This narrative inquiry explores teacher professional identity and curriculum making (Connelly & Clandinin, 1988) in the experiences of three itinerant band teachers. The narrative experiences of Grace, Cole, and Denise reflect the complexity of teaching in multiple schools and working within a curricular framework that is diverse and multi-faceted. While most classroom teachers work with one group of students in a single school, the travelling nature of itinerancy sets them apart from this standard. Benson (2001) argued that “limited involvement in any one single school site, places her or him in a significantly different position than the regular classroom teacher” (p. 3). Staying in tune with students, parents, and colleagues, while concurrently working in several school settings, can be a challenge for managing relationships, assessment practices, concert obligations, and school events (Roulston, 1998). An itinerant band program is a collection of stories with individual narratives being interwoven into a patchwork of identities, or narratively speaking, as people’s stories to live by (Clandinin & Connelly, 2000). Clandinin, Huber, Huber, Murphy, Murray-Orr, Pearce, and Steeves (2006) explained that curriculum making and identity making, acts that shape the stories to live by of teachers and children, are closely aligned. Students are immersed in musicking (Small, 1998) and curriculum making alongside their teacher. As stories are composed in unison, curriculum making represents "teachers' and students' lives together" (Clandinin & Connelly, 1992). Curriculum, viewed as a course of life (Connelly & Clandinin, 1988), involves the composition of identities and stories to live by. It is wrapped up with assessment making and identity making, with school stories intersecting with personal experience (Huber, Murphy, & Clandinin, 2011). Individual identities dance with the collective identity of the group as curriculum-as-lived (Aoki, 2012) is brought to life in the ensemble experience. Beyond the study of notes, rhythms, and technique, there is a web of interaction that pervades curriculum as it is embodied in the lives of students and teachers. It encompasses routine happenings in a rehearsal space, personal exchanges during recess breaks, recollections of events from past experiences, and future plans for the ensemble. It is coloured by the experience of itinerant teachers who weave parallel storylines across a series of learning landscapes. The complex nature of teaching initiates an ingrained inter-connectedness between personal and professional lives (Hargreaves, Meill, & MacDonald, 2002). Plotlines are blurred, making it difficult to distinguish between the two as they are inextricably linked by experience and emotion (Connelly, Clandinin, & He, 1997). Lack of a single, permanent teaching space calls for deeper exploration into implications for curriculum and teacher identity. Narratively inquiring into stories of itinerant band teachers is one approach that studies the contextual nature of identity. Storytelling represents a mode of knowing (Bruner, 1986). Each story is told from “a particular vantage point in the lived world” (Greene, 1995, p. 74), holding a plurality of experience and interpretation. Stories are closely tied to how teachers conceive themselves in the place of school (Connelly & Clandinin, 1999). Working on the periphery of collegial connections and the school community imparts physical and emotional tolls on professional identity. These factors contribute to an overall perception about the nature of itinerant teaching (Roulston, 1998). The shifting framework of itinerancy compounds the variable nature of teacher identity. Gathering artifacts and conversations about the storied existence of three itinerant band teachers, tensions appear over curriculum hierarchy, loss of instructional time and place, and collegial isolation. These are plotlines that exist within these school "borderlands" (Anzaldua, 1987). Contrapuntal lines of temporality, sociality, and place (Clandinin & Connelly, 2006) intersect with one another, some moving in relative harmony, while others create bumping points that influence perceptions of personal practical knowledge. Itinerant band teachers experience temporary shifts in self as they make sense of the fluid and changing world around them.

Zugl.: Dresden, Techn. Univ., Diss., 2009

Thesis (Ph.D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 104-108). Also available on the Internet.

Thesis (Ph.D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 104-108). Also available on the Internet.

From introduction: The decision to use the term "Wind Band" in connection with this work was made after much careful deliberation. The English word "Band" is derived from the French "bande" meaning a group of players. It was first applied in this context in England when the Twenty-four Violins at the Court of Charles II (in emulation of "Le Vingt-quatre Violons du Roi at the Court of Louis XIV of France) were known in England as "The King's Band "Band" is a title generally given at the present time to any of instrumentalists, and indeed, many of the World's most famous conductors have been known to refer to any large symphony orchestra as "The Band" and the dressing-room of every Symphony or Concert orchestra in the British Isles is invariably called "The Band-Room"

abstract: The purpose of this study was to collect specific data concerning the use of financial resources from extant adult community bands that are members of the Association of Concerts Bands (ACB). An adult community band is defined as an ensemble consisting primarily of amateur adult woodwind, brass, and percussion performers, the majority of whom are not satisfying school, college, or military requirements through participation. This investigation comprises two main parts: 1) a perusal of the development of adult community bands within the overall history of bands in the United States, including, when possible, financial aspects of their operations; and 2) an examination of financial trends in ACB organizations, as illustrated by survey data. An electronic survey was designed to examine six questions: 1) what are the budgets of today’s community bands, 2) how do bands compensate their staff and personnel, 3) where are bands spending their money, 4) what are their sources of income, 5) how are their current financial trends different than Peter Martin’s 1983 study on community bands, and 6) are there trends in regards to their expenses, revenues, bands’ longevity, and locations? In order to make more accurate conclusions, the author divided bands into five classes, based on their financial structure, to analyze and compare data. Five major trends were observed: 1) current adult bands are usually non-profit organizations that list monetary compensation for their conductors on their Annual Operating Budget (AOB), 2) fifty-four percent (54%) of bands with an AOB spend between $4,000 and $19,999, 3) after adjusting for inflation, monetary compensation has remained nearly the same over the last thirty-four years, 4) music is the most common expense among adult bands, and 5) since 1983, the number of bands reporting government funding as a revenue source has decreased. / Dissertation/Thesis / Doctoral Dissertation Music 2017

The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community.

This qualitative study used a multiple case study methodology to explore the nonverbal communication behaviors and role perceptions of pre-service band teachers, and the extent to which these individuals found meaning and value in theatre seminars with respect to those factors. The informants participated in three theatre seminars taught by theatre faculty at the researcher's university. The researcher collected data in the form of videotaped theatre seminar observations, videotaped classroom teaching observations, videotaped informant reflections of teaching episodes, online peer discussions and journaling, and informant interviews. Data were analyzed, coded, and summarized to form case summaries. A cross-case analysis was performed to identify emergent themes. The broad themes identified were past experience, adaptation, realization, and being aware. The informants found that the theatre seminars increased their awareness of nonverbal communication behaviors in the classroom, and had the potential to be meaningful and valuable with respect to their perceptions of their roles as teachers.

Orientador: Leonardo Lorenzo Bravo Roger / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Tecnologia / Made available in DSpace on 2018-08-26T21:14:03Z (GMT). No. of bitstreams: 1 SantosSouza_GilbertodeTadeu_M.pdf: 4051949 bytes, checksum: 3271a81290629f1d51c661d022a0cbd7 (MD5) Previous issue date: 2015 / Resumo: O projeto e a análise teórico-experimental de uma nova etiqueta sem chip para RFID com comunicação redundante é apresentado. Esta nova etiqueta poderá ser capaz de operar em duas bandas de frequências diferentes para a transmissão da informação binária, aproveitando a utilização em sua concepção de antenas dual-band. A técnica aqui mencionada é clássica, conhecida como diversidade de frequência, mas é utilizada neste trabalho pela primeira vez aplicada em etiquetas chipless de RFID visando aumentar a confiabilidade da comunicação com as leitoras de RFID. Simulações realizadas do novo dispositivo proposto com o software HFSS (High Frequency Structural Simulator) mostraram o seu desempenho adequado. A metodologia do projeto é apresentada passo a passo e os resultados são analisados e discutidos no texto / Abstract: The project and the theoretical-experimental analysis of a new chipless RFID tag with redundant communication is presented. This new tag may be capable to operate in two different frequencies bands for the transmission of binary information, taking advantage of the use in its design of dual-band antennas. The technique mentioned here is classic, known as frequency diversity, but it is used in this work for the first time applied in chipless RFID tags to increase the reliability of the communication with the RFID readers. Simulations of the proposed new device with HFSS (High Frequency Structural Simulator) software showed an adequate performance. The project methodology is presented step by step and the results are analyzed and discussed in the text / Mestrado / Tecnologia e Inovação / Mestre em Tecnologia

The purpose of this study was to determine changes necessary to cause Texas public school band programs to conform to a recommended standard.