Education

Section 1: Contextual FactorsPurpose for Step 1:Consider the learning environment and contextual factors that may have an impact on the teaching-learning process. Discuss characteristics about the school, classroom, and individual student needs that should be considered as instructional plans are developed. List accommodations/modifications that will be made to instructional planning and implementation based on contextual information of the assigned classroom.Task:Discuss the relevant contextual factors including community and school information, classroom information, student characteristics, and accommodations/modifications for planning, instruction, and assessment/s. Include any supports and challenges that impact instruction and student learning. Discuss any implications and accommodation/modifications needed for instruction based on contextual factors.Prompt:In the discussion on contextual factors, include the following:1. Community and school informationDiscuss the community and school information:geographic locationcommunity/school population (diversity, race, ethnicity, culture, gender, etc.)socio-economic status (SES; ex: free/reduced lunch, Title I school, etc.)type of school (locale, grade levels, and any other pertinent characteristics)Consider additional areas for discussion, which could include but are not limited to stability of the community, political climate, community support for education, and other environmental factors.2. Classroom informationDiscuss the classroom information:physical features and arrangement of the classroomavailability of technology, equipment, and resourcesextent of parental/guardian involvementgrouping practices (whole group, small group, pairs, etc.)Consider additional areas for discussion, which could include but are not limited to how groups were determined, classroom rules and routines, scheduling, and additional teachers/students that enter or leave the room on a regular basis.3. Student characteristics – Related to the Students and Learning EnvironmentDiscuss the following required areas for student characteristics:grade/age levelgenderrace/ethnicity/culturespecial needsachievement/developmental/skill levelslanguage (English, ESL, ELL)interests/learning differences, and any other pertinent informationConsider additional areas for discussion, which could include but are not limited to background information and/or characteristics of specific students that should be considered when planning and implementing instruction.4. Accommodations/Modifications for planning, instruction, and assessment/sChoose 3 or more of the contextual factors described above from 1.3 Student Characteristics and discuss how these factors influenced planning instruction, implementation of instruction, and assessment/s.Describe, based on those contextual factors, what accommodations/modifications for planning, instruction, and/or assessment were made.Provide a chart/table to illustrate the relationship between contextual factors (3 or more) and accommodations/modifications for planning, instruction, and assessment/s. Include athorough description of each accommodation/modification in the chart. An example is provided below.Consider additional areas of discussion, which could include but are not limited to how the accommodations/modifications improved learning for individual students.

 Angle-Side-Side (ASS)a. Are two triangles congruent if an angle, an adjacent side, and the opposite side of one triangle are congruent to an angle, an , adjacent side, and the opposite side of the other! Look at plane, spheres, and hyperbolic planes.b. Show that ASS holds for right triangles on the plane {where the Angle in Angle-Side-Side is right).This result is often called the Right-Leg-Hypotenuse Theorem (RLH), which can be expressed in the following way:RLH: On the plane, if the leg and hypotenuse of one righttriangle are congruent to the leg and hypotenuse of anotherright triangle, then the triangles are congruent.What happens on a sphere and a hyperbolic plane?SuggestionsSuppose you have two triangles with the above congruencies. We will call them ASS triangles. We would like to see if, in fact, the triangles are congruent. We can line up the angle and the first side, and we know the length of the second side (BC or B’Cj, but we don’t know where the second and third sides will meet.Here, the circle that has as its radius the second side of the triangle intersects the ray that goes from A along the angle a to B twice. So ASS doesn’t work for all triangles on the plane or spheres or hyperbolic plane6. Try this for yourself on these surfaces to see what happens. Can you make ASS work for an appropriately restricted class of triangles? On a sphere, also look at triangles with multiple right angles, and, again, define “small triangles” as necessary. Your definition of “small triangle”

Problem 10.1 Parallel Transport on the PlaneShow that if l and h are lines on the plane such that they are parallel transports along a transversal l, then they are parallel transports along any transversal. Prove this using any assumptions you find necessary. Make as few assumptions as you can, and make them as simple as possible. Be sure to state your assumptions clearly.a. What part of your proof does not work on a sphere or on a hyperbolic plane?SuggestionsThis problem is by no means as trivial as it at first may appear. In order to prove this theorem, you will have to assume something — there are many possible assumptions* so use your imagination. But at the same time, try not to assume any more than is necessary. If you are having trouble deciding what to assume, try to solve the problem in a way that seems natural to you and then see what develops while making explicit any assumptions you are using.On spheres and hyperbolic planes, try the same construction and proof you used for the plane. What happens? You should find that your proof does not work on these surfaces. So what is it about your proof (on a sphere and hyperbolic plane) that creates difficulties?Problem 10.1 emphasizes the differences between parallelism on the plane and parallelism on spheres and hyperbolic planes. On the plane, non-intersecting lines exist, and one can “parallel transport” everywhere. Yet, as was seen in Problems 8.2 and 8.3, on spheres and hyperbolic planes two lines are cut at congruent angles if and only if the transversal line goes through the center of symmetry formed by the two lines. That is, on spheres and hyperbolic planes two lines are parallel transports only when they can be parallel transported through the center of symmetry formed by them. Be sure to draw a picture locating the center of symmetry and the transversal. On spheres and hyperbolic planes it is impossible to slide the transversal along two parallel transported lines while keeping both angles constant (something you can do on the plane). In Figures 10.1, the line r’ is a parallel transport of line r along line /, but it is not a parallel transport of r along /’.We will now divide parallel postulates into three groups: those involving mostly parallel transport, those involving mostly equidistance, and those involving mostly intersecting or non-intersecting lines. This division is useful even though it is rough and unlikely to fit every conceivable parallel postulate.b. Which of these three groups is the most appropriate for your assumption from Problem 10.1? We will call the assumption you made in Problem 10.1 “your parallel postulate.’’’’

Unit: Successful Adult Team LearningDue Date: 2/19/21Deliverable Length: 3-4 strong paragraphsYour online teams have been assigned, and you are awaiting the results of their work—a presentation to be delivered online at the end of the week. On Friday before the presentation is due, you receive an e-mail from one of the members of Team Alpha complaining that the rest of the team is not showing up for planned discussions, and two members have not yet submitted research portions that were due on Monday. Team morale is apparently suffering.On reflection, what could you have done before the start of the team projects to prepare your teams to go into action?What can you do now to try to salvage this situation? Mention research you have done into team structures, group dynamics, or other topics applicable to this situation.What internal conflicts could you expect to find in Team Alpha? How might you resolve them?Please make certain to add an open-ended question to motivate others to respond!!!!!!!!!!2-3 References

Why are you pursuing your MBA at this point indoor career? And why are you considering Quantic School Of Business and Technology Particular?350 wordsWhat you consider to be your greatest achievement so far? Why?350 wordsI need this in 12 hours please don’t accept unless you can meet the time Thank you

Topic A: A defining feature of “world music,” “world beat,” or “ethno-pop,” as it has variously been called, is the production of recordings by well-known American and European pop musicians that include traditional musicians from other cultures performing in a back-up role, or that call attention to themselves by the use of musical exotica extracted from traditional cultures. Such recordings suggest a range of issues and questions that invite critique and debate. Some of these are listed below: 1. How do a recording’s musical arrangements, title, graphics, and accompanying notes represent the relationship between Western lead musicians and participating traditional musicians? 2. Is music on the recording attributed to an author, composer, or arranger? Who holds the copyright? What do attributions and credits suggest about rights to, and ownership of, the music? 3. Are the musical and personal relationships negotiated through the production of the album compatible with beliefs about rights to, and ownership of, music in the imported tradition represented on the recording? 4. Does the lead artist show musical respect for the imported tradition(s) represented on the recording? What is “musical respect” and how might it be shown or not shown? 5. Do artists who employ traditional musicians have obligations not only to the musicians but to the political entities or cultural traditions that they represent? What factors would determine whether they do or do not? 6. Should traditional musicians be implicated in the capitalist culture of risk that is an inherent part of the record business? That is, should traditional musicians get Page 2 of 5 a fixed “session” fee for participating in a recording, or should they be paid royalties based on sales? 7. Are cross-cultural “world music” and “world beat” projects inherently opportunistic and exploitative? The Assignment: Choose either a recording from the attached list or a recording not on the list that meets the criteria of “a cross-cultural fusion in which Western musicians work with artists or musical material from traditions different than their own.” If you choose a recording not on the list, please let me know what it is before you begin your work. Write a critical review of the recording in which you do the following: 1. Offer a concise description of the musical and aesthetic concept behind the recording, or answer the question, “What did the artists or producers set out to do?” 2. Discuss the way in which “roots” music is incorporated into the musical sound. 3. Discuss musical, aesthetics, and ethical issues that the recording raises, taking into account the list provided above. Think about the relationship between aesthetics (what is beauty?) and ethics (what is good?). You are welcome to consider issues on the list provided above as well as issues not on the list. 4. Offer your critical judgment about ways in which the project succeeds or fails as music and as an exercise in developing cross-cultural understanding and relationships. Topic A: Suggested Recordings: • Paul Simon, “The Rhythm of the Saints” (with Latin American musicians) • David Byrne, “Rei Momo” (with Latin American musicians) • Peter Gabriel, “Passion” (created for the soundtrack to “The Last Temptation of Christ” based on Middle Eastern Music); (may discuss together with Gabriel’s “Passion Sources”) • Kate Bush, “The Sensual World” (with Bulgarian women) • Mickey Hart, “Planet Drum” and “At the Edge” (“world percussion”) • Paul Winter, “Earthbeat” (jazz and Russian village music) • Outback: “Dance the Devil Away” and “Baka” (Aboriginal music combined with folk guitar) • “Spirit of the Forest” (Baka Beyond) jam sessions with Baka Pygmies and composer/guitarist Martin Cradick • Linda Ronstadt, “Canciones de mi padre” (with Mexican and Mexican-American musicians) Page 3 of 5 • Talking Heads, “Reamin in Light” (appropriation of scratch, funk, Afro-Beat and jùjú rhythm) • “A World out of Time” Vols. 1 and 2 (Pop/avant-garde guitarists Henry Kaiser and David Lindley join musicians in Madagascar) • “Talking Timbuktu” (Guitarist Ry Cooder grooves with griots from the Sahara) • Robbie Robertson and the Red Road Ensemble, “Music for the Native Americans” • “The Sweet Sunny North” (avant-garde musicians Henry Kaiser and David Lindley jam with traditional musicians in Norway) • Paul Simon, “Graceland” • Robert Plant and Jimmy Page, “No Quarter.” (collaboration with musicians from Egypt)

In essay, you should address an aesthetic problem, and/or analyze a television program, or film, drawing on the various aesthetic insights you are learning in this class. In essay, the focus should be on one or more of the following—Light, Lighting, Color–Function and Composition, Screen Area, Forces within the Screen, Interplay of Screen Forces, Depth and Volume, Screen Volume and Effects, Visualization.

Respond to the following in a minimum of 175 words:Share your experience working in teams. How do you believe your experience will help or hinder you when it comes to working with your classmates throughout the program?What resources do you see in the Learning Team Toolkit that you believe will be helpful in the future?

Purpose: The purpose of this lab is for you to interpret and connect research to course concepts.Learning objective #1: Students identify how the environment influences the of an infant and toddlerLearning objective #2: Students will consider different research methods when studying infant toddler development.For this assignment, you will listen to the webinar: Supporting Messy Play with Infants and Toddlers. (Links to an external site.) Your answers must be free of grammar and/or spelling. The responses for the questions need to be word-processed, double-spaced, narrative format (no bullets allowed-THIS IS AN ESSAY). The paper must be Times New Roman, 12-point font, at least 2 pages in length. Page length can be longer if necessary. This lab must be turned in on Canvas (see course schedule for due date). No late assignments accepted.Part 1Listen to the webinar. PART 2-AnalysisOnce you listen to the webinar, answer the following questions:Identity 2 areas of the lectures, Principles, Practices and Curriculum, Infant-Toddler Education, Caregiving as Curriculum , to the webinar. Explain the area and provide specific examples.What was 2 things that you found interesting after listening to the webinar?Connect one thing from the podcast to the readings of the lectures, Principles, Practices and Curriculum, Infant-Toddler Education, Caregiving as Curriculum and provide specific examples.

1. How is the? teacher-centered learning theory different from? child-centered theories described in Chapter 1 of the Tompkins & Rodgers text? How do these different approaches to learning relate to how we teach reading and writing? (chapter 1)2. Prior to 1970, educators used the term “readiness” to describe a developmental point at which children should begin formal reading and writing instruction. The current perspective, emergent literacy, recognizes that very young children exhibit behaviors that show that literacy is already a part of their lives. What activities capitalize upon a young child’s motivation to read and write? What are ways in which teachers, parents, and guardians can support young learners at each stage of development (emergent, beginner, fluent)? (Chapter 2)