused on their studies and get good grades as art education boosts their their learning process.
One of the most effective ways of teaching your children about art is to bring them to museums. If you’re traveling this summer, it’s easy to include an hour-long visit to the museum in your itinerary as most of the major tourist areas have their own museums. In the U.S. alone, there are 200 children’s museums in the U.S.
Best of all, a trip to the museum need not be boring or another “required” trip. It can be fun and interesting for you and your children.
1.Do your research
Most of the museums have websites that contain all the information that you need to know – from the price of admission to daily schedule to current exhibits. Show the website to your children and ask them what they want to see. Or you can ask them what they studied in school, what interested them and base your choice from their responses.<
2. Start a family art project
Children will be more keen visiting a museum if they have a first hand experience of creating a work of art. Visual artist and fine arts professor Marika Constantino said her children often watch her while painting in a her studio – which is a spare room located beside their living room. “I try to involve my children in my works. I try to expose them to the various processes I do and the materials that I use. Such an exposure leaves a curiosity in them, “ she said. Constantino said she uses her children’s curiosity as a springboard to discuss artwork and art making.
You don’t need to be a practicing artist to start a family project. For instance, if you are the family’s resident scrapbooker, you can get your children involved by asking them to choose the photos they want to include in the scrapbook or perhaps they can cut color papers to decorate the scrapbook.
3. Enlist the help of tour guides
Join a museum tour. Some museums have guides that conduct a tour , giving mini lectures about a permanent collections and special exhibits. If there are no scheduled tour guides, you can go to the information desk and ask for a recommended exhibits for families.
4. Focus on one exhibit only
Museums have several ongoing exhibits, but it’s difficult for children to absorb everything in one go. So choose just one exhibit, and stay there. Discuss the painting or sculpture with your children. Ask them about the shape and colors that they see, and what they think or feel about the artwork. “One’s engagement with an artwork changes when you see it up close. You see textures, colors and techniques better when you do,” “ Constantino said.<
5. Encourage your children to share their experiences
Discuss the museum visit with your children. Ask them what they liked, what they don’t understand and what they hated. You can also encourage them to write about their museum travels in their journal.
Prime Sarmiento is a journalist and freelance business blogger. She writes on learning and the craft of writing for online tutorial company Ahead Interactive. A passionate traveler, Prime helps other women craft their own journeys via www.solofemaletravel.net.


The following tools will help focus your viewing and reflections on the videos.
Observational Checklist (PDF): A checklist for recording what you see demonstrated in the videos, including the Essential Components of Literacy Development, the Literacy Teaching Practices, and the Elements of Classroom Environment. Each classroom will have some -- although not necessarily all -- of the practices and components listed on the checklist.
Key Questions (PDF): Overarching questions that help viewers examine important aspects of a literacy classroom, including: classroom environment, assessment, the diverse needs of learners, and the connection between reading and writing.
KWL Chart (Know-Wonder-Learn Chart) (PDF): A chart for accessing prior knowledge, and recording what you already know and what you would like to learn about the topics in the video. Groups can use the KWL to generate discussion and questions to consider while viewing.
Literacy Development Chart (PDF): A chart to record your observations of the students' strength and weaknesses when watching the student case studies.
Classroom Strategy Planner (PDF): A record of a strategy -- or strategies -- you would like to try out in your classroom.


1. Children thrive in a nurturing and supportive environment. We will honor every child and put the needs of children first in everything we do.
2. To be successful, children need a broad set of skills that includes a core academic foundation, higher-‐order thinking, and character education.
3. Children learn best when deeply engaged in authentic learning experiences.
4. We serve children with a variety of different learning styles and will help each of them reach her or his full potential.
5. Students, teachers and staff do their best work within a culture of mutual respect, personal responsibility, and kindness.
1. DEVELOP CREATIVE, PASSIONATE LEARNERS.
a) Demonstrate continual growth toward high‐level mastery of foundational skills.
b) Learn in an environment where project-based learning and differentiation are key instructional approaches within an integrated curriculum.
c) Engage deeply in real-‐world learning experiences that develop higher-‐order thinking skills.
2. NURTURE CONNECTED, CONTRIBUTING GLOBAL CITIZENS.
a) Develop personal responsibility, self-awareness and individual voice.
b) Engage in learning experiences that promote perseverance, risk-taking and resiliency.
c) Contribute to a shared purpose within the classroom, school and larger community.
d) Respect other cultures and points of view.
3. COMMIT TO TRANSFORMATIVE PROFESSIONAL DEVELOPMENT.
The District will:
a) Invest in training the entire staff in common core standards and project-based learning.
b) Foster a culture of sharing and collaboration that supports individual and organizational growth.
c) Develop a long‐range systemic professional development plan for continuous growth.
4. FOSTER A RESPECTFUL AND COLLABORATIVE CULTURE.
Our staff, parents and larger community will:
a) Embrace and model shared expectations.
b) Engage in informed, transparent decision‐making.
c) Ensure proactive communication.


Ready to take action to support music education in public schools?
NAfME members and staff work together to preserve and expand access to music education for all students. We strive to ensure that schools, legislators, policy makers, parents, and the media understand the critical role that music plays in a world-class education.
In 2014, NAfME introduced our new advocacy brand and campaign, Broader Minded. Broader Minded is a new approach to music education advocacy that articulates the intrinsic, unique benefits of music study. Today’s educational environment emphasizes quantifiable achievement measures, and gauging student progress and learning is clearly important. At the same time, the true mission of education lies in shaping the students behind the scores. Even data that indicate positive links between engagement with music and academic achievement only show a part of the bigger picture. Music also shapes the way our students understand themselves and the world around them. It allows for deep engagement with learning; and nurtures assets and skills such as creativity, discipline, curiosity, and motivation that contribute significantly to success after school. In other words, music helps develop the student behind the score.
This is the broader-minded argument for music education. Click here to learn more about Broader Minded, and what you can do to help preserve music programs where you are and nationwide.
Click here to see Broader Minded brochures and merchandise–all proceeds directly benefit NAfME’s advocacy mission!


“Connecting Classrooms through Global Project Based Learning Activities and Resources”
Name and Title: Kimberly Caise, NBCT, M. Ed., Educational Consultant/Presenter
Area of the World from Which You Will Present: Texas, USA
Language in Which You Will Present: English
Target Audience(s): 2013Curricular, 2013Teachers
Short Session Description (one line): Strategies will be presented to enrich instruction using web conferencing and project based learning projects.
Full Session Description (as long as you would like): This webinar will discuss strategies and ideas to use in a to enrich instruction by having students participate in global collaborative projects. Project based learning resources will be shared along with instructional strategies to implement this type of teaching style in global collaborative learning activities will also be featured with supplementary resources shared with participants. Research that illustrates the importance of assisting students develop a global awareness and resources for implementing inquiry based learning activities will be shared in this webinar. Global collaborative projects and technology integration are key components of preparing students for success as responsible citizens and future leaders in their personal careers and endeavors after graduation. Ideas presented can be modified to meet a variety of common core standards, fit content areas and will be appropriate for several grade levels.
Please join this national board certified teacher in the area of technology education, Kim Caise, M. Ed., who has over 20 years of experience in education for this presentation. She has seen how student learning can be enriched when engaging, interactive activities are incorporated into instruction. Kim has a been classroom teacher, technology specialist and currently mentors educators providing assistance in revolutionizing instruction and impacting virtual learning incorporating technology resources and tools using web conferencing that focuses on technology integration topics faces educators today.
Websites / URLs Associated with Your Session:
Kim Caise has been an educator and technology specialist for over 20 years after graduating from the University of Texas at San Antonio with a Bachelor of Arts degree in Elementary Education in 1989. Kim began her educational career teaching elementary grades and middle school math. In 2006 she achieved the pinnacle of educator certification and became a National Board Certified Teacher in Career and Technical Education with a specialty in Technology Education. In September 2010, she completed an advanced degree program at Western Governors University with a Master of Education Learning and Technology program. Kim is a STAR Educator and serves on the Texas DEN Leadership Council for Discovery Education. She is a FableVision Ambassador, was nominated for the 2005 Disney Teacher of the Year Award, and named the ‘2003 Digital Teacher Award’ from Digital Knowledge Curriculum (now Discovery Education) for her use of digital media in the classroom. Kim also co-hosts the weekly ‘Classroom 2.0 LIVE’ webinar series held on Saturday mornings. She has conducted numerous professional development sessions and presented conference sessions to educators around the world. Kim is a passionate, lifelong learner who is committed to supporting educators in the exploration of technology tools that engage students, motivate learners and improve academic achievement.
Please join me on Wednesday, November 20th at 11pm EST (schedule page - http://www.globaleducationconference.com/page/globaledcon-schedule-...) using the following link to the Blackboard Collaborate room:
Hope to see you there!
Link to Blackboard Collaborate recording: https://sas.elluminate.com/site/external/jwsdetect/nativeplayback.j...
Link to blog post with slides and Livebinder: http://www.kimcaise.com/blogging/connecting-classrooms-through-glob...
Feedback form for this presentation: https://docs.google.com/forms/d/1qRk1axf720bZ8WKGwxTnFoyx-PIuQicfmt...


Music Discipline Assessment Annual Report 2008-2009
1. Music discipline objectives
Objectives for the Music Major:
1. Musicianship: Students will demonstrate proficiency in vocal, aural and keyboard skills.
2. Performance: In their area of specialization students will confidently interpret and perform a wide range of music literature in a public venue.
3. Music in Historic and Cultural Context: Students will listen to and write about music critically and will be able to apply stylistic principles to music they perform.
4. Music Theory: Students will have a command of undergraduate music theory including contrapuntal techniques and musical forms.
Objectives for the General Education student:
Students will critically explore music in one or more of the following ways depending on
objectives for the various courses:
1. By becoming familiar with musical repertory through critical listening to
2. By investigating the relationship between music and culture.
3. By developing basic skills in music notation, analysis, and composition.
4. By interpreting and performing a variety of solo and/or ensemble musical
repertory in their specialization.
2. Course-embedded assessment.
In addition to regular assessment and testing, separate pre-test/post-tests covering Mus 1101-1102 Music Theory and Mus 2101-2102 Music Theory have been in use since 2004. Both tests attempt to measure student progress in conceptual and practical aspects of harmony and analysis.
Mus 1041 Introduction to Music was assessed 2008-2009. See attached documentation.
3. Direct measures of student learning
Each semester - Performance of five to six minute Vocal or Instrumental Finals in front of applied music faculty with evaluation forms. Faculty debated whether Finals procedures need to be uniform across areas of specialization. At present they are not. Something to think about in the future is to see what is uniform and what is not uniform and how this affects student outcomes. Part of the difficulty with the forms is how to be general but still get enough specific evaluative comments to the student.
End of Second Semester Assessment – These are a separate evaluation form for first year majors used as part of finals. Assessment is done to be certain a student should continue as a major in the area of specialization. Two copies of the assessment are made. One is for music discipline assessment files and the other is for the student portfolio. They are intended to provide a benchmark for students to see their own progress and for faculty to track improvement. The faculty member in charge of assessment will maintain the discipline assessment files.
End of second year – The Jury is a 20 minute performance in the Recital Hall with evaluation by the music faculty. Three style periods are required. Vocalists and pianists perform from memory. The new Jury Evaluation form for assessment now uses two copies of the faculty comments. One copy, kept by the discipline, provides documentation of faculty evaluations and the other provides a valuable document for the student to use in the student portfolio. The change to this format provides more information to both the music faculty and to the student.
End of fourth year - Assessment of Portfolio Project. The portfolio contains a resume, course syllabi, programs, and much more. It was decided that a change is needed in the catalog to make the portfolio part of the senior project. This is what the Art History Discipline does so there is a precedent. The plan is to have in the Music Student Handbook that students need to check in with their portfolio with their advisors at the end of each year up to the senior year when the portfolio is included as part of the senior project.
Senior Project/Capstone experience – senior project is an hour long recital or project. The recital is a vocal or instrumental recital representing at least three style periods. Vocal and piano recitals are performed from memory.
Assessment of Handbook – the handbook is an effective tool to help students learn what is expected of them as majors. Changes include adding a heading for Portfolio and one for the End of Second Semester Evaluation. Other changes will include outlining assessment procedures, clarifying music discipline policies, and formatting the Music Handbook as an online resource.
4. Assessment Objectives for Music Education Students – faculty agreed that certification is the objective for now. The music discipline will continue to work on this item.
5. Annual Assessment meeting with the music faculty was held March 26, 2009. Assessment Committee meeting for the annual report was held May 12, 2009.


Zinesters in the Classroom: Using Zines to Teach about Postmodernism and the Communication of Ideas
Congdon, Kristin G., Blandy, Doug, Art Education
Zines ["zeens"] are non-commercial, non-professional, small circulation "Do-it-Yourself" (DiY) magazines.1 In 1996, we started using zines as an assignment in our university classrooms. Students in such varied classes as Aesthetics, Theory and Criticism of the Visual Art, Art and Human Values, and Zines and DiY Democracy have made zines. In these courses students have written, cut and pasted, folded, copied, and distributed hundreds of zines. They have explored the history of zines, the relationship of zines to popular and mass culture, the role of zines in radical and utopie thought, zine design, and the relationship of zines to art. Many of our students' zines have been widely distributed through the mail, in local zine outlets, and by hand.
We have found that creating and distributing zines is a successful pedagogical strategy for encouraging students to participate in postmodern discourse. Zines also permit students to break with the strictures of writing formal papers based on the guidelines of the American Psychological Association (APA) or Modem Language Association (MLA). As such, zines encourage students to link images and text towards the expression of ideas in a free-form and intuitive manner. Through our teaching we have discovered that for many of our students, being a zinester comes quite naturally. While they may not have been previously aware of zines, they intuitively understand the unconventional, insurgent, and spontaneous structure that characterizes them. This may be due to zines' close association with popular culture and acts of appropriation.
Our purpose in this article is to discuss the history and context of zines. We will consider the ways in which zines can be used to assist students in understanding postmodernism. Zines as a strategy for encouraging the development and distribution of ideas and social critique through images and text will be considered. All of the examples and illustrations that accompany this article are drawn from our own classrooms. While our discussion focuses on our use of zines in the context of higher education, we believe that zines can be successfully used with kindergartners to older adults. Outside of school, middle-school-age and high-school-age students currently make zines and are among those setting contemporary trends in zine design and content. Although the act of appropriating images may be unfamiliar to many senior citizens, art educators can devise ways to orient older adults to this aesthetic method. Certainly zines are relevant to documenting and sharing the life review process as well as addressing the political dimension of growing old in today's society.
History of Zines
A loose-knit multicultural coalition of academically and non-academically trained artists and writers known as "zinesters" is flourishing. Zinesters, who are both youths and adults, create and distribute images and text commonly referred to as "zines." Zines may last only one issue or run for years. Pages may range from less than ten to hundreds. Their form has been compared to "somewhere between a personal letter and a magazine" (Duncombe, 1997, p. 10).
Zines are an amalgam of original and appropriated images and text from a variety of sources including comic books, posters, album covers, graffiti, tagging, thrasher [skateboard] art, tattoo flash, television, and the history of "fine art" and literature. Zinesters combine iconography and text to create publications that can be chaotic, disturbing, uncomfortable, sensual, complex, loud, confrontive, and often a social critique of contemporary life. Gender roles, religion, familial relationships, politics, sexual orientation, the environment, academic disciplines, the arts, class structure, ethnicity, generational differences, economics, and pop culture are among the many issues celebrated, skewered, deconstructed, reconstructed, and illuminated by zinesters.
Zines, with a combined estimated readership of 500,000 to 750,000 persons (Buncombe, 1997), are available through mail order, word-of-mouth, music stores, pubs, comic book stores, thrasher shops, independent bookstores, body modification shops, political storefronts, alternative galleries, and on the Internet (e-zines). …


There is a debate of which came first — music or language. But one thing is for sure, the role of music in human history is as essential and prevalent as language itself. It is used to this day for ritual, expression and community. This is what Mr. Edward Grimes gathered to share with parents at Spring Garden on the morning of March 25th, as he discussed music education at each of the grade levels.
He described the music curriculum as a layering process that corresponds to the methodology of teaching throughout Waldorf Education. What is taught in the beginning, or early grades, is never lost or “moved beyond” so much as layered upon.
In the early years, this applies to music as an expression and embodiment of imagination. In first and second grade, children learn music from the pentatonic scale both in song and on their flutes or recorders. The songs are rich in story, movement and expression, so that the children can learn what it is to imagine through music.
In third grade, the nine year change means children are ready to begin learning the language of music. A diatonic scale is introduced, notes are named by letter, and children learn basic music notation such as the scale and cleff. Third graders also begin Solfege – a music education method used to teach pitch and sight singing.
Fourth grade brings fraction studies and fractions bring quarter, eighth and sixteenth notes, which then lends to teaching rhythms, and rounds and some simple harmony. Now that the language of music has been introduced, children begin to play musical instruments, starting with the violin.
Grade five is ready for three parts in choral music and will sing Glorious Apollo as part of their study of the Greeks. Accidentals are also introduced in this grade and new keys are taught beyond the key of C.
In class six, there begins an amazing opportunity. Written music from the time period of study — Medieval Times — is now available! The children can be given Gregorian Chants and other time period pieces to learn. Acoustics are also studied this year. And class six students, who are more attuned to their outside world, can begin to also attune themselves to what lies within.
They can be taught to think about, and influence, the sound of their own voice — an instrument which can only be seen through the mind’s eye and can only be changed with subtle manipulation of their physical selves. Class Six students can also choose different instruments to play beyond the strings.
Middle School then layers skills and practice upon all that has been learned before. Ensemble choirs read music and sing in harmony and rhythm. Site singing also begins and Solfege study continues. And Orchestra is now part of every student’s curriculum.
Through it all, Mr. Grimes takes great care in choosing the most appropriate music for the students in each grade. He says, “I don’t teach pieces of music. I teach the music in the pieces.” As a final thought he encouraged the parents to expose their children to live music and help them experience the human connection: “Seeing one human make music, which they then experience first hand, is crucial for learning and human connection.”


"Science is not just about laboratories and test tubes, it is very often your ability to communicate your ideas effectively to others that will make you successful"
Ever wondered what you could do with a degree in Science? Do you sometimes feel that your options are limited to working in a lab or going to medical school? A background in Science provides a solid foundation for a variety of careers. While the medical field and laboratory research might be very rewarding career paths for some, many of Western's graduates from the Faculty of Science have successfully made the transition into industry, business, government, information technology, investment banking, teaching, management consulting and marketing. A Science degree can provide you with many exciting career opportunities, since Science students have the requisite skills that employers in countless sectors are seeking such as: critical thinking, technical problem-solving, and numeracy skills.
If you would like to talk about some of these options, then visit Science Career Services.
The Student Success Centre is also an excellent resource to learn about what students can do with degrees in particular areas.


The meaning makers : learning to talk and talking to learn
- Gordon Wells.
- 2nd ed.
- Bristol, UK ; Buffalo [N.Y.] : Multilingual Matters, c2009.
- Physical description
- xxiii, 332 p. : ill. ; 22 cm.
- New perspectives on language and education.
Education Library (Cubberley)
|LB1139 .L3 W443 2009||Unknown|
- Wells, C. Gordon.
- Includes bibliographical references (p. 318-328) and index.
- Acknowledgements Prologue Introduction Notes on Transcription of Dialogue Extracts Chapter One The Children and Their Families Chapter Two Learning to Talk: The Pattern of Development Chapter Three Learning to Talk: The Construction of Language Chapter Four Talking to Learn Chapter Five From Home to School Chapter Six Helping Children to Make Knowledge Their Own Chapter Seven Differences between Children in Language and Learning Chapter Eight The Centrality of Literacy Chapter Nine The Children's Achievement at Age 10 Chapter Ten The Sense of Story Chapter Eleven A Functional Theory of Language Development Chapter Twelve Towards Dialogue in the Classroom Chapter Thirteen The Interdependence of Practice and Theory Epilogue References.
- (source: Nielsen Book Data)
- Publisher's Summary
- "The Meaning Makers" is about children's language and literacy development at home and at school. Based on the "Bristol Study, Language at Home and at School", which the author directed, it follows the development of a representative sample of children from their first words to the end of their primary schooling. It contains many examples of their experience of language in use, both spoken and written, recorded in naturally occurring settings in their homes and classrooms, and shows the active role that children play in their own development as they both make sense of the world around them and master the linguistic means for communicating about it. Additionally, this second edition al sets the findings of the original study in the context of recent research in the sociocultural tradition inspired by Vygotsky's work and includes examples of effective teaching drawn from the author's recent collaborative research with teachers.
(source: Nielsen Book Data)
- Publication date
- New perspectives on language and education
- 9781847691996 (hbk : alk. paper)
- 1847691994 (hbk : alk. paper)
- 9781847691989 (pbk : alk. paper)
- 1847691986 (pbk : alk. paper)
- 9781847692009 (ebook)
- 1847692001 (ebook)
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Early Literacy and Family Rituals
Abstract (Summary)The purpose of this study was to extend the research on children's early literacy development by examining the practice of daily family rituals. The assumption was that the predictability and affective meaning that rituals provide would create an environment that fosters the development of literacy skills and motivation to learn. Measures included the PALS Prek, PPVT-III, and Family Ritual Questionnaire. Although there were no significant positive relationships between regular family rituals such as dinnertime and reading aloud practices and literacy outcomes, negative correlations were found between the assignment of roles on weekends, the routine of vacations, mother's work hours, and children's literacy scores. These findings may indicate some inflexibility among family members and not enough time spent in a variety of spontaneous literacy-building activities.
School:Utah State University
School Location:USA - Utah
Source Type:Master's Thesis
Date of Publication:05/01/2008


2- Blank Sheet Music
Blank Sheet Music is teachers platform where they can print any kind of blank sheet music totally for free.
3- Drum Lessons
Drum lessons are key if you want to learn everything about drums.It provides tons of free drum lessons, from beginner drum lessons to advanced instruction as well as a lot of information about drums, drumming and percussion.
4- Lesson Plan Page
5- National Association for Music Education
This is a platform where music teachers and educators get to share resources and teaching ideas.
6- NEA Jazz in Schools
NEA Jazz in the Schools is a web-based curriculum and DVD toolkit that explores jazz as an indigenous American art from ad as a means to understand American history.
This is section of Teachnology that offers lesson plans on music education organized by category.
Teachers.net is another website that provides different lesson plans for music teachers. It features more than 130 lesson plans.
9- Someday Music
This is a great platform that provides resources for Band Teachers such as the ones that cover associations for band teachers, lessons on using different instrument, and articles on band directors
10- Copyright Infringement or Not ? The Debate over Downloading Music
This is a lesson that takes advantage of students interest in music and audio sharing as part of a persuasive debate unit. Students investigate the controversial topic of downloading music from the internet.
11- Classics for Kids
This is a website that offers musical games, lesson plans,stories illustrated with music and many more.
12- Teaching Rap Music
This is a great article that covers everything teachers need to know about the evolution of Rap Music in the United States.
KiDiddles provides over 2.000 kid's songs. It allows users to listen to children's songs, download them, and even print the lyrics and accompanying activities.


ERIC Number: ED345222
Record Type: RIE
Publication Date: 1992-Apr
Reference Count: N/A
Reaching Out to Help Low Income Parents Foster Their Young Children's Literacy Development.
A study examined the effectiveness of the West Heidelberg (Australia) Early Literacy Project (WHELP), which helps low income and working class parents develop the literacy skills of their 4-year-old children by, among other things, reading regularly to them. The project developed through three phases with three different methods of delivering books to families: 1987-1988 via home visits; 1989 via pre-schools; and 1990-1991 via pre-school teachers. The bulk of the 60 families involved in the first phase were classified as "supportive-unsophisticated." They were interested in their children's education and keen to help out but lacked knowledge and confidence in how to help their children. While the 1987-1988 program was judged to be highly successful, the home visit strategy was very costly. In the second phase, project staff visited pre-schools and read with the children, who then took books home. The third phase was implemented by pre-school teachers using books supplied by the project. Follow-up studies of all phases were undertaken. Data included tests of literacy competence, family interviews, family interview environment, the child's interest in literacy, ethnicity, and initial knowledge/awareness. Results indicated that: (1) the project had some success in involving parents from a disadvantaged locality in reading with their 4-year-old children during all three phases; (2) working through the child's enthusiasm was an effective strategy; and (3) the project was successful in affecting children's emergent literacy learning. (Seven tables of data are included; 31 references and a description of project strategies are attached.) (RS)
Publication Type: Speeches/Meeting Papers; Reports - Research
Education Level: N/A
Authoring Institution: N/A
Note: Paper presented at the Annual Meeting of the American Educational Research Association (73rd, San Francisco, CA, April 20-24, 1992).


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Teacher Resources by Grade
|1st - 2nd||3rd - 4th|
|5th - 6th||7th - 8th|
|9th - 10th||11th - 12th|
Readers Theatre With Jan Brett
|Grades||1 – 2|
|Lesson Plan Type||Standard Lesson|
|Estimated Time||Five 60-minute sessions|
Fort Worth, Texas
In this lesson, students in grades 1–2 interact with the book Hedgie's Surprise by Jan Brett and create a Readers Theatre that is performed for an audience. Students make predictions about the story prior to reading and listen to a read-aloud of the story. Postreading, they make observations about the characters, setting, and plot. The focus on the literary elements of the story leads students to create costumes, props, and sets for the final Readers Theatre performance. Although Readers Theatre does not typically employ such devices, the use of costumes and sets affords early elementary students a better understanding of the story.
Readers Theatre script for Hedgie’s Surprise: The sample script for Hedgie’s Surprise provided with this lesson can be used for the Readers Theatre or as a model for students to write their own script.
Aaron Shepard’s RT page: For helpful tips on conducting Readers Theatre and some additional sample scripts, see Aaron Shepard's RT page.
Gambrell, L.B., Morrow, L.M., & Pennington, C. (2002). Early childhood and elementary literature-based instruction: Current perspectives and special issues. Reading Online, 5(6). Available: http://www.readingonline.org/articles/art_index.asp?HREF=handbook/gambrell/index.html
- Literature-based instruction provides authentic learning experiences and activities by using high-quality literature to teach and foster literacy development.
- A guiding principle of the literature-based perspective is that literacy acquisition occurs in a book-rich context where there is an abundance of purposeful communication and meaning is socially constructed (Cullinan, 1987).
- Student participation in storybook readings (e.g., a Readers Theatre performance) increases comprehension and the sense of story structure, thereby enabling students to more thoroughly integrate the information.
- The element of drama enables students to realize that reading is an activity that permits experimentation-they can try reading words in different ways to produce different meanings. As they practice their roles, readers are also given the opportunity to reflect on the text and to evaluate and revise how they interact with it.
- Educators have long elaborated on the benefits of using Readers Theatre and related strategies for increasing reading fluency and sight-word vocabulary, improving reading comprehension, providing opportunities to interpret dialogue and communicate meaning, and increasing awareness and appreciation of plays as a form of literature.
Cullinan, B.E. (1987). Children's literature in the reading program. Newark, DE: International Reading Association.


MoMA's Children's Art Carnival in India, 1962
The Children's Art Carnival, one of The Museum of Modern Art's many innovative educational programs, was developed by Victor d'Amico, an arts educator and founder of the Museum's Department of Education. The Carnival was first presented at the Museum in 1942. It consisted of a gallery of toys and art supplies and was designed to teach children the elements of art: line, color, form, rhythm. The gallery accommodated forty children and five art teachers. For one hour at a time, the children would use the materials and learn about art while the teachers would share innovative techniques about art education with other educators and parents. The International Council presented the Museum's Children's Art Carnival to the National Children's Museum in New Delhi. The gift was announced by Mrs. John F. Kennedy on behalf of the International Council during her trip to India in October 1962, and accepted by Mrs. Indira Ghandi on behalf of her country.
The gift of the Children's Art Carnival typifies the Museum's mission. The International Council of The Museum of Modern Art, in existence since 1953, sponsors the work of the International Program, which aims to promote modern art around the world. In addition, the Museum has a longstanding and ongoing commitment to education; the Museum was originally chartered as an educational institution in 1929 for "encouraging and developing the study of modern arts and the application of such arts to manufacture and practical life, and furnishing popular instruction."
If you are interested in reproducing images from The Museum of Modern Art web site, please visit the Image Permissions page (www.moma.org/permissions). For additional information about using content from MoMA.org, please visit About this Site (www.moma.org/site).
© Copyright 2011 The Museum of Modern Art


Description of Teacher Training
A group discussion occurs right after the behind-the-glass lessons. The framework of an in-depth discussion of the theory and practice in the context of student learning expands the teacher’s knowledge, skills and dispositions associated with the early literacy development of children who are having more than the usual difficulty with literacy learning.
During the full academic year, teachers-in-training participate in the following:
- Complete graduate-level courses (9 credit hours) taught by a registered teacher leader at his/her licensed district-level training site.
- Teach students in a clinical setting for peers during class sessions, gaining experience observing and describing teacher-student behaviors and developing moment-to-moment decision-making skills to inform instruction.
- Provide instruction to at least four Reading Recovery children daily and fulfill other district-prescribed roles which often includes teaching small groups of children who need additional differentiated instruction to achieve grade level literacy skills This results in the Reading Recovery teacher being able to address the literacy needs of more children than the typical classroom teacher is able to serve across the school year.
- Work with school administrator(s) and colleagues to establish school teams or to join an existing team for the purpose of monitoring student progress and the quality of the Reading Recovery implementation at the school level.
Successful completion of the training qualifies teachers for the Georgia Professional Standards Commission Reading Endorsement.
For further information contact Georgia State University Reading Recovery Regional Training Center
College of Education & Human Development, Department of Early Childhood and Elementary Education
P. O. Box 3978, Atlanta, GA 30302-3978
Funding the Teacher’s Salary
Nationally, most Reading Recovery teachers are Title I teachers who incorporate the Reading Recovery one-to-one intervention as part of their Title I teaching assignment. Across the school year, Reading Recovery teachers teach 30 -45 students each, 8-10 of whom receive Reading Recovery lessons because they are having the greatest difficulty learning to read and write.
Half of the schools that implement Reading Recovery use Title I Part A to fund the Reading Recovery teacher’s position.
In addition to Title I, some schools use
- Title II funds to train highly qualified teachers.
- Title III funds for limited English proficient and immigrant students.
Other potential sources of funding include:
- State Improvement Grants
- Striving Readers
- Title IV – Twenty-First Century Community Learning Centers
- Innovative Program state grants under Title V
- Special Education
- Local funding
In Georgia, Reading Recovery is an approved Early Intervention Program (EIP) delivery model. Approved EIP delivery models are considered appropriate Response to Intervention (RtI).
Thus, funding sources for RtI are another potential source for supporting implementation of Reading Recovery.
Reading Recovery and Response to Intervention (RtI)
Reading Recovery can be part of a school’s RtI plan. The National Center on Response to Intervention (NCRTI) recently listed Reading Recovery on its intervention site and reported large gains based on a 2005 study by researcher Robert Schwartz published in the Journal of Educational Psychology. NCRTI is funded by the U.S. Department of Education’s Office of Special Education Programs to provide technical assistance to states and districts to help them implement proven models for response to intervention (RTI) and early intervening services. Please visit RTI4success.org for more information.


by Jenna Pirrie, business manager
Surviving winter in Chicago is one giant game, and the only prize for winning is retaining your sanity (and fingers and toes). There are plenty of rules and essential strategies, most of which are fairly simple if you have played the game your whole life. But for students from warmer climates, winter survival strategies sometimes feel as complex as learning Greek.
The first roadblock for Rebecca Arliskas, junior TESOL major from Arizona, was buying a coat. “My roommate makes fun of me because I ordered it online. It was a foreign concept to me to be able to go to a store and buy an appropriate coat for Chicago.”
Peter Cooper, sophomore youth ministry major from San Diego, California, said layering was the first thing he had to learn when he transferred last winter. “I did not understand the importance of [it] … it is not about having one big winter coat, but it is about having a few layers and the air trapped between them.”
Unlike newcomers to the game, Megan Gillespie, sophomore applied linguistics major, has been surviving Indiana winters since birth. She said, “If your hands are cold, do not blow on them … the moisture in your breath makes them colder in the long run.”
Personal strategies are equally important in this game: find out what helps you the most. For Cooper, gloves are essential, while Arliskas, who says she is miserable as soon as her ears get cold, gives a hat a higher priority. Others would emphasize the importance of wearing leggings or long johns under jeans, keeping your neck warm at all times or taking advantage of wool socks.
But staying warm and dealing with the physical effects are only half the game. The psychological effects of the lack of sun, especially for students raised in the South, can be a surprise. Consider taking vitamin D or getting a full spectrum sun lamp, and research Seasonal Affective Disorder if the winter doldrums seem worse than usual. Sometimes simply being aware of the psychological effects that can come with a cold and dark winter can help you get through it.
Being active and finding joy in the season is also an important strategy. Arliskas recommends bundling up and spending some time outside at least every few days. “If you stay inside for three months, you just aren’t going to feel good about yourself.”
“Do not isolate yourself,” advised Melissa Mancari, senior elementary education major from Clearwater, Florida. “If you are surrounded by people going through the same thing together, it makes it more fun than depressing.”


TED640A Student Teaching I
Course DescriptionFocuses upon the practice and development of teaching skills in the classroom in a full day, eight-week term at a school site. Elementary education candidates meet the requirements of the Teacher Performance Expectations and are mentored by a university supervisor and a master teacher at the school site. Students attend the seminar coincidentally with the student teaching experience. Grading is by S or U only.
- Describe school policy, procedures, and facilities, and master teacherandapos;s expectations by completing Checklist #1: Site Orientation.
- Describe the role of five school personnel and the school nurse in the successful and smooth operation of the school by completing Checklist #3: Interviews.
- Describe a variety of lessons and identify State adopted academic content standards, teaching techniques, instructional strategies, assessment techniques, and Teaching Performance Expectations (TPEs) by completing Checklist #2: On-site Observations.
- Design lesson plans and present three lessons for observation and critique by the Master Teacher and the University Supervisor.
- Demonstrate fulfillment of professional responsibilities and maintenance of positive interpersonal relationships.


Author: James Haywood Rolling
2013 Palgrave Macmillan; 8 chapters; 256 pages
A range of surveys shows how business leaders value creativity as the Number One leadership quality of the future. But much existing literature on creativity views it as either the product of a genetic inheritance, or of skilled and specialised instruction. The book ‘Swarm Intelligence’ addresses a missing gap in creativity studies: the role and impact of social behaviours in swarms.
The 21st century is now marked by global networks of vastly differing cultures and social agendas – a ripe environment for new forms of creativity and innovation to emerge, provided entrepreneurs have the right open mindedness and collaborative skill sets for engaging with swarms.
It is important for educators and corporate leaders to grasp how creativity is a common, collective, self-organising, adaptive and non-linear social networking behaviour. Creativity is present in all people, it is just that we are all ‘differently creative.’
Collective creativity and individual creativity have a symbiotic relationship, says author James Haywood Rolling Jr., associate professor of art education and leadership at Syracuse University. He has served on the board of directors of the National Art Education Association, and has authored three other books on arts and creativity.
Rolling draws on the use of swarm behaviours enabled by social media and mobile networks during the Arab Spring as creative swarms. Negative examples of swarm behaviour are groupthink, violent mobs, racist profiling and mass hysteria. Other forms of group dynamics are herd behaviour and peer pressure.
In the context of creativity, art is defined as a system of production, communication, interrogation or improvisation. Rolling draws on the rise of jazz as an example of combinations of individual and swarm creativity in the different genres of the music.
Rote-learning in schools and the conservative nature of big organisations can stifle creativity. Drawing on research in the realms of biological swarm theory, systems theory and complexity theory, Rolling explains that group collaboration and adaptive social networking make us both smarter and more creative. We need to design education and workplace practices around these natural principles of group activity — instead, today’s educational and business environment puts too much emphasis on individual achievement.
Creativity resides in and emerges from the swarm and not just individuals. Swarming can spur individual creativity as well as the creativity of groups, and can eventually build ‘superorganisms.’ The future will be pioneered by the collective problem-solvers.
Rolling identifies key mechanisms of self-organisation in swarms: decentralised control, distributed problem solving, multiple interactions between agents, and adaptive mimicking. He also identifies four laws of successful swarm behaviour: Law of Succession (following those immediately ahead, or learning from the mentor), Law of Separation (adequate space between members), Law of Alignment (choosing affinities), and Law of Cohesion (convergent behaviour).
These principles have appeared in different forms in the behaviour of automobile manufacturers (Ford assembly line), and more recent crowdsourced innovation by Procter & Gamble’s Connect + Develop programme (alignment of interests), crowdfunding for startups (eg. Indiegogo, Kickstarter, RocketHub and RockThePost) and trending behaviour for sites such as TED and The Khan Academy.
Some of the most powerful drivers of swarms are stories: compelling narratives which draw users because of their enticements, novelty, familiarity, alternative views or metaphorical value. In addition to being swept up by swarms, creative behaviours can be cultivated by a combination of observation, active innovation, idle time (resting) and idyll time (daydreaming).
Periods of distraction, ‘controlled messiness’ and ‘mental clutter’ can actually help make unexpected connections. “If you don’t like someone else’s story, write your own,” African writer Chinua Achebe famously remarked.
Rolling recommends that bridges be created between the arts and sciences, and more emphasis be placed on self-directed learning driven by curiosity and personal motivation. He urges that classrooms and workspaces be converted into ‘crucibles for collective, collaborative, curious swarming creativity.’ This calls for exploring six crucial areas of human interaction through which creativity can be collectively fostered: social networks, systems, swarms, super-organisms, stories and schools.
The book ends with the author’s eight principles for individuals and organisations to become more creative. Chase any habit wherein creativity (1) generates novelty (2) develops capacity (3) produces inquiry (4) initiates pathways (5) reinterprets conventions (6) forecasts possibility (7) increases complexity and/or (8) invites inclusivity.
Useful references cited include Design Revolution: 100 Products that Empower People (by Emily Pilloton), The Perfect Swarm (by Len Fisher) and The Smart Swarm (by Peter Miller).