Despite valuable instructional improvements that each new edition of a supporting text provides for the introductory study of music theory, instructors still struggle with student engagement and motivation in required theory courses. Such fundamental difficulties beg reconsideration of our technologically progressive but nevertheless conventionally prescribed model of instruction and its accompanying methods of learning assessment. Post-secondary academic culture trains students to respond to assessment requirements. Our conventional models of assessment that include short assignments, tests and examinations can determine individual achievement in comparison to others at a given moment in time, but they do not encourage students to internalize course content in a meaningful way. Nor do they motivate them to retain or transfer their learning beyond the theory classroom to other areas of professional development as intended by the theory core. This is because the assessment is concerned primarily with product rather than process. By completing exercises, tests and examinations, students can show that they have received information, but not necessarily that they have interpreted it, integrated it with other knowledge they already have and made it their own. For students to take such responsibility for their learning, attention must be directed toward the learning process. A pedagogical tool that can transform subject teaching into learning-process oriented instruction and that has demonstrated effectiveness in fostering meaningful learning in other disciplines, but has not yet received attention in the field of music theory, is the learning portfolio.
What is a Learning Portfolio?
In general terms, a portfolio is a collection of evidence or artifacts gathered together to document a person's competencies. From this general perspective, the portfolio is certainly not a new idea. Artists, architects and designers have long used portfolios to document their work and demonstrate professional skill. Today, portfolios are used in a variety of educational and professional contexts for purposes of learning, assessment, appraisal or promotion. Although it is beyond the scope of this paper to offer a detailed study of the portfolio and its many adaptations, it is appropriate to discuss its development as a pedagogical tool in order to establish the context for its application to instruction in music theory.
Through reflective writing, learners develop metacognitive skills that help them achieve an awareness of how they do intellectual work, which is a useful ability to cultivate in general and particularly for the study of music theory.
In recent years, using portfolios to assess student learning at all educational levels has been much discussed. Experts in favor of portfolio-based assessment describe it as being authentic, which means that it "'require[s] students to actively accomplish significant tasks using prior knowledge, recent learning and the relevant skills to solve real-world tasks.' In other words, rather than merely telling or answering questions about what they know and what they can do, students actually demonstrate their knowledge and skill."12 Broad interest in using portfolios is being fuelled not only because the instrument is perceived as a superior assessment tool, but also or perhaps even more so because of its reported ability to engage students in their own learning.
My interest in the portfolio as a pedagogical tool was piqued by its promised ability to motivate students and enhance their learning. To test this claim, I adopted it for use in a required music theory core course on chromatic harmony, to which students are not necessarily equally committed, as they do not attend only by choice. The portfolio was used both for formative learning and assessment. Therefore, it was designed to include evidence of student work in progress, samples of their best completed work and reflection on the work submitted.
In this initial trial the complete portfolio was conceived as a collection of two or more well-defined projects that endeavoured to activate student learning by combining writing-to-learn assignments with peer review and reflection.13 Each project gave students an opportunity to demonstrate knowledge of a particular concept covered in the course by applying critical thinking skills to a writing assignment in order to complete an activity that may be encountered in the field of music theory. To accomplish this, students were required to work together in partnerships of two, in which one student assumed the role of an author and the other the role of an editor. Roles were switched from one project to the next to ensure equal requirements for all students over the course of the complete portfolio. Each portfolio project was submitted by a particular deadline; it was assessed and returned to students before the next project was due so that students could benefit from instructor feedback before their next submission. The portfolio design challenged a common characteristic of portfolios by limiting student choice of artifacts, but in this initial implementation, a more mentored approach was required to meet curricular requirements that included examinations, for which the portfolio also served as a preparatory aid. The resulting standardization of portfolio contents yielded a set of artifacts in common to all project submissions, which facilitated assessment.
An example of a music theory portfolio project is provided in the appendix to this article, which reproduces my "Portfolio Project 1" on the topic of applied chords.14 While the assignment itself needs no additional explanation, I will comment here on the project design and on elements that contribute to its effectiveness. An immediately noticeable feature of the project is its relatively detailed instructions. In my experience, this is an essential component of a successful portfolio project design especially if the project is used for assessment. The greater the level of clarity provided to students regarding what is required of them, the greater the chances that they will meet project expectations.
The project begins with a statement of purpose that transforms students into aspiring music theorists with mandates to write and edit articles on the topic of applied chords. The instructions that follow outline partnership and assessment submission requirements. The completed project consists of a title page, an initial version of a completed article on applied chords, a review of the first version of the article, a revised version of the article, and reflections of the author and editor.
The project has internal deadlines in addition to the submission deadline. Internal deadlines teach lessons in time management and guard against potential procrastination by author and/or editor that could negatively affect the project experience. These deadlines may be set by the instructor or may be agreed to between partners themselves, but the requirement of adhering to them is articulated in author and editor instructions and the importance of doing so is reflected in the rubric for assessment. The project submission deadline serves a similar purpose. While some students may possess the discipline and responsibility necessary to submit several projects as one complete portfolio toward the end of a course, most students benefit from the pacing that individual project deadlines provide and from instructor feedback between project submissions.
To complete the portfolio project, both author and editor must provide written statements of reflection on their engagement in the project and on lessons learned from it. Not all students are equally skilled in reflection. For many this may be a new activity. To aid students in developing this skill, questions are provided that indicate the kind of information that may be included. Furthermore, the rubric for assessment shows greatest reward for perceptive and illuminating comments about what participants learned from the project, which encourages them to think about their learning process.
Assessment can be a problematic issue in portfolio use. This is particularly true for portfolio designs that allow students exclusive control over artifact selection. By designating items to include, the project portfolio mitigates potential problems of assessment to a considerable extent. In addition, the inclusion of a rubric facilitates assessment for the instructor while clarifying assessment criteria for students.
What is a rubric? Educators Chris Anson and Deanna Dannels explain that "rubrics come in many forms; at their simplest, they are evaluative scales based on categories that usually derive from expectations for an assignment."16 For this portfolio project, the rubric contains a total of nine different assessment categories. There is one for project presentation and one for each of the five required artifacts that document work in progress (the author's first version of the article and the editor's review report), best work (the final version of the article) and reflections of author and editor. It gives additional weight to the inclusion of chorale-style examples and a repertoire excerpt by allotting separate categories for these two important project components that form part of the final version of the article. The rubric also includes a category that evaluates demonstrated mastery of subject matter (understanding of applied chords), which is the goal of the project. For each category, evaluative expectations are specified at every point along a scale from a minimum of 0 to a maximum of 4 points. The rubric indicates that participants are not assessed in categories for which they have no responsibility and illustrates where both partners are expected to take equal responsibility. Thus, the author's achievement on his/her specific contributions does not affect the editor's score and vice versa. However, in all categories into which both partners have input, each is awarded the same score.
It is important to disclose the rubric at the same time as the portfolio project instructions. Withholding the rubric does not allow students to make productive use of the information it contains. Disclosing it clarifies requirements, which helps students to meet expectations. It also allows for transparency in comparison of submitted work against quality standards and reveals criteria against which all project portfolio submissions are equally judged.
"I used to think that materials that are being taught in theory class are too 'theoretical' and not practical enough to be used in real life, but as I was able to find so many musical compositions that consist of applied chords, music theory to me became alive in terms of its application in real, living music."
"I am now able to pick them [applied chords] out while listening to music and it is a really wonderful feeling to hear these harmonies and think, 'Ah, that's why the music goes this way.' "
"Striving to explain this concept [applied chords] in a straight-forward and understandable way has prompted me to cultivate skills that will be important in a possible future career as a music educator."
"I also believe that working as the editor gave me a chance to think critically about the sources I use in research, whether it is related to music theory or another field. ... Looking at a piece of writing for what it is . . . and thinking critically enables you to develop an opinion of your own based on previous knowledge and the subject matter the author presents. Developing my own opinion based on documented knowledge not only makes my writing not only [sic] better, but makes my writing far more credible and interesting. This is I believe the main skill developed as the editor in this task, and it is the skill which I will take away with thanks."
"This project was not only helpful in my understanding of applied chords, but it also allowed me to understand how my brain works as an individual and the different techniques I can use to better my studying habits. I found myself constantly reviewing readings and class notes while in the process of writing this article. . . . I discovered that sitting down and writing the article based on what I could remember helps me to study and to learn the material. This method outlines the points I already know and which points I need to focus on."
Overwhelmingly, reflections give credit to peer review for enabling participants to produce better products. Often, editors recognize their responsibility to be at least as well-informed as their authors in order to perform due diligence and they take their review work seriously when grades depend on the quality of their commentary. Reflections also recognize the benefits of encountering and reconciling different interpretations of subject matter, of enhancing mutual understanding of a topic through partnership, and of being motivated to submit high quality work because a partner's evaluation depends on it too. The peer review process thus emerges as a valuable component of the project design for students and for instructors; for students because they experience the value of learning through revision and for instructors because the improved work that is submitted for assessment is not only rewarding for all parties, but also provides a more accurate indication of student abilities. While students in theory core courses are usually evaluated on individual work, this project indicates that they can learn much from each other through controlled peer review.
The pedagogical outcomes of the portfolio project described in this study are noteworthy all the more so because they confirm results of portfolio use in other fields. Positive results were obtained from this portfolio project because of activities that draw attention to the process of learning. Its design invites students to think deeply about their individual learning and challenges them not only to articulate what they think, but more importantly to understand why they think it. Consequently, it fosters internalization of learning and engages students in ways that can be extraordinarily meaningful.
A portfolio approach that assumes everyone in the class is a developing theorist elicits responsible work and engages even those students whose generally less-than-inspired attitudes toward music theory hinder their progress. In crowded classrooms with ever-growing enrollments, the project portfolio customizes student learning experiences through writing, reflection and peer review. Writing-to-learn assignments transform students from passive to active learners and deepen their understanding of subject matter while engaging them in the thinking processes of our discipline. Reflection is the vehicle through which students learn to take ownership for their learning and responsibility for becoming self-directed learners. At some point, it entails modifying previous knowledge to connect it to new material and thereby develops perceptive skill that is not only useful in introductory theory courses, but also necessary for more sophisticated analytical work later on. Reflection also develops conscious awareness of strengths and weaknesses, encourages students to recognize areas for improvement as well as promotes confidence through recognition of accomplishments. Through reflection, students begin to move beyond the ordinary focus on assignment completion to a deeper awareness of the learning involved in building their own understanding of the subject matter. Peer review engages students in real-world practice and develops interpersonal skills valuable in any field of study including music theory: the ability to accept constructive criticism respectfully, to express opinions clearly and openly, to offer advice tactfully, to empathize with alternative perspectives, and to reach compromise between different points of view. The process involves students in generating rather than passively receiving knowledge. Perhaps most importantly, it affords them an opportunity to experience the social construction of knowledge by groups that negotiate their way to consensus. In the end, the peer-review process produces a much improved final product that is submitted for evaluation without additional instructor input and one that better reflects student abilities. Even if they are not stellar writers, students can be excellent peer editors because they readily recognize lack of clarity in someone else's work if not their own.
There are aspects of portfolio use that may deter instructors. Portfolios in general and project portfolios in particular require careful thought and preparation. Instructors must determine well in advance how best to connect portfolios to curricular goals and a considerable investment of time and energy is needed to design effective projects and to provide detailed guidelines necessary for their successful completion. Perhaps the greatest deterrent to portfolio adoption for instructional purposes is the time required to grade individual and unique portfolio submissions. As class sizes and workloads increase, learning portfolios can become overwhelming and burdensome. To some extent, the design of the portfolio project presented in this study mitigates this latter concern in three significant ways. Firstly, it cuts portfolio submissions in half by requiring two students to complete one submission. Secondly, the peer-review component catches and corrects many errors that instructors ordinarily encounter when reviewing assignments thereby reducing time spent on recurring error correction. Lastly, the rubric for assessment streamlines the grading process.
Notwithstanding these acknowledged challenges to portfolio use, the benefits of the music theory learning portfolio project described in this study are too attractive to dismiss. The portfolio project allows students to demonstrate knowledge of subject matter while integrating skills in academic writing, critical thinking and reflection thereby developing professional skill at an early level. Moreover, it engages students in their individual learning of theoretical subject matter and encourages them to recognize the relevance of theory and its abstractions to musical realities outside the classroom. The effectiveness of the portfolio project in this regard derives from its focus on the process of student learning rather than on subject teaching. The adoption of such a change in focus in music theory pedagogy transforms an instructor productively from dispenser of knowledge to a higher-order facilitator of learning and allows for a more informed evaluation of student achievement.
As indicated by my trial implementation, the learning portfolio project is a potentially powerful pedagogical tool for undergraduate instruction in music theory and it brings to light pedagogical issues worthy of further consideration in this field. Its effectiveness calls for instructors of music theory core courses to pursue a process-oriented focus on student learning rather than the conventional focus on subject teaching and especially to engage students in reflection on their work. It also suggests that more attention should be directed toward creating assignments that include peer review as a middle step between initial and final versions of assignments submitted for assessment as peer review plays a valuable role in student learning and produces a better final product. Perhaps most encouraging is the revelation that, by working with portfolio projects, students in theory classes experience the relevance of studying music theory because they engage in the kind of analytical, creative, critical and reflective work that music theorists do.
1Nelson, "The College Music Society Music Theory Undergraduate Core Curriculum Survey—2000," 61. Consult this article for more information regarding data collected by the survey as well as for trends and concerns identified by its author.
2Examples of such instructional materials used in the music theory core include, but are not limited to the following publications: Clendinning, Jane Piper and Elizabeth West Marvin, The Musician's Guide to Theory and Analysis and The Musician's Guide to Aural Skills Volumes 1 and 2 (with Joel Phillips and Paul Murphy), 2nd edition (New York: W. W. Norton, 2011); Gauldin, Robert, Harmonic Practice in Tonal Music, 2nd edition (New York: W. W. Norton, 2004); Kostka, Stefan and Dorothy Payne, Tonal Harmony: With an Introduction to Twentieth-Century Music, 7th edition (Boston: McGraw-Hill, 2004); Laitz, Steven, The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, 3rd edition (New York: Oxford University Press, 2011); Roig-Francoli, Miguel, Harmony in Context, 2nd edition (Boston: McGraw-Hill, 2011).
3The Research Ethics Board of Wilfrid Laurier University has approved collection of student comments for purposes of this research project. I gratefully acknowledge the consent of students to include their comments in this article. I also acknowledge the Educational Development department at Wilfrid Laurier University, in whose workshops I first encountered information about the learning portfolio. My own project design is indebted to the work of my colleague in the department of Languages and Literature at WLU, Dr. Mercedes Rowinsky.
4Traditionally, portfolios have been paper based as is the portfolio project discussed in this study. However, web-based portfolios are currently being developed that, in addition to text, may include multimedia artifacts such as graphics, sound and video allowing for ever richer representations of student learning.
5Scott, "Step by Step," 80-85.
6Camp and Levine, "Portfolios Evolving," 195.
7Rosenberg, "Using the Portfolio to Meet State-Mandated Assessment," 69-71.
8For information on portfolio use in various educational contexts, see: Beishuizen et al, "The Introduction of Portfolios in Higher Education"; Butler, "A Review of the Literature on Portfolios and Electronic Portfolios"; Gonzalez, "Promoting student autonomy through the use of the European Language Portfolio"; Klenowski et al, "Portfolios for Learning, Assessment and Professional Development in Higher Education"; Zubizarretta, The Learning Portfolio: Reflective Practice for Improving Student Learning.
9Arter et al, "Portfolios for Assessment and Instruction," 5.
10For an introduction to reflection and reflective learning, see: Moon, Jenny. The Higher Education Academy Guide for Busy Academics No. 4: Learning through reflection.
11Mills-Courts and Amiran, "Metacognition and the Use of Portfolios," 103.
12Bauer and Dunn, "Digital Reflection: The Electronic Portfolio in Music Teacher Education", 10-11, quoting S. R. Farrell, Tools for Powerful Student Evaluation (Ft. Lauderdale, FL: Meredith Music Publications, 1997), 2.
13For information on project portfolios, see Crockett, The Portfolio Journey, 63 ff. For an example of a different kind of project portfolio, see Mulnix and Mulnix, "Using A Writing Portfolio Project to Teach Critical Thinking Skills."
14This is a revised version of a substantially identical document assigned to students in September, 2010.
15For more information on instructional use of student peer review, see Holt, "The Value of Written Peer Criticism" and Paton, "Approaches to Productive Peer Review."
16Anson and Dannels, "Developing Rubrics for Instruction and Evaluation," 388.
17Bean, John C. Engaging Ideas (San Francisco: Jossey-Bass Publishers, 2001), xvii. For a discussion of learning portfolios and the power of writing, see Zubizarretta, The Learning Portfolio, 26-29. For more information on writing to learn, see: Bean, Engaging Ideas; Duquesne University Center for Teaching Excellence, "Using Writing-to-Learn Assignments to Actively Engage Students in the Learning Process"; Emig, "Writing as a Mode of Learning."
Purpose: Part of a music theorist's work involves writing articles and submitting them to editors for peer review. In this assignment, you have an opportunity to experience this professional process as you demonstrate your learning about applied chords and their musical application.
All 7 items constitute Portfolio Project 1. Bind them together in the above order when you submit Portfolio Project 1 for evaluation. It will be evaluated according to the Rubric for Assessment.
If you encounter difficulty at any point during this project, please contact the instructor.
You have agreed to write an article on the topic of applied chords for a music encyclopedia. Assume the readership to be an informed audience that understands music terminology at a second-year university level. The article you submit must be double spaced, in 12-point font, and approximately 500 words in length plus music examples. The article must be written in your own words. If you use material from any text, you must provide reference in a footnote or endnote. Write this first version of your article on your own without input from your editor so that it represents your best possible independent work. You may consult with your editor after you receive her/his review report.
1. The title "Applied Chords", your name and date of submission to your editor.
2. What is an applied chord and what is its purpose?
3. Identify the different kinds of applied chords.
4. Explain proper voice leading for applied chords.
5. Compose two or more chorale-style music examples to illustrate points 3 and 4 above. If done by hand, these examples must be of publishable quality, not in pencil. In your article, identify precisely the applied chords you have used in your composed examples and point out required resolutions of tendency tones.
6. Illustrate the use of an applied chord within a musical composition. To do this, find an example of an applied chord in repertoire you are performing, have performed, or would like to perform. Examples from your course textbook are not acceptable. In your article, identify the composer, title of the composition and its tonality. Identify the applied chord, and explain the musical purpose it serves. Note: This repertoire example should be no more than 1 page long. If the composition you have chosen is more than 1 page long, provide only an excerpt from your chosen piece that sets the musical context and includes the applied chord. Add measure numbers to your excerpt to show its placement relative to the rest of the piece.
Submit the completed first version of your article to your editor and keep a copy for yourself.
When your editor returns your article to you, write at the top of the Editor's Review Report: "Received by author on [fill in the date] ". Do not alter your first reviewed draft in any way as it forms part of the complete Portfolio Project 1 submission. Consider your editor's comments and consult further to reach consensus on differences of opinion. Revise your article as needed to create a new final version that is the best it can be.
What was valuable to me in this project?
What did I learn about the topic by doing this project that I didn't know before?
What difficulties did I encounter while engaging in this project? How did I remedy them?
What did I learn about writing?
What did I learn about my own learning?
You have agreed to review and edit your author's article on applied chords. This involves correcting mistakes, suggesting changes, and writing a review report. To review the article, you must have sufficient expertise on the topic. While your author is writing the article, your responsibility is to search out an excerpt in your own repertoire and to compose your own chorale-style examples that would illustrate the different kinds of applied chords and their voice-leading adequately and that you think would be appropriate to include in the final version of the article. If done by hand, the chorale examples must be of publishable quality, not in pencil. The report must be written in essay form, double-spaced and in 12-point font.
1. The title "Editor's Review Report", your name and date of submission to your author.
2. The date of your receipt of the article. Was it submitted to you on time?
Is the article appropriately titled and does it include the author's name?
Is it double-spaced and in 12-point font?
Is all work neatly presented?
4. Is the article an appropriate length? It must be approximately 500 words long.
5. Is the article written well overall? Are sentences and paragraphs structured properly? Are there typographical errors in the article? Identify problems and make corrections.
6. Does the article explain the purpose of applied chords? If not, suggest an appropriate explanation.
7. Does the article identify different kinds of applied chords? If not, suggest possible additions keeping in mind the 500 word length of the article.
8. Does the article include music examples in chorale style that illustrate different kinds of applied chords and proper voice leading? Do tendency tones resolve correctly? Address any problems.
9. Does the article include an example of an applied chord in an excerpt from music repertoire? Is the context of the excerpt and the musical purpose of the applied chord explained clearly? If not, point out what is incorrect or unclear and suggest changes.
10. Present your own chorale-style compositions and repertoire excerpt as possible alternative example suggestions. How do they compare with your author's compositions and choice of repertoire excerpt? Which ones should be included in the final version of the article? Explain why.
Return the corrected article with your review report to your author. Keep a copy for yourself.
Consult with your author as needed to create a revised final version of the article that is the best it can be. If you and your author have different opinions on certain matters, discuss them until you reach a consensus.
Presentation of Portfolio Project 1 Not submitted for assessment. The portfolio project is disorganized.
Items are missing or incomplete. The portfolio project is essentially complete, but some items are out of order. The portfolio project is complete and in order, but not all individual items comply with presentation requirements. Some parts may lack neatness. The portfolio project is complete and in order. All items comply with presentation requirements. All work is neatly presented.
Author's first version of article Not submitted for assessment. Submitted late to the editor. Or, submitted on time, but is disorganized, incomplete, poorly written, and/or contains incorrect information. It may lack proper paragraph or sentence structure, or contain many typos. Music examples may be sloppy and contain errors. Article is submitted on time and is somewhat organized, but does not comply with many requirements regarding content, length and/or presentation expectations. The work appears to be half-done. Article is submitted on time and is well organized. Sentence and paragraph structure is good, but needs improvement. Content is complete, but presentation or length does not meet expectations. Music examples may not comply with requirements or meet presentation expectations. Article is submitted on time, is well organized and clearly written. All content and presentation requirements meet expectations. It is obvious that the article matters to the author.
Final version of article Not submitted for assessment. Article explains applied chords poorly or does not include required information. Sentence structure may be improved, but article still contains most of the same content errors present in the first version or includes new errors. Errors in content still remain. Article is not consistently clear. It may not comply with presentation requirements. Chorale examples and/or repertoire excerpt may not meet requirements. Article is well organized and clearly written. Some problems still require attention. Article is well organized, clearly written and contains no errors. All content and presentation requirements meet expectations. Article is ready for publication.
Chorale-style examples in final version of article Not submitted for assessment. Examples are inadequate, contain many errors and/or are not explained. They do not support the article and/or do not comply with requirements. Examples are appropriate, but contain errors or are poorly explained. Presentation may not meet requirements. Examples are mostly well done, but may not be presented neatly or explanations may lack clarity. Examples contain no errors, are explained clearly and comply with requirements.
Repertoire excerpt in final version of article Not submitted for assessment. Does not feature an applied chord. Musical context or purpose is not explained. The excerpt does not support the article. Features an applied chord, but its context or purpose is misunderstood. Presentation is sloppy or messy. Is a good example from the repertoire that features an applied chord. Its context or purpose may not be explained well. Presentation is reasonable. Is an excellent example from the repertoire that supports the article. Its context and purpose are clearly explained. Presentation is excellent.
Understanding of Applied Chords No understanding of this topic is evident. Portfolio project shows limited understanding of this topic. Portfolio project indicates that about half of the information on applied chords has been understood. Errors in comprehension are apparent or much required information is missing. Portfolio project demonstrates that applied chords are understood reasonably well. Some required information may be missing. Portfolio project demonstrates a thorough understanding of applied chords. All required information is included.
Anson, Chris M. and Deanna P. Dannels. "Developing Rubrics for Instruction and Evaluation," in Strategies for Teaching First-Year Composition, edited by Duane Roen, Veronica Pantoja, Lauren Yena, Susan K. Miller and Eric Waggonner, 387-401. Urbana, Illinois: National Councils of Teachers of English, 2002.
Arter, Judith A., Vicki Spandel and Ruth Culham, "Portfolios for Assessment and Instruction," ERIC Digest ED388890, 1995-00-00.
Barrett, Helen C. "Electronic Portfolios," http://electronicportfolios.com/portfolios/encyclopediaentry.htm.
Bauer, William I. and Robert E. Dunn. "Digital Reflection: The Electronic Portfolio in Music Teacher Education," Journal of Music Teacher Education 13/1 (2003), 7-20.
Bean, John C. Engaging Ideas. The Professor's Guide to Integrating Writing, Critical Thinking, and Active Learning in the Classroom. San Francisco: Jossey-Bass Publishers, 2001.
Beishuizen, Jos et al. "The Introduction of Portfolios in Higher Education: a Comparative Study in the UK and the Netherlands," European Journal of Education, 41/3-4 (2006), 491-508.
Bruen, Jennifer, Juliette Péchenart and Veronica Crosbie. "Have Portfolio, Will Travel: the intercultural dimension of the European Language Portfolio" in Intercultural spaces: Language, Culture, Identity, edited by Aileen Pearson-Evans and Angela Leahy, 115-125. New York: Peter Lang, 2007.
Cahill, Lisa. "The Importance of Student Portfolio Presentations in Composition Courses," in Strategies for Teaching First-Year Composition, edited by Duane Roen, Veronica Pantoja, Lauren Yena, Susan K. Miller and Eric Waggonner, 189-194. Urbana, Illinois: National Councils of Teachers of English, 2002.
Camp, Roberta and Denise Levine. "Portfolios Evolving: Background and Variations in Sixth- Through Twelfth-Grade Classrooms," in Portfolios: Process and Product, edited by Pat Belanoff and Marcia Dickson, 194-205. Portsmouth, NH: Boynton/Cook Publishers.
Crockett, Tom. The Portfolio Journey. A Creative Guide to Keeping Student-Managed Portfolios in the Classroom. Englewood, Colorado: Teacher Ideas Press, 1998.
Duquesne University Center for Teaching Excellence. "Using Writing-to-Learn Assignments to Actively Engage Students in the Learning Process," http://www.duq.edu/Documents/cte/writing-to-learn.pdf.
Emig, Janet. "Writing as a Mode of Learning," College Composition and Communication 28/2 (May, 1977), 122-128.
Gonzalez, Jesus Angel. "Promoting student autonomy through the use of the European Language Portfolio", ELT Journal 63/4 (October 2009), 373-382.
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Holt, Mara. "The Value of Written Peer Criticism," College Composition and Communication, 43/3 (October, 1992), 384-392.
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Mills-Courts, Karen and Minda Rae Amiran. "Metacognition and the Use of Portfolios," in Portfolios: Process and Product, edited by Pat Belanoff and Marcia Dickson, 101-112. Portsmouth, NH: Boynton/Cook Publishers, 1991.
Mulnix, Jennifer Wilson and M. J. Mulnix. "Using A Writing Portfolio Project to Teach Critical Thinking Skills," Teaching Philosophy, 33/1 (March, 2010), 27-54.
Nelson, Richard B. "The College Music Society Music Theory Undergraduate Core Curriculum Survey – 2000," College Music Symposium, 42 (2002), 60-75.
Paton, Fiona. "Approaches to Productive Peer Review," in Strategies for Teaching First-Year Composition, edited by Duane Roen, Veronica Pantoja, Lauren Yena, Susan K. Miller and Eric Waggonner, 290-301. Urbana, Illinois: National Councils of Teachers of English, 2002.
Rosenberg, Roberta. "Using the Portfolio to Meet State-Mandated Assessment: A Case Study," in Portfolios: Process and Product, edited by Pat Belanoff and Marcia Dickson, 69-79. Portsmouth, NH: Boynton/Cook Publishers, 1991.
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Zubizarretta, John. The Learning Portfolio: Reflective Practice for Improving Student Learning, second edition. San Fransisco, CA: Jossey-Bass, 2009.
Anna Ferenc is Associate Professor of Music Theory at Wilfrid Laurier University. Her research interests include the work of Roslavets and Scriabin, the transformation of chromatic harmony into post‐tonal compositional practice, and the pedagogy of music theory. On these topics, she has published essays and articles and has presented papers at conferences in the disciplines of Music, Slavic Studies, and the Scholarship of Teaching and Learning.


text:
A playground becomes a video game
I came across this article today - it tells about KOMPAN's new Icon™ playground system, which basically combines the concept of a video game with a super-cool-looking climbing system. Various electronic games are designed to get kids running, climbing, and competing...basically tricking them into exercising by including an electronic component and, more importantly in my eyes, a goal associated with the playground equipment.
It's pretty high-tech, according to the article:
"The system includes three components:
A computer server vault that runs the games. It also features a cellular modem, which allows the playground owner to control and run diagnostic checks by computer from anywhere in the world.
A game controller station where kids stand on a patented rubber surf board to toggle between games and game options on an LED screen.
A series of LED-lighted and sound-equipped nodes – each the size of a half grapefruit – with a center button for players to push. The nodes mount in 16 points throughout the steel playground.
"In the Grover vs. Kunkel match-up, they played "Capture." Half the nodes glowed blue for Grover. The other half glowed red for Kunkel. They had 60 seconds to sprint and climb to toggle the most lights to their color while the other tried to toggle them back."
It basically sounds like a clever combination of the Evos™ and NEOS™ play systems that were introduced in the past couple of years.
But as I look at these technological innovations in playground equipment, I have to wonder - will they work? Will they actually intrigue a generation that, for various reasons, tends to spend more time in front of a screen? Will such systems be short-lived novelties or will they stand the test of time and compete with the pace with which other toys and gadgets are evolving?
the buzz in play, kompan
The Buzz in Play
Cool Playgrounds
Parent Perspective
Playful Learning
Play Haters

redpajama_set_name: RedPajamaCommonCrawl


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OK, so Glacier Point isn't really a hike. It's just the most amazing, incredible, outstanding view you will ever see. Period. There is a short walk from the parking area over some rock and a paved trail to the main viewing area, so that's the hike portion of this hike.
At Glacier Point you stand at 7,200' above sea level and almost 4,000' above the Yosemite Valley floor. Did I mention the views from here are amazing? They are.
On the road to Glacier Point, you first come to Washburn Point. Washburn Point gives you your first clear view of the Half Dome and Clouds Rest beyond. It's an "Oh my God" moment. Washburn Point is considered a hike hear because there is a stone staircase to hike down to the viewing area. From Washburn Point you can look across the valley and see and hear Vernal Falls, Nevada Falls, and Illilouette Falls. You can't see Yosemite Falls, but these are enough for now.


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Tag Archives: Christopher Reid
Love, Loss & Chianti
February 29, 2020 ReviewsAlex Harvey-Brown, Charles Peattie, Christopher Reid, Jason Morell, Jonathan Evans, Loss & Chianti, Love, Rebecca Johnson, Riverside Studios, Robert Bathurstthespyinthestalls
Reviewed – 28th February 2020
"Director Jason Morell gives the staging a rhythmic, choreographed feel"
The poet, Christopher Reid, has always been surprised at his own success. To top that, he has even said that his Costa Book of the Year Award for "A Scattering" came with 'an element of almost grief. Of ruefulness that winning was borne of what was the worst tragedy in my life'. This poem, succeeded by "The Song of Lunch" comprise the two acts of "Love, Loss & Chianti" which bring them both to heart-breaking and heart-warming life in two magnificent performances from Robert Bathurst and Rebecca Johnson. Both poems are quite different in style but they both share the same theatricality that makes the journey from page to stage inevitable.
"A Scattering" is Reid's elegiac poem written for his wife, the actress Lucinda Gane, who died of cancer. It sounds morbid, but it is beautifully expressed. The opening lines an evocative description of a deathbed vigil; uncomfortable and brutally honest. "Sparse breath, then none. And it was done." Bathurst's delivery is at once colloquial and emotional; filled with humility but positivity too and, at times, touches of comedy. Starting with their final holiday together in Crete filled with sunshine and the knowledge that this is the last, it journeys through the subsequent death, loss and process of grief. The decision not to present this as a one hander is inspired, and Johnson adds a poignant dimension not just as the late wife but also stealing lines from the poet's consciousness and claiming them back as her own. The terrible moments of morphine-induced ravings are chilling. Director Jason Morell gives the staging a rhythmic, choreographed feel which has the actors coursing the stage, separating and coming together again like dying swans.
Reid started writing "The Song of Lunch" the morning after "A Scattering" was finished. As an antidote it has the feel of a light farce and although probably equal in length it feels much shorter than the first act. There are moments of pure comedic genius interspersed with sharp observations. Reid is describing an ill-fated reunion with an old flame in a Soho Italian restaurant that fails to live up to the expectations of his wistful yearning for better days. Bathurst is a book editor and failed author while Johnson is his former lover who left him to marry a successful novelist fifteen years before. There is a touch of Jeffrey Bernard in Bathurst's performance – echoes of his immersive production in the Coach and Horses last year – which highlights the strands of sadness beneath the string of witticisms and wine fuelled slips of the tongue.
Two contrasting pieces, but united with meticulous care by the creators. Charles Peattie's animated projections tastefully complement the spoken words, paying homage to the silhouette animation of Lotte Reiniger, especially in "The Song of Lunch". The evening is as far from a poetry recital as is possible. Reid's poetry is vivid and theatrical, and Bathurst is clearly relishing the role of bringing them to a wider audience. When he first told people he was doing a poetry show, they said "Oh really?". Being exposed to verse is often an off-putting prospect. Bathurst has turned that on its head and clearly demonstrated that Christopher Reid need not be be surprised at his own success. Judging by the reaction to "Love, Loss & Chianti", nobody else is. Any reservations are soon dispelled, and you will watch wide-eyed, if not always dry-eyed.
Reviewed by Jonathan Evans
Photography by Alex Harvey-Brown
Riverside Studios until 17th May
Previously reviewed at this venue:
Persona | ★★★★ | January 2020
The Inheritance – 4 Stars
October 16, 2018 ReviewsAndrew Burnap, Bob Crowley, Christopher Reid, E M Forster, Hubert Burton, Hugo Bolton, Jack Riddiford, John Benjamin Hickey, Jon Clark, Joseph Prestwich, Kyle Soller, Matthew Lopez, Michael Marcus, Michael Walters, Noël Coward Theatre, Paul Arditti, Paul Englishby, Paul Hilton, Robert Boulter, Samuel H. Levine, Stephen Daldry, Syrus Lowe, The Inheritance, Vanessa Redgrave, Young Victhespyinthestalls
Noël Coward Theatre
Reviewed – 13th October 2018
"Seeing a play on the West End that so unashamedly and honestly tackles gay male relationships (sexual and otherwise) feels in itself a remarkable achievement"
Epic in almost every sense of the word, 'The Inheritance', now enjoying a West End transfer after a sell-out run at the Young Vic, demands seven inspiring, moving, riveting hours to tell a story about how stories are shaped, and how they in turn shape those who listen to them.
A group of men are trying to tell their life stories but need help. Enter E. M. Forster, whose 'Howards End' forms the basis of Matthew Lopez's 'The Inheritance', to help the boys along. Expertly played by Paul Hilton, 'Morgan' – with the help of the cast – becomes our narrator, introducing us to Toby Darling (Andrew Burnap) and Eric Glass (Kyle Soller), whose rocky relationship the play centres around. Taking place almost entirely in Manhattan, New York, the couple face eviction, jealousies, successes and failures, all the while embracing and reflecting upon the lives of gay men over the last hundred years with each other and the group of friends that surrounds them.
At its core, Lopez has woven an intoxicating tapestry of a show that demonstrates the problematic importance of legacy and community, especially for gay men today. We hear lots of stories. How these stories come together is the nature of 'inheritance'. How do we learn how to be gay men? From each other? And what happens when that community of exchange breaks down? Drawing on the emotional devastation of the late-eighties/early-nineties AIDS crisis, Lopez suggests the trauma of one generation should be the next one's inspiration.
Bob Crowley's sparse design is gorgeously simple, and along with Stephen Daldry's astute direction, exposes the theatricality of the endeavour, whilst giving the cast plenty of space to play. The often cumbersome narrative elements to the play are expertly handled by the cast and director, who places his actors almost constantly on stage, listening, commenting and waiting for their turn. The need to flip on a dime from exposition to 'scene' is wittily and effectively handled by the cast at large. Burnap is mesmerising in his performance as Toby Darling, larger than life, hilarious, yet always hinting at a dark past, the reveal of which the audience really has a long wait for. Kyle Soller is equally courageous in his performance, able to be sentimental without parody and believably naïve all the way through to the end. Andrew Burnap and Syrus Lowe stand out in a tight, generous and incredible ensemble.
'The Inheritance' is essential viewing for everyone. Seeing a play on the West End that so unashamedly and honestly tackles gay male relationships (sexual and otherwise) feels in itself a remarkable achievement. I would argue Lopez could have trimmed down this story by a few hours and we wouldn't have minded, but this emotionally stirring and inspirational production is well worth getting cramp for.
Reviewed by Joseph Prestwich
Production photography by Marc Brenner
Cast image below by Johan Persson
Noël Coward Theatre until 19th January
Quiz | ★★★★ | April 2018
The Lieutenant of Inishmore | ★★★★ | July 2018


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Emerald Forest and the Blackbird — пятый студийный альбом финской метал-группы Swallow the Sun. Был выпущен 1 февраля 2012 на Spinefarm Records. Также был выпущен на ограниченном LP на зелёном и белом винилах на Svart Records.

3 января 2012 был выпущен видеоклип на композицию «Cathedral Walls». В ней присутствует гостевой вокал бывшей вокалистки Nightwish Аннет Ользон. Альбом был доступен для стриминга на сайте финского журнала Inferno с 25 января до релиза альбома 1 февраля.
Является последним релизом с Каем Хахто, так как он ушёл из группы для работы с Nightwish.

Список композиций

Участники записи
 Микко Котамяки — вокал
 Маркус Ямсен — гитара
 Юха Райвио — гитара
 Алекси Мунтер — клавишные
 Матти Хонконен — бас-гитара
 Кай Хахто — ударные

Приглашённые участники
 Алия Стэнбридж — вокал на композициях 1 и 7
 Анетт Ользон — вокал на композиции 4

Примечания

Альбомы 2012 года
Альбомы Swallow the Sun
Альбомы Spinefarm Records

redpajama_set_name: RedPajamaWikipedia


As I see it, the new Chinese film, I Am Not Madame Bovary, from director Feng Xiaogang is his best film to date, and easily the best new release I saw in 2016. There's not a moment in this movie which I didn't fully enjoy, and to watch Sino actress Fan Bingbing in, possibly, the role of her career — well, that was a pure delight.
With a very good trailer and well publicised production from China's number one film-maker, Aftershock is the most eagerly awaited mainland release this year. It opens with the recreation of the Tangshan earthquake in North East China in 1976, when nearly a quarter of a million people died. Aftershock follows the lives of a family torn apart by this natural disaster.
If Feng Xiao Gang is supposedly China's most successful commercial film director then by all means, bring it on I say!
Unlike Chinese arthouse directors like Chen Kaige and Zhang Yi Mou, Feng is barely known here and that's almost criminal considering what a solid piece of work Sigh is.
What I thought about the film. Ahem.
A World Without Thieves is a crime caper, a personal drama, a morality play, and a travelogue all rolled into one. Pretty impressive stuff, and a lot to pack into a bit less than 2 hours. The fact that it worked so well is a testament to the skills of cast and crew, and the fine script that managed to weave these disparate threads into whole cloth.


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Gartner - 6 security and risk management trends
Gartner has identified six key trends in cybersecurity that can guide IT leaders and security service providers as they approach business leaders during this time of increasing threat awareness.
1. Executive cybersecurity awareness
IT security is a board-level topic and an essential part of any solid digital business strategy.
Business leaders have not always been receptive to this message, but a recent string of high-profile incidents have changed sentiment.
Prominent examples include an Equifax data breach that cost the CEO, CIO and CSO their jobs; a WannaCry attack that caused worldwide damage estimated at between $1.5 to $4.0 billion; and Verizon's recent $350 million discount on its purchase of Yahoo! as a result of the latter's data breach.
"Business leaders and senior stakeholders at last appreciate security as much more than just tactical, technical stuff done by overly serious, unsmiling types in the company basement," says Gartner research vice president Peter Firstbrook.
2. Regulatory mandates on data protection
Customer data is the lifeblood of ever-expanding digital business services.
Incidents such as the recent Cambridge Analytica scandal or the Equifax breach illustrate the extreme business risks inherent to handling this data.
Moreover, the regulatory and legal environment is getting ever more complex, with Europe's GDPR the latest example.
At the same time, the potential penalties for failing to protect data properly have increased exponentially.
In the U.S., the number of organizations that suffered data breaches due to hacking increased from under 100 in 2008 to over 600 in 2016.
"In this new reality, full data management programs - not just compliance - are essential, as is fully understanding the potential liabilities involved in handling data," says Firstbrook.
3. Security product agility
New detections technologies, activities and authentication models require vast amounts of data that can quickly overwhelm current on-premises security solutions.
This is driving a rapid shift toward cloud-delivered security products.
These are more capable of using the data in near real time to provide more-agile and adaptive solutions.
"Avoid making outdated investment decisions," says Firstbrook.
"Seek out providers that propose cloud-first services, that have solid data management and machine learning (ML) competency, and that can protect your data at least as well as you can."
4. Machine learning integration
The shift to the cloud creates opportunities to exploit ML to solve multiple security issues, such as adaptive authentication, insider threats, malware and advanced attackers.
Gartner predicts that by 2025, ML will be a normal part of security solutions and will offset ever-increasing skills and staffing shortages - but not all ML is of equal value.
"Look at how ML can address narrow and well-defined problem sets, such as classifying executable files, and be careful not to be suckered by hype," says Firstbrook.
"Unless a vendor can explain in clear terms how its ML implementation enables its product to outperform competitors or previous approaches, it's very difficult to unpack marketing from good ML."
5. Geopolitical factors
Increased levels of cyber warfare, cyber political interference, and government demands for backdoor access to software and services have resulted in new geopolitical risks in software and infrastructure buying decisions.
Recent government bans against Russian and Chinese firms are obvious examples of this trend.
"It's vital to account for the geopolitical considerations of partners, suppliers and jurisdictions that are important to your organisation," says Firstbrook.
"Include supply chain source questions in RFIs, RFPs and contracts."
6. Decentralisation efforts
The internet is driving a wave of centralisation, one obvious example of which is cloud computing.
While there are many benefits, a good security team should be accounting for the risks too.
"Evaluate the security implications of centralisation on the availability, confidentiality and resiliency of digital business plans," says Firstbrook.
"Then, if the risks of centralisation could seriously threaten organisational goals, explore an alternative, decentralised architecture."
ComCom grants clearance for Infratil to acquire shares in Vodafone
The Commerce Commission has granted clearance for Infratil Limited to acquire up to 50% of the shares in Vodafone New Zealand.More


Liberty Utilities Apple Valley (Liberty) has asked the California Public Utilities Commission (CPUC) for a one-year delay in filing its General Rate Case for 2018-2020. We made this request to be more efficient and expand our customer outreach efforts.
First, the request allows Liberty to consolidate regulatory filings for its California water systems in southeast Los Angeles County and Apple Valley into a single General Rate Case filing in 2018 for rates in 2019-2021. This consolidation can reduce regulatory costs, with the savings passed on to customers.
There are two significant additional benefits for Apple Valley customers. The delay will freeze annual base rates at January 1, 2017 levels through to January 1, 2019. During this period, Liberty will make its mandated annual regulatory filings for a customer credit or surcharge, as the case may be, to ensure it collects only the 2017 authorized revenue levels approved by the CPUC.
This filing also gives Liberty the opportunity to work in the community to engage residents more deeply about the operations, maintenance and investment in the local water system. We want customers to have meaningful input regarding how Liberty maintains the water system to support current and future residents. We also want to collaborate with community leaders to support economic development efforts by helping existing businesses and securing new investments that will create new Apple Valley jobs.
A consolidated regulatory schedule, base rate freeze and expanded customer outreach are the right things to do to demonstrate our commitment, transparency and accountability. We believe that these steps will help us provide Apple Valley customers with reliable, high-quality water and great customer service for years to come.


PCSchool has added a visual enhancement to the My Classes view for teachers so that students with a Student or Family Alert against them now show in To view the details of the alert the teacher can hold their mouse over the name.
This entry was posted in Spider and tagged Classroom Management, school administration software, School Administration System, School Management Software, School Management System, school software, Student Information System, student management Software, Student Management System, web spider by studentmanagementsoftware. Bookmark the permalink.


Set for a second successive term as a TD having first gained election in 2011, Brian Stanley was Sinn Féin's spokesman on the environment and local government during the last Dáil. Originally from Borris-in-Ossory but now based in Portlaoise where he has a strong base of support, Stanley previously served as a member of Laois County Council and held the roles of council vice-chairman as well as mayor of the now-defunct Portlaoise Town Council. He has been part of Oireachtas committees on environment, culture and Gaeltacht as well as finance, public expenditure and reform. According to his own party profile he maintains "direct involvement in the ongoing campaign for Irish independence and all Ireland integration", and is chairman of the Treo Nua centre for education, training and development in Portlaoise.


It is with deep sorrow that the Muslim Institute learned, on 7 January 2017, of the untimely death of Dr Najah Kadhim Al-Radhi, the secretary of International Forum for Islamic Dialogue (IFID), and much-loved Muslim Institute Fellow.
Since 2000, he served IFID as an executive director, editor in chief of IFID's publications and chairman of IFID's board. He launched a youth educational course on Muslim Civic Participation and supported a MENA regional youth program, Success 21 Network. Through his books and lectures, he served thousands of youths throughout the world. Many institutions in Arab countries have benefited from his services and contributions.
All at the Muslim Institute join the IFID family and members of Success21 Network in expressing their sincere condolences to his family, loved ones, friends and esteemed colleagues.
He was lively, generous, and most committed to reforming and modernising Arab and Muslim societies. His contribution to Muslim Institute events and activities are invaluable.