Our CLUB YAK- Tuesday program has been developed for children who are needing more support in managing their social behaviour, their concentration and attention to learn. The Tuesday program is specifically designed to have a greater therapist-to-student ratio to enable this support to be provided. The program targets the development of their speech, language, literacy, social communication and learning behaviour.
The Tuesday group has a greater focus on multi-sensory learning with touch and movement and slows down to establish strong foundations of the core skills that children are requiring for school readiness and success at their best potential given their challenges.
Families are welcome to watch the group from the viewing room above and are supported by the parent handover at 11.30 am with the Speech Pathologist in charge and the online support program.
The program targets:
- Vocabulary for school success eg. prepositions, adjectives, adverbs…antonyms, synonyms
- Effectively listening skills for classroom lessons
- Language usage to enable confidence with verbal expression
- language of spoken expression and we explore a few styles of expression being narrative skills and dialogue to enable effective communication with another person
- Accuracy with grammatical development (eg.verb tense-ing, -ed, will/ copulars: is-are/ accurate pronoun usage)
- Phonological awareness skills for early literacy development
- Phonic-letter knowledge for all 24 consonants and all 22 vowels as a foundation to literacy
- Cognitive skills for problem solving, planning, sequencing and structuring fun projects that the children get to take home
- Social communication skills with group dynamics and pantomime
If you would like to be part of the program, please call the “Once Upon A Time Therapy” Centre on (07) 55 28 2222 to discuss this further and book your Club Yak assessment with our Speech Pathologists. Your therapist will recommend the group that is most suitable for your child to enable the best outcomes from the program.
Up and coming dates for future Tuesday program groups are available for you to check.


An accomplished Japanese violinist studying in Germany was frustrated that children could learn the language faster than adults. But it birthed an idea.
Children learn to speak before they are able to read. So should beginner violinists learn how to create music before they are able to read music?
That is the premise of the Suzuki Method. Its creator, violinist Shinichi Suzuki, was an accomplished violin player who left his native Japan to study in Germany, where he noticed children easily pick up new languages while adults like him struggled.
This led to the development of his method, which promotes a very early introduction to music in children, who study how the instrument works, what good music sounds like, and how they can create the notes, tonality and articulation of what they hear on their own (very small) instruments. Only after several years of study “by ear” do students get introduced to reading written music.
The Suzuki Method is not just for violinists. One can learn to play by way of these learning principles on the cello, viola, bass, flute, guitar, harp, piano, organ, recorder, mandolin, guitar, trumpet and even voice.
And does it work? The Suzuki Association of America (SAA) promotes the teaching method, and also emphasizes the somewhat democratized nature of it. By this we mean how it eschews competition even while celebrating accomplishment. It also doesn’t reserve itself for “musical prodigies,” perhaps those from a family of accomplished musicians. Rather, the SAA says, “Suzuki students are normal children whose parents may have little or no musical experience. Their parents have simply chosen to introduce them to music through the Suzuki approach, a unique philosophy of music education.”
Former students of the Suzuki Method, now accomplished musicians, include Hilary Hahn, Leila Josefewicz, William Preucil, Jr., Rachel Barton, Jennifer Koh, Nickolas Kendall, James Stern, Frank Almond, Brian Lewis, David Perry, Rebecca McFaul, and Russell Falstad. Note that some begin with Suzuki but may continue their education by other methodologies before completing the Suzuki repertoire.
The local violin shop would likely be a good resource for locating a reputable Suzuki teacher. Odds are, a violin dealer already provides Suzuki-sized instruments for other students learning the Method.
The principles of Suzuki can begin even before the musician is born. An expectant mother can listen to classical music from stringed instruments, which perhaps the developing fetus can hear as well. Other fundamentals include:
Exposure: Daily exposure to music, specifically from the Suzuki repertoire as well as other music.
Begin early: Suzuki is the reason the modern violin maker builds the tiniest fractionalized instruments (as small as 1/32), as students begin as young as age 3.
Parents as co-instructors: Mothers and fathers are expected to attend each lesson, and to provide a positive, nurturing environment for the young student.
Non-competitive: The Method is one that encourages auditioning for groups and performance, but with less emphasis on competition and more on participation.
Strict repertoire: Suzuki believed that technique, musicianship and style are developed through a series of pieces that build on the piece that came before it.
Reading music: After basic playing skills are mastered, the student graduates to reading music.
Adherents to the Suzuki Method emphasize it’s not strictly for children on a path to careers in music, although that’s obviously a possibility. But it could be a foundation for artistry in many forms. Actress Sarah Jessica Parker studied by the method as a child, prior to being cast in the star role of “Little Orphan Annie” and later roles as an adult.
The Method may be too taxing for some parents. But for those who might enjoy the journey of learning to create beautiful music with their children, it might be just the right thing.


THE GLOBAL LEARNING CRISIS
Over the past decade, there has been a large investment in improving children’s access to education. However, the resultant expansion in children’s school enrolment has strained the capacity of education systems to ensure quality learning. Globally, 250 million children – including many of the most vulnerable – are not learning basic literacy and numeracy skills even though half have attended school for at least four years.
THE PARTNERSHIP FOR LITERACY
World Vision and Save the Children are working together to improve children’s learning outcomes by providing early grade learners with quality literacy programmes – in school and out of school – that significantly improve reading skills acquisition and reading comprehension.
Literacy Boost is a proven literacy programme that supports the development of reading skills in young children. There are three steps in the Literacy Boost programme:
Reading Assessments – Baseline and endline reading assessments measure children’s reading levels, evaluate their literacy learning needs, and help schools and ministries of education track student progress.
Teacher Training – Training teachers to incorporate the five core reading skills into their regularly scheduled curricula in order to ensure that children are learning to read and remain motivated to learn while in the classroom.
Community Action – Mobilising parents and communities to support children as they learn to read through fun out-of-school literacy activities and through the creation of locally relevant reading materials.
These steps address the ways children learn to read, how teachers and parents can help, and create an environment for that to happen anywhere: in school, in the community and at home.
Learn more about how Literacy Boost is helping parents and teachers in Burundi inspire a love of reading in children. Watch the video.
- Literacy Boost: Creating strong literacy foundations for early grade learners
- Literacy Boost reading assessments key to measuring impact on students
- Training teachers enables student learning in the classroom
- GALLERY: What does a reading camp look like?
1 UNESCO Global Monitoring Report 2013/2014 pg. 18
2 Literacy Boost is a copyrighted tool designed, developed, and owned by Save the Children.


1984, 40 Minutes
This Australian Eye episode examines the work of a group of artists, known as colonial painters, during the period 1832-1887.
The following paintings are examined: ’Launceston and the River Tamar’ (c.1832) by John Glover; ‘The Conciliation’ (1840) by Benjamin Duterrau; ‘Mount William From Mount Dryden’ (1857) by Eugen von Guerard and ‘Lake St Clair’ (1887) by William Charles Piguenit.
© 2011 National Film and Sound Archive of Australia.
Director: David Muir
Running Time: 40 Minutes
Classification: Exempt from classification
Curriculum Links: Art Education; Art History and Curatorial Studies; Art Theory; SOSE/HSIE - 'Exploring Australia's National Identity'; Visual Arts.


How can I start teaching my child music? With what do I start and at what age?
Sing, sing, SING!
It is never too early for your child to begin to learn music. When asked, “When should music education begin?” Hungarian music educator Zoltan Kodaly (1882-1967) replied, “Nine months before the birth of the mother.” An unborn child learns to recognize the voices or his/her parents. Similarly, songs are heard and the music learning process has begun!
Sing together as a family–in work, in play, in worship. Expose your children to music through live music in church, family-time, and family-friendly concerts. Listen to quality recordings. Seek to have music-making become a part of everyday life.
Here are some practical tips:
1. Sing to and play with your babies and toddlers.
2. In general, start songs higher. Young singers need to learn to sing in the head voice. Adults often pitch songs too low for children. Boys should learn to sing soprano with their mother (i.e. in the treble range) before their voices change.
3. Choose songs with a limited range (generally within an octave); these are more accessible for young singers.
4. Sing in church, follow the music in the hymnal, watch the song leader. “More is caught than taught” by what you show them. Teach your beginning readers to follow the text and notes.
5. Sing. Sing. SING. The voice is a free, natural instrument.


Music Education in an Evolutionary Perspective
This book breaks new ground in drawing on evolutionary psychology in support of advocacy for music education, and the presentation of innovative musical pedagogy. The book adopts the perspective that musical experience is the birthright of all human beings through the decisive role it played in the evolution of our species, the traces of which we carry in our genes. The author draws on scientific developments in acoustics, neuroscience, linguistics, archaeology and anthropology to examine theories that have emerged powerfully during the last twenty years and which argue for the significance of the practice of music as foundational to human culture. This position is examined in parallel with research into how children learn musically, and the role that creative decision making plays in this. A series of strategies is presented that explores collective creativity which draws on vocalisation, the use of gesture, and instinctive responses to harmony to develop musical imagination.
Chapter 12: Further exercises to develop security of location
| 213 →
Further exercises to develop security of location
The value to confident aural development of the acquisition of secure location is so important that a set of further procedures can profitably be devoted to this key skill. In the initial games of Chapter 7, we encountered procedures that introduced random chord-building (see pp. 173–4). It is worth re-visiting the sound-world these earlier games gave rise to, but this time beginning to impose order on the improvised chaos. The potential of the games that follow involves similar activities at a variety of levels of difficulty: the hardest provide challenging warm-up material for upper secondary or even tertiary students.
1. Begin with the instruction: ‘Silently imagine any note you like, high or low, and try to hear yourself singing it before we actually start. On my downbeat, sing your note, and then start listening to how it fits with other notes people in the room are singing. You can choose either to hold onto your note, because you feel it forms a potential relationship with the note someone else is singing, or, if you would prefer, move: but only up or down by step. If you choose to move, do so by the smallest steps that you feel move your voice so that you can help create a triad. Breathe when you have to. It may take quite a long time, but eventually you will all end...
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Hobbies Playing Music Understand the Pattern of Black Piano Keys Why are there only 5 black piano keys per octave? Share PINTEREST Email Print It looks like some white keys are missing an accidental. Brandy Kraemer Playing Music Playing Piano Tutorials Piano Chords Buying Advice Music Education Playing Guitar Home Recording By Brandy Kraemer Updated March 31, 2019 Most people are familiar with the appearance of piano keys; alternating white and black keys sprawl across keyboards. When looking closely, have you ever noticed that there are fewer black piano keys than white piano keys? To understand the pattern of black keys on a piano, it is important to be familiar with notes and their sharps and flats. The white keys on a piano are notes that are in their natural state. That is, the pitch is unaltered, such as a C or an A. When a note is raised by a half step by adding a sharp or flat accidental, the key that often corresponds to the accidental is a black key—which is a half step away from its neighboring white key. Each note on the piano can have a sharp or a flat, but there are fewer black piano keys than white ones. This means that not every sharp or flat note is played on a black key. Some sharps, such as B♯ are played on a white key because C (B♯) is a half step higher than B. There are a total of seven notes in a musical scale, on which the piano keyboard is based. The concept of the seven-note scale originated in early music and was based on a system of modes. Without getting too technical, understanding a major scale's interval pattern can help you detect when the black notes come in handy. A scale has intervals of whole steps and half steps in a specific pattern. Look at the image above: The C appears to have no flat because there is no black key directly to its left. But C does have a flat, it’s just disguised as B. In C major, the half steps fall between B-C, and E-F. Since there is already a half step between these notes, adding a black key—which lowers a note by a half step—would be unnecessary. The pattern of the C major scale is as follows: C (whole step) D (whole step) E (half step) F (whole step) G (whole step) A (whole step) B (half step) C Every major scale follows the same pattern of steps in this sequence: whole - whole - half - whole - whole - whole - half (W-W-H-W-W-W-H). In C major, that pattern results in all white keys. What if you start a major scale on a different note, say D? You'll need to use black keys for some of your half steps in the pattern, specifically F♯ and C♯. Without the black piano keys, it would be very hard for our eyes and fingers to distinguish landmarks on the piano. Black keys help to guide us so that we can easily find the half step patterns that are regularly played in music. Tip: The B note (along with B chords and key signatures) can also be written as C flat. Its name simply depends on the key signature. These notes are examples of enharmony.


Vocal Music | Plymouth Christian Academy
PCA Elementary Vocal Music
Elementary Vocal Music at Plymouth Christian Academy uses a movement-based program that allows students to develop their sense of rhythm. Kodaly Training is used to improve their ability to hear, sing, read, write and listen to music with a knowledgeable ear. Upper elementary students continue their training of melody and rhythm and add to their tools the ability to play instruments and compose.
Students meet bi-weekly for 46 minutes. All students participate in music classes taught from a Biblical worldview. The 4th-6th grade students also have an opportunity to meet twice a week to participate in elementary choirs. These choirs sing at concerts and also go into the community for outreach.
In addition to musical field trips and enjoying special musical guests, Elementary Vocal Music students perform alongside our elementary orchestra in two concerts – Christmas and Spring, where they perform a combination musical presentation including choir, band, and strings.
PCA Secondary Vocal Music
Secondary Vocal Music at Plymouth Christian Academy supports students musical learning at the middle school and high school levels.
Middle and high school students have the opportunity to participate in choir. In addition, high school students can also participate in women’s ensemble, applied voice, and musical theatre class. All eligible ensembles attend MSVMA festivals, both individually and as groups.
Students are given an excellent music education that includes the Kodaly Method, sight-reading, aural skills training, and frequent use of the International Phonetic Alphabet.
Vocal music students attend many performances including PCA’s Variety Show, Christmas and Spring Concerts, MSVMA District Solo & Ensemble, MSVMA District Choral Festival, caroling opportunities, MSVMA State Festivals, MSVMA Musical Theatre Solo & Ensemble, and more!


Hey there fellow teachies!!
#truestory The other day, a friend was telling me about her recent CRT experience with grade 6 students when teaching subtraction with re-naming to Grade 6 students and she was left absolutely gobsmacked! These students had never been taught how to trade because an “expert” had come in and told the teachers to just teach them one strategy! However, this one strategy just didn’t connect with every student…so there was a classroom full of kids who arrived at Grade 6 missing this foundational maths skill. 🙈
This is why I am SO PASSIONATE about giving students MULTIPLE strategies for learning. There is no one perfect way and we need to give our students different opportunities to master the basics. This inspired me to do “Get Your Teach On” as my theme for Term 3 and really focus on ensuring that as teachers we are setting up our students with all the foundational skills they need to be lifelong learners.
#1 Maths strategies for days
Maths is SUCH an important topic to teach. As much as sometimes we just want to fly through it and move on to something more fun, we really need to take our time teaching it. Each of our students learn so differently and in such a variety of ways. So we need to offer them as many different tools to help them solve mathematical problems. This will give them a real foundational understanding of maths and set them up for lifelong learning.
There are so many essential mathematical skills and strategies we need to instill into our student’s skill set to build up their mental computation and problem solving skills. In Number alone we have to cover addition strategies, subtraction strategies, fractions, place value, problem solving strategies, the good old fashioned times tables, measurement, math operations, odd and even numbers, ordinal numbers, friends of 10… the list goes on!!!!
I know that it can be so overwhelming and it is A LOT… but I promise you, that by using a simple tool like one of my maths posters, you can introduce a new strategy to your students, teach it, practise it and revise it all term long. By the end of the term, you’ll be blown away at how much it becomes second nature to them.
The strategies included in the Maths Bundle pack range from basic, hands-on strategies to more advanced mental math strategies to cater for the various abilities in your classroom. So they meet your students where they’re at and then take them to the next level in Maths – setting them up with a maths foundation for the rest of their school life.
#2 How to introduce the Maths Posters for greatest impact
As much as I’d love to just stick a Maths poster on a wall and see my students suddenly grasp the concept…the way we introduce the posters can be key to our students’ learning. Some of these concepts can be a little tricky for students to grasp in the Early Years, so I like to introduce each poster one at a time so the students don’t get overwhelmed.
As I model and introduce each strategy, the corresponding poster is displayed in our classroom and we refer to it REGULARLY! The poster provides a clear, bright and engaging visual reminder as you teach each strategy and skill. The constant reminder really benefits students as they slowly grasp the concept and they can look up and refer to it whenever they need to. It gives students the resources they need to solve a problem or to encourage them that they’re using the right strategy and to keep going. Then when the class is ready, introduce the next one!!
#teachertip Print them, trim the edges and back them onto coloured card to make them really POP in your classroom!
Check out my IGTV episode to learn more about how to introduce and use these incredible resources in your classroom, so your feel confident in setting your students your students up for success in maths!
I really encourage you this week to build your confidence in equipping your students with a solid foundation in mathematics. If this is an area you’re really familiar with, join the conversation on instagram and share your tips and tricks with the Miss Jacobs’ Little Learners community.


Level 2: Unit 3: Advanced Opposites
* EBOOK/PDF digital download will be emailed to the customer immediately upon purchase. No taxes or additional delivery costs are added at checkout.
The 3rd Unit of the Pre-K YOUR Way Level 2 Series.
Perfect for children ages 3-6 years old, this play based unit encourages hands-on play activities to instill a love of learning. Items needed to complete the activities are materials typically found around the home or inexpensively purchased at a local convenience store. This 48 page, digital download includes:
15 "Advanced Opposites" Academic Activities address math, science, literacy, art, health/safety, gross motor skills, fine motor skills, music and movement and literacy development. Activities focus on introducing new vocabulary such as near and far, heavy and light, more and less, upside-down and right-side up. Examples include "Tall vs. Short Igloo Building", "Inside and Outside Dance", "Near vs. Far", "Different vs. Same" and so much more!
The 15 Activities are divided into 3 Academic areas:
- 5 Math/Science
- 5 Language/Literacy
- 5 Gross Motor/Fine Motor
It also includes:
- Themed Books
- Themed Art Area
- Themed Sensory Bin Activities
- Themed Dramatic Play Activities
Find Out More
Staying indoors with young children for days at a time...
It is now summertime. The outdoors is calling your name...
“Every child is an artist. The problem is how to...
If you are starting to think about sending your child...


How to Become a Musician
A musician is somebody who creates and performs music. They could play music from any genre, for example, jazz, rock, or pop, and on any instrument, such as the flute, violin, or vocals.
A musician has a career in various areas of music. They may be a composer, instrumentalist or a singer. Their work will generally entail performing in a studio or to a live audience, although they are likely to do many other music-related jobs as well.
A musician could be a solo performer, or they could work with a band, choir, or orchestra. Alternatively, they could work in a theatre or opera. It is a high competition role, and most musicians do not begin full-time – they need to work in other positions as they build their reputation and skill.
As there are so many different genres of music and types of performance, the duties of a musician vary. However, Some of the main aspects of being a musician are:
- Performing the instrument or singing at various venues, including concerts, festivals, and theatres.
- Recording their songs in a studio.
- Preparing for and attending auditions.
- Rehearsing their instrument or vocals.
- Composing or writing new music.
- Promoting their act using methods such as social media, blog posts, and traditional advertising.
- Business activities, including accounts and taxes.
- Communicating with venues to arrange gigs and tours.
- Some musicians will also work as teachers, conductors, or other jobs in the music industry.
While many musicians do have a music degree or formal education, tertiary education isn’t at all mandatory. However, degrees are available in music, but some courses do focus more on the academic side. Many great musicians have earned their reputation by practising and performing as much as possible from a young age.
Attending a Conservatoire, which is a music college, may be beneficial. There is a broader range of courses on offer at these specialised colleges and candidates wanting a career in music may find it an excellent place to make connections and get inspiration.
Practical experience is an essential part of becoming a musician and is something that candidates will constantly be obtaining. Prospective musicians will be expected to perform in choirs, orchestras, or solo on stage, and have recordings and videos of performances to show to prospective clients.
Most musicians are self-employed, although an orchestra or choir hires some of them on a full or part-time basis. If the musician is self-employed, they must be prepared to organise all of the logistics of their business, including taxes, legalities, and promotion of their services.
Candidates can, of course, outsource these tasks at their own expense. Musicians should also be aware of how much to charge for their work, and be comfortable with the entire responsibility for their business.
Due to the likelihood being self-employed, and the fact that most musicians do not find success overnight, anyone entering this career should have a high level of determination and motivation. They should be able to accept criticism and know that the road to success as a musician may not be linear.
They should also be prepared to practice frequently, often on the same piece, until they get it right. This requires a lot of self-discipline. For musicians who perform as part of a group, strong teamwork abilities are necessary.
Many musicians work part-time and also do another job to help supplement their income, particularly at the start of their career. Their job could be music-related or non-music related. Music-related careers include teaching, conducting an orchestra, composing music or doing workshops for the public.
The work opportunities are diverse. Candidates could work for opera companies, recording studios, the military, on cruise ships, at holiday camps, or in the theatre. As they gain more connections and work history, they will find it easier to secure roles – and may eventually be in the position where they are offered work rather than having to search for it.
Musicians who are performing in an orchestra may find that they need to be geographically mobile and move between orchestras to develop their position. Other musicians may become producers, managers, songwriters, or composers as they advance in their musical career.
What degree is most commonly held by a ?
- Bachelor of Music Technology
- Masters of Violin Performance
- Bachelor's Degree of Contemporary Music
- Master of Music Theory
- Bachelor of General Music Performance
- Bachelor of Applied Music
What is the Salary of a ?
|Experience||Education||Average salary | year|
What skills are needed to become a ?
- Music Production
- Music Industry
- Social Media
- Music Education
- Music Theory
- Studio Recording
- Customer Service
- Microsoft Office
- Music Composition
- Public Speaking
- Musical Theatre
- Orchestral Music
- Audio Recording


The person in charge of Music at Grange Primary Academy is Mrs Meek.
Music makes an important contribution to the life of every school and should be celebrated, promoted and encouraged. A high-quality music education can improve self-confidence, behaviour and social skills as well as improve academic achievement across the curriculum. And while music touches the lives of all young people, the disadvantaged can benefit most. This is why we ensure all children have access to learning and making music as part of their broad and balanced curriculum at Grange.
Our Music Curriculum
Our Music Subject Expectations (click to follow link)
Music National Curriculum (click to follow link)
Why is learning Music so important?
It helps build pupils’ self-esteem and self-discipline and leads to higher standards across the curriculum.
It can have a positive impact on everything from academic attainment to student attendance.
Research undertaken by the University of London has clearly demonstrated the cognitive benefits that music gives young children particularly in Key Stage 1, suggesting music can support the development of literacy, numeracy and listening skills.
It promotes the importance of working effectively with others towards a common goal; everyone has a role, helping to build co-operation and mutual support.
Playing an instrument or learning to sing requires real concentration! Quietness and calm whether on stage or in the classroom is also essential. Working alongside other members of an instrumental or singing group helps children to recognise their own skills and appreciate those of others, building important life skills such as empathy, problem solving and communication, and a sense of responsibility and commitment.
Music enables young people to express themselves, it empowers them to shape their world through sound and allows them to exercise their imaginations. Encouraging creativity also teaches them to think outside the box when problem solving. To succeed in the future, children will need to be inventive, resourceful and imaginative, and arts education will help.
Music making is not only good for the brain but also the heart! Children enjoy the pleasure of mastering a tune or a song. The stimulation of a first performance in front of an audience is an adrenalin rush that is never forgotten.
Music is inclusive irrespective of abilities. It can be of particular benefit to children and young people with Special Educational Needs and disabilities but also those who are marginalised, vulnerable and often hard to reach. Music gives children a unique motivation to participate and communicate and advances in technology mean more children than ever can take part in and reap the many benefits of a music education.
Resources to use at home:
There are lots of opportunities for music making outside of school too! This is the link to the Kettering centre that run classes on a Saturday morning for music, dance and drama.
We are supported in our music curriculum by the Northamptonshire Music and Performing Arts Trust (NMPAT)
We use the Kapow resources and Music Express to support our curriculum which means we are able to teach the National Curriculum for music for all year groups.
As a result of our commitment to teaching music we have successffully been awarded the Music Mark accreditation.


EXPLAIN WHETHER ANY MOTOR TASKS OR SKILLS CAN BE ACCOMPLISHED VIA OBSERVATIONAL LEARNING.
During the period of early childhood, mastering fine motor skills is a very important process needed for physical and cognitive development. However, for a number of different reasons, there are some children who do not develop at the same pace as an average child. It is important for parents and physicians to recognize children who are not on track developmentally because the earlier the cause of the delay can be determined, the earlier parents can start working with the child to correct or minimize these deficits. Often, the earlier children begin to work on their developmental deficits, the greater the advancements they can make.
By the age of three, a child should be able to do the following:
Use a spoon by themselves
Draw a vertical and horizontal line
String large beads
Snip paper with scissors
Roll clay or play dough into a “snake”
Conduct an Internet search using the two phrases listed below. Your results will help you better understand the kind of milestones that are used to assess the development of fine motor skills in young children.
Fine motor skills milestones
Child development milestones
Using the module readings, the Argosy University online library resources, and the Internet, research observational and motor learning and activities that can be used to help develop motor skills. Then, address the following:
Describe in detail how a young child’s fine motor skills are developed—making sure to include the theory of motor-skill learning that best fits this situation.
Explain whether any motor tasks or skills can be accomplished via observational learning. Justify your response.
Now, consider a situation in which a young child (3–4 years old) is developmentally delayed in fine motor skill development. Create a strategy which would help the child strengthen his or her fine motor skills.
You can find a number of activities online which purport to help develop these skills. From a theoretical viewpoint, be sure to explain how these activities will aid a child’s fine motor skill development. Make sure that you reference at least onepeer-reviewed article in addition to any Web sites you find and describe these activities as part of your development strategy.
Write a 3–4-page paper in Word format. It should be double-spaced and in 12 point, Times New Roman font with regular one-inch margins and free of typographical and grammatical errors. Apply APA standards to citation of sources. Be sure to include a title page with a running head and reference page.


Hobbies Playing Music Bass Scales - Dorian Scale Share PINTEREST Email Print Playing Music Playing Guitar Basics Tutorials Tab, Chords & Lyrics Music Education Playing Piano Home Recording By James Porter James Porter is a freelance writer specializing in bass guitar tutorials who is also the bassist for a band called Locust Street Taxi in Seattle, Washington. our editorial process James Porter Updated March 17, 2017 01 of 07 Bass Scales - Dorian Scale Hinterhaus Productions | Getty Images The dorian scale is a useful variation of the minor scale. It is the same, except with the sixth note of the scale raised by a half-step. Like a minor scale, it sounds cool or sad, but the dorian scale has a slightly hallow, gothic touch to its character. The dorian scale is one of the modes of the major scale, meaning that it uses the same pattern of notes but starts in a different place. If you play a major scale starting on the second note, you get a dorian scale. Let's go through the different hand positions you use to play a dorian scale. You may wish to read about bass scales and hand positions if you haven't already. 02 of 07 Dorian Scale - Position 1 This fretboard diagram shows the first position of the dorian scale. To find this position, locate the root of the scale on the fourth string and put your first finger on it. Here, you can also play the root on the second string. Notice the "q" and "L" shapes made by the notes. Looking at these shapes is a great way to memorize the hand positions. In this position, the notes on the fourth string are played in one spot, and the notes on the first and second strings are played with your hand shifted back one fret. The two notes on the third string can be played either way. Often it is easiest to use your first and fourth fingers for them, letting you transition easily up or down. 03 of 07 Dorian Scale - Position 2 This is the second position of the dorian scale. It is two frets higher than the first position (from the fourth string notes; it is three frets higher than the first and second string notes of first position). Here, the root is under your first finger on the second string. Notice that the "L" shape from the right side of first position is now on the left. On the right is a shape much like a natural sign. 04 of 07 Dorian Scale - Position 3 Two frets higher than second position is third position. In this position, the root is located under your fourth finger on the third string. Now the natural sign shape is on the left and on the right is an upside-down "L" shape. 05 of 07 Dorian Scale - Position 4 Fourth position is three frets up from third position. Like first position, this one has two parts. The notes on the third and fourth strings are played with your hand in one spot, and the notes on the first string are played a fret back from there, with the second string working both ways. Here, you can play the root on the third string with your first finger, or on the fourth string with your fourth finger and your hand moved back a fret. The upside-down "L" is on the left side now, and a shape like a "b" is on the right. 06 of 07 Dorian Scale - Position 5 Finally, we get to fifth position, two frets higher than fourth (or three, if you go by the first string) and two frets lower than first. The root can be found under your first finger on the first string or under your fourth finger on the fourth string. The "b" shape from fourth position is now on the left, and the "q" shape from first position is on the right. 07 of 07 Bass Scales - Dorian Scale Practice the scale by playing it up and down in each of the five positions. Start from the root and go up to the highest note, then go down all the way to the lowest note, then back up to the root. Start on different notes. When you feel comfortable with each position, try switching between them. Play a two-octave scale, or just mess around. Dorian scales can come in handy. If you are trying to make up a bass line or solo over a minor chord, you could use a dorian scale. A minor scale might be better, but sometimes the raised sixth note of the dorian scale adds a very nice touch. A lot of modern pop songs make use of dorian instead of minor, so you may find it useful here and there.


How to Make a Lockback Knife
David A. Claerr
A lockback knife is a type of folding knife that has a special feature: a locking mechanism that holds the blade firmly in place on the handle when the blade is fully extended. The lock can be released to close the knife by depressing the spring-loaded lever on the top edge of the handle.
This project is a modern, sleek, slimline design in which the elements are as simple as possible for tooling the parts.
Copy the template provided here and print it out on paper. (Enlarge the image by left-clicking on it. Then right-click the enlarged image and select "Save Picture As" from the menu that appears. Save it to your desktop or a folder of your choice. The saved image can be opened in an imaging program and printed out.)
- A lockback knife is a type of folding knife that has a special feature: a locking mechanism that holds the blade firmly in place on the handle when the blade is fully extended.
- The saved image can be opened in an imaging program and printed out.)
Cut out the individual shapes of the parts from the paper, and glue them down on your metal stock using rubber cement. The blade, lock-lever and spacer are all cut from the same metal stock. Cut out the metal following the lines closely EXCEPT the edges of the locking-lever and the end of the blade where they will interlock. Leave an extra thickness of metal on the interlocking edges (about 1/16th of an inch) so that you can later grind and file the excess off, for an exact fit between the blade-end and the locking-lever.
Glue the paper side-plate templates onto the thin brass sheeting and cut them out carefully. Also, cut and shape the spring-steel strip to the right length and thickness to fit into the spacer and touch the lock-lever.
Drill the holes marked by the black circles on the templates. Choose a drill that is the same diameter as the rods that you have chosen for the pins that will hold the assembly together.
- Cut out the individual shapes of the parts from the paper, and glue them down on your metal stock using rubber cement.
File and grind the interlocking edges of the blade-end and locking-lever, checking periodically to ensure that the angles and surfaces match. When the parts fit exactly, the blade can then be sharpened using grinders and metal files. (At this stage, the blade can be hardened and tempered if you wish.)
Assemble all the metal parts together as shown. Cut pins the same length as the thickness of the assembled parts. Pin the assembly together. The spring-steel strip fits into the slot in the spacer and presses up on the lock-lever. Clamp the assembled metal pieces together and file the surface of the side-plates, and any protruding pins, flat.
- File and grind the interlocking edges of the blade-end and locking-lever, checking periodically to ensure that the angles and surfaces match.
- When the parts fit exactly, the blade can then be sharpened using grinders and metal files.
Cut out the plexiglass or handle material. They will be the same shape as the brass side-plates (but without any holes). Use epoxy to glue the handle material directly to the brass side-plates and let the epoxy harden. Then sand and bevel the edges of the handle material.
With a few finishing touches, such as polishing the blade with emery paper, sharpening with a whetstone and lubing the joint, your locking blade knife is complete and ready to use.
- Wear thick workman's gloves when grinding, filing or handling metalstock or parts.
- Secure metal stock firmly with clamps, vice or adequate restraints when cutting or grinding. Wear safety goggles at all stages of the work.
- Use epoxy only in well-ventilated areas.
Artist, author, musician and researcher—the contemporary equivalent of the Renaissance Man—David A. Claerr is a professional graphic designer and a certified Adobe expert. He received his Bachelor of Fine Arts degree and Bachelor of Art Education from Eastern Michigan University.


‘Reading the Past, Writing the Future’ – 50 years of International Literacy Day
- July 10, 2016
- Posted by: philani
- Category: Archive
On September 8th, every year for half a century, the world has celebrated International Literacy Day. For 50 years, this has been an occasion to highlight the importance and the force of literacy around the world. Every human’s basic right to education cannot be realised without addressing one of its most fundamental building blocks: the ability to read and write. But of course the power of literacy goes beyond the mechanics of reading, writing and numeracy. It enables individuals to put these skills to use to achieve their wider goals, fulfil their potential and shape the course of their own lives. This capacity to bring about personal change leads to poverty reduction, healthier lives, employability and social inclusion.
The good news is undeniable: literacy rates are rising and there has been tangible progress in all countries. The progress for youth is particularly significant: the number of young adults without literacy skills decreased by 25% between 1990 and 2015. This is encouraging for regions like sub-Saharan Africa which have experienced ‘youth bulges’. These young people must be equipped with literacy skills in order to access decent work and contribute to their changing national contexts and economies.
Despite this progress, 758 million adults (including 114 million young adults aged 15 to 24) cannot read or write a simple sentence. Nearly two thirds are women. The gender gap is closing slightly overall – but nowhere near enough. Women are still less likely than men to have basic reading and writing skills. Indeed, gender disparity in youth literacy remains persistent in almost one in five countries, mainly located in sub-Saharan Africa and Southern Asia – precisely the areas where improvement is needed most. Similarly, from 2004-2011, most of the adults in poorer countries who had participated in literacy programmes were male and from richer households, even though the majority of non-literate adults were female and poor. This is both a sign and a cause of women’s continuing marginalisation and poverty.
Tackling this problem requires action on all fronts: providing education of quality (which includes well-trained and motivated teachers), literacy programmes to those who need it most, and meaningful learning opportunities outside the formal school system. The lessons from the last 15 years have taught us that enrolment in education alone is not enough. Too often, children are coming out of school without basic literacy and numeracy skills, let alone the more complex creative, social and analytical skills that are central to the right to education. About 38% of children old enough to have finished primary school have not learned the most basic skills they need to succeed in life.
In adopting the 2030 Agenda for Sustainable Development, including the goal on education (SDG4), and the Education 2030 Framework for Action, the world is embracing a vision of education that goes beyond the focus of enrolment that formed the heart of the education Millennium Development Goal. The inclusion of a separate target (4.6) on literacy, aligned with lifelong learning opportunities, illustrates that it is universally recognised as being key to human, socio-economic and sustainable development – essential to facing the challenges of the future and indeed to the success of the sustainable development agenda as a whole. Civil society, including GCE’s members in countries all over the world, will continue to play a critical role in ensuring the importance of literacy is highlighted and that citizens’ voices are heard – providing a crucial link between governments and their citizens.
This first year of implementation of the SDGs provides an unmissable opportunity for governments and the international community at large. One critical issue that must be addressed is the education financing crisis. The estimated annual funding shortfall of $39 million for low- and lower-middle-income countries does not even include the full spectrum of lifelong learning. UNESCO estimated that $28 billion is needed to fund adult education in developing countries each year – that’s the amount the world spends on cigarettes every 32 days. There is no way governments can keep their promise of ensuring all young people and a ‘substantial’ proportion of adults achieve literacy by 2030 without pledging more resources. It’s time for governments to get their priorities right; it’s time to learn from the past and fund the future.
- For more information and resources about International Literacy Day from UNESCO, visit the website
- Read the Director General of UNESCO Irina Bokova’s message for International Literacy Day here
- The UNESCO Institute for Statistics have released a factsheet to mark the 50th anniversary of International Literacy Day, which analyses literacy data and global trends. Read it here
- Twitter users can follow #LiteracyDay and #50ILD
[photo credit: John Isaac/World Bank]


After many years of touting the STEM (science, technology, engineering, and mathematics ) educational programs, many teachers are finding that with the addition of an “A” –for ART– student learning will get STEAM! This latest knowledge of how students learn is altering science education with the addition of Art education into the mix. This integrated education approach is developing an established track record and being integrated into public, private and homeschool education.
At its beginning, the STEM bill approved over 150 million to assist students earn a bachelor’s levels and teaching credentials. Additionally, it provided millions in money to assist align school through grade 12 science and math curricula to higher prepare students for school.
Now years later, individuals are asking them questions like: How come science and math considered standalone modalities? Why have a lot of schools dropped Arts education using their curriculum?
For too lengthy, we’ve wrongly thought that Art and science education were separate disciplines that required different teaching methods. However, now we all know that Art and science, in addition to Math and Music are intrinsically related!
Educational researchers are recognizing that you should integrate all modalities into STEM training. By broadly utilizing an integrated education curriculum, students can see how science education is essential to facets of everyday existence. Integrated education also provides the chance legitimate-world use of the science and math education understanding.
Using Art because the glue that bonds these modalities shows students how form and performance are guiding concepts. Art isn’t just illustrative or decorative, but represents a crucial part of the entire process of inquiry, for example problem finding, problem-solving, and communication.
The fervor that propels individuals to stand out at mathematics and science education or engineering and art education are impelled through the same desire: the need to uncover the intricacies and sweetness in a person’s world and selected work. In addition, Art can also be built-into technologies for example engineering within the “form and performance” debate. Does form follow function or does function follow form? In either case the 2 are essentially linked. Cars really are a best example: In the Model-T Ford towards the latest concept vehicle, we view the evolution of technologies are just as much about appearance (form) from the product because it is about functionality.
Most of the fundamental concepts of form and performance are identical. Line, shape, color, structure/function relationships in addition to perspective, patterning, and sequencing would be the language of science and art education. Students create “a creative representation of the ideas and solutions is really a valuable method to make learning personal. This enables for any obvious knowledge of the underpinnings of science concepts and just how these concepts could be extrapolated to resolve existing problems. It has been established that students who formerly struggled in STEM courses are obtaining STEAM rapidly!


For 40 years, the FRIENDS of the Minnesota Orchestra Kinder Konzerts™ programs have welcomed young guests to Orchestra Hall to experience a narrated musical story based on a children’s book, performed by an ensemble of musicians from the Minnesota Orchestra. Promoting literacy development and music learning, the program reaches thousands of children every year.
During the 2019-2020 Kinder Konzerts season, author Mary Casanova’s tale One-Dog Canoe was transformed into a musical story by composer Daniel Nass.
During this time of stay-at-home learning, we have adapted One-Dog Canoe to enjoy at home. The following activities will help us think about music and stories and visiting the beautiful north woods.
Before You Listen
- Read the book One-Dog Canoe, by Mary Casanova, if you have access to a copy. The musical work was based on the book, and the words in the composition are exactly same as the words in the book.
- Before reaching the end of the story, ask your child to make a prediction about what happens next:
- A girl goes out for a ride in her canoe with her dog
- Other animals want to join in
- What do you think happens when too many animals get in the canoe?
- In the musical story, you will hear about these animals:
Look at these characters on the Character Picture Page. Can you make a sound for each animal?
- How do you think the composer will make the sounds of these animals with musical instruments?
- Imagine your favorite north woods scene. Describe the details of what you might see if you were out for a canoe ride in the middle of a lake.
- Draw a picture.
- Maybe you want to act the story out as you listen, or maybe you want to build a fort and pretend you are listening in a cabin or tent in the north woods, not too far from the lake with the girl and her canoe.
Listen to One-Dog Canoe HERE:
- Eight instruments and a storyteller perform this piece. Listen again and look at the Instrument Picture Page. Close your eyes and listen to their sounds.
AFTER YOU LISTEN
- Can you re-tell the story? What happened first? What happened last? What was your favorite part?
- Draw a canoe and see if you can remember which animals got into it. Do you remember which animal was first? Who were the exceptionally large animals? Who was the very last?
- Re-create the story with homemade puppets, action figures, or stuffed animals. Listen to the music again or create your own version.


Miami, FL, January 30, 2020. Most children don’t start formal education until the age of five, even though their brain development has already been well underway. The early stages in a child’s life present parents, guardians, and educators with a golden opportunity to make a positive impact on upbringing, as early learning gives motivated, curious toddlers a chance to understand the world around them.
According to UNICEF, children who benefit from early learning are more likely to acquire the skills they need to succeed and contribute to society and the economy in positive ways. UNICEF emphasized the importance of the first 1,000 days in a child’s life with their campaign of #EarlyMomentsMatter, aiming to raise awareness about the importance of healthy brain development in the earliest years of life, increase investment by governments and businesses in Early Childhood Development programs, and caregivers to give their children the best start in life. Furthermore, a separate study showed that children who did partake in early childhood learning were more likely to reach higher levels of education, including graduating from college.
The integration of technology and education
There are impressive benefits that have been uncovered since the integration of technology and education – especially benefits that aid in early learning. Primarily, information becomes fun and engaging. It’s no secret that the more kids play, the more they learn. When content such as games, songs, and stories are delivered using interactive mediums, children are more likely to retain new learnings.
A child’s communication and attention skills also improve when interacting with educational apps, as the content is suited for the child’s early learning abilities, but challenges them in new ways that a traditional toy cannot. However, what truly makes technology a valuable tool for education, is its availability – meaning no schedule is required; truly, a tool that brings life lessons to any part of the world, at any time.
Early learning seems to benefit from the symbiotic relationship between tech and education. Traditional and technology methods lead into each other for overall better results among young children. Technology creates a personal connection with the little ones by letting them take the lead on their playlearning. This allows children to attain a meaningful connection with the new wonderful things they are discovering.
Educational apps prepare your children for school, by acting as additional resources that continue the fun and learning outside of the classroom. But the benefits and importance of technology surge even further when the right group of innovators embraces the tools available.
Lingokids – a language skills learning app formed by the bringing together of some of the most forward-thinking minds in the educational space – continues to equalize the early learning landscape by providing their playlearningTM method. Its method infuses 21st-century skills that add an additional layer of education to your child’s learning process. Equipped with fun adventures, and safety features, Lingokids provides a secure and imaginative channel for young kids to explore, while parents track progress in real-time.
“The role technology plays for kids has really changed for the better over the years. Although safety continuously remains at the top of our app’s priority list, we try to innovate in a space that’s fairly unexplored at this level,” said Cristóbal Viedma, CEO, and co-founder of Lingokids. “It is our goal to continue leveraging technology’s benefits to paint a brighter “tomorrow” for our children.”
Lingokids’ features adapt to today’s age by creating a personal environment for children, offering Play Together activities for the whole family to enjoy, and providing joyful games and interactions that encourage your child to look associate learning as a positive, fun process. The app offers additional resources like worksheets and audiobooks to build upon your child’s early education while keeping the benefits of improved communication skills, knowledge retention, collaboration, 21st-century skills, and availability.
To learn more about how Lingokids utilizes technology and ensures safety, please visit https://www.lingokids.com/.


The Indiana University of Pennsylvania String Project, a community outreach program, provides a string music education program for children ages five through eighteen in Indiana and the surrounding area, as well as a teacher-training program for IUP music students.
The IUP String Project is one of thirty-two similar programs joined under the auspices of the National String Project Consortium, dedicated to promoting string music education in the United States.
As a member of the National String Project Consortium, the IUP String Project joins in addressing the two main issues facing string education today:
The program is directed by IUP music faculty member Dr. Linda Jennings.
The mission of the IUP String Project is to:
The IUP String Project is part of a long, rich history in string education in the U.S. The IUP String Project is modeled after the University of Texas String Project in Austin, Texas, the original program of its kind.
“The idea of the String Project came about in the years following World War II when an acute shortage of string players became apparent. There was a dearth of qualified string musicians to fill symphony positions, and few school children were being attracted to and trained in the art of string playing.
“In 1948, Dr. William E. Doty, founding dean of the College of Fine Arts at the University of Texas at Austin, listened to and supported Albert Gillis' idea to develop an imaginative program for the training of string teachers. Together they founded the Junior String Project, and Professor Gillis became the director, a position he held for the first ten years. Eight years later, the program was renamed The University of Texas String Project.
“Professor Phyllis Young joined the staff in its fifth year and began directing in 1958. She continued as director for the next thirty-five years.”
—Taken from the UT String Project
Having served as a model for similar programs at other universities in the U.S., the string project concept became part of a broader, nationwide initiative of the American String Teachers Association to advocate for string education in the 1990s. A study in 1995 showed that there was a serious shortage of string teachers in the public schools, which continues today.
Beginning in the mid-1990s, ASTA began sponsoring grants of $100,000 ($10,000 for ten years) to support the development of sting projects at universities in the U.S. Because of these grants, many new string projects sprouted up across the country.
The development of the string project concept has continued to develop within the National String Project Consortium, a coalition of string project sites based at colleges and universities across the U.S. The NSPC is dedicated to increasing the number of children playing stringed instruments and addressing the critical shortage of string teachers in the U.S.


By Ki-eun Peck and Parker Finley
On a Tuesday afternoon in March, members of the McGill community gathered in the century-old Hosmer House to learn about Indigenous histories. The Kairos Blanket Exercise – given to over 200 students in the Faculty of Education alone this year – is part of the broader work being done by Allan Vicaire, Indigenous Education Advisor, to integrate Indigenous perspectives and histories into curriculums at McGill.
A member of the Mi’gmaq community of Listuguj, Vicaire seeks to build bridges between Indigenous and non-Indigenous students, staff and faculty. Working for nearly six years out of the Social Equity and Diversity Education Office (SEDE), Vicaire increases awareness at McGill through campus-wide events, such as Indigenous Awareness Week, and facilitating Indigenous educational workshops for classrooms.
Vicaire’s work touches many sectors of the University, in part through successful collaborations with different units and community members. Recent collaborators include the Department of Integrated Studies in Education (DISE) and Assistant Professor Mindy Carter, as well as Ratna Ghosh, Sheryl Smith-Gilman and Doreen Starke-Meyerring.
As a part of her FRQSC-funded research project aiming to help pre-service teacher education students learn about Indigenous peoples experiences in Canada through drama, Carter reached out to Vicaire. Together, they have facilitated the KAIROS Blanket Exercise Workshop for Carter’s classes and students. The interactive workshop helps participants understand the lives and experiences of Indigenous people from pre-colonization up until present day.
In describing the metaphors used in the exercise, Vicaire discusses how “each student starts with a blanket, which represents a piece of land, and at the beginning there’s so many. But at the end there’s barely any left, and they’re all folded.” Vicaire believes these kinds of discussions between students are the best way to learn and reflect about Indigenous history.
A key component of the exercise is the sharing circle after the blanket simulation, where participants reflect on the experience. “I really enjoy the sharing circle,” says Vicaire. “It’s an opportunity not only to hear students’ reflections, but also for me to connect with them and share my own story.”
Carter believes the workshops are successful because of Vicaire’s approach and experience in the role of Indigenous Education Advisor. “Allan is a great person to work with … he knows how to effectively lead the workshop with the students and generate conversation afterwards,” she says. “He also has the wealth of knowledge to answer the students’ questions and give further information if they need it afterwards.”
Ideally, by working with educators to integrate Indigenous perspectives, McGill’s Education students are more likely to incorporate these perspectives post-graduation to other classrooms and beyond.
One such former student is Clare Olson, who, after graduating from Elementary Education in the spring of 2016, is now teaching on the Nisqually reservation in Washington State. “[The workshop] was a powerful, simple exercise that brought humanity and relativism to an issue that is often treated as ancient history,” says Olson. “Framing the current situation within a historical narrative allowed us as students to get our hands dirty and envision the impact it has today. I certainly try and incorporate that understanding every day in my own teaching practice, where I work with Indigenous students.”
Olson’s testimony shows the impact of Vicaire’s work with the SEDE is not limited to McGill’s lecture halls. As the Indigenous Education Advisor, Vicaire contributes to society at large by empowering students and other community members to take Indigenous perspectives with them as they become educators, practitioners and informed members of society.


The child starts to learn science at home in early childhood. Learning science for kids is important to get success in the future. Those children, who don’t want to become a scientist, physicist, engineer, and doctor, they will also need some knowledge of science and technology.
The modern technological world needs experts who have an advanced approach to science and technology. Scientific knowledge helps the children to know new things and concepts and parents must know how to encourage the children to learn science. Here are some tips which help the parents to motivate the child to learn science.
1. Show your Interest in Science
Say to your child” my favorite subject was a science” in my early education. Parents should show their interest in science and try to create some little science-related activities for the child. Encourage the child to participate in science activities. Parent’s interests play an important role in the development of scientific behavior in children. It helps to motivate the child to learn science.
Share the values and importance of science in everyday life. Describe for the child that how science involves in the success of life. Discuss the role of science in the modern world. Tell your child how science makes easy our lives. This helps to motivate your child towards learning science.
4. Encourage Your Child to Ask Questions
The child love to ask questions. Parents should provide the appropriate environment in which the child can ask the questions without any hesitation. Encourage your child when he asks the question about things. Asking questions provide the foundation for exploring science.
5. Set the Practical Work for Children
Investigating is the best way to learn science. It also plays a key role in increasing the understating of scientific concepts and ideas. Increases critical thinking and confidence. Encourage the child to observe things and solve the problems independently. Provide opportunities to play puzzling games and engage the child in different little scientific activities.
6.Teach the little Scientific Ideas/ Concepts such as Less and more
Start to teach the little different scientific concepts such as big and small. Try to help the children to think scientifically. Aware the children about scientific concepts form the early life. Here are many books, videos and apps are available for kids which helps them to understand the little scientific ideas.
It is important to understand that different children have different interests and abilities. The parent should know the interest of their children and find out the best and suitable activities for them. Find the appropriate activities that are neither too hard nor too easy for children. They know which activity is done alone and witch activity needs group work. Allow your child to select the activities and encourage him to complete them perfectly.
In conclusion: It is a parental responsibility to provide opportunities to learn science in childhood. Science learning is necessary for academic achievements in the modern world.


Don't put up with amateurish art tutorials you find in Google. These resources to build your art-making skills are the real deal.
As we saw in the first post of this series of Artists Back to School, there are all sorts of areas in our Art/Creative lives that can benefit from study including creative expression, art-biz know-how, and tech skills.
But there’s no better place to begin than with the cornerstones of art technique and art history.
Improve Your Painting and Drawing Techniques
For a massive library of hands-on demos and interviews with artists in all sorts of genres, try KQED on iTunes U instead.
Get the iTunes U models either via the desktop iTunes program - free for Macintosh and Windows. (Make sure iTunes U is selected in Preferences)
Great for improving your sketching reflexes!
UPDATE! From the Concordia University website:"For many years, the Concordia University Chicago website has hosted Artists and Their Art: Sharing Visual Stories, a free education tool to promote visual literacy through artwork. This content was loving created by, and remains the intellectual property of Professor Emeritus Deb Herman, MFA.
Coinciding with Professor Herman's recent retirement, the downloadable art lesson plans have been moved to her personal website where they are available for purchase at $5 per lesson."
For the Tate art packs, read the description of each pack carefully to find the best ones. Hint: look for bigger files.
Stimulating Ways to Learn Art History
Some courses also have student discussion forums, homework/assignments, and online quizzes or exams.
(To register for a Class Central course, click on “Go to Class” button on the course page. This will take you to the providers website where you can register for the course.)
Self-Study Art Foundation Course
Pennsylvania State University offers this fantastic 15 week multi-media course via iTunes U.
Similar to an art foundation course, it has both art history and practical components and is great for would-be artists as NO artistic background is necessary.
Art 10 introduces various art movements, cultural influences, artistic genres and work of individual artists as well as teaching hands-on studio arts techniques with the end result of building a portfolio of artworks.
Free, short art and design courses
With all these great, free resources, you really have NO excuses not to get on and expand your art education. Make this year the year you expand your learning and understanding as an artist!
You might also like:


How to Become a Music Teacher
Music teachers educate students on a range of aspects of the art form, such as playing an instrument and understanding theory. To become one, you typically need a bachelor's or master's degree in music education and successful completion of a teacher preparation program as part of the degree. The table below highlights the education and certification requirements of a music teacher and other information such as the length of the degree and projected job growth.
|Education Requirements||An educator preparation program as part of an undergraduate or graduate music education degree|
|License Requirements||The above degree and state-specific examinations|
|Degree Length||4 years for a Bachelor of Music in Music Education; 2-3 years for a Master of Music Education|
|Projected Job Growth (2018-2028)*||3% (kindergarten and elementary school teachers), 3% (middle school teachers), 4% (high school teachers)|
|Average Salary (2018)*||$57,980 (kindergarten and elementary school teachers), $58,600 (middle school teachers), $60,320 (high school teachers)|
*Source: U.S. Bureau of Labor Statistics
Music Teacher Education Requirements
Music Teacher Degree: Bachelor of Music in Music Education
Successful completion of a four-year bachelor's degree in music education that includes a teacher preparation program fulfills the requirements for teaching music in elementary school, middle school or high school. Credit requirements can exceed 180 hours with coursework covering topics such as music theory, history, performance, conducting, and ensemble. Other courses place an emphasis on teaching, such as classroom management and evaluation and music for children. A minimum grade point average (GPA) in the coursework is often needed for graduation. To apply for this program, an audition is mandatory, and schools also generally seek a minimum score on the SAT or ACT exam, a music aptitude test, and a recommendation letter.
Music Teacher Degree: Master of Music Education
A Master of Music Education program that leads to teacher certification is typically 2-3 years in length with credit requirements around 30 hours. Coursework covers music and general education topics, such as history and philosophy of music education and the psychology of music, and may include internships and a capstone thesis. Some programs provide teaching certification upon completion, while others offer continuing education to individuals who are already licensed. Admission to the certification program typically requires an undergraduate degree with a major in music, official transcripts of undergraduate schools, graduate record examination (GRE) scores, minimum GPA, and letters of recommendation. Continuing education programs commonly require a music teaching license with prior experience of teaching in public schools.
Music Teacher Certification Program
To be certified as a music teacher in the U.S., prospective candidates must complete an educator preparation program as part of a college degree in music education. Other requirements, tests or otherwise, are state-specific. For instance, music teacher certification in Maryland requires the candidate to pass the basic skills test and the Praxis Subject Area Assessment in Music: Content and Instruction, whereas Texas music teacher candidates must pass the Texas Examinations of Educator Standards (TExES) Pedagogy and Professional Responsibilities EC-12 and TExES Music EC-12. The length of the validity of the initial license also varies. For example, the music teacher certificate is valid for five years in Ohio and three in Oregon.
These programs are an amalgamation of pedagogy and a strong base in music, which helps prepare the prospective educator to teach students in the best and most effective manner possible. Schools generally offer a choice of tracks with these degrees, such as instrument or vocal performance.


While science, technology, engineering, and math (STEM) education has become a prominent part of many schools’ education plans, there is a growing movement to add art as another point of emphasis in educators’ integrated learning systems. Adding art to form the STEAM initiative (science, technology, engineering, art, and math) in education has been proven to improve academic performance. The following infographic, created by the University of Florida, helps highlight the significant impact of art education.
It seems clear that art education correlates to positive education outcomes, however it can be difficult to directly measure art’s contribution – leading to its under-appreciation. For now, STEM education is likely to remain the core focus for most U.S. schools, but a potential rise in emphasis and funding on art (STEAM) education is worth monitoring.


Increasing Diversity in STEM
Diversity is incredibly important for a community, for an organization, for a team, and for success. Diversity begins with access to a good education, resources, and role models that support young girls’ dreams. Fostering diversity requires moving beyond a mandate from corporate, and creating a culture that sees past gender, age, or other surface characteristics. We are inherently drawn to like-minded individuals, but we need to learn to see the benefits of perspectives other than our own.
In order to increase diversity in STEM, we must begin by exposing girls to activities and programs that introduce them to the world of STEM and familiarize them with foundational skills. Math and science teachers play a critical role, and it’s important that they work in creative ways to connect with and bring out students’ nascent STEM interests. We are just beginning to understand the myriad ways we can engage and excite students in STEM.
Closing the Gender Gap
The barriers to closing the STEM gender gap are the same ones women have been facing for decades in the workforce. Although feminism has come a long way, the responsibility of caring for a sick child generally falls to her mother. The Covid-19 crisis is highlighting this issue even more, as schools have started closing early, putting greater pressure on mothers to balance work and family. It’s important for professors and employers to understand the different requirements of individuals, and to find reasonable solutions. Flexible school and work environments help level the playing field for women.
STEM is Changing Our World
There are two big shifts in the past decade that support women in STEM: technology in our day-to-day lives; and broader access to STEM schools. Technology has taken over our daily lives and we take it for granted; think about the last time your internet was down for a day. Most toddlers can use an iPad or touch screen as well as, or better than, their parents.
STEM schools provide children of all backgrounds a unique insight into the possible and prepare them with the skills they will need to succeed in an economy that is increasingly dominated by STEM. My eight-year-old niece attends a STEM school in Colorado, and I’m amazed and excited to see what she is being exposed to at such a early age. If she continues with this curriculum, she will be graduating high school with skillsets that will open up her entire future.


The latest issue of Edutopia’s e-Newsletter, dated November 2, under the headline How to Bring Gaming into the Classroom, presents three must-read articles related to "Serious Games" at school (please find also Disconnects Between Serious Games Wins and Report Cards for Students’ Classroom Skills):
Dr. Alex Games (his real name), Education Design Director at Microsoft Studios, shares some new game experiences that can bring both augmented reality and embodied learning into the classroom.
He holds a doctorate in Curriculum and Instruction/Learning Science from the University of Wisconsin Madison, and led the Educational Games and Simulations Project at the Center for Instructional Technologies.
“Nearly three decades of scientific research in games and learning have shown evidence that game play can help players develop a systemic understanding of world phenomena, creativity and strategic problem solving skills. In the sequence of solving complex problems, the act of playing engages players cognitively and emotionally, and assesses knowledge where it is highly relevant to those problems' solution”, he says.
Jump Into Learning - New Developments
Project Columbia, the code name for a new experience being designed in conjunction with the Sesame Workshop Curriculum team, is a new environment where active fun and literacy meet.
Using Kinect for Xbox 360, Project Columbia invites children to use a more embodied learning approach to understanding texts by letting them jump into beloved storybooks and become part of the story themselves. Through full-body interactions, Xbox and Kinect bring the objects and characters in the books to life so that a child's playful interactions become foundational experiences for understanding the relationship between the words in text and their meanings, as well as their sounds. By letting kids jump into the books they read, "Project Columbia" seeks to develop in kids a lifelong love of books and reading so necessary for their literacy development.
Another new experience is called Double Fine Happy Action Theater, a title developed by Double Fine Studios' world-renowned game designer Tim Shaffer. It is a series of play activities that encourage the youngest players to practice their gross motor skills and stretch their imagination in active ways.
Designed to create an inclusive and highly accessible experience for the whole family, in Happy Action Theater, children, their parents and even their grandparents can play in virtual ball pits, firework parades and even lava-filled volcanoes all within their living room. The Happy Action Theater experiences are digital toys and playscapes that capture the imagination of old and young alike. No rules, no menus, no instructions -- just play.
Through these and other new titles, Xbox 360 is continuing to broaden its children’s portfolio with rich experiences that expand our definition of learning into something participatory and experiential.
2. Big Thinker Video: Katie Salen on Learning with Games
Katie Salen, active game designer, founder of Quest to Learn (Q2L), and executive director of the Institute of Play, talks about the value of games and technology and the empowerment of play.
A preschool teacher reminds K-12 educators of the benefits of bringing fun and play into the school day.


Honey is one of the most delicious substances and it also has an eternal shelf life. It dates back to more than 150 million years. It is naturally acidic and low in moisture. It is 80% sugar and 20% water. The two primary components are glucose and fructose.
Initially, it was used as a culinary sweetener but now it is also used as a healing ingredient in medicinal treatment. It can also help to cure different type of allergies. It was also used as a form of payment by Egyptians and fed to sacred animals as a tribute.
Fun Facts: –
- It is made from nectar and a bee enzyme that has been gone through fermentation and stored in honey combs.
- It is the only food which is made by insects but eaten by both insects and humans.
- The word honey has been derived from Hebrew and it means enchant.
- The month of September is the National Honey Month.
- Some cultures have the belief that it is ambrosia of the gods.
- Natural honey also contains flower pollen grains.
- If handled carefully then it has no expiration date but sometimes it can react to cold temperature by crystallizing.
- It has various antiseptic qualities as well. This is the reason why it is also used in cosmetic products.
- It is the only food source that contains almost everything that we require to live like antioxidants, vitamins, and minerals, even water.
- Honey was found in King Tut’s tomb and it was still edible.
- It has different flavors and colors as well. The flavor depends on what flowers the bees gathered the nectar from.
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11 Facts About Music Education You NEED to Know!
* Taken from: http://www.dosomething.org/tipsandtools/11-facts-about-music-education
- Children who study music tend to have larger vocabularies and more advanced reading skills than their peers who do not participate in music lessons.
- Studying music primes the brain to comprehend speech in a noisy background.
- Children with learning disabilities or dyslexia who tend to lose focus with more noise could benefit greatly from music lessons.
- Research shows that music is to the brain as physical exercise is to the human body. Music tones the brain for auditory fitness and allows it to decipher between tone and pitch.
- Children who study a musical instrument are more likely to excel in all of their studies, work better in teams, have enhanced critical thinking skills, stay in school, and pursue further education.
- In the past, secondary students who participated in a music group at school reported the lowest lifetime and current use of all substances (tobacco, alcohol, and illicit drugs).
- Schools with music programs have an estimated 90.2 percent graduation rate and 93.9 percent attendance rate compared to schools without music education who average 72.9 percent graduation and 84.9 percent attendance.
- Regardless of socioeconomic status or school district, students who participate in high-quality music programs score 22 percent better on English and 20 percent better on Math standardized exams.
- Much like expert technical skills, mastery in arts and humanities is closely correlated to high earnings.
- A study from Columbia University revealed that students who study arts are more cooperative with their teachers and peers, have higher levels self-confidence, and are more equipped to express themselves and their ideas.
- Elementary age children who are involved in music lessons show greater brain development and memory improvement within a year than children who receive no musical training.
- Learning and mastering a musical instrument improves the way the brain breaks down and understands human language, making music students more apt to pick up a second language.


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A commemorative postage stamp on National Children’s Day 1990 :
Issued by India
Issued on Nov 14, 1990
Description of Designs : Stamp is based on the painting titled Doll and Cat by a three years old child Subhash Kumar Nagarajan of Madurai. FDC is based on the painting titled Tiger in a Jungle by a 9 years old child Karan Arya of Ahmedabad. Cancellation is designed by Ms. Nenu Gupta.
Type : Stamp, Postal Used
Colour : Multicolour
Denomination : 100 Paise
Overall size : 3.91 x 2.90 cms.
Print size : 3.55 x 2.54 cms.
Perforation : 13 x 13
Paper : Imported un Adhesive Gravure Coated stamp paper
Number Printed : 10,00,000
Number per issue sheet : 35
Printing Process : Photogravure
Printed : India Security Press
- The Universal Children’s Day is observed on the birth day of late Shri Jawaharlal Nehru, a great lover of children. This day reminds us that children need us and they should be a focus of all our activities. Though there has been consistent effort on the part of Government of India, after adoption in 1974 of the National Policy for Children, to provide for an integrated approach to child Development, even then a greater emphasis has been laid on the subject by adopting the theme “Survival and Development of Children – First Call of Society” selected for this year. To achieve this Government has launched many programmes such as Integrated Child Development Services, Balwadi Nutrition Programme, Scheme for Children In Need and Care and Protection etc. etc. Out of these ICDS is the largest and most comprehensive programme providing a package of services to children and nursing as well as expectant mothers.
- A National Programme for control of diarrhoeal diseases – “The Achievement of Goal of Universal Immunisation For All by 1990” – oral re-hydration therapy have been taken up in all districts of the country which would reduce child morality.
- National Policy for Education adopted in 1986 has laid highest priority to primary education and has given thrust to elementary education by placing emphasis of universal enrolment and retention of children up to 14 years of age. It is proposed that by 1990-95 all children would be provided free and compulsory education up to 14 years of age. All kinds of media channels have been engaged to create awareness for child survival and development. The release of this postal stamp will further create awareness amongst the masses to remind them for the care of the child. To commemorate the occasion the Department of Posts is happy to issue a special stamp.
- Text : Courtesy Ministry of Human Resources Development.


The premise of the Imagination Library is registered children from birth to age 5 receive one age-appropriate book each month in the mail at no cost at all to the child or family. CCLD’s project enhances the book dissemination platform with videos and resources developed around each book. The key target audiences for which these videos are being developed are the children and their families.
Each video includes literacy tips and strategies for families to engage in together as they enjoy each book. Foundational emergent literacy and language development strategies are reinforced through activities that are fun, user-friendly, and critical in the literacy development of a child’s life. The videos are open to the public, with the hope that public librarians, early childcare providers, and preschool-kindergarten educators can also use them as resources in their curriculum.


Presented by Megan Daley
Spaces and places for reading
Learn and share ideas and resources for enriched spaces and places for reading
Feel confident about your pedagogical approach to teaching and learning about literature, reading and language in the early years
Ideas to foster literacy development
Gain resource and curriculum ideas to ensure your educational programs are relevant, evidence-based and genuinely foster literacy development
This in-service professional development has two components:
1) Classroom visit workshop
Educators will observe Megan working with 1-2 age groups at their own facility.
This will be followed by a reflection on the observed interactions and discussion about practical ways in which educators can embed literacy into their daily practice.
Please note that this mentoring session must take place during facility operating hours.
2) In-service mini workshop
A whole team workshop usually delivered in the evening, over 2 hours, out of operational hours.
This interactive and information professional development session will inspire educators with new ideas and effective pedagogical approaches to teaching about literacy in the early years.
About Megan Daley
Megan Daley is passionate about children’s literature and sharing it with young and old alike. She firmly believes that YA literature is far better than adult literature and that picture books are works of art which should adorn the walls of art galleries and libraries. She blogs about all things literary, library and tech at www.childrensbooksdaily.com.
Megan is a Teacher Librarian and was recently awarded the Qld Teacher Librarian of the Year by The School Library Association of Queensland. In late 2017 she was awarded the national Dromken Librarians Award, presented at the State Library of Victoria.Megan is a former National Vice President of the Children’s Book Council of Australia, a judge on the Queensland Literary Awards, a sessional academic at
QualificationsBachelor of Education in Early ChildhoodGraduate Diploma in Teacher LibrarianshipMasters of Education in Innovative Teaching and Learning: Technology
Read Megan's latest article - Creating Readers


"Children are made readers on the laps of their parents." —Emilie Buchwald
Remain in Touch is a dual-benefit program
Children who can read proficiently by 4th grade statistically have a greater likelihood of:
- graduating from high school
- obtaining higher education
- earning a higher wage
- being a productive member of society
- not being incarcerated or on welfare
- entering school better prepared
- having fewer behavior problems
- having better verbal skills
- staying drug and alcohol free
For the inmates
Fact: Studies of prisoners consistently show that those who maintain strong family and friendship ties during imprisonment and assume marital and parental roles upon release have lower recidivism rates than those who function without family ties, expectations and obligations.
Benefit: Remain in Touch gives incarcerated parents a way to stay connected to family and maintain a relationship with their children.
Fact: Most incarcerated parents have real concerns about their children's welfare.
Benefit: Remain in Touch allows incarcerated parents to have a parental role. Their audio recordings act as a surrogate way to read bedtime stories and have one-on-one time with their children.
Fact: A high percentage of inmates are not proficient readers which is a factor in their ability to succeed in our society.
Benefit: Remain in Touch gives incarcerated parents the opportunity to help their children become better readers, which increases the chances the children will experience success.
For the children
Fact: Children develop literacy skills long before they read.
Benefit: Remain in Touch offers books for incarcerated parents to record for children 0-12 years, so even toddlers may experience hearing their parents read to them.
Fact: Young children who are read to regularly are better prepared to enter school. They have a larger vocabulary, have a stronger foundation of language awareness, and have literacy skills at a younger age.
Benefit: Remain in Touch helps incarcerated parents make quality audio recordings, providing a read-aloud, parent-child experience to better the children's reading skills.
Fact: Young children who are read to regularly by family members experience multiple benefits, including a boost to their literacy development, social-emotional gains, and an increased likelihood of later overall school success.
Benefit: Remain in Touch gives incarcerated parents an opportunity to make a difference in the overall success of their children.
The April 2016 Kids Count report titled, “A Shared Sentence: The Devastating Toll of Parental Incarceration of Kids, Families and Communities” published by the Annie E. Casey Foundation cites:
5.1 million U.S. children and 228,000 children in Michigan have had a parent who has served time.
Michigan is tied with 5 other states for ranking 3rd highest in the nation for percentage of incarcerated parents; only Kentucky and Indiana are higher.
In Michigan, 1 out of 10 children have had an incarcerated parent.
Considering the approximate 3,900 children, ages 0-17, in Leelanau County, potentially 390 children in this county could be affected by parental incarceration sometime during their childhood years.


These are the sources and citations used to research Child development. This bibliography was generated on Cite This For Me on
In-text: (Bee, 2000)
Your Bibliography: Bee, H., 2000. The Developing Child. 9th ed. Boston: Allyn and Bacon.
In-text: (Berk, 2013)
Your Bibliography: Berk, L., 2013. Child Development. 9th ed. Boston: Pearson.
In-text: (Elkind, 1967)
Your Bibliography: Elkind, D., 1967. Piaget's Conservation Problems. Child Development, 38(1), p.15.
In-text: (Moll and Tomasello, 2006)
Your Bibliography: Moll, H. and Tomasello, M., 2006. Level 1 perspective-taking at 24 months of age. British Journal of Developmental Psychology, 24(3), pp.603-613.
In-text: (Pflederer, 1964)
Your Bibliography: Pflederer, M., 1964. The Responses of Children to Musical Tasks Embodying Piaget's Principle of Conservation. Journal of Research in Music Education, 12(4), p.251.
In-text: (Selman, 1971)
Your Bibliography: Selman, R., 1971. Taking Another's Perspective: Role-Taking Development in Early Childhood. Child Development, 42(6), p.1721.
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