abstract: This dissertation historicizes the contemporary notions of student misbehavior through a critical study of 19th-century teacher manuals. Instead of reading the texts of the manuals as a window into the experiences of the past, I consider the manuals as discursive operations that enacted practices and ideals. In drawing upon historiographical and analytical methods inspired by Michel Foucault and Sara Ahmed, I explore how the intersection of student misbehavior with teacher pedagogy and disciplinary procedures enact “modes of subjection” (Foucault, 1995) and “affective orientations” (Ahmed, 2006) in the modernization of teacher pedagogy and schooling. I argue that the archive of manuals demonstrates the entanglement of student subjectivity and affect with modernizing regimes of governmentality and the marketplace. I equally argue that the modes of student misbehavior present in the archive provide avenues and strategies for thinking outside contemporary developmental and clinical framing of misbehavior. It is in rethinking misbehavior outside of contemporary frameworks that this dissertation provides an opportunity to reconsider how the boundaries of schooling and school participation might radically open up toward more diversity, inclusivity, and equity. / Dissertation/Thesis / Doctoral Dissertation Learning, Literacies and Technologies 2020

This study explores the impact of "teacher thinking" exercises in the Composition Practicum as a means of instilling a clearer sense of professional development in graduate instructors. Teacher thinking is a teacher training method that asks the novice instructor to see from the perspective of learners within their writing classrooms. Scholarship on writing teacher preparation programs suggests that English educators regularly employ teacher thinking exercises in the training of secondary school teachers. Teacher thinking has allowed many English education majors to conceptualize and obtain teaching identities by helping them to envision the intricate layers of teaching earlier in their careers. But can teacher thinking exercises have the same effect on graduate instructors in the Composition Practicum? Using the two main writing teacher preparation courses at Brigham Young University (BYU) for graduate instructors and English education majors, English 610 and English 423, I analyze the evidence of teacher thinking in each program and address the possible implications these findings could hold for the Composition Practicum course. Through my comparison of these courses, I determine if conversations between English educators and the Composition Practicum could be beneficial in helping graduate instructors to grow professionally as teachers as they learn to think like teachers in the Composition Practicum. I examine, analyze, and compare syllabi, surveys, and interview response from graduate instructors, English education majors, and the teachers of both courses to identify the types of teaching thinking students are exposed to in each course. Structuring my discussion around the teacher thinking theories of teacher educators, Forrest Parkay and Beverly Stanford, George Hillocks, and Alicia Crowe and Amanda Berry, I identify three types of knowledge that graduate instructors and English education majors gained or lacked in each program. These three types of knowledge are knowledge of self, knowledge of students, and knowledge of educational theory. Through this discussion, I explore what it means to think like a composition teacher and how learning to "teacher think" may help graduate instructors, nationally, to understand what it means to "simply be a composition teacher".

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While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.