...How parents can help in facilitating Creative Expression in the Classroom. Prior to undertaking this section, ensure that you give a well informed definition of creative expression. Creative Expression: - Creative Arts Expression refers to participation in a range of activities that allow for creative and imaginative expression, such as music, art, creative movement and drama. Creative expression engage children's minds, bodies, and senses Parents can help facilitate Creative Expression in the Classroom by encouraging and engaging in various activities at home which will allow their children to be creative and imaginative, thus allowing them to be less hesitant to get involved in such activities in the classroom. * Encouraging their children’s curiosity by asking them questions and allowing them to ask questions. * By building on their confidence – when children are encouraged to think and believe in their ideas, it gives them the confidence to express what they’re thinking or to try new ways. * Encouraging their children to take the lead in coming up with new ideas. * Encouraging and praising their children to be individuals * Engaging in role playing:- having their children act out a story before or after they read a book to them. * By providing different art materials that will allow children to express themselves. Crayons, music, paint, * By reading and having discussions with their children:- allows for children to have self-expression...
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...a need of emotional, physical, spiritual and moral development that is complemented and supplemented by Co-curricular Activities. Definition of Co-curricular Activities Co-curricular Activities are defined as the activities that enable to supplement and complement the curricular or main syllabi activities. These are the very important part and parcel of educational institutions to develop the students’ personality as well as to strengthen the classroom learning. These activities are organized after the school hours, so known as extra-curricular activities. Co-curricular Activities have wide horizon to cater to the cultural, social, aesthetic development of the child. Examples and Types of Co-curricular Activities Sports Musical activities Debate Model Art Music Drama Debate and discussion Declamation contest Story writing competition Essay writing competition Art craft Recitation competition Wall magazine decoration Writes ups for school magazine Folk songs Folk dance Flower show School decoration Sculpture...
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...HOW DOES A MUSIC PROGRAM AFFECT THE READING FLUENCY OF SECOND GRADE ESL STUDENTS? by Candace Rose Cooper A Thesis submitted in partial fulfillment of the requirements for the Master of Arts degree in English as a Second Language Hamline University St. Paul, Minnesota April, 2011 Committee: Ann Mabbott-Primary Advisor Cynthia Lundgren-Secondary Advisor Kristin Weidlein-Peer Reader To my aunt, Mary Lou Merdan, Ph.D., who dedicated her career to reading literacy through the education of children and teachers. ii TABLE OF CONTENTS Chapter One: Introduction……………………………………………………………….1 Folk Songs………………………………………………………………………...1 Background of the Research………………………………………………………3 Benefits of Music Education……………………………………………………...4 Conclusion………………………………………………………………………...5 Chapter Two: Literature Review…………………………………………………………7 Music, Motivation, Language, and Reading Fluency……………………………..7 Music and Language…………………………………………………………..…..8 Music and Motivation……………………………………………………………10 Oral Language……………………………………………………………………15 Reading Fluency…………………………………………………………………17 Strategies for Enhancing Reading Fluency………………………………………21 Fluency and ELLs…………………………………………………...…………...24 Fluency Assessment……………………………………………………………...25 Conclusion……………………………………………………………………….29 Chapter Three: Methodology…………………………………………….……………...31 Participants and Research Design………………………………………………..31 Research Paradigm…………………………………………….………………....31 Setting………………………….………………………………………………...32 iii Participants………………………………………………………………………...
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...Concert Report #2 My second concert I attended was located at the Fowler Center Thursday, November 4, 2010. The Arkansas State University Wind Ensemble played several works, which gave to the title “Folksongs and War Songs”. Timothy Oliver was the main conductor and there was a guest conductor also, Dan Patterson. A classmate and I arrived to the Fowler Center on time and got settled, but neither one of knew what to expect really since we didn’t have a very sturdy musical background. Everyone on stage were playing their instruments all the same time and didn’t sound very graceful, but we came to the conclusion all the performers were practicing before show time. The lights began to dim and show began. The first piece was Divertimento for Band by Vincent Persichetti. It was composed of several different movements including the prologue, song, dance, burlesque, soliloquy, and finally march. The song and dance movements I recognized from class and put two and two together and learned that the soliloquy began the soloist concert. I enjoyed the performance, but was probably not my favorite. Heroes, Lost and Fallen by David R. Gillingham was the second piece and the one I enjoyed the most. I took pleasure in this piece because before the performance started, Mr. Patterson explained a little bit how this concert was derived. Heroes, Lost and Fallen was dedicated as a Vietnam Memorial. This piece was very different and had many different sounds. He told the audience...
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...school starts from grade 1 to grade 2, secondary school starts in grade 7 to grade 9 and preparatory school starts in grade 10 to 12. Schools in Mexico usually have uniforms for students. Girls would wear a white blouse and a skirt while the guys would wear a white dress shirt and khaki pants. Students in Mexico learn the basic core subjects such as reading, writing and math. Mexico also offers science social studies, agriculture, gym, music and dance. Classrooms in Mexico are usually extremely small; it is often crowded with 50 students. Most of the time students sit close to each other; students could hear each other breath. Aside from school and work, teenagers love to make time and hang out with their friends. Friendships tend to form early in life for a teenager. On their free time, teens like to skateboard, watch TV like Telenovelas and they cherish reading and art. Teens in Mexico also love listening to music such as pop, rock, hip hop and reggaeton. Snoop Dogg is often favoured among Mexican teens. They also love listening to folk music like Ranchera which is played by mariachi bands. Teens in Mexico often wear different colours; they also love to wear common western clothing. A common hat Mexican’s wear is called the sombrero which represents the culture in Mexico! Family Lifestyle: Families in Mexico are mostly made up of nuclear families, which is a family that consists of a mom, dad and their children. There are also many extended families too! It’s common to see...
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...A commentary on the special issue. How much can schools do to eradicate poverty? This question undergirds the important articles in this special edition of Teachers College Record. Early beliefs—from the mid-19th century to perhaps the late 1970s—were strong that education could change the world and would constitute the “great equalizer,” in Horace Mann’s words. This belief in education’s power motivated my own entry into teaching in the mid-1960s: Caring teachers would change the world for the minority poor, one student at a time. Over the decades, this belief has faded as poverty has grown despite the spread of education and a more highly educated population. What has persisted, however, is the deficit thinking that informed the early compensatory education programs that the articles in this issue describe. Such beliefs are more subtle, and expressed obliquely, but they still inform education policy aimed at the urban poor—from local zero-tolerance discipline and metal detectors on school doors (which assume all students are thugs) to the high-stakes standardized testing mandated by No Child Left Behind and Race to the Top (which assume that test prep is enough of a curriculum for the urban poor). In addition, as Beatty remarks in her introductory piece, the focus of much reform today on instilling middle-class social capital in working-class and poor students smacks of deficit thinking: “Discourse similar to that of compensatory education...
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...PHILOSOPHICAL BASIS FOR MUSIC IN TEACHER EDUCATION A paper dealing with a philosophy of education, or of basic education in particular, invariably conjures in the minds of audiences or readers lengthy presentations of scholarly opinions on the meaning of music, aesthetics, aesthetic education and the like. Indeed, volumes have been written on the subject by such authorities as Suzanne Langer, Bennet Reimer, Charles Leonhard, Abraham Schwadron, etc. Yet from my own contacts with fellow music educators here and abroad I know this is a topic people shy away from because it is usually regarded as something too abstract and perplexing. Thus, its true meaning often eludes many people. This afternoon I will try to deal with the subject as simply and briefly as possible, in a manner I hope you will all understand, and hopefully, put into practice. First of all, I would like to think of a philosophy of music education simply as an articulation of the values, role and place of music in education and in life as a whole. In the Preface of the PSME Curriculum Guide, “Enhancing Musical Growth in the Elementary School,” which some of you are probably familiar with, we stated that the underlying philosophy of our music education program is that it is ’”primarily aesthetic education, aimed at helping the learner develop a sensitivity to the expressive qualities of music… but also recognizing the social, ethical, psychological, physical and other values of music.” (This, I will explain...
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...Chapter: one 1.1. Introduction: ARCHITECTURE OF PERFORMING ART EDUCATION: Performing art education centre works for cultural activities and performing art education both formally and informally for both children and adults, the planning of the centre needs to be done with all levels of people in all ages keeping in mind. The purpose of any performing art education school facilities is to create an environment which can provide the teaching and learning process and recreation appropriate for people in all ages. Performing art represents the culture and tradition of the country and nation, therefore the education centre also should represent the culture and the tradition of the country. Besides the classrooms, teachers and administrator’s areas, workshops, stores etc, the physical enclosure itself should also generate an environment favorable for performing art education, recreation and other interactions. The planning, design and construction of the community school should result in an environment which can fulfill the above mentioned purpose. Although the schools of performing art education represent the art and culture of a nation, in different countries the performing art education centers were designed with different concepts , design ideas and technologies to achieve a master piece of art in form and architecture, but in developing countries particularly in Asian subcontinent, the planning and design need should be different. To spread the performing art...
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...translates into positive teaching strategies (Clement & Lovat, 2008). However, teachers and researchers who are implementing, and testing BBL strategies, contend that a working knowledge of neural functioning is paramount as educators look for successful ways to address individual learning needs. Balil Duman ((2010) shares that several educators and brain researchers have conducted and produced research that reveals that individuals learn in different ways thus multi-dimensional teaching models should be used to transmit information to students. Caine and Caine (1994) relate that BBL is a way of thinking about the learning process and is a set of principles through which educators can make decisions about the learning process. Classrooms where BBL strategies are implemented include teacher devised environments that include orchestrated immersion, relaxed alertness, and encourages active processing as the teacher performs the duties of...
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...The effects of music on children and young people. 1. The effect of music on IQ Campabello, Nicolette; De Carlo, Mary Jane; O'Neil, Jean; Vacek, Mary Jill Music Enhances Learning. Dissertations/Theses; Tests/Questionnaires. 2002 An action research project implemented musical strategies to affect and enhance student recall and memory. The target population was three suburban elementary schools near a major midwestern city: (1) a kindergarten classroom contained 32-38 students; (2) a second grade classroom contained 23 students and five Individualized Education Program (IEP) students; and (3) a fifth grade classroom. Students exhibited difficulty recalling facts and information in a variety of subject areas evidenced through an inability to gain mastery of grade level skill areas. Research suggests that young students have difficulty understanding concepts and lack the ability and desire to learn. A successful program needs to be developed to teach these concepts. A review of solution strategies suggests that the following musical techniques proved to be helpful for increasing student recall because the songs helped with phonemic training, mnemonics, setting desired skills to familiar tunes, and linking connection to cultural themes. Research has shown that preschool children taught with an early exposure to music through games and songs showed an IQ advantage of 10 to 20 points over those children taught without exposure to the songs. In the same study, students at age...
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...An Investigation of How Culture Shapes Curriculum in Early Care and Education Programs on a Native American Indian Reservation ‘‘The drum is considered the heartbeat of the community’’ Jennifer L. Gilliard1,3 and Rita A. Moore2 This article investigates how culture shapes instruction in three early care and education programs on the Flathead Indian Reservation. Interviews with eight early childhood teachers as well as classroom observations were conducted. The investigation is framed by the following research question: How does the culture of the family and community shape curriculum? Data analysis suggested that ongoing communication with parents and community about teaching within a culturally relevant context, building a sense of belongingness and community through ritual, and respecting children, families, and community were essential to defining the Native American Indian culture within these early learning programs. KEY WORDS: culture; in; tribal; early; education; programs. INTRODUCTION Instruction informed by children’s home and community culture is critical to supporting a sense of belongingness that ultimately impacts academic achievement (Banks, 2002; Osterman, 2000). American school populations are increasingly diversified with immigrants and English language learners; but American teachers are over 90% European American (Nieto, 2000). Educators who are from different cultural perspectives than those present in the families and communities of the children they...
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...GLORIA ANZALDUA How to Tame a Wild Tongue Gloria Anzaldua was born in 1942 in the Rio Grande Valley of South Texas. At age eleven. she began working in the fields as a migrant worker and then on her family's land after the death of her father. Working her way through school, she eventually became a schoolteacher and then an academic, speaking and writing about feminis t, lesbian, and Chicana issues and about autobiography. She is best known for This Bridge CalJed My Back: Writings by Radical Women of Color ( 1981), which she edited with Cherrie Moraga, and BorderlandsfLa Frontera: The New Mestiza (1987). Anzaldua died in 2004. "How to Tame a Wild Tongue" is from BorderlandsfLa Frontera. In it, Anzaldua is concerned with many kinds of borders - between nations, cultures, classes, genders, languages. When she writes, "So, if you want to really hurt me, talk badly about my language" (par. 27), Anzaldua is arguing for the ways in which identity is intertwined with the way we speak and for the ways in which people can be made to feel ashamed of their own tongues. Keeping hers wild - ignoring the closing of linguistic borders - is Anzaldua's way of asserting her identity. "We're going to have to control your tongue," the dentist says, pulling out all the metal from my mouth. Silver bits plop and tinkle into the basin. My mouth is a motherlode.· The dentist is cleaning out my roots. I get a whiff of the stench when I gasp. "I can't cap that tooth yet, you're still draining," he...
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...A Proposal for a Visiting Resident Fellowship at the Virginia Commonwealth University of Virginia, U.S.A. I: Introduction Mevlana Jalaluddin Rumi, the twelfth century mystic, says in a poem with which I often begin my recitals: I am neither Christian nor Jew nor Magian nor Musalman, I am not of any one country : India, China, Bulgaria, Scyte.. My place is placeless My trace is traceless It is neither body nor soul It is all the life of my Beloved. This proposal is about a seeker, an explorer of the soul through poetry and acting, with entertainment as second nature, by getting into the skin of men, women and children as actors do – in addition to a desire that seeks to understand and interact with others. Sufism expounds on simple living, sharing and forsaking for others. The good food and vine need not be consumed, but the spicier, crustier and more divine it is when given away, carries it farther with wings of the soul. That man by the Church who cannot walk as you do, who is asking for alms is doing what he does, but you need him more than he needs your cents. These viewpoints are inspired from Sufi thought but the anecdotes are my own assimilation from Italy this summer. This proposal is on the cutting edge for the Department of Film and Photography at the Virginia Commonwealth University. This is a proposal by a writer/actor who...
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...to Humanities 4010-24149 February 20, 2014 Social Issues of Cutting Art Funding When school budgets become strained, one of the first cuts is to the art programs, these include; art classes, theater, and music. Cuts to the above programs are used as sacrifices for extra-curricular activities, perhaps the most popular football. One social problem in cutting arts is that it deprives future generations of current art displays, which are often statements about the time period. It is also more sociable acceptable to participate in sports over a play. Another issue is that artists will not be able to be successful in their career choice. Even with the criticism, the arts play a critical role in a student’s career; therefore, it is malpractice to cut funding to arts in order to pay for extra-curricular activities. There are many benefits the arts can provide the common mass, whether it is entertainment, or stimulating thought and conversation. But the people or students involved in the performance or creating the art piece benefit the most. According to Mrs. Henry at the USA Today, the specific benefit one receives depends on the art discipline, “Drama helps with understanding social relationships. Music improves math achievement and proficiency, reading and cognitive development. Dance improves creative thinking, originality, and flexibility. Visual arts improve content and organization of writing.” According to Mrs. Henry, studying arts positively...
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...(Paper) ISSN 2222-2863 (Online) Vol.3, No.10, 2013 www.iiste.org African Folksongs as Veritable Resource Materials for Revitalizing Music Education in Nigerian Schools Kayode M. SAMUEL, Ph.D Research Fellow, Institute of African Studies,University of Ibadan,NIGERIA. E mail address: sonatakay@yahoo.com Abstract Some Yorùbá cultural values and expressions embedded in Egbeda-Egga women’s folksongs are the focus of this paper. With the use of in-depth interview and participant-observer methods, a collection, description and interpretation of some of the songs recorded during a field trip were undertaken. Analyses of the women’s repertoire reveal that immediate local environment are overlaid with folksongs which can serve as veritable resource materials useful for effective music teaching as well as tapping and honing learners’ artistic potentials to enhance and transform music performance in the classroom setting and beyond. The paper, therefore, submits that it is high time Nigeria embarked on school reforms and policies to make school music reflect the culture of the local communities. Keywords: Women folksongs, Nigerian schools, Yoruba culture, Ethnomusicological studies Introduction Nigerian music scholars and educators have over time expressed great concern over the state of musical arts education in Nigerian schools and the dwindling fortunes of music education in Nigeria in general (Omojola, 1994; Okafor, 2005 and Samuel, 2013). A gaze into the system from the basic education level...
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