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- Creators: Barrett, The Honors College
- Creators: Buss, Ray R
- Creators: García, Carmen
Description
This semester-long study examined the functions for which English (L1) and Spanish (L2) were used in two intact hybrid Spanish as a foreign language (FL) university classes at the 202 (fourth semester) level. Five 75-minutes classes of two instructors were observed by the researcher, video- and audio-recorded, and transcribed. A survey was also used to determine the functions for which the instructors and students believed that Spanish and English were used in the classroom, and the functions for which both believed that the two languages should be used. Talking about a test and teaching grammar were the functions for which both instructors used the most English and the most Spanish. The questionnaire results indicated that the students who heard more Spanish in the classroom would have preferred that their instructor had used less Spanish for the functions of checking how well students understand a reading in class as well as when giving instructions or explaining how to do group activities. The Minnesota Language Proficiency Assessment for listening at the Intermediate-High level was administered to the students of both instructors at the beginning and at the end of the semester. The classroom observations indicated that although both instructors used more than 50% words in English during their classes, one instructor used twice as many words in Spanish as did the other. However, the results of the study revealed no significant relationship between the amount of Spanish used by the instructors in the classroom and the students' progress on listening proficiency from the beginning to the end of the semester.
ContributorsHansel, Patsy (Author) / Lafford, Barbara A. (Thesis advisor) / García, Carmen (Thesis advisor) / Elorrieta, Jabier (Committee member) / Arizona State University (Publisher)
Created2012
Description
Current research shows a positive relationship between the use of written synchronous computer-mediated communication (SCMC) and oral production (Isenberg 2010; Kern 1995; Payne & Whitney, 2002). No prior investigations specifically analyze the effect of SCMC on the conjugation of simple present tense verbal forms in narratives produced by learners of Spanish in online environments. This semester-long study addressed this issue by systematically analyzing the effect of written SCMC on the oral production of present-tense verb conjugations in two different oral tasks by students in two different intermediate level online Spanish courses. Written chat (WC), a type of synchronous group discussion, was used in the treatment group in order to examine the crossover effects of written SCMC on present tense forms in oral production tasks among intermediate Spanish students in online courses. Both online groups engaged in 30 minutes of concentrated interaction with the instructor and other students each week. The control group engaged in 30 minutes of oral interaction per week while the experimental group was exposed to 15 minutes of oral chat and 15 minutes of WC in the 30 minute session of interaction. Specifically, this study employed a pretest/posttest quasi-experimental design and tested the differential effects of a combination of oral and written SCMC online interaction and SCMC solely oral online interaction on the acquisition of Spanish present tense verb forms. The findings show a significant difference in oral gains among the experimental group.
ContributorsRiley, Holly Kristen (Author) / Lafford, Barbara (Thesis advisor) / García, Carmen (Thesis advisor) / Elorrieta, Jabier (Committee member) / Arizona State University (Publisher)
Created2012
Description
Online teacherpreneurs are current and former PreK-12 teachers who share their original classroom resources in online marketplaces where teachers download them for a small fee. Online teacherpreneurs’ resources are becoming prolific in classrooms today. Meanwhile, online teacherpreneurs stand to gain financially and professionally. This exploratory study drew on conceptual frameworks from entrepreneurship and teacher leadership to describe the practice of online teacherpreneurship in terms of the characteristics of the people who participate, the school environments in which they work, and the possible impacts they experience. An exploratory sequential mixed methods design was used. In phase one, 10 semi-structured interviews were conducted with online teacherpreneurs who ranked in the top 1% of sellers on TeachersPayTeachers.com for profits earned. In phase two, the results of the interviews were used to develop a quantitative survey, which was distributed to an international sample of 412 TeachersPayTeachers.com sellers with various levels of experience and sales success. Results from both phases were analyzed separately and together, indicating that online teacherpreneurs viewed themselves as helpful, hard-working, creative, and organized. While some online teacherpreneurs worked in supportive school environments, others worked in unsupportive or ambivalent schools. Most online teacherpreneurs kept their online business and classroom teaching separate. They reported that online teacherpreneurship involved a variety of practices including creating educational resources, collaborating with teachers, collaborating with fellow teacherpreneurs, and engaging in entrepreneurial endeavors such as marketing. They also believed they experienced impacts including improvements to teaching practice, teacher leadership opportunities, and some professional stressors. Implications for online teacherpreneurs and other stakeholders including teachers, school and district leaders, and teacher educators are considered.
ContributorsCrane, Catharyn Carisa (Author) / Archambault, Leanna M (Thesis advisor) / Buss, Ray R (Committee member) / Savenye, Wilhelmina (Committee member) / Arizona State University (Publisher)
Created2018
Description
The study compares the pretest and posttest results of three groups of second-grade students studying a phonics rule to determine the effect of using music as an instructional aid. For two groups in the study, the teachers used melodies to instruct students, while the third group was held to direct instruction with no music to use for assistance. The study groups were three second-grade classes at Ishikawa Elementary School, where I was serving as a student teacher. Parental consent was received for each of the students participating in the study. The duration of the study was one week. The first test group was given a familiar melody with new lyrics to reflect the content of the phonics rule "I before E except after C." The second test group was given a melody composed specifically to accompany the phonics rule and to reflect the appropriate phonics content. On the first day of the study, students were given a pretest; these scores were recorded and then compared to the posttest scores from the end of the week. The data that were collected compared groups as a whole through composite scores from pretest to posttest to determine most effective methodology. The groups that were instructed using music demonstrated greater growth and had higher posttest scores.
ContributorsFrazee, Madison Marie (Author) / Schildkret, David (Thesis director) / Stauffer, Sandy (Committee member) / Barrett, The Honors College (Contributor) / Division of Teacher Preparation (Contributor)
Created2014-12
Description
This thesis explores my experience in teaching a high school music class through composition. I detail pedagogical approaches that helped to shape my lesson planning including constructivism, informal learning, and project based learning. The music education theory is put into action in a real high school setting and I explain what happened: what worked, what didn't, and what can we learn from this?
ContributorsWhelihan, Brian Peter (Author) / Tobias, Evan (Thesis director) / Schildkret, David (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-05
Description
What is the value of postsecondary education in prison? For the past two years, my involvement with the Prison English Program in the Department of English at Arizona State University has pushed me to explore answers to this question. I began by teaching creative writing for one semester through the Pen Project, an online internship in which undergraduate students provide critical responses to writing produced by inmates at the Penitentiary of New Mexico. The next two semesters, I co-‐taught Shakespeare on a minimum-‐security yard at the Arizona State Prison Complex in Florence. This semester, eager to expand my teaching repertoire and the breadth of ASU programming in Arizona prisons, I teach an introductory Chinese language course at the Cook Unit in Eyman.
ContributorsCai, Tina (Author) / Lockard, Joe (Thesis director) / Spring, Madeline (Committee member) / Barrett, The Honors College (Contributor)
Created2014-05
Description
This thesis presents a new study “Fostering Student Autonomy in the Collegiate Woodwind Studio” which gathered pedagogical techniques that collegiate woodwind professors use to foster student autonomy in their woodwind studios. This study defines “student autonomy” as an end-goal of education, in which students are “self-monitoring, strategizing, and taking responsibility for and ownership of the learning process.” A survey of questions concerning student autonomy was emailed to each of the appointed woodwind studio professors at ASU. Their responses are presented and analyzed in this thesis. The author hypothesized that the professors would show some understanding of various methods that can achieve student autonomy, but the study results showed that the professors had much knowledge and specific examples on how to achieve student autonomy in their studios. All of the participants cited examples of using indirect teaching, peer-learning, student-selected repertoire with teacher guidance, student goal-setting, and practical autonomy in their woodwind studios to facilitate student autonomy. About half of the participants cited examples of using student-to-teacher rapport, technology-mediated feedback, and diversified autonomy in their studios to facilitate student autonomy. Student-selected repertoire was by far the most popular method through which to foster student autonomy. This study found that further research is needed to prove if there is indeed a positive correlation between students who compose music for their woodwind lessons and their level of autonomous learning.
ContributorsBurton, Charlotte Elizabeth (Author) / Spring, Robert (Thesis director) / Gardner, Joshua (Thesis director) / N/A, N/A (Committee member) / School of Music (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This entire project looks at color guard from the perspective of a music educator and is meant to be a resource for other music educators, specifically, color guard instructors. Within the thesis project “A Guide to Coaching Color Guard” there are four sub-components.
The first is a historical research paper titled “The History and Evolution of Color Guard within Marching Band”. This paper defines what color guard is, identifies its origins, and outlines the major events that contributed to its development over time, leading up to what the sport and art of color guard has evolved into today.
The second component is a paper titled “Coaching Color Guard: My Experiences with Planning, Teaching, and Building a High School Color Guard Program”, which is a summarization of how a season of coaching color guard can be organized and examples of various learning opportunities a color guard coach could take advantage of during a season. Many education-specific teaching strategies are explained, such as the use of modeling, I do - we do - you do, whole-part-whole, scaffolding, sequencing from simple to complex, direct instruction vs. small groups, teaching to various learning styles (visual, auditory, kinesthetic), instructor/peer/group feedback, assessment, and opportunities for student contribution and creativity.
The third component is paper titled “Color Guard Coaching Resources”, which is made up of ten different documents that are examples or resources for color guard instructors. These resources are referenced in the second component of this project and include samples of flyers, audition scoring sheets, a student handbook, participation sheet, and written choreography as well as providing a list of other outside resources as well as a list of the video tutorials.
These video tutorials are the final component of this project. There are 44 tutorial videos broken up into five categories. Each video is a step-by-step teaching video demonstrating and articulating how to spin a color guard flag. The first category consists of 10 introductory videos, which discuss terms and concepts that are overarching in all of the tutorial videos. Then, there are 23 tutorials within the category titled ‘Basic Moves’. The next category of ‘Intermediate Moves’ consists of 5 teaching videos for moves that are more difficult to execute than the basic moves. The fourth category has 5 video tutorials for ‘Tosses’. The last category is called ‘Move Sequences’ and only has 1 video. This tutorial shows how some moves have similar rotation patterns and can easily be strung together to create a choreography sequence.
The first is a historical research paper titled “The History and Evolution of Color Guard within Marching Band”. This paper defines what color guard is, identifies its origins, and outlines the major events that contributed to its development over time, leading up to what the sport and art of color guard has evolved into today.
The second component is a paper titled “Coaching Color Guard: My Experiences with Planning, Teaching, and Building a High School Color Guard Program”, which is a summarization of how a season of coaching color guard can be organized and examples of various learning opportunities a color guard coach could take advantage of during a season. Many education-specific teaching strategies are explained, such as the use of modeling, I do - we do - you do, whole-part-whole, scaffolding, sequencing from simple to complex, direct instruction vs. small groups, teaching to various learning styles (visual, auditory, kinesthetic), instructor/peer/group feedback, assessment, and opportunities for student contribution and creativity.
The third component is paper titled “Color Guard Coaching Resources”, which is made up of ten different documents that are examples or resources for color guard instructors. These resources are referenced in the second component of this project and include samples of flyers, audition scoring sheets, a student handbook, participation sheet, and written choreography as well as providing a list of other outside resources as well as a list of the video tutorials.
These video tutorials are the final component of this project. There are 44 tutorial videos broken up into five categories. Each video is a step-by-step teaching video demonstrating and articulating how to spin a color guard flag. The first category consists of 10 introductory videos, which discuss terms and concepts that are overarching in all of the tutorial videos. Then, there are 23 tutorials within the category titled ‘Basic Moves’. The next category of ‘Intermediate Moves’ consists of 5 teaching videos for moves that are more difficult to execute than the basic moves. The fourth category has 5 video tutorials for ‘Tosses’. The last category is called ‘Move Sequences’ and only has 1 video. This tutorial shows how some moves have similar rotation patterns and can easily be strung together to create a choreography sequence.
ContributorsKnutson, Dakota Rae (Author) / Stauffer, Sandra (Thesis director) / Sullivan, Jill (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
The specific focus of the curriculum guide is to encourage inquiry and exploration of sustainability with middle school students. Children need to be explicitly taught how to analyze findings, how to work together, and teachers need to begin to lay the foundation of finding ideal solutions that best serve all people. The sooner that we introduce our students to these concepts in conjunction with science concepts the better prepared they will be to face the upcoming challenges and the better developed their scientific literacy.
ContributorsSibley, Amanda Marie (Author) / Walters, Molina (Thesis director) / Oliver, Jill (Committee member) / Kurz, Terri (Committee member) / Barrett, The Honors College (Contributor) / Division of Teacher Preparation (Contributor)
Created2014-05
Description
This project and research intended to address how to successfully run and teach a high school level Theatre I course. The research portion of the project focused on activities to use in the classroom, how to run a drama club and put on productions, and how to create a positive classroom environment where students feel comfortable creating art. The creation portion of the project focused on the things a teacher will need in the classroom: an introduction letter, vision statement, syllabus, and unit plans. The final product includes three unit plans: Introduction to Theatre I, Introduction to Acting, and Theatre and Social Change. The use of the materials in this thesis can help first-time Theatre teachers to become better prepared to run their classroom.
ContributorsKircher, Alyssa Elaine (Author) / Sterling, Pamela (Thesis director) / Whissen, Elaine (Committee member) / Saldana, Johnny (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / Division of Teacher Preparation (Contributor)
Created2014-05