The population of English learners (ELs) is growing rapidly across the U.S. Concurrently, elementary students throughout the country are being required to produce more sophisticated writing products than ever before as a result of the heavy emphasis on writing instruction in the recently adopted Common Core State Standards. This qualitative study examined how to best support ELs as they develop as writers. It also addressed the strong need to investigate the impact of students discussing ideas with a partner throughout the writing process. In order to determine how ELs develop as writers, a multiple case study was conducted in a fourth-grade English as a Second Language (ESL) classroom. The ESL teacher used the “Thinking Maps” program to teach students to write opinion pieces. Part of the program included partner talk, in which the students conversed with a partner throughout the writing process. The study took place over a period of 6 weeks. During that time, I did twice-weekly observations, took field notes, collected samples of student work, audio recorded students as they participated in partner talk, and conducted interviews with the students and the teacher. In addition to an ongoing, reflective analysis of the field notes and audio files, the grounded theory approach was used for final data analysis. The data analysis and interpretation of the data reflects the constructs and theories that initially structured this study. A number of key elements emerged from the data analysis that indicated that important supports are needed in order for ELs to develop as writers of opinion pieces. These included the opportunity to work with a more knowledgeable other, communicating despite language barriers, utilizing the structure provided with Thinking Maps, a chance to participate in group discussions, and the opportunity to examine written models to use when writing their own opinion pieces.

The manuscript entitled "Pieces de Guitarre de differende Autheure recuellis par Henry Francois de Gallot" (GB:Ob Ms. Mus. Sch. C94) is one of the largest single collections of music for the Baroque guitar. The source contains over 600 pieces by various composers, including Gallot and Corbetta. An overview of the physical characteristics, organization, and stylistic features of this important source is intended to provide a basis for further study and concordance search.

Domenico Scarlatti (1685-1757) – vienas žymiausių Baroko epochos italų kompozitorių, klavesinininkų, vargonininkų, pedagogų ir atlikėjų. Jo klavesininė kūryba yra neabejotinas XVIII a. muzikinės kultūros fenomenas. D. Scarlatti kūryba susijusi su laikotarpiu, kada nuo polifoninio stiliaus pereita prie homofoninės muzikos kalbos braižo. Nors kompozitorius yra sukūręs įvairių muzikinių kompozicijų, tačiau reikšmingiausią kūrybos dalį sudaro klavesininės sonatos. Jos ir įamžino italų kompozitoriaus vardą muzikinės kūrybos istorijoje. Iš sukurtų apie 600 klavyrinių sonatų, šiuo metu atlikėjams yra prieinamos apie 500. D. Scarlatti savo sukurtas klavesinines kompozicijas pavadino „Essercizi per Gravicembalo“ (etiudai, pratimai, bipartitos klavesinui). Daugelis šių sonatų kompozitoriui praversdavo jo pedagoginiame darbe. Savo sukurtose sonatose D. Scarlatti techninius uždavinius derindavo su meniniu turiniu. Nors italų meistro klavyriniai kūriniai pavadinti sonatomis, tačiau, pagal jose esančius įvairiems žanrams būdingus bruožus, kompozicijas galime suskirstyti į svarbiausius mokyklinio repertuaro žanrus: polifoninės sandaros kompozicijas, etiudus, stambios formos tipo kūrinius bei įvairaus pobūdžio pjeses. Kompozitorius kaip tikras virtuozas ir revoliucionierius buvo daugelio naujovių savo klavesininėje kūryboje bei jos atlikime skleidėjas. Jo kūryboje užfiksuoti tokie pasiekimai kaip: žėrinčių gamų per kelias oktavas pasažai, įvairiausios faktūros arpeggio (trumpi ir laužyti)... [toliau žr. visą tekstą] / Domenico Scarlatti (1685-1757) – one of the most famous Baroque epoch italian composer, harpsichordist, organist, pedagogue and performer. His harpsichord creativity is undoubted XVIII century phenomenon of music culture. D. Scarlatti piano works are realted to the period, when homophonic music language came over polyphonic style. Though the composer created various kind of compositions, the most important part of creativity is the harpsichord sonatas. These pieces monumentalized the name of the italian composer into the history of music life. He created more than 600 harpsichord sonatas, but today there are only about 500 available to performers. D. Scarlatti‘s harpsichord compositions named by him self „Essercizi per Gravicembalo“ (etudes, exercises, bipartitas for harpsichord). Most of these sonatas were useful in composers pedagogic work. In his sonatas, D. Scarlatti has associated technical exercises with artistical matters. Piano pieces of the italian maestro were titled by the name of sonatas, but of the features existent in them, we can collect these compositions into most important genres in music school repertoire: polyphonic structure compositions, etudes, big forms type pieces and various kind of plays. The composer was a spreader of this many novelty in his harpsichord creativity work and in performing it like a really virtuoso and big revolutionist. His works include such achievements as: sparkling scale passages through several octaves, various kind of... [to full text]

The purpose of this study was to design and develop instructional units for teaching jazz piano comping to collegiate music students possessing basic piano skills but limited experience in jazz performance. In establishing bases and rationale for the instructional units, a number of issues were considered. These issues were (1) the need for teaching jazz piano comping, (2) a definition and explanation of the musical elements and characteristics of jazz and jazz comping, (3) an understanding of the African and European transmission traditions and musical characteristics that contributed to the development of jazz, (4) a review of literature relating to jazz piano comping, including jazz, music teaching and learning, and learning theory literature, and (5) a review of jazz piano comping practice from the swing era to the present, as reflected in the work of selected central jazz pianists. The twenty-four instructional units present basic harmonic and rhythmic materials of jazz piano comping. Harmonic materials include seven basic chord structures, harmonic extensions and alterations, upper-structure triads, II-V-I cadences, tritone substitution, chord successions, and typical chord progressions. Rhythmic materials include typical jazz rhythms. Each instructional unit is comprised of (A) presentation of a theoretical concept, (B) exercises for learning the particular concept, (C) a chord progression containing the particular concept, (D) a list of recorded examples of the chord progression for examination, and (E) suggested song titles for realization by the student. The instructional units are organized into four chapters of six units each. Instructional Units I through VI focus on individual voicings, organized into cycles of descending fifths. Units VII through XII focus on the II-V-I cadence and tritone substitution. Units XIII through XVIII focus on short chord successions. Units XIX through XXIV serves as a "summing up" of material presented in the first eighteen units. Overall, this work is designed to guide the student to technical proficiency, theoretical understanding, idiomatic fluency, and a creative approach to jazz piano comping. / School of Music

The Sneetches is a theater piece for children based on the Dr. Suess story The Sneetches (Random House, New York, 1961). It is scored for narrator, flute, B6 clarinet, bassoon, violins I & II, viola, and cello with optional staging. The staged version of The Sneetches requires two to six actors/dancers, appropriate scenery and props, and the active participation of children from the audience, preferably ages eight or under. The Sneetches is essentially through-composed. The overall form of the music is shaped primarily by the events portrayed in the narrative. Although individual subsections may have traditional forms, they should not be viewed as independent movements of a larger work, but rather as fragments of a whole.

Doctor of Philosophy / Department of Physics / Eleanor C. Sayre / In this dissertation I will start with the broad research question of what does problem solving in upper division physics look like? My focus in this study is on students' problem solving in physics theory courses. Some mathematical formalisms are common across all physics core courses such as using the process of separation of variables, doing Taylor series, or using the orthogonality properties of mathematical functions to set terms equal to zero. However, there are slight differences in their use of these mathematical formalisms across different courses, possibly because of how students map different physical systems to these processes. Thus, my first main research question aims to answer how students perform these recurring processes across upper division physics courses. I break this broad question into three particular research questions: What knowledge pieces do students use to make connections between physics and procedural math? How do students use their knowledge pieces coherently to provide reasoning strategies in estimation problems? How do students look ahead into the problem to read the information out of the physical scenario to align their use of math in physics? Building on the previous body of the literature, I will use the theory family of Knowledge in Pieces and provide evidence to expand this theoretical foundation. I will compare my study with previous studies and provide suggestions on how to generalize these theory expansions for future use. My experimental data mostly come from video-based classroom data. Students in groups of 2-4 students solve in-class problems in quantum mechanics and electromagnetic fields 1 courses collaboratively. In addition, I will analyze clinical interviews to demonstrate how a single case study student plays an epistemic game to estimate the total energy in a hurricane. My second research question is more focused on a particular instructional context. How do students frame problem solving in quantum mechanics? I will lay out a new theoretical framework based in epistemic framing that separates the problem solving space into four frames divided along two axes. The first axis models students' framing in math and physics, expanded through the second axis of conceptual problem solving and algorithmic problem solving. I use this framework to show how students navigate problem solving. Lastly, I will use this developed framework to interpret existing difficulties in quantum mechanics.

The topic of the Master‘s thesis focuses on NOK pieces which are produced during the production of components. NOK pieces and their rework significantly increase the company‘s costs. In the individual chapters there is an analysis of the company and the definition of a critical point. The FPY indicator was used for the analysis of the company, from which the component was identified. Three improvement concepts have been created for this component. These concepts may reduce the rate of NOK products in the company. The conclusion of the Master‘s thesis presents the evaluation and implementation of the selected change.

The presented thesis deals with the issue of statistical quality control of a specific production process. The thesis presents a range of statistical tools that can be used to identify the factors causing a high proportion of non-standard pieces. The diploma thesis practically introduces the application of these quality management tools to the production process characterized by an increased proportion of non-standard pieces, in which the factors causing their occurrence are unknown, and as following the thesis in detail introduces the approach how to detect these factors. The last part of the work summarizes the recommendations handed over to the company in order to verify the conclusions of the thesis.

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Integration is a core concept of calculus. As such, significant work has been done on understanding how students come to reason about integrals, including both the definite integral and the accumulation function. A path towards understanding the accumulation function first, then the definite integral as a single point on the accumulation function has been presented in the literature. However, there seems to be an accessible path that begins first with understanding the definite integral through an Adding Up Pieces (AUP) perspective and extending that understanding to the accumulation function. This study provides a viable hypothetical learning trajectory (HLT) for beginning instruction with an AUP perspective of the definite integral and extending this understanding to accumulation functions. This HLT was implemented in a small-scale teaching experiment that provides empirical data for the type of student reasoning that can occur through the various learning activities. The HLT also appears to be a promising springboard into developing the Fundamental Theorem of Calculus. Additionally, this study offers a systematic framework for understanding the process- and object-level thinking that occurs at different layers of integration.