<p> This dissertation seeks to explain why large segments of the Jewish community, after working with blacks for decades, often quite radically towards expanding the boundaries of citizenship at City College, rejected the legitimacy of the 1970 Open Admissions policy? While succeeding in radically transforming the structure of City College and CUNY more broadly, the Black and Puerto Rican Student Community's late 1960&rsquo;s political mobilization failed as an act of citizenship because its claims went broadly unrecognized. Rather than being remembered as political action that expanded the structure and content of citizenship, the Open Admissions crisis and policy are remembered as having destroyed a once great college. The black and Puerto Rican students who claimed an equal right to higher education were seen as unworthy of the forms of inclusion they demanded, and the radical democracy of Open Admissions was short lived, being decisively reformed in the mid 70&rsquo;s in spite of what subsequent research has shown to be remarkable success in educating thousands who previously had no hope of pursuing a college degree. This dissertation places this question in historical context in three ways. </p><p> First, it historicizes the political culture at City College showing it to be an important incubator and index of the changing political imaginaries of the long civil rights movement by analyzing the shifting and evolving publics on the college&rsquo;s campus, tracing the rise and fall of different political imaginaries. Significantly, the shifting political imaginaries across time at City College sustained different kinds of ethical claims. For instance, in the period from the 1930 to 1950, Jewish and black City College students tended to recognize each other as suffering from parallel forms of systemic racism within U.S. society. Understanding each other to be similarly excluded from a social system that benefitted a largely white-Anglo-Saxon-Protestant elite, enabled Jewish and black City College students to position themselves and each other as the normative subjects of American democracy. However, in the 1960&rsquo;s, political imaginaries at City College had come to be anchored in more individualistic idioms, and ethical claims tended to be made within individualistic terms. Within such a context, when the BPRSC revived radically democratic idioms of political claims making, they tended to be understood by many whites as pathologically illiberal. </p><p> Second, it historicizes the ways in which City College constructed &ldquo;the meritorious student&rdquo; by analyzing the social, political and institutional forces that drove the college to continuously reformulate its admissions practices across its entire history. It shows that while many actors during the Open Admissions crisis invested City College&rsquo;s definitions of merit with sacred academic legitimacy, they were in fact rarely crafted for academic reasons or according to a purely academic logic. Regardless, many ignored the fact the admissions standards were arbitrarily based, instead believing such standards were the legitimate marker of academic ability and worthiness. By examining the institutional construction of the &ldquo;meritorious&rdquo; student the dissertation shows the production of educational citizenship from above while also revealing how different actors and their standpoints were simultaneously constructed by how they were positioned by this institutional process. </p><p> Finally, the dissertation examines two significant historical events of student protest, the Knickerbocker-Davis Affair of the late 1940's and the Open Admissions Crisis of the late 1960's. In these events, City College students challenged the content of &ldquo;educational citizenship.&rdquo; These events were embedded in the shifting political culture at City College and were affected by the historically changing ways different groups, especially Jews and blacks, were positioned by the structure of educational citizenship. </p><p> While Jews had passed into whiteness by the late 1960&rsquo;s in the U.S, there was no objective reason for many to claim the privileges of whiteness by rejecting a universal policy such as Open Admissions. Yet, many Jews interpreted Open Admissions as against their personal and group interests, and rejected the ethical claim to equality made by the BPRSC. By placing the Open Admissions crisis in deep historical and institutional context, and comparing the 1969 student mobilization to earlier student actions, the dissertation shows how actors sorted different political, institutional and symbolic currents to interpret their interests and construct their identities and lines of action. </p>

<p> The Concert Choir has been the flagship choral ensemble of Stetson University, a private, liberal arts university in DeLand, Florida, since 1935. The choir has traveled extensively throughout the southeast United States and twice abroad, serving as ambassadors for Stetson University. This study documents Stetson University's early history, the first few decades of choral activity at Stetson University, and the complete history of the Concert Choir through the tenure of Milburn Price. The study explores 1) the individuals, events, and institutions leading to the formation of the Concert Choir, 2) the philosophy and purpose of the Concert Choir, 3) the individuals, events and institutions that have shaped that philosophy and purpose, and 4) the ways in which the Spring Concert repertoire of the Concert Choir reflects the ensemble's philosophy and purpose. </p><p> The three major conductors of the Concert Choir, occupying 71 of the last 77 years, were Harold Giffin (1935-1972), Robert Rich (1972-1989), and Duncan Couch (1989-2006). Giffin was responsible for combining the separate glee clubs into one performing ensemble, performing Handel's <i> Messiah</i> annually for twenty-five years, and instituting an extensive touring schedule throughout the United States. The performances at the National Federation of Music Clubs (1939), New York City's Lincoln Center (1967), and the recording session that was broadcast coast-to-coast with NBC in Chicago (1953) were three of Giffin's tours that were most significant. Rich was the first alumnus of the Concert Choir to be hired as Director of Choral Activities and conducted the ensemble for their first ACDA convention performance in 1974. During his tenure, the High School Choral Clinic and Christmas Candlelight Concert, modeled after the English Lessons and Carols, were started and have continued annually throughout the scope of this study. Couch grew the popularity of both the clinic and the Candlelight Concert, took the Concert Choir on two European concert tours, and cultivated collaborations with many professional orchestras. </p><p> This study concludes that the Concert Choir is a choral organization influenced by the sacred a cappella choral traditions; however, it was not dominated by it. This study further identifies that the development of the annual Christmas Candlelight Concert and spring tour were foundational for the choir's activities each year. Documentation illustrates each director's willingness to accept this heritage and develop the Concert Choir accordingly throughout its history.</p>

Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2008. / Title from PDF t.p. (viewed on Jul 24, 2009). Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4320. Adviser: Robert E. Terrill.

Thesis (Ph.D.)--Indiana University, School of Education, 2006. / Source: Dissertation Abstracts International, Volume: 67-04, Section: A, page: 1245. Adviser: Edward P. St. John. "Title from dissertation home page (viewed May 7, 2007)."

<p> The purpose of this multi-case, Appreciative Inquiry, is to discover the strengths of Kansas Reward schools and compare them with practices included within the Turnaround Principles. Data, collected through focus groups, includes staff opinions regarding the Reward schools&rsquo; successes. This study comprises themes that participants believe have had an effect on school success and that align with the Turnaround Principles. Practical implications of this study suggest using Reward school practices to frame future statewide technical assistance improvements and opportunities for high-progress and high-performance schools, or other schools with distinguished practices and to use Reward schools to mentor lower-performing schools in order to demonstrate effective practices. </p><p> <i><b>Keywords:</b></i> school improvement, high-performance school, high-progress school, Reward school, Appreciative Inquiry, Turnaround Principles: (a) provide strong leadership, (b) enable effective educators, (c) maximize learning time, (d) ensure rigorous curriculum, (e) utilize data analysis, (f) establish safe environment, and (g) grow family and community engagement (KSDE, 2013).</p><p>

<p> The purpose of this study is to examine the social and historical foundations of the music education program in the Baldwin Park Unified School District in terms of personnel, organizational structure, performance activities, funding, and district support in order to gain an understanding of how the program has developed, sustained, and thrived despite significant challenges during the years 1950-2015. Whereas many school districts in California have elected to drastically reduce or cut funding to music programs, BPUSD has maintained a robust music program in the schools for more than 65 years. Demographic information indicates that the city of Baldwin Park, fifteen miles east of Los Angeles, is one of the lowest socio-economic regions in the state; this economic factor is among the challenges the district has faced throughout the years. </p><p> Data from this historical overview include interviews with former BPUSD music teachers and artifacts in the form of district personnel records, school yearbooks, concert programs, photos, newspaper clippings, and personal correspondence. Data also revealed there was strong leadership due to the administrative position of Music Coordinator held by Bob Greenwell from 1960 to 1986 and by Danny Wagner from 1986 to 2005. Under Greenwell&rsquo;s leadership, a graduated music program was implemented for grades four through 12 &ndash; a structured program having elements that are still recognizable today, more than 60 years later. Collegial interactions between music teachers provided an environment for all BPUSD students to have equal opportunities to quality musical training and experiences. Program elements such as traditional performance activities &ndash; concerts, parades, field shows, and evaluation festivals &ndash; are examined with a particular focus on the role and perceived value of competition. </p><p> The investigation into this musical tradition will be beneficial to music teachers, school administrators, students and parents alike, by providing an understanding of the social and historical influences. This study will serve to fill a gap in the comprehensive history of California public school music education, documenting the early historical events occurring in this district. It will contribute to the general field of knowledge of historical music education and will benefit the Baldwin Park Unified School District by conveying a detailed account of past music education activities and providing school leadership a strategic tool for future planning.</p><p>

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