The current study examined how GeoGebra contributed to middle grade Algebra I students' conceptual understanding of functions. In order to gain a deeper understanding a case study approach was utilized. Vinner (1983), and Vinner and Dreyfus' (1989) concept definition and concept image framework was used to analyze the students' function definition. O'Callaghan's (1994) component of translating was used to analyze the students' comparison of different function representations, and his component of modeling and interpreting was used to analyze the students' use of functions to model relationships between quantities. The following results were derived from the analyses. Having more correct concept images of functions through GeoGebra could also bring about a more correct definition. The dependency upon the concept definition to verify if a given example was a function could not contribute to the concept image. In order to gain correct concept images more integration of technology into algebra instructions was crucial to explore and interact with more function models. GeoGebra was an ideal environment to perform a transition among the representations. All three cases were able to understand how the given real-world problems transformed to GeoGebra simulator and the reverse procedure. The role of instructor was very important to guide and facilitate the learning. The results indicated that verification and exploration of more functions on GeoGebra contributed to a better conceptual understanding of a function definition. The advantages of GeoGebra were obvious for the translating component. The real-world problem scenario could be better modeled and interpreted via a simulator on GeoGebra and the need for algebraic symbolic manipulations could disappear. / A Dissertation submitted to the School of Teacher Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2015. / November 10, 2015. / Algebra, Concept Image, Functions, GeoGebra, Technology / Includes bibliographical references. / Elizabeth Jakubowski, Professor Directing Dissertation; Frances Berry, University Representative; Diana Rice, Committee Member; Angela Davis, Committee Member.

This program was carried out in the two sections of the fourth grade at the Agnes McReynolds Elementary School in Pensacola, Florida. In investigating the place of geography in the elementary curriculum, and the teaching and testing of this subject, material has been found that will be of great use to both teachers in the future. An attempt has been made here to record some of the findings and to draw conclusions from them. Intelligence tests, reading tests, as well as geography tests, were given to fifty-eight children in order to better evaluate geography learning in relation to intelligence and reading ability. / Typescript. / "July, 1948." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: H. F. Becker, First Major. / Includes bibliographical references (leaves 40-42).

This dissertation explores the recollection of historical memory in a number of significant literary and cinematic texts produced during the first thirty years of the Francoist dictatorship. Ironically, the first quarter-century of post-war Spain was referred to as "los años de la paz" [The Peaceful Years] by the propagandistic effort of the regime. However, as my dissertation will show, representative texts of the same period articulate trauma that was still lingering in collective memory. Contrary to the common assumption that the process of recovery of historical memory began after Franco's death in 1975, I will show that this same process had begun almost immediately after the outcome of the Spanish Civil War in April of 1939. Based on a theoretical framework built on the juxtaposition of Lacanian psychoanalysis and recent trauma theory, I argue that the texts object of my study – including some well-known Francoist canonical works – actually work through the painful and traumatic experiences of the war and the violence imposed by the dictatorship. Because of the unspeakable nature of psychological trauma and the censorial machinery set in place by the repressive instruments of the Francoist regime, the traumatic experience is never explicitly recounted in these narratives. However, I will demonstrate how these experiences are expressed in the body of the text in unconventional and unexpected ways such as the tension between chaos and silence, the representation of hyperbolic violence, speech acts, the representation of space, inter-textual empathy, as well as gaps and disruptions of the narratives. In my dissertation, I will describe a double-process of reinscription and return of the traumatic event whereby these texts are able to begin a process of working through, becoming, in Dominick LaCapra´s famous theorization of the concept, an "ethical agent" of history that create a counter-narrative to the Francoist silence surrounding many traumas of the war and resulting dictatorship. / A Dissertation submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the Doctor of Philosophy. / Fall Semester 2015. / October 2, 2015. / Civil, Film, Literature, Spanish, Trauma, War / Includes bibliographical references. / Enrique Álvarez, Professor Co-Directing Dissertation; Robert Romanchuk, Professor Co-Directing Dissertation; Andrew Epstein, University Representative; Keith Howard, Committee Member; Reineir Leushuis, Committee Member.

"The purpose of the study is to determine if there is a difference between students who study certain topics from plane geometry using a geoboard and those who study the same topics in the conventional classroom. A three part criterion test will be used as the evaluative instrument"--Introduction. / Typescript. / "December, 1971." / "Submitted to the Department of Mathematics Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy." / Advisor: E. D. Nichols, Professor Directing Dissertation. / Includes bibliographical references.

"In general terms, the purposes of this study were two in number: (1) to suggest whether unique mental factors as identified by methods of factor analysis are correlated with success in usual school learning situations and (2) to suggest whether it is possible to design instructional materials in a way which would suit the learner's mental ability profile"--Introduction. / Typescript. / "June, 1967." / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy." / Advisor: E. D. Nichols, Professor Directing Dissertation. / Includes bibliographical references.

Research in pediatric medical art therapy is comprised largely of case studies. The motivation for this study was to contribute quantitative data to the literature on art therapy with children who experienced hospitalization and medical treatment. The study question focused on the efficacy of art therapy in reducing the anxiety of hospitalized pediatric patients. To address this issue, a subgroup of pediatric patients was selected; a single subject research design was initiated with a homogenous group of 6 to 9 year-old female patients hospitalized for treatment of sickle cell disease. In addition to extensive qualitative narrative, three instruments were utilized: (a) an Anxiety Behavior Schedule, (b) the Children's Health Locus of Control Scale, and (c) the Children's Hope Scale. The intervention phase of the study included art therapy interventions designed to familiarize subjects' with the hospital environment, provide opportunities for control and expression, and respond to subjects' established cognitive structures regarding their medical condition and treatment. The results of the study support the efficacy of art therapy in two very important ways: First, all of the subjects demonstrated reduced externality of locus of control following art therapy intervention. Second, the observable anxiety data on subject 2 definitively confirmed reduction in anxiety due to art therapy intervention, with statistical significance established at the .05 level. Finally, one subject's subsequent hospitalization provided the opportunity to collect follow-up data; this data confirmed that the reduction in anxiety behaviors resulting from the art therapy protocol was sustained over time. Extensive qualitative narratives of the subjects' experiences were provided. Implications for future practice and further research are discussed. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Fall Semester 2003. / Date of Defense: November 10, 2003. / Pediatrics, Arts In Medicine, Psychological Well-Being, Sickle Cell Disease, Art Therapy, Pediatric Patients / Includes bibliographical references. / Marcia L. Rosal, Professor Directing Dissertation; Nick Mazza, Outside Committee Member; Betty Jo Troeger, Committee Member; Tom Anderson, Committee Member.

Autism Spectrum Disorder (ASD), or autism, refers to a group of neurological disorders. At the most recent estimate, the Center for Disease Control estimated that 1 child in 68 has an autism diagnosis. Though research has shown music to be an effective intervention in therapy settings for students with ASD, little research has been done with respect to inclusion in instrumental classroom settings. The present study sought to examine string teachers’ perceptions of inclusion of students with ASD in classroom settings. Fifty-one classroom string and orchestra teachers served as participants for this study. This study was conducted in two phases. Phase I consisted of a survey where teachers were asked to respond to statements using a 5-point Likert-type scale. Phase II consisted of e-mail based interviews of small portion (n = 11) self-selected participants. Results of this study revealed that many string teachers responded with overall positive perceptions of inclusion of students with ASD. Results also revealed that there appeared to be no significant relationship between years of experience and perceptions of successful inclusion, and no significant relationship between level of education and perceptions of successful inclusion. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / May 3, 2017. / autism, inclusion, string education / Includes bibliographical references. / Katarzyna Bugaj, Professor Co-Directing Dissertation; Clifford Madsen, Professor Co-Directing Dissertation; Alexander Jiménez, University Representative; Kimberly VanWeelden, Committee Member.

In its over seventy-year history, the Florida State University Choral Department has provided choral performances for audiences across the United States and around the world, as well as the opportunity for a music education. The present study aims to create a narrative of the history and development of the FSU choral department through comprehensive investigation and research. This study identifies 1) the individuals, institutions, and events that led to the formation of the FSU choral department, 2) the philosophy and purpose of the FSU choral department, 3) the contributors to the development and establishment of this purpose and philosophy, 4) the conductors of the ensembles in the department and the directors of the department, and 5) the body of literature performed by the major ensembles of the department from 1947 – 2000. The study concludes that the FSU choral department evolved into a comprehensive organization, which maintained a commitment to excellence in musical performance, academia, and teacher training. Through its conductors and its collaboration with professional musicians and organizations, it proliferated its own reputation and influence throughout the United States and beyond. By establishing and expanding a comprehensive graduate program, the department created one of the largest professional networks of graduates in the profession. The department established itself as a flagship organization within Florida State University, and consistently garnered the support of the university leadership, local community, and government, becoming an ambassador for higher education and excellence in the performing arts. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / June 19, 2017. / Amon, Choral, Department, Eady, Florida, State / Includes bibliographical references. / André Thomas, Professor Directing Dissertation; Michelle Stebleton, University Representative; Judy Bowers, Committee Member; Kevin Fenton, Committee Member.

The vocal jazz ensemble singing movement that began at Mt. Hood Community College (Gresham, Oregon) in 1967 reached the public schools of the Boise Valley, in Southwestern Idaho sometime in the early 1970’s. The first generation of vocal jazz educators in the region were Jerry Vevig , Vern Swain, Moyle Brown and Lonnie Cline. In an effort to learn the new style, these four directors participated in the burgeoning vocal jazz scene occurring in the Western region of the United States. By the mid 1970’s, vocal jazz ensemble education had become so prevalent in the Boise Valley region that the Jr. High School directors of the Boise Public School District were programming vocal jazz music and participating in many of the same vocal jazz events as their high school colleagues. These Junior High school directors included Bruce Walker, Catherine Gilck, Rich Lapp, Sue Hough, Paul Olson and Rob Newburn. The 1980’s saw the second generation of prominent vocal jazz singing ensemble directors begin their tenures in the Boise Valley when Glenn Grant, Quinn, Van Paepeghem, Linda Schmidt, Ted Totorica, and Barb Oldenburg, continued the tradition of vocal jazz style singing and event participation that their predecessors had initiated throughout the remainder of the era investigated (inception-1990). In the study, each subject's experiences and education in vocal jazz ensemble singing is documented and specific techniques they employed when working with their vocal jazz ensembles are revealed. The literature used by each vocal jazz educator from the Boise valley (1970-1990) is also exposed, collated, and presented in the document for reference and use by future choral music educators. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / July 6, 2017. / Boise, Education, history, Idaho, Jazz, Vocal / Includes bibliographical references. / Kevin Fenton, Professor Directing Dissertation; Christopher Moore, University Representative; Kimberly Van Weelden, Committee Member; Andre J. Thomas, Committee Member.

Despite repeated calls for diversification throughout history, American music education has largely remained unchanged since the early 1800s. Previous research has supported the inclusion of non-traditional music courses in the secondary school music curriculum, however, few researchers have systematically investigated the current state of non-traditional music course offerings in the country. Therefore, the purpose of this study was to determine the non-traditional music courses currently offered in secondary schools. A secondary purpose was to investigate how the teachers of non-traditional music courses acquired the knowledge and skills to teach these courses. Participants (N = 99) were secondary music teachers from Alabama, Florida, and Georgia who taught at least one non-traditional music course during the 2016-2017 school year. All participants were asked to complete an online questionnaire. The dependent measure consisted of eight questions regarding participants’ experiences with non-traditional music courses and allowed participants to indicate whether or not they would be willing to be contacted for follow up questions. The results of the study revealed that although several non-traditional music courses are currently being offered in secondary school music programs, more are needed. Participants also reported that the majority of their non-traditional music courses had been offered for 10 years or fewer, and that they had either inherited the course from a previous teacher or that the courses were initiated to augment the existing music curriculum. Additionally, participants reported that the majority of students enrolled in their non-traditional music courses were not concurrently enrolled in a traditional music course and that they were trained to teach these courses by researching on subject themselves, or by collegiate music education courses. Finally, qualitative analysis found that participants saw both benefits and challenges within non-traditional music courses. Common benefits reported by participants included the ability to reach non-traditional music students, the ability to further engage traditional music students, and to provide an alternative and creative venue for students to experience music. The most frequently reported challenges by participants included a lack of training for non-traditional music courses as well as a lack of funding. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / May 3, 2017. / Music, Music education, Non-traditional, Non-traditional courses, Non-traditional music / Includes bibliographical references. / Steven N. Kelly, Professor Directing Dissertation; Christopher Moore, University Representative; Alice-Ann Darrow, Committee Member; Patrick Dunnigan, Committee Member; Kimberly VanWeelden, Committee Member.