Students need to understand the learning intention and success criteria, you must make sure that it is written in “child speak” so that students can both read it and understand what they are going to be learning.
Language is a crucial element of learning. The language that students have already been exposed to has given them an understanding of their success, or lack of it, in learning. It is important to ensure that all learners feel successful, however small their target. Display key words in the same place each lesson and make sure that students get to pronounce them, repeat them and use them in the correct context.
This practice also applies to key verbs. Explain clearly what they mean and what you expect students to do when you develop a task e.g. “Read and display the temperatures” – “read the temperatures on the thermometer and write them down in the grid in your exercise book”. Give explanatory information that allows the least confident learner in the class to do the work you have set. Take even more care with higher level tasks such as “compare and contrast” or “pick out the key phrases”………the more complex the task, the clearer your explanation must be.
You will have Reading Ages for the vast majority of your students as they are tested on an annual basis (see T drive/Other folders/Intervention); use them to guide your choice of text. Ensure you do not have very long chunks of text – students will become bored/confused/off task. Maybe this could have an example of a low reading age e.g. age 8 and that the text needs to be suitable in length, text size, meaning etc. for your average 8 year old.
When you are reading with students, keep stopping to check understanding. Students concentrate for roughly the same number of minutes as their chronological age, less time if they have additional needs. Repetition and correction of pronunciation are important processes in the development of literacy.
Listening exercises, reading aloud and cloze exercises are all relevant strategies you should be including, where appropriate within your lesson planning.
Some of our students are learning English as an additional language; many of them already speak a number of other languages, so we know they know how to access language. It is important, especially for their literacy development, to include some predictive exercises that prompt them to use either the text, or illustrations or other visual clues to work out what happens next.
Another important strategy is to focus on verb tenses and agreement in order to aid both context and understanding.
Make students aware of the purposes of writing e.g. note-taking, essay-writing, letter writing and teach the conventions that accompany each purpose.
When students are ready to proofread or edit their work, you could have them write CUPS at the top of the page.
C reminds them to check for capital letters
U reminds them to check for understanding
P reminds them to check for punctuation
S reminds them to check for spelling.
Reading for one aspect at a time is very accurate. Crossing out each letter of CUPS as they check their work focuses attention more closely.


Degrees and Certifications:
Ms. Claudia Hauser
Art teacher at Southern Boulevard School.
It all started when Ms. Hauser was a young girl. She knew that she would grow up to become an Art teacher. After High school Ms. Hauser moved from Rochester, N.Y., where she grew up, to NYC to attend Pratt Art Institute. There she studied Fine art and Art History. Eventually she earned a Masters of Fine Art degree and teaching certifications in Art Education and Elementary Education. In 1994, while teaching in a summer program at Kent Place School in Summit, N.J., Ms. Hauser met Mr. Pesepane the former principal of Southern Boulevard Elementary School. Mr. Pesepane brought Ms. Hauser to teach art in 2000.
Curriculum/Department information:We are a K to grade 3 primary school. Our Curriculum is comprised of both making art and art appreciation. Our young students learn how to work with Elements and Principles of Art and Design. The works of well known artists are often used as examples to understand art concepts. In Kindergarten, the children learn about the collage art of Henri Matisse; they create their own collages focusing on shape and imagination. In grade 1 the students learn about the Renaissance artist, Michelangelo, and create their own Fresco. They also learn about the French Impressionist painter, Claude Monet. Inspired by Monet, First grade students have the oportunity to create a ceramic water lily sculpture. Grade 2 students learn about the paintings and prints of Pop Artist Andy Warhol. Grade 3 students are inspired by the impasto painting of Vincent Van Gogh in the creation of their own version of "Starry Night".


The goal of The Dinner Party Curriculum Project is to provide teachers with guidance to help their students develop a deep understanding and appreciation of The Dinner Party and what it teaches us about women’s achievements throughout Western civilization. While The Dinner Party Curriculum has been developed by and for art educators, it is also relevant for the study of history, social studies, English, and language arts.
The Dinner Party Curriculum Project consists of 14 “encounters” that are adapted versions of the activities planned for the summer institute at The Department of Art Education and Crafts at Kutztown University. The Encounters are accompanied by lessons, activities, and resources developed and implemented by the institute teachers.
The creative work and the careers of artists and art students who have participated in Judy Chicago’s feminist teaching projects have advanced in significant ways. How does Chicago guide others to translate content to form in art?Can others learn Judy Chicago’s art teaching approach, further developed in recent years in collaboration with partner Donald Woodman? How successful is the methodology when others of different gender and status apply Chicago’s approach?
An archive of the Judy Chicago’s Participatory Art Pedagogy linked here is a multimedia presentation of her teaching methodology developed by Karen Keifer-Boyd from her analysis of Chicago’s pedagogy informed by interviews and observations conducted in 2002 and 2003 with those who had experienced Judy Chicago’s feminist art pedagogical approach in a collaborative artmaking project, At Home in Kentucky, as well as from interviews with Judy Chicago in 2002 and 2003 concerning her teaching methodology in the At Home project in 2001 and the Womanhouse project in the 1970s; and from observing and discussing interim analysis with Judy Chicago in 2003 while she was in the midst of teaching her methodology to others at the Envisioning the Future projects.


Hobbies Playing Music Guitar for Kids Share PINTEREST Email Print Playing Music Playing Guitar Tutorials Basics Tab, Chords & Lyrics Music Education Playing Piano Home Recording By Dan Cross Dan Cross is a professional guitarist and former private instructor who has experience teaching and playing various styles of music. our editorial process Dan Cross Updated August 21, 2018 01 of 03 How to Teach Children to Play Guitar Maria Taglienti / Getty Images The following lesson is the first in a series designed for parents (or other adults) who wish to teach their children guitar, but who have little or no prior experience in playing guitar themselves. The focus throughout this lesson series is fun - the goal is to get your kids interested in playing guitar. The lessons are written for the adult doing the teaching - your goal is to read ahead, internalize what the lesson teaches, then explain each lesson to the child. The lessons provide additional materials you can share directly with your kids. For the purposes of these lessons, we will assume that: The child you're planning on teaching is realistically old enough to learn to play guitarAn acoustic guitar is available for the child to play (if a guitar has not yet been purchased, here is a beginner guitar recommendation for a little girl)The instrument is appropriately sized (children eight and under often do best with half-sized instruments. Three-quarter sized instruments are also available for bigger kids).There is a guitar pick available.The child has access to an armless, straight-back chair or (in a pinch) a bench on which to sit while playing guitar.The adult has access to a printer, or in the absence of a printer, can reproduce some illustrations from the lesson via pen and paper.The adult can commit to learning guitar - although you don't need to be Andrés Segovia to teach your kids guitar, you need to be one lesson ahead of them in the learning process. If you've checked all of these boxes, and are ready to dive into teaching your child to play guitar, let's look at how to prepare for your first lesson. 02 of 03 Preparing for the First Lesson mixetto / Getty Images Before we get down to the process of learning/teaching guitar, there are a few things you'll want to take care of... Get the guitar in tune. Asking a child to learn to tune the instrument before they've even begun to learn to play isn't realistic. Instead, learn to tune the guitar yourself, and get in the habit of tuning it daily. Things will sound better, and they'll want to play more.Learn to read chord charts. We'll be using basic chord charts to explain how to play different chords to songs. Take a moment to learn to read those charts.Print some blank chord sheets. We're going to learn to play a couple chords right off the bat, and this will allow you to write them down in a way kids will understand.Learn to read guitar tab. Guitar tab is the notation method we'll use to illustrate how to play single notes on the guitar in these lessons. Don't worry... it's easy. After you've tackled these preliminary steps, we can get the lesson underway. As an adult, you'll want to read and practice the following lesson in its entirety before you teach it to children. 03 of 03 How Kids Should Hold a Guitar Jose Luis Pelaez / Getty Images In order to teach a child to hold the guitar properly, you'll need to learn to do it yourself first. Do the following: Find a straight-back, armless chair, and take a seat. Sit comfortably, keeping your back relatively straight, with your knees apart.Pick up the guitar. Rest the guitar on your right thigh.Pull the body of the guitar flat against your stomach.Hold the guitar so that the neck runs roughly parallel to the floor.Your upper right arm should rest against the top of the guitar, causing your right hand to naturally align over the sound hole of the instrument.Grab the neck of the guitar with your left hand. You should position your thumb behind the neck, with your fingers positioned loosely over the fretboard. Once you're comfortable holding the guitar yourself, you'll want to try and teach a child to hold the instrument properly. From experience, I can tell you this can feel like a losing proposition - within minutes they'll be holding the guitar flat in their lap. Remind them of proper posture occasionally, but not constantly... remember the initial goal here is to teach them to enjoy the guitar. Over time, as the music they try to play gets more challenging, most kids will naturally begin holding the guitar properly. (note: the instructions above assume you are playing the guitar right-handed - using your left hand to hold down frets, and your right hand to strum. If you or the child you are teaching has a left-handed instrument, you'll need to reverse the instructions outlined here).


"Art has the capacity to lift people's spirits. Culture is an essential ingredient to any improvement in social and economic conditions. For that reason the special status of native peoples must be acknowledged and protected not only in a constitutional but also in cultural context."
Robert Houle is a contemporary artist, curator, and critic who has played a significant role in the recovery of aboriginal heritage. He draws on Western art conventions to tackle lingering aspects of European colonization of First Nations people. He relies on the objectivity of Modernism and the subjectivity of a postmodernism to bring text and photographic documents into his work.
During his formative years Houle was immersed in native spiritual practices and was influenced by Catholicism. The dual experiences of these traditions are present in his work where native symbols and ritual objects are combined with Western sculptural and painting techniques. Houle studied art history at the University of Manitoba, and graduated from McGill University in Montreal with a degree in art education. He has been exhibiting in group and solo shows since the mid-1970's. He was the curator of Contemporary Indian Art at the Canadian Museum of Civilization from 1977 to 1980. During his tenure, he opposed the relegation of contemporary Native art to anthropological or ethnographic artifact. This experience resulted in his introducing themes of Native ceremonial objects into his art, such as the parflèche, or medicine bag, and the warrior spear and shield.
The Place Where God Lives (1989), oil on canvas, refers to a sacred site of spiritual pilgrimage and is the actual meaning of the Saulteaux word Manito-waban, the word that later came to be known as the province of Manitoba. Shortly after this, Houle began work on Seven in Steel (1989). In this work, seven highly polished steel slabs, each commemorating an extinct Native American tribe correspond to a work by the Group of Seven. Houle incorporated small abstract painted vignettes into the slabs. All seven panels are marked by narrow strips of red, yellow and blue, colours specific to First Nations spiritual and cultural life. Seven in Steel refers to the losses that occurred as a result of European treatment of First Nations people, and their relationship to the land and territory.
Houle's concern for the status of First Nation's historical identity is raised in Kanata (1992), a reworking of Benjamin West's The Death of General Wolfe (1770). It depicts a solitary Indian man as a passive witness to the battle of the historical painting. Houle traces the scene of West's painting, draining it of colour, and shifts the focus to the crouching man by painting his ceremonial attire. The red and blue of this clothing is echoed in the monochromatic border panels, physically and symbolically re-framing the work.
Robert Houle teaches at the Ontario College of Art and has collaborated on projects that seek to establish awareness of First Nations contemporary art such as the Land, Spirit, Power exhibition at the National Gallery of Canada in 1992.


The experiences of early education are milestones in the life of the child and his family. It is during this phase of life that children should be free to observe, imitate, create, discover, and make mistakes in order to learn. Through these experiences they learn how to be creative, cooperative, responsible, to take risks and build empathy for others. Fluency in these dispositions will provide a strong foundation for children to become active, happy and successful adults.
Chapel School is committed to providing this rich learning environment as well as differentiated support for our students. Only by looking at each child as unique, can we ensure that individual learning paces are respected and that all children are given opportunities to truly consolidate understandings about the world around them.
A typical day in Chapel School’s ECEC is filled with routines that support the development of social-emotional, cognitive and physical well-being. In ECEC, the day begins with a warm welcome, followed by teaching practices in which children learn by exploring, doing, and sharing.
In the physical domain, care is taken including with how children eat and move. Chapel’s nutrition department works with great care and rigor in the preparation of nutritious and varied foods to teach children to enjoy different flavors. Children are also exposed to healthy living in Physical Education classes which engage them in self-awareness activities. Children learn to identify their physical strengths, be proud of their physical abilities and feel confident when playing collaborative games with friends. Playtime, includes both free and directed activities which are carefully thought out to provide opportunities to develop movement, balance, and other fine and gross motor skills. We know that children who are physically active will be more likely to take risks, explore their environment and be creative.
Our pedagogical direction is rooted in social interaction and play which lead to creativity, a sense of belonging and learning. Social interaction and play are strongly connected to cognitive competence and some direct benefits include self-regulation, memory development, divergent thinking, problem solving as, language development as well as specific content knowledge.
The following educational, advanced and innovative programs are offered:
The Responsive Classroom Morning Meeting takes place every day with children participating actively. These meetings build and foster a strong sense of community, and children develop both socially and academically. Every morning the class gathers for the morning prayer, followed by a greeting, a sharing activity, a group activity and a morning message, which leads children into their daily schedule. Children also engage in daily math routines, such as counting the days on the calendar, organizing and presenting the schedule for the day, completing the weather graph, and taking attendance.
Gold is an authentic observational assessment system for all areas of development and learning. This system recognizes that young children’s development is uneven, that it changes rapidly, and that development and learning are interrelated and overlapping. It is grounded in 38 research-based objectives for development and learning, and is used to guide and differentiate instruction, to collect learning evidence and to report on children’s progress.
These award-winning curriculum are research-based and developmentally appropriate. They are fully aligned with the Head Start Child Development and Early Learning Framework, which uses exploration and discovery as a way of learning. The Creative Curriculum and the All About Preschoolers Curriculum support children to develop confidence, creativity, and lifelong critical thinking skills while exploring interdisciplinary studies that include, language, math, social studies, science, music, arts, and physical education integrated activities.
Math concepts are taught through playful and engaging hands-on experiences using real world examples, manipulatives, games, and other tools. Through the essential processing skills of problem solving, reasoning, communicating, making connections, and representing, children learn mathematics content and build reasoning skills.
The Being A Writer Program begins in Kindergarten, and through collaborative practices children listen to stories and discuss good writing. They share their thinking and listen to the thinking of others, and are introduced to developmentally appropriate writing conventions. Children develop both socially and academically as they build their knowledge and love for writing.
Visual Arts education is based on elements such as line, color, shape, texture, value, shape, and space. During classes, students are exposed to different techniques and materials that provide opportunities to create their projects in various mediums (painting, sculpture, drawing and collage). In addition, the Chapel Art Collection and The Chapel Art Show are used to further enrich classes. The Chapel Art Collection allows students to appreciate and learn from the real art in which they are surrounded. During the Chapel Art Show students participate in guided tours and workshops as well as go to art exhibits outside of Chapel.
Music education at Chapel is rooted in the philosophy of learning as a process whereby students have the opportunity to develop his or her musical abilities by exploring elements and movement. Children have multiple opportunities to learn about the history of music and enjoy to different genres, composers, musicians and performers.


Sacred Heart School’s Early Childhood Program uses age-appropriate curriculum and manipulatives to engage young children in learning and play allowing for the growth and development of the whole child. The warm, caring, and curriculum-based program prepares children for the academic objectivity to follow.
Early Childhood Overview
The Early Childhood Program assists children who are three and four by the start of the school year. The Pre-K3 program is for three year olds and the Pre-K4 program is for four and five year old students. This innovative Early Childhood Program builds a base for all future learning. It gives children the right start and greatly heightens their opportunities to succeed throughout their educational career.
Language and Literacy Development
Balanced Literacy allows teachers to introduce children to the foundations of writing and reading. This approach involves shared reading experiences; mini-lessons about key reading skills; whole and small group discussions; exposure to high quality books; and the reading of books at each student’s own level. Writing in early childhood encompasses a range of skills from simple marks on a paper, drawing, learning how to form letters, adding letters and words to drawings, and eventually writing sentences to communicate ideas.
Pre-kindergarten students explore mathematical concepts that focus on developing number sense 1-10. Counting objects using one to one correspondence 1 through 10, developing and continuing patterns, sequencing, and categorizing skills are additional skill areas that are introduced in pre-kindergarten mathematics. Students also practice numeral formation for numbers 1-10.
Social and Emotional Development
The ability to make friends, collaborate, resolve conflicts, manage emotions like excitement, sadness, and anger are all part of a young child’s development. At school, teachers work with children to recognize emotions in themselves and others, manage disappointment, gain self-control, learn to enter play and care for others
The Cognitive Development area focuses to help children create simple patterns and arrange objects according to size, perform simple addition and subtraction, use knowledge and personal experiences to predict outcomes of scientific experiments and explore a variety of cultures by identifying ways people are alike and different.
In the early childhood art program, students are given a basic education that centers on the foundations of art, from color and shape to texture and dimension. Students will be able to craft detailed works of art using various materials like paint and modeling clay, move to a tempo, beat, or a style of music. Follow multi-step directions as stated in a song, like hopping or clapping and participate in a variety of musical experiences.
The pre-kindergarten religion program strives to develop a positive self-concept for each child. This is accomplished through awareness that God has made each child unique or special. This pre-kindergarten religious program is designed to support parents in educating their children about their Catholic faith. The children will also attend monthly Masses at the Parish.
Fine and Gross Motor Skills
The purpose of the fine and gross motor skills program is an important means of assessing development in the early school years. Games, activities, arts and crafts, playground equipment and coloring play an important role in encouraging emergent self-confidence and academic success.


When Japanese violinist Dr. Shinichi Suzuki founded his string teaching method at the end of World War II, he vowed to bring happiness to the lives of children through music. His method is now world-renowned and taught around the globe. He believed that through teaching children to play beautiful music, you also teach them to have beautiful heart. These children become good listeners, good communicators, team players, and sensitive human beings. In nurturing musical excellence, the Suzuki Method nurtures excellent citizens.
Mother Tongue Approach
Start when they’re young, and they’ll learn to play music as naturally as they learn to speak their mother tongue. Dr. Suzuki developed his method (“talent education”) using the basic principles of how a child first learns to speak their native language: parent responsibility, starting early, listening, constant repetition, and loving encouragement. Every child learns to speak their first language, so therefore every child can learn to play music.
Key principles of the Mother Tongue Approach that Suzuki observed were:
Parents repeat words to the baby every day;
Parents provide natural excitement and praise to the baby for even the smallest progress;
Performance opportunities are abundant (for relatives, neighbours, etc.);
Vocabulary builds on itself; the first words spoken are never discarded or forgotten;
Children learn to speak long before they learn to read.
Teaching music through the music Suzuki Method, therefore:
Children listen to recordings of Suzuki pieces on a daily basis;
Teachers and parents offer praise for successes with the instrument.
Children have ample performance opportunities through organized solo and group concerts as well as in the essential group lessons, where they play the repertoire with and for their friends and classmates.
Review pieces are used as the building blocks of learning and are returned to again and again for learning new technical points.
When the child is comfortable with the instrument and is able to make a beautiful sound, then he/she is ready to focus on note reading.
Every Child Can
A pillar of the Suzuki philosophy is that every child can. No one child is born with more natural talent than another. When given a supportive, nurturing environment, musical ability can be developed in all children. Parents, too, are supported with an orientation to the Suzuki approach and even learn the basics of the instrument themselves to support practicing at home. No musical ability required!
Nurtured by Love
Our teachers are highly qualified, internationally certified, and trained specifically in this method of teaching music to children. They practice Dr. Suzuki’s principle of “nurturing by love” in their private and group teaching, with a patient, encouraging style. The Suzuki Method fosters a nurturing environment through a well-rounded approach of individual and group experiences, and regular celebrations of their musical milestones through a variety of performance opportunities
Suzuki Triangle: Teacher, Child & Parent
The Suzuki Method is more than a drop-off private lesson once a week. It’s an immersive experience in string music education for the whole family. Parents play an active role in the learning process, by attending lessons and classes and helping at home during daily practice. It’s a lifestyle – learning the instrument, making beautiful music, and growing beautiful hearts takes place every day. Family life and the bond between child and parent in enrich through Suzuki Music Education. And an appreciation for music, in both child and parent, is instilled for life!
Children take both private & group lessons as part of the Suzuki Method. Children meet in a group class with peers their own age, playing the same instrument, at the same Suzuki book level. Thanks to core Suzuki reperotire, all children learn the same songs, which easily allows them to play together! Learning happens much more quickly when children are allowed to watch and play with others. They provide a motivating environment, growing more than musical skills, but social and emotional, too.


Music education helps create numerous skills. It must be a necessary component in most schools due to the proven academic, social, and individual advantages that it provides. It has a positive physical influence on a student in addition to social and emotional results. It’s a vital part of the entire education a student receives. Fantastic music education can unlock lots of potential for students. Education is essential, if it’s success you’d love to see. Although it isn’t supposed to just bolster convention as from the very first account of schooling, education is also not supposed to undermine convention. Apparently, even though some can attempt to argue against it, music instruction should be needed in all colleges.
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Having music education readily available in school is crucial to a kid’s development,” he states. Pupils aren’t merely going to have to experience and enjoy what songs provides, but will reap the countless advantages that arrive using music. After mastering the basics of meter, they can learn more about the association between time and meter signature. They’re thrilled with the chance to get their hands on the latest in engineering, and in doing this they are learning musical skills and knowledge which have been demonstrated to boost academic performance. They might also have the chance to participate in general music as part of related arts. Most students at the latest session has been encouraged by their own teachers. It is possible to learn through music and enhance the skills. Music is of big value to the UK’s financial wellness.
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After a very long day on the job, excellent music makes us feel refreshed and energetic, relieving strain and facilitating relaxation. Music is shown to boost the speed at which people learn. In short, it is being used by individuals to enhance the quality of their lives. It is important to Christian education because of its appeal to the whole person. It is one of the most overt learning activities emphasizing the process of learning by doing. With the ability to influence behavior, social skills, sensitivity and general achievement, it can have positive effects on many aspects of life. It is one of the oldest forms of entertainment known to mankind, one of the most ancient forms of human expression.
You could not enjoy him more but youare imperfect.
Deciding upon the correct music for each experience is the initial step. Music helps children and grownups stay alert. It expresses what cannot be said and on which it is impossible to be silent. It does not https://sentencechecker.co.uk need to create excuses for itself, as though it had no inherent value. A number of songs are easily accessible to the majority of people, 24 hours daily, in the touch of a switch. Likewise it strengthens a individual’s perseverance and self-esteemboth qualities that are crucial in having a successful career (Arts Education Partnership 5). Learning how to read music is similar to learning another language.
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It is a very strong medium and in some societies there have been attempts to restrain its usage. It has a positive impact on discipline and confidence, says Rhodes. It can also be a comforting activity to many pupils. If it is your first love and you believe you might want to make a career out of it, learn to play more than one instrument.


Music is a universal language that embodies one of the highest forms of creativity. A high quality music education engages and inspires pupils to develop a love of music and their talent as musicians, and so increase their self-confidence, creativity and sense of achievement. As pupils progress, they develop a critical engagement with music, allowing them to compose, and to listen with discrimination to the best in the musical canon.
Our Curriculum for Music aims to ensure that all pupils:
• Perform, listen to, review and evaluate music across a range of historical periods, genres, styles and traditions, including the works of the great composers and musicians
• Learn to sing and to use their voices, to create and compose music on their own and with others, have the opportunity to learn a musical instrument, use technology appropriately and have the opportunity to progress to the next level of musical excellence.
• Understand and explore how music is created, produced and communicated, including through the inter-related dimensions: pitch, duration, dynamics, tempo, timbre, texture, structure and appropriate musical notations.
Aims at Clerkenwell
The aims of music at Clerkenwell Parochial are for every pupil to:
• Develop an enjoyment of music by providing an opportunity to listen to a variety of music and play a variety of instruments, both individually and co-operatively.
• Develop and extend children’s musical skills, understanding and knowledge with reference to the Early Years Foundation Stage Curriculum and National Curriculum guidelines.
• Develop children’s cultural and spiritual awareness by providing opportunities for listening and responding to different types of music.
• Give opportunities for the children to develop the quality of their singing:
- Children are provided with opportunities throughout the year to perform both in school and outside of school.
- From year 2 children are given opportunity to join our school choir which meets once a week before school. The choir performs within school and sometimes off-site.
Foundation Stage Aims
In the Foundation Stage, Music is stated in the expressive arts and design area of the Early Learning Goals Foundation Curriculum under the Exploring and using media and materials strand.
• Enjoy joining in with dancing and ring games.
• Sing a few familiar songs.
• Begin to move rhythmically.
• Imitate movement in response to music.
• Tap out simple repeated rhythms.
• Explore and learn how sounds can be changed.
At Clerkenwell Parochial CE School, Music will be taught as both a discrete subject, and in a cross-curricular way when the opportunity presents itself.
Staff are required to follow schemes of work to support their planning, these include Rastamouse Rocksteady Reggae a scheme followed by year 1 alone. This is a fully planned and resourced programme.
Reception, Year 2, 3, 4 , 5 and 6 follow Charanga a scheme of work planned through the Musical School programme.
There are 3 main resource areas: Units of Work, themed Topic songs and activities and instrumental Courses. The Units of Work are the main focal point for the music curriculum whilst the Topics and Courses provide a wealth of extension, enhancement and cross-curricular possibilities and experiences.
In addition teaching staff are encouraged to use Sing Up as a valuable resource to support learning in different areas of the curriculum.
Additional music opportunities at CPS
At Clerkenwell we offer a range of ways that children can express themselves musically. These include:
- Weekly music assemblies held by professional Jazz musician Sam Chaplin.
- Piano and guitar tuition with Sam Birch, a visiting tutor.
- Choir held weekly before school. Children attending are also encouraged to perform at a range of local events in the wider community
- Termly musicians' performance assembly to showcase talent and inspire others.
- Singing in unison and solo in annual performance of musicals (Hairspray/Bugsy Malone/Oliver!) and in nativity and Easter performance assemblies.


Areas of Learning Embedded in our Program
- Basic numeracy
- Shapes 2D and 3D / size
- Tessellations / patterns
- Measurement / timelines
- Space / volume
Math language will be promoted in all experiences involving a variety of concepts.
- Weight, gravity and force /movement
Science concepts will be engaged in through experiments, discussion and literature.
Literacy and Language
- Prewriting and reading exercises.
- Expressive and receptive language development through dramatic play scenarios, puppetry, sequence stories, recounts and retelling.
- Speaking and listening experiences
- Reading stories, sharing stories making picture books with dictated stories.
Health and Wellbeing
- Group games that promote social interaction developing collaboration, problem solving and following rules.
- Games that promote understanding of healthy eating and personal hygiene.
- Self-expression of a variety of emotions and ideas.
- Basic fine motor skill development.


Brown, E. D., Benedett, B, & Armistad, M. E. (2010). Arts enrichment and school readiness for children at risk. Early Childhood Research Quarterly, 25, 112-124.
Arts enrichment programs provide varied channels for acquiring school readiness skills, especially for children at risk. This two-part study employed a quasi-experimental design to investigate the impacts of the Kaleidoscope Preschool on young, low-income children at risk. Kaleidoscope offers preschool education aimed at delivering instruction in core early childhood domains through standard early learning classes, taught by credentialed early childhood educators, as well as music, creative movement, and visual arts classes taught by credentialed artist teachers.
Part 1 of the research examined achievement and dosage (i.e., time spent in the program). Findings demonstrated that Kaleidoscope students practiced school readiness skills (i.e., language development, literacy, math, science, and social and cultural learning) through early learning, music, creative movement, and visual arts classes. Students attending the preschool for two years demonstrated higher levels of achievement than those attending for one year, after controlling for age. No significant effects were evident for race/ethnicity or developmental level for students in the program two years.
Part 2 of the research compared the achievement of Kaleidoscope students to that of students attending a comparable preschool using traditional teaching methods. After one year of attendance, students in Kaleidoscope showed greater receptive vocabulary (i.e., words that are understood when read or heard) than those in the comparison preschool.
Significance of the Findings:
The findings provide an important understanding of the viability of using arts integration to enhance early childhood learning programs, especially those serving at risk or low-income populations.
In Part 1 of the research, the researchers used a quasi-experimental design to examine the impact of one versus two years of the attendance at the Kaleidoscope Preschool on student achievement, controlling for age. The Kaleidoscope curriculum-based checklist, administered by teachers, served as the pre- and post-assessment of student academic achievement. Caregivers completed a demographic interview used to measure household income-to-needs ratio (Head Start measure), as well as child age, sex, and race/ethnicity. The Brigance Preschool Screen II was used to assess children’s developmental level. Dosage analyses (comparing students based on the amount of time spent in the program) relied upon descriptive statistics and Multivariate Analysis of Covariance (MANCOVA). Hierarchical Linear Modeling (HLM) was used to examine initial achievement and growth for children with two years of dosage (program attendance) and four points of assessment (early learning, music, creative movement, and visual arts).
In Part 2 of the research, the researchers conducted a quasi-experimental study comparing Kaleidoscope students with students from a comparison preschool on the Peabody Picture Vocabulary Test-III (PPVT-III), a measure of receptive vocabulary. Analyses included descriptive statistics and an Analysis of Covariance (ANCOVA) to compare receptive vocabulary for Kaleidoscope and comparison children.
Limitations of the Research:
The uniqueness of the Kaleidoscope program complicates finding a comparison group and it is unknown how equivalent the comparison group was to the treatment group. The measure used, the Kaleidoscope checklist, may be directly aligned with the Kaleidoscope curriculum and might serve better as a measure of fidelity of implementation rather than a basis for comparing the two preschools. Further, the PPVT-III measures only one literacy construct, receptive vocabulary, limiting comparisons between the two groups.
Additionally, teachers were not blind regarding pretest/posttest data collection and may have been biased in their ratings. Collection and analysis of a wider range of family and school characteristics could help rule out alternative hypotheses and other explanations that could account for the differences between groups.
Questions to Guide New Research:
How do students compare on standardized achievement measures with known psychometric properties (i.e., reliability and validity)? Do the observed differences between students with one versus two years of attendance continue into elementary school?


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The French revolution was one of the bloodiest events in recent history. Over twelve brief months in 1793-1974 more than 30,000 French were guillotined. But out of this carnage a new order was born which put an end to the new regime. This meant that a talented person could rise higher into political life than ever before. Napoleon Bonaparte was such a person. Although, the son of a minor noble, he became on of France's greatest leaders. An examination of his meteoric rise to power, his military and political campaigns, his downfall and his lasting achievements will shed some light on this great leader.
Napoleon was born in 1796 on the island of Corsica, the son of a minor noble. After his elementary education he attended a French military academy where he trained as an army officer
Because of all the officers departing as émigré's, Napoleon rose rapidly through the ranks. As a junior officer he solved the problem of the Paris moles with a "whiff of grapeshot". In 1793 he led the French troops to victory over the Britain at Toulon. By the time he was twenty-seven he was a general and became a dictator at thirty clearly his talent was unmistaken.
Although napoleon we a genius in many ways, he wasn't so good when it came to personal relationships.
Napoleon seems to have chosen his wife with great care. In 1794 he almost married a 16 year old from Marseilles, but instead he choose Josephine Beauharnais. She was seven years his senior; a widow with two children. She had, however, come from a prominent family and belonged to Parisian high society. After the were married in march of 1796, Napoleon spent only two days with her before leaving to take command of the French army in Italy. Rumors of Josephine's unfaithfulness seem to suggest that this marriage was motivated by political reasons rather than love.1
Perhaps one reason that Napoleons marriage never worked out was because he was very conceited. Napoleon is reported to have said "I am no ordinary man". To a large degree he was right. Napoleon was said to have spoken very quickly this means he thought very quickly to. Napoleon was able to make bold decisions in a split second. This made his life easier on the battle field which meant support from the public and the soldiers.
At the age of twenty seven, Napoleon had invaded the country of Italy. After several brilliant...


Educational materials called "hearing-training equipment" have drawn considerable interest in the recent years, with one product named best selling item on one of the major Internet shopping sites. They are usually used to improve English listening skills, and their popularity indicates that they are widely believed to be helpful, at least to some extent, in achieving that goal. In other words, customers purchase these products with wishful thoughts that they might finally be able to acquire the listening and speaking skills in English. On the other side of the coin is the fact that we, the Japanese, are still struggling to learn these longed-for skills. In fact, although the "international society" has long been our mantra, our English skills are still far below the level required in international situations. However, the field of English education does seem to have made some progress, i.e. from the conventional method of repetitive listening to a new, more systematic one that these products claim to offer. On the other hand, the field of vocal music has seen little progress in the past decades. It is true that many of music college graduates now go abroad to study in "music capitals" of the world. The overall level has risen, with increasing number of Japanese becoming world-class singers. However, when it comes to teaching, the conventional method of simply having students imitate teachers' voice is still prevalent. With such situation in the background, this paper examines the effect of the hearing-training equipment and explores possibility of applying this method to vocal music education by analyzing difference in the way the Japanese and westerners perceive sound they hear.


On July 25, millions of Pakistanis – including women – exercised their civic rights to usher in a new era of leadership on the promises of a new Pakistan. In all five provinces, women exercised their fundamental right guaranteed under the Pakistani Constitution and turned out to vote in record numbers (from 30 percent to 50 percent). In some instances, it was for the first time.
The incoming prime minister, Imran Khan, is a former cricket-star-turned-politician who won widespread support in a country struggling from decades of political turmoil, a failing economy and rising secularism. The struggle of women’s rights amid the current democratic election in Pakistan requires a re-commitment in advancing widespread opportunity within the public policy arena. These women hope one day to partake in the same opportunities as their male counterparts. Currently, such opportunities remain grossly out of reach for the following reasons.
Access to education limited
Even though voter turnout was high, a large number of the female contingency lacks access to an elementary education. The female literary rate is relatively low in most provinces and even lower in some areas.
This fundamental lack of access to early education sets girls on a lifelong path of disadvantage compared to their male counterparts. Further, such inequality diminishes their personal growth and limits their negotiating power in seeking a seat at the table in later years. While boys may be groomed for a life of public office and equipped with educational opportunity from the onset, females are steered toward more traditional roles (homemakers, for example) within Pakistani society.
Socio-religious norms keep gender gap wide
The predominance of Pakistan’s socio-religious norms, which largely reflect age-old patriarchal power structures both within and outside the home, generates a false perception of self-worth and further diminishes the public role of females.
These power structures are rarely disputed due to a lack of gender parity in public roles. The parity gets wider as we get into more sophisticated roles. In turn, these norms reduce the essence of individual expression and freedom. Hence, Pakistan’s female population has an urgent need for creating pathways for females roles that will define a new brand of gender policy.
Females allocated less than 20 percent of assembly seats
In a country where politics and policy-making largely remains a male-dominated field, female candidates are few and far between, reflective of the post-colonial era of dynasty politics. As such, things stay largely the same. Currently, women are limited to 60 of the 342 seats in the National Assembly. In the broader context, women need to form greater coalitions and muster support for women’s issues within the larger patriarchy.
In most instances, females experience a lifelong pattern of social stigma that shadows their careers and hampers them from participating in decision-making efforts compared to their male counterparts. As a result, female participation in policy remains largely absent, and change that improves women’s lives is slow to happen.
Answers remain unclear
Will the current wave of political activism carry the women’s suffrage alongside change in the long term? Will existing socio-religious barriers give way to creating conducive pathways for civic participation and engagement?
While answers to those questions remain to be seen, women are anxious to take their seat alongside men in steering much-needed reforms that battle stigmas and open up pathways for widespread engagement as the current election ushers in a new era of political activism.


Play Houses & Kitchens
Items 1-28 of 34
Items 1-28 of 34
Play Houses Kitchens
Children love playing different roles and scenarios in imaginative play. Play kitchens
and play houses are a particularly popular resource for pretend play, as it gives
children the opportunity to imitate situations that they are familiar with. Whether they are playing the role of a head chef, waiter, kitchen porter or parent at home, play kitchens allow children to imagine themselves in new roles and cook up exciting
Kitchen role play isn’t just a fun activity for children, it also benefits a child’s
development! Young children learn through play and are always exploring and
experimenting – so we’ve compiled a list of the key benefits that play kitchens give
Role play gives children the opportunity to express themselves creatively and engage in storytelling. Children vocally enact the role that they are playing, which enhances their language development and communication.
Play houses and kirchens encourage the little ones to engage in play with other
children, which enhances their social development. They create discussions around
who will play what role, what they should cook and how they are going to do it. This
inspires children to work as a team and cooperate so that they can get the job done
quicker – encouraging them to share, take turns and listen to other people’s opinions and ideas.
By providing children with their own play house it gives them a sense of independence, which increases their self-confidence. They fully adopt the role of
working and become responsible for keeping it clean, organising the belongings and
caring for the different items in the kitchen and house. When children undertake real
life roles and play superior roles such as head chefs, mom, dad, doctor they also start to develop great leadership qualities as well.
Play kitchens help to improve a child’s numeracy skills. Children may count how
many plates they need, weigh ingredients or count how many minutes the food needs to be in the oven for, which enhances their mathematical learning while they play. By promoting different types of pretend food, such as fruit, vegetables, eggs and meat, it encourages children to make healthier food choices. They imagine the food they have cooked in appetising scenarios, which tends to encourage them to try eating that food in real life as well.
Kitchen role play or house role play enhances a child’s cognitive ability and problem-
solving skills. If problems arise, such as a fork going missing, or a bed is broken it forces children to come up with a solution – whether that is substituting the fork
something else or trying to fox the bed or going out of their way to try to fix the
In all these cases the main purpose of these kitchenettes is simply to encourage children’s creativity, concentration, at the same time that they get a new hobby, which eventually can turn into a valuable profession.
Encourage your budding little chefs to cook up the ultimate fantasy banquet today!


from Foundation Phase to Intermediate Phase
The first step, as a parent, is realising that your child is not an independent learner during foundation and intermediate phase. This implies that your child needs to be taught and helped in their learning. The second step is to realise that your role is to teach, guide and assist your child in their educational, physical, emotional and social development. This role is critical to your child’s growth. Your child cannot progress positively without your assistance.
The third step is acknowledging that it is vital that you work with the teacher so that your child progresses successfully through school. Homework should be guided and checked by you. If your child is battling with concepts, you should work with them until they understand the concepts and can work with them independently.
The parent, the phases and the teacher:
Foundation phase: this phase is about developing a solid base of knowledge for your child and helping them further themselves in the school environment and life. Foundation phase is all about the basics in educational knowledge. Remember that your child has never been exposed to these concepts. They need to learn them and learn how to apply them. They need to be assisted at home to build a strong foundational knowledge that will assist them through school and later lead them to becoming independent learners.
It is your job to reinforce the knowledge taught at school and to ensure that your child understands, and can apply, the concepts introduced by the teacher.
Intermediate phase: this phase is about using foundational concepts to build their knowledge and learn new concepts. A child with strong foundational skills is more likely to succeed in this phase, and to develop a sense of independent learning. Your role as a parent in this phase is to guide and instruct your child, and for them to attempt the work individually without your continuous involvement. This does not mean your child is expected to work unassisted, but that they are required to work for periods independently, knowing that you are available should they get stuck.
This phase teaches them how to use their previous knowledge to learn new concepts. Your child is now at a stage where they are learning to work independently and develop their skills, but they are still reliant on the teacher and yourself to teach, instruct, and help them.
The parent and the teacher:
The teacher’s role is to introduce and practice new concepts in school. It is your role to practice these at home, and to bring to the teachers attention any concepts your child cannot grasp. This is followed by a teamwork approach between the teacher and yourself. This may include extra lessons or extra work to do at home. This is time consuming but essential. The teacher cannot do this individually and relies on you as a parent to be involved in your child’s education.
Some tips for Parents:
- If you are unsure of the concepts yourself ask the teacher to show you – remember the teacher works with these concepts constantly.
- If you are unsure how to teach or reinforce concepts at home, ask the teacher for tips, methods or recommendations.
- If your child is struggling, make notes and bring these to the teachers attention.
- Do not leave concepts that your child does not understand for the teacher to address – work with the teacher.
- If your child is struggling, invest in extra lessons – do not wait until the later grades for tutoring, because then the child has to return to the basics in order to understand the current concepts.
- Homework should be done in the afternoon. Do not wait until the evenings – most children are tired and unable to focus. If you are unable to do this ask a relative or friend. Another option is to hire someone who can assist your child. Also look into aftercare facilities that offer homework assistance.
- Do not ignore or underestimate the importance of the foundation phase.
- Intermediate phase homework should be guided, and the child should be able to do some of the work independently. By the end of grade 6 a child should be able to do the majority of their homework independently, but may still require some assistance.


Music enhances all spheres of child growth be it physical, communal or emotional. It facilitates the body and the mind work in concert. Introducing kids to music from a very young age will help them in learning the sounds and gist of those words. For children and adults, learning any musical instrument will strengthen their memory skills.
Other than these, there are many other positive impacts of learning any musical instrument. Let’s check out a few of them here.
Physical advantages of learning a Music Instrument
Series of studies in this area have shown that kids exhibit long-standing constructive results from learning any musical instrument. In reality, the prospects of music have been established more useful in strengthening conceptual interpretation skills in younger and older children than does training them in computers technology.
Music has been shown to decrease strain, augment efficiency, develop resourcefulness, and build self-confidence. The easy way to get into a happier, healthier and productive life is to learn and practice any musical instrument.
The connection between our Brain and Music
People often get into this confused state of mind where they actually wonder how music helps in someone’s mental growth. So, to clear such confusions, a number of studies have been conducted in this subject matter to understand the potentials of learning music instruments in schools to enhance the cognitive processes of a child.
A number of studies took place to identify the impact of learning music instrument of human brain growth. As per those studies, both listening to your favourite music and playing an instrument result positively in the brain and mental growth. When a child is playing a musical instrument, it produces brain developing composites and neural development factors which can make the kid smarter and sharper at their activities all through their day.
A few of the brain advantages of practising a musical instrument comprise augmented intellectual capacity and math skills, improved synchronization, and a better capability for memory. However, people wonder whether music education help in the academic studies of a child? Well, the answer is yes considering the facts that practising any musical instrument would make their learning process trouble-free by connecting both sides of the brain in the course of action.
The improvement of Social Skills in Children
Music education is known to help incredibly in social conditions, relationships, work environments and so on. The vigorous training that a person’s mind and body undergo to expand their musical knowledge is the same as the exercise necessary to build up speech and verbal proficiency.
Furthermore, musical instrument practice expands the same muscles that will help them out in collaboration, time management, association, and concentration capacities. These skills are crucial in maintaining any sort of relationship be it in the personal sphere or at the workplace. Not only that, musical instrument practice also reinforce a person’s articulateness and help them out to break out of their restraining barricades.
Musical instruments for an Emotionally Strong Person
As we all know music has the magical power to connect with human emotions instantly. When we introduce our kids to this world of music, it automatically influences them emotionally. Doing so would help them learn the key skills needed for a person such as determination, obedience, and accountability. Playing a musical instrument also gives them the feeling of achievement once they learn a difficult chord after the vigorous practice. The educational institutions these days, have understood these prospects of teaching musical instruments to children. Many of the best international schools in Bangalore are emphasising more on such mode of education for the better growth of future generation.
Minu Aravind is a professional freelance content writer and blogger with a strong passion for writing. She works in the sphere of online marketing and communication, focusing majorly on social media communication. She is an expert in writing blogs concerning the field of education, especially about international schools in India.


Black History Profile – Amelia Boynton
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A comprehension task to use when learning about Amelia Boynton.
A comprehension worksheet paired with a magazine article about plastic pollution in our oceans.
A comprehension task that encourages students to apply a range of reading strategies when discovering interesting facts about Thanksgiving.
39 activity task cards based on the Frida's Fiesta Restaurant menu which is included.
A beautifully designed, 24-page reading magazine written specifically for Grade 4 students.
A set of 14 literature study task cards for upper elementary students to use when analyzing children's literature.
A set of QR code question cubes to use when working with reading comprehension strategies.
A comprehension task that encourages students to reflect on specific quotes from the Declaration of Independence.
A set of comprehension task cards to help students summarize when reading.
This English unit addresses the informative text type; specifically, how to write a well-structured informative text.
A set of reading awards for participating in Read Across America.
A comprehension task to use when learning about Carol Moseley Braun.
A comprehension task to use when learning about Thomas Mundy Peterson.
A comprehension task to use when learning about Shirley Chisholm.
A comprehension task to use when learning about Barack Obama.
Task cards that help students use their knowledge and ideas to help them decode ideas in texts.
A 14-slide editable PowerPoint template explaining the reading comprehension strategy of summarizing.
A teaching resource to help your students summarize a story.
An extensive resource pack to help students understand the concept of summarizing.
A comprehensive resource pack helping students to recognize cause and effect.
A comprehension activity using a procedure for lower grades.
Display this poster in your room as a visual reminder of the structure of a procedural text.
Choosing your country and state helps us to provide you with the most relevant teaching resources for your students.


Over a year ago now, the government’s consultation on making the proposed EBacc a compulsory measure for secondary schools closed, and we are still waiting to hear their response.
The EBacc would see a school’s performance rated according the percentage of its pupils successfully achieving the proscribed GCSE subjects - which do not include any of the arts.
A campaign led by ISM (the Incorporated Society of Musicians), which Making Music supports, has achieved much in recent years, not least the EBacc’s replacement by a measure called Progress 8 (which does include the arts) when it was first going to be introduced three years ago.
The omens do not look good this time, and what ISM predicted has started happening: schools have already seen a significant drop in students taking arts subjects at GCSE.
The campaign continues – valiantly - to put forward well-supported arguments that this will lead to future skills shortages in the cultural industries, and will make life harder for young people who may struggle with some of the core EBacc subjects by reducing their GCSE choices, once arts departments start disappearing.
But what is as important as the availability of music as an academic qualification, surely, is practical music education in a wider sense, whether undertaken in the classroom as part of the regular school day or as an extracurricular activity, in school or elsewhere.
And it is this which Making Music members I have spoken to worry about most: that young people nowadays are not getting the same opportunities they had, of learning an instrument or being part of a youth ensemble, at no or very low cost. Now, where provision exists, parents are usually asked to pay, restricting access.
There is an increasing body of evidence proving what most musicians and parents have known forever: that making music has benefits for children way beyond the technical mastery of an instrument, extending to the development of team and other soft skills, to improvements in concentration, and to better results in unrelated subjects such as Maths and English.
But there’s another reason to stand up for free access to music for young people and one that Making Music members are well placed to demonstrate: the continued effect music-making has had on their life, even if it did not become their career. This ranges from the sheer joy and fun of making music with others, to group musical activity being a significant support through difficult times in private or working lives, to having tangible beneficial effects on physical or mental health and isolation.
Recently, Matt Hancock, Minister for Digital and Culture at the Department for Culture, Media and Sport (DCMS), spoke about the arts giving young people ‘life chances’. An interesting choice of words, and right, to my mind: music gives children so much to carry forward into the rest of their life that the debate needs to be framed more widely than the EBacc in order to make sure the next generation benefits from all that an early introduction to music can contribute to their life.


Developed by researchers at CoLab – Collaborate for Kids (a partnership between the Minderoo Foundation and Telethon Kids Institute) – the Bright Tomorrows app uses tailored behavioural science techniques to provide families with everyday tips relevant to them and their child.
Research shows the first five years of a child’s life are crucial to their development across a range of life skills, including attention and focus, emotions, relationship building, planning and resilience building.
CoLab director Professor Donna Cross said the app would place a library full of tips that personally meet parents’ needs directly into their hands, translating research into day to day activities that build children’s life skills.
“As researchers, we know that supporting children’s brain development during the early years provides our children with the strong foundation they need to have a happy and healthy life,” Professor Cross said.
The Bright Tomorrows app features Bobbie, a remarkable little creature that represents a baby’s brain, showing how a child’s brain actively responds to meaningful moments.
In the app, Bobbie provides ideas for families to try new ways to do everyday activities like folding clothes while helping their child learn numeracy skills. It gives families a brief scientific explanation of why these activities are helpful to brain development in the app’s Brainy Background.
In partnership with the Minderoo Foundation, Vroom, the Raising Children’s Network and Better Beginnings, the Bright Tomorrows app provides more than 1000 tailored tips on how to help build children’s life skills, directly into the hands of parents and carers.
The advanced app technology allows the tips to be provided to parents’ phones, tailored to their own values, interests and age of their child, enabling parents to transform everyday moments into opportunities that build life skills for their children.
Minderoo Co-founder Nicola Forrest AO said the app provided families with everyday moments that helped build their child’s life skills.
“Minderoo has been working with the team at Telethon Kids Institute to develop an app which is a one-stop-shop for great tips and ideas that will engage a baby’s brain,” Mrs Forrest said.
“Parents are looking for information they can trust but also information that is really practical. Thanks to technology, this app is responsive to what you set as your priorities, and the age and needs of your kids.
“We are so excited by this app because it gives parents, grandparents, and carers a multitude of tips and ideas right in the palm of their hand – and it’s all based on the latest science and information about a child’s brain development.”


This Well Illustrated Book Examines International Painting In Spain In Historical Context From The Reign Of The Habsburg King Philip II To The Death Of Goya It Goes Beyond The Existing Studies Of Golden Age Painting To Cover Political, Social, And Religious Contexts And Art By Non Spanish Masters Working For The Habsburgs And Bourbons Shows That Painters Working In Spain Created An Art Of Extraordinary Stature Woven Into The International World Of Mannerism, The Baroque, And The Rococo Goes Beyond Consideration Of The Well Known Masters Of Golden Age Painting E.g S Velazquez And Murillo To Consider The Wide Variety Of Painters, Spanish, Italian And Flemish, Who Influenced Painting In Spain For Those Involved In Art Education Or Simply Interested In Art History.
[[ Epub ]] ➟ From El Greco to Goya: Painting in Spain,1561-1828 (Perspectives) Author Janis Tomlinson – Hakkas.us
- 176 pages
- From El Greco to Goya: Painting in Spain,1561-1828 (Perspectives)
- Janis Tomlinson
- 01 March 2017 Janis Tomlinson


Water Safety Ireland has created a fantastic educational resource for primary schools called PAWS (Primary Aquatics Water Safety). PAWS outlines life-saving guidelines for children of every age and is available digitally to every school in the country.
PAWS teaches children how to be safe around water in homes, farms, pools, beaches and on our waterways, and is written and designed for different age groups.
With beautiful illustrations, a wealth of tips and advice, and all sorts of interactive games and puzzles to reinforce lessons learned, PAWS incorporates all aspects of the physical education aquatics strand of the primary school curriculum.
The PAWS programme has been developed in partnership with The Educational Company of Ireland. Their platformis already used daily by many teachers all over the country. English and Irish digital lesson books are available for each class band with interactive puzzles to match. The lessons can be delivered in just a few hours of class time and on completion each class can receive a Water Safety Ireland PAWS Certificate.
As the school year gets going, Water Safety Ireland’s Primary AquaticsWater Safety programme could not be more timely.
In Ireland, thirty children aged fourteen and under drowned in ten years. That’s the equivalent of an entire classroom. By encouraging school children to bemore conscious about water safety we can change that statistic for good.
Teachers can access Water Safety Ireland’s PAWS programme now by visiting www.watersafety.ie


Robina State School is committed to delivering explicit teaching of language and literacy using evidence based methods only and removing whole language or balanced literacy approaches that are not supported by research, including the use of the levelled reader.
Robina State School’s approach to the teaching of reading is explicit and structured and includes instruction in phonology (phonological and phonemic awareness), sound-symbol associations (letter-sound correspondences), as well as syllable structures, morphology, syntax and semantics.
Teachers at Robina State School deliver systematic, direct and explicit phonics instruction so that their children can master the essential alphabetic code-breaking skills required for the beginning reader and essential for
Alignment of our explicit teaching of word knowledge and how we teach reading for the beginning reader is enabled by the use of the decodable reader. The decodable reader provides repeated opportunities for students to apply their word knowledge and the skills of blending and segmenting that they have acquired.
Robina State School has purchased Dandelion Launchers, Dandelion Readers and Catchup Readers for explicit small group instruction, repeated reading and independent practice to consolidate and automatise their knowledge and skills.
Robina State School teachers also use read aloud to develop oral language comprehension, syntas and vocabulary, also necessary for reading comprehension.
Products available from Phonics Australia are of a high quality, supporting research-based methods of teaching explicit, systematic phonics and is match by excellent service that is both personable and reliable.
Robina State School’s testimony wishes to intentional promote scientific research-based methods of teaching reading as well as Phonics Australia.


(Gdańsk, Poland, 1896 – Montréal 1969)
Oil on canvas
104.5 x 76.5 cm
Purchased in 2009 with the Museum Campaign 1988‑1993 Fund
The Montreal Museum of Fine Arts, 2009.32
© Estate of Fritz Brandtner. Photo: MMFA, Christine Guest
In this work, Fritz Brandtner represents dead trees with twisting limbs that intertwine. The colour of the trunks and branches shades from steel blue to deep blue and contrasts with the red earth and the orange sky that suggests twilight or a fire. Brandtner adopts the characteristics of German Expressionism here, schematizing the forms and colours in order to convey tormented emotions. The uniqueness of Arbres [Trees] illustrates another facet of the stylistic diversity found in Canada in the 1930s.
Fritz Brandtner did not confine himself to the vocabulary of German Expressionism. In his pursuit of formal experimentation, he was inspired by various other European art movements. Brandtner encouraged an alliance between art and life in order to foster social action. He was actively involved in developing art education for children, and in the late 1930s he joined other artists to found the Contemporary Art Society in Montréal. Although he favoured an international art that surpasses all borders, he practiced social engagement at the local level.


Editor's note: This is the first post in a five-part series which takes a look at five big ideas for implementation of the Common Core State Standards, authored by Jay McTighe and Grant Wiggins
In our travels around the country since the Common Core Standards were released, we sometimes hear comments such as, “Oh, here we go again;” “Same old wine in a new bottle;” or “We already do all of this.” Such reactions are not surprising given the fact that we have been here before. A focus on standards is not new. However, it a misconception to assume that these standards merely require minor tweaks to our curriculum and instructional practices. In fact, the authors of the Mathematics Standards anticipated this reaction and caution against it: “These Standards are not intended to be new names for old ways of doing business.” (p 5) Merely trying to retrofit the standards to typical teaching and testing practices will undermine the effort.
A related misconception in working with the Common Core is evident when teachers turn immediately to the grade-level standards listed for their grade or course to plan their teaching. Such an action is reasonable; after all, isn’t that what they are supposed to teach? While understandable, we advise against zeroing in on the grade-level standards before a careful examination of the goals and structure of the overall documents.
To invoke a construction analogy: Think of the grade-level standards as building materials. As a construction supervisor, we wouldn’t simply drop off materials and tools at a worksite and have the workers “go at it.” Instead, we would begin with a blueprint -- an overall vision of the desired building to guide its construction. Without an overall end in mind, teachers can create wonderful individual rooms that won’t necessarily fit together within and across floors or achieve the intended results.
The Common Core Standards have been developed with long-term outcomes in mind (e.g., College and Career Anchor Standards in English Language Arts), and their components are intended to work together (e.g., Content and Practice Standards in mathematics). This point is highlighted in a recently released publication, Publishers’ Criteria for the Common Core State Standards for Mathematics (July 2012):
“‘The Standards’ refers to all elements of the design -- the wording of domain headings, cluster headings, and individual statements; the text of the grade level introductions and high school category descriptions; the placement of the standards for mathematical practice at each grade level. The pieces are designed to fit together, and the standards document fits them together, presenting a coherent whole where the connections within grades and the flows of ideas across grades ....”
It is imperative that educators understand the intent and structure of the Standards in order to work with them most effectively. Accordingly, we recommend that schools set the expectation and schedule the time for staff to read and discuss the standards, beginning with the “front matter,” not the grade-level standards. We also recommend that staff reading and discussion be guided by an essential question: What are the new distinctions in these Standards and what do they mean for our practice? Since the standards are complex texts and demand a “close” reading, we recommend that staff carefully examine the table of contents and the organizational structure; the headers (e.g., Design Considerations; What is Not Covered, etc.), the components (e.g., Anchor Standards and Foundational Skills for ELA; Standards for Mathematical Practice), and the Appendices (ELA).
Following a thorough reading of these introductory sections, discuss the changing instructional emphases called for by the Standards and their implications. For example, the ELA Standards demand a greater balance between reading informational and literary texts, and stress the use of text-based evidence to support argumentation in writing and speaking. The Mathematics Standards accentuate the focus on a smaller set of conceptually larger ideas that spiral across the grades (as opposed to simply “covering” numerous skills) with an emphasis on meaningful application using the Practices.
We cannot overemphasize the value of taking the time to collaboratively examine the Standards in this way. Failure to understand the Standards and adjust practices accordingly will likely result in “same old, same old” teaching with only superficial connections to the grade-level standards. In that case, their promise to enhance student performance will not be realized.


Transactional Strategies Instruction
Transactional Strategies Instruction (TSI)* is one method of teaching reading comprehension strategies. It was developed and researched by Michael Pressley and his colleagues at the university and school levels.
TSI involves teachers modeling their use of comprehension strategies to demonstrate when and how to apply the strategies in different problem-solving situations. Teachers share the responsibility of conducting a thoughtful discussion about a common text with students, who are also expected to explain their use of strategies and to communicate their reflective responses to what they have read. The goal of TSI is to have students independently use the comprehension strategies as they read any text and this goal is for ALL students, not just a few.
Here are comprehension strategies that are often taught in TSI:
- Activation and use of prior knowledge
- Use of story grammar (fictional texts)
- Use of text structures (informational texts)
- Thinking aloud
- Understanding when comprehension breaks down
- Personal responses to texts
Use the following questions to think about how you can integrate elements of Transactional Strategies Instruction into a discussion of any text (fictional or informational, novel or textbook) with any grade or academic level of student:
- How can you explicitly demonstrate what the comprehension strategy is and how to use it?
- How can you explicitly explain why you used a particular strategy and other times when use of that strategy would be appropriate?
- How can you listen to your students’ explanations of how, when and why they are using comprehension strategies?
- How can you communicate to students that the use of strategies and responses to texts depend on each person and his/her experiences and that we can learn from these different points of view?
- How can you prompt students to choose a strategy instead of telling students which strategy to use?
- How can you allow students to respond to each other instead of having all the conversation come through you?
- How can you integrate the use of all the comprehension strategies while also focusing on teaching new strategies?
*Please see the following articles for a more detailed description and explanation of TSI and the research that has been conducted on its use in classrooms:
Brown, R. (1992). Beyond direct explanation: Transactional instruction of reading comprehension strategies. The Elementary School Journal, 92(5), 513-555.
Brown, R., Pressley, M., Van Meter, P., & Schuder, T. (1996). A quasi-experimental validation of transactional strategies instruction with low-achieving second-grade readers. Journal of Educational Psychology, 88(1), 18-37.
Pressley, M., El-Dinary, P. B., Gaskins, I., Schuder, T., Bergman, J. L., Almaso, J., & Brown, R. (1992). Beyond direct explanation: Instruction of reading comprehension strategies. The Elementary School Journal, 92(5), 513-555.
Key words: discussion, reading, comprehension strategies


We provide music lessons in schools and local music centres across Kent. Learning to sing or to play a musical instrument provides enormous benefits for young people in terms of their intellectual, social and emotional development. To find out more information on the social and academic benefits of music education, the role you can play in your child’s learning or for general information on lessons and ensembles, please download a copy of our Parent Guide.
All of our staff who work with children and young people have a current enhanced disclosure through the Disclosure & Barring Service and we run a programme of regular child protection training for our teachers.
Lessons at your school or at a Music Centre
Lessons are offered individually or in pairs and are delivered by professional musicians. We offer a wide range of instruments which is subject to the availability of teachers in your area.
Individual lessons can be tailored to the student’s needs while group lessons provide a fun and sociable way of learning a musical instrument. Lessons can work towards music examinations or simply focus on the enjoyment and accomplishment of learning to sing or to play a musical instrument. We would advise that individual beginners opt for a 20-30 minute lesson, increasing the lesson duration as they progress and small groups opt for a 30 minute lesson.


General education in Western Australia
The Western Australian education system is split into five different phases of schooling — Early Childhood (Kindergarten to Year 2), Middle to Late Childhood (Years 3 to 6), Early Adolescence (Years 7 to 8), Middle Adolescence (Years 9 to 10) and Late Adolescence/Early Adulthood (Years 11 to 12). In the Early and Middle Childhood years, the emphasis is on literacy and numeracy skills. When students move into Late Childhood and Early Adolescence, the focus shifts to include all eight learning areas. In Middle Adolescence, there is increased emphasis on choosing learning pathways and building individual learning needs before students focus on their own strengths, interests and goals in senior secondary years as they work towards the Western Australian Certificate of Education (WACE).
Western Australian curriculum in Years 7 to 12
The Western Australian Curriculum for Pre-primary to Year 10 includes the Australian Curriculum for English, Mathematics, Science and History. The next phase of the rollout will see Humanities and Social Science and Health and Physical Education implemented in 2017. The Arts, Technologies and Languages will the follow on in 2018.
In Years 11 and 12, students complete the Western Australian Certificate of Education.


By Teachers, For Teachers
Teaching mathematics to children can be extremely challenging, especially when it comes to problem solving. This is when students really have a hard time. Problem-solving tools are the key to enhance the problem-solving proficiency in students. Using teaching strategies to get students to use the right solving formats is just as important as getting them to get the correct answer. Teach students that there is more than one way to get an answer, and this will help them to expand their thinking. Here are the teaching strategies that your students need in order to help improve their math problem-solving skills.
The finding a pattern strategy is when students look for patterns in order to solve the problem. Students would read the problem, then look for any numbers, items, or series of events that are repeated throughout that problem. Young students usually discover this strategy when they are learning their multiplication tables. They notice that 2 x 4 is the same as 4 x 2, and so on. They also notice the patterns when they look at a hundreds chart. They can see that one column has all zeros, etc.
To teach students the finding a pattern strategy, you can start by putting students into cooperative learning groups. Give each group a word problem to solve, and show them they can use this strategy by completing this steps.
This strategy involves deciding which mathematical operation students will use (addition, subtraction, multiplication, division, or a combination of operations). When choosing a mathematical operation, students will need the ability to understand the literal meaning of the sentence, as well as understand how to express the meaning mathematically. In other words, in order to successfully find a solution to the problem, students will need both their reading and mathematical skills.
Understanding how to choose an operation can be difficult for many students, especially for students who struggle with reading. The easiest way to teach students how to choose an operation is to teach them to identify key words. Consider writing this chart below on your front board and have students copy it into their problem solving notebooks.
Addition – sum, total, in all, combined, together, how many, altogether, perimeter.
Subtraction – left, less, minus, fewer, remains, difference, how much more, how many more.
Multiplication – times, total, area, twice, rate, in all groups.
Division – divided equally, how many each.
To teach students how to use this strategy effectively, give them the following math problem and have them write down in their own words exactly how they would work through the problem. Then, have students take turns reading their answers and how they got their answers.
Example: Brady took $10 to the movie theater with him. He bought a candy bar for $2 and a popcorn for $4. How much did he have left?
Students may write that they added two plus four because it said “$2 and $4” so they thought that it meant to add. So that was $6. Then, they subtracted $6 from $10 because it said the word “How much” and “Left” and that is how they came to answer of $4.
It is also important to encourage students to read the entire problem once through before they choose an operation. This is because sometimes they may think it is one thing, when it’s actually another. The best way for students to practice this is to give them some tricky problems that have too much information in them, and they have to weed out the bad information to find the real information.
The two strategies listed above are just two problem-solving strategies students can use. There are many, many more. In order for students to become great problem solvers, it is suggested that students keep a problem-solving notebook. In this notebook students should keep important information that they can refer to, like the “Key words” mentioned earlier, as well as these tips:
Which teaching strategies do you use to show your students how to problem solve? Do you have any different strategies that work well for your classroom? If so, please share your ideas in the comment section below, we would love to hear from you.
Janelle Cox is an education writer who uses her experience and knowledge to provide creative and original writing in the field of education. Janelle holds a Master's of Science in Education from the State University of New York College at Buffalo. She is also the Elementary Education Expert for About.com, as well as a contributing writer to TeachHUB.com and TeachHUB Magazine. You can follow her at Twitter @Empoweringk6ed, or on Facebook at Empowering K6 Educators.


Source: Journal of Science Teacher Education, Vol. 27, No. 8, p. 799–818, (December, 2016)
(Reviewed by the Portal Team)
This study investigates the development of prospective elementary teachers’ practical knowledge of the Next Generation Science Standards (NGSSs) in the context of a science methods course and innovative field experience.
The participants were 19 elementary education majors. The participants consisted of 18 females and one male.
The authors collected data from multiple sources: students' artifacts of practice, students' written reflections, and the participants' final self-evaluations of the semester.
The authors present three issues related to how prospective teachers viewed and utilized the standards:
(a) prospective teachers perceived the standards as providing guidance for planning.
(b) the participants can build practical knowledge for using the NGSS as a tool to self-assess the effectiveness of their instruction in relation to their students’ progress toward meeting the standards.
and (c) the participants developed the belief that the standards were achievable for both themselves and their students. The authors argue that the capacity-building model, which used in this study, made clear the link between prospective teachers’ instruction and students’ learning.
Based on the findings of this study, the authors argue that elementary teacher education programs can design field experience structures to offer a unique affordance of practice as a means to support prospective teachers in achieving success and developing expertise related to implementing new standards.


Teaching Reading to Black Adolescent Males: Closing the Achievement Gap
For those who truly wish to leave no child behind, the racial achievement gap in literacy is one of the most difficult issues in education today, and nowhere does it manifest itself more perniciously than in the case of black adolescent males.
Approaching the problem from the inside, Alfred Tatum brings together his various experiences as a black male student, middle school teacher working with struggling black male readers, reading specialist in an urban elementary school, and staff developer in classrooms across the nation. His new book, Teaching Reading to Black Adolescent Males offers teachers and schools a way to reconceptualize literacy instruction for those who need it most.
Alfred bridges the connections among theory, instruction, and professional development to create a roadmap for better literacy achievement. He presents practical suggestions for providing reading strategy instruction and assessment that is explicit, meaningful, and culturally responsive, as well as guidelines for selecting and discussing nonfiction and fiction texts with black males.
The author's first-hand insights provide middle school and high school teachers, reading specialists, and administrators with new perspectives to help schools move collectively toward the essential goal of literacy achievement for all.
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These data, however, do not explain why boys tend to feel alienated from literacy
experiences. Although all the authors of the books just cited believe that schools
are attempting to address the literacy needs of boys within the classroom, ...
Although addressing the literacy needs of young black males may not be enough
to curb the social ills that plague such young people, it is something teachers can
do that will surely help. Although many books have been written about the ...
ADDRESSING THE NEEDS OF RL AHK MAI FS In order to establish professional
-development communities to address the ... They were planning to place their
bets on a single instructional approach to address the literacy needs of their high
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LITERACY DEVELOPMENT IN BLACK
TURMOIL AND THE PROMISE OF READING 17
BLACK MALES AND THE READING
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Susan Davis Lenski,Jill Lewis
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