Mathematical Communication, Conceptual Understanding, and Students' Attitudes Toward Mathematics

This action research study of my 8th grade classroom investigated the use of mathematical communication, through oral homework presentations and written journals entries, and its impact on conceptual understanding of mathematics. This change in expectation and its impact on students’ attitudes towards mathematics was also investigated. Challenging my students to communicate mathematics both orally and in writing deepened the students’ understanding of the mathematics. Levels of understanding deepened when a variety of instructional methods were presented and discussed where students could comprehend the ideas that best suited their learning styles. Increased understanding occurred through probing questions causing students to reflect on their learning and reevaluate their reasoning. This transpired when students were expected to write more than one draft to math journals. By making students aware of their understanding through communicating orally and in writing, students realized that true understanding did not come from mere homework completion, but from evaluating and assessing their own and other’s ideas and reasoning. I discovered that when students were challenged to communicate their reasoning both orally and in writing, students enjoyed math more and thought math was more fun. As a result of this research, I will continue to require students to communicate their thinking and reasoning both orally and in writing.

Integrating Visual and Verbal Literacies in the Early Childhood Classroom

Young children have the strong desire to use all of the communicative tools their cultures and families offer them. They want to be able to do all of the things that the powerful people they admire can do, including talking, writing, drawing, using the computer, and otherwise creating and sharing ideas, memories, solutions, even jokes and feelings. Today, we live in a time when the communicative tools are changing rapidly, practically exploding before our eyes in terms of the formats and media available to us in complex combinations not seen before. What do these technological changes mean for how we can support children's development toward literacy? An integrated arts curriculum has long been favored by many educators, but today there are more reasons than ever to implement such a philosophy. From communications theory comes a new understanding of how modern technologies demand that children learn to "read" and "write" messages involving complex combinations and integrations of visual and verbal formats. From psychology come insights about intelligence being multiple not unitary, as well as ecological perception theory offering a well-accepted framework for analyzing the affordances and expressive possibilities of different media. From education come fresh approaches to integrated curriculum, including a philosophy and pedagogy from Reggio Emilia, Italy, that combines well with current thinking by North Americans. Altogether, we have many rationales and exciting strategies at hand for launching young children toward an integrated visual and verbal literacy that involves substance, challenge, and discipline, as well as innovation, creativity, and freedom.

The Critical Reception of Beethoven’s Compositions by His German Contemporaries, volume 2

The volumes in The Critical Reception of Beethoven's Compositions by His German Contemporaries bring to light contemporary perceptions of Beethoven's music, including matters such as audience, setting, facilities, orchestra, instruments, and performers as well as the relationship of Beethoven's music to theoretical and critical ideas of the eighteenth and nineteenth centuries. These documents, most of which appear in English for the first time, have been compiled from German-language periodicals published between 1783 and 1830. They present a wide spectrum of insights into the perceptions that Beethoven's contemporaries had of his monumental music. This is the second in a projected four-volume series. It begins with Opus 55, the Eroica, and ends with Opus 72, Fidelio.