4 resultados para Maximal Rewriting of a Regular Language at a Regular Substitution

em DRUM (Digital Repository at the University of Maryland)


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Two out of three English Language Learners (ELLs) graduate from secondary schools nationwide. Of the nearly five million ELLs in public schools, more than 70% of these students’ first language is Spanish. In order to understand and resolve this phenomena and in an effort to increase the number of graduates, this research examined what high school Latino ELLs identified as the major external and internal factors that support or challenge them on the graduation pathway. The study utilized a 32 quantitative and qualitative question student survey, as well as student focus groups. Both the survey and the focus groups were conducted in English and Spanish. The questions considered the following factors: 1) value of education; 2) expectations in achieving their long-term goals; 3) current education levels; 4) expectations before coming to the United States; 5) family obligations; and 6) future aspirations. The survey was administered to 159 Latino ELLs enrolled in grades 9-12. Research took place at three high schools that provide English for Speakers of Other Languages (ESOL) classes in a large school system in the Mid-Atlantic region. The three schools involved in the study have more than 1,500 ELLs. Two of the schools had large ESOL instructional programs, and one school had a comparatively smaller ESOL program. The majority of students surveyed were from El Salvador (72%) and Guatemala (12.6%). Using Qualtrics, an independent facilitator and a bilingual translator administered the online survey tool to the students during their ESOL classes. Two weeks later, the researcher hosted three follow-up focus groups, totaling 37 students from those students who took the survey. Each focus group was conducted at the three schools by the lead researcher and the translator. The purpose of the focus group was to obtain deeper insight on how secondary age Latino ELLs defined success in school, what they identified to be their support factors, and how previous and present experiences helped or hindered their goals. From the research findings, ten recommendations range from suggested policy updates to cross-cultural/equity training for students and staff; they were developed, stemming from the findings and what the students identified.

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The sonata began to lose its position of predominance among compositions in the middle of the 19th century. Having been the platform for harmonic and thematic development of music since the late baroque period the sonata entered a process of reevaluation and experimentation with form. As a result fewer sonatas were being composed with some composers dropping the genre completely. This dissertation looks at the different approaches taken by the German, French and Russian schools of composition and compares the solo and chamber music applications of the sonata form. In the German tradition Franz Liszt's Sonata in b minor sets the standard for the revolutionary approach to form while the Berg Sonata is a very conservative application of form to an innovative use of extended chromaticism. Both composers chose to write one movement through composed pieces with Liszt working with a very expansive use of form and Berg being extremely compact and efficient. Among the Russian composers, Prokofieff's third sonata is also a one movement sonata, but he falls between Liszt and Berg in terms of the length of the piece and the use of innovative musical language. Scriabin uses a two movement approach, but keeps the element of a through composed piece with the same important material spanning both movements. Stravinsky is the most conservative of these with a three movement sonata that uses a mix of chromaticism and baroque and classical style influences. The French almost stopped composing true sonatas except for chamber music where Franck and Fauré write late romantic sonatas, while Debussy is very innovative within a three movement sonata. Estampes, by Debussy, are taken in almost as an afterthought to illustrate the direction Debussy takes in his piano solo music. While Estampes is by definition a set of character pieces they function like a sonata with three movements.

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Gemstone Team GABS (Grammar Acquisition in Bilingual Students)

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Paul Hindemith has made numerous contributions to the viola, both as a composer and performer. As a composer, he has written 7 sonatas for the viola, as well as a number of chamber and orchestral works which feature the viola as a solo instrument. As a violist, Hindemith was one of the only virtuoso soloists of his lifetime, and premiered virtually all of his solo compositions. Many of his pieces remain an integral part of the viola repertoire; Der Schwanendreher is one of the three major Twentieth-Century concertos for the viola. While some of his pieces are well-known, there are many others which are not performed with much frequency, due in part to the sheer output of this prolific composer. In this dissertation project, I performed Hindemith's compositions for the viola as a solo instrument. Consideration was given to exclusively performing his 4 solo sonatas and 3 sonatas for viola and piano. His only viola duet, his only non-sonata written for viola and piano, and 2 of his viola concertos (Der Schwanendreher and Trauermusik) were included in this dissertation project to provide contrast and supplement the three recital programs. Through this dissertation project I have been able to gain a deeper understanding of the complex language of Hindemith and interpret his music in an approach that is accessible to both the performer and the audience. All performances took place in the Gildenhom Recital Hall and Ulrich Recital Hall at the University of Maryland. All collaborations with piano were performed with Eliza Ching. The Duett for Viola and Violoncello was performed with Daniel Shomper, and the assisting musicians performing in the Trauermusik were Joel Ciaccio, Daniel Sender, Daniel Shomper, Cassandra Stephenson and Dana Weiderhold.