Indiana University-Purdue University Indianapolis (IUPUI) / Clinical simulation is an innovative teaching/learning strategy that supports the efforts of educators to prepare students for practice. Despite the positive implications of clinical simulations in nursing education, no empirical evidence exists to inform effective teaching in simulated learning environments. The purpose of this research is to create an instrument to measure effective teaching strategies in clinical simulation contexts. The conceptual framework for this study is the Nursing Education Simulation Framework. The Student Perception of Effective Teaching in Clinical Simulation (SPETCS) is a survey instrument scored on a 5-point Likert scale with two response scales: Extent and Importance. The Extent response scale measures participants’ perception of the extent to which the instructor used a particular teaching strategy during the simulation, and the Importance response scale measures perception of the degree of importance of the teaching strategy toward meeting simulation learning outcomes. A descriptive, quantitative, cross-sectional design was used. Evidence to support content validity was obtained via a panel of simulation experts (n = 7) which yielded a content validity index of .91. A convenience sample of undergraduate nursing students (n = 121) was used for psychometric analysis. Internal consistency reliability met hypothesized expectations for the Extent (α = .95) and Importance (α = .96) response scales. Temporal stability reliability results were mixed; correlations between administration times met expectations on the Importance scale (ICC = .67), but were lower than expected on the Extent scale (ICC = .52). Both response scales correlated within hypothesized parameters with two criterion instruments (p < .01). The Importance scale was selected for exploratory factor analysis (EFA). EFA revealed 2 factors: Learner Support and Real-World Application. The result of careful item and factor analysis was an easy to administer 33 item scale with 2 response scales. The SPETCS has evidence of reliability and validity and can serve as a tool for the assessment, evaluation, and feedback in the ongoing professional development of nurse educators who use clinical simulations in the teaching/learning process. In addition, results of this study can support the identification of best practices and teaching competencies in the clinical simulation environment.

The purpose of this pilot study was to examine the benefit of offering a percussion ensemble class in secondary public schools. I looked at two elements of music education: playing time and relevant instruction. The research questions focused on the difference in playing time and relevant instruction between percussionists in the concert band and percussionists in the percussion ensemble, as well as differences between the concert band subgroups (brass, woodwind, percussion). 6 separate instrumental groups were observed: 4 concert bands and 2 percussion ensembles (N=6). Students were randomly selected from each instrument subgroup (brass, woodwind, percussion, percussion ensemble) for observation. A mixed model ANOVA was used to compare the playing time per hour of each instrument subgroup. A second mixed model ANOVA was used to compare the relevant instruction received per hour of each instrument subgroup. As anticipated, the concert band percussionists experienced significantly less playing time and relevant instruction than both the brass and woodwind subgroups. The percussion ensemble subgroup did not experience a significant difference in either playing time or relevant instruction from the concert band percussionstudents. However, informal observations of the rehearsals indicated a difference in the scope and depth of the playing time and instruction experienced by these two subgroups. Implications from these observations are also discussed.

Video game researchers have recently begun to explore qualitative techniques to understand video games and their audiences. Yet many questions remain concerning the significance of gaming media and how video game research should be conducted. This research addresses the changing focus of video game researchers from the "producers," or sender of the video game, to the "audience" or receiver. This is accomplished in the following ways: by exploring meanings created by individuals while "role-playing" in an electronic world as an on-screen video game avatar; by using the Zaltman metaphor elicitation technique (ZMET), to gather a deeper understanding of how players are interpreting the video game creators intended message, and focusing on the relationships formed between a player and their onscreen character. Using the ZMET method the author conducts ten in-depth interviews looking at the interviewees' relation with the Super Mario Bros avatar to gain an understanding of player-avatar relationships. Interviews are then discussed to describe how these individuals understand the video game message and avatar relationship.

This project responds to a problem in scholarship describing the relationship between virtual avatars and their physical users. In Life on the Screen, Sherry Turkle identifies points of slippage wherein the persona of the avatar becomes conflated with the user‘s sense of self to create an authentic self predicated on both real and virtual experiences (Turkle 184-5). Although the conflation of the authentic self with the virtual has provided various affordances for serious games or other pedagogical projects such as classrooms hosted through the game Second Life, the processes enabling identification with an avatar have been largely overlooked. This project examines several layers of influence that affect how users play with identity to create successful social performances within an online community connected to a work of fiction. In doing so, the user must consider his or her own motivations for creating a persona, how these motivations will allow the avatar to achieve social acceptance, and how these social performances connect to the scene created by the work of fiction. Using an online role-playing forum based on a work of fiction as a site of analysis, this project will borrow from game studies, dramatism, and identity theory to create a framework for discussing processes through which users identify with their virtual avatars.

The process of memorization of musical pieces and performing without the support of sheet music is often described as ”playing a piece by heart.” This thesis delves into the process of memorization in classical music, with a particular focus on the author's personal journey in practicing the Kodaly’s solo cello sonata, highlighting the utilization of four distinct memory styles: kinesthetic, aural, visual, and analytical memory. Through an examination of each memory style, this study unravels the multifaceted nature of memorization in musical performance. The thesis not only explores the individual contributions of these memory styles but also examines how to combine them during the learning and memorization process. Through examples, the author sheds light on how she integrated these memory styles, achieving a comprehensive understanding of the piece and ultimately being able to perform it by heart. The findings of this study contribute to the broader field of music cognition, providing valuable insights into the mechanisms involved in memorization and performance. It highlights the importance of considering diverse memory styles and their integration in learning effective memorization techniques in classical music. This study can be useful for musicians who want to develop their memorization process and have a good experience from learning and performing pieces by heart. / <p>Program:</p><p>Zoltán Kodály sonata for unaccompanied cello, Op. 8 </p><p>Medverkande:</p><p>Katariina Kolehmainen - cello</p><p>Den klingande delen är arkiverad. The recording of the concert is filed.</p>

Aural learning, sometimes called “learning by ear,” is a fundamental mechanism of music, connected to musical perception, acquisition, and understanding. Researchers have primarily studied aural learning strategies through self-reported data or qualitative observations. Because the interaction between a learner and a recording offers a unique window into self-guided learning approaches and strategies, the aim of this study was to use participants’ interactions with the recordings as a data source. The purpose of this study was to investigate how high schoolers aurally learn unfamiliar melodies and identify trends that contribute to efficient learning.Twenty-nine high-school participants in individual sessions learned three different melodies by ear. As participants learned each melody, I used a modified, digital playback interface to collect interaction data on three learning constructs from the literature: (a) learning chunk length; (b) learning chunk order; and (c) synchronous versus turn-taking. Descriptive results showed that participants preferred to learn melodies in one-, two-, four-, or eight-measure chunks, and that their use of time learning either in a synchronously or turn-taking approach had no relationship to their total learning time. A Spearman Rank Order correlation revealed a moderate, inverse relationship between average chunk length and total learning time (Rho = -.506, p < .001) suggesting that participants who focused on learning larger chunks learned the whole melody faster. An analysis of participants’ choice of learning chunk order revealed three general approaches to the task. Participants used a “From the Beginning” approach approximately 14% of the time, characterized by repeatedly starting from the beginning and increasing the length of the learning chunk each repetition. Participants used a “Half to Whole” approach approximately 29% of the time, characterized by focusing on half of the melody at a time. Finally, participants most frequently used a “Bit by Bit” approach 57% of the time, characterized by learning short one- to three-measures chunks progressing from the beginning of the melody to the end. Most participants began and ended their learning session by listening to the entire melody. An ANOVA comparing approaches showed that the “Half to Whole” approach was significantly more effective than the “Bit-by-Bit” (F[2,66] = 10.25, p < .001), but showed no differences between other approaches. Some participants made notable changes in their approach between melodies showing some isolated examples of improvement when they chose longer chunks and switched to a “Half to Whole” approach. The approaches that emerged from this study provide a foundation for future experimental research on the way students best learn from recordings. / Music Education

"The strings of the soul” is a master thesis which explores questions about tradition, itsexpression in music and especially folk music. It illuminates some differences betweentraditional and folk music. It explores Russian and Swedish folk music traditions, comparingboth of the traditions and identifying differences and similarities.The instruments that are used in the project are the Russian balalaika and the Swedish keyedfiddle (nyckelharpa).To implement those ideas in the research and enable these encounters I got in contact withmusicians playing the keyed fiddle. Under the tutorial I got some knowledge in keyed fiddleplaying techniques, its character and uniqueness. I participated in several playing sessions andgot an opportunity to experience Swedish folk music.The aim of this project is to seek a better understanding both of my “native” tradition ofRussian music, as well as of Swedish folk music, by exploring Swedish folk music throughthe performance practices of the balalaika. Hereby I wish to better understand theperformance practice of the Russian balalaika tradition, by using the instrument inperformance of Swedish folk music.The project is guided by the following research questions:How can Swedish folk music best be adapted for the balalaika?In what ways can the traditional performance practice of the balalaika be challenged bymaking arrangements of music originally conceived for the keyed fiddle?Are there any balalaika playing techniques that have the ability to imitate the sound of thekeyed fiddle?What novel possibilities may the balalaika offer to folk music originally conceived for thekeyed fiddle?Are there any difficulties in playing Swedish folk music on the balalaika?As a result of encounter process five arrangements were written, performed and recorded.As the source I used Swedish folk pieces for the keyed fiddle. “Spelmansglädje” - ”Fiddler´sJoy” by Erik Sahlström; “Vi är komna uti flickors land”, trad.; ”Finn Pål´s polska” of PaulDanielsson; ”Järv i säcken”- “Säkkijärvi polka”, trad.; ”Slängpolska efter Byss Kalle”, trad.For me personally, this research has given me the possibility to express myself as a musician,an artist and a researcher. It shows where I´m right now and how all this is related to myexperience as an individual and as a musician.Keywords: tradition; tradition in music; folk music; encounters; playing techniques;knowledge; experience; arrangement.

To increase student engagement in their classroom, the author created an art curriculum using gamification methods that incorporates elements of tabletop role-playing games. The Role-playing Art Curriculum is a key element of this thesis. Possible research approaches involving game-based learning and gamification were examined to point toward future research and reflection regarding games and game-like content into an art curriculum. Action research methods were used to create and run the Role-playing Art Curriculum. The author concludes that the gamified curriculum took extra preparation and required more management to run then other traditional art curriculums.

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