Indiana University-Purdue University Indianapolis (IUPUI) / As an undergraduate, I had the opportunity to work in the University Writing Center (UWC) at IUPUI. This opportunity influenced my life in many ways, but none more important than my teaching. Looking back on my time in the UWC, I did not realize the connection between writing centers and composition classrooms. As a graduate student, I began to read literature that defined composition classrooms and writing centers as separate worlds. However, once I was an instructor, these two worlds were seamless weaving in and out of each other to the point that I couldn’t separate them. In fact, I didn’t understand how one could. I had read literature defining composition classrooms and writing centers as different worlds but was having experiences in the classroom that contradicted this perception, so I wanted to investigate how these experiences influenced my teaching. I sought out literature that explored the writing center-composition classroom connection to look at specific elements of my teaching and how they tied to UWC practices. This case study grew out of the initial challenges I faced as a new instructor, which led me on a journey to find my own approach to teaching composition. That journey resulted in the implementation of writing center best practices, that I learned as a tutor, into my teaching philosophy, and this background equipped me to approach writing instruction as a facilitator, guiding students to become better writers.This case study examines which writing center practices, gleaned from my experiences in the UWC at IUPUI, I’ve incorporated into my classroom, why I’ve chosen these practices, and what student feedback reveals about these practices.

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Students in required writing courses often fail to see the purpose of their writing and invest themselves in their writing. Many composition pedagogues have noticed that one solution to this problem is to help students publish their writing, and have reported the positive outcomes of their publication-focused courses. However, this practice has not been grounded in theory. My project connects the practice of publishing student writing to theory. I draw on Kenneth Burke's and other's ideas of text as action and show how the ancient cannon of delivery is a necessary means of experiencing and understanding text as action with consequence. I then argue that publishing is one of the most effective methods of delivery that can help students understand the implications of enacted texts. I then couch this theory in practice by presenting a variety of sources that report on the impact of publishing student texts; I include my own data collected while teaching two publication-focused, first-year writing courses at Brigham Young University during Fall 2012 and Winter 2013 semesters. This data suggests that in most cases, publishing student writing positively impacts student identity, motivation, process, and product. I explain the results of my own observations and those of various composition pedagogues with the theory of text as action being powerfully experienced by students as they work toward delivering their texts to public audiences via publication.

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Master of Music / Department of Music / Craig A. Weston / Igor Stravinsky used a compositional technique that researchers have termed cut-and-paste. During the compositional process, Stravinsky would write notes on carbon paper, then cut the lower parts out to paste them into other sheets of paper with music on them. This paper examines a few key ways this fits into the compositional process for Symphonies of Wind Instruments (1920, rev. 1947). In an original work, Whither No One Knows (a chamber work for flute, clarinet, marimba, piano, violin, viola, and cello) several similar cut-and-paste compositional processes were used. These include melodic cut-and-paste, ostinato creation, layering, rhythmic diminution, and extension. These techniques are illustrated and examined. The full score of Whither No One Knows (2009) is included.

Typescript (photocopy). / Digitized by Kansas Correctional Industries