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- All Subjects: Collaboration
- All Subjects: Dance
Description
This study was designed to capture the conversations and practices of seven educators who navigate teaching and learning decisions in their Title 1 elementary school. This case study was conducted to answer the research question, "What are the behaviors and practices of a newly formed collaborative team of educators working within a professional learning community (PLC)?" In order to understand how this collaborative team worked together, data was collected through a survey, interviews, focus group discussion and questionnaire, observations of collaborative team meetings and artifacts generated from the team's work. The findings revealed that (1) participants spent the majority of their collaborative team time focusing on how to best prepare students for district and state standardized assessments; (2) teachers described themselves as learners who look to their colleagues to enhance their knowledge and skills; (3) members of PLCs need dedicated collaborative time to ensure all students and adults in the organization learn at high levels; (4) discussing and using student learning data can be difficult; (5) educators gravitate to colleagues who have similar philosophies and beliefs and (6) PLCs need supportive district, school and teacher leadership to accomplish their goals. This research study provides validation that the PLC process is a complex process of professional development designed to support school reform in an era of increased school accountability. The recommendations for school leaders are to create supportive leadership structures that allow all students opportunities to learn, build trusting environments, and provide clarity and focus of the vision for all stakeholders. District leadership needs to establish a priority for PLC work by embedding the processes in the vision, mission and goals of the district, examine policies to ensure they support the concepts of PLCs, provide access to resources and create a forum for critical conversations about teaching and learning. Policy makers need to ask the right questions so that they can design appropriate accountability systems that encourage collaboration.
ContributorsFourlis, Andi (Author) / Danzig, Arnold (Thesis advisor) / Davey, Lynn (Committee member) / Kriekard, John (Committee member) / Arizona State University (Publisher)
Created2011
Description
Light Emerging is a symphonic dance suite in five movements. The work’s approximate length is 25 minutes; it is scored for flute, oboe, clarinet in Bb, bassoon, horn in F, trumpet in C with loop pedal, trombone, percussion, electronic percussion, piano, strings, and fixed media. Each movement of the dance suite is written to be performed as a standalone piece or together as one multimovement work. The music showcases open quintal sonorities layered in conflicting substructures, which contract into denser brooding passages and transform into tonal fanfares.
Attempting to capture the essence of how humanity uniquely experiences light and assigns personification to it, the composer presents light and dark as the main characters in a grand ballet of good and evil. Prism (Movement I) is an overture that is constantly shifting and evolving. A rainbow of colors is presented by the various orchestra members, as timbral and pitch evolutions showcase the ever-changing perspectives of a prism held to light. Yin/Yang (Movement II) explores the relationship between light and dark. The solo clarinet represents light breaking through the darkness as its colorful flourishes pierce through the brooding fixed media. Sunrise (Movement III) captures the impressive majesty of light bursting over the dark horizon in the early morning. Lux (Movement IV) is a dance of light, using solo trumpet and a chorus of phantom trumpets. Light Eternal (Movement V) expresses the deep need for humans to worship that which is unknown and eternal, and the power of light to overcome the dark. The “March of Eternal Light” signals our end in this world and the journey to the beyond.
Attempting to capture the essence of how humanity uniquely experiences light and assigns personification to it, the composer presents light and dark as the main characters in a grand ballet of good and evil. Prism (Movement I) is an overture that is constantly shifting and evolving. A rainbow of colors is presented by the various orchestra members, as timbral and pitch evolutions showcase the ever-changing perspectives of a prism held to light. Yin/Yang (Movement II) explores the relationship between light and dark. The solo clarinet represents light breaking through the darkness as its colorful flourishes pierce through the brooding fixed media. Sunrise (Movement III) captures the impressive majesty of light bursting over the dark horizon in the early morning. Lux (Movement IV) is a dance of light, using solo trumpet and a chorus of phantom trumpets. Light Eternal (Movement V) expresses the deep need for humans to worship that which is unknown and eternal, and the power of light to overcome the dark. The “March of Eternal Light” signals our end in this world and the journey to the beyond.
ContributorsJohnson, Brice (Author) / Rogers, Rodney (Thesis advisor) / Rockmaker, Jody (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
Description
This study explores community development initiatives and school-community partnerships that took place during the period 1998 - 2010 in Barrio Promesa, a Hispanic immigrant neighborhood within a large metropolitan area of the South Western United States. More specifically, it examines the initiatives and partnerships carried out through three main sectors of social actors: a) elected officials, public administrators and their agencies of the city; b) the neighborhood elementary school and school district administration; and c) civil society inclusive of non-profit agencies, faith-based organizations and businesses entities. This study is bounded by the initiation of development efforts by the city on the front end. The neighborhood school complex became the center of educational and social outreach anchoring nearly all collaborations and interventions. Over time agents, leadership and alliances changed impacting the trajectory of development initiatives and school community partnerships. External economic and political forces undermined development efforts which led to a fragmentation and dismantling of initiatives and collaborations in the later years of the study. Primary threads in the praxis of community development and school-community partnerships are applied in the analysis of initiatives, as is the framework of social capital in understanding partnerships within the development events. Specific criteria for analysis included leadership, collaboration, inclusivity, resources, and sustainability. Tensions discovered include: 1) intra-agency conflict, 2) program implementation, 3) inter-agency collaboration, 4) private-public-nonprofit partnerships, and 5) the impact of public policy in the administration of public services. Actors' experiences weave a rich tapestry composed of the essential threads of compassion and resilience in their transformative human agency at work within the global urban gateway of Barrio Promesa. Summary, conclusions and recommendations include: 1) strategies for the praxis of community development, inclusive of establishing neighborhood based development agency and leadership; 2) community development initiative in full partnership with the neighborhood school; 3) the impact of global migration on local development practices; and 4) the public value of personal and civil empowerment as a fundamental strategy in community development practices, given the global realities of many urban neighborhoods throughout the United States, and globally.
ContributorsBusch, Jay S. E (Author) / Schugurensky, Daniel, 1958- (Thesis advisor) / Danzig, Arnold (Committee member) / Knopf, Richard (Committee member) / Arizona State University (Publisher)
Created2014
Description
ABSTRACT
"The Soul Unto Itself," a chamber music song cycle, was commissioned by the author, Rosa LoGiudice, and composed by William Clay, a doctoral candidate in composition at Arizona State University. The cycle was conceived and composed in the summer and fall of 2019. The chamber ensemble was a sextet comprised of Megan Law, mezzo-soprano, Kristi Hanno, clarinet, Emilio Vazquez, violin, Rittika Gambhir, bassoon, Nathaniel De la Cruz, double bass, and Rosa LoGiudice, piano, all based in Tempe, Arizona. The song cycle was premiered in a lecture recital on December 8, 2019 at Hammer and Strings Conservatory in Gilbert, AZ.
"The Soul Unto Itself" is a cycle of six songs based on poems of Emily Dickinson. The poems all have common themes of personal transformation achieved through the introspective observations of the poet. An unusual chamber ensemble was chosen to include instruments not commonly used in vocal chamber music in order to create a greater variety of musical colors and timbres. This project included the creation of the musical score, a live performance that was video recorded, and the research paper. This document discusses the process of working with the composer, rehearsing the music as it was being composed, and negotiating revisions necessary to make the music more effective in performance. Each song is discussed in detail, especially the connection between the music and poetry, the overall form of the song, revisions discussed and implemented, and important motivic relationships between the songs that unify the cycle. In summary, the process of collaborating with a composer is a rewarding experience for both the performers and the composer, as everyone is challenged to improve their craft and overcome obstacles to achieve a successful performance.
"The Soul Unto Itself," a chamber music song cycle, was commissioned by the author, Rosa LoGiudice, and composed by William Clay, a doctoral candidate in composition at Arizona State University. The cycle was conceived and composed in the summer and fall of 2019. The chamber ensemble was a sextet comprised of Megan Law, mezzo-soprano, Kristi Hanno, clarinet, Emilio Vazquez, violin, Rittika Gambhir, bassoon, Nathaniel De la Cruz, double bass, and Rosa LoGiudice, piano, all based in Tempe, Arizona. The song cycle was premiered in a lecture recital on December 8, 2019 at Hammer and Strings Conservatory in Gilbert, AZ.
"The Soul Unto Itself" is a cycle of six songs based on poems of Emily Dickinson. The poems all have common themes of personal transformation achieved through the introspective observations of the poet. An unusual chamber ensemble was chosen to include instruments not commonly used in vocal chamber music in order to create a greater variety of musical colors and timbres. This project included the creation of the musical score, a live performance that was video recorded, and the research paper. This document discusses the process of working with the composer, rehearsing the music as it was being composed, and negotiating revisions necessary to make the music more effective in performance. Each song is discussed in detail, especially the connection between the music and poetry, the overall form of the song, revisions discussed and implemented, and important motivic relationships between the songs that unify the cycle. In summary, the process of collaborating with a composer is a rewarding experience for both the performers and the composer, as everyone is challenged to improve their craft and overcome obstacles to achieve a successful performance.
ContributorsLoGiudice, Rosa Mia (Author) / Campbell, Andrew (Thesis advisor) / Ryan, Russell (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2020
Description
There are as many different approaches to artistic collaboration theory as there are authors who have created them. This paper postulates that collaboration is a stage of the artistic co-creative group-work process. Theories of collaboration were examined to isolate verbiage used in various attempted definitions of artistic collaboration. Two theories were selected to serve as a joint model for the creation and maintenance of a collaboration stage during the artistic co-creative group-work process including a derived series of conditions required for a co-creative initial stage to qualify as collaboration. Those conditions were then applied to five collaborative situations to determine if each situation had established a collaboration stage, how that establishment occurred, if that collaborative atmosphere was maintained over the life of the co-creative process, how the presentational outcome of the group-work was affected by the presence or lack of a collaboration stage, and finally this collaborator’s general reactions to the process.
ContributorsBusch, Ashlee T (Author) / Bolanos, Gabriel (Thesis advisor) / Knowles, Kristina (Committee member) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2021
Description
The ASU School of Dance presents Elina's LINEage, September 19-21, with works by Elina Mooney and Cliff Keuter, performed at Galvin Playhouse.
ContributorsAmmerman, Mark C. (Set designer) / Basting, Samantha (Dancer) / Benard, Jacqueline (Set designer, Costume designer) / Britt, Melissa (Dancer) / Canto, Melissa (Dancer) / Davis, Paul (Set designer, Costume designer) / Gonzales, Casey (Dancer) / Keuter, Cliff (Choreographer, Costume designer, Artist) / Lundell, Eva (Musician) / Martinez, Brandt (Dancer) / McDowell, John Herbert (Composer) / McGloin, Aaron (Dancer) / Mihaleva, Galina (Set designer, Costume designer) / Mooney, Elina (Choreographer, Dancer) / Naimark, Steven (Musician) / Nuber, Gregory (Dancer) / Radcliffe, Elisa (Dancer) / Rockmaker, Jody (Composer) / Teachout, Kim (Musician) / Herberger Institute School of Dance (Publisher)
Created2008
Description
The ASU School of Dance presents Lyric Reflections, November 15-18, with works by dance faculty, undergraduates, graduates, and visiting artists, performed at Galvin Playhouse Theatre.
ContributorsHergerber Institute School of Dance (Publisher) / Ammerman, Mark C. (Set designer) / Bernard, Jacqueline (Costume designer) / Britt, Melissa (Dancer) / Burnett, Cherie (Dancer) / DeBoer, Andrew (Musician) / Doherty, Kelley (Dancer) / Dostal, Michael (Lighting designer) / Fitzgerald, Mary (Choreographer) / Harriosn, Christina (Dancer) / Ingalls, Todd (Composer) / Kirwan, Molly (Dancer) / Kroon, Anjuli (Dancer) / Lee, Yeongwen (Dancer) / Limon, Jose (Choreographer) / Ma, Shouze (Choreographer, Dancer) / Malan-McDonald, Sara Jean (Dancer) / Manners, Robin (Dancer) / Manus, Nicole (Dancer) / Mapes, Aileen (Choreographer, Conductor, Dancer) / McHale, Samantha (Dancer) / Mihaleva, Galina (Costume designer, Set designer) / Mooney, Elina (Choreographer) / Mumford, Jessica (Dancer) / Norman, Katie (Musician) / Ouper, Jeffery (Composer) / Raymond, Kelley (Musician) / Rockmaker, Jody (Composer) / Schupp, Karen (Choreographer) / Shipley, Samantha (Dancer) / Spenceley, Jenni (Dancer) / Stein, Derek (Musician) / Sephens, Jr. Sanny (Dancer) / Tomlinson, Charles (Costume designer) / Tovson, Kristin (Dancer) / Trujillo, David (Dancer) / Vessey, Julia (Dancer) / Watt, Nina (Director) / Wernsman, David (Dancer) / Williams, LaShonda L. (Dancer) / Wooldridge, Holly (Dancer)
Created2007