Teachers in Rural Schools
One major problem with rural schools is the lack of quality teachers. Two essential variables with teachers and rural schools are distance from a college with a teaching program, and distance from an urban area. Many teachers do not want to stay in rural areas because of isolation, whether it is social, professional, or cultural. In addition, teachers in rural areas face many challenges such as low salaries, lack of access to professional opportunities, and the responsibility to take on multiple duties (Castle, 1995). Due to the small size of rural schools and communities, there is a smaller pool of applicants and teachers in rural areas, and rural schools have a high teacher turnover rate (DeYoung, 1991). Most teachers and administrators in rural schools are typically younger, less well education, and get lower pay and benefits than non rural employees (UNESCO, 1990).
The problem with rural teachers can be broken down further into recruiting and retaining these teachers. In regards to recruitment of rural school teachers, the "ideal" rural teacher can teach multiple grades or subjects, organize extracurricular activities, and adjust well to the environment and the community (Brown, 2003). It is extremely difficult to find teachers who fit in with the rural community and will stay for a long period of time because of this. Usually the teachers who end up staying are either from a rural background or have previous experience with rural communities. So, they felt that they had ever been in this situation and need someone to help the people in that area, to develop their in knowledge. Small rural schools have struggled to find an adequate supply of teachers, but now their struggle is to find quality teachers which is difficult because rural teachers are supposed to show excellence, but what they really need first is equality (DeYoung, 1991).
teacher in rural area
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Musics
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Why Do We Like Music?
Why do we like music? Our culture immerses us in it for hours each day, and everyone knows how it touches our emotions, but few think of how music touches other kinds of thought. It is astonishing how little curiosity we have about so pervasive an "environmental" influence. What might we discover if we were to study musical thinking?
Why do we like music? We all are reluctant, with regard to music and art, to examine our sources of pleasure or strength. In part we fear success itself– we fear that understanding might spoil enjoyment. Rightly so: art often loses power when its psychological roots are exposed. No matter; when this happens we will go on, as always, to seek more robust illusions!
The trouble with the search for universal laws of thought is that both memory and thinking interact and grow together. We do not just learn about things, we learn ways to think about things; then we can learn to think about thinking itself. Before long, our ways of thinking become so complicated that we cannot expect to understand their details in terms of their surface operation, but we might understand the principles that guide their growth. In much of this article I will speculate about how listening to music engages the previously acquired personal knowledge of the listener.
It has become taboo for music theorists to ask why we like what we like: our seekers have forgotten what they are searching for. To be sure, we can't account for tastes, in general, because people have various preferences. But this means only that we have to find the causes of this diversity of tastes, and this in turn means we must see that music theory is not only about music, but about how people process it. To understand any art, we must look below its surface into the psychological details of its creation and absorption.
If explaining minds seems harder than explaining songs, we should remember that sometimes enlarging problems makes them simpler! The theory of the roots of equations seemed hard for centuries within its little world of real numbers, but it suddenly seemed simple once Gauss exposed the larger world of so-called complex numbers. Similarly, music should make more sense once seen through listeners' minds.
(By Marvin Minsky)
the end of sony erricson
A Bit of History
Founded in 2001, Sony Ericsson initially thrived with products like the Walkman and Cyber-shot phones, with Sony matching its expertise in consumer electronics with Ericsson’s experience with phones. However, as of late the business has been lacking while trying to keep up with the smartphone race. Previously, analysts anticipated a separating of ways, arguing Sony Ericsson could become more competitive under sole Sony ownership. Earlier this month the company broke even in its third quarter financial results. This deal ends a decade-long relationship between the two companies and marks Ericsson’s exit from the mobile handset business. The deal will give Sony ownership of five key patent families held by Ericsson, enabling it to cut costs in the Sony Ericsson venture.
Founded in 2001, Sony Ericsson initially thrived with products like the Walkman and Cyber-shot phones, with Sony matching its expertise in consumer electronics with Ericsson’s experience with phones. However, as of late the business has been lacking while trying to keep up with the smartphone race. Previously, analysts anticipated a separating of ways, arguing Sony Ericsson could become more competitive under sole Sony ownership. Earlier this month the company broke even in its third quarter financial results. This deal ends a decade-long relationship between the two companies and marks Ericsson’s exit from the mobile handset business. The deal will give Sony ownership of five key patent families held by Ericsson, enabling it to cut costs in the Sony Ericsson venture.
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