Building Leadership: The Knowledge of Principals in Creating Collaborative Communities of Professional Learning

Research literature is replete with the importance of collaboration in schools, the lack of its implementation, the centrality of the role of the principal, and the existence of a gap between knowledge and practice--or a "Knowing-Doing Gap." In other words, there is a set of knowledge that principals must know in order to create a collaborative workplace environment for teachers. This study sought to describe what high school principals know about creating such a culture of collaboration. The researcher combed journal articles, studies and professional literature in order to identify what principals must know in order to create a culture of collaboration. The result was ten elements of principal knowledge: Staff involvement in important decisions, Charismatic leadership not being necessary for success, Effective elements of teacher teams, Administrator‘s modeling professional learning, The allocation of resources, Staff meetings focused on student learning, Elements of continuous improvement, and Principles of Adult Learning, Student Learning and Change. From these ten elements, the researcher developed a web-based survey intended to measure nine of those elements (Charismatic leadership was excluded). Principals of accredited high schools in the state of Nebraska were invited to participate in this survey, as high schools are well-known for the isolation that teachers experience--particularly as a result of departmentalization. The results indicate that principals have knowledge of eight of the nine measured elements. The one that they lacked an understanding of was Principles of Student Learning. Given these two findings of what principals do and do not know, the researcher recommends that professional organizations, intermediate service agencies and district-level support staff engage in systematic and systemic initiatives to increase the knowledge of principals in the element of lacking knowledge. Further, given that eight of the nine elements are understood by principals, it would be wise to examine reasons for the implementation gap (Knowing-Doing Gap) and how to overcome it.

Using Three Dimensional Motion Capture Technology to Describe and Assess Piano Technique: A Case Study

The purpose of the study was to examine any differences that exist in the quality of motions employed by pianists when they are sight-reading versus performing repertoire. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. While data analysis for the full study is ongoing, the following results from a case study are illustrative.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton