The document provides background information on the Sage Gateshead and its Vocal Union project. It discusses how the project aims to promote singing across primary school curriculums by having musicians work closely with teachers. This partnership approach helps build teacher confidence in music and singing. The project sees singing integrated throughout the school day rather than just in dedicated music sessions. Initial feedback has been positive, though it takes time to change practices and beliefs about music. The goal is for singing to become a normal part of each school's culture.
The document provides background information on The Sage Gateshead and its Access to Excellence Pathfinder programme. It discusses The Sage Gateshead's integrated approach to learning, participation, and performance in music. It highlights key partnerships and principles, including a focus on learners, progression routes in music, and workforce development. The second half summarizes findings from the Creative Transitions project, which engaged young people in music activities. It discusses positive impacts on young people's engagement, confidence, and motivation in music. It also describes benefits for school staff and ways project musicians collaborated effectively with schools.
Arts enhancement+ through musical productionwycheung
The document describes a musical production of Aladdin put on by students at the Hong Kong Institute of Education. It discusses how the production enhanced students' arts skills like singing, dancing, and acting in English while also developing their generic skills such as communication, collaboration, and self-confidence. It involved networking between different departments and bringing in professional artists. While challenging to coordinate, the musical provided opportunities for interdisciplinary learning, community engagement, and professional development. Going forward, the author suggests maximizing student creativity and finding cost-effective ways to continue such productions.
Exploring Gender Through Modern Dance: An In-School ProgramLacey Byrne
Maskulinity is a contemporary movement performance project that explores gender. It is a wonderful program to bring to Middle and High school students to encourage discussion and exploration.
Maskulinity is a performance project that is geared to facilitate lively discussion among college aged men and women regarding gender and social structures. This is a great program to bring to a University/College that is committed to Women's Studies, Gender Studies, GLBT Studies, etc. Let students be inspired by the arts to discuss the world in which they live!
This document discusses the history of singing education in schools in the UK from the 11th century to present day. It notes key developments like the creation of musical notation, the Tonic Sol-fa method of teaching singing, and recommendations from reports in the 1930s, 1950s, and 1960s that singing should be a core part of the curriculum. The document also references changing approaches to singing education over time and how factors like the National Curriculum and local school funding have impacted music education.
SYSO in the Schools: Impact & OutcomessmmPressplay
The Seattle Youth Symphony Orchestras (SYSO) is the largest youth orchestra program in the US, serving over 1,500 students each year. SYSO's programs include four full orchestras, summer festivals, and partnerships with local schools. SYSO in the Schools brings professional musicians into schools to provide instrumental instruction to students free of charge. Two key outreach programs are the Southwest Seattle String Project and the Endangered Instruments Program, both of which aim to increase access to music education. SYSO tracks program impacts such as student engagement, perseverance, achievement, and personal growth beyond music.
This document discusses the importance of music education in schools and communities. It outlines some of the challenges facing music education, such as budget cuts reducing music programs and inconsistent requirements across grade levels. The document advocates for strengthening music education by providing daily lessons, consistent programs in middle school, and more support for high school programs. It provides examples of communities taking initiatives to support music education through programs that provide instruments and encourage community music-making. The document argues that music education improves academic and life skills while fostering creativity, and that stronger support is needed to allow music programs to thrive.
The document provides background information on The Sage Gateshead and its Access to Excellence Pathfinder programme. It discusses The Sage Gateshead's integrated approach to learning, participation, and performance in music. It highlights key partnerships and principles, including a focus on learners, progression routes in music, and workforce development. The second half summarizes findings from the Creative Transitions project, which engaged young people in music activities. It discusses positive impacts on young people's engagement, confidence, and motivation in music. It also describes benefits for school staff and ways project musicians collaborated effectively with schools.
Arts enhancement+ through musical productionwycheung
The document describes a musical production of Aladdin put on by students at the Hong Kong Institute of Education. It discusses how the production enhanced students' arts skills like singing, dancing, and acting in English while also developing their generic skills such as communication, collaboration, and self-confidence. It involved networking between different departments and bringing in professional artists. While challenging to coordinate, the musical provided opportunities for interdisciplinary learning, community engagement, and professional development. Going forward, the author suggests maximizing student creativity and finding cost-effective ways to continue such productions.
Exploring Gender Through Modern Dance: An In-School ProgramLacey Byrne
Maskulinity is a contemporary movement performance project that explores gender. It is a wonderful program to bring to Middle and High school students to encourage discussion and exploration.
Maskulinity is a performance project that is geared to facilitate lively discussion among college aged men and women regarding gender and social structures. This is a great program to bring to a University/College that is committed to Women's Studies, Gender Studies, GLBT Studies, etc. Let students be inspired by the arts to discuss the world in which they live!
This document discusses the history of singing education in schools in the UK from the 11th century to present day. It notes key developments like the creation of musical notation, the Tonic Sol-fa method of teaching singing, and recommendations from reports in the 1930s, 1950s, and 1960s that singing should be a core part of the curriculum. The document also references changing approaches to singing education over time and how factors like the National Curriculum and local school funding have impacted music education.
SYSO in the Schools: Impact & OutcomessmmPressplay
The Seattle Youth Symphony Orchestras (SYSO) is the largest youth orchestra program in the US, serving over 1,500 students each year. SYSO's programs include four full orchestras, summer festivals, and partnerships with local schools. SYSO in the Schools brings professional musicians into schools to provide instrumental instruction to students free of charge. Two key outreach programs are the Southwest Seattle String Project and the Endangered Instruments Program, both of which aim to increase access to music education. SYSO tracks program impacts such as student engagement, perseverance, achievement, and personal growth beyond music.
This document discusses the importance of music education in schools and communities. It outlines some of the challenges facing music education, such as budget cuts reducing music programs and inconsistent requirements across grade levels. The document advocates for strengthening music education by providing daily lessons, consistent programs in middle school, and more support for high school programs. It provides examples of communities taking initiatives to support music education through programs that provide instruments and encourage community music-making. The document argues that music education improves academic and life skills while fostering creativity, and that stronger support is needed to allow music programs to thrive.
This document provides guidance for starting a chamber music program in high schools. It discusses recruiting interested students, forming ensembles, selecting appropriate repertoire, and providing coaching. The goal is to help students develop deeper musical and personal connections through chamber music. An advisory council of experienced teachers provides additional advice and resources to help more students experience the benefits of chamber music.
Blueprint for Teaching and Learning in Music June 2015Ian Kanakaris
This document provides an overview and acknowledgments for the third edition of the Blueprint for Teaching and Learning in Music from the New York City Department of Education. It discusses the goal of providing a comprehensive framework for music education and highlights new sections added in this edition, including relating music to the Common Core, early childhood music education, assessments, and family/student engagement. It expresses the hope that this edition will continue to serve as an essential resource for music teachers in providing high-quality music instruction.
We Don't Need No Education: Using Music-driven Instructional Activities OnlinePatrick Lowenthal
This document discusses using music to enhance online instruction. It outlines several benefits of incorporating music, such as improving social presence and student engagement. Specific music-driven activities are proposed, like having students create a soundtrack for a topic or developing a concept-specific playlist. The document suggests that music appeals to students and can help promote interaction with course content by involving them in creative activities that apply the material to musical products.
- The document summarizes a music workshop held at Kilkari Home in North Delhi on September 25, 2009 led by American singer-songwriter Carrie Newcomer.
- The workshop aimed to use music to teach children about human rights and empowerment. It also sought to create partnerships between music communities and organizations working with underprivileged children.
- Over time, the workshop organizers expanded their work to include more children and volunteers, develop a child-centered teaching model, and establish partnerships with more organizations to promote music and rights-based learning.
Music Basti' was started in 2008 to work with and empower street children through music. The project is currently working to develop a music program that teaches the children about music as well integrates messages about human rights education and life skills. It focuses on helping the children to develop self- identity, value orientation and attitudes. Alongside this, it endeavors to join together community needs of children at risk, particularly street children and urban slum children, with the efforts of the music community.
Music Basti is run by IDEA (Integrated Development Education Association), and supported by The YP Foundation. It works with Aman Biradari, and Bridge Music Academy. Music Basti was selected for the Change Looms development and assessment program in July 2009, the program supports the work of young people working for social change (Pravah and Ashoka).
The project has worked with various musicians and volunteers in Delhi, combining professionals with student volunteers and musicians. It aims to develop a collaborative and positive relationship between the music community, individuals and institutions, and through them raise awareness about the issue of child rights, and the use of the arts, particularly music to create this awareness.
- The document describes the writer's experience in their teaching internship and how they have benefited from professional learning communities (PLCs).
- Their cooperating teacher, Scott Leonard, is actively involved in PLCs through his work as a professional musician. He shares his experiences and accomplishments with his students.
- The writer has also developed relationships with other educators through social media and uses these connections as a resource in their own teaching, bringing in ideas and perspectives from around the world.
- They describe an experience where connections through a PLC allowed a composer to work directly with their student band, improving engagement and understanding of the piece.
Unveiling the Power of Music in Children: Exploring the Intersection of Psych...assignmentcafe1
"Unveiling the Power of Music in Children: Exploring the Intersection of Psychology and Education" is a comprehensive SlideShare presentation that delves into the profound impact of music on children's development. Join us as we explore the fascinating connection between music, psychology, and education, and uncover the cognitive, emotional, social, and academic benefits it offers. Through a combination of research insights, practical examples, and expert perspectives, this presentation aims to inspire educators, parents, and stakeholders to leverage the power of music in nurturing well-rounded and thriving children. Embark on this enlightening journey to discover the harmony between psychology, education, and music in shaping children's lives.
The Specialist Schools and Academies Trust (SSAT) is an independent charity dedicated to raising achievement in secondary education through collaboration between schools. SSAT works with teachers and students to develop and share effective teaching practices and improve schools. Continuity in music education between primary and secondary schools is important for student progress but is often lacking. Strong partnerships between primary and secondary schools are needed to ensure high expectations and that students can build on their prior learning in music.
This document discusses the importance and benefits of music education. It states that music education allows students to create, perform, respond to, and connect with music. These experiences inspire creativity, build confidence, and teach collaboration skills. The document also notes that music education is cross-curricular by connecting to other subjects and cultures. It appeals to different learning styles and can be an outlet for expression, building relationships and uplifting communities.
Brian Wagner is a music teacher seeking a position where he can use music to connect with students and build on their prior knowledge and experiences. He has over 10 years of experience teaching elementary, middle school, and high school general music, orchestra, and performing arts. He is skilled at differentiating instruction and adapting lessons for students of all abilities, including those with special needs. He has presented at numerous conferences on inclusive music teaching strategies.
The document discusses the importance of incorporating a world music curriculum in schools. It notes that cultures are now more interconnected but music classrooms often fail to teach students about other cultures' music. A world music curriculum would give students greater cultural understanding and awareness of other musical influences. It outlines benefits like showing connections between Western and non-Western music. The key is teaching other cultures' music in a fun, engaging way through celebrations, instruments, and films.
Young Audiences of Minnesota won a national award for their Classical Traditions project, which brings together folk string musicians and classical string educators to teach in Minneapolis middle schools. The project tests the idea that folk music traditions can inform and complement classical music education. Students learn musical elements like playing by ear and improvisation. Artists and teachers also learn from each other. The award recognizes innovative arts education projects.
The Manhattanville Music Curriculum Project created a sequential K-12 music education curriculum focused on musical creativity and discovery rather than performance skills. Led by Ronald Thomas from 1965-1970 and sponsored by the U.S. Office of Education, it trained over 400 teachers in an experimental pedagogy incorporating group projects, improvisation, and teacher facilitation over traditional instruction. Though short-lived, it influenced later developments in music education philosophy.
The Manhattanville Music Curriculum Project created a sequential K-12 music education curriculum focused on musical creativity and discovery rather than performance skills. Led by Ronald Thomas from 1965-1970 and sponsored by the U.S. Office of Education, it trained over 400 teachers in an experimental pedagogy incorporating group projects, improvisation, and teacher facilitation over traditional instruction. Though the project ended, some of its curricular approaches like the Kodály method continue influencing music education today.
The Manhattanville Music Curriculum Project created a sequential K-12 music education curriculum focused on musical creativity and discovery rather than performance skills. Led by Ronald Thomas from 1965-1970 and sponsored by the U.S. Office of Education, it trained over 400 teachers in an experimental pedagogy incorporating group projects, improvisation, and teacher facilitation over traditional instruction. Though short-lived, it had lasting impacts on music education curricula and influenced later approaches like Kodály.
This document summarizes the development of music education. It discusses how music education is based on various philosophies that shape the curriculum, classroom management, and content. The main philosophies discussed are the utilitarian, aesthetic, and praxial philosophies. The utilitarian philosophy views music education as a way to promote religion and social morals. The aesthetic philosophy sees it as a way to develop musical skills and understand emotions expressed through music. The praxial philosophy believes that music is social and should be practiced, not just learned. The document also examines the sociological, psychological, and teaching aspects of music education development.
This document discusses how music education can help elementary school students expand their worldviews by learning about different cultures. It notes that schools are becoming more diverse and that all students' voices should be heard. Music education can bring together different content areas like geography, literature, visual art, and performances to teach students about other cultures. Students can teach each other through activities like having family members speak, and creating their own dances, art, and performances. Starting music education about different world cultures early in elementary school allows students to appreciate diversity.
Teachers face difficulties integrating music into the curriculum due to lack of training and funding for musical supplies and instruction. Music can be academically beneficial when linked to subjects like math, language, and spatial reasoning. It also aids social and behavioral development by teaching concepts like turn-taking, spatial awareness, and forming social bonds. The article argues that music should be a core part of the elementary curriculum due to its educational benefits.
The document discusses the competencies and skills needed to be an effective music teacher. It outlines personal traits like being pleasant and enthusiastic about music. Musical abilities like singing, reading music, and playing an instrument are important. It also discusses how to improve the music classroom environment and includes charts of different areas of musical experience like creative music, instrumental music, and vocal music. The Kodaly method of teaching music concepts to children using hand signals is mentioned. Sample songs and their musical notes are provided.
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and the Sectorial Chamber of Dance to give the dance community representation and influence cultural policies.
4. The National Plan for Dance is being finalized to improve dance education, support the dance economy, and ensure access to dance
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and a Sectoral Chamber of Dance to advise the Ministry of Culture and develop a National Plan for Dance.
This document provides guidance for starting a chamber music program in high schools. It discusses recruiting interested students, forming ensembles, selecting appropriate repertoire, and providing coaching. The goal is to help students develop deeper musical and personal connections through chamber music. An advisory council of experienced teachers provides additional advice and resources to help more students experience the benefits of chamber music.
Blueprint for Teaching and Learning in Music June 2015Ian Kanakaris
This document provides an overview and acknowledgments for the third edition of the Blueprint for Teaching and Learning in Music from the New York City Department of Education. It discusses the goal of providing a comprehensive framework for music education and highlights new sections added in this edition, including relating music to the Common Core, early childhood music education, assessments, and family/student engagement. It expresses the hope that this edition will continue to serve as an essential resource for music teachers in providing high-quality music instruction.
We Don't Need No Education: Using Music-driven Instructional Activities OnlinePatrick Lowenthal
This document discusses using music to enhance online instruction. It outlines several benefits of incorporating music, such as improving social presence and student engagement. Specific music-driven activities are proposed, like having students create a soundtrack for a topic or developing a concept-specific playlist. The document suggests that music appeals to students and can help promote interaction with course content by involving them in creative activities that apply the material to musical products.
- The document summarizes a music workshop held at Kilkari Home in North Delhi on September 25, 2009 led by American singer-songwriter Carrie Newcomer.
- The workshop aimed to use music to teach children about human rights and empowerment. It also sought to create partnerships between music communities and organizations working with underprivileged children.
- Over time, the workshop organizers expanded their work to include more children and volunteers, develop a child-centered teaching model, and establish partnerships with more organizations to promote music and rights-based learning.
Music Basti' was started in 2008 to work with and empower street children through music. The project is currently working to develop a music program that teaches the children about music as well integrates messages about human rights education and life skills. It focuses on helping the children to develop self- identity, value orientation and attitudes. Alongside this, it endeavors to join together community needs of children at risk, particularly street children and urban slum children, with the efforts of the music community.
Music Basti is run by IDEA (Integrated Development Education Association), and supported by The YP Foundation. It works with Aman Biradari, and Bridge Music Academy. Music Basti was selected for the Change Looms development and assessment program in July 2009, the program supports the work of young people working for social change (Pravah and Ashoka).
The project has worked with various musicians and volunteers in Delhi, combining professionals with student volunteers and musicians. It aims to develop a collaborative and positive relationship between the music community, individuals and institutions, and through them raise awareness about the issue of child rights, and the use of the arts, particularly music to create this awareness.
- The document describes the writer's experience in their teaching internship and how they have benefited from professional learning communities (PLCs).
- Their cooperating teacher, Scott Leonard, is actively involved in PLCs through his work as a professional musician. He shares his experiences and accomplishments with his students.
- The writer has also developed relationships with other educators through social media and uses these connections as a resource in their own teaching, bringing in ideas and perspectives from around the world.
- They describe an experience where connections through a PLC allowed a composer to work directly with their student band, improving engagement and understanding of the piece.
Unveiling the Power of Music in Children: Exploring the Intersection of Psych...assignmentcafe1
"Unveiling the Power of Music in Children: Exploring the Intersection of Psychology and Education" is a comprehensive SlideShare presentation that delves into the profound impact of music on children's development. Join us as we explore the fascinating connection between music, psychology, and education, and uncover the cognitive, emotional, social, and academic benefits it offers. Through a combination of research insights, practical examples, and expert perspectives, this presentation aims to inspire educators, parents, and stakeholders to leverage the power of music in nurturing well-rounded and thriving children. Embark on this enlightening journey to discover the harmony between psychology, education, and music in shaping children's lives.
The Specialist Schools and Academies Trust (SSAT) is an independent charity dedicated to raising achievement in secondary education through collaboration between schools. SSAT works with teachers and students to develop and share effective teaching practices and improve schools. Continuity in music education between primary and secondary schools is important for student progress but is often lacking. Strong partnerships between primary and secondary schools are needed to ensure high expectations and that students can build on their prior learning in music.
This document discusses the importance and benefits of music education. It states that music education allows students to create, perform, respond to, and connect with music. These experiences inspire creativity, build confidence, and teach collaboration skills. The document also notes that music education is cross-curricular by connecting to other subjects and cultures. It appeals to different learning styles and can be an outlet for expression, building relationships and uplifting communities.
Brian Wagner is a music teacher seeking a position where he can use music to connect with students and build on their prior knowledge and experiences. He has over 10 years of experience teaching elementary, middle school, and high school general music, orchestra, and performing arts. He is skilled at differentiating instruction and adapting lessons for students of all abilities, including those with special needs. He has presented at numerous conferences on inclusive music teaching strategies.
The document discusses the importance of incorporating a world music curriculum in schools. It notes that cultures are now more interconnected but music classrooms often fail to teach students about other cultures' music. A world music curriculum would give students greater cultural understanding and awareness of other musical influences. It outlines benefits like showing connections between Western and non-Western music. The key is teaching other cultures' music in a fun, engaging way through celebrations, instruments, and films.
Young Audiences of Minnesota won a national award for their Classical Traditions project, which brings together folk string musicians and classical string educators to teach in Minneapolis middle schools. The project tests the idea that folk music traditions can inform and complement classical music education. Students learn musical elements like playing by ear and improvisation. Artists and teachers also learn from each other. The award recognizes innovative arts education projects.
The Manhattanville Music Curriculum Project created a sequential K-12 music education curriculum focused on musical creativity and discovery rather than performance skills. Led by Ronald Thomas from 1965-1970 and sponsored by the U.S. Office of Education, it trained over 400 teachers in an experimental pedagogy incorporating group projects, improvisation, and teacher facilitation over traditional instruction. Though short-lived, it influenced later developments in music education philosophy.
The Manhattanville Music Curriculum Project created a sequential K-12 music education curriculum focused on musical creativity and discovery rather than performance skills. Led by Ronald Thomas from 1965-1970 and sponsored by the U.S. Office of Education, it trained over 400 teachers in an experimental pedagogy incorporating group projects, improvisation, and teacher facilitation over traditional instruction. Though the project ended, some of its curricular approaches like the Kodály method continue influencing music education today.
The Manhattanville Music Curriculum Project created a sequential K-12 music education curriculum focused on musical creativity and discovery rather than performance skills. Led by Ronald Thomas from 1965-1970 and sponsored by the U.S. Office of Education, it trained over 400 teachers in an experimental pedagogy incorporating group projects, improvisation, and teacher facilitation over traditional instruction. Though short-lived, it had lasting impacts on music education curricula and influenced later approaches like Kodály.
This document summarizes the development of music education. It discusses how music education is based on various philosophies that shape the curriculum, classroom management, and content. The main philosophies discussed are the utilitarian, aesthetic, and praxial philosophies. The utilitarian philosophy views music education as a way to promote religion and social morals. The aesthetic philosophy sees it as a way to develop musical skills and understand emotions expressed through music. The praxial philosophy believes that music is social and should be practiced, not just learned. The document also examines the sociological, psychological, and teaching aspects of music education development.
This document discusses how music education can help elementary school students expand their worldviews by learning about different cultures. It notes that schools are becoming more diverse and that all students' voices should be heard. Music education can bring together different content areas like geography, literature, visual art, and performances to teach students about other cultures. Students can teach each other through activities like having family members speak, and creating their own dances, art, and performances. Starting music education about different world cultures early in elementary school allows students to appreciate diversity.
Teachers face difficulties integrating music into the curriculum due to lack of training and funding for musical supplies and instruction. Music can be academically beneficial when linked to subjects like math, language, and spatial reasoning. It also aids social and behavioral development by teaching concepts like turn-taking, spatial awareness, and forming social bonds. The article argues that music should be a core part of the elementary curriculum due to its educational benefits.
The document discusses the competencies and skills needed to be an effective music teacher. It outlines personal traits like being pleasant and enthusiastic about music. Musical abilities like singing, reading music, and playing an instrument are important. It also discusses how to improve the music classroom environment and includes charts of different areas of musical experience like creative music, instrumental music, and vocal music. The Kodaly method of teaching music concepts to children using hand signals is mentioned. Sample songs and their musical notes are provided.
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and the Sectorial Chamber of Dance to give the dance community representation and influence cultural policies.
4. The National Plan for Dance is being finalized to improve dance education, support the dance economy, and ensure access to dance
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and a Sectoral Chamber of Dance to advise the Ministry of Culture and develop a National Plan for Dance.
This document discusses the importance of integrating creative activities like drama into teaching and learning to make it more engaging for students. The researcher conducted several studies on this topic. Her research found that while educational policies support integrating the arts, traditional teaching methods focusing on rote learning are still dominant in schools. She argues that for the creative potential of drama and arts to be fully realized, teachers must examine their own concepts of knowledge and learning and be able to structure constructivist, creative learning processes. The researcher identifies criteria for schools to successfully integrate arts and culture into education, such as ensuring teachers are qualified in arts subjects and collaborating with cultural institutions.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2WAAE
This document summarizes a research project investigating creative partnerships between dance artists and teachers in developing creativity in secondary school dance education in England. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory, and reflective methods. Partner researchers include teachers and artists who co-develop dance works and co-research the partnerships. The goal is to understand different partnership models and contribute to reinvigorating creativity in secondary dance education.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2WAAE
This document summarizes a research project investigating creative partnerships between dance artists and teachers. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory and reflective methods. Researchers aim to understand how creative partnerships can nurture student creativity in dance education in secondary schools in England. The project involves university researchers collaborating with teachers and artists as co-researchers at four school sites.
The document discusses a research project aimed at identifying sustainable creative capabilities. It explores how creative researchers work through imagination and engaging with their field. The research project looks at doctoral journeys in the creative arts, research across arts and industry, and identifying artists' ways of working as creative knowledge. The goal is to understand sustainable creative capabilities needed for a globalized world economy. It calls for sharing case studies and narratives to contribute to building understanding of sustaining creativity.
The document discusses the role of art in promoting social transformation and equity in Latin America. It argues that art can be used as a tool for social participation and influencing public space. The Latin American Network for Art and Social Transformation (The Net) works with underprivileged communities, using art both as a means and an end to empower individuals, encourage new forms of cultural production and circulation, and foster more inclusive and participatory democracies. The Net takes a holistic and interdisciplinary approach, forming alliances across different sectors to address issues like poverty, education, human rights, and the environment through art and cultural activities.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms for those who already suffer from conditions like depression and anxiety.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
The document discusses key issues facing advocates for arts education in developing a national curriculum for Australia. It acknowledges that while governments now recognize the value of arts education, implementation requires concrete support. The author is a member of the advisory group developing the arts curriculum, which is working to resolve difficult questions like which artforms to teach, how often, and how to build on current practice that favors music and visual arts. The group is also considering issues like whether all artforms should be taught at all grade levels, how to balance visual and performing arts, and how many hours should be devoted to arts learning.
This document discusses approaches to fostering creativity and professional development in initial teacher education. It presents an arts-infused model for designing classroom contexts and learning experiences that deliver subject content while developing students' core skills. The model incorporates using the natural and built environments, communications, school grounds, and social/cultural/historical contexts. Students reported enjoying participating in a graphic novel project turning a text into a storyboard, acting it out, and compiling it into a booklet. They recognized the value of incorporating creative learning approaches into their own future teaching.
Creativity is an important concept in Scottish education. The document discusses how teacher training programs can help produce teachers who foster creativity in their classrooms and teaching. It reports on an initiative at the University of Strathclyde where students in a secondary teacher training program study an "Area of Professional Development" that uses real-world contexts as starting points for learning activities. These activities are meant to develop skills like collaboration, problem-solving, and setting subject learning within meaningful contexts.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2WAAE
This document summarizes a research project investigating creative partnerships between dance artists and teachers. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory and reflective methods. Researchers aim to understand how creative partnerships can nurture student creativity in dance education in secondary schools in England. The project involves university researchers collaborating with teachers and artists as co-researchers at four school sites.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This presentation discusses the speaker's efforts to broaden students' understanding of dance through experiential learning opportunities. Students participate in dance experiences in diverse settings like forests, beaches, schools, hospitals, and with varied groups. These experiences challenge students' assumptions and increase their awareness of how dance can meet community needs. The speaker aims to create a sense of "significance" for each student and "solidarity" within the group to foster a community of learners. Experiential learning through diverse teaching experiences is key to developing students' understanding of dance's role and potential impact.
The document outlines Arts Council England's role in supporting arts education and cultural opportunities for children and young people. It discusses Arts Council England's investments in various programs over the past decade like Arts Award, Artsmark, and Creative Partnerships. It also highlights additional investments from other government departments. Looking ahead, it emphasizes the need to better match cultural supply and demand, engage more children and young people, and clarify local delivery models through partnerships.
Music Empathy And Intercultural Understanding Felicity Laurence October 2009 2WAAE
This document discusses how music may cultivate empathy and intercultural understanding. It describes an event where 300 children from different ethnic backgrounds sang together in South Africa, expressing unity. However, a later performance of the same music failed to achieve the same unity. This posed questions about music's power to influence emotions and whether the same music can produce different responses. It explores theories about how music may foster empathy through shared musical activities, but also acknowledges music's varied uses throughout history.
This document discusses a cultural policy program in Brazil called Living Culture that aims to promote youth participation in cultural activities. It examines how involvement in Culture Points, community cultural spaces supported by the program, contributes to youth cultural development and formation of citizenship. The program strives to strengthen democratic aspects of the relationship between the state and society and foster cultural creation among diverse groups. The research analyzed in the document found that participation in cultural actions through Culture Points helped youth express their identities, build social networks, and engage in political participation through artistic and cultural expression.
1) The Performing Arts Education Centre (PAE Centre) was established in 2007 by the Hong Kong Academy for Performing Arts (HKAPA) to promote arts education, curriculum development, and professional development through community engagement projects.
2) One such project was the smARTS Journey initiative launched in 2008 in response to concerns about developing future audiences for the arts. It involved a series of interactive arts programs attracting over 4,000 students through demonstrations, workshops, and school performances.
3) Surveys found over 90% of participants said the program increased their interest in the arts and ability to appreciate performance. The project was renewed for 3 additional years based on its success in engaging students and the community with the
This document discusses the challenges facing traditional Chinese opera as it seeks to maintain cultural identity in modern China. It notes that while reading Chinese classics has seen a revival, performing arts have received less attention. The Chinese government now aims to promote opera in schools, but questions remain as to what pieces truly represent traditional culture given issues like outdated ideology. Selecting arias that appeal to students while avoiding problematic messages is difficult. Overall, the document examines the complexities of using performing arts to both connect with cultural roots and remain relevant in the modern era.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
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Reimagining Your Library Space: How to Increase the Vibes in Your Library No ...Diana Rendina
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A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
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LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
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4.
Relationships take time to develop and change doesn’t happen overnight; one head
teacher reported at a steering group meeting that takes a long time for all the staff to
feel confident with singing, without the support in the second year, she could see that
the singing could fall back. She used the 2nd year to focus on building the skills of her
teachers who were all consulted and said what elements of music they wanted to cover.
Aspirations were expressed:
– Hopefully it will free us from the reins of L.C.P. music which we tend to use as a
crutch, and in reality is not particularly enjoyed by children or staff…would love
to do more…I can see how it can be implemented in both key stages…build
confidence and bring the whole school together…songwriting within
class…people now have a starting point within their own comfort zone…lots of
activities to do with children, for musicality, team building, PSHCE and many
more (curriculum) areas…practical application in classroom, assemblies, brain
gym…we will soon be a singing school!
Changes in approaches to teaching were also observed and shared:
It was lovely that the class teacher commented that she’d learnt to let the children
take control of the creativity and not to impose her ideas – to trust the children
really. I noticed that she was very much part of the group ‐ working with the
children. This was very productive and following the first two sessions, we really
didn’t have to put in much input here.
Conclusion
If teachers lack confidence in music and perceive it as an unattainable skill, music may
not be high on the agenda, nor be a particularly enjoyable experience. In Vocal Union a
partnership model is offered and gives teachers and musicians the opportunity to
discover and reinvestigate the best ways of working together, offering greater
empowerment to teacher and musician alike.
It is a tall order to expect one teacher to deliver everything to the class; however the
teacher is the classroom expert and she knows her class and the individuals it comprises
of. The musician brings in musical knowledge and subject expertise, this combination is
unique and valuable. A true partnership between teacher and
musician can deter the tendency to place the musician on a pedestal, reinforcing the
perception that to be a musician requires ‘special’ talents. This can go along way to
normalising music so that it is not seen as elitist.
Some examples of feedback from questionnaires or conversations.
5. Responses from children
What happens when we sing about things we learn in school?
• It brings singing into us and helps us learn more about things.
• I liked the way Em helped us turn our words into songs. It was hard at first.
• I liked the call and response, It made us feel good about singing
• It makes boring staff fun.
• When I think about lyrics I remember
• You get better
• It give us a fun way of remembering the things we learn in different lessons
• We remember more about the topic
• Helps us learn and exercises our voice box
Practitioner feedback.
• In Vocal Health session had some very positive feed back. One teacher said that it
has really helped her confidence and that she could see the same in the other
teachers. She also said that she would never have sang with the children or
adults before, and I would say that she is now one of the best teachers at
encouraging her class to sing and always joins in with confidence and a smile on
her face, which in turn helps her class to be one of the more confident classes.
• Although the teachers appear to be a little shy with each other during Remedies,
when we get them singing together they sound absolutely lovely. Two of the
teachers sing in a choir through the week and they are trying to learn the songs
we are taking in for them and teach them to their choir. It is also obvious that
they have little fear for singing with the children as they are working with the
material we are giving them.
Bibliography:
Clarke J. And Taylor H. ‘ Let’s sing it in four parts now’ unpublished report for The Sage
Gateshead and Paul Hamlyn Foundation, (2007). ‐ This is available from me.
Kekus S. Vocal Union Evaluation for DfES, (unpublished report for DfES, 2007) ‐
Department for Education and Skills now the DCSF
Mills, J. Music in the school, ( Oxford: Oxford University Press, 2005)