Schools of business within the Florida State University system have state-mandated common prerequisites that students are required to complete prior to formal admission into baccalaureate business programs. As such, the common prerequisites serve as minimum admission requirements for schools of business in the state of Florida. This study sought to determine the ability of these discipline specific admission criteria to predict academic performance in upper-level business coursework. This study looked at existing data for 860 students in the College of Business Administration at the University of Central Florida. Findings of the study demonstrate that there is a positive and moderate to strong correlation between the final grade earned in each individual course within the common prerequisites and the cumulative academic performance in upper-level business coursework. The strength of the correlation varied among the individual prerequisites, however, each individual prerequisite was positively correlated. Regression findings also demonstrate that the common prerequisites may, with certain student populations such as native students and students pursuing quantitative business majors, be a rather effective predictor of program performance. Most problematic of the findings was that the predictive ability was not equivalent across different student populations. This suggests that as admission criteria or screening mechanisms designed to select students most likely to be successful in the program, the state-mandated common prerequisites were not effective for all student populations. Findings of this study have implications for schools of business, as well as other disciplines, as they evaluate the common prerequisites required by their institution or consider best practices and policies to improve student retention, graduation, and other outcomes.

Diss. (sammanfattning) Stockholm : Karol. inst., 2005. / Härtill 5 uppsatser.

Thesis (M.H.A.)--University of Michigan, 1958.

Thesis (M.H.A.)--University of Michigan, 1958.

ABSTRACT Predicting On-the-Job Teacher Success Based on a Group Assessment Procedure Used for Admission to Teacher Education by LaVaun Gene Faulk, Doctor of Education Utah State University, 2008 Major Professor: Deborah Byrnes, Ph.D. Department: Elementary Education Students who have graduated in Elementary Education at Utah State University, since 1997 when the group assessment interview procedure was adopted, and have been employed as teachers for at least two years were contacted. Students were located with the help of the Utah State Office of Education (USOE) and the Office of Teacher Education, Graduation, and Educator Licensing at USU. Permission to interview each teacher’s supervisor was obtained from each study participant. Principals were contacted and interview dates set. A self-anchoring interview was conducted to provide quantitative data on the success of each teacher. This new data was then used to compare each participant’s success as seen by supervisors to existing data already on record at USU. Specifically, principal interview data were compared to the participant’s student teaching scores, prior academic achievement data (grade point average and American College Test scores), and ratings the teacher received on the group assessment interviews when applying to the elementary education teacher training program at USU. (107 pages)

No description available.

No description available.

A musicalidade, concebida como o conjunto da capacidade cognitiva subjacente à dança e à comunicação sonora por meio de melodias harmonizadas e ritmadas, satisfaz vários critérios que caracterizam as adaptações biológicas. A música é muito antiga, universal e um importante aspecto em todas as culturas e épocas conhecidas. Ela provoca emoções e reações estéticas fortes, se desenvolve segundo um roteiro ontogenético padrão, envolve uma capacidade neurocognitiva especializada em receber, processar e produzir música, traz benefícios à saúde e apresenta fatores hereditários nas diferenças individuais, consome muita energia e tempo, e tem análogos na sinalização acústica de outras espécies sugerindo homologia e convergência adaptativa. Existem duas principais teorias acerca do valor adaptativo para a musicalidade: coesão grupal e seleção sexual. Elas não são excludentes ou incompatíveis e apresentam muitas sobreposições. Ambas buscam, em diferentes contextos sociais, as pressões seletivas envolvidas na valorização ancestral dos responsáveis pela produção musical e sua apreciação. Entretanto, elas diferem quanto ao grau de diferenças sexuais previsto: a coesão de grupo prevê poucas diferenças sexuais, mas para a seleção sexual as mulheres seriam mais voltadas para apreciação musical, enquanto os homens seriam mais voltados para a exibição musical via instrumento musical. O maior desafio para o enfoque adaptacionista da musicalidade é a ampliação do teste experimental de hipóteses. O objetivo geral desta tese é investigar empiricamente, por meio de diferentes propostas metodológicas, aspectos divergentes e convergentes das influências da seleção sexual e da coesão de grupo na evolução da musicalidade humana integrada às outras artes. Esta tese consiste de quatro estudos que abrangem experimentos naturais e verdadeiros controlados, acessando de forma direta e 13 através de auto-relato tanto a apreciação quanto a produção musical, usando metodologias que requerem a colaboração dos participantes (questionários e gravações do canto), e outras com medidas discretas (como estatísticas oficiais de vestibulares desde 1980), amostrando ampla variedade de cursos de graduação e pós em diferentes regiões do Brasil (São Paulo e Natal) e no exterior (Holanda e Canadá). O conjunto dos resultados revela interculturalmente e temporalmente a existência de diferenças sexuais mais quanto às motivações e disposições para e musicalidade e outras artes do que para capacidades específicas. Os homens são mais voltados para a produção musical instrumental, enquanto as mulheres são mais voltadas para a produção musical cantada, dança, apreciação musical e outras manifestações artísticas. As estratégias sexuais se relacionaram à exibição musical cantada e tocada para os homens, e à importância e apreciação musical para as mulheres. Imaginar-se em um contexto de coesão grupal influencia mais o julgamento dos músicos a partir da música para os homens e num contexto amoroso mais para as mulheres. Ambas, seleção sexual e a coesão de grupo se mostraram inter-relacionadas de novas maneiras. Uma visão ampla e integradora sobre a evolução da musicalidade e das outras artes emergiu do conjunto de resultados e suas implicações / The human musicality, considered as a set of underlying cognitive abilities to dance and sound communication through harmonized rhythmic melodies, meets several criteria which characterize biological adaptations. Music is very old, and an important aspect in all cultures and known past historical periods. It provokes strong emotions and aesthetic responses, it unfolds according to a standard developmental schedule, involves a specialized neurocognitive ability in its perception, processing and production, it gives health and psychological benefits, and there is some hereditary factors on individual differences. It is also very energy-intensive and time consuming, and there are some similarities to the acoustic signalling of other species, suggesting homology and adaptive convergence. There are two main theories about the adaptive values for human musicality, group cohesion and sexual selection. They are not mutually exclusive or incompatible, and exhibit much overlap. Both seek, in different social contexts, the selective pressures involved in the ancestral advantages for music production and appreciation. However, they differ in predictions related to sexual differences: the group cohesion predicts few sex differences, whereas sexual selection predicts that women would be more dedicated to music appreciation, while men would be more focused on displaying via musical instrument. The biggest challenge to the adaptationist approach to musicality is the expansion of the empirical testing of hypotheses. The aim of this thesis is to empirically investigate, using different methodological approaches, divergent and convergent aspects of the influence of sexual selection and group cohesion in the evolution of human musicality, integrating it with the other arts. This thesis consists of four studies covering natural experiments and real controlled ones, using direct and self-report assessments of both the 15 musical appreciation and production. We used methods that require the collaboration of the participants (questionnaires and recordings of the singing), and methods using discrete measurements (such as official statistics of vestibular since 1980). And we sampled a wide variety of undergraduate and graduate courses in different regions of Brazil (Sao Paulo and Natal) and abroad (the Netherlands and Canada). The overall results revealed cross-culturally and temporally the existence of sex differences, more on the motivational side to music and other arts than on specific skills. Men are more focused on instrumental music production, while women are more devoted to singing, dance, music appreciation and all other art forms. Sexual strategies were related to displays such as singing and playing for men, and the importance of music and music appreciation for women. Imagining oneself in a context of group cohesion influenced the person perception of the musicians by their music for men, and romantic context influenced womens judgment about the musicians. Both sexual selection and group cohesion proved to be interrelated in new ways. A broad and inclusive way of viewing the evolution of human musicality and other arts has emerged from the confluences of results as their implications

A musicalidade, concebida como o conjunto da capacidade cognitiva subjacente à dança e à comunicação sonora por meio de melodias harmonizadas e ritmadas, satisfaz vários critérios que caracterizam as adaptações biológicas. A música é muito antiga, universal e um importante aspecto em todas as culturas e épocas conhecidas. Ela provoca emoções e reações estéticas fortes, se desenvolve segundo um roteiro ontogenético padrão, envolve uma capacidade neurocognitiva especializada em receber, processar e produzir música, traz benefícios à saúde e apresenta fatores hereditários nas diferenças individuais, consome muita energia e tempo, e tem análogos na sinalização acústica de outras espécies sugerindo homologia e convergência adaptativa. Existem duas principais teorias acerca do valor adaptativo para a musicalidade: coesão grupal e seleção sexual. Elas não são excludentes ou incompatíveis e apresentam muitas sobreposições. Ambas buscam, em diferentes contextos sociais, as pressões seletivas envolvidas na valorização ancestral dos responsáveis pela produção musical e sua apreciação. Entretanto, elas diferem quanto ao grau de diferenças sexuais previsto: a coesão de grupo prevê poucas diferenças sexuais, mas para a seleção sexual as mulheres seriam mais voltadas para apreciação musical, enquanto os homens seriam mais voltados para a exibição musical via instrumento musical. O maior desafio para o enfoque adaptacionista da musicalidade é a ampliação do teste experimental de hipóteses. O objetivo geral desta tese é investigar empiricamente, por meio de diferentes propostas metodológicas, aspectos divergentes e convergentes das influências da seleção sexual e da coesão de grupo na evolução da musicalidade humana integrada às outras artes. Esta tese consiste de quatro estudos que abrangem experimentos naturais e verdadeiros controlados, acessando de forma direta e 13 através de auto-relato tanto a apreciação quanto a produção musical, usando metodologias que requerem a colaboração dos participantes (questionários e gravações do canto), e outras com medidas discretas (como estatísticas oficiais de vestibulares desde 1980), amostrando ampla variedade de cursos de graduação e pós em diferentes regiões do Brasil (São Paulo e Natal) e no exterior (Holanda e Canadá). O conjunto dos resultados revela interculturalmente e temporalmente a existência de diferenças sexuais mais quanto às motivações e disposições para e musicalidade e outras artes do que para capacidades específicas. Os homens são mais voltados para a produção musical instrumental, enquanto as mulheres são mais voltadas para a produção musical cantada, dança, apreciação musical e outras manifestações artísticas. As estratégias sexuais se relacionaram à exibição musical cantada e tocada para os homens, e à importância e apreciação musical para as mulheres. Imaginar-se em um contexto de coesão grupal influencia mais o julgamento dos músicos a partir da música para os homens e num contexto amoroso mais para as mulheres. Ambas, seleção sexual e a coesão de grupo se mostraram inter-relacionadas de novas maneiras. Uma visão ampla e integradora sobre a evolução da musicalidade e das outras artes emergiu do conjunto de resultados e suas implicações / The human musicality, considered as a set of underlying cognitive abilities to dance and sound communication through harmonized rhythmic melodies, meets several criteria which characterize biological adaptations. Music is very old, and an important aspect in all cultures and known past historical periods. It provokes strong emotions and aesthetic responses, it unfolds according to a standard developmental schedule, involves a specialized neurocognitive ability in its perception, processing and production, it gives health and psychological benefits, and there is some hereditary factors on individual differences. It is also very energy-intensive and time consuming, and there are some similarities to the acoustic signalling of other species, suggesting homology and adaptive convergence. There are two main theories about the adaptive values for human musicality, group cohesion and sexual selection. They are not mutually exclusive or incompatible, and exhibit much overlap. Both seek, in different social contexts, the selective pressures involved in the ancestral advantages for music production and appreciation. However, they differ in predictions related to sexual differences: the group cohesion predicts few sex differences, whereas sexual selection predicts that women would be more dedicated to music appreciation, while men would be more focused on displaying via musical instrument. The biggest challenge to the adaptationist approach to musicality is the expansion of the empirical testing of hypotheses. The aim of this thesis is to empirically investigate, using different methodological approaches, divergent and convergent aspects of the influence of sexual selection and group cohesion in the evolution of human musicality, integrating it with the other arts. This thesis consists of four studies covering natural experiments and real controlled ones, using direct and self-report assessments of both the 15 musical appreciation and production. We used methods that require the collaboration of the participants (questionnaires and recordings of the singing), and methods using discrete measurements (such as official statistics of vestibular since 1980). And we sampled a wide variety of undergraduate and graduate courses in different regions of Brazil (Sao Paulo and Natal) and abroad (the Netherlands and Canada). The overall results revealed cross-culturally and temporally the existence of sex differences, more on the motivational side to music and other arts than on specific skills. Men are more focused on instrumental music production, while women are more devoted to singing, dance, music appreciation and all other art forms. Sexual strategies were related to displays such as singing and playing for men, and the importance of music and music appreciation for women. Imagining oneself in a context of group cohesion influenced the person perception of the musicians by their music for men, and romantic context influenced womens judgment about the musicians. Both sexual selection and group cohesion proved to be interrelated in new ways. A broad and inclusive way of viewing the evolution of human musicality and other arts has emerged from the confluences of results as their implications

Counselor education program faculties evaluate applicants to masters and doctoral level programs using criteria that the faculties hope will predict the applicant's potential for academic success and then effectiveness as a counselor, counselor educator, or researcher. Choosing admission criteria to assess this level of potential in an applicant is quite a task. Those counselor education programs that are accredited by the Council for Accreditation of Counseling and Related Educational Programs (CACREP) have the benefit of the admission guidelines provided by CACREP standards for accreditation. These guidelines give only basic, general direction to programs regarding their admission criteria but each individual program determines their own criteria for admission. The purpose of this study was to discover any recognizable trends in admission policy criteria, in terms of specific criteria used to evaluate and select students from the applicant pool, for CACREP accredited masters and doctoral programs. This study also sought to discover any recognizable trends in admission policy criteria, in terms of a specific number of criteria used to evaluate and select students for CACREP accredited master and doctoral counselor education programs. This qualitative study investigated 178 masters level CACREP accredited counselor education programs and 45 doctoral CACREP accredited counselor education programs. The CACREP Website provided contact names and Web address for each program. Admission criteria were pulled from the program Websites. If no criteria were present on the Website, the program contact person was contacted by phone or by email. A contact form for the masters level programs, and another for the doctoral level programs, was developed to record program criteria. A rate or return of 96% for the masters level programs and 91% for the doctoral programs was achieved. For the purposes of this study, a trend was defined as 1) any measure being required by 50% or more of the responding programs, or 2) the number of measures used by a program being equal to the mean number of measures used by all programs. The masters level program trends were for counselor education programs to use the following criteria to assess applicants: transcripts, grade point average (GPA), letters of reference, applications, Graduate Record Exam (GRE) scores, letters of intent, and interviews with faculty members. A trend was also discovered for masters level programs to use between 3 and 12 measures to assess applicants for admission with a mean score of 7.01, a median score of 7, and a mode of 7. The doctoral level program trends were for counselor education programs to use the following criteria to assess applicants: transcripts, letters of reference, letters of intent to address goals, aspirations, experiences, and purpose, GRE scores, applications, and GPA. A trend was also discovered for doctoral level programs to use between 4 and 10 measures to assess applicants for admission with a mean score of 8.097, a median score of 8, and a mode of 9. Given the high rate of return, the trends discovered can be said to reflect the admission criteria used to assess applicants for admission into CACREP accredited masters and doctoral counselor education programs in the United States. A limitation could be that the data was collected using different methods of communication in that some data was collected from Websites, some from email correspondence, and some data from phone conversations. It seemed that the Websites and the emails gave the admission criteria but the phone conversations gave an understanding of not only the criteria used but the process used in selecting students from the applicant pool.