Thursday, October 29, 2015

New Literature review

                                                      Literature Review                                                                                                                                               Group 3                                                                                                                                                     EDAC 635                                                                                                                                                Bill Slonaker                                                                                                                                           Muscle Memory                                                                     Introduction:                                                                                                                                                                                                                                                              

People learn in many ways. As educators, it is important for us to recognize differences in learning styles in order to assist our learners. As the seat of learning and intelligence, we view the mind as the primary learning mechanism. Individual minds learn best by individual routes. Some learn facts best by hearing, others by writing and still others by turning the facts into a song or a chant. The body plays an important role in learning. How the body ‘feels’ is an important factor in learning. We do not learn well if we are sick and focusing on a runny nose or headache. Muscles also play an important role in how we learn, not only whether they are tense or fatigued (body issues), but by gaining memories of their own. n                            
Physical Learning:

 Adult education literature on physical learning is sorely lacking (MacKeracher, 2004). By adopting the findings and concepts of existing literature, physical learning models can easily be applied to the classroom environment.

Christopher Jacoby defines muscle memory as “the ability of our mind to capture a particular activity or movement” (Jacoby, 2015). According to Jacoby, muscles learn certain actions and are able to replicate the movements even decades after having last used that skill set. Examples he gave were bike riding, driving, and walking.

 Athletes come to mind at the mention of muscle memory. They train over long periods of time to get their muscles to complete the desired actions as an automatic, thoughtless response. It would a very difficult process to dunk a basketball if the player had to focus on the biomechanics of the act. Likewise, a tap dancer would have quite a difficult time getting anything done if he had to concentrate on each individual tap of the heal or toe. Musicians, equestrians, athletes, dancers, and most humans for that matter, Jacoby’s definition of muscle memory.

 Basketball is a good example for muscle memory. As a player looks at the floor trying to decide to pass, shoot or move up the court, he must be dribbling the ball as well. Because of ‘muscle memory’, the player can dribble the ball without focusing on it, freeing his mind to read a situation and do several calculations instead.

 Themes:

 Literature on muscle memory covers many aspects; everything from practicing a movement slowly in order gain mastery of the movement when completed quickly to muscles gaining movement information solely from genes (in utero muscle development/memory).

 One article compared several studies spanning over thirty years on worms (nematodes). Included in the findings are that tapeworm muscles continue their sinusoidal wave patterns when both the head and tail sections are detached (Jorgensen, 2011). The important thing is that the muscles continued their normal movement as opposed to involuntary jerky motions resulting from electrical impulses.

 Big benefits of muscle memory: people who have been physically fit in their past 1) are better able to again be fit, 2) should be less frail as they age (Saey, Muscles Remember Their Strength, 2010). Study findings are that the number of nuclei increase as the muscle works in a repetitive fashion. Even if the muscle becomes detached and withers, the number of nuclei remains the same (Saey, Muscles Can Remember Past Glory, 2010). The DNA template of the muscle actually changed in the workout. In practical terms, following a devastating injury a muscle which is well developed has the capacity to return to its well-developed state. The muscle actually gained memory as it can return to its optimum state not the state is was at birth, for lack of a better comparison.

 The illustration of muscle memory in social roles was the most surprising as this model is not given much consideration in general. Richard Shusterman brings to light that some professions require a certain authoritative attitude and carriage. He mentions police officers, judges, and drill sergeants success being partially dependent on the way they carry themselves (Shusterman, 2011). Even if they carry themselves ‘with less purpose’ in their off time, part of their ‘dress’ is actually their carriage. Where muscle memory comes in to play is that their comportment changes automatically when entering the courtroom, squad room or exercise yard.

 Shusterman tells the story of a judge who unknowingly brought his courtroom home with him (Shusterman, 2011). After leaving the court room he would go straight home for dinner where he would treat his family as if they were court officers or defendants. He spoke to them in an authoritative manner during the course of the meal and held himself quite apart from them. He did not realize he was doing this until they brought it to his attention. In an attempt to rectify matters, he changed his after work routine, took a different rout home and took time to decompress before having dinner with the family. He had to take off the mantle of authority, part of which was the way he carried himself.

 Musician Maxim Rysanov says that he works very hard to develop muscle memory as it enhances his performances and keeps him from worrying so much while performing (Rysanov, 2014). He states that he believes fifty percent of musical intonation is a result of muscle memory, as muscle memory actually delays fatigue for him. He tries to build into his muscle memory places for his muscles to automatically relax, again giving increased longevity.

 World-class tennis pro Joe Dinoffer answers questions about muscle memory in a manner anyone can understand. He says memory in muscles is similar to programming in a computer, and that once the muscles learn a task they do not really forget. His common sense example is for you sit in a chair and cross your arms. Notice how comfortable you are in that position. It feels natural. Now uncross your arms and try to cross them in the opposite direction. Once you think about the biomechanics of doing it the opposite way, chances are you feel very awkward in this position. This is a result of neuro pathways for that particular skill being formed. The muscles are not comfortable in that stance because that is not how they learned it; it is not how they were programmed. (Dioffer, 2010)

In contrast to Dioffer, Nancy Armour wrote an article on gymnastics in which she says “It takes months of repetitions to make those skills look effortless yet only a few weeks for that muscle memory to be erased” (Armour, 2015). If we look at the evidence gathered thus far, that statement cannot be proven. Instead, it is more plausible that the gymnast’s body has changed in some manner by growth or additional weight, and therefore doesn’t not respond in exactly the same manner as before.

 Lisa Withers is an associate professor of piano at Emory & Henry College. She tells her students there are two types of memory; conscious and unconscious. Unconscious memory is her term for muscle memory, “the memorization of certain physical gestures through repetition” (Music Teachers National Association, 2014). Withers believes that muscle memory is critical to mastering difficult pieces, and interestingly she believes it is also critical to ‘creating instincts’ (Music Teachers National Association, 2014). This belief in echoed many times in articles by music professionals regarding muscle memory. The creative instincts refer to improvisation, and that improv is able to occur because the muscles have memorized the basic movements necessary to perform successfully, allowing the mind to meander and compose on the spot or play from the heart. James Dean reviewed and transcribed performance footage of jazz guitarist Pat Metheny. Dean’s points of interest were the improvised solos. He concluded that because Metheny has mastered all of the mechanical movements required to seamlessly play the guitar, his mind is freed to construct improvisations (Dean, 2014).

 Implications:
         
                -muscles of tapeworms do not require a brain or intact nervous system to work in their normal fashion.     
               -muscles do in fact have memory of their own. They have the ability to repeat, independently, a learned action/skill. This is how we are able to walk, maintain our balance, breathe, etc. How else can this knowledge be applied? Where else in our every-day lives can we find examples of muscle memory?
              - muscles are comfortable in ‘learned’ positions.
              - muscle memory enables the brain to complete calculations while the body is physically busy performing another task, as evidenced by examples of basketball dribbling and musical improvisation.  
         
Confirming Withers’ statement regarding unconscious memory, wearable technology has proven the ability to teach muscle memory while the mind is occupied with other tasks. Tad Stamer developed a computerized glove, on the top of each finger being small vibrating motors. Wearing the glove for a couple of hours daily, Ariel Bleicher “acquired sufficient muscle memory to play sixty-one notes of Beethoven’s “Ode to Joy” with hardly any effort” (Schneider, 2014).

 Reflection:

Jacoby listed bicycle riding as an example of muscle memory. He says that several years can pass without using that particular skill and not have to think about it. My experience is that getting back on a bicycle after several years requires one to concentrate, even slightly, about staying upright and getting back into the swing, thus disputing it to be a muscle memory issue. On the other hand, once reacquainted with the contraption, it is a nearly effortless endeavor.
 Reflecting upon Shusterman’s observations of muscle memory in social roles, one can easily the translate the inferences to interpersonal relationships. There is a person everyone’s life (bully, lover, hero) who affects the way that person carries themselves. When confronting a bully the back may straighten, shoulders square and muscles bunch/tense. Meeting a lover may result in muscle tension being washed away and shoulders drop to a relaxed position. Being in the same room as your hero could result in a hypersensitive or euphoric feeling in which the muscles are in at ‘at ready’ position.

 Tables:

Themes
 Muscles have the ability to work in learned fashion apart from functioning brain or intact nervous system Nuclei numbers increase in muscles as they develop by repetitive action
Neuro pathways are developed by repetition
 Muscle memory is evident in body carriage
 Muscle memory allows body to do one thing while brain problems solves

 Implications
Muscles have the ability to work in learned fashion apart from brain and central nervous system
Following injury, muscles are able to return to optimal state
Muscles are comfortable in learned positions
 Muscles go to learned position based on social situation
 Body is able to carry out task at hand while brain is able to work on complex issues

 Examples
 Brain/nervous system do not need to be intact for tapeworm muscles to work normally
People who are in shape can bounce back after injury
 Crossed arms – normally done one way; doing the other way leaves muscles uncomfortable and unsettled Note body’s reaction when around bully, lover, hero
 Playing basketball or musical improvisation

 References
Armour, Nancy. "Seeking Repeat, Douglas Leaps Back Into Sport." USA Today 27 July 2015.

 Baxmann, Inge. "At the Boundaries of the Archive: Movement, Rhythm, and Muscle Memory. A   Report     on  the Tanzarchiv Leipzig." Dance Chronicle 2009: 127-135.
,<http://dx.doi.org/10.1080/01472520802690333> .

Dean, James. "Pat Metheny's Finger Routes: The Role of Muscle Memory in Guitar Improvisation." Jazz Perspectives April 2014: 45-71.

 Dioffer, Joe. "Do Muscles Have Memory?" Tennis Life August 2010: 34-35. Web. 22 September 2015.
 <http://www.tennislife.com>.

Jacoby, Christopher. What Is Muscle Memory? 2015. 22 September 2015.
 <http://healthguidance.org/entry/14351/1/>.

 . Jorgensen, Qiang Liu and Erik. "Muscle Memory." The Journal of Physiology 15 February 2011: 775-776. 

 MacKeracher, Dorothy. Making Sense of Adult Learning. Second. Toronto: University of Toronto Press, 2004.

 Rysanov, Maxim. "Practice Dairy." Strad January 2014: 19. 

Saey, Tina Hesman. "Muscles Can Remember Past Glory." Science News 11 September 2010: 15. Web. 21 September 2015.  <http://wwwjstor.org/stable/27862663>.


   "Muscles Remember Their Strength." 17 August 2010. Discovery News. 22 September 2015.  
 <http://news.discovery.com/humans/genetics/muscles-memory-strength.htm>.

Schneider, David. "Muscle-Memory Programmer Resources - Hands On)." IEEE Spectrum September 2014: 23-25.

 Shusterman, Richard. "Muscle Memory and the Somaestheric Pathologies of Everday Life." Human Movement 2011: 4-15.

Sunday, October 25, 2015

Syllabus Design- DRUM SET 101


Keith Cozart Commented on group 4 DAN WARD and group 2 Leslie and Kimberly

Ray Harmon commented on Groups 2 and 5.

 
Drum Set 101-
A Social and Fun Beginning to the Basics
Syllabus Design
EDAC 635
Ball State University
Dr. Bo Chang

Group 3, Physical Learning
Keith Cozart, Ray Harmon, and Bill Slonaker



Introduction

Have you ever found yourself tapping out rhythms on your car steering wheel as you listen to your favorite song on the radio?  Have you ever dreamed of playing the drum set as seen in concert, on television or online?  Are you looking for new social settings to meet people in a fun and creative atmosphere?  This course can fulfill such dreams and interests.  
Drum Set 101 “A Social and Fun Beginning to the Basics” aims to inspire and invite participants into the active and exciting world of drums by introducing adult learners to simple drum set patterns and fills all within a relaxed, inviting and social atmosphere among people with similar interest.  The four session workshop supplies all necessary equipment, lunch and instruction all within the comforts of a locale community center.  At the conclusion, participants will be have ample information and resources necessary to continue learning and growing their drum set interests with the ultimate goal of being able to play a basic drum beat with fills.  
Drum Set 101 challenges the coordination of its’ participants in ways that support development of Muscle Memory which is a form of Physical Learning. Focusing on the experience of learning, Drum Set 101 encourages students to work on repetitive exercises so that along the road of mastery, muscle memory develops.  

Rationale:

The community center had contacted a local musician's union with questions, pertaining to an increase of interest in offering a music class. As this class would be considered a beginners class, it would be easy to set up, with little preparation and could be attended by virtually anyone; as per request by the center. The percussion patterns would be taught in an add on repetitious format, that gives the muscles in the body and the central nervous system practice, so the whole body system learns the movements and positions, without having to think about the movements involved.  The rationale for this activity was twofold.  
The first deals with Physical learning (Muscle memory/ Motor skills) with specific attention paid to the following:

·       The acquisition of skilled motor performance;
·       Shifts in task routines during the learning of a motor skill;
·       The effects of practice schedules on learning and performance;
·       Muscle memory and its’ independence from the nervous system.
Physical learning takes place when a learner carries out physical activities rather than listening to a lecture or watching demonstrations. Dorothy MacKeracher (2004,pp.141) identifies what is involved in physical learning as follows:
·       coordinating body movement and orienting the body in physical space ( balance);
·       using tools and resources effectively/efficiently;
·       improving muscular strength, flexibility, body-image and cardiovascular conditioning;
·       learning new or improving physical skills required for activities such as athletics, arts/crafts, music, home improvement, workplace tasks;
·       maintaining and improving eye-hand coordination;
·       adaptation of existing skills based on life changes such as aging, injury or disability.
According to the website: Play Drums Now, “The nature of drumming performance requires you to build muscle memory for patterns and material you plan to use while playing. Muscle memory basically means programming yourself like a computer/machine” (Randall, 2012).  The three steps mentioned on the website are:
1. Learn/ memorize a pattern carefully
2. Absorb the pattern into your muscles
3. Bring the pattern to life.
As this is a course for beginners, it will be a basis for learning a basic set of drum movements.
The success of the learner will depend on their commitment to practice the learned movements.
The second rationale for this activity is for the participants to meet and greet each other as a social event. It will bring a diverse group of people together for a few afternoons with the hopes to learn and create fellowship. The community center is a gender, religion, race, age and sexual orientation neutral space and frequented by learners that are from different from all different segments of the community, the environment for learning should be a comfortable and inviting space for productive learning to take place.  The instructor will work with the center staff to ensure that the lighting and temperature are both comfortable and the seating arrangement is set up in a semi-circle to promote optimal participant view and learning.

Seminar Outline and Syllabus

Seminar Location, Date and Time

           This seminar will meet on four consecutive Saturdays from 8:30 AM to 4:00 PM at the Community Center. The first Saturday meeting will be on October 31, 2015. The final date will be November 21, 2015. Students are expected to attend all four sessions to achieve the best outcome.

Seminar Objectives
1.        Learn the terminology of the drum set
2.        Learn and be able identify drum set sounds
3.        Learn the beat patterns with coordination, memorization and muscle memory
4.        Learn drum set fills
5.        Gain socialization of other students as well as playing in front of them

Seminar Format
           The seminar will be held in the main auditorium of the Community Center. A variety of instructional methods will be used. These methods will include lecture, power point presentations, video, audio tracks as well as hand on experience. The hands on experience will include using leg strap-on practice pads. Since this is also a social gathering experience nametags will be provided to facilitate this aspect of the class.

Facilitating Learning
           According to Mackeracher (2004) there are several aspects involved in physical learning. These include coordinating the body’s functions; orienting the body in physical space, including balance; using tools effectively; improving muscular strength and flexibility; learning new skills in activities for physical performance and improving fine-muscle control, particularly in relation to using tools. The concept of muscle memory in the physical learning environment is most readily taught by first discussing any terminology needed to be successful at the assigned task. Once the terminology is covered a demonstration of the task will then be provided both by video and by the instructors in the seminar. Once the learners have been shown what playing a drum set looks like, they will then begin to work on repetitive patterns to learn coordination. They will learn specific patterns and be expected to practice these patterns throughout the week until the next class time. This repetition will begin to establish the absorption of the patterns and slowly teach the muscle memory needed to be a successful drummer. Mackeracher (2004) states “Highly skilled physical performance has five characteristics: fluency of movement; speed of performance; smoothly automated physical actions; ability to do several different actions simultaneously and knowledge about when to use specific actions.” By learning to play the drum kit all five of these items will be enhanced.

Schedule

Saturday October 31, 2015 (Week One)
·       8:30 – 9:30 AM Check In/Social time with coffee/juice
·       9:30 – 10:00 Opening remarks and course introduction, Why drums?
·       10:00 – 10:15 AM Break
·       10:15 – 11:30 Drum terminology-parts of the Drum Set, identify equipment by name
·       11:30- 12:30 PM Lunch-provided
·       12:30 – 2:00 PM Grip and Stroke-How to hold and play with drum sticks
·       2:00 – 2:15 Break
·       2:15 – 3:10 PM Playing rhythms on one surface; weekly assignment, hand and stick exercises
·       3:15 – 4:00 PM Social time
Saturday November 7, 2015 (Week Two)
·       8:30 – 9:30 AM Check In/Social time with coffee/juice
·       9:30 – 10:00 Reflection on previous session’s items and assignment
·       10:00 – 10:15 AM Break
·       10:15 – 11:30 Time Patterns- basic styles (Rock and Jazz Drumming)
·       11:30- 12:30 PM Lunch-provided
·       12:30 – 2:00 PM Coordination Practice
o   Three Limbs (Bass and Snare Drums and Hi Hat)
·       2:00 – 2:15 Break
·       2:15 – 3:10 PM Coordination Practice- Four Limbs
o   Bass and Snare Drums, Ride Cymbal and Hi Hat
·       3:10 – 3:15 PM weekly assignment, Rock and Jazz time patterns
·       3:15 – 4:00 PM Social time
Saturday November 14, 2015 (Week Three)
·       8:30 – 9:30 AM Check In/Social time with coffee/juice
·       9:30 – 10:00 Reflection on previous session’s items and assignment
·       10:00 – 10:15 AM Break
·       10:15 – 11:30 Fills- What are they? Rock Fills-Jazz Fills
·       11:30- 12:30 PM Lunch-provided
·       12:30 – 2:00 PM Coordination Practice- Fills with hands only
·       2:00 – 2:15 Break
·       2:15 – 3:10 PM Coordination Practice- Fills including feet
·       3:10 – 3:15 PM weekly assignment, Create 2 Rock Fills and 2 Jazz Fills
·       3:15 – 4:00 PM Social time
Saturday November 21, 2015 (Week Four)
·       8:30 – 9:30 AM Check In/Social time with coffee/juice
·       9:30 – 10:00 Reflection on previous session’s items and assignment
·       10:00 – 10:15 AM Break
·       10:15 – 11:30 Four Bar Phrases-Three time patterns, plus one fill (3+1=4)
·       11:30- 12:30 PM Lunch-provided
·       12:30 – 2:00 PM Coordination Practice- time patterns and fills
·       2:00 – 2:15 Break
·       2:15 – 3:15 PM The Next Step-Resources, Private Instruction, Playing with other musicians
·       3:15 – 4:00 PM Social time

Assessment
Each learner will be given a comment sheet from the instructor on the four session classes. This sheet will provide positive feedback on the student’s progress. The sheet will also provide items needing more work and instructions on how best to achieve better results.

Reflection:

Highlights: The training setup will be given in a place not usually recognized as a “Learning Space”. It will take place at a community center, where any adult member of the community can attend. This training could possible be attended by learners from their 20’s to middle age or older.  It is setup to build fellowships as much as the physical act of learning to play the drums.
Process: John Dewey believed that human thought was spurred from interactions with their environment. His ideas were similar to those of Charles Darwin (SkyMark, 2015). The act of bringing together a diverse group of community members to mingle and offering them a common goal of achievement is our primary intent for the learning process. This aligns with Knowles assumption that adult learners direct their own learning. Knowles also believed the classroom should have a feeling of “Adultness”, which he thought meant one should “Feel accepted, respected, and supported”. (Merriam, 2001)
The other parts of the process involve the linking of mind & body and teach repetitive movements that the muscles will learn to remember. This is where Kolbs Experiential Learning cycle is recognizable (McLeod, 2010).
1.     Concrete Experience
·       Methods will include lecture, power point presentations, video, audio tracks.
2.     Reflective Observation
·       Learn and be able identify drum set sounds
3.     Abstract Conceptualization
·       Learn the beat patterns with coordination, memorization and muscle memory.
4.     Active Experimentation
·       Practices on and learns to play the drums. The desired muscle memory will be achieved in steps 3 & 4. After the motions are learned and practiced the muscles will remember the movements for long periods of time if not for one’s lifetime.  Musicians often do not play pieces of learned music for periods of time, but can play them nearly perfectly after years of not playing the piece. With practice these learners can have a lifetime of enjoyment playing the drums.




Table 3 – Syllabus Summary
Purposes
·       Fun hobby, dream fulfillment, physical activity, socialization, community building, experiential learning and muscle memory development.
Objectives
·       Bring adults together in a fun and interactive environment.
·       Spark new interest in music and physical learning (muscle memory).
·       Promote self directed learning after the completion of the workshops.
Rationale
Ideas from Literature
·       Adults are self-directed learners.
·       Muscle memory requires repetition.
·       Adults benefit from designated reflections time during the learning process.
Rationale
Features from practical cases
·       Kolb’s Learning Model can be practically applied to process learning.
·       Adult learners need a “safe place” to try new learning experiences, free from judgment and self-deflating failure.
·       Learning spaces can be atypical.  Set for visual connection is crucial to see all the parts of the drum set in motion.
Syllabus Highlights
·       Drum Set 101 is an introduction workshop series focused on adult learners in a group setting learning from each other and instructors.
·       Muscle Memory develops over time with practice and repetitions.  Repetition is necessary because drum set requires immediate responsive when performing music.
·       Experiential learning is at the core of what we do everyday from childhood through adulthood.  Drum Set 101 is Experiential Learning.





Table 2- Keith Cozart Literature Review

Physical Learning
Main Themes and Ideas
Application/Implications
The Acquisition of Skilled Motor Performance
Fast and slow experience-driven changes occur in primary motor cortex during learning process.
Skilled motor performance is acquired in several stages: “fast” learning, an initial, within-session improvement phase, followed by a period of consolidation of several hours duration, and then “slow” learning, consisting of delayed, incremental gains in performance emerging after continued practice.
A Shift in Task Routine During the Learning of a Motor Skill
Describes a transient phase during training on a movement sequence wherein, after an initial improvement in speed and decrease in variability, individual participants’ performance showed a significant increase in variability without change in mean performance speed.
Mindful attention paid to learning phases can result in more effective and efficient learning process in the acquisition of learning motor skills.
Practice Schedule Effects on Learning
Measuring the effects of block verses alternating practice schedules on skill building (tennis).
Manipulating practice routines in physical skill building has a larger effect on low-skilled learners verses that of high-skilled.  Block practice schedule showed increases post-testing performance.
Muscle Memory
Can muscles really drive behavior independently from the nervous system?
Understanding the nervous system and how repetitive movement may become separated from the system (ie. becomes muscle memory) shows evidence that such training can produce rhythmic muscle contractions independent from neuronal input; indicating that muscle memory may become much as the heart (muscle), involuntary. 





Table 2- Ray Harmon Literature Review
Theme Title
Main Theme in Literature
Application of Theme
Environment
The physical environment has an impact on learning. Lighting, sound, technology and comfort of the learner all are important in the learning environment.
The learning environment setup should be considered as it will affect learners. Lighting, sound, technology and outside influence are a few of the items needing attention when setting up the learning environment.
Physical Memory-Procedural Memory
There are three phase to procedural memory; cognitive, associative and autonomous. As each phase is completed the learner gains more skill and muscle memory.
For skills using muscle memory, practice makes perfect. Learners will be frustrated at first but with practice will begin to gain self-confidence and master the skill.
Work Based Learning-Cooperative Education
Students are given an opportunity to take the hard and soft skills learned in the classroom and put them into practice at a work place in their chosen field.
Cooperative education has been around since the 80’s and should be incorporated into learning if possible. The skills learned on the job will go with the learned in their chosen path.







Table 1- Group Design/Plan

No.
Assignment
Due Date
Comments
Due Date
Members Roles
1.
Topic Summary and Selection
9.6
9.13
·       Individual Work
2.
Group Plan
9.20
9.27
·       Keith- (Group Leader**), organizer of initial conversations, set-up blog, designed/posted table to blog, posted BB IM to course blog.
·       Bill- Topic Selection, Muscle memory, Phone conversation, BB IM, initial research,
·       Ray- Phone conversation, BB IM, cross over into other areas of learning brainstorm (experiential, motive and emotional learning)
·       WHOLE GROUP: Instant messaging via Black Board
3.
Literature Review
9.27
10.4
·       Individual Work
4.
Syllabus Design
10.25
11.1
·       Keith- (Group Leader**), Table, References and Introduction.
·       Bill- Rational and reflection
·       Ray- syllabus document editor and draft/design
·       WHOLE GROUP: Draft review, Instant messaging via Black Board, course design.
5.
Syllabus Evaluation
11.8
11.15
·       Keith- Students’ responses
·       Bill: (Group Leader), reflections
·       Ray- Evaluations and Table
·       WHOLE GROUP: Draft review, Instant messaging via Black Board.
6.
Final Demonstration
11.29/
12.6
12.6
·       Keith: Demonstrations (Multimedia)
·       Bill: Group reflection
·       Ray: (Group Leader**), Summary
·       WHOLE GROUP: Draft review, Instant messaging via Black Board.



References


MacKeracher, D. (2004). Making sense of adult learning (2nd ed.). Toronto, Canada: University of Toronto Press.
McLeod, S. (2010). Kolb Learning Styles. Retrieved from http://www.simplypsychology.org/learning-kolb.html
Merriam, S.B. (2001). Andragogy and Self-Directed Learning: Pillars Of Adult Learning Theory. In S. B. Merriam (Ed.), New Directions For Adult And Continuing Education (p. 13). San Francisco, Jossey-Bass.
Randall, A. (2012). Learn how to Play Drums and Percussion Now. Retrieved from http://www.playdrumsnow.com/how-to-practice/
SkyMark (2015).  Thinkers- John Dewey. Retrieved from www.skymark.com/resources/leaders/dewey.asp