The teaching and learning of Mathematics in South African schools is not yielding the intended outcomes as outlined in the country`s education policies, strategies and curricula. There is a large body of literature that attests to this. This includes assessment reports by the Department of Basic Education (DBE), research by universities, other research agencies and Non-Governmental Organisations (NGOs) working in mathematics education in South Africa. The low learner achievement levels revealed by national assessments such as Annual National Assessments (ANA), regional assessments such as Southern and Eastern Africa Consortium for Monitoring Educational Quality (SACMEQ) and international assessments such as Trends in Mathematics and Science Study (TIMSS) are indicative, at least in part, of current âineffectiveâ teaching and learning practices.
Perhaps the big question is, why do we study mathematics and why do we put so much time and resources to get more learners enrolled in the subject and performing better at it?
Mathematics is often perceived as a difficult subject and it is this perception that has impacted negatively on learnersâ experience with the subject and their lack of confidence in their mathematical abilities. Evidence shows that the majority of learners in South Africa do not learn to work fluently with whole numbers in the early grades of schooling. Mathematics is one subject that is recognised as having the ability to grow our thinking to unlimited and unimaginable bounds. Research has established the association between early-grade mathematics knowledge and later mathematics achievement. Dr Pirjo Aunio in the paper titled Early numeracy performance of South African school beginners says âEarly numeracy skills are highly relevant for childrenâs mathematics learning at school, especially in the initial years when much mathematics learning relies on early numeracy competence. Because mathematics is a hierarchical subject, concepts are built incrementally upon each other, requiring mastery of previous conceptsâ.
In response to the research that locates the problem in foundation years, the Zenex Foundation commissioned a Landscape Review of Mathematics Interventions in South African Schools which highlighted the need for large-scale Foundation Phase Mathematics interventions. The Review recommended that these should be coupled with rigorous evaluations to determine what would work in improving learner outcomes in this area.
To this end, Zenex Foundation worked with Maitri Trust and Elma Philanthropies and partnered with the Western Cape Education Department (WCED) and University of Cape Townâs School Development Unit (SDU), on a project called the Grade R early mathematics in 2017. This was the first Grade R mathematics intervention of its kind in the country and was implemented across all schools in the Western Cape province. The overarching goal of the Grade R early mathematics project is to improve the conceptual understanding and mathematical skills of Grade R learners. This is the approach adopted by the Department of Basic Educationâs (DBE) new Mathematics Framework called Teaching Mathematics with Understanding (TMU). The Grade R early mathematics project aimed to achieve this by using effective resources and training materials which supports a conceptual approach to Mathematics teaching and learning.
The project was implemented over 3 years and an independent evaluation of the project indicated that Grade R teachers/practitioners had improved their confidence and motivation to teach mathematics. This was very important as many Grade R teachers/practitioners did not have the requisite mathematics skills to teach mathematics with confidence. Many Grade R teachers/practitioners were Early Childhood Development (ECD) practitioners and with the formalisation of Grade R, many required training in the early mathematics curriculum. Furthermore, Grade R teachers/practitioners were able to apply interactive teaching methods and include the seven principles (context; activity; level; interaction; guidance; inclusivity; and practice) in the classroom.
As part of ongoing professional development, Grade R teachers/practitioners were taught to identify aspects of their Grade R Mathematics teaching that are working, as well as areas for improvement, and plan how to improve their teaching practice going forward. Continuous professional development including the critical reflection and feedback on classroom practise is critical for the teaching profession.
Critical mathematical thinking is a necessary condition if we are to successfully transition the South African economy into a knowledge-based economy, foster analytical thinking and promote entrepreneurship. The knowledge economy relies on innovation that pushes technological advancements to the limit. We cannot depend on what we know to solve the challenges we have as country. We must develop new skills that will deepen our understanding of new knowledge that will grow us to ask new questions.
We have a mathematics learning and teaching challenge as seen in our learner performance and evidenced from research. The Grade R early mathematics project is but one example of what is possible when government, funders, researchers and practitioners work together. Education is a social problem; letâs all get involved.


Alphabet Posters and Activities for Preschoolers
Alphabet posters and activities featuring real life images for preschool literacy development!
These printables can be used in a variety of ways to support literacy development in preschoolers. Use as visual aids, in games, posters for the classroom and more.
Inside this 76 -page PDF you will find:
- Alphabet Posters
- Alphabet Flashcards
- Alphabet First Sound Clip Card Activities
- Uppercase and Lowercase Letter Matching Cards
- Also includes Cover, Directions, TOS, and Graphics Credit
Pre-K Printables Club Members:
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How WriteReader Supports Science of Reading
WriteReader empowers K-5 teachers with an easy-to-use tool for implementing evidence-based reading and writing instruction. With minimal planning and quick steps, WriteReader can supplement any curriculum across all content areas while motivating students to become confident, independent writers and readers.
Science of Reading
WriteReader provides teachers with a tool that aligns with science-based practices that support systematic, explicit instruction. Students can transfer newly acquired decoding skills with the ready-to-go templates and book creation options.
A Simple View of Reading
The WriteReader app helps students develop language comprehension and decoding skills through the creation of multimedia books with embedded support features.
Designing books with WriteReader is quick, easy, and engaging.
Writing Develops the Reader
Decoding and encoding are reciprocal processes. WriteReader supports the development of all levels of encoding and decoding with editable templates and endless opportunities for students to write creatively in all subjects.
Encoding and Literacy Development
The WriteReader phonics templates pair the explicit decoding skill instruction with encoding practice to enhance word recognition, fluency, and comprehension. New templates can be created to align and match any curriculum materials quickly and easily, saving valuable instructional time.
Developing Skills with Context
The process of encoding enhances the development of the orthographic lexicon which is the bank of words a student can read automatically without needing to apply decoding skills. When using WriteReader students are applying and building these skills within a context. The context establishes meaning to deepen the understanding and develop stronger word recognition skills.
Speech to Print and Print to Speech
Speech-to-print audio support can be embedded into templates to guide students in their efforts to encode. There is also a print-to-speech option at the letter and word level. Teachers can differentiate audio support to meet specific learning needs. Writers can access the audio recordings for guidance while working independently.
The Five Components of Reading
WriteReader provides tools to support instruction in the five components of reading and opportunities for students to practice skills with embedded support. Teachers can monitor students as they are writing to provide real-time feedback.


The Liverpool Early Number Skills Project, which has secured Â£150,000 funding from the Nuffield Foundation will examine the influence of the home learning environment (HLE) on the development of early number skills among pre-school children. The findings will identify the elements of the HLE that best support children in their learning.
The Liverpool Early Number Skills Project (LENS) is a longitudinal project that will track the development of childrenâs early number skills from their preschool year into primary school. Alongside the HLE, it will examine other factors including language and cognitive abilities, which may facilitate progress in numeracy skills. The study will identify the crucial building blocks for future mathematical aptitude.
Over the coming months, the researchers from LJMUâs School of Natural Sciences and Psychology will be recruiting nurseries, schools and preschools in the region to participate. 250 children will be recruited in their preschool year (the academic year when they turn four). The data will be used to answer three key research questions:
- To what extent do preschool language and cognitive skills predict growth in early number skills?
- To what extent do aspects of the home learning environment (such as number-oriented and language and literacy-oriented practices) predict growth in early number skills?
- To what extent are the relationships between the quality of the home learning environment and early number skills direct and to what extent are they indirect via the promotion of language skills?
Dr Fiona Simmons from LJMU, Principal Investigator in the study said: âOur central focus will be on the extent that the HLE influences the development of early number skills, but we will also analyse other environmental factors including the quality of the preschool environment and socioeconomic status. Identifying the factors that support the development of early number skills is important because these skills provide the foundations of later mathematical attainment. The findings will go some way in determining the extent to which cognitive, language and environmental factors influence early numeracy with the aim of informing early childhood education policy and practice.â
LENS is funded by the Nuffield Foundation Research and Innovation grant entitled âUnderstanding the influence of cognition and the home learning environment on early number skillsâ. The Nuffield Foundation is an endowed charitable trust that aims to improve social well-being. It funds research and innovation in education and social policy. Find out more here about the Nuffield Foundation and the project.
If you are a nursery, preschool or school with a nursery class and would be interested in participating please contact us either by telephone 0151 904 633 or email email@example.com.


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Can anyone give me a comparison of Queenâs Lanugage Lessons for the Very Young and English for the Thoughtful Child? (Other than Queenâs is more expensive than English for the Thoughtful Child!) Or if you have used either of them, what did you like/dislike about them?
I know the Curriculum Guide doesnât recommend starting Grammar until Gr. 2, but is there any reason NOT to start with a first grader who is reading and writing well?
I think the curriculum guide suggests EFTTC as a gentle intro to grammar. I bought it dirt cheap at a used book sale, hoping it would be great to use for dds. ð I use it for my 2nd grader and plan to use EFTTC VOL 2 for her in 3rd grade.
I would like to see a comparison of QLL as well!
We just started using Queenâs LL for a K, 3rd, and 7th grader. We love them. NO one complains ever about doing it, except for my 3rd grader who hates copywork. Do be aware, however, that there is only a small spattering of grammar. itâs narration, poetry, picture study, copy work, and grammar. For the youngest set, the firs three books, itâs a phonics instruction, not grammar per se. I feel itâs just right, but my oldest could prob use a BIT more grammar instruction, but we do more of it in her writing. We love these books! simple, sweet, gentle!jeaninpaParticipant
The books are quite similar. The Queenâs book has color in their picture study and the EFTC is black and white. Queenâs may also contain a bit more in terms of copywork and exercises. Queenâs also has several levels to choose from so it may be easier to find a fit.
Iâve used them both and liked both of them ok. Weâre using Queenâs right now and one complaint I have with it is that they only give single lines for copywork in the âVery Youngâ books. My 7 yo is still struggling to form letters correctly when she doesnât have that middle and top line for comparison. Iâm also not really wild about their copywork selections â some of them are pretty obscure and difficult to understand. At this point Iâd prefer my children to be focusing on penmanship/cursive and correct sentence structure, so I would like simpler more meaningful things for them to copy (such as Scripture).
We also donât use the picture study very much. We do picture study all together focusing on one artist at a time. Having the picture study in their LA book (especially with children in several levels) is redundant and time-consuming.
So, to wrap it up. We like both of them, but youâre paying for the copywork and picture study and we donât end up using it much.
Thanks ladies! Sounds like Queenâs might be a better fit for those who donât want to do our picture study, copywork, etc separately, but that EFFTC might be better if we prefer to do our own selections for copywork and picture study. Has anyone found the narration âexercisesâ helpful for a child who is just learning to narrate? (Iâm considering using these with my daughter when she starts first grade next year â she is making very good progress with the mechanics of reading and writing this year, but I think she may need a little bit of help when we start doing narration next year as she is a very concrete thinker and a bit of a perfectionist â meaning she wonât try things at all if she thinks she canât do them well.)
Appreciate the help. Iâm not needing to decide right away â just looking ahead and trying to make some decisions about what we will use next year â so if anyone else has anything in particular to say for or against either of these programs Iâd love to hear it. =)
- The topic âQueen's Language Lessons vs. English for the Thoughtful Childâ is closed to new replies.


I can describe the cycle in which rocks are formed.
8,000 schools use Gynzy
92,000 teachers use Gynzy
1,600,000 students use Gynzy
In this lesson, students will learn about the rock cycle and its four main sets of processes:
1. Melting, Cooling and Solidification
2. Weathering and Erosion
3. Deposition, Compaction and Solidification
4. Heat and Pressure
Each set of processes is accompanied by an illustration to help students visualize the rock cycle. There are also multiple flow charts to show the different paths the rock cycle can take.
Students can describe the cycle in which rocks are formed.
Introduce the rock cycle by describing the earth as a ârecycling machineâ that continually recreates rocks. Have students compare this to the recycling of an aluminum can. After this, have students review what they already know about geology and the three main types of rocks: igneous, sedimentary, and metamorphic.
Take the class step by step through the cycle, with the help of an attention-grabbing visual. Starting with magma forming into igneous rock by cooling and solidification, then sediment forming by weathering and erosion, sedimentary rock by deposition, compaction & solidification, and finally, metamorphic rock by heat and pressure. Check for understanding by having students discuss these processes as you go through them either with the class or with a learning partner. Go over the various pathways a rock can take in the rock cycle and explain The Law of Conservation of Mass. Students will have the chance to test their understanding with a rock cycle labeling activity.
Students respond to ten multiple-choice and true/false questions.
The lesson ends with a final activity of Spin the Wheel to explain what the different processes would do to each type of material discussed in the lesson.
The Gynzy Library has many different interactive science lessons filled with more illustrations and activities to keep students engaged. Lessons related to this lesson about the rock cycle include:
- Types of Rocks
- Weathering and Erosion
- Introduction to Volcanoes
- Describe the Earth's Surface
- Types of Habitats
Save time building lessons
Manage the classroom more efficiently
Increase student engagement
Gynzy is an online teaching platform for interactive whiteboards and displays in schools.
With a focus on elementary education, Gynzyâs Whiteboard, digital tools, and activities make it easy for teachers to save time building lessons, increase student engagement, and make classroom management more efficient.


Cornelis Theodorus Marie van Dongen was a Dutch-French painter. He was part of the movement referred to as Fauvism. Other painters who belonged to this movement included Matisse, De Vlaminck, Bracque and Dufy. Characteristic of these artists is the use of bright unmixed colors. Born a Dutchman, Van Dongen spent much of his life in France and also obtained French citizenship.
Kees van Dongen was born in Delfshaven to a family of four children. His father owned a malthouse. The company was located next to the house where Kees grew up. At the front and back of the house was water. Through the window one had a view of the boats moored in the water. Kees had great talent for drawing. However, there was no money for a proper art education. From the age of fourteen, Kees had to work.
Between 1896 and 1898, he took evening classes at the Academy of Visual Arts and Technical Sciences (now the Willem de Kooning Academy). This was located on the edge of Rotterdam's red light district where many sailors came. The sailors, prostitutes and dancers were the subject of many of Van Dongen's works. It was a lively neighborhood with coffee houses, brothels, candy stalls, in short an exciting environment for an aspiring artist.
In 1897, twenty years old, Van Dongen left for Paris. There he could barely support himself. He stayed in the studio of the painter Siebe ten Cate in Montmartre. After returning briefly to Rotterdam from 1898, where he devoted himself to illustrations for the Rotterdams Nieuwsblad, Van Dongen settled permanently in Paris from 1900. There he initially occupied himself with drawing and illustrating magazines. His fluent drawing style effortlessly transitioned into a style of painting that brought him into the milieu of the French Fauvists. This movement first showed its work at the 1905 Salon d'automne, where work by Kees van Dongen was also on display.
Fauvism was a new phenomenon for that time. It was a much more expressive way of painting than had been practiced until then. Especially the use of pure unmixed colors is characteristic of the fauvists. Van Dongen found himself in Paris among the French and developed his own identity. His work is not so much French-oriented, like that of his Parisian colleagues, as it is internationally oriented. He visits Spain, Morocco, Tunisia, Egypt and the Netherlands. His work therefore differs from the more nationalistic cubist art of the French. Van Dongen's work is clearly influenced by the different cultures he has become acquainted with.
Once settled in Paris, Van Dongen moves into a large studio in Montparnasse, where he not only receives his art friends but also organizes dance parties. By now he has become a celebrated artist. The cultural life ended during the First World War. After this war ends, life in Paris picks up full speed and Van Dongen manages to draw attention to his work.
He creates large portraits of people from the world of film and theater with which he achieves great success. Van Dongen moves into an even larger studio. The parties and celebrations he gives there play an important role in the way he presents himself as an artist. He is at the height of his fame and is enjoying this life. He has commissions to choose from. In 1929 he becomes a naturalized Frenchman. In the 1920s, he painted mostly portraits in the fashionable circles of Paris. By now Van Dongen had become more French than Dutch.
During World War II, Van Dongen tried to continue painting as much as possible. He did not care too much about the circumstances. Even after the war, he remained active as a painter, while also continuing to create graphic work. He lithographed and illustrated many books. Van Dongen remained active as an artist until an advanced age and participated in nightlife.
Today his work, in addition to private collections, can be found at Museum Boymans-van Beuningen in Rotterdam, Haags Gemeentemuseum, Stedelijk Museum in Amsterdam and Stedelijk van Abbe Museum in Eindhoven.
If there is one subject that is part of Van Dongen's work it is "women. He called women "the most beautiful landscape. His drawings of girls from Rotterdam's red light district caused a scandal. Works of naked women were removed from an exhibition at Boymans-van Beuningen in 1949 because of the uproar over them. He painted Picasso's girlfriend and made lithographic posters of Brigitte Bardot. He often portrayed women in bright colors and with big eyes. His nudes also became very famous.


Childcare plays a crucial role in the lives of parents with young children, including toddlers, babies, and preschoolers. It is essential to conduct thorough research on the available types of childcare, understand the relevant regulations, and evaluate the quality of care provided. Making the decision about the appropriate age to start childcare can be challenging for many families. Factors to consider include the advantages of early childcare, decision-making considerations, and strategies for a smooth transition.
Moreover, it is important to have knowledge about preparing your child for childcare and be aware of the potential challenges associated with introducing childcare too early. In this discussion, we will explore the key aspects to consider when determining the ideal age to start childcare.
Childcare for Toddlers
As parents, finding a reliable and trustworthy childcare provider is crucial for the well-being and development of your toddler. Locating suitable childcare for toddlers can be a daunting task. It is important to select a provider experienced in caring for young children, prioritizing safety, education, and overall development. When researching care providers, look for high-quality programs staffed with qualified professionals, including teachers and aides with expertise in early childhood education. Additionally, consider recommendations from other parents regarding providers with a good reputation.
Childcare for Babies
Childcare for babies is a valuable service that fulfills their social, emotional, and educational needs in a safe and nurturing environment. Starting daycare for babies is significant as professional childcare providers possess experience in caring for infants. They create secure, stimulating, and positive atmospheres that foster their growth and development.
Childcare for Preschoolers
Childcare for preschoolers is an integral part of the early childhood learning process. Parents should actively seek the most suitable and beneficial care for their children. Quality childcare should be provided in a safe, nurturing, and stimulating environment. Professionals specializing in early childhood development and education should be employed to ensure that children receive the best possible care.
Benefits of Daycare for Young Children
Daycare can be an invaluable resource for young children as it offers a safe and enriching environment for exploration and learning while allowing parents the opportunity to work or take a break. The advantages of daycare include fostering social development, providing early childhood education, and promoting independence and resilience.
Additionally, Read: Learning Through Play for Children
Minimum Age Requirements for Daycare in Australia
In Australia, each state and territory has its own laws and regulations regarding the minimum age requirements for daycare. Generally, the minimum age for daycare attendance is six weeks, although some centers may accept infants as young as four weeks. Early childhood education and care are available in many centers for children up to 12 years of age.
Early Childhood Education in Adelaide
Early childhood education Adelaide is an essential service for families seeking a safe and nurturing learning environment for their children. With a variety of daycare centers, preschools, and home daycare services, Adelaide families have numerous options for providing their children with quality early education. The benefits of daycare include social and emotional development, improved communication and language skills, and the development of relationships with peers and adults. Parents considering starting a home daycare must ensure compliance with all legal requirements. 2 weeks we publish this article Rickey Smiley Net Worth in 2023
Preparing for Daycare Enrollment
Enrolling your child in daycare is an exciting step in their development, especially with a Certificate 3 in childcare. It introduces them to socializing and learning early on, ensuring they receive quality care and attention. This certification equips childcare providers with the necessary skills and knowledge to create a nurturing environment for children.
Factors to Consider When Choosing the Right Age for Childcare
Several factors should be taken into account when determining the appropriate age for childcare. It is crucial to select a childcare program that meets your childâs individual needs. Key factors include age-appropriate activities, a safe and nurturing environment, and knowledgeable and experienced staff. Furthermore, ensure that the chosen childcare facility has policies and procedures in place to ensure the safety of all children in their care. Finally, verify that the childcare provider possesses the necessary qualifications and certifications to provide optimal care for your child. By considering these factors, you can ensure that you find the most suitable age for your childâs childcare program.
Childcare is vital for the healthy and safe development of toddlers, babies, and preschoolers. It is important to understand the distinct needs of each age group and find a childcare environment that fulfills those needs. By combining safety, structure, and compassionate care, you can ensure that your child receives the best possible care.


For non-verbal students, learning to read can be a challenging and isolating experience. However, by incorporating compound word practice into their curriculum, teachers can help these students develop essential reading skills in a fun and engaging way.
According to Dr. Karen Erickson and Dr. David Koppenhaver of the Center for Literacy and Disability Studies at the University of North Carolina at Chapel Hill, "non-verbal students are often able to learn to read when provided with appropriate support" (Erickson & Koppenhaver, 2007).
Compound word practice is an effective way for non-verbal students to develop their phonemic awareness skills, which are crucial for reading success. As explained by literacy expert Dr. Timothy Shanahan in his book "Teaching Phonics Today," "compound words offer an opportunity for students to practice blending sounds together in a meaningful context" (Shanahan, 2016).
Moreover, learning about compound words can also help non-verbal students develop their vocabulary knowledge. As noted by education researcher Dr. Susan Neuman in her article "The Role of Vocabulary Instruction in Early Literacy Development," "compound words provide opportunities for expanding vocabulary knowledge by building on familiar base words" (Neuman, 2009).
By learning about the meaning of each individual part of a compound word, non-verbal students can better understand how new words are formed and expand their overall vocabulary.
Alternatively, educators may also incorporate technology-based resources like our Compound Word App which features interactive games that reinforce understanding and retention of concepts learned during lessons.
It's important to note that when incorporating compound word practice into curriculum for non-verbal students, teachers should tailor lessons to meet each student's individual needs. Educators may need to adapt teaching methods based on each student's level of understanding and communication abilities.
In conclusion, empowering non-verbal students with reading skills through compound word practice is an effective way to improve academic outcomes while promoting independence and confidence. By using targeted teaching strategies such as hands-on activities or interactive games like our Compound Word sets, educators can create an engaging and inclusive learning environment that helps all students reach their full potential.


I have just embarked on my nineteenth year of teaching music. During this time, I have taught over 5,000 students. I have taught students of different races, religions, backgrounds, and abilities. I have taught students that have experienced poverty and/or extreme trauma. I have also had students that come from financially secure and/or supportive homes. Over these years, I have come to realize that there are three undeniable truths regarding music education. While you may find a multitude of research that can support these truths, I only need the evidence that has been before my eyes the past eighteen years. Here are my teacher truths.
Every child is musical.
Out of the 5,000 plus students I have taught, all have had musical ability. The variations only occur within how that ability is demonstrated. Many students have been talented vocally. Others have had an amazing sense of beat and rhythm while others seem drawn to understanding the structure of music. Beyond all having some form of musical talent, all have been able to respond to music with emotional expression. This includes my students with severe special needs that limit their ability to move and communicate. I still remember with great joy the giggle-like sounds a boy with special needs would emit whenever I sang the folk song, âI Bought Me a Cat.â
As I have been able to witness this universal musical ability, I consider it a great honor and responsibility to help my students uncover these abilities. It is my job to nurture this natural talent and help their abilities grow. I am not teaching students to make music for one year. I am teaching students to make music for a lifetime.
Music is a natural way for students to learn.
From their earliest stages, children are naturally drawn to music. Babies vocalize sounds, shake rattles, and bang on all manner of things. With these musical explorations, the babies are learning about the world around them. Parents and caregivers expand a childâs knowledge through singing lullabies, modeling finger-plays, speaking rhymes, and singing the ABCs. Thanks to School House Rock, I am still able to sing the words of the Preamble of the Constitution. Our brains are hard-wired to learn through music.
With the knowledge that my studentâs brains are innately designed to learn through music, it is my responsibility to design lessons that connect across the curriculum. We dance to life cycles. We sing about the states of matter. We use body percussion to solve multiplication problems. English Language Arts skills are interwoven into every lesson. I love it when teachers express how much our musical lessons have helped their students grow academically. I teach about music, and I teach through music. This helps every child grow. In addition, not every child does well with pencil and paper assessments. Being able to demonstrate learning through music enables all of my students to feel academic success.
Music is a time-machine to the past, mirror for the present, and inspiration for the future.
Music is a gateway. It gives students the ability to travel through time. Not every child has the background experiences to connect with the things they study in history. I am able to build that connection and make history come to life through musical experiences. One of my favorite moments last year was when my third graders made the connections between Funga Alafia, a folk song from Nigeria, to Eliza Jane, a folk song from Virginia, to our New Orleans Brass Bands. Our history can be uncovered in the music of today.
The world around us is also reflected in our present day music. My students are able to gain a greater perspective of the world while learning how to safely express their points of view through music. It is breathtaking for me to hear the world through my studentsâ musical creations.
As for the future, music is a way to instill hope in all kids. This feeling of hope is a key ingredient for a successful future. I will forever find ways to wield the power of hope through music.
As the 2019-2020 school year progresses, I will carry these teacher truths close to my heart. They give me hope, purpose, and are at the heart of why I am a music teacher. As âthe truth will set you freeâ, these truths give my students the wings to fly.


For any reason, you are not happy with the books, 100% refund guaranteed.
Everything for Early Learning, Grade PK
Everything for Early Learning for prekindergarten provides activities to help children learn these essential concepts:-sizes -shapes -numbers -letters -sounds -reading and writing readiness This math and language arts workbook supports current state standards. Everything for Early Learning provides children with the tools they need to think critically, solve problems, and succeed in school. This workbook for prekindergarten guides children through a variety of colorful, engaging activities. Each activity supports early learning standards for math, language arts, and basic skills. An exceptional addition to at-home preschool curriculum, Everything for Early Learning covers these foundational skills and concepts: -sizes and shapes -numbers and counting -letters and sounds -reading readiness -writing readiness The Everything for Early Learning series offers creative math and language arts activities that promote a fun approach to learning. With Everything for Early Learning, children start their educational journey equipped with skills for success!
TYPE OF BOOK: Activity book
SUB-TYPE: Work Book
SUGGESTED AGE LEVEL: 3-5 years
AUTHOR'S NAME: Carson-Dellosa Publishing
NO OF PAGES: 256
PUBLISHER NAME: Published April 2nd 2018 by Thinking Kids


BALTIMORE (February 25, 2020) â Marylandâs 2019 Kindergarten Readiness Assessment (KRA) results show that the percentage of Maryland kindergartners demonstrating readiness stayed consistent while some individual school systems demonstrated increases from 1 to 12%.
The KRA 2.0 was administered by all kindergarten teachers between the beginning of the school year and October 10, 2019. Items on the assessment measured studentsâ mastery of the end-of-year prekindergarten skills, knowledge, and behaviors across four domains: Language and Literacy, Mathematics, Social Foundations, Physical Well-Being and Motor Development.
Once again, this year school systems had the choice of whether to administer the assessment to all of their kindergarten students or to a sample of students in each kindergarten classroom. There was a significant increase in the number of school systems that administered the KRA to all kindergarten students. Eighteen systems administered the KRA to all kindergarten students, while only six administered the KRA in specific schools and to a sample in others. This resulted in 65% of all kindergartners in the state being assessed and more families receiving information about their child.
State results showed the following:
- 47 percent of Maryland kindergarten students began the year demonstrating readiness (the student demonstrates the foundational skills and behaviors that prepare him/her for curriculum based on the kindergarten standards).
- 32 percent of the students are approaching readiness (the student displays some of the foundational skills and behaviors that prepare him/her for curriculum based on the kindergarten standards).
- 21 percent of the students are emerging readiness (the student displays minimal foundational skills and behaviors that prepare him/her for curriculum based on the kindergarten standards).
- 18 percent of English learners demonstrated readiness.
- 19 percent of children with disabilities demonstrated readiness.
- 34 percent of children from families that are direct certified demonstrated readiness.
The school readiness information for school year 2019-20 will be available online at https://earlychildhood.marylandpublicschools.or and at www.readyatfive.org. Below is the percent of kindergarten students by jurisdiction who began the year demonstrating readiness.


Igniting Imaginative Flares: The Essence of Art Education
Imagine this scenario â itâs not the drawing even my cherished Golden Retriever, Biscuit, might make in a park with his playful tail. Iâm visualizing a future where learners have more than just textbook knowledge; they're equipped with many creative abilities thanks to all-encompassing art education. Just as we understand the necessity of a balanced diet for an athlete or the role of both crickets and worms in the life of my adorable leopard gecko, Amber, it's crucial to recognize the profound impact of arts in a holistic educational experience. Beyond traditional STEM fields, art holds a world of wonder!
Artistic Liberation: Unleashing the Genius in Students
Art has an uncanny ability to set the spirit free. As my fingers grazed the keys, enveloped in waves of inspiration, I often felt an escapade into another dimension. If we could channel such uninhibited creativity into our educational approach! Integrating art into the curriculum has shown an impressive boost in cognitive advantages for students. It promotes curiosity, encourages risk-taking, refines decision-making, invigorates innovative thinking, and fortifies cognitive growth. Ever realized how an engaging artistic activity, just like a game of fetch with Biscuit, simultaneously entertains and sharpens your problem-solving instincts?
Studies suggest that art education might be the panacea for academic hurdles. Iâve witnessed peers grappling with standard academic subjects only to discover their true calling and rhythm in art. The goal? To ensure every student identifies their unique talent and fully taps into their potential â much like Amber gracefully exploring her environment, regardless of its size.
Emotional Rewards: Art's Influence Beyond Intellectual Growth
The impact of art education isnât confined to cognitive development â it goes much deeper. Children engaged in artistic activities cultivate emotional intelligence, mastering the art of expressing, deciphering, and managing emotions and recognizing the nuances in interpersonal relationships. I often turn to artistic outlets when words fail me, whether in moments of joy, anticipation, or frustration. Just as Biscuit expresses his feelings through tail wags and barks, art can guide students in connecting their innermost thoughts with the world outside.
Art offers a therapeutic touch. Whether it's the gentle shades of pastel or the dynamic thrusts of acrylic, the soothing notes of music, or the rhythm of dance, art becomes a sanctuary of peace. It nurtures mindfulness â a pivotal tool against stress, anxiety, and other mental challenges. Remember the therapeutic relief of a simple doodle during stressful times?
Shaping Tomorrow: Crafting Global Ambassadors through Art Education
The traditional structure of segmented subjects in education feels antiquated. Life isnât about compartmentalized subjects like algebra or historical events. It's a blend of vast knowledge realms demanding adaptable thinking â something that art education masterfully nurtures. Engaging with art initiates a silent conversation akin to interpersonal communication in our daily lives. It emphasizes the importance of understanding, connecting, and innovatively problem-solving â indispensable skills in todayâs world.
Moreover, art has the power to bridge cultural and linguistic divides, showcasing the beauty and complexity of global traditions. It fosters understanding, compassion, and global sensibilities - a sentiment echoed when I provided Amber, a desert dweller, with a comfortable spot in my city abode. Immersion in diverse art forms enriches our students' perspectives, broadening their horizons.
To conclude, downplaying the significance of art in education would be akin to ignoring sunlightâs role in sustaining life. Art education imparts unmatched benefits â from intellectual to emotional to social, leading to a more comprehensive, balanced educational journey. Achieving an optimal art education framework might seem ambitious, but as they say, every transformation begins with a small gesture â or, drawing inspiration from Biscuit, a cheerful tail wag! And for those aiming to take their academic journey a step further, exploring options like the best thesis writing service can be a valuable asset.


At the OLICAT Schools, our Central Team of talented educators and researchers, support leaders across the schools on a variety of Cross-Trust Projects, allowing schools to collaborate by sharing ideas and strategies and further improving the life chances for children in our schools.
Pupil Premium - led by Nathan Wells
The achievement of disadvantaged children nationally is a well reported topic. We know that nationally these children do not perform as well as their peers. At secondary level this difference becomes stark and the gap between disadvantaged children and peers is between 18-22 months. All of our schools are given money to address this gap but there is no widely accepted method on how to achieve this. As a trust we are in a position in which to use our schools as a research base to find out. As of this year all of our schools have outlined their strategies on the basis of their context and have decided which measures they are going to use to gauge impact.
There have been some innovative decisions made by some schools with tactics ranging from the provision of a âpackageâ of tuition, financial support and resources to the establishment of a âlearning mentorâ role to manage the academic progress of children eligible for the premium. In other schools the decision has been made to offer interventions to close these gaps and to measure the impact of these interventions. Some schools believe that the gap is best closed by offering social/emotional support and others believe that the embedding of strong vocabulary is the key! In others schools more focus is on putting in resources and processes to enable the teacher to close gaps âliveâ in lessons with disadvantaged children. Measuring the impact of these strategies at a trust level will show us which approaches work and will enable us to share that practice across our schools.
The Big Five - led by Sue Tomalin
In the recent words of a St Maryâs pupil - â If you donât love reading, you donât love yourselfâ. As teachers, we all know how vital it is that children learn to read well but learning to read is one of the most complex of brain activities. Some children find it more difficult than others to develop the foundational skills of decoding and to put in the practice required to become mature independent readers and these children require our determination, patience and ingenuity.
As a trust we have, this year, focused on deepening our understanding of reading processing. We have focused on the Big Five, (phonological skills, phonics, vocabulary, fluency and reading comprehension) and considered the good practice pedagogies for developing a love of reading by reading aloud to children, promoting effective independent reading, reading across the curriculum and features of a good quality reading lesson. In our secondary schools we need to ensure that our pupils develop abilities in disciplinary reading and writing and that those pupils who still require support to develop foundational reading skills get the intervention they need and are well-supported in the classroom.
This has been an amazingly challenging year for school staff and yet our trust schools have embraced the opportunities to learn more about the teaching of reading. The reading subject leaders have worked hard to make reading a priority for their schools.
Do you have an idea for a Cross-Trust Project? We would love to hear from you if so. Simply tap the Virtual Suggestion Box below and drop us your feedback and ideas.


The family system is the one that most marks the personal plane. That is, sometimes personal suffering is linked to problems in relating to others, difficulties in bonding with others. Family Pedagogy
The family is present throughout life. For this reason, on occasions, problems do not have a recent root, but may have a remote origin in the familyâs history.
The pedagogy family establishes a bridge of hope for families who have some difficulty. The family educator establishes a diagnosis and prepares a therapeutic itinerary to open new doors to the future.
The family doesnât just take root. There is also a role for elementary education . In fact, parents educate their children by their example.
They establish norms of moral performance. At times, parents feel disoriented by the demanding work of educating each child and encouraging each one in the best way possible. Sometimes they live in difficult situations, where parents need therapeutic support and professional advice to integrate new attitudes.
Therefore, family pedagogy strengthens families when they have the willingness and collaboration to do so. Family pedagogy observes the social dimension of education, since culture and the formation of free human beings, aware of themselves and with ethical values is a good for a better society. The family is an environment for the socialization of individuals in the private sphere, but also in the public sphere.
Pedagogy is a theoretical discipline , but with a practical vocation . Each case is specific, so the theory adapts to the context. Therefore, family pedagogy improves the quality of family life through education as a value of expression of love.
The family pedagogue is the professional who, based on a practical and specific case, identifies a lack of education. Thus, he elaborates a proposal of practical solutions delimited to this context, that is, this action plan opens a door to hope.


As policymakers plan for school reopening in the fall, Save The Music Foundation joined 52 other national organizations to support a unified statement on the necessity for arts education for all students across the United States, âArts Education Is Essential.â
âArts education supports the social and emotional well-being of students, whether through distance learning or in person.â
âArts Education Is Essentialâ speaks to arts educationâs role in supporting the social and emotional well-being of students, an area that administrators, educators, and parents have highlighted as essential to student safety and success during the pandemic and as students return to school, whether in-person, online, or in a blended fashion, this fall. Arts education also creates a welcoming school environment and a healthy and inclusive school community, helping students, educators, parents, and the community at large build and strengthen their connectedness during this time of social isolation and social distancing.
âArts education is part of a well-rounded education for all students as understood and supported by federal and state policymakers.â
The statement also reminds the public that arts education is a part of a well-rounded education as defined by the federal education law, the Every Student Succeeds Act (ESSA), and supported in state laws throughout the country. 46 states require an arts credit to receive a high school diploma, and 43 states have instructional requirements in the arts in elementary and secondary schools.
Join the conversation online using the hashtag #ArtsEdIsEssential and advocate for your arts program!
âIt is imperative that all students have access to an equitable delivery of arts education that includes dance, media arts, music, theatre, and visual arts that supports their educational, social, and emotional well-being, taught by certified professional arts educators in partnership with community arts providers.â
The music and arts education community has been active during this pandemic in providing administrators, educators, and other stakeholders guidance and support, as well as forward-thinking planning for music educators and district arts supervisors to take a lead as school districts make plans for the next school year. In any decision about how school districts will operate in the next and future school years, music and arts education will be essential in providing all students equitable educational opportunities that also continue to prepare them for an ever-changing world.
âArts education nurtures the creation of a welcoming school environment where students can express themselves in a safe and positive way.â
|Afterschool Alliance||Music for All|
|American Choral Directors Association||Music Teachers National Association|
|American Composers Forum||NAMM Foundation|
|American Orff-Schulwerk Association||National Art Education Association|
|American String Teachers Association||National Association for Music Education|
|Americans for the Arts||National Association of Elementary School Principals|
|Barbershop Harmony Society||National Association of Secondary School Principals|
|Carnegie Hall||National Coalition for Core Arts Standards|
|Casio America Inc||National Dance Education Organization|
|Chorus America||National Education Association|
|CMA Foundation||National Federation of State High School Associations|
|College Band Directors National Association||National YoungArts Foundation|
|Conn-Selmer, Inc.||Organization of American KodÃ¡ly Educators|
|DâAddario Foundation||Quadrant Research|
|Eastman Music Company||QuaverEd|
|Education Through Music||Recording Academy|
|Educational Theatre Association||Save The Music Foundation|
|Give a Note Foundation||State Education Agency Directors of Arts Association|
|Hal Leonard||The Rock and Roll Forever Foundation|
|Historically Black Colleges and Universities National Band Directorsâ Consortium||United Sound, Inc.|
|Jazz at Lincoln Center||Varsity Performing Arts|
|Jazz Education Network||West Music Company|
|KORG, USA||Yamaha Corporation of America|
|League of American Orchestras||Young Audiences Arts for Learning|
|Little Kids Rock||YOUnison|
|Mr. Hollandâs Opus Foundation|
Update: as of June 26, 2020, the Arts Education is Essential document now has 100+ signing organizations! Click here to view updates to this list.


When children leave St Maryâs, we hope that, through music, they will have developed a sense of curiosity and creativity through which they can explore and learn. We want our music lessons to inspire children and give them a creative outlet. Music is a universal language that embodies one of the highest forms of creativity. A high- quality music education should engage and inspire pupils to develop a love of music and their talent as musicians, and so increase their self-confidence, creativity and sense of achievement. As pupils progress, they should develop a critical engagement with music, allowing them to compose, and to listen with discrimination to the best in the musical canon.
Music and Performance Opportunities
Throughout the year we have many opportunities for our pupils to develop their understanding of music and to perform in front of a wide range of audiences.
These opportunities include:
- Weekly music lesson (delivered using Charanga scheme of Learning)
- Key Stage 2 choir meets weekly to rehearse
- Key Stage 2 choir performs in several local supermarkets and care homes each year
- Young Voices choir meets weekly to rehearse
- Young Voices choir performs at the Sheffield Arena
- Foundation Stage, Year 1 and Year 2 perform a Christmas Nativity to an audience each year
- Key Stage 2 classes perform Christmas Carols to their parents each year
- Year 3 pupils perform the Passion Performance in St Mary's Church each Easter
- Year 6 perform a summer performance each year
- The Sheffield Music Hub delivers music sessions weekly to Year 5 pupils
- All children participate in a singing collective worship each week
To find out about about intent, implementation and impact for music, please click the document below:
Please click here to read the National Curriculum.
Progression of Skills
Each year at St Mary's, all pupils receive a 'Learning Passport'. This passport contains all of the skills and knowledge that they will learn that year. It also has all of the skills and knowledge they have covered in the past. Teachers refer to this passport regularly and pupils view it frequently to ensure 'sticky knowledge' is developed- this means that pupils are quickly recalling what they have already learnt so skills and knowledge can be built on each year.


Agnes Martin (1912 â 2004), was an American abstract painter. Her work has been defined as an "essay in discretion on inward-ness and silence". Although she is often considered or referred to as a minimalist, Martin considered herself an abstract expressionist and was one of the leading practitioners of Abstract Expressionism in the 20th century. She was awarded a National Medal of Arts from the National Endowment for the Arts in 1998. She was elected to the Royal Canadian Academy of Arts in 2004.
Born on a farm in rural Saskatchewan, Canada, Agnes Martin immigrated to the United States in 1932 in the hopes of becoming a teacher. After earning a degree in art education, she moved to the desert plains of Taos, New Mexico, where she made abstract paintings with organic forms, which attracted the attention of renowned New York gallerist Betty Parsons, who convinced the artist to join her roster and move to New York in 1957. There, Martin lived and worked on Coenties Slip, a street in Lower Manhattan, alongside a community of artistsâincluding Robert Indiana, Ellsworth Kelly, and Jack Youngermanâwho were all drawn to the areaâs cheap rents, expansive loft spaces and proximity to the East River.
Over the course of the next decade, Martin developed her signature format: six by six foot painted canvases, covered from edge to edge with meticulously penciled grids and finished with a thin layer of gesso. Though she often showed with other New York abstractionists, Martinâs focused pursuit charted new terrain that lay outside of both the broad gestural vocabulary of Abstract Expressionism and the systematic repetitions of Minimalism. Rather, her practice was tethered to spirituality and drew from a mix of Zen Buddhist and American Transcendentalist ideas. For Martin, painting was âa world without objects, without interruptionâ¦ or obstacle. It is to accept the necessity of â¦ going into a field of vision as you would cross an empty beach to look at the ocean.â


A Lifelong commitment to teaching, creative expression, and valuing diversity
Elonâs music education program prepares graduates with the essential knowledge, skills, and cultural awareness to teach in the diverse 21st century classroom. The music education program instills and nurtures a commitment to first-rate teaching, lifelong creative expression, and the willingness to be enriched by and value the many and varied musical cultures found in the communities in which they will serve.
Students earn the Bachelor of Science Degree in Music Education by taking courses in both the Music Department and the Dr. Jo Watts Williams School of Education. The music education program has several outstanding attributes that make it very attractive for the prospective music teacher:
- Students begin practicum experiences in the public schools in the sophomore year and will be able to list at least 4 practicum experiences on their resumes when applying for jobs
- Students are placed in practicums with distinguished teachers who are highly regarded and have established records of success
- Students can be placed in the same practicum experience for the entire senior year
- Students work with full time professional accompanists who are available for practice/coaching and applied lessons
- In addition to required ensembles, students can perform with a variety of ensembles based on interest
Music education offers a comprehensive curriculum wherein skills and knowledge gained in one course continue tobe utilized and refined as students move through theory, conducting, and methods courses. This integrated approach, in addition to providing tremendous confidence, is the foundation on which our students are prepared to be excellent educators, creative musicians that continue to perform, and practitioners that will honor the cultural diversity found in the communities that they will serve.
In our primary goal of preparing our students to be excellent teachers the curriculum is devised to engage students in activities, discussions, and other forms of reflection and inquiry providing educational experiences that advance students toward moments of discovery and greater clarity of course content, self, and others.
Our students thrive in an environment that fosters high levels of musicianship and performance ability. In addition they develop critical thinking skills that advance their perceptions, sensitivities, and beliefs while enhancing their awareness and understanding of others, who they are, and what they have to offer in a classroom. We believe that this kind of educator can design and implement experiences that demand the highest standards in the classroom while honoring every student and the life experiences they bring to the process of learning.
Music in the Village Program
In the spring of 2013 the Coordinator of Music Education founded a new and exciting program called âMusic in the Villageâ. This program evolved out of the âVillage Projectâ, a program created in the Dr. Jo Watts Williams School of Education designed to strengthen literacy skills for elementary and middle school children. Music in the Village is a service-learning community outreach program designed for elementary to middle school aged children and their parents that teaches musical literacy and supports the literacy mandate of the âVillage Projectâ. Music education students can participate and teach in this program in each semester of residency except the semester of student teaching. This Village experience provides the opportunity for prospective teachers to not only develop teaching skills and strategies, but it gives them invaluable insight into how to foster meaningful relationships with parents. Parents are a crucial component of Music in the Village as they attend classes with their children.
Nationally Recognized Excellence
Elonâs collegiate chapter of the National Association for Music Educators earns the âChapter of Excellenceâ awarded by the National Association for Music Educators. The chapter received the âChapter of Excellenceâ award from the North Carolina Music Educatorâs Association last year.
To be recognized by the National Association for Music Education and the North Carolina Music Educatorâs Association is a tremendous honor that gives us a sense of accomplishment. However, it also reminds us of the immense value in being strongly connected to the community, the worth of our efforts to make a difference, and the work that still remains to be done.
-Gerald R. Knight,
Coordinator for Music Education and Director of Music in the Village
Students work hard in difficult classes, spend long hours practicing their instruments and attend or are involved in almost every cultural event on campus. But it is well worth the work to graduate knowing you are fully prepared for whatever teaching has to offer.
*Auditions are required for admission to the music education program and for scholarship consideration.


- Arts Edge, opens a new window: Art and how-to lessons for K-12 from The Kennedy Center.
- KIPP Chicago Public Schools, opens a new window: Lesson plans to help art educators âengage students in meaningful artmaking around social justice topics.â
- Library of Congress, opens a new window: Access to digitized primary resources from the Library of Congress, along with free lesson plans and professional development to train teachers in the use of these primary source materials.
- Nancy & David Wolf Holocaust & Humanity Center Digital Engagement Guide, opens a new window: Learn about digital resources the HHC has to offer and explore lesson plans for teaching about the Holocaust and related subjects.
- NASA, opens a new window: A variety of resources including lesson plans, videos, games, and printables. Resources are searchable by grade, subject, and material type.
- National Gallery of Art, opens a new window: Lessons, activities, and interactives focusing on art education.
- National Geographic, opens a new window: Lesson plans, maps, and reference resources such as encyclopedic entries, all searchable by grade and subject. The site includes suggested topics each month for grades PreK-12.
- National Womenâs History Museum, opens a new window: Lesson plans, biographies, primary sources, and posters browsable by topic, theme, and resource type.
- Scholastic, opens a new window: A variety of resources including lesson plans, book talks and discussion ideas, suggested student activities, and multimedia resources.
- Teaching Tolerance, opens a new window: Lesson plans, films, printables, and more centered around teaching K-12 children around issues of social justice.
- We Are Teachers, opens a new window: Lesson plans, printables, and professional development resources for educators.
Support for You


Section I - The Past is Our Future / The Past is Not Our Future
Place of Publication
London, Ontario Canada
music, music education, access, policy, popular music, curriculum, ensembles, multi-musicality, Estelle Jorgensen
This chapter describes policy mechanisms that can be revised to support âmusic making by all.â Aguilar starts with the normative claim that engagement in music education in elementary, secondary, and post-secondary institutions should encompass opportunities for a range of music-making experiences, especially those experiences that may be ignored or marginalized because of the traditional structure of post-secondary institutions. Broadening choices for musical engagement may provide greater relevance, as well as increased access and participation in learning music by all and for all.
Citation of this paper:
Aguilar, C. E. (2019). The pursuit of happiness: Music access in 21st century America. In R. E. Allsup & C. Benedict (Eds.), The road goes ever on: Estelle Jorgensenâs legacy in music education (pp. 37-49). London, Ontario: Western University. https://doi.org/10.5206/q1144262.jorgensen.2019.ch04


Social groups at Wings for Learning build self-awareness and celebrate neurodiversity. Members learn to connect with themselves and the broader community while practicing teamwork and collaboration skills. Although each social group has a unique goal, each group infuses executive function, social, and language supports.
Roots & Shoots in Houston Boots instills leadership skills as defined in the Compassionate Leadership Skills rubric created by Roots & Shoots International. The group meets for 4 Thursdays and 6 Saturdays each semester and spends about half of the sessions volunteering in the community.
Connection Builders focuses on the building blocks for creating relationships with others.
ROOTS & SHOOTS IN HOUSTON BOOTS
At Roots & Shoots in Houston Boots, members are guided to explore characteristics of compassionate leaders using Jane Goodall's Roots & Shoots framework, which focuses on introspection, acting with a purpose, thinking critically, empathy, collaboration and communication, teamwork, inspiring others, optimism, and adaptability and resilience. The following learning approaches are infused: 21st century skills, inquiry-based learning, language and communication supports, social emotional learning, relationship building, and executive functions.
PAST SERVICE PROJECTS
Buffalo Bayou Clean-up
Books Between Kids
Kid's Meals Houston
SEARCH Homeless Services
Houston Food Bank
PAST COMMUNITY OUTINGS
Downtown Mural Tour
Buffalo Bayou boat tour
Sam Houston National Forest
Connection Builders was created in response to families who had received clinical social support but were not seeing a generalization of the interpersonal and teamwork skills that help us be successful in relationships and when collaborating with others.
The group is community-based and focuses on building self-awareness and awareness of others as members learn to leverage their own strengths while appreciating those of others in a team setting. Each session ends with a community service project or an activity that serves others. Throughout the semester, members are exposed to strategic thinking frameworks, actively participate in project planning, and invited to reflect on various measures of success as determined by the group. It is facilitated by Speech and Language Pathologist and Special Education teacher who are able to provide dynamic, in-the-moment supports.
Connection Builders meets 6 times each semester and is designed for students under 12 years old. We see this program as a perfect stepping stone into our groups for older teens because members build foundational skills required for being out in the community and part of a larger group.


For years, research has indicated that learning music can translate to other gains academically. The Special Music School at Kaufman Music Center in New York City was established with this research in mind. The school, which teaches music as its core subject, frequently ranks among the highest in standardized test scores, reports Education Dive.
As technology enters other parts of the school, itâs no surprise that tech integration also can benefit the 21st-century music classroom and lead to more positive outcomes for students.
Tech Boosts Musical Creativity and Accessibility
Itâs not just makerspaces or innovative art classes that use 3D printers. Some performing arts schools are using the printers to create custom musical instruments that better fit studentsâ bodies and teach them about design, physics and resonance of instruments. Plus, the process lets students use technology in a way that contributes holistically to their learning experience.
âIf youâre just throwing technology at them, it becomes this empty project,â says Georgette Yakman, the founder of STEAM Education, in an EdTech article. âNobody wants to do something thatâs going to go in a filing cabinet.â
Christopher Russell, a choir director from Minnesota, is a big proponent of finding meaningful ways to incorporate technology into classes. On his blog, Technology in Music Education, Russell regularly reviews apps and products. He cites YouTube â and schools that train music teachers agree â as a pretty big resource for music teachers. He explains on his blog how simple it is to slow a YouTube video to the speed of your choice for a play along or demonstration.
Thanks to technology, even the most amateur musicians can learn about composition. A variety of apps have a simple interface and can teach a lot about music while making use of typical classroom devices. Apps like Figure and Keezy use brightly colored blocks to help users compose, and Soundtrap has a drag-and-drop interface like some coding apps.
âNot only can the right apps help people make music wherever their smartphone goes, but it can also spark creativity in those with little-or-no musical talent,â reads a Gizmodo review of several apps.
Apps can also help teachers outside of the discipline more easily incorporate music into their classes. At Angola High School, English teacher Chantell Manahan took advantage of the schoolâs one-to-one Chromebooks to spice up her unit on poetry, a blog reports. Using Soundtrap, Manahan had her students turn their poems into songs.
Teachers Find Efficiencies and Improvements with Tech
For seasoned music teachers, technology is also quite useful. Just as any other teacher might use data to track student progress, music teachers can work with their students to set trackable goals and use data to identify patterns, writes string teaching specialist Richard Niezen on Smartmusicâs blog.
âData can also be used to determine if problems follow any overall patterns, including common issues with pitch, rhythm, specific technical skills, or interpretation,â writes Niezen. âThe director can then consider if these are the same issues that are being dealt with in rehearsal, and how that might affect their instructional goals moving forward through the rest of the school year.â
Former touring concert pianist Julian Toha felt the power of technology in teaching music was so promising that he developed an app called Oclef, which connects music teachers, students and parents to evaluate progress, open communication channels and create a digital repository of tips and feedback.
âI realized from all the teachers, students and parents I met on tour that there was a huge opportunity to help connect music education,â says Toha in an interview. âI decided to step down from my growing career as a pianist to figure out how I could bring together an entire industry by using technology to make it simple and powerful.â


Head Start published these Multicultural Principles back in 1991. They have since been updated and continue to provide research based guidance to Head Start programs around the nation. They are also relevant principles that can be applied to other Neighborhood House service areas and approaches. You can find these principles and many other resources on the Early Childhood Learning and Knowledge Center.
Head Start programs are effective when their systems and services support the cultural diversity of enrolled families. Furthermore, individual staff members must be able to demonstrate their respect for and respond to the different cultures in their community and among their co-workers. The following resource provides recent research and perspectives on key multicultural principles and offers guidance to staff on how to implement these principles in their programs.
Culture is a fundamental feature of Head Start program systems and services. Revisiting and Updating the Multicultural Principles for Head Start Programs Serving Children Ages Birth to Five updates the information and research presented in Head Startâs original Multicultural Principles handbook published in 1991. This resource is divided into 10 chapters and each chapter presents one multicultural principle, the research and guidance to support that principle, and questions and/or discussion activities.
Principle 1: Every individual is rooted in culture.
Principle 2: The cultural groups represented in the communities and families of each Head Start program are the primary sources for culturally relevant programming.
Principle 3: Culturally relevant and diverse programming requires learning accurate information about the cultures of different groups and discarding stereotypes.
Principle 4: Addressing cultural relevance in making curriculum choices and adaptations is a necessary, developmentally appropriate practice.
Principle 5: Every individual has the right to maintain his or her own identity while acquiring the skills required to function in our diverse society.
Principle 6: Effective programs for children who speak languages other than English require continued development of the first language while the acquisition of English is facilitated.
Principle 7: Culturally relevant programming requires staff who both reflect and are responsive to the community and families served.
Principle 8: Multicultural programming for children enables children to develop an awareness of, respect for, and appreciation of individual and cultural differences.
Principle 9: Culturally relevant and diverse programming examines and challenges institutional and personal biases.
Principle 10: Culturally relevant and diverse programming and practices are incorporated in all systems and services and are beneficial to all adults and children.


- This is a flawed reasoning task using content from 2.NBT.5 and 2.NBT.6.
- Remix of:
- 2.NBT.A.1 Flawed Reasoning_Jasleen Swim Ribbons
- Elementary Education, Mathematics, Numbers and Operations
- Upper Primary
- Grade 3
- Material Type:
- Activity/Lab, Assessment, Homework/Assignment
- Linda Schoenbrodt
- Date Added:
- Creative Commons Attribution Share Alike
- Media Format:
- Downloadable docs, Text/HTML
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In the Senate, where he served from 1807 to 1813, William H. Crawford (1772 - 1834) distinguished himself as an advocate of conservative public finance, promoting an extension of the charter of the First Bank of the United States in 1811.
Sec. William H. Crawford
Oil on canvas
63 1/4 x 53 1/4 x 4 3/4"
President Madison appointed him Secretary of the Treasury as the Second Bank of the United States was established, and he continued under President James Monroe. Crawford took over a Department still in fiscal confusion resulting from the poorly financed War of 1812.
With the goal of organizing the Nation's bookkeeping, he initiated the Reform Bill of 1817, which charged with the Treasury Department with the responsibility for settling the financial accounts of all the Federal Departments. The structure of the Treasury Department was subsequently altered to accommodate its increased duties. During his Secretary tenure, Crawford also oversaw extensive improvements to the Nation's infrastructure, including the initiation of coastal fortifications and the construction of the great westward leading Cumberland Road. In 1825 Crawford refused President John Quincy Adams' offer to continue as Secretary, citing important differences in their views, and resigned at the end of Monroe's term.
About the Artist
Henry Ulke (1821 - 1910) was born in Frankenstein, Germany in 1821 and received his early art education with Professor Wach, the court painter at Berlin. Ulke immigrated to New York in 1852 where he worked as an illustrator and designer on such magazines as Harper's and Leslie's Weeklies. He moved to Washington, D.C. in 1860 and set up a studio for photography and painting at 434 Pennsylvania Avenue, soon attaining such a favorable reputation in political circles that he was titled "Painter of the Presidents." His portrait of William Crawford, executed in 1879, was based on previous life portraits of the Secretary by Asher B. Durand and John Wesley Jarvis.


Key Ideas about this Work of Art
- The bright colors and overlapping shapes in Landscape were inspired by Hans Hofmannâs interest in cubism and fauvism. Both of these modern art movements encouraged the creation of art that did not look realistic. Cubism focused on breaking three-dimensional objects into two-dimensional shapes. Fauvism focused on loose brushstrokes and vivid colors.
- Some elements of this painting (like the houses) are recognizable, but most of the elements are abstract. The artist created this work during his transition from creating more realistic-looking paintings to abstract painting.
- In addition to being an artist, Hofmann opened art schools and taught art for decades. His teachings influenced many famous abstract artists of the mid-20th century.
Artist Hofmann used bright colors and abstraction in his paintings, with an emphasis on expressive brushstrokes. He was inspired by the cubist and fauvist art movements of the early 20th century. Cubist artists focused on breaking a subject into geometric shapes that appear to show the subject from multiple angles at the same time. Fauvist artists used color and expressive brushstrokes to communicate their emotions.
The landscape depicted in this painting is a skyline of small homes, with patches of color that define the areas above and below the town. Landscape has some elements of traditional landscapes as well as elements of cubism and fauvism. Hofmann created this painting during his transition from representational to abstract art.
Hofmann was born and raised in Germany, where he studied art from a young age. He moved to Paris in 1904 to continue his art education. There he met many artists, including Pablo Picasso, Georges Braque, and Robert Delaunay, who influenced his colorful, abstract art style. Hofmann moved to Munich, Germany, just before World War I. After he was disqualified from military service due to a lung condition, he opened an art school in the city. In the 1930s he began teaching art and opened art schools in California, New York, and Massachusetts. He managed his art schools until 1958, when he closed them in order to focus on painting. During his time as a teacher, he influenced the styles of numerous abstract artists. Some of the artists he taught include Frank Stella and Helen Frankenthaler, whose works can be seen in the NCMA Peopleâs Collection.
Resources for Teachers:
- Learn more about Hans Hofmann and explore two related lesson plans from PBS.
- Read an article about the psychological effects of color.
- Read an article about the history of abstract art.
Resources for Students:


âO come, let us sing unto the LORD: let us make a joyful noise to the rock of our salvation.â Psalm 95:1
Music is a modality through which we can praise and worship our God and Creator. It is a means of communicating the greatness and glory of God not only to Him, but also a means to communicate about Him to others. CCA recognizes the importance of music in the lives of our students. Through music instruction, we seek to teach our students the attributes of God through comprehension of the lyrics of the Psalms of David and through other songs of worship. Classical music is introduced and themes are analyzed. Research attests to the impact of music education on language development and increased brain activity. CCA values the impact of music in our studentsâ spiritual and academic lives and seeks to provide multiple opportunities for students to engage in music while in school. From music classes to Christmas and spring concerts, to the upper elementary school choir, students have many opportunities for music learning and expression at Calvary Christian Academy.
Jr./Sr. High School Choir (7th through 12th grade)
âOh sing to the Lord a new song; sing to the Lord, all the earth! Sing to the Lord, bless his name; tell of his salvation from day to day.â Psalm 96:1-2
âThe human voice is the most beautiful instrument in the world (Richard Strauss).â At CCA, we consider it a privilege and blessing to express the beauty of the Lord, His creation and âproclaim the good news of His salvation (Ps. 96:2)â through singing together in a chorus. We encourage each student to develop the talent they have been given and learn vocal techniques which can enhance their natural abilities. During the class we have times of prayer, vocal warm-ups and practicing of multi-part music. Moving, breathing and singing as a unit are important preparatory activities for blended singing and corporate worship. While it is humbling to conform to the greater blend and unified sound of the choral group, it also draws the student to the heart of the Lord as the multitude of voices is raised to heaven as a sweet sound in His ear.
CCA recognizes the importance of music in the lives of our students. Research attests to the impact of music education on academic achievement. CCA values the impact of music in our studentsâ spiritual and academic lives and seeks to provide multiple opportunities to engage in music at school and through outreach activities. We also support the countenance and attitude of the choir toward the audience during every performance. It is our desire to bless people and lift them up out of their ordinary stations in life and allow them to freely worship the Lord within their own hears as they listen to our songs.â


The anniversary of the penning of our National Anthem is September 14th. MENC, the National Association for Music Education, has made this historic date an annual event! In an effort to help get Americans singing again, they have called this âThe Campaign to Restore Americaâs Voice.â Schools across the nation will participate in this event by gathering together on September 14th to sing the National Anthem.
Last year, my school participated in this event. We held an assembly on the date, gathering hundreds of children ages 3 through 10. We reviewed the events of the day with a PhotoStory made by our fourth graders, heard the entire poem recited and finally sang together. That moment was amazing: the entire school coming together as a community of American children and adults.
It was a great example of school-wide arts integration. Many (if not all) teachers took time out of their first week of school to teach the history of the poem by Francis Scott Key. They helped them learn the lyrics and the etiquette of singing the song. Some classes made artistic representations of the battle at Fort McHenry and others used the history of the song to practice story structure and story telling as well as oral skills. New vocabulary was introduced and sentence exploration occurred. (Declarative and interrogative sentences are used throughout.) All because of one very powerful song. My class was in charge of creating the movie. They used my netbook loaded up with PhotoStory to import relevant pictures, record narration and lay down the music.
Today, as we remember September 11th, we also are reminded of how fortunate we are to be Americans. To be free and able to learn and teach. We are free to gather together and sing our hearts out.
Music is one of those art forms that can truly connect people and create a community. And that is what the National Anthem does for us at the beginning of a baseball game and before a national event.
This Tuesday, my schoolâs community will gather together again, take a moment to remember the importance of freedom and raise our voices in song.
If you are interested in learning more about this event (including resources, music and history) go to this site:


Parentsâ commitment to music lessons is crucial, too. Parents not only need to make sure children stick to their practicing, but also defend music lessons as a priority when schedule conflicts arise with sports, dance, theater, or other activities.
âA parent has to think itâs important for a child to think itâs important,â said Green. âI had to pick between (Girl Scout age level) Brownies or piano.â
From the Blog: For parents, basic notes when considering music lessons
The Royal Conservatory of Music published a summary of studies on the benefits of music study in childhood development.
"A WEALTH OF SCIENTIFIC RESEARCH over
the last decade is proving that music education
is a powerful tool for attaining childrenâs full
intellectual, social, and creative potential.
l It speeds the development of speech and
l It trains children to focus their attention
for sustained periods
l It helps children gain a sense of empathy
Music study requires a high degree of precision
in auditory processing: being almost in tune
is not good enough. This means that musically
trained children are better able to distinguish
subtle details of speech, leading to improved
reading, better comprehension, and also a
greater ability to interpret what other people
â children and adults â are really saying. "
Here is the link to the full text. I think it is worth the read.
Your Childâs Development:Music Study may be the Best Tool
You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.
I'm a professional pianist and music educator in West Toronto Ontario. I'm also a devoted percussionist and drum teacher.


As a parent or caregiver, you want the best for your toddler. You want to ensure they have a fun and enjoyable childhood while also setting them up for success in the future. One way to support your child's development is by incorporating memory games into their playtime routine. Not only are these games fun, but they also offer several benefits for your child's cognitive and social-emotional development.
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Exploring the Life and Art of Peter McIntyre â The Renowned Australian Painter!
Peter McIntyre was a well-known Australian painter born in 1910. His works include landscapes, seascapes, and portraits. McIntyreâs paintings are a true reflection of Australiaâs natural beauty and unique culture. Not just art, he was also a well-respected war correspondent for the Australian Army during World War II. McIntyreâs contribution to Australian art has been of great significance, and his paintings continue to inspire people of all ages.
Early Life and Education
Peter McIntyre was born in Invercargill, New Zealand, and moved to Australia at the age of five. He was raised in Melbourne and received his formal art education at the Melbourne National Gallery School. Later, he also studied at the Chelsea Polytechnic in London, where he honed his skills in watercolor painting.
McIntyre was primarily a landscape artist, and his works often depict Australian themes, such as the Outback, coastal landscapes, and native wildlife. His paintings were characterized by a unique blend of colors, ranging from soft pastel to the bright and vibrant hues of the Australian landscape. McIntyre had a love for watercolor painting, which he believed allowed him to capture the vivid colors of the Australian scenery.
McIntyreâs career as an artist began in the 1930s. Over the years, his works gained significant popularity, bringing him critical acclaim. McIntyreâs contribution to Australian society did not end with his art; he also served as a war correspondent for the Australian Army during World War II. His experience of living with soldiers in the battlefields influenced his artistic style, and he began including more elements of action and motion in his works.
Awards and Accolades
McIntyreâs talent and contribution to Australian art were recognized throughout his life. He was awarded the Order of Australia in 1985, and his paintings have been exhibited in several prestigious institutions, including the National Gallery of Australia.
Collections and Exhibitions
McIntyreâs paintings can be found in several public collections in Australia and overseas. Some of his notable exhibitions include âImages of Australiaâ at the Rutherglen Gallery in 1990 and âPeter McIntyre: A Reappraisalâ at the Art Gallery of Ballarat in 2008. His works continue to be exhibited in various galleries all over the world.
Influence on Australian Art
McIntyreâs contribution to Australian art is immeasurable. His paintings capture the essence of Australian life and landscapes, and his unique artistic style has inspired many Australian artists. His work continues to captivate art lovers and art critics alike.
McIntyre is considered to be one of Australiaâs most significant artists. His paintings are a testament to his love for Australia and its landscapes. Today, his legacy lives on through his paintings, which continue to inspire artists and art lovers alike.
Peter McIntyre was a remarkable artist who left a lasting impression on Australian art. His unique and vibrant paintings capture the essence of Australiaâs unique landscapes and wildlife. His contribution to Australian art will always be remembered and celebrated.
Q1. What was Peter McIntyreâs prominent painting style?
A1. Peter McIntyre was primarily a landscape artist, and his works often depict Australian themes, such as the Outback, coastal landscapes, and native wildlife.
Q2. Where can we find Peter McIntyreâs paintings?
A2. McIntyreâs paintings can be found in several public collections in Australia and overseas.
Q3. What did Peter McIntyre study?
A3. Peter McIntyre received his formal art education at the Melbourne National Gallery School and later studied at the Chelsea Polytechnic in London.
Q4. What was Peter McIntyreâs contribution to Australian society during World War II?
A4. Peter McIntyre served as a war correspondent for the Australian Army during World War II.
Q5. What is Peter McIntyreâs legacy?
A5. Peter McIntyre is considered to be one of Australiaâs most significant artists, and his paintings continue to inspire artists and art lovers alike.


I can recognize and print the letter Vv.
8,000 schools use Gynzy
92,000 teachers use Gynzy
1,600,000 students use Gynzy
This lesson will help students learn how to recognize and print the letter Vv. They will have a vampire bat guide for the lesson.
Students will be able to recognize and print the letter Vv, as well as determine if a word has a Vv sound.
Students will drag Uu's to attach petals to a flower to reveal their guide for the letter Vv, Vera the Vampire Bat. They will review how to write the letter Vv.
Vera the Vampire Bat will have her friend, Max, demonstrate how to write the letter Vv. Students will then practice writing uppercase and lowercase Vv on the board and on their own paper. Two students can race to complete a puzzle that makes the letter Vv.
Students will then practice and pronounce Vv sounds. They will get to name as many words that start with the Vv as they can think of! Theyâll also get to use their letter Vv knowledge to complete a fun activity that will help Vera the Vampire Bat find her vampire bat friends in the night.
Review the letter Vv with 10 questions on identifying and writing the letter Vv.
Students will review how to write the letter Vv and then decorate the letter Vv.
Save time building lessons
Manage the classroom more efficiently
Increase student engagement
Gynzy is an online teaching platform for interactive whiteboards and displays in schools.
With a focus on elementary education, Gynzyâs Whiteboard, digital tools, and activities make it easy for teachers to save time building lessons, increase student engagement, and make classroom management more efficient.


WHAT IS COMET?
Correlated Objective Music Education & Training, COMET, is an interdisciplinary approach in music education developed by Dr. Karaikudi S. Subramanian. It has imbibed the essence of the gurukula way of learning while giving room for creative and meaningful interactions and applications. COMET is thoroughly traditional in its content, but contemporary and global in its reach and hereby provides a fuller understanding of music. It is a system of training which allows all to climb up the ladder of learning at his or her own pace.
Dr. KSS seeks to make music accessible to everyone through a meticulous scientific study of what he calls the âbasics of the basicsâ. COMET is based on the generic principles in music making, useful to anyone in any genre of music. A novice can start with it. A professional can gain from it. On the one hand it creates rasikas to appreciate, support and nurture music through generations. One the other, it fills the gaps among professionals in becoming more refined and sensitive performers and scholars who could connect performance and scholarship with preservation and philanthropy.
COMET, as I see it, is based on modern insights into the psychology of creative processes and music making, on a thorough reflection of the fundamentals of Indian music and raga structures, an intelligent way of using notations and graphic tools, and a carefully designed syllabus to lead students from the very beginnings to higher performance levels. And, COMET works.
Prof. Hans Neuhoff
Cologne University of Music and Dance
This interdisciplinary approach in music aims to bring about a stronger awareness among traditional practitioners of the need to preserve our cultural identities while giving room for creative and meaningful interactions and applications.
The purpose of COMET is to make use of the full potential of music through the exploration of generic musical principles to correlate different disciplines. This enables students to experience their uniqueness. It is a system of training which allows all to climb up the ladder of learning at his or her own pace. It establishes a broader base to bring out excellence in any individual. In other words, everyone is given his or her own orientation to develop his or her inherent strong point. This method helps the learner to transcend stylistic limitations and addresses every detail of the problems existing in the field of South Indian music. This will further help learners, on the one hand, to find their place within a particular tradition, and, on the other, not be narrowly bound by the peculiarities of their masterâs tradition.
FEATURES OF COMET
1. Scientific understanding of the principles of music, musical instruments, breathing control (yoga), voice production, musical aesthetics, the ability to transcribe music in its several dimensions, linguistic capabilities and a historical awareness.
2. Exploration of chants to stabilize breathing, to focus on the tonal centers within the body and as a charging device through repetitions.
3. Meaningful interactions with other music cultures as an exercise to understand the essence of oneâs own tradition through comparison and contrast.
4. Training in musical transcription at the prescriptive and descriptive levels using the svarasthana notation as well as the graphic notation called âEmotional Graphic Representationâ invented by Dr. Karaikudi S. Subramanian.
Correlated: The principles and practices of Carnatic music applicable and relatable to different musical styles in the Indian and global context, in other arts, in education and in complementary musical applications such as therapy.
Objective: The principles of Carnatic music taught in a systematic, step by step method, objectively, so that one can transcend stylistic, linguistic and other limitations in the performance of musical compositions, in learning any musical instrument and in improvisation. The learner begins to perceive music as a whole in order to focus in the area of specialization without ambiguity.
Music Education: Learning music through an inclusive graded curriculum from the kindergarten to the level of quality-oriented higher education, finally leading to self- learning, research and applications of music in other disciplines.


The process of music teaching and learning typically consists of teaching methods, strategies, and pedagogy of the different types of music. Research shows that music teachers have the highest satisfaction and subsequent continuation in all four areas: 1} teaching and learning; 2} student development; 3} teaching styles and techniques, and 4} professional growth. Satisfaction levels increase as students progress through the program.
Most professionals involved in music education research agree that teaching strategies, pedagogy, and intergenerational interactions are important factors that affect student satisfaction and achievement. Several factors, such as the availability of specialized materials and the ability to interact with others in an informal setting contribute to this equation.
Other elements, such as music teaching and learning policies and guidelines, teaching music resources, music teaching effectiveness, music education research, and music teaching and learning research, can play a role Raindance â Homepage | The Home of Independent Film. In addition, some experts suggest that the content and structure of teaching are an essential component that influences student learning.
Music teachers play a crucial role in educating young people. Satisfied teachers make for more effective educators. Several factors, such as the availability of specialized materials and the ability to engage in informal intergenerational interactions contribute to this equation. Music education research indicates that some factors, such as the quality of musical teaching, are positively associated with student achievement and the quality of teachersâ overall social relationships.


The Practices of Mathematics Educators: A Comparative Study of Teaching Across Countries
Students in the U.S. are being outperformed in mathematics by students from all across the world. Does this mean that the students from other countries will also build better economic skills than the students here, and will their students eventually be able to obtain better jobs involving mathematics than the students learning math in America? We do not want to sit around and find out, so studies are currently being conducted to see how we can increase the mathematics scores of our students as well. The purpose of this study is to determine what practices can be adopted by U.S. mathematics educators to improve the effectiveness of their teaching. Based on the TIMSS 1999 video study, the United States and two higher achieving countries; Hong Kong and Czech Republic were chosen for analysis. Qualitative descriptions of 4 representative lessons from each country were created, focusing on how teachers in each country introduce new topics, the things that they require students to practice, and the material reviewed during lessons. Based on the observations from this study, I concluded that teachers in the United States should provide their students with more opportunities to work challenging problems and to think through mathematics content on their own.
Amber Beaman, Senior Elementary Education major, worked on this provocative study with Professor Jim Hiebert, a reknowned mathematics education scholar. This was Amberâs third summer of research, and by her account, this was the best summer ever; the work has really progressed. Amber is well on the way to success as a classroom teacher and teacher leader. Her research positions her to effectively support instructional reform efforts, and she will be an asset to any elementary or middle school faculty. Congratulations Amber!!!