CLIFTON, Debbie, editor. 1992. READ 27.2.
- A discourse-word-letter method for teaching reading, by LINDRUD, Eivor; LINDRUD, Stellan, authors.
- Literature based reading programmes for Papua New Guinea: Practical and enjoyable activities for village classes, by WATERS, Glenys, author.
- Primers: Can we do better?, by KREKEL, Cathy, author.
- Report on a literacy method used in Kol Prep schools, by LINDRUD, Eivor; LINDRUD, Stellan, authors.
- The five components of a literacy programme, by LAWRENCE, Marshall, author.
- The relationship of teachers’ reading habits and functiuonal literacy development in Nigeria, by OLAOFE, Isaac A., author (Nigeria).
- Towards an integrated strategy for translation and literacy work in SIL fieldwork and an analysis of Whole Language techniques, by JESUDASON, Daniel, author.
- Why the Evangelical Lutheran Church of Papua New Guinea teaches oral language, by DOMMERHOLT, Annie, author.
- You mean to say that literacy workers need to know something about translation?, by SPEECE, Richard F., author.


A CD and songbook kit of 10 sequential lessons for musicians ages 4-6.
This adaptation of the Music for Little Mozarts piano curriculum is designed to provide classroom music instruction for 4-, 5- and 6-year-olds in the preschool or kindergarten setting. It is a comprehensive approach to musical learning that develops singing, movement, and listening skills simultaneously with an introduction to musical styles and concepts.
Ten detailed lesson plans are included along with reproducible activity pages for the children. The curriculum materials combine to create an exciting and imaginative atmosphere in the classroom. No keyboard instruction is included, but the classroom edition can serve as a recruitment class for the piano course. Perfect for teachers with limited preparation time, and all levels of musical experience. The CD includes all of the songs, stories and activities.
For music teachers who want to offer this program, piano accompaniments are included as an optional enhancement to the lesson. Assessment materials and correlations to the National Standards for Music Education are also included.


Environmental Education & Outreach Programs
Programs, Presentations, and Resources for Teachers
EPCAMR Staff has a variety of presentations and information that we offer to schools, watershed groups, civic groups, and local government for a small program service fee (typically $100). Below are sample topics that can be covered in a presentation that generally lasts 30 minutes to an hour, depending on detail and age-level/previous knowledge of the audience. Hands-on activities may take a little longer to prepare and conduct (and may include an extra charge to cover supplies). Please see our Environmental Education Programs Brochure for more details.
1. Your School’s Watershed Manual: Student projects to help watershed groups
2. Whats in your Water?: Abandoned Mine Drainage in Local Watersheds Education Module: A good overview of AMD, set to curriculum standards
3. AMD in a Jar and a Box of Rocks: Presentation on various types of AMD and AML geology including different types of coal, use of limestone, and general geology; A very visual and hands-on presentation
4. Chemistry Tests: Using our HACH AMD Testing Kits, which consist of pH, Iron, Alkalinity, and Acidity tests
5. In-Stream Macro-invertebrate Sampling: Using kick-nets to catch and identify macros with the Stroud Water Research Leaf Pack Kit
6. Various PowerPoint presentations full of colorful pictures of many of our reclamation and remediation projects throughout the region
7. AMD Tie-Dye Workshop: We can demonstrate how to tie-dye t-shirts, table cloths, furniture, and wood, with our dried AMD Iron oxide pigment; Bring your own t-shirts, table cloths, and furniture; Download instructions here -> Iron oxide Tie-dye Activity
8. Painting with Soil and AMD Sediments: An activity from our friends at the Natural Resources Conservation Service (NRCS); The colors and textures of soil painting are fascinating and offer a creative opportunity for all students!
9. 3-D Model: Shows 4 different AMD Passive Treatment System remediation designs (NO LONGER AVAILABLE)…but check out this 3-D Model Legacy Presentation
11. 3-D Model: Shows how an underground mine pool flows and creates AMD in an abandoned Anthracite mine (NO LONGER AVAILABLE)
12. GIS Demonstrations: How EPCAMR uses GIS/GPS to coordinate AMD and reclamation projects in the region
13. Environmental Education Curriculum Activities related to AMD: Thanks to the Saint Vincent College Environmental Education Center, we are able to offer teachers Primary and Secondary Education Courses and Workshops for Continuing Education Credits(CECs). An example of one of the modules is “Settle it Out”, which explains the process of removing metals from water using a wetland treatment system. All materials are on the Saint Vincent College Environmental Education Center website.
14. AMD Avengers vs. the Pollution Posse Activity/Coloring Book: For elementary education teachers and students; Also a great learning tool for adults and community members alike.
Please visit our online collection of Reference Materials and Workbooks and our Links Page where you can find links to resources that might be helpful in finding additional environmental education materials.


Gold jewelry shaped like bees,
from Bronze Age Greece
Gold is a much heavier atom than iron, with 79 protons and 79 electrons in each atom. Gold is too heavy for even red giant stars to make through nuclear fusion. The only way to make gold is when a red giant star explodes in a supernova. When that happens, the tremendously high temperatures of the explosion itself - hundreds of millions of degrees - force the star's atoms to mix together and make gold (and other heavy atoms like uranium).
All of the gold in the universe was made during these supernova explosions. Because it's so hard to make, there's much less gold in the universe than there are lighter atoms like hydrogen or carbon or silica. Since gold also happens to be pretty, we think of it as valuable.
To find out more about atoms, check out these books from Amazon.com or from your library:
Science for Kids home page
Kidipede home page


Why should teachers and students in 21st century classrooms podcast? As potentially disruptive, narrowcast multimedia production, podcasting can serve as an invigorating tool of communication and authentic literacy development in schools. In this program I address:
- WebSighting: The new website from the UK: iPod in Education (www.ipodined.org).
- Editorial: When we consider podcasting as a technology which is disruptive rather than sustaining, encouraging of multimedia production rather than mere consumption, and narrowcasting rather than broadcasting, I think we find three compelling reasons to podcast in the classroom.
Program Length: 18 min, 21 sec
File size: 8.4 MB
Subscribe to “Moving at the Speed of Creativity” weekly podcasts!
Did you know Wes has published several eBooks and "eBook singles?" 1 of them is available free! Check them out! Do you use a smartphone or tablet? Subscribe to Wes' free magazine "iReading" on Flipboard!
If you're trying to listen to a podcast episode and it's not working, check this status page. (Wes is migrating his podcasts to Amazon S3 for hosting.) Remember to follow Wesley Fryer on Twitter (@wfryer), Facebook and Google+. Also "like" Wesley's Facebook pages for "Speed of Creativity Learning" and his eBook, "Playing with Media." Don't miss Wesley's latest technology integration project, "Mapping Media to the Curriculum."
On this day..
- Use IFTTT to Auto-Tweet New Posts from Your Classroom Blog - 2013
- Reflections from the M - 2011
- We Need More Hawkeyes - 2010
- Moving Beyond the Tools.....How Do We Implement Them? - 2010
- Are virtual interactions REAL? A video answer from @danlovejoy - 2009
- New media changing journalism norms - 2009
- Helping young people prepare for IT related careers - 2008
- Videos for Professional Development - 2007
- Learning with the Podcast Shuffle - 2005
- Google news embraces RSS feeds! - 2005


Inclusive Early Childhood Education
The Inclusive Early Childhood Education Program (IEC) at Bowling Green State University is a revolutionary program in the state of Ohio that will prepare undergraduate teacher education candidates for employment in inclusive early childhood learning environments.
The Inclusive Early Childhood Education program leads to a Bachelors of Science in Education degree. This is the first program in Ohio where undergraduates earn multiple credentials:
- Early Childhood Education license for pre-kindergarten through 3rd grade.
- Early Childhood Intervention Specialist license for pre-kindergarten through 3rd grade.
- Birth to Age 3 Early Intervention Specialist certificate through the Ohio Department of Developmental Disabilities to work with infants and toddlers who have or are at risk for developmental delays or disabilities.
BGSU graduates of the program will be able to teach young children
with and without disabilities in inclusive settings.
The IEC program blends the best practices from early childhood education with early childhood special education. It addresses the knowledge, skills, and values necessary to meet the needs of each child. Graduates are prepared to provide differentiated, evidence-based instruction to young children from birth through grade 3. The program is committed to the development of partnerships and scholarly endeavors that reflect the University’s professional values of justice, fairness, and equity.
National education associations support inclusionary practices, and young children across the county are reaping the benefits by experiencing success in inclusive settings. BGSU’s Inclusive Early Childhood Education program involves professionals from diverse disciplines working together to address the complex learning needs found in all classrooms. We support parents, community members, teachers, and paraprofessionals as partners in the educational process, and each child is a respected member of the learning community.
Faculty from both early childhood education and special education bring knowledge and strong backgrounds to help students gain a diverse and well-rounded foundation for inclusive early education. This professional collaboration includes co-planning and co-teaching courses, modeling recommended practices in early childhood and early childhood special education classrooms today.
BGSU Resources to Support IEC Students
Candidates in BGSU’s teacher education programs enjoy a variety of useful resources that include the Technology and Resources Center and the Reading Center in the Education Building, as well as the Curriculum Resource Center in Jerome Library. Education-related clubs and organizations, including Bowling Green Student Council for Exceptional Children, and Early Childhood Organization, complement social groups, such as Greek Life. BGSU’s Teacher Job Fair, sponsored by BGSU’s Career Services, is one of the largest in the entire country.
All Inclusive Early Childhood Education majors take a combination of classes from across the university: science, math, arts & humanities, and social & behavioral sciences. Courses in the major are taken in three primary areas: Human Development and Family Studies, Intervention Services, and Teaching and Learning. In addition to the coursework required, the Ohio Board of Regents requires all licensure candidates to successfully pass the appropriate Ohio Assessments for Educators (OAE) content specialty test, as well as the appropriate OAE Assessment of Professional Knowledge test. Candidates must apply for the two exams, as well as apply for their teaching licenses.
Special opportunities exist for students entering teacher education degree programs at Bowling Green State University. These include: (a) Educators in Context and Community (ECCO) learning community, (b) studying abroad in Keele, England, or (c) student teaching with our school partners in Aldine, Texas.
The Inclusive Early Childhood Education program at Bowling Green State University is an NAEYC (National Association for the Education of Young Children) Nationally Recognized Program. It is fully accredited by the Ohio Board of Regents. All Teacher Education programs at BGSU are fully accredited by NCATE (National Council for the Accreditation of Teacher Education).
Graduate Programs, Endorsements, and Certificates:
- School of Teaching and Learning Graduate Opportunities
- School of Intervention Services Graduate Opportunities
Kimberly A. Christensen, Programmatic Co-Coordinator
403 Education Building
College of Education and Human Development
Bowling Green State University, Bowling Green, Ohio 43403
Students interested in enrolling in the Inclusive Early Childhood
Education program at BGSU-Firelands should contact:
Anne Leser, 419-372-0968, firstname.lastname@example.org
or Katharine Dailey, 419-372-0664, email@example.com
BGSU-Firelands, Huron, Ohio 44839-5560


The national system of elementary education was established in Ireland in 1831, nearly 40 years before there was a similar system in England. Prior to its introduction, there were already numerous schools throughout Ireland, though many were in poor condition and were badly conducted. The province of Ulster, for example, had 3,449 schools in 1821, of which over 1,000 were to be found in Cos Antrim and Down. No county, in fact, had a better ratio of schools to population than Down.
Among these pre-1831 schools were those managed by the Kildare Place Society, schools sponsored by the London Hibernian Society and hedge or ‘pay’ schools which generally served the Catholic community. The schools sponsored by the London Hibernian Society were avoided by Roman Catholics because of their proselytising character.
The aim of the new national system was to provide schools that would serve the whole community rather than particular religious groups. Secular instruction was to be given on week days and on Saturdays clergy of the main denominations provided religious instruction for their children.
Over 2,500 national schools were established in Ulster in the period 1831-1870. The records that are available for these schools provide illuminating detail for the local and family historian as well as for the historian of education.


(Larry Sitsky, Writer & Compiler
Anton Rubinstein, a seminal figure in Russian music, was not only a great pianist but also a monumental influence in Russian music education. Rubinstein is responsible for laying the groundwork for Russia's tertiary educational system for the training of musicians and for establishing the use of Western structural forms in Russian music. He later became the foundation director of the St. Petersburg Conservatory. Detailing Rubinstein's pianistic and conducting repertoire, this work provides insight into Russian nineteenth-century performance practice, and the biography presents a sober assessment of Rubinstein's place in history. The author has researched valuable Russian sources to make this assessment of Rubinstein available in English and has provided informative guidelines for further research.


Professional musicians usually begin playing their instruments at a very early age. Violinists may start as young as the age of three, when they first learn the fundamentals of musicianship and the basics of their instruments. Classical violinist jobs are extremely competitive and scarce, especially if you want to perform with a professional orchestra or become a soloist. But you don't need to be a virtuoso or play for a world-famous orchestra to have a career as a classical violinist -- local orchestras, churches and other ensembles also employ talented classical violinists.
Although the exact amount of practice time varies by individual, several hours of practice on a daily basis is a must for becoming a classical violinist. But in an article for his blog, the Bulletproof Musician, classically-trained violinist, psychologist and Julliard School faculty member Dr. Noa Kageyama states that practice must be mindful. Practicing without intent or merely repeating specific pieces won't do you much good. An hour of concentrated practice is better than eight hours of distracted, unfocused practice. Write down a daily schedule and the names of the pieces you want to focus on. Stick to it, even if you don't feel like it -- it's easier to become sidetracked by other tasks when you're not feeling motivated.
Take Private Lessons
Practicing alone is helpful for becoming a classical violinist, but training with a professional teacher can help you make the most of your practice time. Private lessons may help you achieve certain musical and technical goals. A teacher can also help you work through difficult pieces and provide you with constructive feedback. In an article for the Unconservatory, a non-profit organization dedicated to music and the arts, violinist, composer and educator Ken Blacklock advises aspiring violinists to study with an accomplished teacher who performs with local or professional ensembles.
Join an Ensemble
Exposing yourself to other aspiring professionals by participating in an amateur, university or semi-professional musical ensemble or chamber group is an important step to becoming a classical violinist. Performing in a group provides you with contact with other musicians, allows you to play new or unfamiliar pieces and provides you with the insight and expertise of your group's conductor or musical director. Performing with an ensemble will allow you to hone your technical skills, enhance your overall level of musicianship and help you become more comfortable performing in public. The ACMP, which is also known as the Chamber Music Network, is a helpful resource for connecting musicians with like-minded players in your area.
Study at a Conservatory
While the most talented violinists may not ever receive post-secondary training, many aspiring violinists choose to study at conservatories or universities that offer specialized training in classical music performance. Conservatories provide a comprehensive music education that can result in a bachelor's or master's degree -- some also offer doctorates. You'll have the opportunity to study with top-notch teachers, learn from your classmates, make valuable professional contacts and perform in public recitals and with near-professional musical ensembles.
- Stockbyte/Stockbyte/Getty Images


How it can be used for bottom portion of chart:
Reading 3D is a reading record on a handheld palm available from Wireless Generation.† The instrument balances the assessment of foundational skills with Text, Reading and Comprehension (TRC) diagnostics, giving a complete picture of a studentís reading development.† Teachers administer the TRC to collect a variety of reading and comprehension information.† The assessment involves a child reading a passage from a leveled reader to combine quick indications of early skill development with deep observations of studentsí interactions with authentic texts.† Reading 3D is intended to be used for grades K-5.† The assessment can be used for both determining benchmarks and for progress monitoring.† A series of charts are provided from the assessments to provide data for grouping and to aid in instructional decision making.
Home Connection is an add-on module that supports educatorsí efforts to encourage parent involvement in their childrenís education.† The home connection piece enables parents to:
∑ be aware of the schoolís assessment schedule,
∑ quickly reference the latest benchmark scores with graphical depictions,
∑ understand assessment measures with clear, understandable terms, and to
∑ understand specific details about a childís strengths and weaknesses.


The Making of Braided Rugs
The first floor covering in the United States was the braided rug. Braided rugs were practical and durable and added warmth and color to a room. Usually the tradition of making a braided rug was handed down from one generation of women to another. Often out of necessity, girls learned to make rugs out of old coats, dresses, blankets, or suits while working with their mothers and/or grandmothers. Although the hours were long, the materials needed for making braided rugs were few and the process not complicated. The activity of making braided rugs often helped form a bond between those who made them and the products they created.
In the latter part of the 1900s the art of braided rug making had a revival. Rather than being made out of necessity, braided rugs were made primarily to decorate homes giving a room a “homey, cozy” look. This type of rug was also a reminder of a simpler time.
Today, the art of making braided rugs is not being handed down from one generation to another as it was in the past, but there are still some women braiding rugs. I am one of them. The following paper offers a brief history of braided rugs, the basic process for creating such a rug, and a look at the people who choose to create them.
Keywords: Women and craft, Braided rug making
Dr Shari Stoddard
Associate Professor, Art, Central Washington University
Previously I taught at Ball State University and the University of South Carolina.
I have presented at international, national, regional, and local conferences on topics such as including aesthetics and art criticism in elementary school curricula, cooperative learning strategies, and reflective thinking. I received the 2001-2003 Western Region Binney & Smith Crayola Dream-Maker Grant, and in 1998-1999 the Mary McMullan Teacher Incentive Grant from the National Art Education Foundation. My chapter Including Aesthetics in a Second Grade Curriculum: It Can Be Done has recently been published in the book Teaching Art in Context: Case Studies For Preservice Art Teachers.


Abstract||This thesis presents the findings of a research project which explored studentsí learning during an activity-based mathematics programme. The research investigated what students learnt about solving linear equations and examined the role of activities in this learning.
The investigation of learning in the classroom was guided by the principles of naturalistic enquiry. A longitudinal study was used to investigate studentsí learning during a unit of work that that made extensive use of activities and contexts. The longitudinal design of the study allowed the development of algebraic thinking to be investigated. The ideas of both Piaget and Vygotsky suggest that it is necessary to study the process of change in order to understand the thinking of students. A group of four students, two girls and two boys, were studied for twenty-seven lessons with each student interviewed individually within six days of each lesson, using the technique of stimulated recall. All lessons and interviews were recorded for subsequent transcription and analysis.
Learning to solve equations formally, using inverse operations, proved to be difficult for all the students. For two of them, their poor understandings of arithmetic structure and inverse operations were impediments that prevented them from doing more than attempt to follow procedures. Two of the students did succeed in using inverse operations to solve equations, but were still reasoning arithmetically. There was little evidence in the data that any of the students got to the point of regarding equations as objects to act on. They consistently focussed on the arithmetic procedures required for inverse operations. Even by the end of the topic the most able student, like the others, was still struggling to write algebraic statements. One of the most striking features of the results was the slow progress of the students. For at least two of the students, lack of prerequisite numeracy skills provided a good explanation of why this was so. However for the other two, poor numeracy did not appear to be a reason. The findings are, however, perhaps not too surprising. For children learning about arithmetic, the change from a process to an object view, from counting strategies to part/whole strategies, seems a particularly difficult transition to make. To move from a process to an object view of equations appears to be a similarly difficult transition.
The way in which the students made use of the contexts showed that the activities did not directly facilitate the students to develop an understanding of formal solution processes. The students did not usually make use of the contexts when solving equations, working at the abstract symbolic level instead. Although it was hoped that, by engaging students in meaningful activities, the students would construct understandings of formal solution processes, this did not occur. None of the activities used in the study provided a metaphor for the formal method of solving equations. It is suggested that, for a context to be of great value for teaching a mathematical concept, the physical activity should act as a metaphor for the intended mathematical activity.


Theory and Practice
There is often a split between the theories of art education and between
the actual practice of art education. There are many reasons to embrace
theory and there are good reasons to be wary of theory. Theory that
claims to have identified the best and only way of currently structuring
art education is not in sync with postmodern times in which a variety
of approaches and positions can be seen as equally valid, at least
as starting points. Planning a curriculum based on theoretical positions,
even interesting, up-to-date theories, can be dry and lifeless. "Authoring"
art projects is an art form and needs to begin in an aesthetic, not
only an intellectual impulse. Without the aesthetic impulse, that
combines thinking, perceiving, and making in fresh ways, curriculum
is a mere recitation of what has been, rather than an exploration
of what can be.
Yet, theory can spark an intellectual and aesthetic impulse. Such
thinking can transform and enliven an art education curriculum. It
can encourage incorporating contemporary thinking about art and culture
into the everyday life of the classroom. It can draw attention to
important, but hitherto for, unnoticed aspects of the content of the
curriculum. It can challenge us to step back from immersion in the
beauty and complexity of the visual and material world to re-think
why we do what we do.
The articles in this section are by teachers, artists, and professors
whose ideas have contributed to the Contemporary Community Curriculum
Initiative. Our goal is to present articles that will stimulate teachers
to look through different eyes at their K-12 (and college) art rooms.
It is by these shifts of perception causing sometimes a slight
and subtle change of emphasis or at other times a complete make-over
of some aspect of the curriculum that teachers continue to
re-invent the practice, outcomes, and theory of art education in our


About Open Access
The role of musical identities in the changing face of music education: How our learners can surprise us!
Lookup NU author(s)
Dr Anne Preston
Preston C, Preston A
Conference Proceedings (inc. Abstract)
Centre for Learner Identity Studies (CLIS) Fourth Annual Conference on ‘Learner Identity’: Identity, State, Education
Edge Hill University, UK
Year of Conference
11-13 July 2012
Full text for this publication is not currently held within this repository. Alternative links are provided below where available.
The recently published National Plan for Music Education states that, “When young people make music together, they work toward a common goal that has the potential to change lives profoundly for the better” (2011:4). The plan supports this vision by proposing a more centralized approach where arts organizations, classroom teachers, specialist teachers and professional performers work in partnership for the good of ‘high quality’ music education provision. This aim encompasses a more specific emphasis on the importance of the socio-cultural context of music education and the significance and transferability of values acquired through music classroom ‘academic’ work in the broader framework of music in society and lifelong learning. Traditionally, approaches to music education have been based loosely around 3 distinct camps: what was practically possible within the context of the classroom; musical knowledge as a product in terms of underlying structures of music and a more holistic perspective, where the acquisition of relevant musical knowledge took place by treating the classroom as a microcosm of music-making practices and values present inside and outside the classroom walls (Swanwick, 1999). A recent addition to this third perspective, and one which has similarities to the national plan, is the Musical Futures model (Green, 2002, 2006, 2008). It is based on an understanding that a student can gain more from musical participation when given greater control over his or her learning. A central challenge is how to integrate such models into everyday classroom practice. This paper explores the micro-macro dimensions of school music in terms of exploring the relationship between the broader framework of music in society and lifelong learning and existing practices in the music classroom. It takes a learner-centred approach and probes the nature of musical knowledge through the co-construction of musical identities. In doing so, it shows how pupils working unsupervised demonstrate a whole range of musical skills and knowledge. It also shows how identity can be used a methodological tool more specifically for uncovering often surprising findings. The extent to which current learner-centred music classroom practices reflect the broader aims of the National Plan for Music Education will be explored by posing two research questions: 1. What can localized formations of learner musical identity reveal about the acquisition of musical knowledge in the music classroom? 2. What can localized formations of learner musical identity reveal about how this musical knowledge is co-constructed in classroom activities? In order to address these questions, the research draws on a micro-analytical framework to studying identity-as-context (Zimmermann, 1998). This approach treats identity as a socially constructed phenomenon rooted in the moment-to-moment dynamics of human interaction. It draws on the notion of ‘discourse identities’ to show how identity is activated, displayed, negotiated and processed in situated experience through discourse. The ‘identity-as-context’ framework enables a view of the development of musical identity during unsupervised collaborative activities in the music classroom. A discourse analysis approach is taken to analyse selected episodes from a series of group work activities. This analysis involves the identification of different ‘discourse identities’ which are then mapped onto the construction of specific roles and relationships in the discourse reflecting different musical identities Findings from the analysis point to a range of unexpected musical identities related to informal musical contexts outside the classroom. The findings also reveal how music collaborative contexts can foster localized identity formations that can extend to broader social relationships and values beyond the classroom. These findings can be used to support the notion that a lot of what already happens in the music classroom reflects the aims and objectives of the New National Plan for Music Education
Newcastle University Library, NE2 4HQ, United Kingdom. Tel: 0044 (191) 222 7657
©2015 Newcastle University Library


On Behalf of a Nation: Hadfield to Command the Space Station
On December 19, 2012, Canadian astronaut Chris Hadfield lifted off above the barren plains of Kazakhstan en route to the International Space Station (ISS). He made the sprawling orbital laboratory his home for five months, working alongside eight American astronauts and Russian cosmonauts as they conducted science experiments, tested new technologies, berthed commercial re-supply craft with Canadarm2 and carried out a spacewalk.
Trusted with crucial responsibilities
Hadfield talks about his Soyuz training during a simulator run with his crewmates, National Aeronautics and Space Administration (NASA) astronaut Tom Marshburn and Russian Space Agency cosmonaut Roman Romanenko in Star City, Russia. (Credit: Canadian Space Agency)
Hadfield, who has earned distinctions as the first Canadian to operate the Space Shuttle's Canadarm in space and the nation's first to walk in space, also served as the first Canadian commander of the ISS. During the launch and two-day trip to the Space Station, Hadfield was strapped into a Russian Soyuz capsule, just to the left of spacecraft skipper Roman Romanenko and National Aeronautics and Space Administration's (NASA) Tom Marshburn. As the "left seater," Hadfield was Romanenko's back up ready to shoulder the Soyuz piloting role if circumstances warrant—a demanding responsibility that Hadfield began to train for a decade ago.
"If the commander gets appendicitis, I must fly the vehicle by myself," he explained.
Hadfield became fluent in Russian in order to achieve proficiency in multiple variants of the recently upgraded Soyuz capsule.
Hadfield poses in front of the new commercial SpaceX Dragon resupply capsule. (Credit: Canadian Space Agency)
As the newcomers docked with the Station, they were greeted by Expedition 34 commander Kevin Ford, of NASA, and Russians Oleg Novitskiy and Evgeny Tarelkin. Hadfield served as a Station flight engineer until Ford's crew departed in March 2013, signaling the start of Expedition 35.
On March 3, Hadfield assisted Ford and Marshburn in the capture of the free-flying SpaceX Dragon capsule. He then took Canadarm2 controls for the capsule's berthing onto the Station. Astronauts are trained to reach out with Canadarm2 to grab and berth unpiloted supply craft – a skill referred to as "track and capture". The new US commercial cargo capsule known as Cygnus originally planned to be launched during the mission was delayed.
A few days prior to Expedition 35 departure, an ammonia leak was detected on the exterior of the ISS. On May 11, NASA astronauts Tom Marshburn and Chris Cassidy got into their spacewalking suits and performed the only mission spacewalk. Hadfield working as the Intra-vehicular expert from inside the Station, supported the astronauts as they replaced a leaky pump in just under three hours. Hadfield was also the Systems Lead for the Station's European and Japanese science modules and worked on science experiments on behalf of Canadian scientists during the mission.
In space, someone will hear you sing
Ed Robertson and Chris Hadfield will premiere a new song from space. (Credit: CBC Music)
As an accomplished rhythm guitarist and vocalist who regularly performs with two astronaut bands, Hadfield had ambitious plans for his leisure moments. He even chose the shape of a guitar pick for his official Canadian patch.
When time permited, Hadfield retreated to the cupola, the Station's domed observation deck with a Canadian Larrivee guitar and production gear, already stowed aboard the outpost. Hadfield had plans to record songs composed with his brother Dave, a musician in his own right. Along with the Barenaked Ladies' Ed Robertson, he also co-wrote the official song for Music Monday 2013 to celebrate music education. This initiative was part of a new partnership between CBC Music, the Coalition for Music Education and the Canadian Space Agency (CSA) that literally took the annual Music Monday celebration to new heights.
- Date modified:


About the STEMArts project
- The mission of STEMArts is to explore an integral approach to teaching/learning that encourages a collaborative exchange between the arts (visual, literary, humanities, performing, etc.) and the STEM subjects (science, technology, engineering and mathematics).
- Its goal is to ask questions and explore possibilities for STEM + Art integration in our schools and our communities.
- STEMArts encourages interdisciplinary multi-age collaborations that integrate art, science and technology while proposing creative solutions to real world problems.
- STEMArts experiments with innovative ways to engage high school students in meaningful collaborations that help them find their passion.
- The STEMArts project experiments and studies innovative STEM + Art solutions with the goal of developing guidelines and best practices for improving K-12 STEM and Art education.
- We align all our collaborations with the National STEM standards and the 21st Century standards to facilitate implementation in schools.


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Re: Teaching about dinosaurs
Here are a few web sites which have free lesson plans which relate to
dinosaurs. You may implement the lessons as is, or use these ideas as a
springboard to your own classroom activities. Natural history museum web
sites also have some activities online.
U.C. Berkeley's "Learning From the Fossil Record" site
The Mining Company: Science for Kids. Click on "Parents and Teachers"
Education and the Internet: Dinosaurs
Newton's Apple: find "dinosaur" on the alphabetized list
Bill Nye episode guide: Find "fossil" and "dinosaurs" under "life sciences"
I would be interested in any other resources or ideas anyone might have.
-- Ralph Miller III email@example.com


Microdemocracy: Citizens Learn to Ask the Right Questions
The ability to ask good questions is essential for gaining access to public information. We need to democratize the teaching of the skill and make it available to people in low-income communities who come into direct contact with public agencies.
Microdemocracy is a new idea that ordinary encounters with public agencies are opportunities for individual citizens to “act democratically” and participate effectively in decisions that affect them.
The skill of question formulation is a foundational democratic skill that is not deliberately taught in most classrooms in the country. Our book, Make Just One Change: Teach Students to Ask Their Own Questions
(Harvard Education Press: 2011) has led to students in schools in low-income communities who are more engaged, take greater ownership of their learning and are learning more.
The same transformation takes place when adults who need to navigate complex public systems learn to ask their own questions and focus on key decisions. The Right Question Institute has developed a strategy that is being used in communities all around the country and beyond to help people learn how to advocate for themselves and hold decision-makers accountable. Gaining access to foundational skills for gathering information and taking action is essential for strengthening democracy on all levels.
What do we call it when people in low-income communities ask questions, participate in decisions and hold decision-makers accountable in their ordinary encounters with public and publicly-funded institutions such as their children’s public school, the welfare office, job training program, Medicaid-funded health care service, and public housing? We have no ‘democratic’ name for action at that level.
Democratic theorists may ignore the experiences there or simply call it ‘individual advocacy.” But, they are overlooking the importance of this terrain. We think we should expand our notion of where democratic action can occur. All those public sites are actually outposts of democracy that exist only because of decisions made further up the democratic decision-making chain. The outposts are already considered as public terrain. They could also become democratic terrain. But that depends on what happens there.
The Right Question Strategy
can change the dynamics of what happens in those encounters. As people learn to focus on decisions and ask their own questions, they begin to participate more effectively in decisions, partner with public servants and also hold decision-makers accountable. These are skills that the Right Question Strategy teaches as thinking and advocacy skills. But, they are also democratic skills and reflect democratic habits of mind. In a democracy, unlike in a dictatorship, citizens should be able to ask questions, participate in decisions that affect them and hold decision-makers accountable.
What is your project? [1 sentence max]
We will create and disseminate creative commons materials in various formats and media that can be used to teach the skill of question formulation in public and publicly-funded agencies and institutions that come into daily contact with residents of low-income communities (community health care centers, public schools, welfare offices, job training programs and adult literacy classes).
Where are you located?
Cambridge, MA, USA
How did you hear about the contest?


SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.
Issue link: http://www.schoolartsdigital.com/i/218040
advoCaCy Winning the Creativity Game Eldon Katter C reative skill partnered with an open attitude toward innovation and invention does not come without effort, practice, and, yes, enjoyment in more or less equal proportions. However, all students can increase their creative potential if they have the coaching and training to propel them forward. Coaching and training Coaching and training can make a big difference in developing creative potential in art, just as they do in sports. Even though sports training involves exercises, routines, and practice, all athletes will tell you that as they train, they know they are getting better at the game, and the better they get, the more confidence they have in their skills, and the more they enjoy the game. exercise and Practice In sports, athletes do not give up because a particular move did not work as planned. They exercise to finetune the muscle groups involved in the move. They practice and try again. While routine, exercise, and practice may sound like the antithesis of creative activity, they are essential to the mastery of skills and the building of self-confidence. In creative endeavors, as in sports, you have to believe in yourself, be willing to take reasonable risks, be sensitive to subtle shifts in position, know when to think outside the playbook, and sometimes reach beyond established boundaries. 12 January 2014 SchoolArts room, the greater their potential for mastering traditional skills and seeking innovative approaches to artistic problem-solving. Like armchair sports fans, students may learn to become conversant about art by observing from the sidelines, but they will only become innovative and creative individuals when they have a good art coach, regularly scheduled training, and ample opportunities to practice their skills. excelling and Winning As students become more skillful in thinking creatively, they will find this has a powerful effect on their overall approach to life and learning. In later life, creativity will be useful in personal as well as work-related matters. A responsible, creative individual can initiate and innovate instead of waiting to be told what observing and adapting to do. He or she can solve problems, Some coaches believe that the best and generate useful and efficient alternafastest way to learn a sport is to observe tives for action, design systems and and imitate procedures, a champion. Students will only become innovative and make The same and creative individuals when they responsible might be decisions. have a good art coach, regularly applicable All it scheduled training, and ample to learning takes to to be more opportunities to practice their skills. excel in any creative. The creative more students engage in art historical undertaking is training and practice inquiry and investigate the way great combined with desire, effort, and enjoyartists and designers approach their ment. work and the more opportunities they Eldon Katter is co-author of Explorations have to study with a highly skilled art in Art (Davis Publications) and a former teacher or visiting artist in the classeditor of SchoolArts. firstname.lastname@example.org


Highly Qualified Teacher
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The No Child Left Behind Act (NCLB) and the Individuals with Disabilities Education Act of 2004 (IDEA 2004) require all teachers to be highly qualified by the end of the 2005-06 school year. Highly qualified requirements apply to elementary education teachers and to middle and high school teachers who teach one or more core academic subjects including English, reading, language arts, mathematics, science, foreign languages, civics, government, economics, arts, history, and geography. In Iowa, the NCLB and IDEA legislation requires all teachers to hold a bachelor’s degree, a teaching license, and the state required endorsement for all subject areas.
NOTE: In Iowa, all teachers meet the highly qualified teacher requirements if they carry the appropriate grade-level teaching license and academic content endorsement for the grade level and subject areas they teach.
Highly Qualified Special Education Teacher
The highly qualified teacher requirements of NCLB and IDEA 2004 call for all teachers to be "highly qualified" by June of 2006. Although the legislation applies to all general and special education teachers in grades K-12, in Iowa it primarily impacts secondary special education teachers who do not have core content endorsement for subject areas--such as math, science, and English--they have taught in the past, but are no longer allowed to teach under the legislation. Key concepts of the legislation and its impact on secondary special education teachers include:
"Highly qualified" can be considered a synonym for core content expertise and should not be confused with "highly skilled." Special education teachers are highly skilled. They can--and should--provide the following specialized instruction:
- Strategy instruction to their students
- Consultation to core content endorsed teachers on strategies or individualized needs
- Co-teaching with core content endorsed teachers
Intent of the legislation is to partner the strategy expertise of special education teachers with the subject matter expertise of core content endorsed teachers to ensure that students with special needs have access to the same education as their non-disabled peers.


- Development & Aid
- Economy & Trade
- Human Rights
- Global Governance
- Civil Society
Tuesday, June 30, 2015
- Rapacious agents combing the shockingly poor villages of Bihar for child labour regularly visit the dusty hamlet of Parthaha, a Dalit or lower caste village in India’s most backward state.
In exchange for small sums of money, its children are taken away to work in neighbouring Uttar Pradesh state, in Delhi and further north to Punjab where they work on the state’s bountiful wheat and rice farms.
Two years ago, 24 children from Parthaha were found in the infamous carpet factories of Bhadohi in Uttar Pradesh, which relied solely on bonded child workers until they were forced to stop under international scrutiny.
The children were brought back to their Bihar village, but left soon after for other parts of the country because as Kamla, whose son is in Punjab now explained, “there is no work, no food, no school here.”
“He is working in some farm along with the adults of our village. He was in Bhadohi before,” she confirmed, unwilling to give more details of his whereabouts.
India accounts for the largest number of child workers in the world. The 1991 census estimated 11.8 million of the 250 million children between the ages of five and 14 were working, though other independent estimates suggest the child labour force is much bigger, between 40 and 100 million.
Children are presy ending the most exploitative and intolerable forms of child labour, like child prostitution, trafficking, employment in hazardous occupations and processes and in abusive conditions, children could regain their right to a better future.
Among the tools to combat child labour, they have identified education, particularly primary education, as the principal means. “All children outside the school system are child labourers or potential child labourers, and the flow of children into work can only be stemmed by realising universal and compulsory elementary education”.
Child labour in India is the “result of social discrimination, economic exploitation, and the lack of relevant and quality elementary education … made possible by unequal access to principal productive resources and assets,” the U.N system believes.
The joint strategy includes a regional initiative to prevent child trafficking and prostitution that will be undertaken jointly by UNIFEM, UNAIDS, UNICEF, ILO, UNFPA, UNDCP, UNESCO and WHO and would involve India, Nepal, Bangladesh, Sri Lanka and Pakistan.
Surveys and field studies would be coordinated across all the countries, and regional and national level workshops held on the basis of the findings. NGOs working in this area with women and children, relevant government ministries and experts would participate to formulate a plan of action, the position paper states.
“A joint strategy will help speed the process of preventing and eliminating child labour and enhance earlier U.N efforts while also helping to forge links with NGOs, the government and with civic society at large,” the position paper concludes.


Infants and Toddlers
- Early Childhood Learning and Knowledge Center.
- The Center
offers relevant, timely information, knowledge, and learning to Head Start programs and the early childhood community in an easy-to-use format. It is a comprehensive resource for anyone involved with, or interested in, early childhood education, health, and wellness.
- Early Childhood Obesity Prevention Policies
- Limiting TV and other media use, encouraging infants and young children in preschool and child care to spend more time in physically active play, and requiring child care providers to promote healthy sleeping practices are some of the actions needed to curb high rates of obesity among young children (birth–age five), says this 2011 report from the Institute of Medicine.
The report recommends steps that should be taken by child care centers, preschools, pediatricians’ offices, federal nutrition programs, and other facilities and programs to shape children’s activities and behaviors. Policymakers, health care providers, and child care providers can counsel and support parents in promoting healthy habits in the home, the report adds.
- Indian Health Diabetes Best Practice: Breastfeeding Support.
- The 2011 Indian Health Diabetes Best Practice: Breastfeeding Support [PDF – 234 KB] describes clinical tools and technical resources to effectively support breastfeeding. The target population to be covered by the best practice is ultimately the breastfeeding dyad—mother and baby.
- Infant Nutrition and Feeding.
- This handbook
provides an overview of topics related to infant nutrition and feeding and answers some common questions on feeding infants. Chapter topics include: the nutritional needs of infants; the development of feeding skills; breastfeeding; formula feeding; the introduction of complementary foods; oral health; obesity; and physical activity and motor skill development. It is available as a PDF.
- An Easy Guide to Breastfeeding for
American Indian and Alaska Native Families.
- This 28-page booklet
[PDF – 1.3 MB] is for all American Indian and Alaska Native women and their families who choose to breastfeed. The booklet covers healthcare benefits, planning, workplace accommodations, and the father’s role in an easy-to-read text, designed to answer women’s and families’ questions.


William Bartholomew (1822-1898)
An avid painter, William Bartholomew writes texts on the discipline of drawing and creates a system of instruction that leads students through a series of exercises, including geometric and landscape drawing. For a brief period of time, Bartholemew's method of instruction is used throughout Boston Schools.
Friedrich Froebel (1782-1852)
German educationalist Friedrich Froebel creates a lasting impact on American education. Best known for developing the “kindergarten system,” he believes that education should engage the creative mind of a child. Froebel creates environments that differ from the rigid classrooms of time. He develops special materials called “gifts” and prescribes activities known as “occupations”. He believes that through these gifts and occupations, students come to know and understand their world.
Elizabeth Peabody (1804-1894)
A writer, a leader in educational reform, and a key figure in the Transcendental Movement, Elizabeth Peabody plays a significant role in the history of art education. Influenced heavily by Froebel, Elizabeth Peabody devotes her life to the implementation of kindergarten as a pre-education to primary and secondary school. Peabody writes extensively on the subject of kindergarten integration and opens her first kindergarten in 1860.
Charles Callahan Perkins (1823-1886)
Educated at Harvard, Charles Callahan Perkins helps to establish the Boston Metropolitan Museum of Art, and is a key figure in the introduction of industrial drawing into Boston public schools.
John Dudley Philbrick (1818-1886)
Devoting his life to educational reform, John Dudley Philbrick serves as a principal, superintendent of Connecticut and Massachusetts schools, and editor of the Connecticut Common School Journal. He and Charles Callahan Perkins are responsible for introducing industrial drawing to Boston public schools.
Edward A. Sheldon (1823-1897)
Becoming the secretary of the Oswego Board of Education, Edward A. Sheldon establishes the Oswego Normal and Training school in 1861. Blending his own philosophic ideas with those of Froebel and Pestalozzi, Sheldon advocates a new method of instruction called object training. Behind the theory of object training is the notion that education should develop all the powers of the child. Through object training, teachers facilitate the development of the child's senses.


Students working toward a bachelor's degree in education have an opportunity to learn effective techniques for working with individuals of various grade levels and life stages. Schools typically offer the degree as a Bachelor of Education (B.Ed.), and specialized programs may focus on topics such as early childhood education or elementary education. Full-time students can generally complete the degree program in four years.
Online Bachelor's Degree in Education: Coursework and Overview
Students pursuing a Bachelor of Education may take courses both inside and outside of the field, with a combination of education classes and courses in a subject that they wish to teach (e.g., English, math, or biology). Below are examples of education courses that students in the degree program commonly take:
- Introduction to Early Childhood Education: Students examine the history of early childhood education programs in addition to current trends and issues pertinent to educating young children. Specialized courses could cover subjects such as infant and toddler care.
- Child Development: Courses typically cover children's growth as well as their physical, cognitive, and psychosocial development from conception to adolescence.
- Children's Literature: Students explore and analyze various genres in children's literature. They discuss ways to integrate literature into other subject areas, such as math and social studies.
- Contemporary Issues in Education: Students discuss current issues impacting the U.S. education system, including social, political, and policy issues.
- Secondary Education Teaching Methods: These specialized secondary education courses focus on teaching methods for specific content areas, such as math and English. Students study effective teaching practices and curriculum specific to the subject area.
Potential Career Opportunities for Individuals with a Bachelor's Degree in Education
A bachelor's degree in education can provide students with skills applicable to a variety of career paths, primarily in education. With the necessary qualifications, graduates of Bachelor of Education degree programs can pursue careers such as those discussed below:
- Kindergarten and elementary school teachers typically provide instruction to children in kindergarten through fourth or fifth grade. They teach subjects such as reading and math and also assess students' abilities, strengths, and weaknesses. By taking early childhood education and child development courses, students interested in this career can acquire an understanding of how individuals develop throughout their youth and learn effective techniques for teaching young children.
- High school teachers plan and deliver lessons for subject-based classes and help prepare students for state-required standardized tests. The Bureau of Labor Statistics (bls.gov) states that individuals hoping to teach high school students typically major in a specific content area, such as chemistry or history, and often supplement that content focus with education and child psychology courses.
- Middle school teachers usually instruct students in grades 6-8. They teach students concepts and skills for core subjects and help prepare them for high school. According to bls.gov, many states require prospective middle school teachers to major in the subject that they plan to teach, although some states require them to major in elementary education. Prospective middle school teachers who concentrate in a content area can supplement their degree with education courses. Taking curriculum development courses, especially those centered on the student's preferred subject, can help prepare students for classroom instruction.
- Preschool teachers typically work with children between the ages of 3 and 5. They implement a curriculum and plan activities that further children's development of basic skills, such as language, motor, and social skills. While a bachelor's degree is not always required for this career, bls.gov reveals that public schools often require preschool teachers to have at least a bachelor's degree in early childhood education or a related subject in addition to a license to teach early childhood education. Students working toward their bachelor's degree can explore relevant topics such as child development and techniques for instructing young children.
While a bachelor's degree in education can help prepare students for the careers outlined above, public school teachers must also have a license or certification in order to teach, according to bls.gov. Licensing and certification requirements vary by state. Some states, for example, require teachers to earn a master's degree after they have earned a teaching certification. Students interested in furthering their education after earning their bachelor's degree should speak to an admissions counselor and research state requirements for teachers.
Individuals who would like a more in-depth look at bachelor's degree in education programs and the opportunities available to those with the degree should check out the Guide to Majors in Education.
Additional Resources for Individuals Pursuing an Online Bachelor's Degree in Education:
High School Teachers, Bureau of Labor Statistics, 2012
Kindergarten and Elementary School Teachers, Bureau of Labor Statistics, 2012
Middle School Teachers, Bureau of Labor Statistics, 2012
Preschool Teachers, Bureau of Labor Statistics, 2012


Middle School teachers continue to be in demand as
veteran teachers prepare for retirement. Teacher education programs
for Middle School education degrees and licensure focus on comprehensive
curriculum content and pedagogical practices to prepare future teachers
for teaching any grade level 5th – 8th grades.
works closely with universities to design the Associate of Arts degree
options which meet their specific entrance requirements.
There are several different routes to earn licensure for teaching 5th – 8th
One is to complete a Secondary Education bachelor
degree in a specific area of study (math, biology, chemistry, physics,
social studies, English, etc) for grades 6 to 12.
Another option is to complete the Elementary
Education Bachelor degree then add on the 24 hour course requirements
needed to teach a specific area of study at the 5th-8th grade level – called
an “endorsement.” This would be done during the completion
of the bachelor degree requirements at the four year college/university.
Some universities do offer degree programs which focus specifically
on 5th – 8th grades but require the teacher candidate to choose
two areas of study, for example math/science or language arts/social
studies. In all of these cases, dual advising is recommended to ensure
proper course work for transfer.
A final option is to earn either a licensure in Secondary Education
or Elementary Education then take the professional exam in the content
area of interest for Middle School instruction. The licensure officer
at the four year school of transfer can assist you with this route.


To Do This, You Must Know How traces black vocal music instruction and inspiration from the halls of Fisk University to the mining camps of Birmingham and Bessemer, Alabama, and on to Chicago and New Orleans. In the 1870s, the Original Fisk University Jubilee Singers successfully combined Negro spirituals with formal choral music disciplines and established a permanent bond between spiritual singing and music education. Early in the twentieth century there were countless initiatives in support of black vocal music training conducted on both national and local levels. The surge in black religious quartet singing that occurred in the 1920s owed much to this vocal music education movement.
In Bessemer, Alabama, the effect of school music instruction was magnified by the emergence of community-based quartet trainers who translated the spirit and substance of the music education movement for the inhabitants of workingclass neighborhoods. These trainers adapted standard musical precepts, traditional folk practices, and popular music conventions to create something new and vital.
|Fisk Jubilee Singers in 1901|
Featured prominently in the book, here are the Fisk Jubilee Singers performing "Done What You Tole Me To Do."


On a recent summery morning, Miska Rynsburger’s son Brayden and his friend Brynn were occupied with their “ant restaurant,” a cardboard tray decorated with an array of condiments, including syrup, honey, apple and ketchup.
The 4-year-olds’ task: to see what the ants liked best.
At the same time, 2-year-old Cameron carried around an egg carton with the cubbies colored different hues to find matching items, such as dandelions for the yellow carton and grass for the green.
Next on the day’s agenda: bug races in concentric circles to see which bug first dashed across the chalk lines.
As children finish up the school year, and summer months stretch lazily ahead, parents and child caregivers may want to be armed with ideas to combat the dreaded phrase, “There’s nothing to do.”
Rynsburger’s got a list of 101 ideas in her new book, “It’s Time to Play Outside,” which she wrote while having her own children test the ideas. Her daughter, Kearia, 6, is the book’s illustrator.
The book offers ways for young children to initiate creative, independent play outdoors using everyday objects found in a typical house or yard. The 37-year-old former West Ottawa elementary school teacher said she first thought of the book’s concept on a rare 80-degree day in October when the kids were outside playing, and she was busy with household chores.
“Three minutes later, they came in and said ‘There’s nothing to do,’” said the stay-at-home mom.
Rynsburger, of Holland, could think of nothing to keep them busy.
“In that moment I was just dumbfounded,” she said.
She decided she wouldn’t be caught off-guard again and soon began her book, using trial and error on the ideas with her own children on creative initiators to get them active outside.
“They’ve learned how to play outside and dig and explore with nature,” she said.
She referred to Cameron and his egg carton.
“The point is he’s outside learning colors,” she said. “It’s a teachable activity that gets him outside and being in nature.”
The health benefits of play outside are numerous, she said, and too often parents allow children to turn to a movie, television or video games to pacify antsy children or pass time. She holds degrees in elementary education and educational leadership, and completed training at the Midwest Brain and Learning Institute.
Kyle Morrison, exercise physiologist for Helen DeVos Children’s Hospital Healthy Weight Center, said getting kids outside exploring and reaching beyond the boundaries of four walls leads to all kind of benefits, from building up resistance to allergens, boosting vitamin D levels, building confidence and letting loose the imagination.
“Having open space and not being confined is also a good challenge for kids. There’s a sense of wonder and adventure when you have woods and stuff like that,” he said.
Even getting used to sweating, something he’s noticed kids resisting, is important developmentally.
E-mail the author of this story: email@example.com


The Tuneables is an award-winning children's music education DVD and CD series designed to teach the key building blocks of music at a critical time in a child's development. Sponsored by the Music Intelligence Project, this fun, interactive program engages children in songs and activities that provide a foundation of music understanding and growth in intellectual development. Ages 3-8.
Buy your copy today at: www.thetuneables.com/the-music-shop/
Blog » Singing in the Key of D is Best for the Young Child
Young children sing in tune best when the first several songs they learn are in the key of D. This key places the child's voice in the optimal singing range, neither too high nor too low, for controlling the pitch. Learning to sing in tune is the fundamental performance skill needed for successful tonal learning.
The pitch "D" above middle "C" is frequently the lowest pitch that is sung consistently in tune by young children without forcing the tone. A successful introduction to song singing is through two-note songs on the tones D and F-Sharp (DO and MI) in the key of D major. This provides the opportunity to sing in a comfortable range, match pitch patterns that are easily learned, and begin developing understanding and an "ear" for the primary tones of the D major chord--the home chord of the key and the foundation of major tonality.
The song repertoire and singing range is expanded by gradually adding additional tones--such as, "A" (SOL), next "E" (RE) and "G" (FA), and then "B" (LA). These tones encompass the range of a sixth (the first six notes of the scale), the usual singing range (or "sweet spot") of most young children. Choosing songs that include pitches higher than this range should be delayed until the child has developed skills for singing the six-note songs in tune. Expanding the singing range downward should be avoided until the voice matures enough to accomplish good tone production on the lower pitches. If a child has difficulty expanding the range in either direction, continue with songs in the basic range to provide further readiness experiences.
Singing familiar or new songs only in the Key of D should not be abandoned until in-tune singing has stabilized and until children have learned to recognize and name tonal patterns (using tonal syllables) that form the song melodies. Utilizing one key helps to stabilize and reinforce the tonal learning and avoid confusion that tends to occur when transposition to other keys is introduced too early or haphazardly.
Choosing song resources for children is challenging because many recordings and printed song collections give little attention to the young child's optimal singing range. Look for programs, such as The Tuneables, that focus on provided singing experiences that are in the best key, are sequentially arranged to appropriately expand the range, and build the tonal understandings needed for musical success and enjoyment.


Arts and Academic Achievement in Reading: Functions and Implications
Richards, Allan G., Art Education
Academic achievement, particularly in reading, for some students in Fayette County Public Schools in Kentucky has been a concern (Honeycutt, 2000). Over the past 6 years, I have been working with an excellent classroom teacher, from the above school district, who has a passion for the arts and who has a deep respect for their power to enhance learning in different areas and disciplines. Along with parents and this classroom teacher, I have been assisting in the efforts to make students literate in the arts, which puts them in a good position to make connections to reading and writing concepts. At the end of the 1998-99 academic school year, test results show that approximately 90% of the kindergartners who were involved with the arts literacy strategy read on or above grade level. The following year, students in the Title One program showed remarkable improvement. Title One is a federally funded program that provides services to help socio-economically disadvantaged students, including teaching them how to read. Associating the arts with improving students' academic achievement is not a new phenomenon.
Arts and Students' Academic Achievement
Various studies have shown that the arts are successful in improving students' academic achievement in many areas, including reading. Catterall (1998), after analyzing data from the United States Department of Education, indicates that students who are involved in the arts score in the top 2 quartiles on standardized tests and have lower dropout rates than students who are not involved. Further, 10th graders who are involved in the arts score in the top 2 quartiles in reading, history, citizenship, and geography. A later study by Catterall, Chapleau, and Iwanaga (1999) suggests that the gains made by grades 8-10 students from arts involvement persist to 12th grade. Cooper-Solomon's (1995) research suggests that if the curriculum of a school would devote 25% or more of its school day to teaching the arts, students would have superior academic abilities. With no equivocation, April (2001) says, "...the arts do indeed increase students' achievement when achievement is conceived in rich and complex ways-authentic connections between the arts and the rest of learning..." (p. 26).
Other studies find that the arts do not improve students' academic achievement, but even in some of these studies there is indication that they do. Eisner (1998a) selects and analyzes several studies. He suggests that improving students' scores through the arts is inconclusive. Hetland and Winner (2001) analyze 188 reports and find some areas where arts involvement improve academic achievement and some areas where they do not have significant influences on academic achievement. In many of the areas where the results are not significant, there is evidence that the arts boost academic achievement, but the samples are too small to be reliable.
Improving the academic achievement of students in reading is the goal for the arts literacy strategy. To achieve this, students are exposed to the different skills and values that the arts so naturally provide. During this process, the experiences gained are valuable in helping students establish connections to reading and writing concepts. The key to the success of the arts literacy strategy in helping students to make these critical connections to reading and writing concepts lies with the application of the arts.
Applying the Arts
When teaching kindergartners and first graders, the classroom teacher with whom I have collaborated uses one of the top research-based reading curricula that emphasizes phonemic awareness, decoding, comprehension, fluency, and writing skills (Adams, et al., 2000). To prepare the very young students to be observant, distinguish sounds, look for details, expand vocabulary and comprehension, recognize colors and shades, and enrich critical thinking skills, they begin the school year with the arts. …


Christmas in pioneer Indianapolis was a private and almost invisible holiday.
School children in pioneer Indiana enjoyed one holiday tradition that teachers will most likely be thankful they no longer have to endure.
In the autumn of 1834, ten-year-old Sarah Hawks and her family left New York's Finger Lakes area bound for northern Indiana. In 1905, she wrote her memoir.
Faced with limited local and regional markets for their grain and livestock, enterprising Indiana farmers shipped their products by flatboat to New Orleans.
"The backwoodsman loves freedom and equality above all else," the curmudgeonly émigré conceded,"and he will see them observed for friends and neighbors.”
Although mandated by Indiana's constitution, state-funded elementary education remained largely theoretical in Indiana for most of the nineteenth century.
A resurgence of interest in the Arts and Crafts movement in architecture and design has resulted in a renaissance, of sorts, for Indiana hickory furniture. Increasingly showcased in museum exhibitions and interior decorating schemes, the rustic pieces date to Indiana’s pioneer past.


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Merry Christmas , Stepanov Ukraine Reflection for friends. stepanovreflectio...
Summer Piano Projects - Music Theory Lapbooks! #WestMusic #InspireMyClass


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Music and Music Education
What is this major?
Music is a profound and integral part of all human societies. Regardless of age, culture, education, economics, or politics, all people create lasting connections to this form of art. The impact of music is transformational, instigating social and political change and allowing spaces for play and creativity. The self-discipline involved in mastering an instrument cultivates a heightened sense of self-expression and develops the concept of self. Ensemble experience, ideally, requires us to release some measure of our own ego; we combine, support, and blend with others to respond to the nuances and character of their expression. An engagement with art--an aesthetic encounter--is sometimes conceptualized as the sublime, the spiritual, even compared to an understanding of the soul. Musical materials are close to that indefinable domain, embracing areas of emotional, psychological, and spiritual energy while simultaneously requiring detailed organization.
Bachelor of Arts (B.A.): This degree allows students to specialize within the broader context of a liberal arts and sciences education. It also prepares students for graduate work in music as well as affiliated careers in music.
Emphasis in Music Theatre: Students majoring in either Music or Theatre Arts have the opportunity to concentrate a portion of their studies in the area of music theatre.
Bachelor of Science (B.S.): The major in Music Education is an intensive and rigorous professional program that fosters individual growth. Curricular emphasis is placed on critical thinking and creativity, and students gain competency in vocal, instrumental, and general music, K-12. Student teaching placements take place in the sophomore, junior, and senior years.
What can I do with this major?
What skills will I improve/gain?
Creativity, ability to read and write music, singing/instrumental talents, entertaining skills, ability to keep audiences' interest, conducting skills, perseverance, observation skills, communication skills, basic reading, writing, editing skills, humbleness, self-discipline, versatility, good stage presence, physical stamina, teaching abilities, performance techniques, ability to use various sound equipment, adaptability and flexibility, poise
Who employs graduates from this major?
Public and private school systems, recording studios, theatres, colleges/universities, magazines/newspapers, council for the arts, music publishing companies, museums, radio
What is special about this major at Hartwick?
- Study with highly trained, engaging performers and scholars
- Student-teach in the Caribbean
- Study music history in the Czech Republic
- Collaborate on the creation of professional CDs
- Create internships in the recording industry, music management
- Participate in student music, dance, and theatre clubs
- Engage in collaborative project work with faculty
- Workshop a Broadway musical-in-the-making
- Learn to perform music from around the world
- DJ at the campus radio station
- Perform and compose unique music for student ensembles
- Teach Jamaican folk drumming to local elementary children
- Perform and produce a full-length musical every January
Diane Paige, 607-431-4585, firstname.lastname@example.org
Major Connections Contacts
Please contact the Department Chair by e-mail to ask for the names of a few upper-level students you can contact.
Why contact upper-level students? These students can be a good resource to learn what a major is like, what careers are typical, what the professors are like, or even to learn what helped them to decide on this major.


"I started writing [music] as a way of helping myself (and my colleagues) survive the year with an intact sense of humor," educator and songsmith Eric Baylin told Education World. "But now I wonder -- seriously -- if laughter itself isn't one of the soundest pedagogies, a "best practice" that can help us re-tune our schools and shift the culture to one that genuinely embraces wellbeing and lightness of heart as sound supports for learning. I wouldn't mind working at a school whose mission statement included the words 'And this is a school where we love to laugh!'"
If you feel the same way, be sure to tune in to the latest Education World column Time for a Tune-Up: Songs to Brighten a Teacher's Day, in which Baylin offers original musical compositions that are sure to make any teacher smile.
Learn More About Teaching with Music
Teachers, of course, aren't the only "savage beasts" who are soothed and inspired by music. Education World has featured a number of articles about how music is being used in schools to enhance and support learning. They include:
What has "risk takers" performing on stage, teachers singing to the entire school, and students talking about elementary for years to come? Lake Street School's "Morning Sing" brings together the school community for music, literature, and friendship.
Making the Case for Music Education
What will it be -- music or computers? In some communities, it all comes down to that question. New research, special programs, and dedicated teachers and community members are helping make a solid case for putting music "Bach" into our schools.
SteveSongs Transforms Kids Into Songwriters While Reinforcing Classroom Skills
Setting Columbus's journey, the virtues of kindness, and even the long "e" sound to music are part of a day's work for Steve Roslonek. The musician conducts workshops to help students employ skills and concepts from class in the songwriting process.
The Schoolhouse Rocks
Educator Max Fischer reflects on the first time he used pop music lyrics in the classroom. Since then Fischer has found many ways to introduce music -- from the Rolling Stones to Steve Martin -- to achieve learning objectives. Included: Tips for getting started.
Opera Is a Class Act
In an effort to enhance learning in all subjects, some teachers have adopted opera. As students become acquainted with Aida and The Barber of Seville, they develop an understanding of music, language, and culture. Included: Resources for teaching opera.
Teaching About Tolerance Through Music
Students analyze the lyrics of Peter, Paul and Mary songs that express themes of tolerance. They then choose a follow-up activity -- write a poem, perform a poem, sing a song, or draw a picture -- that evokes the sentiments of one of the song's lyrics.
The Black History Rap
Students research famous Black Americans in history, learn how rap compares to other forms of poetic expression, write a rap or hip-hop lyric about the life a famous Black American, and then perform their original raps.
Songs of the Civil War
Students investigate music of the Civil War era, explore how music can be used to arouse and express emotion, and try to imagine how the composers of such songs as "Music in Camp" felt as they wrote their music.


Focus on Irish History: From the 1913 Lockout to the 1916 Easter Rising
The exhibitions Understanding 1916 exhibition and the 1916 section in Soldiers and Chiefs explore these key periods in Irish History.
Find out how you can make the most of your Museum visit...
Tour: Understanding 1916
Students get a general introduction to the political, social and cultural events leading up to the Rising, the Easter Week in Dublin and its aftermath. Students will see key artefacts, such as the 1916 Proclamation of the Irish Republic.
This session can also be tailored to focus on the curriculum strand 'Working as an Historian' and the interpretation of primary sources, by referring to the objects, photographs and written documents on display.
Duration: Approximately 30 minutes.
Primary School Curriculum Links
- Politics, conflict and society
- Language and culture in late 19th and early 20th-Century Ireland
- Eras of change and conflict
- Changing roles of women in the 19th and 20th Centuries
- 1916 and the foundation of the state
- Working as an Historian
Self Directed Visits
Please note that all group visits must be pre-booked. Groups who arrive unnannouced may not be able to access galleries as groups who book will be given precedence. Contact us to make a booking.
The following exhibitions have a strong links to the curriculum strands listed above:
- Soldiers & Chiefs traces Ireland's military history from 1550 to the present day, including key events such as the 1798 rebellion, the Irish in the American Civil War, World War One, the Easter Rising and the War of Independence. The exhibition also explores the daily life of the soldier, the changing technology of warfare, why soldiers join up and life for women and families during times of conflict. These themes are further investigated in activity books for schools.
- Understanding 1916 focuses on the period from 1913 to 1923 and aims to put the Easter Rising into its social, economic and cultural contexts as well as describing the main events of the week and the aftermath.
Follow these steps to get the most out of a self-directed visit.
We are currently developing an online resource for Schools which will be available in 2015.
In the classroom, there are several follow-up activities you can do with your class. We suggest:
- Design a new Irish flag, which symbols and colours would represent Irish people now?
- Write a diary entry before and after the Rising, as one of the figures involved, for example a young person like Molly O'Reilly or Sean Healy, or one of the central figures like Patrick Pearse or Countess Markievicz
- Have a debate in the classroom; which organisation would you have joined and why?
For more tips, see our guide on how to plan a visit
We're continually improving and adding to our online Museum resources.
Looking for information on the Easter Rising: Understanding 1916 exhibition and collections?
Take a look around:
You may also be interested in:
Want to look up a particular artefact? Try our Artefact Search.


Read Well is a beginning reading program designed for K – 3rd grade students in need of remediation. The goal of Read Well is to provide students with the foundational skills critical to reading with understanding. The main focus of the program within the inclusive Read Well framework is small group instruction that is mastery-based, flexible, and guided by individual, ongoing assessments. The end-of-unit assessments allow educators to evaluate the progress and needs of each student and to decide whether immediate, intensive intervention or acceleration is warranted. Whole class instruction supports the skills and content learned in small group instruction.
In a typical Read Well lesson, the educator teaches each small group daily for 45 minutes, with 15 minutes of decoding practice, 15 minutes of story reading, and 15 minutes of skill/comprehension work. Each new unit usually begins with one new letter sound which serves as the stimulus for all activities that follow. The new letter sound is related to a word which is related to the theme students will read about later in the lesson. Next, skills that have been previously introduced and mastered by the students are put into immediate practice through the reading of connected text. Read Well provides a unique story format that includes two types of stories: duet stories and solo stories. The duet stories consist of teacher-read text embedded with fully decodable student text; students read the decodable parts and the teacher reads the other parts. The duet stories provide students with rich content, sophisticated vocabulary, and the chance to actively participate in this higher level reading. The solo stories are fully decodable and are read by the students. Vocabulary and comprehension instruction take place within the context of story reading, using expository and narrative texts.
For additional information about the Read Well program, please visit:


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This activity focuses on how the search for life on Mars is portrayed in fiction and videos. Learners will consider depictions of Mars from science fiction books and video clips. As a group, children discuss what they know about Mars and compare... (View More) their ideas with the way Mars and imaginary martians are presented in the science fiction works. They then use what they’ve learned to create their own Mars Science Fiction “Movie Trailer” Zines. It is recommended that this activity is preceded by two or three of the previous activities in the series so that the children will already have an understanding of what life needs and how Mars compares to Earth. This activity may be extended to serve as a tween and/or teen science fiction book club. It also includes specific tips for effectively engaging girls in STEM. This is activity 7 in Explore: Life on Mars? that was developed specifically for use in libraries. (View Less)
This is a set of three activities about how scientists study other worlds. Learners will explore and compare the features of Mars and Earth, discuss what the features suggest about the history of Mars, and create a model to help them understand how... (View More) scientists view other worlds. The activities help to show why scientists are interested in exploring Mars for evidence of past life, and address the question: "Why are we searching for life on Mars?" It also includes specific tips within each activity for effectively engaging girls in STEM. This is activity 4 in Explore: Life on Mars? that was developed specifically for use in libraries. (View Less)
Students utilize two reading strategies that can be used to understand the Cosmic Times materials, and other readings that may be challenging to them. The first strategy, called Talking to the Text, is an independent strategy in which the students... (View More) write down their thoughts as they are reading the material. In the second strategy, the students pair up and help each other read and understand concepts through reciprocal teaching. This activity is from the Cosmic Times teacher's guide and is intended to be used in conjunction with the 1965 Cosmic Times poster, however, these strategies can be used with any of the Cosmic Times articles. (View Less)
In this activity, students engage in an ongoing investigation to find patterns of sunlight and shadow in a classroom (or any room that gets sunlight) at different times of the day and different times of the year. Students look for repeating... (View More) patterns, keep a log to describe and sketch observations of when and where certain easily recognized patters appear and turn the room into a solar calendar that may survive into the future for other classes to use. Part 1 of this activity requires occasional note-taking and casual observation over the course of a day. Part 2 requires 30-60 minutes to create the calendar record, then casual observation and note-taking throughout the school year. The lesson plan includes a math extension activity and background information about the Sun Dagger at Chaco Canyon. This activity is the third lesson in the Ancient Eyes Look to the Skies curriculum guide. (View Less)
This lesson is about data collection. Learners will investigate different methods of sampling in a simulated cleanroom environment. Includes a teacher's guide and students handouts. This lesson 7 of 10 from the Dynamic Design: The Cleanroom module.
This is a lesson about Saturn. Learners will listen to a read-aloud of the history of Saturn discoveries. Next, they learn two reading comprehension strategies (visualizing and wondering) that they can use to become more powerful readers of... (View More) nonfiction text. Finally, students share their work with partners and the class. This is lesson 3 of 12 in the Mission to Saturn Educators Guide, Reading Writing Rings, for grades 3-4. (View Less)


Catch a Dream
Harcourt, Jan 1, 2003 - Juvenile Nonfiction - 176 pages
Trophies is a research-based, developmental reading/language arts program. Explicit phonics instruction; direct reading instruction; guided reading strategies; phonemic awareness instruction; systematic, intervention strategies; integrated language arts components; and state-of-the-art assessment tools ensure every student successfully learns to read. Pupil editions contain collections of classic and contemporary works, including realistic fiction, folktales, nonfiction, plays, and poems. Also included are lessons to develop vocabulary and comprehension skills and opportunites to respond to literature. Teacher's editions offer comprehensive guides for teachers to implement the program. These guides include instruction in phonics, high-frequency words, and comprehension, as well as activities for listening, speaking, writing, language, and spelling. Additional teacher-friendly features help teachers with classroom management and flexible grouping.
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Alma Flor Ada ARTS PROGRAM CATCH Barry Gott Beth's big fish Boots for Beth Brian Karas bus is stuck CATCH A DREAM Characters Dan's Pet Draw a picture eggs fast fed Jen Fiction Realistic fiction Fins help fish fish eat fish hide fish look funny Focus Skill Frog Pond frogs and Toads Fun with Fish Gary Meszaros Genre Nonfiction Genre Realistic Fiction HARCOURT READING/LANGUAGE ARTS help fish swim Illustrator Genre Realistic Julia Gorton jumped kick learn about frogs little fish Math CONNECTION Name these pictures Norbert Wu Photographer picture name READING/LANGUAGE ARTS PROGRAM Realistic Fiction Realistic Realistic fiction stories says Space Pup Sharks short sound skateboard Social Studies CONNECTION sound for th Sports Day swish tadpole pops Tess Test Prep Details Think and Respond Try Your Best Visit The Learning Word Power Words Words to Remember Words with th Writing CONNECTION www.harcourtschool.com See Skills yell York


In the child-centered preschool, education involves the whole child and includes concern for the child's spiritual, physical, cognitive, and social development. Instruction and assessment are organized around the child's needs, interests, and learning styles. The process of learning, rather than what is learned, is emphasized.
Recent research reveals that preschool children learn best through active, hands-on teaching methods such as experimenting, exploring, discovering, trying out, and restructuring.
Noah’s Ark Preschool embraces the following principles and practices of developmentally appropriate practice:
Wholeness of the child
Interaction with adults and peers
Appropriate learning activities
Preschool is not a downward extension of traditional elementary education. It has its own curriculum, its own methods of classroom management, its own teacher-training programs AND its own methods of evaluation.