Matching Items (790)
Filtering by
- All Subjects: Violin and piano music
ContributorsChang, Ruihong (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-29
Description
The purpose of this study was to investigate the experiences and opinions of Arizona music teachers related to interactions with peers in formal online professional development (OPD) courses approved for recertification of their teacher credential. The target population (N = 584) was current music teachers in K-12 schools who are members of the 2014 Arizona Music Educators Association. Ultimately 279 respondents completed a researcher-constructed online survey (response rate = 48%).
The survey instrument explored four primary research questions; (1) Do music teachers in Arizona participate in formal OPD related to recertification of their teacher credential? (2) Do music teachers in Arizona who participate in OPD courses interact with their peers during OPD? (3) What is the nature of self-reported peer interactions among Arizona music teachers who participate in OPD courses? (4) What are Arizona music teachers' opinions regarding peer interaction in OPD courses?
Almost half of the 279 respondents participated in OPD courses for their recertification. Some participated in music-specific OPD courses such as online music classes, webinars, or online degree programs. Many respondents considered OPD courses to be effective because of convenience, location, time savings, and flexibility. Most who took online classes participated in multiple OPD courses.
Of the respondents who took OPD courses, nearly two-thirds indicated that they interacted with peers during those courses. Most of these respondents reported that required interactions were effective. Some benefits were sharing ideas and acquiring information from others. Participants preferred asynchronous interaction with peers to synchronous interaction. Factors that may have prevented these music teachers from interacting in OPD courses were superficial level message content in discussion boards or low participation from peers. Teachers also reported using informal online interactions in social networks not related to recertification hours.
Findings from this study may help improve teacher interactions with peers in OPD courses. This study may serve to influence instructors in OPD courses, administrators, policy-makers, and online course developers to improve OPD by integrating peer interactions into online courses for music teachers. Additional research on many aspects of OPD for music teachers is needed to improve educational practice.
The survey instrument explored four primary research questions; (1) Do music teachers in Arizona participate in formal OPD related to recertification of their teacher credential? (2) Do music teachers in Arizona who participate in OPD courses interact with their peers during OPD? (3) What is the nature of self-reported peer interactions among Arizona music teachers who participate in OPD courses? (4) What are Arizona music teachers' opinions regarding peer interaction in OPD courses?
Almost half of the 279 respondents participated in OPD courses for their recertification. Some participated in music-specific OPD courses such as online music classes, webinars, or online degree programs. Many respondents considered OPD courses to be effective because of convenience, location, time savings, and flexibility. Most who took online classes participated in multiple OPD courses.
Of the respondents who took OPD courses, nearly two-thirds indicated that they interacted with peers during those courses. Most of these respondents reported that required interactions were effective. Some benefits were sharing ideas and acquiring information from others. Participants preferred asynchronous interaction with peers to synchronous interaction. Factors that may have prevented these music teachers from interacting in OPD courses were superficial level message content in discussion boards or low participation from peers. Teachers also reported using informal online interactions in social networks not related to recertification hours.
Findings from this study may help improve teacher interactions with peers in OPD courses. This study may serve to influence instructors in OPD courses, administrators, policy-makers, and online course developers to improve OPD by integrating peer interactions into online courses for music teachers. Additional research on many aspects of OPD for music teachers is needed to improve educational practice.
ContributorsKim, Hyung Seok (Author) / Schmidt, Margaret E (Thesis advisor) / Stauffer, Sandra L (Thesis advisor) / Sullivan, Jill M (Committee member) / Tobias, Evan S (Committee member) / Arizona State University (Publisher)
Created2015
Description
V(D)J recombination is responsible for generating an enormous repertoire of immunoglobulins and T cell receptors, therefore it is a centerpiece to the formation of the adaptive immune system. The V(D)J recombination process proceeds through two steps, site-specific cleavage at RSS (Recombination Signal Sequence) site mediated by the RAG recombinase (RAG1/2) and the subsequent imprecise resolution of the DNA ends, which is carried out by the ubiquitous non-homologous end joining pathway (NHEJ). The V(D)J recombination reaction is obliged to be tightly controlled under all circumstances, as it involves generations of DNA double strand breaks, which are considered the most dangerous lesion to a cell. Multifaceted regulatory mechanisms have been evolved to create great diversity of the antigen receptor repertoire while ensuring genome stability. The RAG-mediated cleavage reaction is stringently regulated at both the pre-cleavage stage and the post-cleavage stage. Specifically, RAG1/2 first forms a pre-cleavage complex assembled at the boarder of RSS and coding flank, which ensures the appropriate DNA targeting. Subsequently, this complex initiates site-specific cleavage, generating two types of double stranded DNA breaks, hairpin-ended coding ends (HP-CEs) and blunt signal ends (SEs). After the cleavage, RAG1/2 proteins bind and retain the recombination ends to form post-cleavage complexes (PCC), which collaborates with the NHEJ machinery for appropriate transfer of recombination ends to NHEJ for proper end resolution. However, little is known about the molecular basis of this collaboration, partly attributed to the lack of sensitive assays to reveal the interaction of PCC with HP-CEs. Here, for the first time, by using two complementary fluorescence-based techniques, fluorescence anisotropy and fluorescence resonance energy transfer (FRET), I managed to monitor the RAG1/2-catalyzed cleavage reaction in real time, from the pre-cleavage to the post-cleavage stages. By examining the dynamic fluorescence changes during the RAG-mediated cleavage reactions, and by manipulating the reaction conditions, I was able to characterize some fundamental properties of RAG-DNA interactions before and after cleavage. Firstly, Mg2+, known as a physiological cofactor at the excision step, also promotes the HP-CEs retention in the RAG complex after cleavage. Secondly, the structure of pre-cleavage complex may affect the subsequent collaborations with NHEJ for end resolution. Thirdly, the non-core region of RAG2 may have differential influences on the PCC retention of HP-CEs and SEs. Furthermore, I also provide the first evidence of RAG1-mediated regulation of RAG2. Our study provides important insights into the multilayered regulatory mechanisms, in modulating recombination events in developing lymphocytes and paves the way for possible development of detection and diagnotic markers for defective recombination events that are often associated immunodeficiency and/or lymphoid malignancy.
ContributorsWang, Guannan (Author) / Chang, Yung (Thesis advisor) / Levitus, Marcia (Committee member) / Misra, Rajeev (Committee member) / Anderson, Karen (Committee member) / Arizona State University (Publisher)
Created2012
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
Researchers are often interested in estimating interactions in multilevel models, but many researchers assume that the same procedures and interpretations for interactions in single-level models apply to multilevel models. However, estimating interactions in multilevel models is much more complex than in single-level models. Because uncentered (RAS) or grand mean centered (CGM) level-1 predictors in two-level models contain two sources of variability (i.e., within-cluster variability and between-cluster variability), interactions involving RAS or CGM level-1 predictors also contain more than one source of variability. In this Master’s thesis, I use simulations to demonstrate that ignoring the four sources of variability in a total level-1 interaction effect can lead to erroneous conclusions. I explain how to parse a total level-1 interaction effect into four specific interaction effects, derive equivalencies between CGM and centering within context (CWC) for this model, and describe how the interpretations of the fixed effects change under CGM and CWC. Finally, I provide an empirical example using diary data collected from working adults with chronic pain.
ContributorsMazza, Gina L (Author) / Enders, Craig K. (Thesis advisor) / Aiken, Leona S. (Thesis advisor) / West, Stephen G. (Committee member) / Arizona State University (Publisher)
Created2015
Description
This visually rich qualitative teacher-action research focuses on the personal learning experience a classroom of first grade students had as they grew in understanding of difference through daily interactions with young friends who have severe disabilities. Each first grader spent 30 minutes, one day a week, visiting the special education classroom down the hall, which was home to their friends who needed total care and spent a majority of their day in a wheelchair.
During these visits, the first graders enjoyed interacting with their friends using a variety of manipulatives, music, movement, games, books, and art. This experience was loosely supervised by the special education teacher after students were given instructions on stations and activities available that day. Upon returning to their classroom, the students reflected on the experience. Reflection for the first few weeks was through oral discussion to build a community feel and common language. Written reflections were later kept in student-created journals.
Though this experience began in the fall, data for this exploration was collected during the Spring semester of the 2013-2014 school year. The following questions guided the design and implementation of this study: 1) How do children make sense of their interactions with children who have severe disabilities, and what do their words reveal regarding their understandings about and across difference?
2) What do interactions between students “look like,” and what can “doing” reveal about human interactions?
Data collection and analysis were informed through a critical, ethnographic-like lens with a participant perspective from the teacher-researcher. Photos and video documentation focused on the hands and feet of the participants to ensure privacy rights. Interviews, journal entries, photo elicitation, and a focus group discussion provided the remainder of the data set after parental permission and participant assent.
Findings are shared visually with an invitation to enter a child’s lifeworld via their voice, both written and verbal. Readers are asked to ponder the evidence through the shared voice and visions and consider the impact of the affective realm on learning and understanding and its significance in all of human interactions—all the selves and all the others.
During these visits, the first graders enjoyed interacting with their friends using a variety of manipulatives, music, movement, games, books, and art. This experience was loosely supervised by the special education teacher after students were given instructions on stations and activities available that day. Upon returning to their classroom, the students reflected on the experience. Reflection for the first few weeks was through oral discussion to build a community feel and common language. Written reflections were later kept in student-created journals.
Though this experience began in the fall, data for this exploration was collected during the Spring semester of the 2013-2014 school year. The following questions guided the design and implementation of this study: 1) How do children make sense of their interactions with children who have severe disabilities, and what do their words reveal regarding their understandings about and across difference?
2) What do interactions between students “look like,” and what can “doing” reveal about human interactions?
Data collection and analysis were informed through a critical, ethnographic-like lens with a participant perspective from the teacher-researcher. Photos and video documentation focused on the hands and feet of the participants to ensure privacy rights. Interviews, journal entries, photo elicitation, and a focus group discussion provided the remainder of the data set after parental permission and participant assent.
Findings are shared visually with an invitation to enter a child’s lifeworld via their voice, both written and verbal. Readers are asked to ponder the evidence through the shared voice and visions and consider the impact of the affective realm on learning and understanding and its significance in all of human interactions—all the selves and all the others.
ContributorsStruble, Gwen J (Author) / Swadener, Beth Blue (Thesis advisor) / Sandlin, Jennifer (Thesis advisor) / Margolis, Eric (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsWhite, Aaron (Performer) / Kim, Olga (Performer) / Hammond, Marinne (Performer) / Shaner, Hayden (Performer) / Yoo, Katie (Performer) / Shoemake, Crista (Performer) / Gebe, Vladimir, 1987- (Performer) / Wills, Grace (Performer) / McKinch, Riley (Performer) / Freshmen Four (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-27
ContributorsRosenfeld, Albor (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2018-10-03