MDES, University of Cincinnati, 2020, Design, Architecture, Art and Planning: Design

Traditional lecture models follow a heavily teacher-centric approach where professors talk for a lengthy duration of time and students only listen. This methodology is not as effective anymore. The current Generation Z have grown up with a dependence of technology, who have a distinctive learning style and manner of perceiving information. This is because K-12 education has evolved and is using a more interactive approach. Gamification has become popular in the education sector due to the conviction that it provides enhanced learning outcomes and builds motivation for students. This case study investigates gamification principles applied in an undergraduate lecture environment to increase learning retention, participation and enjoyment. There is an argument for the use of gamification teaching methods that transform traditional lecture structures from passive learning environments into active, engaging experiences. A user-centered design course offered at a large Midwestern university follows a traditional lecture format and, for the purpose of this study, gamification strategies were introduced and evaluated for their impact on student engagement in the course. 150 students were part of the study and data was collected through surveys and group interviews. The results suggest that gamification is an essential part of improving the education system, especially in the lecture environment. It is important to create an environment where students are included in the teaching and learning process. However, since gamification is new and emerging, professors are still unclear on how to implement this system and need guidance. As much as gamification is about improving students' learning experience, it is important to consider the professor's perspective and knowledge of the theory since learning is a two-way communication. The professor should be provided with a gamification toolkit which has guidelines on how and when to effectively use gamified tools. The researcher has (open full item for complete abstract)

Committee: Craig Vogel M.I.D. (Committee Chair); Vittoria Daiello Ph.D. (Committee Member) Subjects: Design

Master of Science (MS), Bowling Green State University, 2020, Biological Sciences

As universities within the United States continue to compete for students and resources, there is increasing pressure for these institutions to maximize the enrollment of students per classroom. Evidence exists that higher-enrollment classrooms can have negative effects on the students who are exposed to them, with students in higher-enrollment classrooms displaying decreases in engagement, persistence, and sense of belonging (MacGregor, 2000). In this paper, the analysis of survey, observational, and demographic data, that was collected from BGSU students enrolled in multiple gateway STEM courses (3278 Students; 41 Classrooms), is described. The purpose of this research is to better understand how the implementation of the BGSU Learning Assistant (LA) Program in these courses impacts course structure as well as student perceptions of belonging and their academic success. The results indicate that classes with Learning Assistants (LAs) present spend a lower percentage of time engaged in exposition-centered teaching styles (i.e. lecture) and a greater percentage of time engaged in constructivist teaching modes, during which students have the opportunity to take a more active role in discussing and refining their thoughts and understanding of the course concepts. Data also indicate that students in these transformed classroom environments report an increase in their sense of community, as measured using the Classroom Community Scale (Rovai, 2002), and students in classes with LAs present are retained at a higher rate than students in classes without LAs. Correlations between class instructional profiles, student perceptions of classroom community, and retention are analyzed in order to better understand how these variables relate to one another, in order to gain a clearer understanding of how LAs are able to impact the students in their classes. Results indicate that at least some of the increase in community and retention can be explained by the positive influences o (open full item for complete abstract)

Committee: Karen Sirum (Advisor); Julia Matuga (Committee Member); Kevin McCluney (Committee Member) Subjects: Science Education

Doctor of Philosophy, The Ohio State University, 2017, EDU Teaching and Learning

Lecture note-taking skills have been studied in the context of academic listening for a long time; however, these studies have not clarified the relationship between the learners' listening comprehension and their note-taking skills in different lecture contexts. Nowadays, many lectures are filled with various multimedia that support teaching and engage students in large class settings. What is not known is whether and how the nature of the input from these varying multimodal instructional sources may impact, positively or negatively, on second language (L2) students' listening and note-taking experiences and efficacy. Students now have to distribute their attentional resources skillfully to account for the new combinations of visual and aural input from lecturers, and this situation could pose listening and note-taking challenges for first-year international students, who are learning how to learn in a new educational context while still developing their L2 proficiency in the language of instruction. Given these circumstances, the objectives of this dissertation were: (1) to present multiple portraits of international students' development of lecture listening and note-taking skills, (2) to examine how different course settings affected their listening and note-taking approaches, (3) to identify the similarities and differences in their listening and note-taking methods, and (4) to provide insights into the realm of academic listening by scrutinizing the interplay between various factors that can shape students' listening and note-taking experiences. In this multiple-case study, I observed six Chinese-speaking international students in their first semester studying at a Midwestern university in the United States. To record their development of listening and note-taking skills as well as the difficulties they encountered, I collected various types of data, including classroom observations, recall protocols, students' notes, individual interviews, and online checkl (open full item for complete abstract)

Committee: Alan Hirvela (Advisor); Leslie Moore (Committee Member); Keiko Samimy (Committee Member) Subjects: Education

Doctor of Philosophy, The Ohio State University, 1982, Graduate School

Committee: Not Provided (Other) Subjects: Health Sciences

Doctor of Philosophy, The Ohio State University, 1973, Graduate School

Committee: Not Provided (Other) Subjects: Education

Doctor of Philosophy, The Ohio State University, 1971, Graduate School

Committee: Not Provided (Other) Subjects: Psychology

Doctor of Philosophy, The Ohio State University, 1970, Graduate School

Committee: Not Provided (Other) Subjects: Education

Doctor of Philosophy, The Ohio State University, 1969, Graduate School

Committee: Not Provided (Other) Subjects: Education

BM, Kent State University, 2014, College of the Arts / School of Music, Hugh A. Glauser

During the Middle Ages, oral poets often sang the tale of the hero Siegfried, his murder, his widow Kriemhild';s revenge, and the downfall of the Burgundian kingdom. A medieval epic poem written in Middle-High German, the Nibelungenlied is widely known among German citizens and scholars alike. Its historical and mythological roots include the defeat of the Burgundians during the Volkerwanderung (Great Migration Period) and the legend of Siegfried. I applied my own knowledge of medieval Germanic literature and music by performing this work in its original language, and this paper discusses the research and planning that went into my performance. Medieval epic poetry was often sung when performed, and the Nibelungenlied is no exception. To prepare the performance, I selected sections of the text to perform and set them to the Hildebrandston, a melody that is believed to be similar to that of the Nibelungenlied, whose original melody is no longer known. I also examined certain phonological aspects of Middle High German so as to present the text as authentically as possible. I accompanied my singing of the Nibelungenlied on a lap dulcimer, a three-stringed, fretted instrument and member of the zither family. I used variations in dynamics, vocal color, and accompaniment to enhance the dramatic aspect of the performance. After my investigations, I was able to consider the cultural context and reception of the Nieblungenlied, as well as interpret its many themes such as honor, duty, betrayal, revenge, and destruction. The entire work can be viewed as a commentary on the shift in ideals from heroic victory to lawful rule and order. In completing this project, I have had the opportunity to explore the relationship between literature and music in their historical and cultural context.

Committee: Jay White (Advisor); Geoffrey Koby (Committee Member); Jane Dressler (Committee Member); Don-John Dugas (Committee Member) Subjects: Germanic Literature; Medieval Literature; Music

Doctor of Philosophy, The Ohio State University, 2007, Educational Studies: Hums, Science, Tech and Voc

In recent years there has been a national call for reform in undergraduate science education. The goal of this reform movement in science education is to develop ways to improve undergraduate student learning with an emphasis on developing more effective teaching practices. Introductory science courses at the college level are generally taught using a traditional lecture format. Recent studies have shown incorporating active learning strategies within the traditional lecture classroom has positive effects on student outcomes. This study focuses on incorporating interactive teaching methods into the traditional lecture classroom to enhance student learning for non-science majors enrolled in introductory geology courses at a private university. Students' experience and instructional preferences regarding introductory geology courses were identified from survey data analysis. The information gained from responses to the questionnaire was utilized to develop an interactive lecture introductory geology course for non-science majors. Student outcomes were examined in introductory geology courses based on two teaching methods: interactive lecture and traditional lecture. There were no significant statistical differences between groups based on the students outcomes and teaching methods. Incorporating interactive lecture methods did not statistically improve student outcomes when compared to traditional lecture methods. However, the responses to the survey revealed students have a preference for introductory geology courses taught with lecture and instructor-led discussions and students prefer to work independently or in small groups. The results of this study are useful to individuals who teach introductory geology courses and individuals who teach introductory science courses for non-science majors at the college level.

Committee: David Haury (Advisor) Subjects: Education, Sciences; Geology

Doctor of Musical Arts, The Ohio State University, 2006, Music

This document is an examination of Nigel Westlake's first marimba quartet, Omphalo Centric Lecture. The study includes a biography of the professional career of the composer, an analysis of the work, a study of the many different versions of the work, and considerations for the performance of the work. The biographical material was attained primarily through email correspondence with knowledgeable people and through published interviews with Nigel Westlake. Some of these knowledgeable people include prominent Australian percussionists, the composer himself, and his wife, Jan Westlake. The analysis is a look at the design of the composition. It is primarily focused on the rhythmic content of the Omphalo Centric Lecture since the piece is so heavily driven by the rhythms. The primary content of this rhythmic drive is created by the use of multiple ostinati of differing lengths used simultaneously to provide the accompaniment to the melody. The examination of the many variations on this work traces the development of Omphalo Centric Lecture from its genesis as a trio for bass clarinet and two percussionists to its arrangement as a marimba quartet for the Australian percussion ensemble, Synergy. Since Omphalo Centric Lecture was published in the version for four marimbas, this piece has been arranged for many different configurations of instruments, and it has been arranged for ensembles that vary in size from six or more down to a duo with electronic accompaniment. The discussion of rehearsal techniques is derived from email correspondence from leading performers of the work and from percussionists who have contributed to the knowledge of this piece. These performers and educators were limited to those that have published comments on the performance of the work and performers who have commercially available recordings of the composition.

Committee: Susan Powell (Advisor) Subjects: Music