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Addressing Childhood Trauma in the Classroom

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Over the past few years, the issue of childhood trauma in the United States has become significant. A growing number of children are experiencing abuse, neglect, or some other form of maltreatment each year. Considering the stressful home lives of

Over the past few years, the issue of childhood trauma in the United States has become significant. A growing number of children are experiencing abuse, neglect, or some other form of maltreatment each year. Considering the stressful home lives of maltreated children, the one sure sanctuary is school. However, this idea requires teachers to be actively involved in identifying and caring for the children who need it most. Traumatic childhood experiences leave lasting scars on its victims, so it is helpful if teachers learn how to identify and support children who have lived through them. It is unfortunate that teachers will most likely encounter children throughout their career who have experienced horrendous things, but it is a reality. With this being said, teachers need to develop an understanding of what traumatized children live with, and learn how to address these issues with skilled sensitivity. Schools are not just a place where children learn how to read and write; they build the foundation for a successful life. This project was designed to provide teachers with a necessary resource for helping children who have suffered traumatic experiences. The methodology of this project began with interviews with organizations specializing in working with traumatized children such as Arizonans for Children, Free Arts for Abused Children, The Sojourner Center, and UMOM. The next step was a review of the current literature on the subject of childhood trauma. The findings have all been compiled into one, convenient document for teacher use and distribution. Upon completion of this document, an interactive video presentation will be made available through an online education website, so that distribution will be made simpler. Hopefully, teachers will share the information with people in their networks and create a chain reaction. The goal is to make it available to as many teachers as possible, so that more children will receive the support they need.

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2016-05

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Rolling Down Ramps: A Unit Plan to Address the Urgent Need of STEM Instruction in Preschool

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STEM education stands for science, technology, engineering and mathematics, and is necessary for students to keep up with global competition in the changing job market, technological advancements and challenges of the future. However, American students are lacking STEM achievement at

STEM education stands for science, technology, engineering and mathematics, and is necessary for students to keep up with global competition in the changing job market, technological advancements and challenges of the future. However, American students are lacking STEM achievement at the state, national and global levels. To combat this lack of achievement I propose that STEM instruction should begin in preschool, be integrated into the curriculum and be inquiry based. To support this proposal I created a month-long physics unit for preschoolers in a Head Start classroom. Students investigated the affect of incline, friction and weight on the distance of a rolling object, while developing their pre-math, pre-literacy and social emotional skills.

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2015-05

Once On This Island - An Exploration of Nontraditional Casting

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Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against

Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.

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2014-12

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The compositional styles of Alfredo Casella: an examination of four vocal works

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This paper and its accompanying recital examine three solo vocal works by Italian composer Alfredo Casella (1883-1947): "Larmes" from Cinq Mélodies (Op. 2); "Mort, ta servante est à ma porte" from L'adieu à la vie: Quatre lyriques funèbres extraites du

This paper and its accompanying recital examine three solo vocal works by Italian composer Alfredo Casella (1883-1947): "Larmes" from Cinq Mélodies (Op. 2); "Mort, ta servante est à ma porte" from L'adieu à la vie: Quatre lyriques funèbres extraites du "Gitanjali" de Rabindranath Tagore (Op. 26); and "Amante sono, vaghiccia, di voi" from Tre canzoni trecentesche (Op. 36). Each of these songs is discussed as representative of Casella's three compositional periods. A fourth song, "Ecce odor filii mei" from Tre canti sacri per baritono et organo (Op. 66), is also examined, as an end-of-life composition. Some of the more important solo vocal works composed in each period are mentioned to show where the four selected songs fit into Casella's compositional output and to suggest music for further study or repertoire.

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2014

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Benjamin Britten: composer as conductor and the art of self interpretation

Description

In the triumvirate of composer-performer-listener, while the listener always wins, the performer is the interpreter through which the listener experiences the writings of the composer. When the composer and performer are combined, however, a unique situation arises: the link from

In the triumvirate of composer-performer-listener, while the listener always wins, the performer is the interpreter through which the listener experiences the writings of the composer. When the composer and performer are combined, however, a unique situation arises: the link from the composer to the listener becomes a direct line and the composer becomes his/her own interpreter. Such is the case with Benjamin Britten. Britten conducted almost his entire repertoire in recordings for Decca (the exceptions being Paul Bunyan, Owen Wingrave, and Death in Venice). A comparative analysis of the recordings of four of Britten's works, the Serenade for Tenor, Horn, and Strings, Op. 31; Albert Herring, Op. 39; Spring Symphony, Op. 44; and the Nocturne, Op. 60, shows that despite his complaints about performers not following his tempo markings, Britten often deviated from them himself, tending slower. Britten also occasionally added additional rubato, ritardandi, and accelerandi to his works. Additionally, a discrepancy regarding a pitch in the "Prelude" of the Serenade comes to light. Video of Britten conducting the Nocturne in rehearsal with the Canadian Broadcasting Company (CBC) Vancouver provides additional insight into his methodology. Benjamin Britten succeeded as a composer-conductor, and his catalogue of recordings provides essential primary reference material when studying his works.

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2014

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Integrating Music in the Classroom

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A look at the benefits of the integration of music in the classroom. This thesis focuses on how music supports brain development and how that affects the ways children learn the classroom. It also highlights how current teachers feel about

A look at the benefits of the integration of music in the classroom. This thesis focuses on how music supports brain development and how that affects the ways children learn the classroom. It also highlights how current teachers feel about integrating music in the classroom and the best practices used for integrating music. Lastly, this thesis contains strategies on how to integrate music in the classroom using the Common Core standards as well as personal compositions written using Common Core standards.

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2013-05

Windy City Opera's La Bohème: a case study of producing micro-opera in Chicago

Description

This research paper recounts the work done in founding an opera company and putting on its inaugural show. It also provides some of the insights acquired during the process, which may be helpful for other future opera producers in creating

This research paper recounts the work done in founding an opera company and putting on its inaugural show. It also provides some of the insights acquired during the process, which may be helpful for other future opera producers in creating a framework and guideposts for starting their own companies. The paper consists of two main sections followed by several short appendices.

The first section methodically reconstructs the process by which Windy City Opera's La Bohème was brought to the stage. It covers the background experiences that prompted the author to found her own company, the research and decisions involved, and the interplay between the company's overall goals and the resources available for a first production. The business, casting, rehearsing, and marketing aspects are reviewed in detail, as well as several mistakes that were made during the process that afforded valuable learning opportunities.

The second section follows up on these and other opportunities by sketching an ideal plan that opera startups might follow; the principal topics are timeline, budgeting, fundraising, venue selection, personnel selection, and marketing.

The appendices consist of worksheets and materials meant to illustrate and supplement this written how-to guide, as well as a video of the Windy City Opera production of La Bohème.

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2016

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Social media, marketing, and the opera singer

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ABSTRACT

This research is focused on technology in the arts, social media, and the opera singer. Topics include recent performance trends, social media, marketing techniques, and creating a successful brand. This paper also focuses on how to leverage social media platforms

ABSTRACT

This research is focused on technology in the arts, social media, and the opera singer. Topics include recent performance trends, social media, marketing techniques, and creating a successful brand. This paper also focuses on how to leverage social media platforms build a digital persona, and create an engaged audience. The same techniques used by corporations and opera companies for their social media and marketing strategy can be leveraged to increase brand awareness, build a strong network, and may aid in generating new opportunities for the opera singer.

Key Words: Social Media, Opera Singer, Branding, Marketing, Technology

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2016

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Art songs of Charles Ives: accessible to beginning singers

Description

The performance of Charles Ives's art songs can be challenging to even the most experienced singers, but to beginning singers, they may be even more so, due to such twentieth-century aspects as polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter

The performance of Charles Ives's art songs can be challenging to even the most experienced singers, but to beginning singers, they may be even more so, due to such twentieth-century aspects as polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones. However, Ives used previously existing material, often familiar hymn tunes, as the foundation for many of his art songs. If beginning students first are exposed to this borrowed material, such as a simple hymn tune, which should be well within even the most experienced singer's comfort range, they can then learn this tune first, as a more simplistic reference point, and then focus on how Ives altered the tunes, rather then having to learn what seems like an entirely new melody. In this way, Ives's art songs can become more accessible to less-experienced singers. This paper outlines a method for researching and learning the borrowed materials in Ives's songs that utilize them, and reviews materials already commonly used by voice teachers to help beginning students learn their music. By combining this method, which focuses on the borrowed materials, with standard practices teachers can then help their beginning students more easily learn and perform Ives's art songs. Four songs, from the set "Four Hymn Tune Settings" by Charles Ives are used to illustrate this method.

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Date Created
2012

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Bringing opera to a small community

Description

ABSTRACT The purpose of this research project is to provide participants with a personal experience in opera, to change their perceptions and provoke further interest in the art form. By introducing community opera into a society, we can educate and

ABSTRACT The purpose of this research project is to provide participants with a personal experience in opera, to change their perceptions and provoke further interest in the art form. By introducing community opera into a society, we can educate and perhaps expand the acceptance of opera in a population. This document uses The Survey of Public Participation of the Arts by the National Endowment for the Arts in order to provide an accurate account of the declining attendance of opera. Only through education and exposure can we improve opera attendance. In order to create opera appreciation the researcher introduced an applicable opera performance situation in a small community. The process in which the opera was implemented has been evaluated and separated into the following eight components: preparation, rehearsal, set construction and props, pamphlets, budget, advertising, dress rehearsal, and performance. Each will be considered separately. The benefits of that community program and the process in which the opera took place are included in this research.

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2012