Lee+Ajang

Joining the Wiki for EDUC635 Interdisciplinary: Educational Technology and English

Second Life Avatar Name: **TLogan**

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 * Google Wiki Page:**

http://educ635s12.wikispaces.com/*Grp+Digital+Citizenship
 * Assignment #1**
 * Group Project: Digital Citizenship**

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 * Assignment #2**
 * Gadget Report Powerpoint:**
 * iPad2**
 * Note: For additional information on this gadget, refer to my personal discussions section where I have posted the entries for this presentation.**

The following video is a prerecorded Webinar that will be posted for the perspective Graduate Students who may be interested in the Recreation and Parks Management Program. media type="youtube" key="NJWGwtUVgIo" height="315" width="420"
 * Assignment #3**
 * Tech Project 2**
 * Instructional Video**

media type="custom" key="16848348" align="center" Access the following link to view the completed PDF version:
 * Assignment #3**
 * Tech Project 3**
 * Desktop Publishing**


 * Extra Credit**
 * ISTE Webinar, April 30th 2012**
 * NOTE : See my personal discussions link to view the detailed write-up**
 * Primary technological consideration:** To create a learner-based, online management system that will evaluate need versus necessity and allow for constant educational growth.

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 * Assignment #4 - Part 1**
 * Link to Google Instructional/Resource Site**

|| || **Grade:** Inter-Advanced
 * Assignment #4 - Part 2**
 * Technology Integration Plan**
 * Lesson Plan**
 * || **Teacher Name:** Lee Ajang || **Subject:** The Metal Guitarist || ||
 * 1. Topic -
 * 1. Topic -

||
 * || Most of the learner-centered material will be designed to familiarize you with the musical genre of metal and allow you to explore the techniques and concepts that make up the genre. In addition, this page will give you resources, practice regiments, and rudiments that will help you mold your style and prowess as a metal guitar player. By using online tools, like this wiki and various other gadgets that will be introduced, the process will be swift and efficient. || ||
 * 2. Content-

||
 * || A metal head is a member of the heavy metal subculture, and he/she becomes one after developing a personal authenticity within the overall group. This is generally achieved by supporting metal, and this tends to be more reputable to your status as a metal head if the bands you represent are “underground” but respected. Knowledge of metal, inclusive to its history, evolution, subgenres, and techniques, is expected of all metal heads. It is also expected that followers know and appreciate the innovative leaders that influenced contemporary musicians. If an individual does not carry this knowledge, that individual would not be considered a metal head by the group.

Additionally, metal heads can often be identified by appearance: both the males and females may have long hair, piercings, and tattoos, but most will at least choose to honor their most respected bands by wearing band merchandise, particularly T-shirts or hand-sown patches. Appearance is not as important to metal heads as knowledge of the genre, but the outward display of affection toward metal will act as a beacon to other allies within the group.

“Metal” is the macro-culture of this group, and it is the way of life for many followers, but there are many micro-cultures within this subgroup, and these subscribers are just as dedicated, if not more so, to the micro-culture as they are to the overall group. Some examples of subcultures within the overall culture of Metal are as follows: death metal heads, metalcore, hardcore, thrash or thrashers, grind or grindcore, and many more.

The “devil horn” is a commonly used hand-gesture of the metal head, and it is formed by extending the index finger and the pinky finger while holding down the middle finger and ring finger with the thumb. That is the first lesson. The purpose of this lesson plan is to familiarize you with this culture and also cultivate the musical skills that will help you excel as a creative force within the genre, whether you are in the role of the performer, producer, or organizer. || ||
 * 3. Goals: Aims/Outcomes-

||
 * || 1. Develop an understanding of metal music and what it stands for.

2. Become knowledgeable in using Guitar Tablature editing software, like Power Tab.

3. Develop technique and proficiency in playing guitar in the metal genre. ||
 * 4. Objectives-
 * 4. Objectives-

||
 * || 1. Develop a personalized regiment for practicing/rehearsing rudiments.

2. Develop a personalized schedule that will allow time for play (jamming).

3. Develop an appreciation for the genre and an enthusiasm to seek out new talent and ideas that will allow the genre to progress and evolve. ||
 * 5. Materials and Aids -
 * 5. Materials and Aids -

||
 * || iPad 2: This device will allow users to download guitar-learning software and applications, like a digital metronome, which will allow quick and easy access to information and practice tools.

Power Tab Editor: Is guitar tablature-editing software that allows users to download accurate versions of professional songs for learning purposes. It also allows users to create, edit, and transcribe individual, creative music pieces. The tablature-editing software can produce number-based tabs for guitar and bass, but it can also produce musical notation. ||
 * 6. Procedures/Methods-
 * 6. Procedures/Methods-

||
 * **A. Introduction-**|| Technology has given education a new pulse, and coursing through this web of data, we can share an infinite amount of knowledge, experience, and insight into how to develop and improve your guitar playing. For many us, learning the guitar was a slow and demanding process. Before the internet, many musicians relied on music alone! Some of us were fortunate and could afford to buy booklets of tablature (sheet music), and the professional transcription of our favorite songs was available at our fingertips, literally! For those of us who knew how to read musical notation, learning from sheet music was a breeze. For those of us who did not, sheet music could only supplement our ability to learn songs by ear. But there were no YouTube videos, no tab-sharing software, no global, online community of musicians, no online forums... It was just you, an empty room, and a guitar. Today, technology can bypass the hassle, and the modern musician now has the capability to improve and learn at warp speeds! Follow me on our week to week sessions and we will explore some of the best methods, used by the world's top musicians, to develop your prowess as a guitar player. ||
 * **B. Development-**|| 1. Review the video of Megadeth playing "Dread and the Fugitive Mind" live. Pay particularly close attention to finger movements and techniques. Obviously, some of the movements are accented and exaggerated for show purposes, but the technique and style will still be very apparent. This will provide a readily available model/demonstration of how this song is played by the musicians who created it.
 * **B. Development-**|| 1. Review the video of Megadeth playing "Dread and the Fugitive Mind" live. Pay particularly close attention to finger movements and techniques. Obviously, some of the movements are accented and exaggerated for show purposes, but the technique and style will still be very apparent. This will provide a readily available model/demonstration of how this song is played by the musicians who created it.

2. Virtual meeting session: lecture covering the history of metal and the trailblazers.

3. Demonstration of popular, helpful scales and picking techniques: arpeggios, sweeps, alternate picking, legato. ||
 * **C. Independent Practice-**|| The purpose of this lesson plan is to show how learning from tablature on a controlled and measured level can greatly and swiftly improve guitar playing. This single unit progression should turn Intermediate players into Advanced players. Believe it or not, there are 51 measures in the guitar solo for Megadeth’s “Dread and the Fugitive Mind.” Some of the segments are harder than others. This lesson plan will give each week sole focus on only 9 measures of the solo at a time. Hence, this plan will take 6 weeks to complete. By the end of these sessions, students will have achieved the following goals:
 * **C. Independent Practice-**|| The purpose of this lesson plan is to show how learning from tablature on a controlled and measured level can greatly and swiftly improve guitar playing. This single unit progression should turn Intermediate players into Advanced players. Believe it or not, there are 51 measures in the guitar solo for Megadeth’s “Dread and the Fugitive Mind.” Some of the segments are harder than others. This lesson plan will give each week sole focus on only 9 measures of the solo at a time. Hence, this plan will take 6 weeks to complete. By the end of these sessions, students will have achieved the following goals:
 * **C. Independent Practice-**|| The purpose of this lesson plan is to show how learning from tablature on a controlled and measured level can greatly and swiftly improve guitar playing. This single unit progression should turn Intermediate players into Advanced players. Believe it or not, there are 51 measures in the guitar solo for Megadeth’s “Dread and the Fugitive Mind.” Some of the segments are harder than others. This lesson plan will give each week sole focus on only 9 measures of the solo at a time. Hence, this plan will take 6 weeks to complete. By the end of these sessions, students will have achieved the following goals:

1) Students will have memorized the entire song, rhythms and solo, for Megadeth’s song “Dread and the Fugitive Mind.” 2) Students will have developed a day-to-day regiment for practice. 3) Students will have a clear method for measuring personal progress and proficiency. 4) Students will be able to play the solo of the song at 150 bpm.

1. Download the Pro-Metronome application on your iPad. The initial goal is to study the first 9 measures of the solo in Megadeth's "Dread And The Fugitive Mind" and practice it at a tempo of 100 bmp.
 * Week 1**

2. 30 minutes should be dedicated solely to speed-based practice on a day-to-day basis. By the end of week 1, the student should be able to play the first 9 measures of the Dread solo at 150 bmp.

3. **Day-to-Day Sessions:** Students will be required to film all speed-based practice sessions for monitoring purposes. This way, the instructor will be able to review commons mistakes or tendencies that may be disturbing progress. In turn, the instructor will also be able to see how much the student has progressed since the beginning of the class. These recording sessions are to be downloaded on individual video-hosting sites (like YouTube) and embedded on each student’s individual wiki pages.

So, by midnight of each day, the student will have to upload a new rehearsal. However, the student will only have to time stamp the film and show the first 2 minutes of the session and the last 2 minutes of the session to show the potential progress that occurred from start to finish. This will avoid forcing teachers to review 30 minutes of practice sessions from multiple students on a day to day basis. The instructor will be able to see selected clips of the most important segments of individual practice sessions and determine if the homework was adequately and seriously completed with focus and attention.

Utilization of the metronome is the best way to measure forward progress, particularly when it comes to speed and accuracy. Beyond that, it will also provide students with a tempo and rhythm, which will assimilate into learner’s internal clock eventually.

1. There are 51 measures in the guitar solo for Megadeth’s “Dread and the Fugitive Mind.” Some of the segments are harder than others. This lesson plan will give each week sole focus on only 9 measures of the solo at a time. For Week 2, students are to complete memorization and metronome based practice of the solo until each student is able to play the solo at 150 bpm. This should be completed by the end of the week.
 * Week 2**

1. Students should have 10 video rehearsals posted at this point. 5 days for week 1; 5 days for week 2. 2. Students will continue to learn the solo by memorizing and practicing the next 9 measures of the Dread solo.
 * Week 3**

1. Students will continue to record rehearsal sessions. 2. Students will learn the next 9 measures of the Dread solo, and practice from the beginning until that point until each individual is able to play it at 150 bpm.
 * Week 4**

1. Students will continue to record rehearsal sessions. 2. Students will learn the next 9 measures of the Dread solo, and practice from the beginning until that point until each individual is able to play it at 150 bpm.
 * Week 5**

1. Students will continue to record rehearsal sessions. 2. Students will learn the final 6 measures of the Dread solo. 3. Students will be expected to play all 51 measures of the Dread solo at 150 bpm or higher. 4. Students will take an instructor and course evaluation survey. ||
 * Week 6**
 * **D. Accommodations (Differentiated Instruction)-**|| 1. Additional assistance can be arranged via virtual classroom meetings. Correspondence through e-mail is best in order to schedule an extra session. ||
 * **E. Checking for understanding-**|| 1. Quiz on the history of metal and the key, contemporary figures.
 * **E. Checking for understanding-**|| 1. Quiz on the history of metal and the key, contemporary figures.
 * **E. Checking for understanding-**|| 1. Quiz on the history of metal and the key, contemporary figures.

2. Recorded student demonstration of 9 measures of Dread solo at 130 bpm. ||
 * 7. Evaluation -
 * 7. Evaluation -
 * 7. Evaluation -

||
 * || 1. Did the student improve in both speed and accuracy of the solo assignment? The metronome will accurately measure this progress.

2. Does the student have an appropriate amount of knowledge about the roots of the genre and what it stands for? 3. Has the student learned all of the rhythm and solo sections for the Megadeth song “Dread and the Fugitive Mind”? 4. Is the student able to play the Dread solo at 150 bpm or higher after the 6 week course has completed? || Module 1: Introduction to the Technology
 * TIP Questions **

Yes, the topic will be to teach guitar students about the culture and history of metal music while also appropriating time to develop proficiency in playing guitar and encouraging creative output that will contribute to the evolution of individual style and the overall well-being of the subgroup.
 * Do I have topics, curriculum objectives, or insights I have difficulty teaching? **

Because of online learning software and applications, teaching instrumental lessons from a distance is easier now than ever before. Tablature-editing software and metronome programs will allow students to practice and accurately measure progress.
 * Are any of the above a good match for a technology-based solution? **

It will allow the learning process to move forward at a much quicker pace.
 * What is the relative advantage of the technology-based solution? **

Most of the solutions are cost-effective or free.
 * Is the relative advantage sufficient to justify the effort and expense of using these solutions? **

Deciding on Objectives and Assessments / Did the students learn?
 * 1) Module 2:

Quizzes and tests will measure the knowledge and understanding retained by synchronous sessions and asynchronous studies/modules/assignments. Recorded, individual practice will display personal effort and progress.
 * What outcomes do I expect of students after the instruction to show me they have learned? What is the best way for me to assess students' learning (e.g., written tests, products)? **

Since this is not a standardized course with a set criteria or benchmark, I will have to develop the expectations, rubrics, and assessment tools myself based on personal experience and MKOs (from the teaching field, guitar field, and metal subculture).
 * Do the assessment instruments (e.g., tests, rubrics) exist or do I have to develop them? **

Designing Integration Strategies / What will work best?
 * 1) Module 3:

Single subject: developing guitar-playing skills by establishing a progress-measuring practice regiment based on knowledge and discipline.
 * Will the instruction be single subject or interdisciplinary? **

Students will work individually, but they will be encouraged to leave feedback on other students’ postings, and they will also be encouraged to correspond with one another to gain insight and foster peer support.
 * Will students work as individuals, pairs, small or large groups, whole class, a combination? **

Fortunately, the subculture (or macroculture) of Metal is already extremely diverse. The mixed audience is built in. However, on a mainstream level, many people probably do not understand how diverse the group is, and in addition to that, many people do not how important “minority” and female contributions have been to the evolution and success of the genre. This course will introduce less-knowledgeable students to some of the trailblazers (many of which were non-white, non-Christian, educated) who became integral influences on the overall evolution of metal music.
 * What strategies should I use to encourage female and minority student involvement? **

Synchronous sessions will focus on vocabulary, history, and technique tips. The end of each session will be an open forum for questions, and I will also clarify any concerns regarding posted assignments.
 * What sequence of activities should I teach? **

Yes, the lesson plan will be laid out as a week-to-week strategy. In addition, the weekly schedule is designed to encourage a day-to-day regiment for practicing rudiments, learning new material, and developing individual style and creativity.
 * Will students have enough time to learn the technologies before I begin grading? **

Yes, I created an instructional video that covers Power Tab Editing software, which students can use to learn, create, and measure progress. Practice-based videos are available to the students as embedded links on my wiki page.
 * Do I have demonstrations of equipment and the software skills student will need? **

Preparing the Instructional Environment
 * 1) Module 4:

Students enrolled in a distance education course focusing on guitar playing will need to have a computer that can capably run the Elluminate, Blackboard, Power Tab Editor 1.7, iMovie/Vegas/Movie Maker/etc or some video-editing software, and Microsoft Office.
 * How many computers and copies of software do I need to carry out the activities? **

No, all synchronous meetings can be administered online via the virtual classroom.
 * Do I need to schedule time in a lab or media center? **

Electric guitar, guitar pick, digital video camera or webcam, Power Tab Editor 1.7, a personal YouTube or Vimeo site
 * What other equipment, software, media, and resources will I need? **

Evaluating and Revising Integration Strategies / What worked well?
 * 1) Module 5:

The self-recorded rehearsal sessions will document student progress. Earlier videos can visually and audibly compare accuracy and speed of individual progression. Students will be able to see how this technique will help them in their future studies and endeavors. It will also give the instructor a guideline for grading and assessing development.
 * Were objectives achieved? What evidence do I have to indicate success? **

Once the course is completed, the students will be prompted to complete an instructor and course evaluation survey. The following instructional video is also posted on my Google Wiki for reference: media type="custom" key="17750556" This lesson plan can also be viewed in PDF format:
 * Have I solicited feedback from students about how to improve activities? **

I had created my Avatar, a silver robot, during a previous technology course, EDUC632, and I named him TLogan after the Keanu Reeves character in movie //Bill & Ted’s Excellent Adventure//, which is primarily what the virtual experience is: a most excellent adventure. Discovering the virtual capability and educational potential of the platform is anything but a bogus journey. In the previous course, I even learned how some participants with handicaps had physically improved due to the visual/cognitive correlation gained from moving through Second Life. During this course, the class was able to observe how easy it is to translate an aesthetic themes, projects, and/or messages through this form of multimedia. Furthermore, it allows every participant to take an active role in each session.
 * Second Life Explorations and Experiences **
 * General Comments: **

I had created the trampoline in EDUC632. During this course’s session, I created a globe and added scripting to generate texture, surface art, and movement. It’s amazing how user-friendly SL is when considering building/creating tools that are made available. Rezzing an item is simple. Once that is done, the user simply accesses the item’s properties to change the specific dimensions. Although I can see how the process could be time-consuming, the system allows a great deal of creative freedom for all participants who are willing to put the work into it.
 * Trampoline / Globe Creation: **

The more I explore Second Life, the more potential I see. In addition, I also grow increasingly more comfortable with the engine as well. When I had first begun my journey into this virtual world, it was easy to feel like getting lost in downtown Baltimore – the virtual world is busy and large. How do you find your way around? Where’s the cookie trail?
 * Final SL Reflection: **

I am now able to link up with friends and immediately connect with online participants on my contact list. Furthermore, I can teleport directly to them or send them requests to teleport to me. I certainly wished that I had similar capabilities in the concrete world; teleportation would make running daily errands quite easy, as even the slickest, fastest car cannot get from Elephant Island to the Great Wall of China in two minutes of rez time… or at all, actually! So, there’s the rub: most of the experiences and journeys one can glean from SL can never actually be achieved in the “real” world. And, beyond that, there are many users who look at SL as legitimate world of its own, whether it simply mimics our own or aesthetically expands into completely new visual dimensions. There was a South Park episode that topically handled World of Warcraft, and the series poked fun at how serious the MMO environment was to dedicated participants. When a detrimental problem threatened the stability of the online system, the characters in the show would often say, “It would be the end of the world… of Warcraft,” implying, in a simple jibe, how severe the situation seemed to the participants involved. I’m sure the same consideration applies to SL on many different levels. It is a fully functional, virtual world that allows the participants to explore and experience a life that is virtually impossible in the “real” world.