Ph.D., Antioch University, 2021, Leadership and Change

Capacity building for globally competent educators is a 21st Century imperative to address contemporary complex and constantly changing challenges. This action research project is grounded in positive psychology, positive organizational scholarship, relational cultural theory, and relational leadership practices. It sought to identify adaptive challenges educators face as they try to integrate globally competent teaching practices into their curricula, demonstrate learning and growth experienced by the educators in this project, and provide guidance and solutions to the challenges globally competent educators face. Six educators participated in this three-phase project, which included focus groups, reflective journal entries, and an exit interview. Data were collected, grouped into emergent themes, and organized into cohesive categories. The data from this project supported the creation of two foundational models for educating for global competence. The first is pedagogical and the other, coaching. Both models are in developing stages and are grounded in key theoretical frameworks and the data shared by the participants. Globally competent and globally responsive pedagogy tasks educators with examining their practice through a global and cultural prism to gain clarity of perspective, build social capital, improve relationships, and meet ever-changing local and global challenges. The approaches honor and respect diversity so as to dismantle systems of oppression and fight policies and social norms rooted in cognitive biases. The model integrates theory and key findings from this study to support educators to integrate and implement global competence. This dissertation is available in open access at AURA, https://aura.antioch.edu/ and OhioLINK ETD Center, https://etd.ohiolink.edu/etd.

Committee: Lize Booysen DBL (Committee Chair); Jon Wergin PhD (Committee Member); Emily Schell EdD (Committee Member) Subjects: Adult Education; Bilingual Education; Black Studies; Community College Education; Continuing Education; Curricula; Curriculum Development; Education; Education Philosophy; Education Policy; Educational Leadership; Educational Psychology; Educational Sociology; English As A Second Language; Environmental Education; Ethnic Studies; Families and Family Life; Foreign Language; Gender Studies; Higher Education; Hispanic American Studies; Instructional Design; International Relations; Language; Language Arts; Middle Eastern History; Minority and Ethnic Groups; Modern Language; Multicultural Education; Multilingual Education; Native American Studies; Pedagogy; Psychology; Social Psychology; Social Structure; Social Studies Education; Sustainability; Teacher Education; Teaching

DMA, University of Cincinnati, 2019, College-Conservatory of Music: Violin

Heinrich Wilhelm Ernst was a Moravian violinist and composer who lived between 1814-1865. He was a friend of Brahms, collaborator with Mendelssohn, and was admired by Berlioz and Joachim. He was known as a violin virtuoso and composed many virtuosic works including an arrangement of Schubert's Erlkonig for solo violin. The focus of this document will be on his Six Etudes for Solo Violin in Multiple Voices (also known as the Six Polyphonic Etudes). These pieces were published without opus number around 1862-1864. The etudes combine many different technical challenges with musical sensitivity. They were so difficult that the composer never gave a public performance of them. No. 6 is the most famous of the set, and has been performed by soloists in recent years. Ernst takes the difficulty level to the extreme and combines different layers of techniques within one hand. For example, the second etude has a passage that combines chords and left-hand pizzicato, and the sixth etude has a passage that combines harmonics with double stops. Etudes from other composers might contain these techniques but not simultaneously. The polyphonic nature allows for this layering of difficulties in Ernst's Six Polyphonic Etudes. There are many more examples like these that can be found in the etudes. The purpose of this document is to help performers master these layers of technical challenges in a systematic way.

Committee: Won-Bin Yim D.M.A. (Committee Chair); Jonathan Kregor Ph.D. (Committee Member); Samuel Ng Ph.D. (Committee Member) Subjects: Performing Arts