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ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
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
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
Description
This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.
ContributorsLuo, Yali, D.M.A (Author) / Hamilton, Robert (Thesis advisor) / Campbell, Andrew (Committee member) / Pagano, Caio (Committee member) / Cosand, Walter (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The purpose of this project was to examine the lives and solo piano works of four members of the early generation of female composers in Taiwan. These four women were born between 1950 and 1960, began to appear on the Taiwanese musical scene after 1980, and were still active as composers at the time of this study. They include Fan-Ling Su (b. 1955), Hwei-Lee Chang (b. 1956), Shyh-Ji Pan-Chew (b. 1957), and Kwang-I Ying (b. 1960). Detailed biographical information on the four composers is presented and discussed. In addition, the musical form and features of all solo piano works at all levels by the four composers are analyzed, and the musical characteristics of each composer's work are discussed. The biography of a fifth composer, Wei-Ho Dai (b. 1950), is also discussed but is placed in the Appendices because her piano music could not be located. This research paper is presented in six chapters: (1) Prologue; the life and music of (2) Fan-Ling Su, (3) Hwei-Lee Chang, (4) Shyh-Ji Pan-Chew, and (5) Kwang-I Ying; and (6) Conclusion. The Prologue provides an overview of the development of Western classical music in Taiwan, a review of extant literature on the selected composers and their music, and the development of piano music in Taiwan. The Conclusion is comprised of comparisons of the four composers' music, including their personal interests and preferences as exhibited in their music. For example, all of the composers have used atonality in their music. Two of the composers, Fan-Ling Su and Kwang-I Ying, openly apply Chinese elements in their piano works, while Hwei-Lee Chang tries to avoid direct use of the Chinese pentatonic scale. The piano works of Hwei-Lee Chang and Shyh-Ji Pan-Chew are chromatic and atonal, and show an economical usage of material. Biographical information on Wei-Ho Dai and an overview of Taiwanese history are presented in the Appendices.
ContributorsWang, Jinding (Author) / Pagano, Caio (Thesis advisor) / Campbell, Andrew (Committee member) / Humphreys, Jere T. (Committee member) / Meyer-Thompson, Janice (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsShi, Zhan (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-26
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
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