Working with Student Teachers: A Mixed Methods Study to Examine the Roles and Self-Identified Dispositions of Cooperating Teachers

A critical component of teacher education is the field experience during which candidates practice under the supervision of experienced teachers. Programs use the InTASC Standards to define the requisite knowledge, skills, and dispositions for teaching. Practicing teachers are familiar with the concepts of knowledge and skills, but they are less familiar with dispositions. Practicing teachers who mentor prospective teachers are underrepresented in the literature, but they are critical to teacher preparation. The research goals were to describe the self-identified dispositions of cooperating teachers, identify what cooperating teachers consider their role in preparing prospective teachers, and explain challenges that cooperating teachers face. Using a mixed methods design, I conducted a quantitative survey followed by a qualitative case study. When I compared survey and case study data, cooperating teachers report possessing InTASC critical dispositions described in Standard 2: Learning Differences, Standard 3: Learning Environments, and Standard 9: Professional Learning and Ethical Practice, but not Standard 6: Assessment and Standard 10: Leadership and Collaboration. Cooperating teachers assume the roles of modeler, mentor and advisor, and informal evaluator. They explain student teachers often lack skills and dispositions to assume full teaching responsibilities and recommend that universities better prepare candidates for classrooms. Cooperating teachers felt university evaluations were not relevant to teaching reality. I recommend modifying field experiences to increase the quantity and duration of classroom placements. I suggest further research to detail cooperating teacher dispositions, compare cooperating teachers who work with different universities, and determine if cooperating teacher dispositions influence student teacher dispositions.

Cultivating Collaborative Relationships: A Case Study of Teacher Collaboration and Professional Development

Students often receive instruction from specialists, professionals other than their general educators, such as special educators, reading specialists, and ESOL (English Speakers of Other Languages) teachers. The purpose of this study was to examine how general educators and specialists develop collaborative relationships over time within the context of receiving professional development. While collaboration is considered essential to increasing student achievement, improving teachers’ practice, and creating comprehensive school reform, collaborative partnerships take time to develop and require multiple sources of support. Additionally, both practitioners and researchers often conflate collaboration with structural reforms such as co-teaching. This study used a retrospective single case study with a grounded theory approach to analysis. Data were collected through semi-structured interviews with thirteen teachers and an administrator after three workshops were conducted throughout the school year. The theory, Cultivating Interprofessional Collaboration, describes how interprofessional relationships grow as teachers engage in a cycle of learning, constructing partnership, and reflecting. As relationships deepen some partners experience a seamless dimension to their work. A variety of intrapersonal, interpersonal, and external factors work in concert to promote this growth, which is strengthened through professional development. In this theory, professional development provides a common ground for strengthening relationships, knowledge about the collaborative process, and a reflective space to create new collaborative practices. Effective collaborative practice can lead to aligned instruction and teachers’ own professional growth. This study has implications for school interventions, professional development, and future research on collaboration in schools.

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

Crime in College Park: understanding crime levels, perceptions, and environmental design in an off-campus student-occupied neighborhood

Gemstone Team Crime Prevention and Perception