Two-Way Immersion (TWI) programs offer settings and goals that foster multilingual and multicultural communities; however, communities are complex and fluid, and have aspects that may or may not promote equitable education and learning. This research analyzes the actions and interactions of a group of first grade students to address how community develops during the first semester of implementation of a TWI program. Theoretical notions of figured worlds and communities of practice frame the analysis of ethnographic data to provide insight into the complex social and pedagogical dynamics of this setting 1) through conversations with teachers, 2) through observations of teacher-student interactions during teacher-centered activities, and 3) through observations of students interacting with less teacher presence. Findings describe the teachers’ discourses about their students, which centered on issues of equity and dismantling language status hierarchies. The findings also describe practices that the teachers themselves frame as promoting unified, equitable communities; however, analysis was mixed in finding that certain practices appeared to promote unity within the classroom and others appeared to reinforce divisions among students. Key findings also confirm the results of other researchers regarding the positioning of initially bilingual students in TWI as “dual language experts.” This study notes some ramifications of teaching practices and aspects of the specific 50-50 TWI model for the entire community of learners, which, while elevating balanced bilinguals may marginalize English learners and Spanish learners. / text

Black Figure Floral Ware is an understudied style of pottery which was produced in Boiotia and the nearby regions of Euboia and Phokis during the fifth and fourth centuries B.C.E. Floral Style vases are painted with compositions formed predominantly of palmettes and lotuses rendered in black gloss without the incised details which are typically associated with Black Figure pottery. The corpus of Boiotian Floral Ware is divided into two sub-styles: the Northern Style and the Southern Style. The Northern Style is thought to have been produced in the area North and West of the Kopais while the Southern Style was chiefly produced in the Thespiai-Thebes and the Tanagra regions. To date our understanding of the development of the Southern Style has been based on systematically excavated floral evidence from Rhitsona (Ancient Mykalessos) and the Thespian Polyandrion and random vases from the Skhimatari Museum. Previous research incorrectly identified Tanagra as the primary source of Southern Floral Ware with little regard for Thebes as an important producer. Newly discovered ceramic evidence from four Theban cemeteries now indicates that Thebes was in fact a major producer of Floral Ware. The excavations have brought to light new floral groups and have provided evidence which indicates that vases previously identified as Tanagran or Euboian are more likely to be Theban. / This dissertation chronicles the morphological and iconographical development of the Southern Floral Style according to the systematically excavated floral vases from Rhitsona and the Thespian Polyandrion. Rim and base profiles from the Thespian Polyandrion, Thebes and Haliartos are classified and floral motifs from datable contexts are assigned to types. The evidence indicates that it is the overall shape of the vase and the decorative details within the compositions, rather than a specific rim or base type or compositional layout that identifies regional differences, if any. Newly excavated vases from Haliartos are presented not only to provide a contrast for the Southern Style Floral Ware, particularly in terms of their shape, but also in order to establish a bridge between this dissertation and any future studies of the Northern Style Floral Ware.

Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T23:18:38Z (GMT). No. of bitstreams: 1 Rosa_StellaJocelinaAlmeida_M.pdf: 8868389 bytes, checksum: c5eca93c5b6405115e9d07d8b3208c78 (MD5) Previous issue date: 2007 / Resumo: A presente dissertação de mestrado tem como assunto principal aspectos teórico-práticos da realização de baixo contínuo, abordando-os através do estudo do conjunto de documentos deixados por J.S.Bach acerca do tema. O primeiro grupo de instruções, que recebeu especial atenção neste trabalho, data de 1725, e aparece nas páginas finais do volume de peças dedicado a sua esposa Anna Magdalena Bach. Intituladas ¿Algumas Regras do Baixo Contínuo¿, são quinze regras para a iniciação ao assunto, com finalidade didática e destinada ao uso imediato de alunos e familiares. O segundo grupo, de 1738, é um trabalho mais robusto e abrangente, resultado dos anos de atividade pedagógica de Bach em Leipzig, e leva o título ¿Preceitos e Princípios para tocar o Baixo Contínuo ou Acompanhamento a Quatro Vozes¿. Para um esclarecimento geral do assunto, recorreu-se a um estudo sobre as origens do baixo contínuo, apresentando um capítulo sobre as suas primeiras fontes históricas. A reflexão sobre o processo prático da execução de baixo contínuo, que foi objetivo principal da pesquisa, deu-se através da elaboração de uma série de exemplos musicais enfocando obras de música de câmara instrumental do compositor, além de uma análise do ¿Largo e Dolce¿, segundo movimento da Sonata em Si menor para flauta e cravo BWV 1030, cuja escrita para o último instrumento é considerada um modelo de realização de baixo contínuo do próprio Bach. O processo culminou na interpretação de obras do compositor de acordo com essas reflexões, e acredita-se que elas contribuam para o entendimento e execução de obras musicais escritas nessa linguagem / Abstract: The present dissertation has, as its main subject, the theoric and pratic aspects of figured bass realization, with a view from J.S.Bach¿s documents about it. The first group of instructions, which one has received special attention in this work, dates from 1725, and belongs to the final pages of Anna Magdalena Bach¿s notebook. ¿Some Rules of Thorough-Bass¿ are fifteen rules for the beginning in the matter, with didactic intentions and destined for his students and family¿s circle. The second group, from 1738, is a bigger and including work, resulting from his years of teaching in Leipzig, entitled ¿Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts¿. A study about the origins of the thorough-bass and its first historical sources is presented as a general understanding about the subject. As a main objective of the research, series of musical examples were developed to reflect about the pratic process of playing thorough-bass. They include works of instrumental chamber music by Bach, besides an analysis of the Largo e Dolce, second movement of the B minor Sonata for flute and harpsichord BWV 1030, in which the harpsichord part is considered a model for figured bass realization. The end of the work comes with the interpretation of the composer¿s music under these reflections, and we believe that they are a contribution for the understanding and execution of musical pieces written under this language / Mestrado / Mestre em Música

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This study explores information seeking behavior of second-generation Muslim immigrants utilizing factors such as critical, cultural, and religious literacy skills. The study examined the second-generation immigrants' ability to balance their parents' and grandparents' native culture and traditions with the culture and traditions of their country. The interview questions were designed using the cognitive authority theory and the figured worlds theory that provides an explanation for the mentality of those who are in environments influenced by culture or religion. An interesting main finding of the study is that participants sought more religious-based rather than culturally-based information. Participants seek information from their parents, communities, and religious leaders, but are particular with who they consider credible and reliable; if the person providing the information follows a similar lifestyle to the participants, they are more likely to hold cognitive authority. Four different themes emerged from the study. The first is "religious focus" where many participants stated that religion is rather static whereas culture can evolve and change with time, location, and events. The second theme emerged is the reliance on family members for religious literacy given the close upbringing of Muslim extended family system. The third theme indicated that although information seeking behavior relied on Google and mobile devices to locate information, in verifying religious content they depended on parents and religious cognitive authorities. The fourth theme emerged is the loss of richness going forward and the concerns about the possible decline in religious information literacy for future generations.

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xi, 387 p. / A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006 / The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810. / Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon

Entre 1750 et 1800, l’émergence et l’adoption de nouveaux genres musicaux et modèles stylistiques, bouleversent la pratique de l’accompagnement au clavier en France. La basse chiffrée se raréfie dans les œuvres gravées et cède progressivement le pas à des parties de clavier entièrement écrites dans la musique vocale. La première partie de cette thèse définit la place de l’accompagnateur et l’évolution de la notation. La seconde est consacrée à l’enseignement dispensé par les méthodes et traités, et établit des passerelles avec les écoles étrangères et le siècle suivant. Enfin, la troisième partie reconsidère la question de l’accompagnement dans les sonates pour clavier et violon. La confrontation des écrits théoriques et des partitions trouve une application directe dans la pratique de la basse continue et de l’accompagnement au clavier, et permet de proposer des modèles de réalisation conformes aux caractéristiques observées dans les œuvres de cette période. / Between 1750 and 1800, the emergence and adoption of new musical genres and stylistic models radically change the accompaniment practice on keyboard instruments in France. Figured bass becomes scarce and is gradually replaced by written-out keyboard parts in vocal music. The first part of this thesis defines the role of the accompanist and the evolution of the notation. The second part is devoted to the instructions given in methods and treatises and establishes links with foreign schools and the following century. Finally, the third part reconsiders the question of the accompaniment in the sonatas for keyboard and violin. The comparison between theoretical writings and scores finds a direct application in the continuo and keyboard accompaniment practice, and leads to the proposition of realisation models in accordance with the characteristics observed in the musical works of that period.

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La these analyse la collection de terre cuite de Raffaele Gargiulo (1785-après 1864), céramiste et restaurateur affirmé, personnage de première importance du Musée de Naples, marchand napolitain d'antiquité des années 20 et 30 du XIXe siècle. La proposition de vente de sa collection au Musée de Naples est faite en décembre 1852. Après deux années de dures négociations le 29 mai 1855 la vente se conclut pour 6000 ducats. Pour comprendre le personnage de Gargiulo en tant que marchand d'oeuvre d'art, 315 documents, conservés dans l'Archive d'État de Naples et la Surintendance de Naples, ont èté analysés. L'étude de 11 arrêtés royaux entrés en vigueur entre 1807 et 1852, ont permis de reconstruire le cadre législatif en vigueur de l'époque. La petite plastique, la classe la plus nombreuse, représente environ les trois quarts de la collection de terre cuite. En ce qui concerne les provenances, les Pouilles et la Campanie sont largement dominantes avec 578 objets (95.54% de la collection entière): dans le détail on note que les localités se trouvant aux premières places sont aussi bien les Pouilles (Gnathia, Ruvo et Canosa) que la Campanie (Capoue et Calès), plus célèbres pour les fabrications coroplastiques. Le matériel architectonique va de la fin du VIe s. av. J.- C. au I Ier s. ap. J.-C., le matériel coroplastique se situe entre la moitié du IVe s. et la fin du IIIe s. av. J.-C., la céramique à décoration plastique et polychrome et celle achrome entre le IVe et le IIIe s. av. J.-C., alors que la chronologie des vases modelés va de la fin du VIe et le IIIe s. av. J.-C. Enfin, les lampes à huile sont toutes datées entre la première moitié et le dernier quart du Ier s. ap. J.-C. / The thesis analyzes the collection of terracottas of Raffaele Gargiulo (1785-after 1864), ceramist and restorer, leading figure of the Museum of Naples, neapolitan merchant of antiquity in the twenties and thirties of the 19th century. The proposed sale to the Museum of Naples of his collection is made in December 1852, but only after more than two years of hard deals it comes to the purchase on May 29th, 1855, for 6000 ducats. In order to understand the figure of Gargiulo as merchant of art 315 documents, kept in the State Archive of Naples and in the Historical Archive of the Archaeological Superintendence of Naples, have been analyzed. By the study of 11 royal decrees dated between 1807 and 1852 the legislative framework in force at the time was rebuilt, as part of the trade and export of archaeological and art objects. In the Gargiulo’s collection of terracottas the little plastic (443 specimens, 73.88%) is the most documented class, accounting for about three-quarters of the collection. About the provenances, Apulia and Campania with 578 items, the 95.54%, prevail. At the top lie the towns, both in Apulia (Gnathia, Ruvo and Canosa) and Campania (Capua and Cales), most famous for the coroplastic products. If the architectural material is dated from the end of the 6th century BC to 1st century AD, the coroplastic material lies mostly between the mid-4th century BC and the end of the 3rd BC. The pottery ranges between the 4th century and 3rd century BC, especially the plastic and polychrome decoration and the achromatic ceramic; the chronology of plastic vessels is more varied, between the late 6th and 3rd centuries BC. The lamps, finally, are dated to 1st century AD. / La tesi analizza la collezione di terrecotte di Raffaele Gargiulo (1785-post 1864), ceramista e restauratore affermato, figura di primo piano del Museo di Napoli, grande mercante napoletano di antichità degli anni Venti e Trenta dell'Ottocento. La proposta di vendita al Museo di Napoli della sua collezione viene fatta nel dicembre del 1852, ma dopo oltre due anni si giunge all'acquisto, il 29 maggio 1855, per seimila ducati. Per inquadrare la figura del Gargiulo come mercante di opere d'arte sono stati analizzati 315 documenti custoditi nell'Archivio di Stato di Napoli e nell'Archivio Storico della Soprintendenza Archeologica di Napoli. Attraverso lo studio di 11 regi decreti tra il 1807 e il 1852 si è ricostruito il quadro legislativo in vigore all'epoca nell'ambito del commercio e dell'esportazione di reperti archeologici e oggetti d'arte. Nella collezione Gargiulo di terrecotte la piccola plastica (443 esemplari, pari al 73.88%) è la classe più documentata, rappresentando circa i tre quarti della collezione. Tra le provenienze prevalgono la Puglia e la Campania con 578 oggetti, il 95.54%. Ai primi posti si collocano le località, sia pugliesi (Egnazia, Ruvo e Canosa) che campane (Capua e Cales), più celebri per i prodotti coroplastici. Se il materiale architettonico va dalla fine del VI a.C. al I d.C., quello coroplastico si colloca per lo più tra la metà del IV e la fine del III a.C. La ceramica spazia tra il IV e il III secolo a.C., soprattutto per la ceramica a decorazione plastica e policroma e per quella acroma, più varia è la cronologia dei vasi plastici, tra la fine del VI e il III a.C. Le lucerne, infine, si datano nell'ambito del I secolo d.C.