Oxford University Press's
Academic Insights for the Thinking World
Music as a school subject, it so often seems, retains its apparently perilous position in the school largely as a result of the unstinting pressure of advocacy groups. The 2004 Music Manifesto that underpins much of the current drive to keep school music alive was unashamedly “a voluntary, apolitical 13-strong Partnership and Advocacy Group”.
What is Positive Education? This is a question I am asked on a weekly, sometimes daily, basis. Whenever I am asked this question, what immediately comes to mind is a visit to Bostock House, one of Geelong Grammar School’s junior campuses.
My seventeen-year-old son has just completed fifteen examinations in the course of two weeks. They varied in length – some in excess of three hours, with a half hour break before the next exam – and we are still feeling the fallout from this veritable onslaught.
What do opera singer Leontyne Price, activist Victoria Gray Adams, civil rights organizer Bayard Rustin, and Harvard sociologist William Julius Wilson have in common? They all attended or graduated from Wilberforce University. Located outside of Dayton, Ohio, Wilberforce was the first institution of higher education to be owned and operated by African Americans.
The seemingly unassailable rise of the MOOC – the Massive Open On-Line Course – has many universities worried. Offering access to millions of potential students, it seems like the solution to so many of the problems that beset higher education. Fees are low, or even non-existent; anyone can sign up; staff time is strictly limited as even grading is done by peers or automated multiple-choice questionnaires. In an era of ever-rising tuition fees and of concerns about the barriers that stop the less well-off from applying to good universities, the MOOC can seem like a panacea.
What do we think education means? What do we believe are teaching’s purpose, status, and function in society? A useful way to reflect on our pre-conceptions and assumptions about anything is to step back and consider the metaphors we automatically apply when thinking or speaking of it. This is a particularly useful exercise for the trainee teacher, who, for obvious reasons, is likely to frame teaching primarily in terms of a performance – one that is observed, analysed, graded and, if all goes well, given the pedagogic equivalent of a five star review.
Today’s data scientist must know how to write good code. Regardless of whether they are working with a commercial off-the-shelf statistical software package, R, Python, or Perl, all require the use of good coding practices. Large and complex datasets need lots of manipulation to wrangle them into shape for analytics, statistical estimation often is complex, and presentation of complicated results sometimes requires writing lots of code.
This year marks the 350th anniversary of the scholarly journal, as recorded by the first publication of the Royal Society’s Philosophical Transactions in 1665. In a dedicatory epistle to the Society’s Fellows and the Introduction, editor Henry Oldenburg set forth its purpose to inform the scientific community of the latest and most valuable discoveries.
Disseminating scholarship is at the heart of the Oxford University Press mission and much of academic publishing. It drives every part of publishing strategy—from content acquisition to sales. What happens, though, when a student, researcher, or general reader discovers content that they don’t have access to?
At the American Political Science Association meetings earlier this year, Gary King (Albert J. Weatherhead III University Professor at Harvard University) gave a presentation on Dataverse (here are his slides). Dataverse is an important tool that many researchers use to archive and share their research materials; as many readers of this blog may already know, the journal that I co-edit, Political Analysis, uses Dataverse to archive and disseminate the replication materials for the articles we publish in our journal.
Throughout my career, there have been many times when advice, support, and criticism were critical for my own professional development. Sometimes that assistance came from people who were formally tasked with providing advice; a good example is a Ph.D. advisor (in my case, John Aldrich of Duke University, who has been a fantastic advisor and mentor to a long list of very successful students).
The Venezuelan youth orchestra scheme El Sistema is perhaps the world’s most famous music education program today. It’s lauded as a revolutionary social program that has rescued hundreds of thousands of Venezuela’s poorest children. Simon Rattle has called it “the most important thing happening in music anywhere in the world.” Classical music education is back in vogue, now aligned with the rhetoric of social justice.
I just reviewed yet another “hot off the press” piano composition. It was posted on Facebook by someone I do not know – either as a person or by reputation. It looks good, but that is only because note-writing software has become so easy-to-use that anyone with the most basic knowledge can quickly crank out a “could-have-been-published” looking piece.
At the Conference on Open Access Scholarly Publishing in Paris last month, Claudio Aspesi, Senior Analyst at Sanford C. Bernstein, raised an uncomfortable question. Did the continuing financial health of traditional publishers like Elsevier indicate that open access had “failed”?
Open access (OA) publishing stands at something of a crossroads. OA is now part of the mainstream. But with increasing success and increasing volume come increasing complexity, scrutiny, and demand. There are many facets of OA which will prove to be significant challenges for publishers over the next few years
In 2014 Oxford University Press celebrates ten years of open access (OA) publishing. In that time open access has grown massively as a movement and an industry. Here we look back at five key moments which have marked that growth.