Learning outcomes for art studio majors.
- Students will demonstrate expertise in one medium.
- Students will use the elements of design and principles of organization at an expert level.
- Students will identify the major periods in art history by conventions and explain how those conventions signify the values of the context from which they rise.
- Students will be able to articulate the major positions in art theory so that they can identify what theory is operative in work of art or art criticism.
- Students will write and speak cogently about art.
- Students’ visual presentation skills will demonstrate knowledge of professional protocol.
- Students will advance their careers and knowledge of business and professional structures by following professional journals, joining professional organizations, attending lectures and exhibits and finally, by exhibiting their work.
- Students will assess and respond to changes in the art/ world by altering their use of materials, techniques, use of art history and theory with respect to interpretation/production of works of art.
- Students will use the perspective of the Reformed, Christian tradition on its own or with other perspectives to guide their engagement with culture —in Reformed, Christian terms, to build/restore God’s gentle kingdom.
Learning outcome for Art Education majors.
- Art Education majors will meet National Art Education Association Standards


THERE ARE some wonderful surgical arcana associated with 19th-century American medicine. Among the more interesting tidbits is the relationship of the seminal artists John Singer Sargent (1856-1925) and Maxfield Parrish (1870-1966) to their surgical ancestors. Sargent was born in Florence, Italy, the son of Fitzwilliam Sargent (1820-1889), an expatriate American surgeon. John Singer studied in France, Germany, and Italy, but received his formal art education at the École des Beaux-Arts in Paris and in that city's atelier of noted French portraitist Carolus-Duran (1837-1928). Sargent spent most of his adult life in England, maintaining a studio there for more than 30 years and visiting America only on short trips. As his canvases became acknowledged for their naturalism and superb technical skill, he rapidly gained fame as the most sought-after portrait painter of the day. His sitters including men and women of greatest distinction in the literary, artistic, and social life of Europe and America. Fitzwilliam Sargent was an 1843 graduate of the medical department at the University of Pennsylvania and later became a surgeon at Wills Eye Hospital. In 1855, Sargent married Mary Newbold, soon retired from his surgical practice, and went to live in Europe on account of his bride's increasingly frail health. Fitzwilliam's major claim to surgical fame was his authoring On Bandaging and Other Operations of Minor Surgery in 1848. This text is significant because of its chapter titled "Diminishing Pain During Operations." It is one of the earliest descriptions of the use of sulfuric ether and chloroform found in an American surgical textbook, coming less than 20 months after William T. Morton's (1819-1868) startling October 1846 demonstration of ether anesthesia at the Massachusetts General Hospital. The book passed through several editions and was so well received it was translated into French and Japanese.


Helsingin yliopisto, Helsinki 2006
Tekstiilikulttuurisen lukutaidon edistäminen museoissa
Pro gradu, lokakuu 2006.
Purpose: The study focuses on the question, how to advance textile cultural interpretation skills in museum. The theme was actual, because there have been many workshops in different kind of museums, which have raised textile into important role of their museum pedagogy. The knowing of nature of textile materials was highlighted in former studies as the most crucial thing in craft. That is reason for choosing textile to study. The theoretical approach of study was particularized to the meanings which have been given to craft during recent ten years. Furthermore the composition of textile culture and transmitting textile cultural heritage were examined throug the theory. The finnish museum as a place for learning, as well as the contens of museum pedagogy, were analyzed. The fundamental approach to study was cultural research and art education.
Methods: The methodological approach was theory-based theme interview. Before interviewing informants the charting was made by using literature, interviews and observation, to find out the most important themes within subject. Specialists were interviewed personally and results were sent to them by e-mail for further comments. There were 8 informants and they were chosen with intentional sampling from different kind of museums, from teacher education and among craft teachers. Research material was analyzed with content analysis by using deductive reasoning.
Conclusions: The study revealed that there are three strategies in advancing textile cultural interpretation. The most remarkable strategies are 1) making acquaintance of materials and working with them, 2) getting exiting events with posibilities to use one's whole body and 3) getting textile cultural knowledge by using for example discovery - style learning. In practice those strategies were mixed, which also was considered advisable. Another conclusion the study revealed, is the desirable, acceptable attitude not only to the craft with creative, free beginning but also to the craft made like its model in museum. Learning from model can be felt as a very moving experience, like a journey in time. The side result of the study was the importance of collaboration of museums and schools in advancing textile cultural interpretation skills as well as significance of using internet in collaboration and relations.
Julkaisu on tekijänoikeussäännösten alainen. Teosta voi lukea ja tulostaa henkilökohtaista käyttöä varten. Käyttö kaupallisiin tarkoituksiin on kielletty.
© Helsingin yliopisto 2006
Viimeksi päivitetty 12.10.2006


Musicing in Context
Thus far the philosophy put forth in this book has proposed that MUSIC is a diverse human practice and that musical practices pivot on musicianship. Musicianship is directed toward the practical end of constructing musical works overtly and covertly. Musical works are multidimensional artistic-social constructions. Musicers/ listeners can achieve self-growth, constructive knowledge, and optimal experience when their musicianship matches the challenges presented by a given musical work (or musical "thought-generator"). And because the dominant forms of knowing that constitute musicianship are essentially nonverbal and situational, the development of musicianship is intimately related to the authenticity of the musical situations in which it is taught, learned, and used; that is, musical action and musical context work together to coproduce musical understanding. 1
Because it displays these several characteristics in combination, MUSIC is a highly social and situated form of human practice. But there are additional characteristics that need examination. Indeed, a fuller understanding of the contextual nature of MUSIC, MUSICIANSHIP, and MUSICAL WORKS is essential to a fuller understanding of the nature and values of music education.
In this chapter I revisit musicing to examine the interdependencies among and between composing, performing, conducting, improvising, and arranging.
The musicianship of every musical practice is learned through interactions with musically significant "others": with teachers and, in a more distanced way, with the community of practitioners who have established, maintained, and advanced the musical domain a novice wishes to learn. When the musicianship of a practice is complex, a variety of people become involved in the teaching-learning enterprise, both directly and indirectly. Even a person who is largely self-taught inevitably makes use of past and present practitioners directly (through personal advice) and indirectly (through books, concerts, recordings, and videotapes). Alasdair Mac-


health literacy as not simply a function of basic literacy skills, but as “dependent on individual and system factors, including communication skills of lay persons and professionals, lay and professional knowledge of health topics, culture, the demands of the healthcare and public health systems, and the demands of the situation/context” (http://www.health.gov/communication/literacy/quickguide/factsbasic.htm). “Health literacy varies by context and setting and is not necessarily related to years of education or general reading ability,” according to the National Network of Libraries of Medicine (http://nnlm.gov/outreach/consumer/hlthlit.html). The Institute of Medicine (IOM) states that, “Even well-educated people with strong reading and writing skills may have trouble comprehending a medical form or doctor’s instructions regarding a drug or procedure” (2004). Thus, the literature review supports an increasing recognition of the importance of context and setting when assessing health literacy. The project team adopted a slightly modified version of the Ratzan and Parker (2000) definition.
The next step in the project was to develop a conceptual framework (see Figure 3-1). As Pleasant said earlier, a conceptual framework is critical as a foundation of measurement. An important component of this framework is the feedback loop from health-related outcomes back into skills; people learn from their experiences, and that affects their skills for the future.
There is an increasing call in health care for consumer activation, consumer empowerment, and consumer involvement. Under these circumstances a skills-based approach to measuring health literacy is warranted. Therefore, the approach under development will include assessments of people’s ability to use different types of health information to make informed decisions as well as the skills needed across the life course in periods of health and periods of illness. Issues addressed range from disease prevention to treatment and self-management. The assessment will be based on the U.S. health care system, which means that the measurement process reflects current health insurance issues and care provided in public and private systems. One challenge in creating a skills-based approach in which data are collected via a computer is keeping up with technological advancements and changes in health-related materials that are used in the measurement process.
The measures will cover several health literacy domains, including print (both prose and document), numeracy skills, communication (including listening, speaking, and negotiating), and information seeking or navigation. A hierarchical approach was taken to determine the measures. First the skill or task was identified. Second, stimuli that enabled


Chris Shively, assistant professor of elementary education, will share his research “Taking the Next Step: What Should Happen after My Students Collect Science Data."
Shively has examined the narratives associated with science lessons taught by seven pre-service science teachers (PSTs). His talk uses sociocultural theory to explain why seven pre-service science teachers did not design and teach science lessons that enabled their kids to communicate with each other about the data they collected during the science lessons. Shively explains how grades and high stakes exams contributed to this phenomenon. For more information about Shively, visit his website: http://btcactus.wikispaces.com/


The founder of Sikhism, Guru Nanak was born in the year of 1469 in a village named Rai Bhoen di Talwandi, situated in Sheikhupura district of Pakistan, 65 km west of Lahore. According to some of the scholars, Guru Nanak was born in the middle of the month of Baishakh, Indian calendar on 15th April, 1469. However, his disciples traditionally celebrate his birthday on the full-moon night of the Indian month of Kartik, which falls in the months of October/November. His father`s name is Kalu Bedi and mother`s name is Tripta. His father was a revenue official in the village and a well-known person in the society.
Guru Nanak`s father, Kalu consulted with the village pandit, Hardyal on the horoscope of Guru Nanak, soon after he was born and the pandit was overwhelmed with joy after finding what was there in Nanak`s future. Hardyal told Kalu that Nanak will be revered by both the Hindus and Turks and he will worship and acknowledge none but One Formless Lord. Hardyal added that Nanak will also teach others to do so and consider every creature as God`s creation. Hardyal then named the new born as `Nanak`, which was a much common name of both the Hindu and Muslims.
Guru Nanak led a life much like that of other children of his age, as a child he used to play with children of his age and frolicked around. However, he was not used to share all that he had, like goodies to eat, with his sister and friends, unlike many children. He loved to meet various holy men, like the fakirs, yogis and monks, who passed through Talwandi, during his childhood. At the age of five, Nanak`s father sent him to Pandha Gopal for study. Nanak received elementary education with an emphasis on language and arithmetic from Pandha Gopal and he also impressed Pandha Gopal with his poetic expression of lofty thoughts. A huge change took place in Nanak`s nature after the marriage of his elder sister, Nanaki, and he became sad and withdrawn. The reason was that Nanaki was a confidante of Nanak and she was such a person who provided Nanak the greatest understanding and affection.
After the marriage of his elder sister, Nanak was sent to Pandit Brijlal, known to be a brilliant teacher as well as spiritually blessed, to study for two years. The young Nanak was exposed to the traditional learning contained in Sanskrit classics by this. However, Brijlal did not continues teaching Nanak for long saying that Nanak had learned everything from him and also mentioned Nanak as an embodiment of spiritual wisdom. Then, Nanak went to a local maulvi named Qutab-ud-Din, to learn Persian and Arabic. Guru Nanak has done wonder here also and became proficient enough in the two languages to study their literature, within just two years.
Guru Nanak`s father made elaborate arrangements for giving Nanak janeu, at the age of thirteen. Janeu is the sacred thread, woven of seven cotton strings and it is mainly worn by upper-caste Hindus as a mark of their being `twice-born`. However, Nanak strongly refused to wear the Janeu, when Pandit Hardyal tried to place the thread across his shoulders. Nanak told that he does not believe in differentiating men by such badges (of the `twice-born`). Nanak continued to meet with the fakirs and yogis and also stood against some of the social customs of that period. He left his ancestral village at his teenage and went to live with his elder sister Nanaki and her husband, Jairam in Sultanpur. Guru Nanak never returned to Talwandi permanently, except from some occasional visits.


Spread throughout multiple galleries of the Georgia Museum of Art are a variety of hand-crafted and beautifully decorated objects that range from pottery and metalwork to bookbinding and textiles. These objects all have one special thing in common.
They all originate from the Newcomb Pottery, where women were not only able to create these objects to sell and to support themselves financially, but also to make great contributions to American art.
The Newcomb Pottery was a social and artistic experiment from 1895 until 1940 at the H. Sophie Newcomb Memorial College (now part of Tulane University) in New Orleans. The program allowed women to support themselves financially while they trained to become artists.
In addition to producing highly coveted, iconic art, the program helped facilitate the betterment of women as well as the New Orleans community through art education.
The current exhibition, "Women, Art and Social Change: The Newcomb Pottery Enterprise," is part of a national tour organized by Tulane and the Smithsonian Institution Traveling Exhibition Service. The exhibition, which is the largest comprehensive showing of the pottery in 25 years, will travel to nine different cities through 2016.
And although the exhibition will close at the Georgia Museum of Art after Sunday (Aug. 31), there is still opportunity to see it and learn about it. The museum will host the lecture “Newcomb’s Designers: A Conscious Revolution” by Sally Main, senior curator at the Newcomb Art Gallery at Tulane University, this Thursday at 5:30 p.m., followed by a reception.
Main will speak about the societal and artistic impact of this revolutionary social experiment. The event is the perfect opportunity to experience this unique exhibition before it continues on its tour.


Concentration In Science - Elementary
The Elementary Science Concentration is a new program designed to provide future elementary education teachers opportunities to engage in meaningful learning experiences that will enhance content knowledge of science as well as prepare them for their future science classrooms. To learn more about this program please visit the additional links on this page or download our informational Powerpoint. Be sure to check out the testimonials from current students in this program and view our gallery!
These classes get me excited to teach my future science students.” ~ Beth Wantz
“This science concentration is so great because I am able to take experiments done in class to my future classroom. The experimentation is such a great and fun addition to class.” ~ Rachel Fendrick
“Opened opportunities to informal science experiences (ideas for other jobs). Multiple ideas for experiments I can actually use in my class!” ~ Katherine White
“The new science concentration has allowed me to explore science concepts in fun and creative ways. We spend time practicing experiments to use in the classroom rather than on lesson plans.” ~ Anonymous
“The science concentration helped me find my place in the school of education.” ~ KC Hart
“Insightful, informative, but fun at the same time!” ~Anonymous
SCIE 3216 - Teaching Science in the Elementary School
SCIE 3270 - Physical Science for Grades K-6
SCIE 3280 - Life and Environmental Science Grades K-6
SCIE 3290 - Earth Systems Science Grades K-6
SCIE 3336 - Science and Methods in Informal Settings and Field Experience
BIOL 1050 - General Biology
CHEM 1020 - General Descriptive Chemistry
GEOL 1550 - Oceanography
PHYS 1050 - Physics and the Environment
The Science Education Concentrations are administered by the Department of Mathematics, Science, and Instructional Technology Education (MSITE). Although students who use the concentrations are advised in other departments, MSITE is ready to assist students with questions about the concentrations (firstname.lastname@example.org or 252-328-9355).
Yes! Earning the science concentration will almost certainly make your more marketable as it separates you from the majority of elementary education majors. With science a tested area, principals welcome the opportunity to hire someone with expertise in this subject.
The key to adding middle grades science to your elementary licensure is to successfully take the Praxis II test in middle grades science. You should also take additional coursework to get to 24 hours of science or perhaps you simply want to take the 24-hour concentration designed for middle grades majors.
Because some of the courses are designed specifically for elementary science concentrators, they are offered just one time per year. So it takes some planning to ensure you can take those at an appropriate time. The other two courses (SCIE 3216 and the Foundations Curriculum science course) provide many options. So the upside is that the course are designed for elementary teachers and the downside is that it takes more careful planning to complete the concentration that some others.
If you still have two or three semesters to take courses (not counting the internship semester), you could still take the specialized elementary science courses. Two of them are offered in the fall semester and the other two in the spring semester.
Dr. Ron Preston email@example.com
Director of Students Department of Mathematics, Science, and Instructional Technology Education
East Carolina University Mail Stop 566 Greenville, NC 27858 Phone:252-328-9355


A multimedia curriculum set to help hone the musical skills of students ages 4-6.
- Series: Music for Little Mozarts
Category: General Music and Classroom
Format: Book & CD
ISBN 10: 0739036319
ISBN 13: 9780739036310
Alfred Classroom Music for Little Mozarts Curriculum Book 2 & CD
This adaptation of the Music for Little Mozarts piano curriculum is designed to provide classroom music instruction for 4-, 5- and 6-year-olds in the preschool or kindergarten setting. It is a comprehensive approach to musical learning that develops singing, movement, and listening skills simultaneously with an introduction to musical styles and concepts. Ten detailed lesson plans are included along with reproducible activity pages for the children. The curriculum materials combine to create an exciting and imaginative atmosphere in the classroom. No keyboard instruction is included, but the classroom edition can serve as a recruitment class for the piano course. Perfect for teachers with limited preparation time, and all levels of musical experience. The CD includes all of the songs, stories and activities. Assessment materials and correlations to the National Standards for Music Education are also included.
Order today with the no-risk assurance of our Total Satisfaction and Low Price Guarantees!


An intermediate level text.
- 372 pages
Size: 12" x 9"
Composer: Mark Harrison
Harrison Music Education Systems Contemporary Music Theory Level 2 Book
The Contemporary Music Theory series by Mark Harrison is designed from the ground-up to explain the terminology and musical structures needed for modern applications. Level One is an introductory course which covers music notation, key signatures, basic scales, intervals, modes, diatonic relationships and 3-and 4-part chords. Level Two is an intermediate-level music theory course covering larger chord forms, definitive chords in major and minor keys, substitutions, analysis of key centers in tunes, upper structure chords, voiceleading, and pentatonic and blues scale applications, a complete glossary of terms, and hundreds of written theory exercises with answers.
Order today with the no-risk assurance of our Total Satisfaction and Low Price Guarantees!


In the first assessment since 1997, the National Assessment of Educational Progress (NAEP) has released an arts report card for 2008. Providing a detailed shot in regards to performance in the areas of music and the visual arts, the NAEP's 11-year gap in information reveals that "approximately half of American students don't get a credible arts education," according to a release
on June 15.
On both report cards the average scale score was around 150.
Although the Elementary and Secondary Education Act (ESEA) of 1965 explicitly forbids
the establishment of a national curriculum, the restructuring of the act now known as No Child Left Behind
put in place as part of the requirements for certain funds received an arts in education
The report assessed nearly 8,000 eighth grade students in both public and private schools within the United States in either visual arts or music based upon "benchmarks" used in the NCLB policy as well as input made by representatives across the board reflected in the National Standards for Arts Education. Despite dance and theater being part of the arts as a whole, they were not used in the assessment due to financial constraints and limited availability in some schools who do not have these programs (see how to interpret the scorecard here
Although there is no statistical difference between the availability of music and visual arts instruction, the specific area of assessment provided unique results as well as some generalized disparities:
-Average responding scores were higher for White and Asian/Pacific Islander students than Black and Hispanic students. The pattern was the same for the visual arts creating task scores.
-Female students had a higher average responding score than male students. Female students had a higher average creating task score in visual arts.
-Students who were eligible for free/reduced price school lunch had a lower average responding score and a lower average creating task score in visual arts than those who were not eligible.
On average, private schools did better than public schools. Other factors affecting the scores were attributed to areas such as the type of school assessed, socioeconomic status, area where school is located, gender and ethnicity.
In the area of music, there was a decrease in the percentage of students who could correctly answer specific questions, according to the commissioner's summary results
, this drop is "not a measure of what students know and can do in responding to music because it omits all the information from the constructed-response questions in the assessment." This is mainly due to the different questions compared between the two assessments. Therefore, an average was used based upon 21 questions found on both assessments, with the total number of correct responses dropping from 53 per cent to 51 per cent.
In the visual arts, there were 12 common questions found on both assessments and a comparison of those revealed an unchanged number of correct answers at 47 per cent. Other areas assessed were the ability to draw a self-portrait where a mere 4 per cent received a rating of sufficient and 57 per cent rated minimal.
As a whole, the commissioner's summary explained disparities within socioeconomic and ethnic groups' results in art and music consistent with other areas assessed. The summary also stressed that the 2008 assessment itself was different than the previous one.
In a press release
yesterday, it was stated by the chairman of the governing board that:
“The 2008 arts assessment shows students do not seem to be missing out on
opportunities for, and access to, arts education, as many have argued in recent years,”
said Darvin M. Winick, chairman of the National Assessment Governing Board, which
oversees and sets policy for NAEP. “But we do face consistent and wide racial/ethnic,
gender, and socioeconomic gaps across the subject areas.”
The National Association for Music Education and the National Art Education Association both expressed
that the "arts" should be an essential and "non-negotiable" part of the core curriculum across the nation.
In general, arts in education
provide certain benefits rather than being just "fun" things to do. They are shown to help improve overall testing scores in other areas, foster critical skills such as teamwork and communication, and teach children to be more tolerant and open-minded.
for the NAEP Music Report Card and here
for the NAEP Visual Arts Report Card.


Outcomes and Careers
The Department of Education adopted the Interstate New Teacher Assessment and Support Consortium (INTASC) standards plus two standards developed by the department faculty as the guiding standards for all Education majors. Each of the majors in the Education program have their own professional standards. To successfully complete the program/major, however teacher candidates in the major must meet their professional standards.
Content Knowledge and Pedagogy
The teacher understands the central concepts, tools of inquiry, and structures of the discipline he or she teaches and can create learning experiences that make these aspects of subject matter meaningful for students.
The teacher understands how children learn and develop, and can provide learning opportunities that support a child's intellectual, social, and personal development.
Adapting Instruction for Diverse Learners
The teacher understands how students differ in their approaches to learning and creates instructional opportunities that are adapted to diverse learners.
The teacher understands and uses a variety of instructional strategies to encourage student development of critical thinking, problem solving, and performance skills.
Motivation and Classroom Management
The teacher uses an understanding of individual and group motivation and behavior to create a learning environment that encourages positive social interaction, active engagement in learning and self-motivation.
Communication and Technology
The teacher uses knowledge of effective verbal, nonverbal, and media communication techniques to foster active inquiry, collaboration, and supportive interaction in the classroom.
The teacher plans instruction based upon knowledge of subject matter, students, the community, and curriculum goals.
Assessment and Evaluation
The teacher understands and uses formal and informal assessment strategies to evaluate and ensure the continuous intellectual, social, and physical development of the learner.
Reflection and Professional Development
The teacher is a reflective practitioner who continually evaluates the effects of his or her choices and actions on others (students, parents, and other professionals in the learning community) and who actively seeks out opportunities to grow professionally.
School and Community Relationships
The teacher fosters relationships with school colleagues, parents, and agencies in the larger community to support students' learning and well-being.
The teacher candidate demonstrates skills, beliefs, values, and behaviors that guide their interactions with students, families, and colleagues during their professional practice, and with problem solving and decisions.
Literacy and Numeracy
The teacher candidate applies varied strategies designed to develop and enhance the literacy and numeracy skills of students, including the presentation of ideas and conceptual understandings in both verbal and non-verbal modalities.
The Department has established student learning outcomes (SLOs) for the BA and MAT degree programs. The SLOs are available in PDF format.
Click on the links below to read reports regarding the outcomes from the alumni survey of recent graduates.
Outcomes from Alumni Survey of Recent Graduates Winter 2011/2012 (Graduate)
Outcomes from Alumni Survey of Recent Graduates Winter 2011/2012 (Undergraduate)


Journal Issue: Excellence in the Classroom Volume 17 Number 1 Spring 2007
Emiliana Vegas surveys strategies used by the world’s developing countries to fill their classrooms with qualified teachers. With their low quality of education and wide gaps in student outcomes, schools in developing countries strongly resemble hard-to-staff urban U.S. schools. Their experience with reform may thus provide insights for U.S. policymakers.
Severe budget constraints and a lack of teacher training capacity have pushed developing nations to try a wide variety of reforms, including using part-time or assistant teachers, experimenting with pay incentives, and using school-based management.
The strategy of hiring teachers with less than full credentials has had mixed results. One successful program in India hired young women who lacked teaching certificates to teach basic literacy and numeracy skills to children whose skills were seriously lagging. After two years, student learning increased, with the highest gains among the least able students.
As in the United States, says Vegas, teaching quality and student achievement in the developing world are sensitive to teacher compensation. As average teacher salaries in Chile more than doubled over the past decade, higher-quality students entered teacher education programs. And when Brazil increased educational funding and distributed resources more equitably, school enrollment increased and the gap in student test scores narrowed. Experiments with performance-based pay have had mixed results. In Bolivia a bonus for teaching in rural areas failed to produce higher-quality teachers. And in Mexico a system to reward teachers for improved student outcomes failed to change teacher performance. But Vegas explains that the design of teacher incentives is critical. Effective incentive schemes must be tightly coupled with desired behaviors and generous enough to give teachers a reason to make the extra effort.
School-based management reforms give decisionmaking authority to the schools. Such reforms in Central America have reduced teacher absenteeism, increased teacher work hours, increased homework assignments, and improved parent-teacher relationships. These changes, says Vegas, are especially promising in schools where educational quality is low.


Acquire and Practice Foundational Skills
The range of academic, intellectual, or human experience is as varied as our fingerprints, but certain skills provide the foundation upon which higher education is built. For this reason, all education begins with the acquisition of these foundational skills. A common misconception, particularly among students, is that since these foundational skills are emphasized earliest in their required curriculum, they are easily mastered. This misconception is reinforced by the architecture of the General Education system itself. Honing foundational skills is a lifelong endeavor. Highly skilled musicians play scales to their dying day and celebrated athletes repeatedly turn back to the fundamentals (particularly when they stop winning). Our architecture of the General Education reflects this reality and stresses the importance of foundational skills.
The goal of Acquire and Practice Foundational Skills is to develop an intellectual and practical foundation, including proficiency in written, oral, and visual communication; inquiry techniques; creative analysis and synthesis; quantitative applications; information management and assessment; teamwork; and problem-solving. We have designed the General Education curriculum to encourage students to acquire skills early in their college experience and then to put these skills into practice as they continue learning. In this way, the students will exercise and improve their foundational skills continually throughout their university educations and beyond.
Our General Education curriculum requires that students acquire and practice these foundational skills:
- Write Effectively in English
- Communicate in a Language other than English
- Master Quantitative Problem Solving
- Speak Effectively before an Audience
- Evaluate and Synthesize Researched Information
- Write Effectively within One’s Discipline


This text is more than an introductory look at language disorders. It goes beyond basic concepts and basic definitions to teach students how to analyze, synthesize, evaluate, and link the information they are learning. It offers readers opportunities for higher-order learning, while preparing students to become careful evaluators of information, as well as adept problem solvers. Organized by disorder groups and theme, Language Disorders in Children, 2/e helps students easily make connections between theoretical information and clinical practice through a number of thoughtful features such as case histories, clinical decision trees, and hot topic discussions. It’s an approach that meets the needs of today’s students to learn lifetime critical thinking skills, to see relationships between isolated ideas and facts, and to think like a speech-language pathologist.
Joan Kaderavek, Ph.D. is a Distinguished University Professor in the department of Early Childhood Education at the University of Toledo. Dr. Kaderavek is a certified speech-language pathologist with extensive clinical and classroom experience. Her work has centered on investigating the early reading skills and language concepts that impact children’s later reading ability and how classroom discourse impacts children’s academic performance.
Her appointment as a Distinguished University Professor represents special recognition based on exemplary teaching, research, scholarship and professional service. Dr. Kaderavek is a Fellow of the American Speech-Language-Hearing Association and has been a Fulbright Scholar.
Dr. Joan Kaderavek is a frequent presenter and author in the area of language development, early literacy, and teacher-child interactions. She has over 60 peer-reviewed articles in leading journals. Her work has been published in Journal of Speech-Language Hearing Research, Language, Speech, and Hearing Services in Schools, Topics in Early Childhood Special Education, and Early Childhood Research Quarterly. Dr. Kaderavek has been a co-investigator in multi-million dollar grant projects funded by the U.S. Department of Education and the National Science Foundation. Her research has investigated the effects of a teacher-provided book reading intervention on children’s literacy development; current research focuses on teacher-child and child-child discourse in early childhood classrooms during science inquiry lessons.
Dr. Kaderavek is involved nationally and internationally in professional service. She has been an Associate Editor for Language, Speech, and Hearing in the Schools. She has worked internationally in training teachers and speech-language pathologists.
The Foundations of Language and Clinical Practice
Language Theory and the Communication Subdomains
Assessment of Language Disorders
Decision Making in Assessment and Intervention
Principles of Intervention
Children with Specific Language Impairment
Children with Hearing Loss
Children with Intellectual Disability
Children with Autism Spectrum Disorders
Early Literacy, Reading, and Writing for School-Age Children
Augmentative and Alternative Communication (AAC) and Children with Language Disorders
A Tutorial: The Meaning of Standard Scores
Language Sample Analysis Worksheet


Are All Children REALLY Artists?
Can any adult become an artist? Can anyone learn how to draw?
If you are like most art teachers, these question have a very passionate answer…YES! YES! YES! I believe that every student has artistic potential and that art skills can undoubtedly be taught. They may come more naturally to some, but that is the case with any skill. Teaching these skills is the purpose behind our jobs, right? (I mean, along with creative thinking, artistic interpretation, cross-curricular connections, empathy, problem-solving, etc.) I bring up this very passionate and sometimes downright emotional subject for two reasons.
I want to discuss a pet peeve of mine. It has to do with non-art teachers. Have you ever heard other teachers say things to their students like, “I can’t draw a straight line,” or “I only draw stick people.,” or “I can’t draw that and I don’t think you can draw that either.” It is enough to make me want to pull out my hair! You would never hear a teacher say, “Math is hard.” (Didn’t Barbie get into pretty deep trouble for that one?) Or “I don’t like to read” or “I can’t understand science.” Why is this such a double standard? The answer is it shouldn’t be, but most likely the other teachers in your building are unaware of what they are doing to your program and your credibility as a teacher. Which leads me to my next item.
It is up to you to educate your colleagues. Several years ago I was asked to present at a faculty meeting about the art department, curriculum, etc. At first, I was kind of shocked and intimidated, but then I saw this opportunity for what is was. I was always asking students and teachers what they were working on in their classrooms, this was my opportunity to make teachers aware of what is happening in mine and how they can support me! Novel idea, right? I put together a short presentation that included images, statistics and short clips of students working in art. To set the mood, I included this short advocacy commercial from Americans For The Arts. Check it out below!
Not to brag, but you could hear a pin drop during my presentation. They were fascinated! I ended the program by listing what they could do to support me and included a bit about how important it is to discuss art skills in a positive and supporting light with students.
This is the essence of art advocacy. Spreading the word from the ground up! For more simple and practical ideas of how to advocate for a better and stronger art program, check out AOE’s Advocating for the Arts online class beginning February 1. Learn more right here.
I would love to hear your thoughts on this topic.
Is every child really an artist?
Can you teach anyone how to draw?
How do you educate your colleagues about the importance of art education?


In her new book Adolescent Literacy and the Teaching of Reading: Lessons for Teachers of Literature, author Deborah Appleman relies heavily on the pedagogical metaphor of scaffolding to describe the support we can offer students as they develop as readers in our literature classrooms.
Appleman notes that while “primary school teachers may not as easily question the need to explicitly model and scaffold reading processes, teachers of adolescents all too often assume that their students already possess the knowledge to become successful readers” (16-17). As a secondary English teacher, I have come to understand the need for such support, but I’m afraid that I’d never really thought too much the implications of the metaphor behind that word scaffolding. I hadn’t considered the limits—the rigidity, uniformity, and linearity—such a “building” metaphor might imply, leading to one-size-fits all, teacher-directed support in the classroom.
It’s fitting then, that it’s a paper by Anne Haas Dyson—whose work focuses largely on early literacy development—has recently challenged my understanding of scaffolding and helped me appreciate more fully the challenge and promise of supporting adolescent readers in the ways Appleman describes in her new book.
In “Weaving Possibilities: Rethinking Metaphors for Early Literacy Development,” Dyson explains that “[w]hile scaffolding is a vertical metaphor, one that represents how more skillful others support [students’] progress within one activity, weaving has a more horizontal dimension. It suggests how [students’] progress in any one activity is supported by their experiences in varied activities.”
Many of the excellent examples of scaffolding that Appleman describes benefit from being re-thought in Dyson’s terms. When Appleman describes an American literature teacher who responds to students’ interests in digital literacies by having students explore war-related blogs and complete an assignment called “The Apps They Carried” before reading a short story by Tim O’Brien, she is acknowledging the nonlinear, student-centered ways teachers can support students as readers across a variety of contexts.
When Appleman discusses a group of students reading the short story “The Boy without a Flag,” she tells of students performing a close reading of The Pledge of Allegiance, writing their own pledge, and composing collaborative poems based on the sentence frame “I am a ___ without a ___,” she’s exploring another model of support that is enhanced by metaphorical re-examination. Enacted ineffectively or without clear intention and purpose, these activities may end up seeming disconnected from the reading activity. In the carefully managed, responsive classroom Appleman depicts, these activities “allow us to see and allow space for the diverse intentions and resources of [students]” as they grow as readers and interpreters of text (Dyson).
When I first read Dyson’s critique of scaffolding, I didn’t know quite what to make of it—after all, the unchallenged term has become a staple of the teaching lexicon. But as I read each of Appleman’s cases of teachers tapping into linguistic and non-linguistic resources, school-sponsored and out-of-school literacies, and diverse life experiences of our students, its value started to make sense.
It’s not a rigid set of “before, during, and after” activities—and certainly not scripted curricula and more oppressive standardization (even that which nominally includes “scaffolding”)—that our students need. They need teachers who are supported and encouraged to learn more about their students and more about the ways to match their students’ needs with effective pedagogical practice that will give us a chance to weave success with adolescents as they face increasingly challenging text in and out of school.


What do IBM and a group of five-year-olds have in common? They both have creative minds that could change the world.
That’s why IBM and other companies recognize the value of investing in early education: so today’s young children will have the skills to become tomorrow’s STEM employees (science, technology, engineering and math.)
The link between early education and the business community will be highlighted in a webinar called “Start Early with STEM” that’s being hosted on Monday, August 5, 2013, at 3 p.m. (Eastern time), by ReadyNation, a nonprofit business partnership for early childhood and economic success.
The webinar will cover “the latest early childhood STEM education research and how the business community is supporting the development of early childhood STEM through smart policy advocacy and community initiatives.”
The speakers include: Greg Duncan, a professor of education at the University of California, Irvine; Marcy Reed, National Grid president, Massachusetts; and JD Chesloff, executive director of the Massachusetts Business Roundtable and the chair of the Massachusetts Board of Early Education and Care.
In a recent Education Week article, Chesloff wrote about STEM and early education and the value of investing early to meet the economy’s increasing demand for STEM skills. Our STEM policy brief is another resource for advocates and policy makers.
The upcoming webinar builds on a ReadyNation brief, which notes, “Astronaut Dr. Mae Jemison, the first African-American woman to orbit the earth, knew she wanted to be a scientist when she was five years old. Fortunately, her teachers nurtured this interest. How many more five-year-olds can we encourage to become tomorrow’s scientific leaders?”
That’s a challenge for parents, educators and business leaders as well as government officials who help create or fund publicly accessible programs. Such efforts could start a STEM pipeline in preschool programs or even earlier.
As a philosophical foundation for giving children an early STEM start, the brief highlights four key facts:
- “The math achievement gap starts early, even before kindergarten.”
- “High-quality early education includes real math and science content.”
- “Early math instruction improves later ability.”
- “Early learning also helps build the behavior traits—perseverance, problem-solving, patience—that STEM employees need.”
The brief also points to ways that businesses are beginning to bring STEM activities to very young children including the following:
- “Boeing is a founding supporter of Thrive by Five Washington, a public-private partnership that is helping build a comprehensive early learning system in the state.” Boeing’s funds help pay for a program that includes numeracy skills.
- “National Grid has partnered with the Boston Children’s Museum to create and distribute STEM teaching kits for child care facilities, pre-schools, Head Start centers, and public school kindergartens.”
- PNC, a financial services company, has, through its PNC Foundation, worked with Sesame Street to support a “planetarium show that travels via a mobile dome to early learning centers to provide preschoolers with lessons on math, astronomy and science.”
Businesses can do more, the brief says, by supporting access to high-quality early education programs, supporting STEM training for pre-k and grade-school teachers, and providing expertise, volunteers and resources to preschools.
“Finding skilled workers will be a constant challenge for American businesses as they compete in the global marketplace,” the brief concludes. “To keep our STEM workforce competitive, we need to develop the young learners who will start the innovative companies and make the scientific breakthroughs that our country needs.”


Action Jackson Lines: Free Lesson Plan Download
Grade Level: K-2 Art Education Lesson Plan
Art Elements: Color, Line
Art Skills: Fine motor, painting
Making Connections: Art History
* Get more free lessons like this, on our Lessons Page
I love seeing how the fine motor skills develop, and how kids learn to make marks on the paper. The objective of this lesson is that students can MAKE 5 or more line types. I also do want them to know the names of the lines, but it’s more important for me to see how they can use a tool to create these different lines. They can choose to arrange them anywhere on their paper.
One other strategy I use is to relate each line type to something in their everyday life. The dashed like is like the lines in the road. The curved lines are like a curvy road. The dotted lines remind us of how we use the glue in the art room. The zigzag line is like a z on it’s side, getting it’s “zzzzzz’s” and the straight line is like a robot, very rigid. We have fun acting these out drawing them in the air and talking about them.
I also relate the artwork to Jackson Pollack. “Action Jackson” is a fun way for kids to remember Pollack, and the different lines they make relate to his splatter painting. They really do not forget this. I am hoping by connecting the artwork to real life situations, practicing the line types and connecting it to art history, the students will have a deeper understanding of the project instead of “just drawing lines.”


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Read.Talk.Play: Early Literacy at EPL
Edmonton Public LibraryGo to Website
Kathleen Pine, Manager, Youth Services Division, Edmonton Public Librar, email@example.com
Early literacy is everything that children know about reading and writing before they can read and write. Research on infant brain development tells us that a child's experience in the first three years of life directly impacts later development and learning. How could the library communicate the importance of early literacy development to parents and caregivers in Edmonton?
On March 1, 2010, we launched our Read.Talk.Play.: Early Literacy at EPL initiative with the release of a new website featuring early literacy content. The site included information on what early literacy is, tips for how to develop early literacy skills, and videos that demonstrated how to include early literacy activities in everyday life. We also released a booklist of 100 Great Books to Read Together to encourage parents, caregivers, and children to explore books and read together. We created a “Welcome Baby” package of a free rhyme book with early literacy content, a free board book, a personalized nameplate, a library bag, and a library card. We reworked our preschool programming training so that our programs would include early literacy content. We developed Early Literacy Information Sessions to share early literacy tips and information with parents and caregivers. All of these initiatives are united under the Read.Talk.Play. logo and brand.
Read.Talk.Play.: Early Literacy at EPL has significantly contributed to the communication of the importance of early literacy to parents and caregivers in Edmonton. From 2009 to 2010, attendance at EPL’s preschool programs increased by approximately 25%. The number of library cards issued for children up to 24 months increased 22% from 2009 to 2010. Early Literacy Videos have been promoted through the library website, on Facebook and on Twitter. Over 300 parents have attended our Early Literacy Parent Information Sessions. Thousands of 100 Great Books to Read Together booklets have been distributed both in the library and in the community. Read.Talk.Play.: Early Literacy at EPL has been highlighted on Global Edmonton, Shaw TV Edmonton, and in the Edmonton Journal. EPL is committed to the future success of this literacy initiative.


History as Art, Art as History
Contemporary Art and Social Studies Education
Routledge – 2010 – 272 pages
Series: Teaching/Learning Social Justice
History as Art, Art as History pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. The fully-illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource—complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art.
History as Art, Art as History is an experientially grounded, practically minded pedagogical investigation meant to push teachers and students to think critically without sacrificing their ability to succeed in a standards-driven educational climate. Amid the educational debate surrounding rigid, unimaginative tests, classroom scripts, and bureaucratic mandates, this innovative book insists on an alternate set of educational priorities that promotes engagement with creative and critical thinking.
This sophisticated yet accessible textbook is a must-read resource for any teacher looking to draw upon visual and historical texts in their teaching and to develop innovative curriculum and meaningful student engagement.
"History as Art, Art as History is a powerful and provocative response to schooling that severs the arts and humanities from the social studies and that cuts both from the academic mainstay. It aims to inspire and empower teachers to make intellectually rich classroom connections between contemporary visual arts and history education in a way that strengthens learning in both domains."--Teachers College Record
Winner of the 2010 AERA Division B Outstanding Contribution Award
Part I: Reframing History and Art
1. Introduction, Dipti Desai, Jessica Hamlin, and Rachel Mattson
2. Using Visual Historical Methods in K-12 Classroom: Tactical Heuristics, Rachel Mattson
3. Curriculum as a Creative Process: An Interview with Artist-Educator Thi Bui, Dipti Desai
4. Artists in the Realm of Historical Methods: The Sound, Smell, and Taste of History, Dipti Desai and Jessica Hamlin
5. "Committing History in Public": Lessons from Artists Working in the Public Realm, Jessica Hamlin and Dipti Desai
Part II: Investigating History and Art: A Teaching Toolkit
6. Introduction to the Teaching Toolkits: Visual Approaches to Teaching about History
7. Foundations of Citizenship
Section 1: The Constitution and U.S. Government
Section 2: Japanese Incarceration
8. Constructing Race
Section 1: Slavery and Abolition
Section 2: Immigration
9. The United States and the World
Section 1: Westward Expansion
Section 2: The U.S. War in Vietnam
Dipti Desai is Associate Professor and Director of the Graduate Art Education Program, Department of Art and Art Professions, at New York University.
Jessica Hamlin is the Director of Education and Public Programs for the non-profit organization Art21, Inc.
Rachel Mattson is a historian, a teacher educator, and an Assistant Professor, Department of Secondary Education, at SUNY New Paltz.


Teaching is a highly rewarding and challenging profession, ideal for those who enjoy working with others and have good problem solving abilities. Teachers practice 3 of life’s most valuable virtues: kindness, patience and understanding, everyday with their students and enable them to discover their true potential. According to the US Bureau of Labor Statistics, teaching is one of the few jobs that have always seen growth, even in the times of a tough economic recession. Teaching opportunities around the world are expected to increase by 30% over the next decade, which is one of the highest growth rates among all professions. Opportunities for teachers in city schools, technical training institutes, foreign language schools and special education centers are expected to increase exponentially.
Colleges around the country offer Bachelor’s, Master’s and Doctoral degrees in education. These programs are designed specifically for those who want to teach, and include courses on the philosophy of education, educational psychology, psychology of learning and teaching methods. In addition, students will also take specialization courses in physical sciences, mathematics, music, art or literature and go on to teach in one of those fields. With the increasing commonality of computers and the internet, many colleges now offer teaching courses online. Online programs attract hundreds of thousands of students as well as working professionals due to a number of factors. Most importantly, online teaching courses offer the flexibility to take classes from anywhere at any time, following the ‘your place, your pace’ principle. There are often no time constraints to completing a course, and a degree can be earned in as little as 2 years.
Benefits of teaching courses online
Additionally, by enrolling in teaching courses online, students can specialize in virtually hundreds of sub-fields, such as special education, early childhood education, language education, vocational training, adult education and professional development education. Teachers are required to have up to date knowledge of their subjects in addition to teaching methods. One of the biggest advantages of taking teaching courses online is the availability of the latest advancements in science & technology, theory and methodology in such courses. By taking teaching courses online, students not only increase their knowledge of their specific subjects, but also strengthen their skills in areas such as curriculum development, educational psychology and leadership. Joining teaching courses online also develops the students’ computing & IT skills and they learn how to use digital media in classrooms, lectures and presentations.
Upon successfully completing teaching courses online, graduates must then taking licensure exams held by the Boards of Education in various states or by the National Council for the Accreditation of Teacher Education (NCATE). Certification is specific to grade levels, such as ‘early education certification’ where teachers can teach up to the 3rd grade, ‘middle school education certification’ which enables teaching up to the 8th grade, and ‘high school certification’ allowing teaching in grades 8-12. Special certification is required for teachers who wish to enter special education, vocational education and adult education. In conclusion, education is the second largest industry in the country, and taking teaching courses online will prove to be a stepping stone to thousands of careers in this sector.
teaching courses online was rated
Q:What are the different types of programs offered by colleges specialized teaching?
A:Colleges specialized in teaching offer a range of degree programs in the field of education. Students can earn associate teaching degrees, bachelor teaching degree, master teaching degree, and even a certificate in teaching. Students interested in becoming teachers can specialize in elementary education, secondary education, and special education, depending on personal interest.
Q:What information can you give me regarding careers in teaching online courses?
A:Online education is a growing trend, attracting many individuals. With online courses gaining popularity, the demand for skilled online teachers is also high. Students who want to pursue teaching careers can opt for online education, and become a part of the dynamic education sector. There are many institutes offering degree programs in this area. For more information, take a look at our page.
Q:Which teaching programs online will I have to take to become a teacher?
A:Universities are now offering a multitude of online programs ranging from under-grad degrees and certificates, to masters and doctorates. All teachers must have at least a bachelor's degree in teaching along with either a master's degree or a certificate. A Master's degree opens up the possibility of a doctorate in teaching for college and university level teachers. After the completion of either one of these degrees, you also become eligible for state level certification examinations.
Q:Can I do private tutoring after completing Teaching Courses Online?
A:After completing teaching courses online, there are increasing opportunities for online one on one tutoring for teachers. Most students hire teachers from trusted websites or from recommended sources. It requires a strong command over grammar, vocabulary and spelling. The teacher will also need a patient and calm demeanor as online tutoring is normally with foreign students.
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Keyword(s):Music Education , Electroacoustic Instruments , Impact of Electroacoustic Music
In this article, the author discusses research in music cognition and education indicating that novices and untrained students perceive and learn music in a fundamentally different manner than do expert musicians. Based on these studies, he suggests implementing high-level musical percepts and constructionist learning schemes in new expressive musical instruments that would provide thoughtful and joyful musical activities for novices and experts alike. The author describes several instruments-the Musical Playpen, Fireflies and Squeezables - that he has developed in an effort to provide novices with access to rich and meaningful musical experiences and recounts observations and interviews of subjects playing these instruments.
All references of the same author:
(English)Weinberg, Gil (2002b). The Aesthetics, History, and Future Challenges of Interconnected Music Networks
Weinberg, Gil (2005a). Interconnected Musical Networks: Toward a Theoretical Framework
Weinberg, Gil (2005b). Voice Networks: The Human Voice as a Creative Medium for Musical Collaboration
Weinberg, Gil (2005c). Local Performance Networks: musical interdependency through gestures and controllers


Justine Ward née Bayard Cutting (Morristown, New Jersey, August 7, 1879 - Washington, D.C., November 27, 1975) was a musical educator who developed a system for teaching music to children known as the Ward Method.
The Ward method of music education was created in the early part of the twentieth century to promote the use of liturgical chant by teaching children vocal music reading skills. Its author, Justine Bayard Ward, was a newcomer to the Catholic Church and to the field of education, yet her approach proved successful and spread throughout the United States, Europe and other parts of the world. The ancient tradition of choral training in the Church, Ward's upbringing, her musical training and aesthetic inclinations, and her zeal in furthering the liturgical and musical reforms of Pius X fostered the ideal environment for the creation of the Ward method.
Evidence shows that the materials and procedures were largely appropriations of pre-existing ideas. For example, the work in sight-singing was taken from the Galin-Paris-Chevé school, which flourished in nineteenth-century France, and the educational philosophy originated from her publisher, Rev. Thomas Shields. Ward's mentor, Rev. John Young, S.J., had combined bel canto vocal technique with Chevé exercises and, under Shields's guidance, Ward reshaped it. Separation of musical elements, principally rhythm and pitch, and graduated exercises were key ingredients Ward inherited from Chevé. Students learned accurate pitch discrimination through daily sight-singing drills where numbers corresponded to the sung solfège syllables in moveable “do.”
Justine Ward's contributions lie in skillfully incorporating the Chevé sight-singing drills, Young's vocal training, and Shields' theories of aesthetics and childhood development to attain her goal of teaching children music of quality. The repertoire consisted of classical melodies, European folk tunes, and Gregorian chant. Another original contribution was the inclusion of the Solesmes method of rhythm, and the teaching of its rhythms through body movement; Ward had traveled to France specifically to learn from the Benedictines of Solesmes.
The Ward method spread through several avenues. Catholic Education Press began systematic publication of textbooks in the 1910s. Leaders in Catholic education were won over by demonstrations led by Justine Ward. More importantly, the Ward method spread through teacher training courses. It evolved in subsequent publications largely due to her recasting the material to reflect trends in music education and newer rhythmic theories in Gregorian chant.
Located just behind the Basilica of the National Shrine of the Immaculate Conception, the School of Music building of the Catholic University of America was donated by and named for her.
- Justine Ward, Who Developed Music Teaching Method, Dies, New York Times, November 29, 1975.
- Justine Ward and Solesmes, Dom Pierre Combe (Washington, D.C.: Catholic University of America Press) 1987.
- The Ward Method: A History of Sound Pedagogy, The Church Music Association of America.
- The Reform of Church Music, Justine Bayard Ward, reprinted from April, 1906, Atlantic Monthly.
- Justine Ward and the genesis of the Ward method of music education, Richard Ramon Bunbury, University of Massachusetts Amherst


Jean Donham Ph.D.
Rarely does discussion of high school education lack consideration of the question, “Are high school graduates ready for college and career?” In fact, a driver for the Common Core State Standards Initiative (CCSSI) has been the concern about college and career readiness of American high school graduates.
Based on 41 assignments gathered from Iowa colleges and universities, this study enhances our understanding of the differences between high school and college academic work by delineating the characteristics of first-year college assignments through a qualitative analysis of college faculty assignment instructions. Certainly, skills such as evaluating information sources, developing a sound research question, and using source information to support an argument or thesis were evident in these assignments. However learner dispositions emerged from these assignments as well especially curiosity, open-mindedness, self-reliance, and perseverance.
Too often, high school educators assume that students arrive at high school with all the information skills they need. However, expectations of college faculty indicate a place for developing advanced research skills and nurturing the dispositions of a researcher in a curriculum for third- and fourth-year high school students. School librarians have important skills and knowledge to contribute to such a curriculum.
See the report of Dr. Donham’s study at http://www.ala.org/aasl/slr/vol17
At the Iowa Statewide STEM Conference on March 28, 2014, two University of Northern Iowa research centers and the School Library Studies Division announced a partnership to promote high quality STEM and literacy integration. The Regents’ Center for Early Developmental Education, the Richard O. Jacobson Center for Comprehensive Literacy, and School Library Studies will collaborate to support schools and teachers in providing a rich STEM (Science, Technology, Engineering and Mathematics) experience for PreK-3rd grade students.
Kari Bosma, a teacher librarian in Ankeny Community School District in Iowa, has found that learning history through graphic novels can improve students’ comprehension. Her study involved fifth grade students learning about events in the American Revolution through graphic novels, such as Paul Revere's Ride by Xavier Niz, and other nonfiction texts. Bosma conducted this study as part of her School Library Studies master’s research in 2010 under the direction of UNI professors Dr. Audrey Rule, Elementary Education, and Dr. Karla Krueger, School Library Studies.


The law recognizes Sami (formerly known as Lapps), Swedish Finns, Tornedalers, Roma, and Jews as national minorities. The law permits and the government supports minority languages. The discrimination ombudsman received 514 complaints regarding ethnic discrimination in 2012 compared with 594 in 2011. Of the complaints, 507 related to the labor market.
Societal discrimination and violence against Arab and Somali immigrants and Roma continued to be a problem during the year.
Police registered reports of xenophobic crimes, some of which related to neo-Nazi or white-power ideology. Police investigated and the district attorney’s office prosecuted race-related crimes. Official estimates placed the number of active neo-Nazis and white supremacists at 1,500. Neo-Nazi groups operated legally, but courts have held that it is illegal to wear xenophobic symbols or racist paraphernalia or to display signs and banners with inflammatory symbols at rallies, since the law prohibits incitement of hatred against ethnic groups.
The government estimated the Romani population at 50,000. In 2010 a special commission reported that a majority of Roma lived as outcasts: The unemployment rate among Roma was 80 percent, elementary education for Romani children was rare, and a Rom’s life expectancy was significantly lower that the country’s average. In 2012 authorities identified 215 hate crimes directed against Roma.
On September 21, the media reported that the Skane County police had compiled a dedicated database on approximately 4,000 Roma in the country. The ethno-centric database tracked family ties between individuals and appeared to violate the law, the European Convention on Human Rights, and the European Charter of Fundamental Rights. The police involved claimed the database had nothing to do with ethnicity, but that it mapped criminal activity moving across county borders. That many Roma with no criminal records ended up in the registry was due to the mapping of the criminals’ contact network, which is legal according to the police. No ethnic markers were in the registry. Police said a large part of the database covered four different clans. On November 15, the Commission on Security and Integrity Protection (SIN), an authority that supervises the use by crime-fighting agencies of secret surveillance, qualified assumed identities, and associated activities, determined that the registry had “several illegal aspects,” even if the database did not have ethnic markers. The SIN also concluded there had been no need to add all the names in the database, which Skane County police said was originally put together to keep tabs on Roma. The SIN review looked into a random selection of 1,235 of the 3,413 names on the list who were not children of deceased and found that the original intention was to map social and family networks around persons suspected of crime. The dominance of Romani names could “give the impression” that its sole focus was ethnicity. Two police officers were under investigation for malpractice; penalties range from a warning to up to two years in prison.
In 2011 the government announced a 46-million-kronor ($7.1 million) supplement to the 2012 budget aimed at improving the situation of Roma over a four-year period. In 2011 the government announced a new 20-year strategy for Romani inclusion, which included a series of proposed measures to improve the condition of Roma in six focus areas: education, work, housing, health and social care, culture and language, and civil society. The overall goal of the strategy was to equalize the opportunities available to young Roma and non-Roma by 2032.
The discrimination ombudsman handled three mediation and court cases involving Roma after Swedish Radio News reported several instances when Roma tried to rent cars at various gas stations and were told there were no cars available. When the radio reporter asked the same question a little later, cars were available. The most common complaint was against landlords who refused to rent apartments to Roma. Conciliation with financial compensation to the Roma was the most common outcome.


ERIC Number: ED434355
Record Type: RIE
Publication Date: 2000
Reference Count: N/A
Checking Out Nonfiction K-8: Good Choices for Best Learning. Bill Harp Professional Teachers Library.
Bamford, Rosemary A.; Kristo, Janice V.
Noting that nonfiction literature for children came of age in the 1990s, this book is a comprehensive tool for K-8 teachers, librarians, and students to use in learning to make good decisions about the quality of nonfiction titles. Each chapter in the book describes a specific aspect of the complexity found in nonfiction literature: the various types, how the writing is organized, issues of accuracy, styles of writing, the array of visual features, and access features. Examples of classroom applications are included throughout the book. Chapters in the book are: (1) Less Is More: The Quest for the Best Nonfiction Children's Literature; (2) Types of Nonfiction Books; (3) The Importance of Checking Nonfiction for Accuracy; (4) Exploring the Content and Organization of Nonfiction; (5) Building Understanding and Clarity through Style and Language; (6) Features of Nonfiction that Support Accessibility of Content; and (7) Understanding Content Through Visual Information. Some "Parting Thoughts" conclude the book. (Contains approximately 400 references. Appendixes contain advice on making discriminating choices in nonfiction; places to look for the best award-winning nonfiction; a 75-item annotated list of Orbis Pictus award-winning nonfiction; and recommendations for dynamic teaching using nonfiction children's literature.) (RS)
Descriptors: Childrens Literature, Elementary Education, Literary Genres, Nonfiction, Reading Material Selection, Text Structure
Christopher-Gordon Publishers, Inc., 1502 Providence Highway, Suite 12, Norwood, MA 02062 ($15.95). Tel: 800-934-8322 (Toll Free).
Publication Type: Books; Guides - Classroom - Teacher
Education Level: N/A
Audience: Media Staff; Teachers
Authoring Institution: N/A


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Live Oak Public Libraries
Classical music, children and collections in an exciting format that enoucarges interactive, hands-on exploration. A culturally diverse, multigenerational audience discovers the joy live music and the ability to continue learning through the library's collection.Innovation Leader:
John Tuggle, Director Public Service, email@example.com
Savannah lost its professional symphony orchestra over 8 years ago. Schools are phasing out music education due to budget cuts. An entire generation of children is at risk of growing up without access to live classical music. And when opportunities to hear live classical music are presented, it is rarely geard to children. Also the setting and programs are not conducive to encouraging youth attendance This is especially true of inner-city children who also have additional barriers due to their socio-economic status, including such barriers as adult accompaniment, transportation, ability to purchase tickets, or even as basic as knowledge of an event.
A talented group of Savannah students graduated with arts backgrounds and are professional musicians across the country. 5 years ago 3 of these accomplished musicians approached the library to offer original classical music programs based on children's literature. We worked with them to create individualized programs that introduced children to both classical music and the musical instruments. This year the program took a giant leap forward when in partnership with the Curtis Institute, the original core group became producers of a new cadre of musical talent. Curtis Institute students are now the performers. This gives the Curtis Institute students valuable experience in reaching out to community youth. At the same time, it shows our community youth that classical musicians can look very much like them. Combine a non-threatening library setting with youthful musicians and add a petting zoo for instruments and you spark excitement for classical music in children who may have never heard it before. Removing the traditional barrier of a stage and presenting the music in a setting that is familar to the children, encourages participation and interaction.
To date thousands of children have participated in our Music Alive! program. This year alone, nearly 1,000 children experienced the magic of the Curtis Institute musicians. Our children have interacted with the performers, asking questions, learning and enjoying classical music. In partnership with a local business, an instrument petting zoo allows the children to actually touch and discover the instruments.
One unexpected outcome was that many of the adults accompanying the children have experienced classical music for the first time. This is one of our most successful multi-generational programs bringing together a true cross-section of our community.
Because the Curtis Institute students represent many different countries, the program has an international flavor much to the delight of children who are from other countries. In one session this year, a young Russian child met his first fellow Russian and was very excited!
Another outcome has been the interest of donors who are intrigued by this non-traditional library program. Connecting the library with the arts has opened new doors for our foundation.
We plan to build on this year's success and continue the program. New partnerships for next year include the internationally acclaimed Savannah Music Festival.


"I would wish to fit you for that world in which you are destined to live."
Liberal Arts & Careers
Graduates entering the workforce in the next decade can expect to be changing careers at least three times in their lives, many even more. The skills and qualities necessary for success and adaptability in work life are developed through the liberal arts curriculum at Seton Hill, which is required as a part of every degree program. These include:
In a rapidly changing and unpredictable job market, college graduates must create their own futures. Coupled with the depth achieved through study in a chosen major, the liberal arts curriculum prepares students not only to land their first job, but to step confidently into a lifetime of career opportunities.
Liberal Arts Curriculum
Basic Composition and Seminar in Thinking & Writing focus on writing, communication and critical thinking - foundational skills for success in college as well as life. The unique and intensive approach at Seton Hill combines examination of cultural identity with an emphasis on oral, written, technological and interpersonal skill building.
Connections provides an introduction to university life in general and Seton Hill life in particular, including strategies for academic success and information on campus resources.
Artistic expression courses allow students to tap into their imaginations and enhance their skills in key areas such as communication, reflection and self-awareness. Courses are offered in disciplines of writing, music, dance, theatre and the visual arts.
Faith, Religion & Society studies the role of faith and spirituality in human development. Students explore religious traditions such as Judaism, Christianity and Islam, and examine the role that religions play in shaping human societies – topics important for global citizenship in a world increasingly influenced by the power of religion.
Courses in language study, western culture, U.S. cultures and global perspectives require students to develop an awareness of cultural, historical and global issues. This cultural analysis, focusing on issues related to social privilege, oppression, class, gender, race, ethnicity and religion, provides students with foundational knowledge and critical perspectives that are essential for effective citizens of the twenty-first century. Topics are explored through various cultural lenses including art, music, literature, philosophy and theology.
Students in mathematics and science courses engage in inquiry through the use of quantitative skills such as logic, algebra, geometry and statistics, or through scientific research and analysis of data. This base of knowledge and skill is crucial to the analytical, problem-solving and decision-making skills that are vital in both the professional world and everyday life.
In philosophy and theology courses students exercise critical and creative thinking to develop a system of informed values and to explore the faith tradition of Christianity. Students choose from a variety of courses to find one best suited for reflection on their own spiritual journeys, and to examine contemporary life through the lenses of ethics, faith and reason.
Senior Integrative Seminar guides students through a cross-disciplinary capstone experience that aids them in integrating their educational experiences, accomplishments and personal value system, and in demonstrating their fulfillment of the University Learning Objectives.
Throughout the Seton Hill experience, students also learn entrepreneurial skills such as goal setting, risk-taking, flexibility, teamwork, transferring knowledge into behavior, and sound decision-making. These skills are introduced during the first year, honed through special assignments in the major, and assessed through a senior capstone project.
Information literacy skills are developed beginning with the Seminar in Thinking and Writing, and information literacy concepts are integrated throughout the major curricula and liberal arts courses. These ensure that students leave Seton Hill able to access, evaluate and synthesize information from a variety of sources.
Total credits = 39 - 48
Total result = Skills for meaningful success in professional and personal life.


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Elementary Art -Reply
[ Thread ][ Subject ][ Author ][ Date ]Elizabeth Paul
Tue, 23 Jan 1996 13:41:52 -0800
In response to Debbie Gardner's inquiry below, one study that comes to
mind is by Dr. Jan Norman at the University of the Arts (Chair, Art Ed
Dept, 320 South Broad St, Philadelphia, PA 19102). Her study "The
Effectiveness of An Integrated Arts Program on Students' Academic
Achievement," to quote the abstract, "...tested the impact of the
integrated arts program, Learning Through the Arts, on students' scores
on standardized academic achievement tests in language arts and
If I think of others, I'll let you know. I'm interested to hear what
resources/studies others know of.
>>> <AGATENY> 01/23/96 09:53am >>>
Greetings! from flood zone Phoenicia, NY. My teachers have asked that I
inquire about the following: are there any resources to obtain information
on how art education in elementary schools helps mainstream, gifted
and/or regular ed. students; or how it helps support classroom work. A
study would be best, but magazine articles will do just fine.
Thanks for your help in advance.
Debbie Gardner, Secretary
Phoenicia Elementary School
Phoenicia, NY 12464 email:AGATENY


Childhood education during the period from infancy to age five or six. Institutions for preschool education vary widely around the world, as do their names (e.g., infant school, day care, maternal school, nursery school, crèche, kindergarten). The first systematic theory of early childhood pedagogy was propounded by Friedrich Froebel, the founder of the kindergarten. Other influential theorists include Maria Montessori and Jean Piaget. Of major concern in preschool education is language development; teachers often conduct listening and language games. See also elementary education.
This entry comes from Encyclopædia Britannica Concise.
For the full entry on preschool education, visit Britannica.com.
Seen & Heard
What made you look up preschool education? Please tell us what you were reading, watching or discussing that led you here.


How to Make a May Day Basket
from Wildlife Promise
May Day is an ancient tradition that celebrates the Earth’s fertile season, when flowers bloom and crops begin to grow. The Romans held the festival of Floralia, honoring Flora, the goddess of flowers. On the British Isles, Beltane—later called May Day—was celebrated on May 1. The story goes, that the night before May Day festivals, mischievous fairies came out and tried to lure humans away to their fairy land.
As part of Beltane, children created small baskets filled with flowers and placed them on the doorknobs of homes of people who were unable to attend the village’s festivities. Traditionally, the giver would hang the basket, knock on the door, and then run away so no one would know who left the basket.
Delight your neighbors or teachers with tiny May Day baskets, made from just a few simple items that you are likely to have around the house.
What you need:
- Watercolor, construction, or white printer paper
- Watercolor paints, colored pencils, markers, or crayons
- Clear tape or stapler
- Ribbon or string, cut into 18” lengths
- A hole puncher
- Any flowers or pretty greens that are growing outside*
- Paper towels or napkins and aluminum foil to wrap the stems of your flowers and greenery
* Stick to flowers that are in obvious abundance such as buttercups, clover, dandelions, or flowers from your own garden to avoid picking rare or endangered wildflowers.
What you do:
- Fold a piece of paper into quarters, and cut it along the lines to make four small pieces.
- Decorate each cut piece of paper with watercolor paints, colored pencils or markers.
- Shape the paper into small cones, and tape in place. Make sure the bottom of each cone is closed into a point.
- Punch two holes on either side of the top of each cone, about an inch from the top edge.
- Tie a ribbon or string through the hole of each basket to make handles.
- Go outside and gather some flowers and greenery.
- Wet paper towels or napkins, squeezing out the excess water.
- Place each wet paper towel on top of a piece of aluminum foil.
- Lay a small bunch of flowers on each of the paper towels, with the tops sticking up above the edges.
- Wrap the wet paper and foil around the stems of the flowers. This will keep them moist and prevent them from wilting. The foil will prevent water from soaking the paper baskets.
- Put your small bouquets inside your May Day baskets.
Your children can hang the baskets on the doorknobs of your neighbors or friends or on the doorknobs of their teachers’ classrooms at school. They can ring the doorbell or knock on the door, then quickly run away before each receiver of the basket knows who left it. Hmm…maybe they’ll think it was fairies!
Elizabeth Scholl is a New Jersey-based writer of children’s books and magazine articles, with a background in elementary education. Specializing in nature and environmental topics, her books includeOrganic Gardening for Kids, Grasshopper, Praying Mantis and Animals Attack: Wolves. When she isn’t writing, Elizabeth enjoys working in her garden, bicycling and and exploring nature in her neighborhood.


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Robot Alphabet Cruncher
Learn letters and letter sounds while you feed the robot to keep him happy.
How We Did It
Fold the ends of a toilet paper tube in and tape them closed.
Draw a robot face on the front of the tube. We even included an on and off button (red and green).
Cut letters from a magazine. The different fonts as well as exposure to capital letters and lowercase letters are great for your child's literacy development!
It's time to feed the robot! Pick a letter. Name the letter, say the letter sound, and feed it to the robot.
Feeding the robot is such a fun way to work with letters! Keep the letters in the toilet paper tube to store it. It is the perfect activity to throw in your bag for a road trip or a short wait in the waiting room.


Learn something new every day More Info... by email
If you would like to help groups of young children develop valuable life skills in an environment that is warm, fun, and creative, you might want to become an early childhood educator. The educational qualifications required for this career vary according to state laws as well as the nature of the employer, but in most cases you will need to have completed some study in early childhood education or child development. In many cases, you will also need to obtain teaching certification. A genuine interest in children as well as a patient and cheerful but firm personality can also help you succeed in this job.
While the early childhood period is defined by some as extending from infancy to around age eight, in the US early childhood education is usually thought of as schooling that precedes kindergarten and that fosters child development through structured play. In most cases, each play activity is intended to address specific areas of development. Finger painting, for instance, stimulates creativity, while group building block games promote social skills.
Early childhood education can occur at a preschool or an early childhood learning center. Day care centers that emphasize learning-oriented programs and activities can also be considered early childhood education providers. Those that focus primarily on child care, however, are usually not considered early childhood education centers.
To become an early childhood educator, you will likely need a background of study in childhood education or child development. The exact level of education required for this career varies by the laws of the state in which you wish to work as well as the nature of the individual employer. If you wish to work for a state-funded school, for instance, you will likely need a bachelor’s degree in early childhood teaching. Privately owned early childhood learning centers may only require a minimum of a high school diploma or an associate’s degree. Regardless of this variability, you may find that college-level study of early childhood education will strengthen your resume and equip you with the fundamentals of teaching.
Should you wish to become an early childhood educator in a public school, you will in most cases need to be licensed. Though the licensing process can vary by state, it usually involves completing a bachelor’s degree in education and passing an aptitude test. In some cases, you will also be required to complete a set number of supervised teaching hours.
Before you become an early childhood educator, you may want to examine your personality and consider whether it is suited to the challenges of the job. Working with groups of young children can be hectic. Those who find this career most enjoyable typically have a real enthusiasm for children, can lead groups while remaining pleasant and unintimidating, and are patient and positive.
One of our editors will review your suggestion and make changes if warranted. Note that depending on the number of suggestions we receive, this can take anywhere from a few hours to a few days. Thank you for helping to improve wiseGEEK!


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native american art
[ Thread ][ Subject ][ Author ][ Date ]JDWG
Tue, 21 Sep 1999 10:47:38 -0400 (EDT)
Help! I am an art education student at Indiana University of Pennsylvania.
Currently, I am teaching art at a local youth center. The members are in
grades 1-3. In order to prepare them for a Thanksgiving festival, I have been
teaching them about Pilgrims, Indians, Christopher Columbus, etc. I have
little experience writing my own lesson plans and would truly appreciate the
help from those of you already in the field. So far, we have created "Indian
headresses". The kids loved this! They looked at many different pictures
taken from magazines, books, and the internet. I provided them with leather
bands, beads, feathers, sequins, paint, and other odds and ends. Any other


English as an accelerated language: A call to action for reading teachers
The Reading Teacher
This article challenges reading teachers to use their rich literacy repertoires to make English an accelerated language for English-language learners in their classrooms. The introduction argues that educators must discard a remedial approach for second-language learners and afford more integrated, forward-looking experiences in order to enable English-language learners to build on their first-language strengths and be successful in English-speaking classrooms. Effective reading teachers are able to offer comprehensible and comprehensive language instruction in rich reading and writing contexts. This article uses the example of one first grader to exemplify how inferior literacy instruction can be transformed to facilitate both language and literacy development. The author synthesizes several areas of research to provide a list of recommended practices that, when combined as instructional components, can expedite student progress. Reading teachers are encouraged to offer these best practices, enhanced by insights on second-language learning needs, to the English-language learners in regular classrooms.
Mohr, K. A. J. (2004). English as an accelerated language: A call to action for reading teachers, The Reading Teacher, 58, 18-26.
This document is currently not available here.


Heinrich Ignaz Franz Biber von Bibern (baptised 12 August 1644 – died 3 May 1704) was a Bohemian-Austrian composer and violinist. He was the most famous German violinist of his time. He is particularly famous for his violin sonatas.
Life[change | change source]
Biber was born in a small Bohemian town near Reichenberg. Nothing is known about his music education. We know that in the mid-1660s he went to work for Prince-Bishop Karl, Count Liechtenstein-Kastelkorn of Olomouc. The prince loved music and kept many musicians at his court. During the winter of 1670-1671 Biber became a member of the Kapelle at Salzburg court. He was married there in 1672. There he played the violin and trained the choirboys and composed a lot of music. He probably had a lot of contact with other well-known musicians such as Georg Muffat. Although he was the greatest virtuoso of his time he hardly seems to have travelled about to play.
Related pages[change | change source]
References[change | change source]
- The New Grove Dictionary of Music & Musicians, ed. Stanley Sadie; London 1980; ISBN 0943-81836-2.