Ed.D., Antioch University, 2023, Education

This is a critical-phenomenological qualitative research study in which young people who participated in Social Justice Youth Arts (SJYA) programs during their teenage years engaged in a series of semi-structured arts-based interviews focused on recollecting their lived experiences in those programs and the years since. These interviews investigate the ways in which the principles of Healing-Centered Engagement (Ginwright, 2018) were present within these young people's experiences of those programs, as well as the extent to which those experiences may have encouraged or cultivated a lived praxis of the principles of the contemporary abolitionist movement (Kaba, 2021; Kaepernick, 2021). This study describes how these young people's engagement with SJYA programming encouraged their process of identity formation as artists and activists, and how the durability and evolution of those self-identifications manifested in their broader social and behavioral context over time. This dissertation is available in open access at AURA (https://aura.antioch.edu) and OhioLINK ETD Center (https://etd.ohiolink.edu).

Committee: Richard Kahn Ph.D. (Committee Chair); Heather Curl Ed.D. (Committee Member); Susie Lundy Ph.D. (Committee Member) Subjects: Art Education; Curriculum Development; Education Philosophy; Educational Theory; Pedagogy

Doctor of Philosophy, The Ohio State University, 2021, Arts Administration, Education and Policy

Though art education and creative placemaking are two established fields within the arts and culture ecosystem, very little research examines the intersections of these two domains. Specifically, a gap exists in practitioner voices to share their practical knowledge and experiences in the field. This study is an investigation of intersections between the self-identified practices of specific art educators and the field of creative placemaking. As a participant researcher, I worked with three art educators from around the United States to engage in collaborative inquiry. This study took place from November of 2020 to March of 2021 and the team worked virtually due to a global pandemic. The team of art educators engaged in a participatory action research (PAR) study to investigate their own practice(s) and potential intersections with the field of creative placemaking. This PAR study is grounded in critical theory to engage in inquiry that can promote a deeper understanding of our own contexts and support transformation through dialogic work with people to elevate and voice the unique experiences and expertise they bring to the research. My participant collaborators brought their expertise as a high school art educator, a museum educator, and an arts education consultant. Utilizing a PAR framework, dialogic work occurred virtually through semi-structured interviews, a group call, and individual arts-based inquiry to answer research questions surrounding their work within art education and intersection and divergence with the field of creative placemaking. Using narrative and arts-based methods, the PAR team shared specific stories where their work as art education professionals converges with creative placemaking and the distinct separation they find among the fields. Through this emergent and collaborative process, participant collaborators and I found intersection with their art education practice(s) and the practices identified within creative placem (open full item for complete abstract)

Committee: Karen Hutzel PhD (Advisor); Christine Ballengee Morris PhD (Committee Co-Chair); Shari Savage PhD (Committee Member); Richard Fletcher PhD (Committee Member) Subjects: Art Education

DNP, Kent State University, 2019, College of Nursing

Abstract Background and Review of literature: Arts-based interventions have been studied in the cancer care setting and shown to have positive effects on pain, anxiety, depression, and various quality of life indicators. Participants of group art-based experiences often experience a deep sense of connectedness to one another, and self-awareness. Purpose: This project was designed to elicit the perceptions of the adult cancer survivor who engaged in a multi-modal expressive arts intervention in a community cancer support group setting. Methods: This project used quantitative and qualitative approach, purposive sampling from existing adult cancer survivor community support groups. Theoretical concepts from Natalie Roger's Creative Connection® informed the overall design, implementation and evaluation of the project. Quantitative and qualitative data were collected using the Expressive Arts for Cancer Survivor data collection tool consisting of a post-intervention 12-item Likert Scale survey and 7 open-ended questions developed for this research. Implementation Plan/Procedure: An expressive arts intervention consisting of drawing and painting or clay work was implemented at the Breast Cancer, Blood Cancers, and Head and Neck Cancer community support groups. Group participants were invited to explore other modalities such as expressive writing, sound, movement and group dialogue to enhance the expressive art experience. Implications/Conclusion: Expressive arts during the cancer support group setting fostered creativity, insight, and self-awareness; helping survivors learn more about their feelings. Participants experienced a deeper sense of connectedness and appreciation for others within the group. The opportunity for sharing was positively received; the arts provided a means of self-expression. Participants expressed a strong desire to discuss the use of expressive arts with their healthcare provider. Findings signal the importance of developing evidence based (open full item for complete abstract)

Committee: Pamela Stephenson (Committee Chair); Patricia Vermeersch (Committee Member); Tracey Motter (Committee Member) Subjects: Alternative Medicine; Arts Management; Dance; Health Care; Mental Health; Music; Nursing; Oncology; Psychology

Doctor of Philosophy, The Ohio State University, 2017, Arts Administration, Education and Policy

The purpose of this study is to discuss the role the arts can play in aging society and the actions that need be taken to capture the attention of policymakers and service providers in the fields of arts and aging. Since population aging continuously poses inevitable and permanent changes in our society that will alter the nature of social, economic, healthcare, and many other areas, it is important for the arts sector too to turn our attention to the aging population, particularly in relation to social and public policy. As the central theme and tool, this study introduces the concept of creative aging to discuss the benefits of the arts that revolve around improving the lives of older adults. Creative aging utilizes the unique ability of the arts to provide support for older people wishing to lead more active, meaningful and healthy lives. This policy-oriented study is conducted to forecast the role of the arts in aging society, using the concept of creative aging, in an effort to inform arts programming and policy development as well as broader social and public policy making. This study adopted a policy making model, Multiple Streams Framework, to investigate the nature and context of creative aging. By investigating the concept of creative aging and its political implication, this dissertation seeks to make visible the value of meaning of this approach.

Committee: Margaret Wyszomirski (Advisor) Subjects: Aging; Art Education; Arts Management; Public Policy

Master of Arts, The Ohio State University, 2017, East Asian Languages and Literatures

Following China's Open Door Policy in 1979, Chinese contemporary art and China' cultural industries began to emerge amidst an increasingly globalized nation. In the wake of socio-economic changes following the end of the Cultural Revolution, artists began to establish villages in rural areas for reasons including low housing costs and greater artistic freedom. Scattered around the outskirts of cities, these bohemian artist colonies consisted of thousands of contemporary artists living and working in a shared space. It was in these places that like-minded, free spirits had the ability to express themselves and create astounding works of contemporary art. Owing to China's post-reform desire to fortify the country's global image in the early 2000's, the government recognized the social and economic benefit these artist villages could provide to the state and thus began to encourage the development of what's called “Cultural Creative Industry Parks”—a complicated system through which control and management of these districts was largely transferred to the state. These changes are seen most distinctly in the development of Beijing's 798 District and Songzhuang Artist Village. With the hopes of increasing China's cultural diplomacy and tourism, the city of Beijing capitalized on the creative nature of these artist villages by encouraging real estate development and commercialization. Many argue that the urbanization of 798 District and Songzhuang has encouraged rampant gentrification, and has allowed the government to more closely monitor the production of arts—thereby threatening the creative authenticity of the villages and the artistic spirit of the artists. I argue that the involvement of the state in the form of these “Cultural Creative Industry Parks” has created a space in which art and urbanization are in conflict. 798's host of internationally known galleries, coffee shops, and boutique stores, have allowed 798 Arts District to become a goo (open full item for complete abstract)

Committee: Galal Walker (Committee Chair); Xiaobin Jian (Advisor) Subjects: Arts Management

Master of Arts, The Ohio State University, 2015, Arts Policy and Administration

Recent theories in creative class and placemaking in the new millennium have changed the ways we talk about space, communities, and what role public arts agencies take in order to best support them. This thesis reviews models of public advocacy decision making and how they effect outcomes; explores theories and research in creative communities and cultural development strategies; and investigates creative placemaking and cultural district initiatives at various levels of public funding agencies in order to explore how these policies effect people and their communities.

Committee: Wayne Lawson PhD (Advisor); Candice Stout PhD (Committee Member) Subjects: Arts Management

Master of Arts, University of Akron, 2013, Theatre Arts-Arts Administration

This paper analyzes socially engaged art and the institutions that produce it. A brief history of the practice and related practices such as participatory, performance, installation, and public art are discussed. Proposed guidelines are given for the production, marketing, and documentation of such projects. Organizations such as Creative Time and the Hammer Museum are used as examples for successful socially engaged art projects. This paper is meant to be used as a tool for arts administrators in developing social, interactive, and participatory projects at their own organizations.

Committee: Neil Sapienza Mr. (Advisor); Gediminas Gasparavicius Dr. (Committee Member); Durand Pope Mr. (Committee Member) Subjects: Arts Management

Bachelor of Arts, Miami University, 2008, College of Arts and Sciences - Economics

For 28 years the National Endowment for the Arts (NEA) has awarded grants to for literary translation. The NEA's publicity materials and official guidelines for applicants to this translation program advance several claims about its aims and its administration. In this paper I use descriptive statistics and regression analysis to test hypotheses suggested by four of these claims. I find: strong evidence for rejecting the claim that NEA translation grants help cultivate young translators; convincing evidence that the NEA's translation program has not consistently used the merit of proposals to make discriminations in the denomination of its awards; insufficient evidence to accept the claim that the translation program emphasizes underrepresented languages; and finally, convincing evidence that particular geopolitical shocks have impacted the regional focus of the grants awarded.

Committee: Dennis Sullivan Dr. (Committee Chair); James Brock Dr. (Committee Member); Michael Curme Dr. (Committee Member) Subjects: Comparative Literature; Economics; Fine Arts; Language; Literature

PhD, University of Cincinnati, 2024, Education, Criminal Justice, and Human Services: Educational Studies

The narrowing English language arts (ELA) curriculum in American public schools has negatively impacted students. Creative writing, specifically fictional narrative writing, has nearly vanished from ELA curriculum in the United States. This study focused on the literacies involved in creative writing to critically examine what is lost with a narrowing ELA curriculum. As an intermediate grade-level teacher and literacy researcher, I conducted this qualitative case study to better understand how 14 fifth-grade students experienced an after-school creative writing club while writing fictional narratives. By using process writing theory and expressivism as a conceptual framework, this study focused primarily on the writing processes and overall experiences that students had throughout the duration of the club. The analysis highlighted the literacies that students had access to, as well as the wide array of experiences they had within a creative writing club context. Findings showed that students must balance opposing experiences, broadly conceived as positive and negative, during all parts of the writing process so that they can make continued progress on their fictional narratives. These oppositions were grouped into three categories: intrapersonal, interpersonal, and environmental. This act of balance was defined as “author equilibrium.” This writing experience provided students with a creative outlet, allowed students to participate in the writing process in an engaging way, provided students the opportunity to work alongside others, and showed students that writing can be enjoyable. While the narrowing of ELA curricula has prevented students from writing creatively in the classroom, this study highlighted the benefits of allowing space for creative writing within the ELA classroom.

Committee: Mark Sulzer Ph.D. (Committee Chair); Constance Kendall Theado Ph.D. (Committee Member); Lauren Colley Ph.D. (Committee Member) Subjects: Education

Doctor of Philosophy, The Ohio State University, 2024, Arts Administration, Education and Policy

Despite the recognized importance of citizen participation in creative placemaking, the participation process in arts districts has not been thoroughly scrutinized. Previous indicators heavily focus on economic contributions, failing to capture the social values inherent in creative placemaking. The lack of an effective assessment tool can exacerbate issues such as gentrification, which displaces low-income residents and erodes the unique sense of place. This study aims to address this gap by identifying barriers to citizen participation and measuring the social value of creative placemaking, contributing to the development of more equitable and inclusive arts districts. In the twenty-first century, rapid digitalization and globalization have empowered citizens to quickly access information and engage actively with government administration. This shift has also introduced the theory of New Governance, which decentralizes federal authority and promotes a horizontal network between the government and citizens. Citizen participation has become an increasingly critical component of successful governance in various sectors, including the arts. Creative placemaking is a human-centered planning approach that leverages local arts and cultural assets for regional revitalization. Arts districts, as the primary mechanism of creative placemaking, highlight the importance of cross-sector partnerships for successful implementation. For residents, producing and distributing local arts and cultural assets is essential for preserving the unique regional characteristics of an arts district. This dissertation is a comparative case study evaluating the level of citizen participation and identifying barriers to participation in the decision-making processes of the Short North Arts District and the Franklinton Arts District in Columbus, Ohio. Using the theoretical frameworks of New Governance and the Ladder of Citizen Participation, the study examines participation levels in the (open full item for complete abstract)

Committee: Shoshanah Goldberg-Miller (Advisor); Tiffany Bourgeois (Committee Member); Rachel Skaggs (Committee Member); Jesse Fox (Committee Member); Wayne Lawson (Committee Member) Subjects: Arts Management; Cultural Resources Management; Public Administration; Public Policy

Doctor of Professional Studies (D.P.S.) in Instructional Design Leadership, Franklin University, 2024, International Institute for Innovative Instruction

The objective of this action research was to evaluate the effectiveness of a six-month financial education intervention for Appalachian artists by measuring and observing changes in financial knowledge, financial self-efficacy, and financial behaviors and by assessing participants' perception of the program. By all measures, the financial education intervention was a success with survey results demonstrating positive and statistically significant gains in financial knowledge and financial behaviors, plus gains, although not statistically significant ones, in financial self-efficacy. Participants increased financial knowledge in revenue diversification strategies and tax literacy from 31.2% to 71.3%. Nine participants (81.8%) earned more in their creative businesses following the financial education intervention, and ten participants (90.9%) had up-to-date record-keeping systems by the end of the program, an increase from four participants (36.3%) at the outset. Five new creative businesses and five new sales tax licenses were registered with West Virginia. Participants also emphasized the importance of the community they built with each other, and shared they were proud of their accomplishments during the six-month program. This research has practical implications for curricular design for educators, industry leaders, and community partners, plus implications for economic development policies to support similar financial education interventions for creative business owners.

Committee: Yi Yang (Committee Chair); Xiaopeng Ni (Committee Member); Yuerong Sweetland (Committee Member) Subjects: Adult Education; Education Finance; Educational Evaluation; Entrepreneurship; Instructional Design

Bachelor of Fine Arts (BFA), Ohio University, 2024, Dance

The postpartum period is a tumultuous time that often brings about changes to the psychological, social, and interpersonal aspects of a new mother's identity. Additionally, existing literature has revealed the potential for the creative arts—namely visual art and creative movement—to provide a space for individuals to explore their identities. This study aimed to examine 1) how mothers describe their postpartum identities and 2) how creative arts workshops can support an exploration into a mother's postpartum experience. Participants were postpartum women, without mental or physical health concerns. They participated in four, 90-minute creative arts workshops. Each workshop consisted of a visual art prompt and creative movement prompt for participants to explore, as well time for discussion about the art-making processes. Data included researcher observations, participant artwork, and participant reflective responses. Four distinct themes emerged through data analysis: Mother/Baby as a Unit, Routine, Body Size, and Reflections on Motherhood. The emergence of these themes reflected significant aspects of the participants' postpartum identities, including feelings that their babies were an extension of themselves, the presence (or lack) of a daily routine in the postpartum period, and feelings related to body size. The data revealed that creative arts workshops provided participants with time and space to reflect on—and bring new meaning to—their postpartum experience. Future research might build upon these findings to see how creative arts might be expanded to support women in the postpartum period.

Committee: Dr. Christi Camper Moore (Advisor) Subjects: Dance

Master of Fine Arts in Creative Writing, Cleveland State University, 2021, College of Liberal Arts and Social Sciences

The essays contained herein seek to examine the quantity of identities allowed in a life, specifically when the life is female in nature and American in flavor. Not secondarily examined is the quality of freedoms provided within aforesaid examined identities. Methods of examination include sleepless nights, introspection, substance use, religious practice, and, of course, writing. No conclusive results were found, other than that much work remains to be done in the field of American female identity and freedom. Recommendations for further research include a deconstruction of the workday as provided by the Industrial Revolution and a redefining of equality as misunderstood by the middle and upper classes.

Committee: Hilary Plum (Committee Chair); David Giffels (Committee Member); Mary Biddinger PhD (Committee Member) Subjects: Composition; Demographics; Evolution and Development; Families and Family Life; Fine Arts; Gender; Gender Studies; Higher Education; Home Economics; Individual and Family Studies; Mental Health; Personal Relationships; Religion; Religious Congregations; Social Structure; Womens Studies

BA, Kent State University, 2021, College of Arts and Sciences / Department of Sociology and Criminology

"Dazed and Confused and Triumphant" is often the experience of both readers and writers of ergodic literature, whose struggle to understand it becomes a meaningful accomplishment after they do. Ergodic literature, as defined by its founder Espen Aarseth in his book 'Cybertext: Perspectives on Ergodic Literature', is literature in which "nontrivial effort is required to allow the reader to traverse the text". "Nontrivial effort" encompasses anything beyond reading a text from front to back, such as nonlinearity, space subversion, and multiple endings to choose from. In this thesis, I use the syllabus of a Fall 2012 NEOMFA Craft & Theory course to design the hypothetical 16 week class "Dazed and Confused and Triumphant" as a way to teach myself ergodic literature and grow as an experimental writer. The syllabus requires students to read and experience a comprehensive list of ergodic literature all throughout time (ex: the 'I Ching', the 'Choose Your Own Adventure' series, and the video game 'Undertale'), write weekly essays analyzing ergodic techniques in these readings, and create original ergodic literature based on what they've learned. All of these assignments and more are completed and included in this thesis. The thesis itself is arguably ergodic in its creation, format, and puzzle for its readers to solve.

Committee: Lauren Vachon MFA (Advisor); Carol Robinson Ph.D. (Committee Member); Molly Merryman Ph.D. (Committee Member); Suzy D'Enbeau Ph.D. (Committee Member) Subjects: Curriculum Development; Fine Arts; Language Arts; Literature; Web Studies

Doctor of Philosophy, The Ohio State University, 2021, City and Regional Planning

This dissertation seeks to better understand how an urban policy, creative placemaking, is adopted within a localized context. Creative placemaking is an ascendant urban policy borne out of a global pressure to adapt to industry changes within the 21st Century knowledge-based economy (Florida, 2002; Howkins, 2001; Jackson, 2012; Nicodemus, 2013). However, there is a need to better understand how a globalized policy response trend is adapted within a localized context, especially with respect to creative placemaking, which is based within a localized identity formation. Additionally, there is a need to understand how areas already dedicated to the knowledge-based economy are adopting creative placemaking for the 21st Century. With this need in mind, higher education institutions and their urban environs are a useful case study for investigating how creative placemaking policy is adopted within an area that has a knowledge-based economy focus. This dissertation research was a qualitative, within case study approach to answer the following sub-questions: (Q1) a policy content question of how does Ohio State University's 15th+High Art District, and its predecessor plans, score in terms of meeting the criteria for being creative placemaking plans?, (Q2) a policy context question of how are current university campus creative placemaking practices perceived by stakeholders?, and (Q3) a policy process question of how equitable is the manifested 15th+High Arts District design? A multiple methods qualitative, within case study research approach was undertaken to answer these sub-research questions through: (M1) a content evaluation of Ohio State University's planning documents pertaining to creative, and proto-creative, iii placemaking policy adoption using a modified American Planning Association's Comprehensive Plan Standards for Sustaining Places evaluation instrument, (M2) a content analysis of stakeholder perspectives on the 15th+High Arts District providing local con (open full item for complete abstract)

Committee: Bernadette Hanlon Ph.D. (Advisor); Shoshanah B.D. Goldberg-Miller Ph.D. (Committee Member); Jason Reece Ph.D. (Committee Member); Kareem Usher Ph.D. (Committee Member) Subjects: Higher Education; Public Policy; Sociology; Urban Planning

Doctor of Philosophy, The Ohio State University, 2020, Arts Administration, Education and Policy

From computational and scientific viewpoints, virtual reality (VR) is a well-researched technology, platform, and mode of communication. However, from an arts perspective, virtual reality has very few, if any, defined parameters as an artistic medium. This study aims to explore the technical affordances and the experiential and creative phenomena of art-making in virtual reality in an effort to establish VR as a contemporary artistic medium framed within an arts and museum education context. The embodied, open-ended play of art-making with the virtual medium presents a different kind of user experience than most other VR applications, which deserves alternative ways of classifying the immersive elements of virtual art-making. By using the social cognitive framework (Bandura, 1986) to guide my research, I consider the dynamic relationship between environment, person, and behavior in order to understand not only the technical elements, but also what type of immersive process and embodied creativity virtual artists experience and what types of art can they make. Through a phenomenological framework, design-thinking approach, and an arts-based research methodology, this study analyzes data collected from participants and uses data visualizations to bring the research to life and make it accessible for all audiences and fields of study. Additionally, this project aims to discover how artists and educators can use the virtual medium to inspire creativity and impactful art experiences within museum spaces in ways that transport the visitors from viewer-of-art to maker-of-art.

Committee: Christine Ballengee Morris (Committee Co-Chair); Dana Kletchka (Committee Co-Chair); Shari Savage (Committee Member); Matthew Lewis (Committee Member); Vitalya Berezina-Blackburn (Committee Member) Subjects: Aesthetics; Art Education; Communication; Design; Educational Technology; Fine Arts; Museum Studies; Museums

Doctor of Philosophy, University of Akron, 2020, Public Administration

Any planner will tell you there is no such thing as a magic fix when building a great community, but in recent decades, cities around the world have turned to creative placemaking as a tool for urban revitalization, economic development, and community engagement. Many of these efforts have involved the creation of arts and cultural districts through the use of creative assets and community-led design. This study looks at Canton, OH as an example of how the arts can be an important driver for economic development and the revitalization of struggling downtowns.

Committee: Raymond Cox PhD (Committee Chair); Ghazi Falah PhD (Committee Member); Lawrence Keller PhD (Committee Member); Namkyung Oh PhD (Committee Member); Steven Ash PhD (Committee Member) Subjects: Arts Management; Cultural Resources Management; Public Administration; Urban Planning

Master of Arts (MA), Ohio University, 2018, English (Arts and Sciences)

This collection of poetry presents questions of self, sanity, and the performance of truth through portraits of various meltdowns and epiphanies. Dark humor and an almost reluctant sense of hope move through the poems, which include topics like cadavers, video games, and a stereotypical but still complicated mother-daughter relationship. The critical introduction provides valuable autobiographical context, demonstrates past growth, and considers future developments to come.

Committee: Eric LeMay (Advisor); Bianca Lynne Spriggs (Committee Member); Jill Allyn Rosser (Committee Member) Subjects: Fine Arts

Master of Arts in English, Cleveland State University, 2017, College of Liberal Arts and Social Sciences

"The Other Side of Fun" is a collection of creative non-fiction essays that examine the relationship between several cultural pastimes and our society as a whole. The thoughts, feelings, and observations made throughout these essays are reflections of my time spent working various jobs pertaining to some form of entertainment. "Mayflies" explores my time as a game-day security worker for the Cleveland Indians, examining the relationship between unionized labor and the lifestyle that encompasses it. "Spiders" chronicles my time spent as a Resident Assistant at Cleveland State, investigating the deep web and the potential dangers that technology can bring. "House Rules" details my experiences at the Jack Casino, exploring society's obsession with wealth. "Ghosts" looks at society's use of tradition, documenting an evening spent working as a bouncer at one of the busiest bars the night before Halloween. Last is "Cutting Weight", an essay that discusses the world of organized cage-fighting and the impact it has had on both our culture and my own life. These essays serve as a critique to the way our world operates; a collection of observations that look to challenge the reader's perception of our societal ideologies and values.

Committee: Ted Lardner Ph.D. (Advisor); Caryl Pagel MFA (Committee Member); Imad Rahman MFA (Committee Member) Subjects: American Literature; Journalism; Language Arts; Modern Literature; Sociology

Doctor of Musical Arts, The Ohio State University, 2017, Music

Pedagogy must be ever-evolving, because the cultures, environments and socio-political climates that students live and interact in are ever-evolving. Current horn pedagogical approaches are centered upon traditional methods for learning to play an instrument and study and perform pieces of music. While these traditional pedagogical techniques are sound and necessary steps towards proficiency and excellence on the horn, most of them are “horn-centric.” There are few invitations for students to use the other creative parts of themselves to inform their horn playing; while students in schools of music are often told that they are artists, they are not necessarily encouraged to interact with other art media (visual and plastic arts, dance, theatre, vocal arts, creative and expressive writing, etc.) to deepen their own understanding of a work or to gain a fresh perspective on how to tackle a horn-specific challenge. The purpose of this document is to address this very issue and to introduce alternative art-media methods from the areas of voice, writing, and visual arts, through interaction with historic and contemporary pedagogical discourse, and through reporting the findings of a prototype workshop called Interdisciplinary Transfer and Cultivation: [ITC] How vocal, writing, and visual arts techniques can inform your horn practice and performance. In this workshop, undergraduate horn major participants from The Ohio State University engaged in three activities (vocal, writing, and visual arts techniques respectively). designed to help them connect more deeply with an excerpt from a piece of standard unaccompanied horn repertoire, Bernhard Krol's Laudatio. The results of the workshop would help discern whether experiences with ITC in horn learning are positive and successful in helping a student feel more connected and more invested in a work. The primary research questions of this document are the following: can introducing vocal, writing and visual arts techn (open full item for complete abstract)

Committee: Bruce Henniss (Advisor); Charles Atkinson (Committee Member); Russel Mikkelson (Committee Member); Katherine Rohrer (Committee Member) Subjects: Music; Music Education; Pedagogy